As one of the first readers of this fine collection of chapters in improvisation studies, I’ve been interactively constructing my experiences and interpretations of the chapters as I go along. Engaged reading – like all our characteristic activities – has a substantial improvisatory dimension. Readers are neither passively downloading data transmitted fully formed from the contributors’ minds nor making up whatever we like, projecting our own views onto a blank slate of a book. In forging and sharing here my own (...) idiosyncratic responses, I reach out to other, future readers by welcoming and inviting creative pushback, aiming to open up options, to accept and expand on the rich fare these authors offer us. (shrink)

Cutting-edge scholarship in performance studies, cognitive science, sociology, literature, psychology, philosophy and sport science is brought together to ask: What do individuals bring to and do in collaborative embodied performance? How do group members with distinct capacities complement each other in skilled action? Innovative methodological approaches are applied to detailed case studies from martial arts, tango, social interaction, English Restoration Theatre, Body Weather, traditional and digitally-informed experiences of music composition, and failing at handstands. Each investigation exposes performance and (...) theory as mutually revealing, informative and captivating. Short chapters fall into thematic clusters exploring embodied coordination, cognition, and collaboration, followed by commentaries from leading scholars in performance studies and cognitive science. Each brings to light different facets of the performance ecology present in the collaborative moment, equipping performance makers, students and researchers with theoretical, methodological and practical inspiration to delve deeper into their own embodied practices and critical thinking. (shrink)

Musical improvisation is a sophisticated activity in which a performer realizes, real-time, melodic, and rhythmic sequences in harmony with those from other musicians. The study of musical improvisation helps one to understand not only the cognition of creativity, but also the complex neuronal basis of executive functions, the relation between conscious and unconscious action, and even more. So far, the prevailing models, founded on the brain imaging method, have focused on the connection between the cortical areas and their cognitive (...) processes. Little attention, on the other hand, has been given to the huge variety of subcortical activities, especially in the basal ganglia. This fundamental subcortical component, through its implicit procedures and the role it plays in memory, is responsible to produce new information all the time, allowing the prefrontal cortex to transform a huge and disordered amount of data in explicit creative acts. The basal ganglia are strongly related to the activation of chemical signals generated by dissonance or lack of symmetry between perception and expectation, participating even in the responses to environmental demands according to the circumstances. Thus, they interact with the frontal cortex and with the limbic system, playing a key role in planning and selecting appropriate actions and in decision making. In this text, we try to explain in which sense improvisation is connected to the processes of executive functions, to creativity and to the integrated activity of cortical–subcortical areas controlling the free flow of ideas and to expressive spontaneity. Eventually, we purpose a model according to which structure and process take part at the centrencephalic space of functional integration, which, through both competing and cooperating dynamics, gives way to spontaneous composition. (shrink)

This paper presents a model for the implementation of educational activities involving musical improvisation that is based on a review of the literature on the psychology of music. Psychology of music is a complex field of research in which quantitative and qualitative methods have been employed involving participants ranging from novices to expert performers. The cognitive research has been analyzed to propose a pedagogical approach to the development of processes rather than products that focus on an expert’s (...) use of improvisation. The intention is to delineate a reflective approach that goes beyond the mere instruction of some current practices of teaching improvisation in jazz pedagogy. The review highlights that improvisation is a complex, multidimensional act that involves creative and performance behaviors in real-time in addition to processes such as sensory and perceptual encoding, motor control, performance monitoring, and memory storage and recall. Educational applications for the following processes are outlined: anticipation, use of repertoire, emotive communication, feedback, and flow. These characteristics are discussed in relation to the design of a pedagogical approach to musical improvisation based on reflection and metacognition development. (shrink)

