Nagaoka University of Technology -> Muneo Kitajima -> Publications -> Here

Last updated: 19-April-2024

--

Nakahira, K.T., Kitajima, M., and Toyota, M. (2024)

Practice Stages for a Proficient Piano Player to Complete a Piece: Understanding the Process based on Two Minds

Research into instrumental music performance has garnered significant attention, particularly regarding the intricate interplay of perceptual-cognitive-motor interactions, knowledge application, and the cognitive representation of musical structure. Understanding these dynamics holds promise for enhancing instruction and aiding learners in their journey towards mastering instrumental performance and practice. However, grasping the learning process necessitates more than just comprehending the individual cognitive mechanisms at play; it requires a holistic approach that considers the cognitive architecture enabling the integration of these processes. In this paper, based on the MHP/RT framework proposed by Kitajima and CCE research method which based on the MHP/RT principles, we attempt to understand the process of proficiency in music performance by proficient piano players as a brain model based on the coordination of perception, cognition, and movement, and the concept of Two Mind. Initially, we modeled the cognitive process of piano performance proficiency, and ethnographically described the process of proficiency in music performance for selected elite monitors. The descriptions are analyzed and compared with the model of cognitive processes and actual behaviors in performance proficiency. The description of which perspectives can/cannot be interpreted by the model based on the MHP/RT were considered. Finally, a series of piano playing exercises and lessons are analyzed from the perspectives of the Two Minds process, and the knowledge system (implicit/explicit) utilized. Through the analysis, the relationship between acquired knowledge and cognitive ability and Two Minds is considered. The findings suggest that the proficiency process of instrumental music performance exhibits a kind of phase transition. It involves not only a gradual shift from prolonged, System 2-driven mechanical training towards an intuitive, System 1-driven unconscious expression but also deviations from this pattern. Therefore, it is imperative for players to thoroughly comprehend their perception of the entire piece (System 2) while also fostering a sense of ease and naturalness in performance akin to unconscious expression (System 1) for the listener.

Download

• pdf
• 241K

Nagaoka University of Technology -> Muneo Kitajima -> Publications -> Here

mkitajima@kjs.nagaokaut.ac.jp