Congratulations to everybody who came to our workshop! Frances, Alondra, Ailyn, and Alejandro did a great job performing in the recital. Next time, we will be glad to have others who are prepared perform, as well. Well done!
The problem with review is NOT that students don’t want to do it. It is that it’s difficult to do it consistently throughout the Suzuki repertoire.
“Bucket” Review Technique:
Write all the pieces’ names on separate pieces of paper (or better yet, ping-pong balls), put them in a “bucket”. Everyday, have your violinist draw a few pieces of paper (or ping-pong balls) one at a time, reviewing each one, then, put the ones played in a second bucket.
When you’re through, change buckets and go through them again. When your child learns a new piece, add a new paper or ball with its name to the bucket. You can also include all of the pieces in the current book, and have your child LISTEN to it when it comes in the drawing.
This is the easiest way to “hit” all of the pieces before the “favorites” get played more, letting the others get relegated.
Happy practicing!
Rigo Murillo
If you started piano lessons in grade one, or played the recorder in kindergarten, thank your parents and teachers. Those lessons you dreaded — or loved — helped develop your brain. The younger you started music lessons, the stronger the connections in your brain.
Feb. 12, 2013 — If you started piano lessons in grade one, or played the recorder in kindergarten, thank your parents and teachers. Those lessons you dreaded — or loved — helped develop your brain. The younger you started music lessons, the stronger the connections in your brain.
A study published last month in the Journal of Neuroscience suggests that musical training before the age of seven has a significant effect on the development of the brain, showing that those who began early had stronger connections between motor regions — the parts of the brain that help you plan and carry out movements.
This research was carried out by students in the laboratory of Concordia University psychology professor Virginia Penhune, and in collaboration with Robert J. Zatorre, a researcher at the Montreal Neurological Institute and Hospital at McGill University.
The study provides strong evidence that the years between ages six and eight are a “sensitive period” when musical training interacts with normal brain development to produce long-lasting changes in motor abilities and brain structure. “Learning to play an instrument requires coordination between hands and with visual or auditory stimuli,” says Penhune. “Practicing an instrument before age seven likely boosts the normal maturation of connections between motor and sensory regions of the brain, creating a framework upon which ongoing training can build.”
With the help of study co-authors, PhD candidates Christopher J. Steele and Jennifer A. Bailey, Penhune and Zatorre tested 36 adult musicians on a movement task, and scanned their brains. Half of these musicians began musical training before age seven, while the other half began at a later age, but the two groups had the same number of years of musical training and experience. These two groups were also compared with individuals who had received little or no formal musical training.
When comparing a motor skill between the two groups, musicians who began before age seven showed more accurate timing, even after two days of practice. When comparing brain structure, musicians who started early showed enhanced white matter in the corpus callosum, a bundle of nerve fibres that connects the left and right motor regions of the brain. Importantly, the researchers found that the younger a musician started, the greater the connectivity.
Interestingly, the brain scans showed no difference between the non-musicians and the musicians who began their training later in life; this suggests that the brain developments under consideration happen early or not at all. Because the study tested musicians on a non-musical motor skill task, it also suggests that the benefits of early music training extend beyond the ability to play an instrument.
“This study is significant in showing that training is more effective at early ages because certain aspects of brain anatomy are more sensitive to changes at those time points,” says co-author, Dr. Zatorre, who is also the co-director of the International Laboratory for Brain Music and Sound Research.
But, says Penhune, who is also a member of the Centre for Research in Human Development, “it’s important to remember that what we are showing is that early starters have some specific skills and differences in the brain that go along with that. But, these things don’t necessarily make them better musicians. Musical performance is about skill, but it is also about communication, enthusiasm, style, and many other things that we don’t measure. So, while starting early may help you express your genius, it probably won’t make you a genius.”
The above story is based on materials provided by Concordia University.
Journal Reference: C. J. Steele, J. A. Bailey, R. J. Zatorre, V. B. Penhune. Early Musical Training and White-Matter Plasticity in the Corpus Callosum: Evidence for a Sensitive Period. Journal of Neuroscience, 2013; 33 (3): 1282 DOI:10.1523/JNEUROSCI.3578-12.2013
Credit: © Image Source IS2 / Fotolia
Aug. 7, 2013 — Listening to music activates large networks in the brain, but different kinds of music are processed differently. A team of researchers from Finland, Denmark and the UK has developed a new method for studying music processing in the brain during a realistic listening situation. Using a combination of brain imaging and computer modeling, they found areas in the auditory, motor, and limbic regions to be activated during free listening to music. They were furthermore able to pinpoint differences in the processing between vocal and instrumental music.
The new method helps us to understand better the complex brain dynamics of brain networks and the processing of lyrics in music. The study was published in the journal NeuroImage.
Using functional magnetic resonance imaging (fMRI), the research team, led by Dr. Vinoo Alluri from the University of Jyväskylä, Finland, recorded the brain responses of individuals while they were listening to music from different genres, including pieces by Antonio Vivaldi, Miles Davis, Booker T. & the M.G.’s, The Shadows, Astor Piazzolla, and The Beatles. Following this, they analyzed the musical content of the pieces using sophisticated computer algorithms to extract musical features related to timbre, rhythm and tonality. Using a novel cross-validation method, they subsequently located activated brain areas that were common across the different musical stimuli.
The study revealed that activations in several areas in the brain belonging to the auditory, limbic, and motor regions were activated by all musical pieces. Notable, areas in the medial orbitofrontal region and the anterior cingulate cortex, which are relevant for self-referential appraisal and aesthetic judgments, were found to be activated during the listening. A further interesting finding was that vocal and instrumental music were processed differently. In particular, the presence of lyrics was found to shift the processing of musical features towards the right auditory cortex, which suggests a left-hemispheric dominance in the processing of the lyrics. This result is in line with previous research, but now for the first time observed during continuous listening to music.
“The new method provides a powerful means to predict brain responses to music, speech, and soundscapes across a variety of contexts,” says Dr. Vinoo Alluri.
The above story is based on materials provided by Suomen Akatemia (Academy of Finland), via AlphaGalileo.
Journal Reference: Vinoo Alluri, Petri Toiviainen, Torben E. Lund, Mikkel Wallentin, Peter Vuust, Asoke K. Nandi, Tapani Ristaniemi, Elvira Brattico. From Vivaldi to Beatles and back: Predicting lateralized brain responses to music. NeuroImage, 2013; 83: 627 DOI: 10.1016/j.neuroimage.2013.06.064
Credit: Image courtesy of Suomen Akatemia (Academy of Finland)
By Rigo Murillo
I often see that successful music students and parents always manage to be well prepared for performances, auditions, and weekly lessons. They always have what they need when it comes to books, accessories, and all that’s needed to have a nice lesson time. But even the best well-intentioned student and parent may forget a thing or two that should be in their music tote bag. Even Yehudi Menuhin, the famous violinist of the twentieth century wrote in one of his books about what every violinist should have in his/her violin case.
For starters, here is a “musician’s tote bag kit” for you to think about:
String players, please add these:
I am sure that getting all these applicable accessories and necessities will make your practicing more consistent, successful and pleasant. It will at least impless your music teacher when an emergency comes up.
Happy practicing!
Rigo Murillo
