Kaylyn - Musician's Mind Chapter 8

Chapter 8: Emotion, Empathy, and the Unification of Art and Science

Summary: This chapter discusses that emotion and science or equal partnership or value. Emotion is fundamentally in twined with human reason. Meaning that emotion can no longer be considered a separate or lesser brain function or distraction from reason. Music has the power to induce emotion and emotion is a vital component of human existence. 

Key Concepts: Empathy definition empathy is closely aligned with other attributes such as concern sympathy and compassion.Empathy is not just sensory Jervin there’s a cognitive process and top down control arm for a constituents of human empathy. Obama’s quote about empathy deficit the ability to put ourselves in someone else’s shoes. When we do this we are least likely to harm does we see as extensions of ourselves musicians can help save the culture by normalizing empathy.

Connections: I think understanding empathy will also help me understand people and share kindness, but also really be able to get into our characters and understand thought processes of people different than us. 

 

Kaylyn - Musician's Mind Chapter 7

 Chapter 7: The Digital Brain

Summary: This chapter discusses the positive and negative consequences of the advanced technology for singers as well as the consequences constant screen time has done for our attention and therefore our learning process.

Key Concepts: Positives of technology: We have never been able to give ourselves augmented feedback so fast because of recordings of lessons and recordings in general. Negatives of technology: Our attention has been trained into not being able to focus as long, so we accomplish less in our practice because of distractions.

Connections: I just recently watched "The Social Dilemma" on Netflix and it was an interesting documentary to watch before this chapter talking about how technology has influenced us in a negative way. think it is so important to take note and realize our distractions and be able to minimize those, especially when we are practicing and trying to learn a new skill. This new age of multitasking is toxic to our attention span, which in return is toxic to our learning process. I feel like I regularly take advantage of my lesson recordings because I think its helpful for me to listen to old lessons even if it wasn't my lesson that week. I do want to be better at keeping my phone out of my practice sessions. I can see that this has been extra difficult since quarantine since I mostly practice in my house and when I do that I think about meal prep or laundry or every other 5,000 things I have to get done so my anxiousness doesn't help me focus either.

Kaylyn - The Musician's Mind Ch. 4-6

 Chapter 4: Learned Movement 

Summary: This chapter goes deep into motor learning research, and the new research on the organization of practice schedules, the timing of feedback, and the quality of practice to optimize performance. There are learning modes, and performance modes. 

Key Concepts: Learning mode: encourage exploration, and freedom. Its wobbly and unstable, not ideal for performance. Performance mode: stop teaching! The hallmark of motor learning is repeatability. Positive performance shifts are not always good, and negative performance shifts are not always bad. Desirable difficulties is learning a task that requires a considerable but desirable amount of effort that improves long term performance. The Three Rules of Practice: 1. Distributed practice is more effective than massed practice. 2. Varied practice is more effective than constant practice. 3. Randomly ordered practice is more effective than blocked practice. Mental practice can be very effective. 

Connections: To help students we have a few things to do to help them with motor learning. We can repeat, refine, and revise instruction while letting them think, let, and trust. Mental practice can be very helpful if we truly are visualizing kinesthetically. Our instruction is also helpful if it is concise, creative, and precise. We need to help them become better error detectors, we don’t need to state the obvious. Our process for augmented feedback would have the 3 S’s. Short delay (after they have done something), Simple (instruction given), and Several (trials given to them before you offer augmented feedback). Ultimately, students learn to trust their teacher through empathy. Master class effect is not learning, we must run to the practice room. 

Chapter 5: Performance Studies 

Summary: This chapter talks about the importance of deliberate practice, and how much of it is actually required for success. This digs deeper into the concept of desirable difficulties and the struggles necessary for learning. 

Key Concepts: Goal setting is a very important aspect of teaching that can boost learning and ignites motivation. Deliberate practice is the way to learn a skill. We can’t learn a skill with nonproductive persistence. GRIT can be helpful, but to those children who do not have the basic necessities of life, how could we expect them to learn deliberate practice without those things. 

Connections: The “help wanted” job descriptions of a music student and music teacher are both very interesting to me. I love the idea of being a student who is seeking a teacher of deliberate practice and daily practice regimen that includes building fundamental skills and self-reflection. I also loved the concept that we are not born knowing how to work hard, we have to learn how to work. This is where the growth mindset is helpful. 

