1. How do we learn?
The simple answers is by example. Daniel Kohut describes the natural learning process as: observation, mental imagery, imitation, and trial and error. We see someone do a thing, we decide we also want to do that thing, then we imagine how to do that thing. As we try and fail, and continue to observe, our mental image of how to do the thing evolves. Our muscles learn better balance. Eventually, we figure out how to succeed.
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Through practice and repetition, we get better and better. Our brain begins to do what's called "chunking". When we learn, anything from an action to a phone number, we break the information into a sequence of steps. Each step of the sequence involves a hesitation while the next step is recalled. "Chunking" is the process where the sequence of many simpler steps combine into fewer, more complex steps. Instead of thinking haltingly about each part of action, we think of more steps in a single movement. In this way, difficult actions go from clunky and unnatural to smooth, and eventually effortless. The memory also transitions from declarative knowledge to procedural memory.
Almost every action we perform in our life is an automatic memory. We don't think about how we walk backwards, how we throw laundry into a hamper, or how stand on our tiptoes to put a box on a high shelf; and yet, all of these tasks are incredibly complex. Executing tasks from procedural memory is how our brain are designed to function.
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complex actions involving many steps
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-Action affect hypothesis: "actions are best planned and controlled by their intended effects" (Prinz, 1997)
-Discovery Learning situation: drawing attention to the intended outcome, and allowing them learn how to move in order to achieve it. Metaphors help to achieve that.
-Mirror neurons
-Don't overwhelm
-Instructions focus the learner's attention on the action goal of the skill.
2. What interferes with functional playing?
Pedagogy can influence the development of performance disorders when it interferes with our body's natural skill execution processes. Reinvestment theory argues that consciously controlling the muscle movements involved with executing a task disrupts the natural task execution. By telling the body how to perform part of the action sequence, we interrupt the natural chunking process, and stop performing from our automatic, procedural memory. This interference causes the task to be less successful. Eckart Altenmuller theorizes that this disruption, if allowed to continue, can eventually become a habitualized part of the task. If this happens, then the musician can become incapable of performing without a disruption to their playing, and can lead to the formation of musician's dystonia.
Another term for the concept of "reinvestment" is an "internal focus of attention", or the idea that directing our attention internally makes performance worse.
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-Knowledge of Results vs. Knowledge of Performance
-Augmented feedback can hinder performance. Particularly when it's given too much and/or the learner becomes dependent. I think this is the case with a lot of brass pedagogy.
3. Well then, how should we play?
If an internal focus of attention (i.e., thinking about the movements involved with completing a task) interrupts and worsens a performance, then is the solution an external focus of attention? Short answer: yes!
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Gabriele Wulf created the concept of an internal vs external focus of attention. An external focus of attention is focusing on the outcome you want to achieve; in our case, the sound we want the audience to hear. While thinking internally of the movements involved in an action hinder performance, thinking externally do just the opposite: they help the performer to execute their task from procedural memory. This has been tested extensively, and has shown every time that compared to an internal FoA, thinking externally improves the quality of performance, it lengthens how long the memory is retained, and automatically transfers that memory to performing similar tasks.
4. How do you apply all of this to playing and teaching?
Since an external focus of attention improves performance and learning, and isn't associated with developing performance disorders, I try to guide students and clients towards this mindset. I do this by:
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1. Making sure the student is relaxed. Tension, worry, fear, and ego make any attempts at making music impossible. Leave thoughts of "proving yourself" to someone (or to yourself) at the door, and let's have some fun. Alexander technique is helpful for this as well.
2. Move some air! I like to think of it as a matter of energy through the horn. If you're not moving enough air, then it doesn't matter what you're thinking of. You should be sweating after a few minutes of sustained playing. It's hard to balance "blow so much energetic air that you're sweating" and "stay relaxed", but that's a prime thing we'll work on.
3. Most importantly, hear the intended sound! Not just the pitch, not just the tone, but the full complete sound that the audience would hear in a perfect world. What's hardest, and what we'll work most on, is maintaining that focus once horn hits lips. (This is the same concept behind Arnold Jacobs' Song and Wind, only not as eloquent)
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Sessions and lessons will focus on these three things, and applying them to your instrument. Depending on where you're at, we would apply it on anything from solo repertoire to long tones. However, it's not about what you're playing, but how you're playing it. Everything else is ego!
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