Performance Generating Systems (PGS) are rule- and task-based approaches to improvisation on stage in theatre, dance, and music. These systems require performers to draw on predefined source materials (texts, scores, memories) while working on complex tasks within limiting rules. An interdisciplinary research team at a large Western Canadian university hypothesized that learning to sustain this praxis over the duration of a performance places high demands on executive functions; demands that may improve the performers’ executive abilities. These performers need to (...) continuously shift attention while remaining responsive to embodied and environmental stimuli in the present, they are required to inhibit automated responses and impulses using the rules of the system, and they strive towards addressing multitasking challenges with fluidity and flexibility. This study set out to test the mentioned hypothesis deductively and identify mediating processes inductively, using mixed empirical methods. In a small sample experiment with a control group (28 participants; 15 in intervention group, 13 in control group), standardized quantitative tests of executive functions (D-KEFS) were administered before and after an eight-week intervention. Participant-reported qualitative observations from the praxis were also collected throughout the intervention for grounded analysis. Within the limitations of small sample data, we found both statistically significant and trending effects on inhibition, problem-solving initiation, fluidity, and cognitive flexibility. Examining the mediating process, we found that participants experienced significant challenges sustaining the practice halfway through the intervention. The participant-reported solutions to these challenges, which emerged as the strongest behavioural patterns when coding the qualitative data to saturation, were strategies of problem-solving and of re-directing attention. These strategies support and advance our understanding of the effects measured in the standardized tests. In terms of application, our results identify characteristics of PGS that could potentially maintain and strengthen executive functions over and above less demanding performing arts interventions. The results also deliver new insight into how PGS works, which may contribute to the development and teaching of this artistic practice. (shrink)

Embodied approaches to cognition conceive of mental life as emerging from the ongoing relationship between neural and extra-neural resources. The latter include, first and foremost, our entire body, but also the activity patterns enacted within a contingent milieu, cultural norms, social factors, and the features of the environment that can be used to enhance our cognitive capacities (e.g., tools, devices, etc.). Recent work in music education and sport psychology has applied general principles of embodiment to a number of (...) social contexts relevant to their respective fields. In particular, both disciplines have contributed fascinating perspectives to our understanding of how skills are acquired and developed in groups; how musicians, athletes, teachers, and coaches experience their interactions; and how empathy and social action participate in shaping effective performance. In this paper, we aim to provide additional grounding for this research by comparing and further developing original themes emerging from this cross-disciplinary literature and empirical works on how performative skills are acquired and optimized. In doing so, our discussion will focus on: (1) the feeling of being together, as meaningfully enacted in collective musical and sport events; (2) the capacity to skillfully adapt to the contextual demands arising from the social environment; and (3) the development of distributed forms of bodily memory. These categories will be discussed from the perspective of embodied cognitive science and with regard to their relevance for music education and sport psychology. It is argued that because they play a key role in the acquisition and development of relevant skills, they can offer important tools to help teachers and coaches develop novel strategies to enhance learning and foster new conceptual and practical research in the domains of music and sport. (shrink)

This chapter will explore the ways that live improvisational performances by professional-level actors, musicians, and dancers, take place at both cognitive and sub-cognitive levels in ways that are relevant for understanding perception and appreciation of the performing arts. First, evidence from cognitive science will be used to show that improvising, as in a dance or a music jam session or a scene in theatre, may involve physical responses that occur before we are conscious of the event (...) to which we are responding. Second, this chapter will demonstrate how understanding these cognitive processes can help us to pinpoint why live improvisational performances have aesthetic value. Next, this chapter will consider the extent to which critical appreciation involves the enrichment and supplementation of perceptual experience with interpretive practice. Like the improvising performing artist, the audience member, too, has cognitive processes that occur before conscious articulation of what they have perceived. This means that evaluative judgments of live improvisation in the arts, like the improvisatory decisions that are made by the performers in the performances that they are judging, are not made at the purely perceptual level. (shrink)