Chapter 6: Mind Games 

Summary: This chapter discusses the challenges of performance anxiety, the possible causes, the things that help manage it, and everything in between. MPA can happen to anyone, whether your age, gender, expertise, and genre of music. 

Key Concepts: Causes of MPA: childhood performance trauma, pressure from self, inadequate preparation, and not knowing how to manage feelings. There are 2 theories to why choking happens: 1. Explicit monitoring learning (overthinking) and 2. Distraction theory (distracted). We are more likely to have these kinds of MPA episodes if we are depressed, sleep-deprived, or operating under a large mental load. MPA is not all bad. There are some upsides. It creates this “care” or reason to make music, as well as gives energy to ride the wave of a performance. We can also retrain our minds to think in a positive way by saying “I’m excited” rather than “I’m nervous”. Alexander Technique can help with this body awareness and manage MPA. Its okay to make mistakes--still working on this one!

Connections: My favorite and most relatable part of this chapter was the letter to family and friends. Often I find myself not focused, stressed, and full of activities whenever my family comes into town for a performance. I often even prefer that no one comes to performances because of this reason. I thought the letter was a great way to let them know that I need my space to re-group, meditate, and mentally prepare for a performance.

Kaylyn - The Musician's Mind Chapter 2 and 3

 Chapter 2: Groundwork

Summary: This chapter will discuss the findings of the most recent research on music and cognitive development. A study showed that while music training didn’t make children smarter, it made their brains more receptive to learning.There may not be a benefit to simply listening to music, but actually making it can. We can utilize the skills of both the left and right brain, but that doesn’t make the left or right brain a personality. The human brain can function as both artist and scientist with its abilities and how we can strategies comprehending them. 

Key Concepts: The Mozart Effect - The myth that listening to classical music makes you smarter (1990s). Exposure is not learning--it lacks engagement. Engagement is a fundamental requirement of learning. Right brain and left brain dichotomy. Left brain: dominates for many tasks. Left is responsible for the mechanics of speech production and literal meaning of words. Right brain: process motor tasks, visual and spatial relations, and certain aspects of emotion. The right brain translates pitch and timber to effect a more nuanced understanding of a language. Labeling yourself as a visual or verbal learner is actually just a preference, it doesn’t mean you can’t learn a different way. This myth is actually quite limiting. Labels cause us to stay in a fixed mindset. One research study showed that music training actually induced brain plasticity, which is a necessary precursor to cognitive enhancement. Attention and memory bookend learning. Sentience or subjectivity: awareness of your self awareness. Know that: knowledge of facts (requires motivation, attention, repetition). Know how: bound to the body (occurs outside of conscious attempts to learn). 

Connections: A helpful thing with these kind of learning books is giving my mom a phone call and talking about it. It’s been very interesting to discuss this information that way as well. One topic that I loved was that we are not a visual or a verbal learner, and those labels are what can get us stuck in the fixed mindset. I’ve always thought I learned by colors, but that doesn’t have to be the case, I can learn strategies that can help me grow and use the other parts of my brain to strengthen my skills as a verbal learner. Very interesting, I did not even think that something like that could be a fixed mindset. 

Chapter 3: How Learning Works

Summary: This chapter talks about the vital question of cognitive science...what is learning? Learning is a complex, three-step process of attention, learning, and memory. There are different sections withing these three learning processes. Attention has 4 different modes: default mode, executive attention, attentional switch, and attentional filter. Attention aids emotion and desire, motivation and rewards, goal setting, and sleep. A part of learning is developing better memory capabilities, chunking is something that helps with this. We absorb information into a short term memory, and then we using our working attention to move those to long term memory. Constructive memory helps us learn from our mistakes. 

Key Concepts: Declarative learning (know that): information that someone can speak about. Knowledge that is learned that is not innate. A process that results in a permanent change in behavior as a result of experience. Procedural learning (know how): learning physical skills or motor learning. The difference between these two learning procedures is the speed we accomplish them. A process that results in a permanent change in behavior as a result of practice. The default mode (daydreaming) actually is where connections occur and creativity happens. Emotion plays a critical role in memory consolidation. Desire is the ignition system of attention. The ability to learn starts with the ability to remember. Neurogenesis: the brain can regenerate. Neural Plasticity: the brain changes continually in response to experiences. 

