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The IU JSOM Music and Mind Lab: A Year in Review

Last year included the first full academic year of Music and Mind Lab meetings and activities at the IU Jacobs School of Music. I thought I’d post a quick note about some of the fun and exciting things we were able to do together as we begin looking forward to another productive year.

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Some quick background (visit the MaML Website)

The lab was overseen last year by co-directors Pete MikszaFrank Diaz (Dept. of Music Education) and Daphne Tan (Dept. of Music Theory). Dr. Tan will be shifting to a role of “collaborator” this year as she transitions to a new position at the University of Toronto – she will be sorely missed! The student lab members include undergraduates and graduate students from a variety of disciplines and academic specializations: music education, music theory, musicology, music performance, cognitive science, psychological and brain sciences, and telecommunications. Our goal is to produce original research that will contribute to a general understanding of the role of music in the human condition.

Recent events

Guest speakers and presentations featured heavily in our activities this past year along with sessions devoted to faculty and students’ research interests. We were fortunate to have some truly brilliant people join us and share their research. Last year’s special topics and guests included the following:

  • Musical improvisation as a way of knowing
    • Andrew Goldman, Presidential Scholar in Society and Neuroscience, Columbia University
  • Working as a lab in the cognitive humanities
    • Fritz Breithaupt, Professor of Germanic Studies, Indiana University, Bloomington
  • Rhythm and movement
    • Justin London, Andrew W. Mellon Professor of Music, Cognitive Science, and the Humanities, Carleton College
  • Music, empathy, and cultural understanding
    • Eric Clarke, Heather Professor of Music; Professorial Fellow, Wadham College, University of Oxford, UK
  • Music, trauma, and the Polyvagal Theory
    • Jacek Kolack, Postdoctoral Research Fellow, Kinsey Institute, Indiana University, Bloomington
  • The neuroscience of musical skill learning
    • Anna Kalinovsky, Assistant Research Scientist, Gill Center for Bimolecular Science, Indiana University, Bloomington
    • Grigory Kalinovsky, Professor of Music (Violin), Jacobs School of Music, Indiana University, Bloomington

Ongoing projects

Although just getting started, our lab group has been quite productive in generating projects with interdisciplinary connections throughout IU and completing research that has found its way into the world as conference presentations and journal articles. Our most recent project involves a collaboration between Drs. Tan, Diaz, and I on the topic of musical communication. We are investigating the nature of expressive vocal performance. Broadly speaking, we are studying the ways singers prepare and produce performances to be evocative of specific emotive intentions. We are also interested in how inducing a mindful state will impact their singing and, ultimately, how these performances will be received by listeners. We’ve collected a good deal of data and are excited about the potential for this project going forward.

How students are involved

Students can participate as investigators or contributors. Investigators typically come to the lab with some prior experience in empirical research and are expected to co-design, propose, and lead projects. Contributors primarily serve support roles. They are expected to participate in weekly meetings and discussions, and help to manage projects and collect data. Through their participation, contributors can gain the experience necessary to be investigators in future projects.

Coda

All in all, I’m happy to say the Music and Mind Lab provides an exciting intellectual space for those at Indiana University who are curious about intersections between their musical and scientific interests. I’m hopeful that this group will continue to grow and look forward to a productive ’17-’18 school year!

Take some time to learn about the Jacobs School of Music if you’re interested in joining us.

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A SNAAP-Shot of the Career Landscape for Music Educators

I’m excited to report that a recent study I worked on with doctoral student, Lauren Hime, has been featured by the National Association for Music Education on their association blog. We investigated the employment status, job satisfaction, and financial status of music education program alumni using data from a nation-wide, multi-institutional survey of collegiate music program alumni conducted by the Strategic National Arts Alumni Project (SNAAP).

The post highlights findings pertaining to (a) the time it takes to secure a position upon graduation, (b) job satisfaction, (c) whether music education alumni continue to perform while teaching, (d) the typical student loan debt incurred, and (e) reported salary ranges.

