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Altenmüller, EckartLearningLife-long! But how?category: Essay published in: das Orchester 06/2008, Page 10 |
Learning is a crucial part of the musical profession – from rehearsals to regular training, from new compositions to working with a new director or new students. The article by Altenmüller explores definitions of learning (knowledge and skills) as well as the physiological processes of learning. Learning is also a continuous process, especially in small children, the neurological mechanisms of which are discussed in the article by Gruhn. Arguing that the attainments of vocal and musical skills are closely related ("phonological loop"), it seems advisable to let children experience music already at an early age to foster easy and successful learning. Yet what about adults and seniors? The physiological changes that result from and enable learning ("neuroplasticity") are present in the adult brain too, although to a lesser degree. Altenmüller addresses the question of life-long learning, arguing that music can act as a form of brain training, reducing or even reversing neurological ageing processes. And while children are able to learn fast and easily, musical education at school is often neglected, according to Kemmelmeyer. Its significance is ill defined, its methods and aims usually left to the decisions of individual teachers. To counter these deficits the Deutscher Musikrat (German Music Council) has developed seven theses, summarised in the article. Mental training is one way to foster musical learning, discussed in the article by Jabusch and Altenmüller. They provide an overview of the neuro-physiological principles of mental training as well as a number of recommendations for its practical application. Another aspect of learning – the harmonisation of body movements during instrumental training – is discussed by Müller. Since a very high proportion of professional musicians suffer from occupational musculoskeletal conditions, the integration of kinesiological elements into musical education would appear advantageous. Bodily self-perception and mental dispositions are also shown to be the key for individual rehearsing at home, according to the article by Stockmann. Dispokinetic approaches, it is argued, can enable musicians to listen to bodily signals and develop a more efficient rehearsal practice that avoids physiological and psychological tensions.