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Sheryl Iott investigates the relevancy of cognitive science to musical development and distills cutting-edge teaching and learning methods for musicians of all skill levels based on these scientific concepts. Filled with over 100 musical examples, this book imparts practical suggestions and advice that anybody can incorporate into their practice.
List of contents
Acknowledgments
List of Figures
Introduction
PART 11 The Beginning Musician: Practice Is Play Music and the Brain
Aural Cognition, Language Acquisition, and Musical Processing Music Perception and Preparatory Audiation
Optimal Teaching Strategies for the Young Beginner
Whole-Part-Whole Aptitude
PART 22 The Intermediate Musician: Fluent Music Reading and Early Problem Solving From "Beginner" to "Intermediate"
Visual Processing
Beginning Music Reading: Bringing Meaning to the Score
[Long-Term] Working Memory, Chunking, and Template Theories Execution, and Benefits, of Mental Practice
"Theory"-When, How, and Why
More Relevant than Learning Styles: Personality, Character, and Motivation
3 Practice Strategies for Musicians of Burgeoning Independence If You're Not Thinking, You're Not Practicing
Don't Do It Again Until You Know Why
Audiation Pause = Learning Pause
Hands Together!
Patterns and Mental "Chunking"
4 Specific Practice Strategies for the Intermediate Musician Preparatory Practice Strategies
Chunking Strategies
Tempo and Rhythm
Facility
Think It Then Play It
Structural Lines
Contrapuntal Music
Benefits and Challenges of These Types of Practice Strategies for the Intermediate Musician
PART 35 The Advanced Musician: The Cognition of Expertise Toward "Expertise"
Mindful Practice and Avoidance of Excessive Automatization
Knowledge Representation, Working Memory, and Skilled Visual Processing
Long-Term Memory: Retention and Retrieval
Multiple Intelligences and Rule Learning
(Creative) Problem Solving
Impact of Mood on Problem Solving and Success Motor Control and Development, and the Risks of Excessive Automaticity
Multimodal Imagery and Musical Memorization
Deliberate, Distributed, Interleaved Practice
Self-Monitoring and Self-Evaluation
6 Conceptual Solutions to Technical Problems (They Are All Technical Problems) Practice Tools and Strategies for More Challenging Problems
Layers
What to Think About When
Think It Then Play It
Scaffolding and Hypermeter
Mental Practice, Mapping, and Memorization
7 Practice Strategies for Solving Physical Problems Physical Practice: Chunking, Gestures,
The Chart, and Fingerings
Chunking ' Gesture
Gesture ' Detail
To the Thumbs
The Chart
Hands Alone
Fingerings and How They Help Form Meaningful Units
Above Strategies in Sequence and Combination
PART 48 How Intentional Practice Benefits Performance APPENDICESAppendix A: Sample Lesson Plan and Practice Sheet: Beginning Musician
Appendix B: Sample Practice Assignments: Intermediate Musician
Appendix C
: The Integrated Lesson
Appendix D: Practice Strategies by Category and Figure Numbers
Appendix E: Areas of the Brain Involved in Language and Music Production and Comprehension
Appendix F: Workshop Templates
Bibliography
Index
About the Author
About the author
Sheryl Iott is an active solo and collaborative performer, speaker, and adjudicator. Iott is on the faculty of Interlochen Arts Camp and has served on the faculties of Grand Rapids Community College, Hope College, Michigan State University, and Calvin College. She is also a member of the College of Examiners for the Royal Conservatory of Music of Toronto. Frequently published in music education and piano pedagogy books and magazines, Iott’s current research is focusing on music cognition and cognition-enhanced practice strategies.