The blog post can be accessed at the link below:

A formal report of the research that is featured in the blog has been published in the journal, Arts Education Policy Review. The full report also includes data from alumni of music performance degrees and findings regarding all participants’ perceptions of their collegiate experience.

  • Miksza, P. & Hime, L. (2015). Undergraduate music program alumni’s career path, retrospective institutional satisfaction, and financial status. Arts Education Policy Review, 116, 176-188.

2016 IMEA Presentation

Hello!

Click below for slides from my presentation today at the Indiana Music Educator’s Professional Development Conference…

The science of music performance skill acquisition:
Planning, executing, and reflecting for achievement

Presentation slides

All the best,

Pete Miksza

Lessons for Ensemble Directors from Lorne Michaels of SNL

Running a Show, Directing the Band, Choir, Orchestra, etc.

I recently felt a need to unplug from the world for a moment and was fortunate to have the luxury of time to go for a run and listen to a podcast.

I happened across an interview with Lorne Michaels about his career with Saturday Night Live and his thoughts on what it’s all been about. (It’s from a podcast with Marc Maron called WTF – a terrific show – see the link below.) What struck me was that almost every major theme that emerged in regard to his involvement and ability to be successful with the show – despite over 40 years of societal change – seemed to me to be relevant to being successful in music teaching in some direct way.

As I was listening, I couldn’t help but think that these issues are some of the very same things that come up in conversations I have regularly had with preservice, current, and former ensemble directors about how they do what they do.

If you’re also a fan of SNL and are curious as to what these might be, read on and enjoy a distraction from some of the other things going on in the world at the moment.

Here are some curious parallels…

  • He arrived in NYC on a bus from Canada having previously worked for/with luminaries in comedy – Lily Tomlin, Woody Allen, Joan Rivers, Dick Cavitt, Phyllis Diller, Jack Benny, those involved with Laugh In, etc. He was explicitly cognizant of the impact that these people have had on him as teachers and/or mentors.
    • Most successful people I know, music teachers or otherwise, can describe how they were lucky to have at least one important mentor and if they weren’t lucky enough to have one early in their development, they can explain how they went out to get one. For example, I can think of several good friends who have used their personal days as teachers to travel the country and visit with people who have grown the kinds of music programs they aspire to create.
  • When setting up the program he called upon his friends and mentors and got help from everyone he knew – asking the questions and seeking the advice of those who could show him the ropes and methods for how things get done.
    • One of the most inspiring instrumental music teachers I have had the pleasure to work with was notorious for the openness he applied to his program. There was a constantly revolving door to his band room with guests from all over with all kinds of backgrounds streaming in to work with his kids and show him new and alternative ideas for helping kids engage with music.
  • Lorne describes the importance of intensely focused, deliberate work for achieving success – for both the performers and the show in general. In this part of the conversation he defines success as a program that resonates with people.
    • Successful music teachers recognize the value in practice and the hard work dedicated to refinement that is essential for developing individual musicianship and for creating a musical experience that people will value and appreciate.
  • He explains that when the show is great – people can recognize it as something they feel they’ve always known and something they’ve always knew they liked but, when the show is not great – people can question whether it’s necessary at all.
    • When a musical program presents work that is sincere and refined – people can recognize it as something they’ve always known and something they always knew was valuable but, when a music program presents work that is insincere and poorly arranged – people can question whether it’s necessary in a school at all.
  • When asked about his motivation… he clearly discounts an emphasis on a perfect product and emphasizes process instead. He explains how he was driven by building the show each week, the thrill of live performance, and the elusive objective of doing the best you possibly can.
    • In my experience, this is a mindset that successful music teachers often bring to their work as they try to create an optimal motivational atmosphere for their students. They invest in the process of music learning with an eye towards the outcome but without obsessing about perfection. Accordingly, they typically express goals and outcomes in relation to students’ efforts and progress rather than a particular point of arrival.
  • Lorne has purposefully let the program evolve – although there are parallels, he asserts that it is not the same show as it was 40 years ago.
    • Despite what some might believe, successful ensemble directors do not let their programs stagnate. They choose to be informed by their students’ culture and grow their programs with an appreciation for adaptations that are necessary to continue to be relevant to their communities. Beyond that, they are willing and able to relate to their students as they are and recognize that kids and what they value changes with time.
  • He recognizes he is not, nor should be the center of power – he is a guide, someone who helps sift good and bad ideas, someone who helps people understand why they’re successful as well as why they’re not, and someone who sees their role as pulling others forward.
    • Most of the successful directors that I know inspire their students and work as much along side them as they do from out in front of them. They give feedback such that students know when they’re succeeding or when they’re not succeeding and why. They cultivate a spirit of collaboration and appreciation for students’ individual perspectives while maintaining focus on the collective objectives of the group.
  • Lorne recognizes that no amount of success will ever eliminate the facts that (a) he works for someone else and (b) that there are always others that have power over what he does – ultimately it’s not about him, it’s about the community the show plays to.
    • No music teacher works in isolation from their community. We are always beholden to the people we serve and no degree of musical success or accomplishment will ever change that.

