Where did the 40 Piece Challenge begin?

Who is up for this challenge?

Elissa Milne

40 Piece Challenge

I honestly didn’t expect the 40 Piece Challenge to go global the way it has quite as rapidly as it has. This backstory post was supposed to get written in plenty of time for anyone interested, and I know I’ve already missed that window.

Here’s the deal…

Once upon a time I was a teacher in Australia teaching my students the way teachers in exam-oriented and competition-oriented culture have always taught – spending between 4 and 9 months working with students on their exam/competition repertoire (the 4 month kids were doing two exams/competitions each year rather than one) and then having a few months per year for “fun” pieces that weren’t “for” anything.

Students working this way would be learning between 6 and 10 pieces a year total, as a rule. The more students progressed in degrees of difficulty the more their sight-reading skills lagged behind. And at the end of…

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15 Things You Need to Know About Supporting Your Child Learning to Play the Piano

Elissa Milne

This list was first published in It Takes Two Generations at the end of 2013. 

If you’re a parent who has no background in playing a musical instrument it’s easy to be overwhelmed by the number of things the piano teacher accidentally takes for granted along the way. Don’t be overly worried about this – the teacher won’t have enough time in each lesson to fill in all the gaps and still keep your child engaged and enthused about their learning, but as time passes you’ll become expert at supporting your child’s musical education.

Here are the absolute basics that you need to know to be able to support your family’s journey into profound musicianship:

1. You simply cannot miss lessons. Unless you’ve just had a car accident, your child has a communicable disease, or your grandmother’s funeral couldn’t be scheduled any other day. Your child having extra homework that…

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12 Tips for Practicing Music

The Musicians' Blog

I teach music, so I am constantly explaining to students how to practice correctly. Whether your instrument is piano, guitar, cello, or saxophone some basic practicing tips apply to all instruments at all levels. Briefly and in no particular order:

1. Warm Up: To begin practicing correctly, a proper warm up is required. Technical studies, such as pentascales for piano or long bowing for stringed instruments, can gets fingers and joints limber. Considering the keys of the pieces you are studying will lead you to the correct scales to practice during your warm up period. How long do you warm up? As long as you need. For beginners five or ten minutes suffice.

2. Write On Your Music: Always have a pencil handy. Writing on your music is not a bad thing. It is actually a very professional action. Better musicians mark habitual mistakes, fingerings, and dynamic markings to make…

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Classical music: How do concert pianists practice? Stephen Hough offers tips.

It’s all about practice! Practice makes perfect!

The Well-Tempered Ear

By Jacob Stockinger

So much of playing the piano – or any instrument or indeed any performing art -– boils down to practicing. Specifically, that means how to practice correctly, how to practice productively.

practice room and piano

Recently, I blogged about a wonderfully useful story that appeared on NPR’s terrific classical music blogDeceptive Cadence” about 10 tips for successful practicing. (It also some  interesting reader suggestions and tips that you should read.)

Here is a link to that posting:

http://welltempered.wordpress.com/2013/09/07/classical-music-here-are-10-tips-from-npr-on-how-to-improve-your-practicing/

cello practice

From a slightly different perspective, British pianist Stephen Hough (below) more recently blogged about how professional concerts pianists practice. He included some great tips from his own teachers.

Hough_Stephen_color16

Now, Hough is not only a concert pianist but also an exceptional one. In addition, he is an excellent teacher, as I witnessed firsthand several years ago when he gave a master class at the University of Wisconsin School of Music…

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How learning a language and music are linked?

Explainer: how are learning languages and music linked?

By George Tsoulas, University of York

Music is what penetrates most deeply into the recesses of the soul, according to Plato. Language has been held by thinkers from Locke to Leibniz and Mill to Chomsky as a mirror or a window to the mind. As American psychologist Aniruddh Pattel writes:
“Language and music define us as humans”.

The two are facets of a single cognitive system. Under the brain’s hood there is a simple computational operation, taking basic elements like words or simple sounds, combining them in a step-by-step manner and producing a larger structured object such as a flowing sentence or a melodious musical phrase.

This is all just in the mind, but needs to happen before language is “externalised” as speech or writing and music is expressed through performance or by the simple act of tapping your foot to a rhythm.

But there are further questions to ask about the relationship between music and language, such as whether musical education and expertise influence our way with language or if it makes us better learners of a second or third language. On the other side, it would be great to know if fluency in more than one language makes it easier for us to learn an instrument. And if people who are bilingual, trilingual or quadrilingual listen to music in a different way.

Benefits of bilingualism

Several studies have shown that both bilingualism and musical training and practice appear to protect people against the onset of dementia and other cognitive decline in later life. As Canadian psychologists Ellen Bialystok and Anne-Marie DePape pointed out in a 2009 article, the mechanisms responsible for these effects are rather poorly understood, more so in music than in language. But they do point at some interesting possibilities.

Several of the studies reviewed in a 2011 paper by Finnish music and education researcher Riia Milovanov and her colleagues, showed that mastery of more than one language as well as mastery of music involves higher levels of executive control. These are the mechanisms responsible for overall management of cognitive resources and processes – including attention shifts, working memory, reasoning, and switching between tasks.

Less daunting if you play piano?
Foreign languages via f9photos/Shutterstock

Other studies reviewed in the same article showed that musical training correlates with better language-learning skills. Learners with a musical background were found to be better at pronouncing the sounds of a second language and at perceiving the relevant contrasts between sounds in that new language.

Close connections

Research has mostly concentrated on the benefits of musical knowledge for pronunciation and the perception of linguistic sounds. In a series of studies, Milovanov and her colleagues found that in Finnish-speaking children and adults, musical aptitude correlates significantly with better pronunciation skills in English. This may be because neural resources and pathways are partly shared between language and music and that people with higher musical ability and training use the right hemisphere of their brain (traditionally music’s domain) more for processing of linguistic sounds.

There is some evidence showing lateralisation of speech and music – meaning that music and language are processed in different brain hemispheres, with the left one for language and the right one for music. But conversely, American psychologist Diana Deutsch has shown there is a significant connection between speaking Mandarin, Vietnamese or any other tone language and possessing perfect or absolute pitch. This points again to a close connection between music and speech.

Rhythm and the brain

But speech is only one way that language is expressed. In a more recent study, American researcher Reyna Gordon and her collaborators found that children’s perception of rhythm also has a significant influence on their use of different morphological and syntactic features, such as the use of verbs in the past tense.

Earlier studies have compared brain responses to sentences ending with “incongruous” words, such as a singular noun where a plural one would have been expected: “John played with all three child”, and musical sequences with incongruous chords. Researchers found that the brain responses showed significant interactions, strongly suggesting that linguistic and musical syntax overlap in the brain.

There is mounting evidence that linguistic and musical processing engages similar cognitive resources. Coupled with the formal similarities, there seems to be strong evidence that a significant part of what is called Universal Grammar (the initial state of the innate language faculty), also underlies the music faculty. The strongest and boldest hypothesis is that, apart from their basic building blocks, language and music are in fact identical.

Given what is known about brain plasticity and changes in synaptic and neural pathways as a response to practising something throughout a person’s lifetime, it’s not surprising that the greater use of language will show up in musical ability and vice versa.

The Conversation

This article was originally published on The Conversation.
Read the original article.