The recent upsurge in “brain-training and perceptual-cognitive-training", proposing to improve isolated processes such as brain function, visual perception and decision-making, has created significant interest in elite sports practitioners, seeking to create an ‘edge’ for athletes. The claims of these related 'performance-enhancing industries' can be considered together as part of a process training approach proposing enhanced cognitive and perceptual skills and brain capacity, to support performance in everyday life activities, including sport. For example, the 'process-training industry' promotes the idea (...) that playing games not only makes you a better player, but also smarter, more alert, and a faster learner. In this position paper we critically evaluate the effectiveness of both types of process-training programmes in generalizing transfer to sport performance. These issues are addressed in three stages. First, we evaluate empirical evidence in support of perceptual-cognitive process training, and its application to enhancing sport performance. Second, we critically review putative modularised mechanisms underpinning this kind of training, addressing limitations and subsequent problems. Specifically, we consider merits of this highly specific form of training, which focuses on training of isolated processes such as cognitive processes (attention, memory, thinking) and visual perception processes, separately from performance behaviors and actions. We conclude that these approaches may, at best, may provide some 'general transfer' of underlying processes to specific sport environments, but lack 'specificity of transfer' to contextualize actual performance behaviors. A major weakness of process training methods is their focus on enhancing performance in body “modules” (e.g., eye, brain, memory, anticipatory sub-systems). What is lacking is evidence on how these isolated components are modified and subsequently interact with other process “modules”, which are considered to underlie sport performance. Finally, we propose how an ecological dynamics approach, aligned with an embodied framework of cognition undermines the rationale that modularised processes can enhance performance in competitive sport. An ecological dynamics perspective proposes that the body is a complex adaptive system, interacting with performance environments in a functionally integrated manner, emphasising that the inter-relation between motor processes, cognitive and perceptual functions and the constraints of a sport task is best understood at the performer-environment scale of analysis. (shrink)

To improvise together for the pure curiosity, joy, and beauty of it constitutes a central but often neglected ability of human beings. Integrating pragmatic, practical, and technical skills with conceptual understanding, improvisation is adaptive and collaborative. It seems made to counter the challenges of living in a fleeting present, unconstrained by physical and historical boundaries, and very likely has deep evolutionary roots. I present an account of joint improvisation in the performative arts based in reviews of empirical research in the (...) cognitive sciences, phenomenology, neuroscience, and philosophy, using examples from modern dance and jazz music. The account may be used for generating cross-disciplinary hypotheses about improvisation for investigation within a multitude of fields and is meant to encourage interdisciplinary work and collaboration between practitioners and academic researchers. The major goal is to elucidate the interaction dynamics that underlies joint improvisation by considering the variety of processes that support sensorimotor, experiential, emotional, meta-cognitive, and collaborative forms of interaction and lead to the coordination and synchronization of behavior. I claim that improvisation is an intelligent cognitive skill associated with meta-awareness, open to monitoring and control. It involves both automatized and flexible behavior and can occur without conscious awareness. Improvising in principle is independent of verbal language and higher-order thought, but nevertheless profits from the presence of multiple converging processes. (shrink)

Music training is associated with enhanced executive function but little is known about the extent to which harmonic aspects of musical training are associated with components of executive function. In the current study, an array of cognitive tests associated with one or more components of executive function, was administered to young adult musicians and non-musicians. To investigate how harmonic aspects of musical training relate to executive function, a test of the ability to compose a four-part harmony was developed (...) and administered to musicians. We tested the working hypothesis that musicians would outperform non-musicians on measures of executive function, and that among musicians, the ability to harmonize would correlate positively with measures of executive function. Results indicate that musicians outperformed non-musicians on the Tower of London task, a measure of planning and problem-solving. Group differences were not detected on tasks more selective for inhibitory control, conflict resolution, or working memory. Among musicians, scores on the harmony assessment were positively correlated with performance of the Tower of London task. Taken together, the current results support a strong relationship between musicianship and planning and problem solving abilities, and indicate that the ability to harmonize is associated with components of executive function contributing to planning and problem solving. (shrink)

This paper analyzes the skilled performance of rock climbing through the framework of Embodied and Enacted Cognitive Science. It introduces a notion of enactive planning that is part of one mindful activity of ongoing responsiveness to the affordances of the wall. The paper takes two distinct planning activities involved in rock climbing—route-reading and visualizing—and clarifies them through the enactivist and ecological concepts of nested affordances, prospecting, recalibrating, marking, and corporeal imaginings, as well as Rylean concept of heeding. The paper (...) shows that an enactive approach to planning can make sense of both the planning done in preparation of the climb, and re-planning done during the mindful performance, without invoking additional cognitive architectures. (shrink)