Take a listen for yourself:

http://www.wtfpod.com/podcast/episodes/episode_653_-_lorne_michaels

Note: Obviously the work space of SNL is in many ways NOT a model of the kind of atmosphere that is appropriate for kids. In addition, many performers in the ensemble have gone on to personal success as well as personal ruin. The message in this post is not that SNL is a metaphor for music education, it is that some of the principles that have helped Lorne Michaels be a successful producer are those that underlie success in any endeavor that aims to connect artists, programming, and communities.

SMiLE-ing this year and hopefully more in the future

We had our final meeting of the Science of Music in Learning and Experience (SMiLE) group last week and I’ve been reflecting a bit on the experience.

White_Smiley_Face

We began the experimental idea in the fall with an introductory meeting to get to know each other from across campus and a discussion of Susan Hallam‘s closing chapter from the Oxford Handbook of Music Psychology titled “Where now?” I thought the chapter would be a fitting way to kick off the group’s activities since it concluded by emphasizing how valuable interdisciplinary research will be for acquiring a deeper understanding of the power of musical experience in the future. I agree with Hallam’s assertion that collaborations are needed among scientists of many varieties, music educators, music therapists, ethnomusicologists, music theorists, etc. to push the field further and also find her optimistic view of the future exciting.

Fortunately, our group has benefited from a richly varied collection of faculty and graduate student participants coming from communications science, cognitive science, cognitive psychology, computer science, linguistics, music education, music theory, music performance, and musicology. The conversations were engaging and the complementary perspectives that were brought to the discussions were refreshingly enthusiastic.

Overall, I’m very grateful for the experiences had in the SMiLE meetings this year and am looking forward to seeing the potential for this to grow next year and into the future!

CODA

Here is a list of some of the topics discussed this year to give you a sense of the kinds of things brought to the table…

  • The effect of party music on risky drinking decisions
  • The effect of verbal elaboration on procedural memory for music performance
  • Underlying mechanisms of emotional response to music
  • A rationale for the therapeutic value of musical communication based on notions of entrainment and floating intentionality
  • Inferring emotional meaning of musical chords through lyrics
  • The effects of music preference on functional brain networks
  • The influence of a culture’s spoken language on the structure of its instrumental music
  • Relations between auditory experience and perception of rhythmic groupings

Lastly, here is a brief and BY NO MEANS exhaustive list of books that could be particularly valuable for thinking about the science of music in learning and experience…