Connections: What caught my attention, was the section on the attention part of learning. I thought it was interesting that they found attention aids emotion and desire. This makes sense, but I think this a great way of thinking on how to keep the light ignited, like in The Talent Code. Putting specific attention on a task as the first step of learning is a way to keep our desires and motivations strong, with of course strategies like goal setting and taking care of our bodies.

The Musician's Mind-Intro and Ch 1

Chapter Summary:

Key Concepts:

Behavorist psychology-"is key to understanding our motivations and weaknesses as they currently play out in all our arenas of musical endeavor and accomplishment, whether as students, teachers, parents, or practicing musicians." (Pg3)

Behavorists believe that natural consequences shape behavior. (positive behavior tends to be repeated while negative actions will be avoided because of the consequences associated)

"People cannot be judged and predicted by outward behavior alone; people do not always choose their pain" (pg 5)

"Kohn has made a singular career of blasting behaviorism, particularly the ubiquitous use of what he calls "goodies" (candy, praise, financial rewards) to "incentivize" behavior. Kohn has long argued that these behaviorist principles, still common practice among parents and teachers, have spawned multiple generations of schoolchildren who have grown up so addicted to incentives, praise, and prizes that they find little joy in discover, little intrinsic worth in learning for its own sake, and therefore little reason to pursue a goal without the promise of immediate reward."

Key Terms:

The inverse power of praise

Learned helplessness--when the animals would just curl up in a ball as a response to the pain given as a negative consequence, even if an alternate route was given. Opened u p the door to research depression. 

Operant conditioning (came to be one of Skinner's most famous and infamous contributions to science) Because of his study, behaviorist saw virtually no behavioral distinction between animal or human. 

Behaviorism 

Cognitive Revolution-the start of the modern scientific study of the mind 

Cognitivism 

The Mozart Effect

Mindless Behaviorism 

Neuroaesthetics 

Neuroplasticity-being able to grown your brain. Came about in about 1890

Neuroscience vs cognition 

Making Connections: 

In the studio, our students begin to feel entitled as we are giving them physical rewards for their practive. 

Because this concept is so un-natural for us, we need to almost memorize the script of the Dweck book page 181, 185-6. This will help us as we are changing the narrative for our students. 

Music is still an intelligence and talent. There is no hierarchy of talent. 

We've raised a bunch of people who know how to memorize, but not know how to learn. This is the danger that comes with behaviorism. 

Our job as teachers is to raise students who ask the question WHY (operating within the realm of inquiry)

Valuing art for arts sake. (not because it makes you smarter (the mozart effect)

Kaylyn - The Musician's Mind Chapter 1

 Chapter 8: Science, Art, and the Missing Mind

Summary: In the past, psychology was based on behaviorism. There was a cognitive revolution that challenged behaviorism into a new, modern way of thinking and cognitive neuroscience. Understanding the effects of behaviorist psychology is key to understanding our motivations and weaknesses. There are two cultures of controversy, science and humanities. The division of these two cultures has been a major handicap to both in solving the world's problems. The rise of a third culture is where humanists and scientists would communicate so effectively it would bridge a gap that would ultimately better society. Artists thrive in the gray area that contains the black and white answers scientists search for. It will take a creative mind to be able to discover the boundaries of art and science. 

Key Concepts: Behaviorism: primarily concerned with observable behavior not internal thoughts and emotion. Cognitivism (new theory of learning): is a learning theory that focuses on the processes involved in learning rather than on the observed behavior. Music provides cognitive enhancement, but it has more to do with the broader enhancement of the human experience. No behavioral distinction between animals or humans. (B.F. Skinner) The animals with unpleasant negative consequences just gave up. The Theory of Multiple Intelligences: people are not born with all of the intelligences they will ever have. It also describes different ways students learn information. (There are 8 intelligences: musical, logical mathematical, intrapersonal, interpersonal, naturalistic, linguistic, bodily kinesthetic, spatial). Neuroaesthetics: experimental science that combines psychological research with aesthetics by investigating the perception, production, and response to art, as well as things that evoke feeling.

Connections: Awe! You’re in the acknowledgment section! Since behaviorism is so deeply embedded into the American psyche, we need to focus on developing a new strategy for learning. Since incentives are not the primary forces that stimulate human creativity, we need to find a way to create just to create not for a reward. This is something I find very interesting and a reason why I hit such a large regression during quarantine. I feel like I work hard and I am able to see some kind of result (or in my eyes a “reward”). But everything I had done the work for was all of a sudden canceled, and so I actually had a “regression of the very motivations they are intended to ignite”, which ultimately had a negative impact on my technique and positivity towards music. 

