The Best Type Of Musical Performance For Developing Musicians

In order to become an expert performer Abbott and Collins (2004) suggest that talent development requires the possession of Psychological Characteristics for Developing Excellence (PCDE), which as the performer moves through the transition phases become further developed. PCDE’s are both trait characteristics and state related skills such as self-belief, dedication and discipline (Abbott and Collins, 2004). Another significant aspect of becoming an expert musician is deliberate practice. Deliberate practice requires determination with the correct motivation for the performer, and the necessary time and effort roughly equating to 10,000 hours (Ericsson et al., 1993). MacNamara, Holmes and Collins (2008) state that expert musicians require numerous aspects to reach the highest level; natural talent and/or deliberate practice combined with social context and significant others are needed to maintain performance at this high level. As talent is developed, the performer moves

Early specialization is characterized by year-round training in a single activity, beginning at a young age, apart from other activities with the goal of developing expertise (Ericsson et al., 1993). Ericsson and his colleagues studied pianists and violinists of varying skill levels and discovered that the expert musicians typically began training between ages four and five while the non-experts started training later in life. Moreover, a pattern emerged indicating that the level of performance attained related to the amount of deliberate practice. By age 20 the best performers had spent over 10,000 hours, an intermediate group had put in 8,000 hours, and the least accomplished group only 5,000 hours. In their theory of deliberate practice, Ericsson et al. (1993) suggest that talent plays no role in the development of expertise, rather it is an effortful activity motivated by the goal of improving performance. Typically, deliberate practice requires a high amount of concentration and must be carried out over time. The obligation to significant amounts of deliberate practice in one sport from a young age has been demonstrated as one approach to developing elite athletes (Helsen et al., 1998).

“In fact, by the age of twenty, the elite performers had each totaled ten thousand hours of practice. By contrast, the merely good students had totaled eight thousand hours, and the future music teachers had totaled just over four thousand hours.” The control we have over our lives is determined by our work ethic, willingness to achieve our goals, and to strive towards them. Gladwell provides a stronger case of evidence by using proven statistics. These statistics provide the evidence that practicing regularly, and for long amounts of time does pay off in the long

Practice can be the key to improving. In every area of education, in every sport, with every musical activity, anything that requires a good performance, those who practice tend to understand the material more. Malcolm Gladwell in his book Outliers states just how important this can be. Going off of the idea that “practice makes perfect”, his entire second chapter is dedicated to persuading his audience to believe 10,000 hours is what it takes to succeed. Examples Gladwell provides include how Mozart didn’t create his greatest works until later in his life after he had gained experience, how the Beatles performed in multiple practice concerts in Hamburg, Germany before becoming musical sensations, and how Bobby Fischer and chess grandmasters

The trick to success is not talent it is passion, nobody is naturally talented enough to be outstanding, the only way to stand out is with practice and the only motivation to practice is passion. A large sum of people does not search for a career that they love, instead they search for a career with a large salary, by choosing the first path people can raise a great deal of money by doing better than the rest.

Since day one of my musical interest, I have heard the term, “practice makes perfect,” in almost every setting imaginable. From the beginning of my sixth grade year, I had heard of what it was to be an All-West musician, but at that point I really didn’t grasp the concept of just

The purpose of the Audiation for Beginning Instrumentalists: Listen, Speak, Read, Write by Kathy Liperote is to teach beginning instrumentalists, whether the instruments are brass or woodwind, rote to note. The article says that the you should get the students to start playing their instrument by just playing by ear. After the student starts to learn the notes, you should start to teach them the notation of the notes, slowly. This concept is similar to the learning process of language. You must first learn to listen, then you progress to speaking, reading and writing it. So, the students must listen to the music first and this can be done by giving them simple melodies like Hot Cross Buns, etc. Then, the student should be able to play the melody by ear, in time. Slowly, the student will be able to read the music and write it, which could happen later. So, the purpose of this article is to show that teachers need to teach music like they are teaching a language. The students will learn the music slowly, like they learn a new language. Also, the article discusses different methodologies from Delcorze to Orff. The purpose of this is to show how these methodologies can

it's not a 9 to 5 job. you work long hours, you come in and work in the morning then go to shows at night that last until early the following morning. Then you get out of bed and do it again. And you don't just go to shows. You must talk to as many people in the room as possible and make connections. There is not a lot of time for a normal social life so most people in music are married to others in the same field. That’s what i think . I think it’s a good pro in

make the news or something. But if you want music to be your livelihood, then play,

Within this proposal, we are asking for an increase of chances to fund the performing arts at Eldorado High School. In addition, to let students experience new opportunities that the performing arts provide.Further, to increase the quality of community at our school, along with giving students of the performing arts the opportunity to benefit by gaining the experiences and knowledge that comes with participating in the performing arts.

Promoting and giving stage time to young talent will give them confidence and the opportunity to be heard, and in some cases have a chance to develop a career that will give them a financial independence, in other cases, this talent will support their social and mental wellness to develop a parallel professional career that will give them also a financial stability.

What if each day’s goal is to fight inner demons? What if something as simple as music

This semester I have experience many live musical performances. Some of these performances have let me down but for the most part, these performances have been everything I ever expected. My two favorite performances this semester were Festival Vallenato and Ultra Music Festival. Although these two types of music are different in every way possible, the people and the performers are exactly where I feel I am in the right place.

The stigma associated with pursuing an education in the musical arts affects the decision of many musicians nationwide. The appeal of guaranteed financial and career stability of STEM and other paths of high demand jobs is very difficult to pass up, even by the most dedicated musicians. Then, the input and advice of outsiders come into play. These onlookers not only encourage study of the hard sciences and a foolproof path to success via university, but they also totally and blatantly discourage and belittle the intelligence, rationality and integrity of not just the paths of musicians, but all liberal artists. Don’t you want to make money? What do you mean you won’t have internships, don’t you want a job? How are you going to survive? This blitzkrieg of questioning and doubt, though theoretically peripheral to the bigger picture, is reasonably common, however, severely unjustified. Pursuing a formal college education in music is easily one of the best things you could do for yourself, regardless of whether or not this is the career path of your choosing. As a student of formal music education, you are actually being trained in more real world skills than most other majors, which will prepare you for many careers, making you stand-out amongst the masses. Being a music major, you learn more than just music, you learn problem-solving skills, how to communicate and collaborate, and how to overcome failure, which are all essential skills to have as a professional in today’s day

“Education- should enhance understanding of the world, of oneself, and of one’s own experience” (Kelly 2009). What is important about music education? There are many important aspects in music education like pedagogy and performance. For me, music education is about letting the students express themselves. Having the ability to give an idea or to vent is a vital tool in today’s society. This concept influences music because expression is not only in how to connect a phrase, but also how to tell a story. With my time in college, Dr. Joseph Frye will always tell me to tell a story with music. He will also ask me what I want to feel after playing a piece. This is what I believe is important in music education.