  • Historically important:
    • Mursell (1937) – The Psychology of Music
    • Seashore (1938) – Psychology of Music
    • Meyer (1956) – Emotion and Meaning in Music
    • Farnsworth (1958) – The Social Psychology of Music
    • Merriam (1964) – The Anthropology of Music
  • More foundational:
    • Lerhdahl & Jackendoff (1983) – A Generative Theory of Tonal Music
    • Sloboda (1985) – The Musical Mind
    • Hargreaves (1986) – The Developmental Psychology of Music
    • Dowling & Harwood (1986) – Music Cognition
    • Sloboda (1988) – Generative Processes in Music
    • Krumhansl (1990) – Cognitive Foundations of Musical Pitch
    • Narmour (1990) – The Analysis and Cognition of Basic Melodic Structures
    • Bamberger (1991) – The Mind Behind the Musical Ear
    • Bregman (1994) – Auditory Scene Analysis: The Perceptual Organization of Sound
    • Kemp (1996) – The Musical Temperament
    • Hodges (1996) – Handbook of Music Psychology
    • Juslin & Sloboda (2001) – Music and Emotion
    • Lerhdahl (2001) – Tonal Pitch Space
    • Zatorre & Peretz (2001) – The Biological Foundations of Music
    • Wallin et al. (2001) – The Origins of Music
  • More recent:
    • Aiello (2007) – Music: Cognition and Emotions
    • Gruhn & Rauscher (2007) – Neurosciences in Music Pedagogy
    • Huron (2008) – Sweet Anticipation: Music and the Psychology of Expectation
    • Patel (2008) – Music, Language, and the Brain
    • Hallam et al. (2009) – Oxford Handbook of Music Psychology
    • Hodges & Sebald (2010) – Music in the Human Experience
    • Juslin & Sloboda (2010) – Handbook of Music and Emotion
    • Kenny (2011) – The Psychology of Music Performance Anxiety
    • Deutsch (1982, 1999, 2014) – The Psychology of Music
    • Rebuschat (2012) – Language and Music as Cognitive Systems
    • Bamberger (2013) – Discovering the Musical Mind
    • Koelsch (2013) – Brain and Music
    • Thompson et al. (2014) – Music in the Social and Behavioral Sciences: An Encyclopedia
  • More pedagogy/performance oriented:
    • Parncutt & McPherson (2002) – The Science and Psychology of Music Performance
    • Radocy & Boyle (2003) – Psychological Foundations of Musical Behavior
    • Williamon (2005) – Musical Excellence
    • Lehmann, Sloboda, & Woody (2007) – Psychology for Musicians

Motivation: Growth, self-beliefs, and attributions, oh my…

This week I had the pleasure of giving an invited talk for the IU student chapter of the National Association of Teachers of Singing (IU SNATS). I’m fortunate to have the opportunity to work with extremely fine singers and committed vocal pedagogues on a regular basis in my courses and very much enjoyed speaking with the students of IU SNATS.

The talk I gave was on issues related to motivation for learning. I’ve attached a pdf of the powerpoint to this post via the image below. You’re welcome to download it to see the range of topics we discussed if you’re curious. The powerpoint also includes some basic texts and resources for reading about motivation in general and motivation in music learning more specifically. There is also a slide that includes links to some interesting web-resources for exploring these ideas further.

Miksza - Motivation presentation for IU SNATS - 2015

What was particularly enjoyable for me was that the talk gave me a chance to step back and think broadly about how several theoretical perspectives could be synthesized to address the components of music learning that are often heavily impacted by student motivation. The following set of reflective questions captures some of these components:

  • What drives you to choose to engage in learning in the first place?
  • What kinds of things contribute to the “degree” of energy you invest in this learning process?
  • What kinds of things contribute to the “degree” of quality and deliberateness you will apply to your learning process? In other words, the degree to which you’ll try to approach learning situations critically, thoughtfully, creatively, etc.
  • What will help you persist when you inevitably hit roadblocks and find yourself at a learning tableau or dipping into a negative attitude state?
  • What will stop you from giving up if learning gets tough?