Ecological psychologists and enactivists agree that the best explanation for a large share of cognition is nonrepresentational in kind. In both ecological psychology and enactivist philosophy, then, the task is to offer an explanans that does not rely on representations. Different theorists within these camps have contrasting notions of what the best kind of nonrepresentational explanation will look like, yet they agree on one central point: instead of focusing solely on factors interior to an agent, an important aspect of cognition (...) is found in the link or coupling between an agent and the external world. This link is fluid, dynamic, and active in a variety of ways, and we do not need to add any internal extra something in the perception-action-cognition process. At the same time, even devout defenders of ecological psychology and enactivism recognize that plenty happens inside an agent during cognition. In particular, no one denies that the brain plays an important role. What, then, is the role of the brain if it’s not in the game of representing the environment? One possible option is to describe the brain as a resonant organ instead of a representational organ. In this paper we consider the history of resonance in more detail. Particular focus will be placed on two different sets of approaches that have developed the concept of resonance: a representational reading of resonance and a nonrepresentational, dynamic account of resonance. We then apply these accounts to a case study on music performance, specifically in the context of standard tonal jazz. From this application, we propose that a nonrepresentational resonance account consistent with both enactivism and ecological psychology is a viable way of explaining jazz performance. We conclude with future considerations on research regarding the brain as a resonant organ. (shrink)

Contemporary critical instincts, in early modern studies as elsewhere in literary theory, often dismiss invocations of mind and cognition as inevitably ahistorical, as performing a retrograde version of anachronism. Arguing that our experience of time is inherently anachronistic and polytemporal, we draw on the frameworks of distributed cognition and extended mind to theorize cognition as itself distributed, cultural, and temporal. Intelligent, embodied action is a hybrid process, involving the coordination of disparate neural, affective, cognitive, interpersonal, ecological, technological, and cultural (...) resources. Because the diverse elements of such coupled systems each have their own histories and dynamics, many distinctive or competing times are built in to the very mechanisms of remembering and reasoning. We make this argument by means of two distinct case histories: a reading of the site-specific audio walk of Canadian artist Janet Cardiff; and an extended discussion of a famously anachronistic moment in William Shakespeare’s King Lear. These readings reveal the inherent polytemporalities of human mental and social life. (shrink)

We address the problem of musical variation (identification of different musical sequences as variations) and its implications for mental representations of music. According to reductionist theories, listeners judge the structural importance of musical events while forming mental representations. These judgments may result from the production of reduced memory representations that retain only the musical gist. In a study of improvised music performance, pianists produced variations on melodies. Analyses of the musical events retained across variations provided support for the (...) reductionist account of structural importance. A neural network trained to produce reduced memory representations for the same melodies represented structurally important events more efficiently than others. Agreement among the musicians' improvisations, the network model, and music‐theoretic predictions suggest that perceived constancy across musical variation is a natural result of a reductionist mechanism for producing memory representations. (shrink)

Human interactions are often improvised rather than scripted, which suggests that efficient coordination can emerge even when collective plans are largely underspecified. One possibility is that such forms of coordination primarily rely on mutual influences between interactive partners, and on perception–action couplings such as entrainment or mimicry. Yet some forms of improvised joint actions appear difficult to explain solely by appealing to these emergent mechanisms. Here, we focus on collective free improvisation, a form of highly unplanned creative practice where both (...) agents' subjective reports and the complexity of their interactions suggest that shared intentions may sometimes emerge to support coordination during the course of the improvisation, even in the absence of verbal communication. In four experiments, we show that shared intentions spontaneously emerge during collective musical improvisations, and that they foster coordination on multiple levels, over and beyond the mere influence of shared information. We also show that musicians deploy communicative strategies to manifest and propagate their intentions within the group, and that this predicts better coordination. Overall, our results suggest that improvised and scripted joint actions are more continuous with one another than it first seems, and that they differ merely in the extent to which they rely on emergent or planned coordination mechanisms. (shrink)

The ability to improvise represents one of the highest levels of musical achievement. An improviser must master a musical language to such a degree as to be able to spontaneously invent stylistically idiomatic compositions on the spot. This feat is one of the pinnacles of human creativity, and yet its cognitive basis is poorly understood. What musical knowledge is required for improvisation? How does a musician learn to improvise? What are the neural correlates of improvised performance? In 'The Improvising (...) Mind' these questions are explored through an interdisciplinary approach that draws on cognitive neuroscience, study of historical pedagogical treatises on improvisation, interviews with improvisers, and musical analysis of improvised performances. Findings from these treatises and interviews are discussed from the perspective of cognitive psychological theories of learning, memory, and expertise. Musical improvisation has often been compared to 'speaking a musical language.' While past research has focussed on comparisons of music and language perception, few have dealt with this comparison in the performance domain. In this book, learning to improvise is compared with language acquisition, and improvised performance is compared with spontaneous speech from both theoretical and neurobiological perspectives. (shrink)

