Congratulations to practice champion Emily for completing her 100-day practice challenge this week. Way to go, Emily! Keep up the good work.
If you liked this, say thanks by sharing it. 🙂
We’re playing at Disney World!!!
We’re so excited to announce that we have an opportunity of a lifetime! We are planning a trip to perform at Disney World (Florida) for the Disney Youth Performing Arts program. A selected group of our violin students will be performing on one of Disney World stages.
If you liked this, say thanks by sharing it. 🙂
Way to go, practice champions!
Congratulations to Anna Victoria Lavelle and Alondra Flores for completing their 100 days of practice in a row chart this week!!
They have made tremendous improvements due to their increased practice discipline.
They were awarded their well-deserved Love Nurtured Music “Practice Champion T-shirts.”
If you want your free T-shirt, complete the 100-Day Challenge Chart here.
If you liked this, say thanks by sharing it. 🙂
Community Suzuki Workshop Recital: Violin Students
Congratulations!
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!
If you liked this, say thanks by sharing it. 🙂
Extensive Musical Training Affects Brain Structure And Function
Musical training shapes brain anatomy and affects function, says a new study presented this week in San Diego, California at Neuroscience 2013, the annual meeting of the Society for Neuroscience, the world’s largest source of emerging news about brain science and health. The new findings show that training before age 7 has bigger impact on brain anatomy; improvisation can rewire brain.
The new research shows how brain regions communicate during the creation of music and find that extensive musical training affects the structure and function of different brain regions and even how the brain interprets and integrates sensory information.
These insights suggest potential new roles for musical training including fostering plasticity in the brain, an alternative tool in education, and treating a range of learning disabilities.
The new findings say that:
- Long-term high level musical training has a broader impact than previously thought. Researchers found that musicians have an enhanced ability to integrate sensory information from hearing, touch, and sight.
- The age at which musical training begins affects brain anatomy as an adult; beginning training before the age of seven has the greatest impact.
- Brain circuits involved in musical improvisation are shaped by systematic training, leading to less reliance on working memory and more extensive connectivity within the brain.
Some of the brain changes that occur with musical training reflect the automation of task (much as one would recite a multiplication table) and the acquisition of highly specific sensorimotor and cognitive skills required for various aspects of musical expertise.
“Playing a musical instrument is a multisensory and motor experience that creates emotions and motions — from finger tapping to dancing — and engages pleasure and reward systems in the brain. It has the potential to change brain function and structure when done over a long period of time,” said press conference moderator Gottfried Schlaug, MD, PhD, of Harvard Medical School/Beth Israel Deaconess Medical Center. “As today’s findings show, intense musical training generates new processes within the brain, at different stages of life, and with a range of impacts on creativity, cognition, and learning.”
-Presented at the Neuroscience 2013 annual meeting.
If you liked this, say thanks by sharing it. 🙂
Progress Through Repetition
Dear Suzuki families,
Here is an article about the role of repetition in daily music practice. I think this information will help your daily Suzuki violin practice sessions with your children at home. The article was written by Kerstin Wartberg, a fellow Suzuki violin teacher from Germany.
I have attached versions of this article in both English and Spanish.
You can always go to www.LoveNurturedMusic.org/blog for practice resources.
Have a great week and I will see you at our lessons this week.
Blessings,
Rigo Murillo
Suzuki Strings Specialist
Love Nurtured Music Program
Article Downloads:
Progress Through Repetition
Progresar A Través De La Repetición
If you liked this, say thanks by sharing it. 🙂
Want your child to be a great multi-tasker? Head out to music lessons
By Rigo Murillo
I just came across an October 2010 Scientific American article, in which neuroscientists examined the benefits of learning and practicing music. They found a direct correlation of music learning to the enhancement of general learning ability. Another confirmation of the fact that music makes people smarter.
The researchers found that “assiduous instrument training from an early age can help the brain to process sounds better, making it easier to stay focused when absorbing other subjects, from literature to tensor calculus.” They also discovered that music lessons improves memory and concentration throughout one’s life and boosts the ability to multitask, work in disruptive environments and learning other languages.
This information comes handy at a time when many schools and education administrators are deciding to cut music and arts programs as a first resource. A report mentioned in the article found that, for example, the number of students enrolled in music programs in California dropped 50% from 1999 to 2004.
It seems that it is time for the scientists to educate the educators… just saying. What do you think?
