Deliberate Practice Brings Perfection

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December 28, 2013,

www.bigthink.com

People look at people we call geniuses, people who are at the very, very top of their field and think what do they have? They must have some kind of quality that all these other people don’t have and they must have been born with that because you can’t see what it is.

That’s what this researcher named Anders Erickson wanted to know and it’s been the subject of his own lifetime of study. He has built an army of researchers to study the invisible processes of acquiring skills and going from mediocrity to being really good at stuff.

It turns out that it’s a kind of persistence and a way of embracing failure, which Erickson calls deliberate practice. The idea is you push yourself slightly beyond your skill level and you want to fail. The idea is when you’re practicing the violin you’re not just trying to reinforce what you already can do. You are reinforcing what you already can do and then trying to do it faster or better or with more emotion or more dynamism or whatever you’re shooting for and you’re pushing yourself until you find a place where you can’t quite get there. And then you work at that and you work at that and you work at that and it’s not that enjoyable. Erickson really emphasizes it’s not the enjoyable part of practice.
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The difference in personalities between people who get good at stuff or get great at stuff is the people who get great at stuff really enjoy, not in a fun way, but they really find this kind of satisfaction in this constant pushing process.

In Their Own Words is recorded in Big Think’s studio.

 

10 Can’t-Miss Classical Music Festivals

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BY TOM HUIZENGA

In much of the country it still feels like summer is a long way off, but it’s not too early to plan on hitting the road and hearing great music. From bucolic college campuses in New England to musical rafting trips down the Colorado, these are 10 of the most intriguing classical festivals. And below them is a listing, by region, of many of the best fests. Been to one we missed? Pass along your own advice in the comments section or via or .

June 26-Aug. 17, Aspen, Colo.

In many ways, the Aspen Music Festival is the Cadillac of summer classical music fests, in terms of its unparalleled roster of guest musicians and its extensive student training program. This year, the 65-year-old festival explores the idea of the New Romantics. Violinist Joshua Bell takes up the old school sound of Bruch, while Robert McDuffie finds the contemporary Romantic in Philip Glass’ Violin Concerto No. 2, “The American Four Seasons.” There’s Tchaikovsky’s opera Eugene Onegin, but also Lowell Liebermann’s recent operatic take on The Picture of Dorian Gray. Seven world premieres are scheduled — from the likes of Mason Bates, Matthias Pintscher and others — amid more than 300 events. Need more than classical? Jazz guitarist Bill Frisell makes an appearance, as do Tony Bennett and Rufus Wainwright.

June 27-Aug. 17, Annandale-on-Hudson, N.Y.

Celebrating its 25th year, the adventurous Bard Music Festival picks a single composer and creates an immersive experience including music from contemporaries, plus film, dance, drama and lectures. Schubert and His World is the theme this year, with concerts following the stages of the composer’s short but fertile career. Schubert’s songs come into sharp focus in performances throughout the festival by Paul Appleby, Susanna Phillips and Nicholas Phan. And there’s an opportunity to hear Schubert’s opera Fierrabras and Carl Maria von Weber’s Euryanthe, both rarely performed. Leon Botstein conducts several of Schubert’s symphonies and Luciano Berio’s fascinating Rendering, a reworking of fragments Schubert’s unfinished Tenth Symphony.

June 27-Aug. 2, Vail, Colo.

If musical heaven is overdosing on orchestras, Bravo! Vail is the place to be. The New York Philharmonic, Philadelphia Orchestra and Dallas Symphony are the headliners. Alan Gilbert leads the New Yorkers in music by Richard Strauss and Pulitzer winner Christopher Rouse, including the former’s Don Juan and Till Eulenspiegel and the latter’s Oboe Concerto. Yannick Nézet-Séguin conducts the Philadelphians in Beethoven’s “Eroica” and pianist Hélène Grimaud joins them for the Brahms First Piano Concerto. Jaap van Zweden and the Dallas musicians offer Beethoven’s Ninth, Copland’s Third and Barber’s Violin Concerto with James Ehnes. And, to scale down a bit, pianist Anne-Marie McDermott, the Calder Quartet and others are on hand for chamber music from Steve Reich and Bartok to Bach and Vivaldi.