The paper presents two empirical cases of expert musicians—a classical string quartet and a solo, free improvisation saxophonist—to analyze the explanatory power and reach of theories in the field of expertise studies and joint action. We argue that neither the positions stressing top-down capacities of prediction, planning or perspective-taking, nor those emphasizing bottom-up embodied processes of entrainment, motor-responses and emotional sharing can do justice to the empirical material. We then turn to hybrid theories in the expertise debate and interactionist accounts (...) of cognition. Attempting to strengthen and extend them, we offer ‘Arch’: an overarching conception of musical interaction as an externalized, cognitive scaffold that encompasses high and low-level cognition, internal and external processes, as well as the shared normative space including the musical materials in which the musicians perform. In other words, ‘Arch’ proposes interaction as a multivariate multimodal overarching scaffold necessary to explain not only cases of joint performance, but equally of solo improvisation. (shrink)

The kind of collective improvisation attained by the “free jazz” at the beginning of the sixties sets a challenge to analytic theories of collective intentionality, that emphasize the role played by future-directed plans in the interlocking and interdependent intentions of the individual participants, because in the free jazz case the performers’ interdependence or [interplay] stems from an intuitive understanding between musicians. Otherwise said: what happens musically is not planned in advance, but arises from spontaneous interactions in the group. By looking (...) at the way jazz improvisers take up the challenge of making music together without a pre-conceived notion as to what kind of effect they will achieve and without a pre-set code of agreements, my aim has been to clarify what kind of strategies — other than advanced action plans and joint commitments — are used by improvising musicians to integrate their improvisations into a unified shared activity. In developing this proposal I initially drawn pre-theoretically on one paradigmatic study case — Ornette Coleman’s double quartet Free Jazz, A collective Improvisation and brought it in conversation with Husserl’s phenomenology of time. In a final move, I brought this phenomenological frame into dialogue with some recent readings of the predictive coding model. All in all, what we learned from the Free Jazz case is that the interdependence and interlocking of attitudes among individual participants characteristic of shared intention is not determined by a future-directed plan and the rational pressure to be responsive to and coordinate with others, it typically engages. Rather, in the free jazz case, the performers’ connection and interplay depend on the players’ readiness to feel each other out, by listening to each other playing, in a way that no doubt presupposes the Husserlian retention-protention scheme. (shrink)

Presence is a central yet controversial topic in the study of performing arts and theatrical traditions, where the notion of ‘stage presence’ is generally understood as the performer’s ability to enchant the audience’s attention. How do dancers relate to the idea of presence in performance, and how do they understand, enact, and perform presence in their artistic work and practices? In this paper I offer an investigation into presence’s variations in three different dance practices and choreographic contexts: the case of (...) the Ballet National de Marseille during the staging of Emio Greco’s piece Passione; Contact Improvisation in the case of independent groups of contacters in Italy and Australia; and Body Weather, a radical movement ideology developed by Japanese choreographer Min Tanaka in the context of the company Tess de Quincey and Co. in Sydney. To illustrate how presence in dance practices emerges in relation to a complex and dynamic environment, I propose a cognitive ecological approach to the notion of ‘stage presence’, which considers both the co-presence of audiences and performers and the socio-cultural context of the performance event. By exploring how dancers articulate their lived experiences of presence in relation to their different dance contexts and traditions, I suggest framing phenomena of presence in an embodied ecological sense. (shrink)

The relationship between musical and linguistic skills has received particular attention in infants and school-aged children. However, very little is known about pre-schoolers. This leaves a gap in our understanding of the concurrent development of these skills during development. Moreover, attention has been focused on the effects of formal musical training, while neglecting the influence of informal musical activities at home. To address these gaps, in Study 1, 3- and 4-year-old children ( n = 40) performed novel musical tasks (perception (...) and production) adapted for young children in order to examine the link between musical skills and the development of key language capacities, namely grammar and phonological awareness. In Study 2, we investigated the influence of informal musical experience at home on musical and linguistic skills of young pre-schoolers, using the same evaluation tools. We found systematic associations between distinct musical and linguistic skills. Rhythm perception and production were the best predictors of phonological awareness, while melody perception was the best predictor of grammar acquisition, a novel association not previously observed in developmental research. These associations could not be explained by variability in general cognitive functioning, such as verbal memory and non-verbal abilities. Thus, selective music-related auditory and motor skills are likely to underpin different aspects of language development and can be dissociated in pre-schoolers. We also found that informal musical experience at home contributes to the development of grammar. An effect of musical skills on both phonological awareness and language grammar is mediated by home musical experience. These findings pave the way for the development of dedicated musical activities for pre-schoolers to support specific areas of language development. (shrink)