I framed the main part of the discussion by describing how human needs for self-growth, flow, intrinsic satisfaction, and self-determination can lead people to seek out new experiences, work for mastery, and find personal meaning in their experiences. We also spent some time thinking about how social contexts created through teachers’ behaviors, studios/classrooms/rehearsal rooms, learning environments in general, etc. can serve to either support or thwart someone as they strive to satisfy these needs. The following points are a sample of what was addressed:

Contexts can be supportive or not…

  • Balancing the amount of structure/scaffolding provided and opportunities for independent work/decision making is important
  • Providing informational instruction (clues and ways to achieve objectives) vs. controlling rules (specific ways to do things) makes a difference
  • Giving opportunities to make choices vs. emphasizing interpersonal control in general is critical
  • Communicating evaluations as opportunities for improvement vs. as how something ‘should’ have been performed

We then moved through a cyclical set of motivational beliefs that have been shown to be related to learning in compelling ways. The powerpoint linked to this post includes summary points of some of the implications for pedagogy that each theoretical perspective suggests.

  • Mindset (Dweck)
    • Beliefs that abilities can be either fixed- or growth–oriented…
  • Self-efficacy (Bandura)
    • An individual’s beliefs in their own ability to produce an intended outcome on a specific task
  • Achievement goal orientations (Elliot)
    • The reasons why people aim to be competent and how they frame their own goals
  • Attributions (Weiner)
    • How the reasons people give for their successes and failures can impact their motivation and achievement in the future

We then ended the discussion by talking about some common motivational problems students experience and some general ideas for how to help them.

If a student’s needs are not met

  • The environment must feel like a safe place – physically and psychologically – this clearly has much larger ramifications for situations involving poverty, violent crime, discrimination, and/or harassment, etc.
  • Employ active approaches to help students develop positive feelings of competence and autonomy for the sake of esteem and self-determination
  • Employ active approaches to help students form productive relationships with each other
  • Provide preparation for students for how to interact with civility in a community
  • Employ active approaches to reducing the stressfulness of potentially competitive and high-stakes environment

If students are amotivated or lacking in apparent intrinsic motivation

  • Interventions can require altering the social context to help students integrate values of the environment to their own self
  • Make connections between activities and the students’ life goals and values
  • Make connections between activities and the values the students’ peer group recognize
  • Make connections to the values of the students’ significant others e.g., those they regard highly as role models
  • Provide opportunities for choice and for the student to feel in control of the environment
  • Give a secure foundation for building a sense of readiness – do not “throw into the fire”
  • Steer students away from performance-based goal orientations and towards mastery-oriented ideals (i.e., self-improvement)

If students demonstrate learned helplessness or self-handicapping

  • Vary goals according to individual students’ needs
  • Structure learning with an emphasis on short-term goals and develop them with the students
  • Provide frequent opportunity to acquire mastery and frequently document and display evidence of their growth (to them, not the class)
  • Teach students to avoid comparisons with others and encourage mastery goal orientations
  • Make it safe to ask for help by building it into the learning process as a required step
  • Do not over-assist and inadvertently communicate your belief in their lack of ability
  • Consider cooperative learning approaches

A SMiLE-ing experiment

I wanted to write a quick post to share my excitement about a new research group starting up at IU called: SMiLE: Science of Music in Learning and Experience.

The purpose of the group is to cultivate conversations about music research among students and faculty across departments in the school of music and across units on campus. So far, interest in the group has been expressed by grad students and faculty from… …Music (education, theory, conducting), Cognitive Science, Psychological and Brain Sciences, Telecommunications, Speech and Hearing, Informatics, Computer Science, Linguistics, and Second Language Studies. This image is a wordle of the groups’ collective interests from our first meeting.

Topics of interests

Our first two meetings were interdisciplinary, collegial, energetic, and overall – lots of fun. Many thanks to the colleagues and friends I spoke to who encouraged doing something like this and gave such great advice about how to do it. Many thanks too, to the wonderful colleagues and students taking time out of their busy days to join in the fun!

It’s sure to be a fun adventure and I’m excited for what the Spring may bring!