June 21-Aug. 3, Katonah, N.Y.

Opera mavens flock to Caramoor, as the festival often gives plum roles to important young singers. In 2010, when soprano Angela Meade sang her first Norma there, critics gushed and many others discovered an amazing voice for the first time. She’s back this year in the title role of Donizetti’s hair-raising Lucrezia Borgia. Verdi’s Rigoletto stars Stephen Powell and Georgia Jarman. Cellist Alisa Weilerstein is Caramoor’s artist-in-residence; she’ll give a solo recital, join the Orchestra of St. Luke’s in Elgar’s brooding Cello Concerto and team up with the Ariel Quartet for chamber music by Schubert and Arensky.

June 11-Aug. 16, Chicago, Ill.

Not to be confused with Chicago’s huge, multi-genre (running concurrently), the Grant Park Music Festival, now in its 80th year, focuses on classical music. Best of all, it’s all free (if you don’t mind picnicking on the lawn or sitting in seats near the rear). Pulitzer-winning composer William Bolcom’s week-long residency includes the premiere of his Concerto for Orchestra. Festival artistic director Carlos Kalmar, known for his creative programming, leads performances of Leoš Janáček’s Glagolitic Mass, the world premiere of Christopher Theofanidis’ Northern Lights and Piston’s Suite from The Incredible Flutist. Guest artists include Leonard Slatkin leading Shostakovich and David Robertson conducting Britten’s Violin Concerto with soloist Gil Shaham.

Aug. 28-Sept. 8, Moab, Utah

It’s tough to beat the scenery at the Moab Music Festival. The organizers like to think of their festival as “music in concert with the landscape.” Where else can you hear chamber music in a red rock grotto amid immaculate wilderness or take a four-day, three-night musical rafting trip down the Colorado River? This year, a few geographical themes emerge, including a nod to England with Gilbert and Sullivan’s Trial By Jury and Britten’s English Folk Songs and a Polish/Russian exploration of music by Chopin, Mieczysław Weinberg and the excellent but little known Grażyna Bacewicz. Mercurial Colombian jazz harpist Edmar Castañeda makes the trek with his quartet.

July 25-Aug. 23, New York, N.Y.

Naturally, large doses of Mozart are on offer at this Lincoln Center festival. High points will likely include pianist Richard Goode’s performance of the Piano Concerto No. 23 on opening night and the Requiem that ends the festival. In between, conductor Osmo Vänskä teams up with pianist Yuja Wang in a concerto by Shostakovich, and the in-demand-everywhere conductor Gianandrea Noseda leads a performance of Beethoven’s Ninth. Another top draw this year is the Mark Morris Dance Group with three performances of Handel’s Acis and Galatea (arranged by Mozart). Some of the festival’s most popular events are the hour-long late night concerts in the Kaplan Penthouse overlooking the city. Richard Goode, clarinetist Martin Fröst, violinist Patricia Kopatchinskaja and pianist Steven Osborne are on the roster for these 10 p.m. shows.

June 12-June 15 Ojai, Calif.

What the Ojai Festival may lack in terms of its length it makes up with a concentrated supply of intriguing concerts in both early morning (Brooklyn Rider playing Glass at 8 a.m.) and late night (Uri Caine’s Sextet with Gershwin at 10:30 p.m.). Perhaps the most anticipated work on tap this year is the world premiere of The Classical Style: An Opera (of Sorts), a chamber opera based on pianist and pedagogue Charles Rosen’s book The Classical Style by festival music director and pianist Jeremy Denk and Pulitzer-winning composer Steven Stucky. Crafty young pianist/composer Timo Andres teams up with The Knights chamber orchestra in music by Andrew Norman, and Pink Martini singer Storm Large stars in Kurt Weill’s Seven Deadly Sins.

May 23-June 8, Charleston, S.C.