Traditional memory strategy training interventions improve older adults’ performance on tests of episodic memory, but have limited transfer to episodic memory tasks, let alone to everyday memory. We argue that an alternative approach is needed to assist older adults to compensate for age-related cognitive declines and to maintain functional capacity in their own natural ecologies. We outline a set of principles regarding how interventions can successfully train older adults to increase successful goal pursuit to reduce risks of everyday memory (...) failures. We argue that training individuals to use metacognitive self-regulatory strategies to proactively manage formulation and pursuit of daily goals can compensate for age-related cognitive changes and increase the likelihood of goal attainment. We then describe an intervention approach that instantiates these principles in a multi-modal intervention that is unique in its three-phase approach: individualized assessment of an individual’s current approaches to self-regulation; training memory strategies, self-management skills, and new habits of mind in a group training context; and a behavioral shaping period in which individuals receive coaching and feedback on their efforts to use trained procedures to improve everyday cognition. A recently completed study conducted an initial test of the intervention, with highly encouraging results. We advocate further efforts to replicate, extend, and fine-tune this type of intervention. The ultimate goal is to be able to deliver the intervention in a way that increases its potential reach, including to subpopulations of older adults at risk for everyday cognitive impairments. (shrink)

We present a new model of skilled performance in geometry proof problem solving called the Diagram Configuration model (DC). While previous models plan proofs in a step‐by‐step fashion, we observed that experts plan at a more abstract level: They focus on the key steps and skip the less important ones. DC models this abstract planning behavior by parsing geometry problem diagrams into perceptual chunks, called diagram configurations, which cue relevant schematic knowledge. We provide verbal protocol evidence that DC's schemas correspond (...) with the step‐skipping inferences experts make in their initial planning. We compare DC with other models of geometry expertise and then, in the final section, we discuss more general implications of our research. DC's reasoning has important similarities with Larkin's (1988) display‐based reasoning approach and Johnson‐Laird's (1983) mental model approach. DC's perceptually based schemas are a step towards a unified explanation of (1) experts' superior problem‐solving effectiveness, (2) experts' superior problem‐state memory, and (3) experts' ability, in certain domains, to solve relatively simple problems by pure forward inferencing. We also argue that the particular and efficient knowledge organization of DC challenges current theories of skill acquisition as it presents an end‐state of learning that is difficult to explain within such theories. Finally, we discuss the implications of DC for geometry instruction. (shrink)