I also loved the idea of Howard Gardner’s theory of multiple intelligences, meaning that intelligence is related to talent and ability. Music is not something that should be dismissed as “mere talent”. 

Kaylyn - Mindsets Chapter 7 & 8

 Chapter 7: Where Do Mindsets Come From?

Summary: Children and students are remarkably sensitive to the messages sent from their parents, teachers, and coaches. The way things are worded is extremely important in teaching a growth mindset because praising one's intelligence harms their motivation and it harms their performance. The most important aspect of a growth mindset is the process. We praise the process of learning, not the ability or even the speed. Lowering our standards is not the answer, we need to teach the tools to help students succeed. 

Key Concepts: Messages about Failure. (Tell her she didn’t deserve to win). Sympathize with disappointment, but don’t give a phony boost that only leads to further disappointment. Don’t judge. Teach. It’s a learning process. Challenge you at the same time as feeling nurtured. Tie accomplishments to the process. Mistake: praising the ability instead of praising the learning process. Treat failure as an opportunity for learning. 

Connections: We teach a growth mindset. You don’t just “have it”. We can use teaching as a place to grow our learning. What I can do is find what I love to learn about and I can grow as a teacher so that I can help my students. 

Chapter 8: Changing Mindsets

Summary: This chapter discusses different scenarios and how a fixed mindset would react and how a growth mindset would react. 

Key Concepts:All students can learn, even those who struggle. It is tricky to replace a mindset that tells you to embrace all of the things that have felt threatening such as struggles, challenges, and criticism. Make concrete plans to get things done. Followthrough helps with the chances of success. We need to maintain the growth mindset (the change) to keep growing. We can’t stop the strategies when things are improving. Growth mindset is vulnerable, fixed mindset is protective. 

Connections: The first step to growth is embracing your growth and fixed mindsets. Find the triggers and find strategies to cope with them. This semester I will pick one attribute I can change and change it with a growth mindset. For me, I would like to change my fixed mindset on “I’m behind because I haven’t been singing as long as everyone else” to, “since I haven’t been singing as long as everyone else, I need to work harder, practice smarter, and be willing to fail so that I can find success”.

Kaylyn - The Mindsets Chapter 1-3

 Chapter 1: The Mindsets 

Summary: Mindset theory explains why we are the way we are. This chapter discusses the two different kinds of mindsets and what we can do to change our current mindset for optimal growth and learning. People with a fixed mindset think that their intelligence or skills are fixed or predetermined. People with a growth mindset know that their intelligence can be learned. Fixed mindset people believe that failure means they are stupid or cannot overcome something. Growth mindset people look at failure as learning and a challenge they are looking forward to overcoming.

Key Concepts: Failure = learning. Achievement is not fixed prior ability, but purposeful engagement. Don’t hide deficiencies instead of overcoming them. You can change your mindset. 

Connections: As I was reading, I was pleasantly surprised to see that I actually had some growth mindset in my daily life (thanks to my mother). One thing that stood out to me was getting a C+ on a paper and how we react afterwards. Dr. Scheer’s class has given me a lot of C+ kind of grades. One test that came back, I was confused as to why I did so poorly (I studied and went to class and did the readings). I took my test to Dr. Scheer and we talked about what I could do to improve my studying techniques. I then became friends with Megan and she said she would teach me how she studied, and I was able to learn how Megan could get A’s on Dr. Scheer’s tests. For my practice, I will be looking at my challenging opera music as a challenge I want to overcome. Instead of it is too hard to sing, but rather I will need to use the new practice strategies I’ve learned to get the melody into my ear and my body. It's a challenge to learn this music in 2 weeks rather than It's impossible to complete this task. 

Chapter 2: Inside The Mindsets

Summary: The key is not ability, it's whether you believe that ability is something inherent and only needs to be demonstrated or whether you believe that ability can be developed. Fixed Minset-er’s want to look smart and that effort is pointless. If at first you don’t succeed, don’t try. They also feel threatened by the success of others, but this robs them of opportunity and they plateau early. People with a growth mindset are inspired to learn and challenges make them stronger. Their self esteem is not tied to their success. Failure is just another opportunity to learn. They are inspired by people who have success. 