Churches, theaters and parks in historic Charleston play host to Spoleto Festival concerts. Three performances of the oratorio El Niño by John Adams headline a broad variety of events this year, which include operas by Janáček (Kát’a Kabanová) and Michael Nyman (Facing Goya), lunchtime chamber music, orchestra performances and a pair of concerts by the Westminster Choir.

June 27-Aug. 30, Lenox, Mass.

The summer home of the Boston Symphony will be buzzing this year as Andris Nelsons, the orchestra’s new music director, is poised to take over. He’ll lead the orchestra in four concerts including an all-Dvorak program with violinist Anne-Sophie Mutter, Brahms’ Third Symphony and excerpts from Der Rosenkavalier. Soprano Renée Fleming opens the festival, which includes concert performances of Leonard Bernstein’s opera Candide, Handel’s Teseo and a new chamber version of Jack Beeson’s gripping Lizzie Borden. The list of A-list guest artists, as usual, is long.

7 Guaranteed Ways to Fail in the Arts

cropped-tkv3.jpgBy:By Suzana Stankovic

Are you tired of success? Do you feel like you’ve had enough? Are mediocrity and failure what you’re after now? Or, do you simply want to stall your career and keep success at bay for a while? Well, you’re in luck! I sat around thinking about that, and came up with seven tips that are sure to set you on the path toward failure. Together, they offer the perfect formula for existential and artistic death. Here’s what you can do starting today, if you absolutely want to fail in the arts:

1. Sit around and wait for approval, permission, and authorization to be what you dream of being and do what you want to do. It doesn’t matter that the greatest artists of all time were daring, fearless visionaries who boldly took matters into their own hands with whatever resources they had. Don’t you do the same!

2. Follow the rules and follow the crowd. Play it safe! Don’t think outside of the box, don’t be different, audacious, or brave ever, unless you’ve been given permission or approval as stated above. Disregard the fact that humanity needs the artist to dream big, take risks, and bust through conventions. It must not be you who does this. Wait for someone else to do it first.

3. Care deeply about what people think. If someone doesn’t like your performance or your headshot or your play or whatever, go home and cry, and seriously question your talent.

4. Actively seek out the opinions of others, especially those who have never taken any risks on behalf of a dream or created any art of their own, and then change your work according to their advice, which they are usually happy to share at length.

5. Do some more waiting around for permission and approval. It’s the best use of your time, so get comfy and cozy. Do not, by any means, create your own circumstances, opportunities, and marketing materials with the free tools available to you such as the Internet, social media, YouTube, and Vimeo.

6. At all times, try to please everyone and be sure to live with a paralyzing fear of rejection. This will keep you on your toes and far from any artistic risk-taking and growth.

7. Allow others to define you, industry professionals and laypeople alike. It’s important that you really know who you are, so always allow them to determine your worth and whether or not you’ve got a future in the arts. Do not follow your heart. Do not look within and trust your own inner guidance.

I hope you’ll find these tips helpful on your journey. Remember to practice them daily if you want to give away your personal power, feel insecure, uninspired, and ruled by fear. Failure is right around the corner!

Meryl Streep To Play Opera Legend Maria Callas In HBO Film

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by Jenni Miller

Meryl Streep is no slouch when it comes to transformative performances, but the latest legend she’s set to play will make Anna Wintour look like a pushover. Streep has signed on to star as Maria Callas in an HBO adaptation of “Master Class,” an award-winning Broadway play by Terrence McNally that takes place in 1971 at Julliard. In the story, the unforgettable diva is teaching a class while contemplating her astonishing career and dramatic life, which includes a torrid affair with Aristotle Onassis that ends when he leaves her for none other than Jackie O.

“Master Class” will reunite Streep with Mike Nichols, who worked with her on “Angels in America,” “Postcards From the Edge,” “Heartburn,” and “Silkwood.” The movie will start filming in January after Streep finishes an entirely different sort of musical performance in Jonathan Demme’s “Ricky and the Flash.” Streep, who stars as an aging rocker, has even been getting some guitar-picking tips from Neil Young for the role. No word yet on whether or not she’ll be attempting Callas’ famous bel canto.

