Shifting the focus of attention between levels of musical structure

Williamon, A. and Valentine, E. and Valentine, J. (2002) Shifting the focus of attention between levels of musical structure. European Journal of Cognitive Psychology, 14 (4) pp. 493-520. ISSN 2044-5911 (print) 2044-592X (online)

Abstract

This paper examines the practice and performance of musicians in two separate studies. In the first, 22 pianists, classified into four levels of skill, were asked to learn and memorise an assigned composition by J.S. Bach (different for each level). From cassette recordings of the pianists' practice, values for the mean and standard deviation of “segment lengths” were obtained, as well as a derived coefficient of variation. Following the learning process, the pianists performed their composition in a recital setting and were interviewed about their performance strategies. In the second study, two expert pianists were asked to learn and memorise an assigned composition by Bach and to provide verbal protocols of their performance of the piece under two separate conditions. Analyses of the data from Study 1 revealed that pianists at all levels of skill used longer practice segments as practice progressed. Moreover, they increasingly interspersed short and long segments across the practice process. Analyses of the coefficient of variation revealed that this occurred most often for performers at higher levels of ability, supporting the notion that shifting the focus of attention between levels of musical structure is a salient characteristic of the practice of skilled performers and develops gradually as skill is acquired. The post-performance interviews suggested that the attentional shift was employed during performance and was highly individual-specific with regard to the locations and reasons for shifting. Data from Study 2 provided additional evidence to support the proposed process and demonstrated the use of one possible hierarchical system within which shifts in attentional focus can occur--the music's formal structure. The data are discussed with regard to their implications for furthering an understanding of performance preparation in music and in other domains.

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