Key Concepts: Learners (growth) and nonlearners (fixed). Be like a baby, learn and stretch as much as you can. 

Fixed mindset: people don’t give effort to something they think they won’t succeed at right away. Feeling worthless when you fail. Its about immediate perfection

Growth mindset: Its about learning something over time, confronting a challenge and making progress. This is hard. This is fun. Becoming is better than being. Effort is what makes you smart or talented. Failure can be a painful experience, but it doesn't’ define you. 

Connections: Something I want to experiment with in my practice is reminding myself that it is okay to fail. My mindset for practicing has been “this is the time to make it perfect”, but this chapter made me realize that I might be missing something by not allowing myself to stretch, challenge myself, and fail. I have felt like I’ve been at a plateau in my practice, but that is because I have not challenged myself to make more mistakes so that I can learn rather than feeling like “I’m not becoming a good singer”. I want to get past the fear and make a plan to conquer it instead. 

Chapter 3: The Truth About Ability and Accomplishments

Summary: We have to be self aware to see what our strengths and weaknesses and see what motivates you. You can learn new skills through observation by looking to those who are more successful than you and seeing what strategies they used to get there. We can only make positive growth when we know and acknowledge our own weaknesses. When you feel overwhelmed, that is the time to dig in and do what it takes to accomplish your goal. 

Key Concepts: Working hard doesn’t make you vulnerable, but it makes you smarter. We don’t study to ace the test, we study to learn, we get better grades. Go over your mistakes until you understand them. The fixed mindset limits achievement and makes people into judges rather than allies. Prodigies aren’t born with a skill, they are born with an extreme love of learning and challenge. Stereotypes don’t disrupt the performance of those with a growth mindset. 99% of success is hard work. 

Connections: I loved the idea that just because some people can do something with little or no training, it doesn’t mean other people can't do it with training. A lot of the time I would say “I can’t do that because it's not something that comes naturally to me” such as singing high coloratura. But this chapter gave me the motivation that I can find and practice strategies that can help me achieve that goal. The drawing class portraits showed a lot of progress in just five days, so I know that with my training this semester I will be able to learn the skills to become stronger at singing.

Roberts Lesson 9.6.16

At the start of our lesson, I was asked to conduct a warm-up as if i were alone in a practice room. It was a little uncomfortable at first, because in that moment I was only concerned about doing the "right thing". Then I realized, I was just being asked to do what I usually did in my practice time. There just happened to be another person in the room. So I began to stretch my body from top down to loosen my muscles. Sitting at my desk at work can cause my body to tighten and curl in on itself. Over time, I started to realize how much of a strain it was putting on my singing, so stretching prior to any type of vocalization became a requirement for me. After I felt a little more loose, I started a pitch less lip trill to loosen my lips, cheeks, and focus my breathing. After suffering with asthma for many years, I taught myself to really try to pay attention to my airflow. I took multiple deep breaths to see what type of air I was getting. Either deep, or gaspy, or short. Then I moved to simple lip trills on random pitches to get the voice moving, since I was a little raspy that day. We worked on some vowel placements, and working on the internal "flip" that happens when we jump octaves or larger leaps. We worked on this concept of "air opening the head, and flowing straight through to my hips" The visual that concept gave me helped a lot in feeling that open space in my head. It led to my notes sounding clear, and effortless, with no pulling or tension. I did realize that my jaw is continuing to pull in. It's frustrating that it still happens, but I am glad I can instantly detect when I make the mistake. The first piece of music we looked at was Come Scoglio. We took the first few lines in the Andante section and really struggled through finding patterns, and chunking the words, and their translations. it helped using the piano to have a audio and physical example of what it sounded like. It helped greatly with retention of pitches, rhythms and texts. During my practice time in the upcoming week, ill be sure to pay attention to making sure anything comes out of my mouth feels free, clear, and easy. Continuing to work on my "model behavior" and staying on top of when things don't feel or sound the way they should. And, figuring out how to fix it.

Jake Spjute practice session: 9-3-14

Right now I'm just trying to get familiar with my Italian and French sets. I found a YouTube of Joyce didonato singin my entire Italian set in one recital, si I was able to use that to get a feel for how the accompaniment goes along with the vocal line.
My voice has been pretty tired all week I due to the celebrate America rehearsals and performances, so I've been tapping out the rhythms in my music to be able to get the feel of how the songs go. Slow process, but it works I'm the end.