Callas, who starred in Pier Paolo Pasolini’s “Medea” in 1969, is the subject of a number of projects in the works. Faye Dunaway, who starred as Callas in “Master Class” in 1997, directed and stars in a biopic about the singer that has been in limbo for years. In 2013, she told The Independent “about three quarters of the film has been shot, we are going to film the rest of it soon.” Meanwhile, Niki Caro (“Whale Rider”) announced at Cannes that she will begin production on a biopic about Callas this fall. Meanwhile, the opera singer did take a stab at acting onscreen herself; she starred as Medea in Pier Paolo Pasolini’s take on the Euripides play.GrabberRaster 0245

What makes a great soprano????

The following video is a wonderful overview of the types of soprano that exist in the world of opera. They come in all shapes and sizes, with varying timbres from bright to dark. They cover a vast vocal range and are used in operas from the 1600’s to present day. It explores what is needed to become a great soprano; demonstrating the need for the singer to be well versed in languages, stage deportment, and have a solid and flexible technique. Being a great soprano doesn’t happen over night. It takes years of schooling and waiting for the right opportunity to come your way. It has been said that “luck” is where preparation and opportunity meet.

The issue of fitness and strength are discussed quite a bit in this video. It is true, the singer is like an athlete. The muscles of the diaphragm and core are used at all times. The legs and feet must be strong enough to withstand the various sets and raked floors for hours at a time. The lungs, or “powerhouse” for the singer need to be strong, flexible, being able to expand in as little as a single second to accommodate the air needed to sing long, dramatic phrases. While it is true that singers should ovoid being overweight, the same is true for being underweight. As an adjudicator of numerous competitions and auditions, and as a private voice teacher, I have noticed a trend for the young female singer to be extremely thin. I find this quite dangerous. One is not capable of supporting the tone when one lacks strength and stamina in the body. The body is not free and flexible enough to engage the muscle system and take in the proper amount of air. I try an urge all my students to focus on strength of body, to exercise and eat properly. One doesn’t need to be model thin to be successful, however one does need to be strong and body “aware”.

The title of this video is “What makes a great soprano”? I believe the advice is wonderful for any voice type. Whether you sing opera, jazz, musical theater, country or rock, these principles will apply. Singing is extremely difficult and requires a life commitment. With proper training, dedication and of course, a beautiful and exciting voice, one should be able to enjoy many years of great singing.

Music lessons spur emotional and behavioral growth in children, new study says!

By Amy Ellis Nutt: The Washington Post

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Parents who have patiently sat through countless music recitals and questioned their sanity at encouraging all those trumpet or violin lessons need do so no longer. Even ear-splitting dissonance has an upside.

Music training not only helps children develop fine motor skills, but aids emotional and behavioral maturation as well, according to a new study, one of the largest to investigate the effects of playing an instrument on brain development.

Using a database produced by the National Institutes of Health Magnetic Resonance (MRI) Study of Normal Brain Development, researchers at the University of Vermont College of Medicine analyzed the brain scans of 232 healthy children ages six to 18 specifically looking at brain development in children who play a musical instrument. (The original study did not indicate specific instruments.)

“What we found was the more a child trained on an instrument,” said James Hudziak, a professor of psychiatry at the University of Vermont and director of the Vermont Center for Children, Youth and Families, “it accelerated cortical organization in attention skill, anxiety management and emotional control.”

The cortex, or outer layer of brain, changes in thickness as a child grows and develops. Previously, Hudziak and colleagues Matthew Albaugh and Eileen Crehan found relationships between cortical thickening and thinning in various areas of the brain responsible for depression, aggression and attention problems. This research, announced last month in the Journal of the American Academy of Child & Adolescent Psychiatry, was different.

“I wanted to look at positive things, what we believe benefits child development,” Hudziak said. “What I was surprised by was the emotional regulatory regions. Everyone in our culture knows if I lift 5-pound, 10-pound, 15-pound weights, my biceps will get bigger. The same is true for the brain. We shouldn’t be surprised we can train the brain.”

Because the study’s participants were all mentally healthy children, Hudziak thinks the positive effect of music training on those who are not could be significant.