Give Your Child The Gift of Music
If you liked this, say thanks by sharing it. 🙂
Practice Makes Perfect? Not So Much, New Research Finds
May 20, 2013 — Turns out, that old “practice makes perfect” adage may be overblown. New research led by Michigan State University’s Zach Hambrick finds that a copious amount of practice is not enough to explain why people differ in level of skill in two widely studied activities, chess and music.
In other words, it takes more than hard work to become an expert. Hambrick, writing in the research journal Intelligence, said natural talent and other factors likely play a role in mastering a complicated activity.
“Practice is indeed important to reach an elite level of performance, but this paper makes an overwhelming case that it isn’t enough,” said Hambrick, associate professor of psychology.
The debate over why and how people become experts has existed for more than a century. Many theorists argue that thousands of hours of focused, deliberate practice is sufficient to achieve elite status.
Hambrick disagrees.
“The evidence is quite clear,” he writes, “that some people do reach an elite level of performance without copious practice, while other people fail to do so despite copious practice.”
Hambrick and colleagues analyzed 14 studies of chess players and musicians, looking specifically at how practice was related to differences in performance. Practice, they found, accounted for only about one-third of the differences in skill in both music and chess.
So what made up the rest of the difference?
Based on existing research, Hambrick said it could be explained by factors such as intelligence or innate ability, and the age at which people start the particular activity. A previous study of Hambrick’s suggested that working memory capacity — which is closely related to general intelligence — may sometimes be the deciding factor between being good and great.
While the conclusion that practice may not make perfect runs counter to the popular view that just about anyone can achieve greatness if they work hard enough, Hambrick said there is a “silver lining” to the research.
“If people are given an accurate assessment of their abilities and the likelihood of achieving certain goals given those abilities,” he said, “they may gravitate toward domains in which they have a realistic chance of becoming an expert through deliberate practice.”
Hambrick’s co-authors are Erik Altmann from MSU; Frederick Oswald from Rice University; Elizabeth Meinz from Southern Illinois University; Fernand Gobet from Brunel University in the United Kingdom; and Guillermo Campitelli from Edith Cowan University in Australia.
The above story is based on materials provided by Michigan State University. Journal Reference: David Z. Hambrick, Frederick L. Oswald, Erik M. Altmann, Elizabeth J. Meinz, Fernand Gobet, Guillermo Campitelli. Deliberate practice: Is that all it takes to become an expert? Intelligence, 2013; DOI: 10.1016/j.intell.2013.04.001
If you liked this, say thanks by sharing it. 🙂
Suzuki Violin School Book 6 In Print, Suggested Supplementary Repertoire List Published
The Suzuki Association of the Americas Violin Committee announced that the Revised Book 6 of the Suzuki Violin School is finally in print. Included in the mailing of the next SAA Journal is a list of Suggested Repertoire for Books 6, 7 and 8 to accompany those volumes.
By mandate from the 2009 International Teacher Trainers Conference, the ISA Violin Committee was to compile a list of suggested repertoire from different style periods appropriate for each book level to be published in the Revised Books 6-8. It proved a difficult task for all the Regional Association Violin Committees to arrive at consensus over a specific list. As a result, each Regional Association is to assemble its own list for distribution to its members. This is not to create an alternate repertoire but to suggest additional pieces to fill out the depth of the current books, in many instances with pieces Dr. Suzuki himself used in lessons and concerts. There will be a paragraph published in the Revised Books 6, 7 and 8 explaining this procedure. (See pg. 32 of the newly published Revised Book 6 for this paragraph.)
Beginning in 2010, the SAA Violin Committee, in collaboration with the SAA violin Teacher Trainers, began compiling such a list. The Committee appreciates the generous input from the Trainers in that process.
This list is organized by category: Tone pieces, Kreisler pieces, Concertos and Sonatas, Bach, “Show” pieces, and Modern pieces.
The list you have received today does NOT preclude any teacher from using their personal favorites, nor a Trainer from presenting a more comprehensive list for each book or distributing their own list. This list is meant as a guideline for our membership and provide a baseline resource in our training courses. This list is NOT immutable and will be revisited and revised as we work with the list in our teaching and training over the next several years. We look forward to your feedback.
Suggested Supplementary Repertoire for Revised Violin Books 6, 7 & 8
SAA Violin Committee:
Allen Lieb, Chair; Ronda Cole; Lorraine Fink; Karen Kimmett; Sandy Reuning
If you liked this, say thanks by sharing it. 🙂
Effective and Simple Suzuki Review Technique
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 liked this, say thanks by sharing it. 🙂