“A kid may still have ADHD,” he said. “It’s the storm around it that improves.”

Inspired by his own research, and having never learned to play an instrument, the 56-year-old Hudziak decided to take viola lessons last year.

“I had this passion for health promotion in children, it seemed silly not to do it myself,” he said.

Though music isn’t his only health-related extracurricular activity — Hudziak also engages in regular exercise and meditation — he believes the viola lessons contribute to his overall wellness. They have not, however, contributed much to his overall playing ability — at least not yet. The sanguine psychiatrist had just one word for his viola skills:

“Horrible.”

Singing show tunes helps fight off dementia, Alzheimer’s disease: study

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BY David Harding
NEW YORK DAILY NEWS
Tuesday, November 12, 2013

Singing show tunes helps fight off dementia, Alzheimer’s disease: study
A recent research study found that those suffering from moderate to severe dementia did particularly well singing show tunes from movies and musicals such as ‘The Wizard of Oz,’ ‘The Sound of Music’ and ‘Oklahoma!’ in group settings and had a marked improvement in their remembering skills versus those who simply listened during the sing-alongs.

The hills are alive with the sound of music, which could help people with Alzheimer’s stave off the effects of the debilitating disease.

A study by U.S. scientists has shown that the brain function of those suffering from dementia can be improved if they belt out their favorite show tunes.

Researchers working with elderly residents at an East Coast care home found in a four-month long study found that people who sang their favorite songs showed a marked improvement compared to those who just listened.

Among the songs sung during 50-minute sessions were hits from “The Wizard of Oz,” “Oklahoma!” and “The Sound of Music.”

The most improvement was among those sufferers with moderate to severe dementia.

Jane Flinn, one of the scientists involved in the study who works at George Mason University in Virginia, concluded singing was beneficial.

“Even when people are in the fairly advanced stages of dementia, when it is so advanced they are in a secure ward, singing sessions were still helpful,” she said.

“The message is: don’t give up on these people. You need to be doing things that engage them, and singing is cheap, easy and engaging.”

How to keep boys in choir when their voices change

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By Lindsey Bever February 13 at 5:12 AM, THE WASHINGTON POST

The world’s best boys’ choirs have been losing their sweetest sopranos earlier and earlier to puberty. Every choir director knows that the crack, croak or squeak from a young singer means the boy will soon have a different sound. Many boys never stick with it through this voice change to see where it takes them.

That’s why the Cincinnati Boychoir is partnering with researchers from the Cincinnati Children’s Hospital Medical Center to study the science behind boys’ changing voices and learn better ways to help them transition as singers.

“Many choral directors and voice teachers believe that the voice change is a primary reason for boys quitting singing as they enter puberty,” Christopher Eanes, Cincinnati Boychoir’s artistic director and co-author of the upcoming study, told The Washington Post in an e-mail. “Who can blame a boy who, when singing, becomes uncomfortable for a time, follows his friends to the football team, never to look back at his musical career.”

“When one thinks about the fact that boys’ voices in the 18th century changed at 17 or 18 years old, and now they change around 12 or 13 years old, one can only conclude that boychoirs are heading for extinction,” he added.

Later this month, researchers will begin to study the physiological, aerodynamic and acoustic changes that happen when boy singers hit puberty. Some 20 Cincinnati Boychoir members from ages 5 to 11 will participate in the study, which is expected to last about two years. The boys will speak and sing in a sound booth, and researchers will examine their larynxes and voice boxes to see how they change during certain tasks, co-author Alessandro de Alarcon, an ear, nose and throat doctor at the Cincinnati Children’s Hospital, told The Post.

Over time, the researchers said, they hope the study will shed more light on how the male voice changes during puberty, particularly in vocalists, so voice teachers will know how to intervene to help them move into their adult voices.

“My personal hope is that we can, on some level, anticipate voice change stages in order to assign the appropriate voice part for a boy, or to design appropriate vocal exercises to strengthen certain aspects of the singing voice,” Eanes said. “Overall, anything we can do to make the voice transition more comfortable for boys will help us as teachers and conductors.”