Music offers a unique opportunity to better understand the organization of the human brain. Like language, music exists in all human societies. Like language, music is a complex, rule-governed activity that seems specific to humans, and associated with a specific brain architecture. Yet unlike most other high-level functions of the human brain - and unlike language - music is a skill at which only a minority of people become proficient. The study of music as a (...) major brain function has for some time been relatively neglected. Just recently, however, we have witnessed an explosion in research activities on music perception and performance and their correlates in the human brain. This volume brings together an outstanding collection of international authorities - from the fields of music, neuroscience, psychology, and neurology - to describe the amazing advances being made in understanding the complex relationship between music and the brain. Aimed at psychologists and neuroscientists, this is a book that will lay the foundations for a cognitive neuroscience of music. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:From Children's Perspectives:A Model of Aesthetic Processing in TheatreJeanne Klein (bio)Since the children's theatre movement began, producers have sought to create artistic theatre experiences that best correspond to the adult-constructed aesthetic "needs" of young audiences by categorizing common differences according to age groups. For decades, directors simply chose plays on the basis of dramatic genres (e.g., fairy tales), as defined by children's presupposed interests or "tastes," by subscribing to (...) Winifred Ward's broad descriptions of the "imaginative period" (ages six to nine), the "heroic period" (ages nine to twelve), and the "romantic period" (over age thirteen).1 Years later, Moses Goldberg elaborated upon these generalized divisions while cautioning that "no individual fits exactly into any set of categories."2 In his position paper on aesthetic development, he argued for individual access to aesthetic techniques, processes, and products for all ages, paralleled by four stages of cognitive capabilities, based on exposure to (1) arena-style participation theatre (for ages five to eight), which emphasizes story enactments; (2) a wide range of proscenium-style theatrical conventions; (3) relevant play content that directly relates characters' problems to spectators' lives and growing self-awareness; and (4) social issue plays that pose ethical dilemmas as cultural reflections.3 Meanwhile, Jed Davis compiled Age Group Profiles, organized by cognitive, spatial, emotional, and moral/ethical development, from his review of Piagetian literature; and Johnny Saldaña summarized stages of young interpretations of theatre from his seven-year longitudinal study.4Suffice it to say, the field of developmental psychology has come a long way since Piaget formulated his four constructivist stages. Since the mid-1950s, the cognitive revolution has spurred more integrated theories of information processing and depth-of-processing models that explain and predict how people construct schematic frameworks of knowledge and [End Page 40] assimilate and accommodate new information as a function of perception, attention, emotion, comprehension, memory, and social and moral behaviors. Although masculinist metaphors of hierarchical "staircases" and linear networks of associative learning still dominate computational models, feminist perspectives, which engender social cognitive, co-relational negotiations of narratives in situated contexts, have gained more widespread acceptance—by including theatre as an apt metaphor for development.5 Over the past twenty years or more, cognitive psychologists have finally discovered what dramatic theorists have known about narrative structures since Aristotle's Poetics: Powerful stories contain universal themes about the human condition through characters' conflicting actions. The most successful dramas are those that allow spectators to enter into a protagonist's psychological consciousness or "inner" vision in order to empathize with her "outer" reality.6While several developmental models of aesthetic understanding, experience, and appreciation exist in the realms of visual art and music education, few examples have been proposed in regard to theatre, particularly for child audiences.7 Instead, producers of Theatre for Young Audiences (TYA) tend to romanticize its social and moral "effects" upon youth by believing passionately that viewing one remarkable performance has the potential (the operative word) to "cause" positive, social changes in children's minds, hearts, and behaviors, given the presumed "power of human imagination."8 This obsession with progressive change foregrounds adults' desires to control human destiny by predicting "causes and effects" located in children's responses to live performances. However, this "folk theory" fails to explain how young imaginations actually function aesthetically from the contextual evidence of reception studies with child audiences. Just as feminists have argued for a distinctive "feminist aesthetics," based on women's alternative ways of knowing,9 I argue that children gaze upon theatre in differential ways by including age as a variable factor. "Children's aesthetics," their perceived interpretations of theatre, differ from that of adults' theorized postulations, based in part on their shorter life experiences with this medium. To this end, over the course of my career, I have sought to understand theatre from children's perspectives by focusing my research in the social cognitive theories and social science methods of child development, primarily through the vast literature of television and mass media studies conducted with young people over the past forty years. In particular, medium-specific studies that parse theatrical forms from dramatic content... (shrink)

Auditory stimulation training (AST) has been proposed as a potential treatment for chil-dren with specific language impairments (SLI). The current study was designed to test this as-sumption by using an AST with technically modulated musical material (ASTM) in a random-ized control group design. A total of 101 preschool children (62 male, 39 females; mean age = 4.52 years, SD = 0.62) with deficits in speech comprehension and poor working memory ca-pacity were randomly allocated into one of two treatment groups or (...) a control group. Children in the ASTM group (n = 40) received three 30-minute sessions per week over 12 weeks, whereas children in the comparison group received pedagogical activities during these intervals (n = 24). Children in the control group (n = 37) received no treatment. Working memory, phoneme dis-crimination and speech perception skills were tested prior to (baseline) and after treatment. Chil-dren in the ASTM group showed significantly greater working memory capacity, speech per-ception, and phoneme discrimination skills after treatment, whereas children in the other groups did not show such improvement. Taken together, these results suggest that ASTM can enhance auditory cognitive performance in children with SLI. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.4 (2005) 12-19 [Access article in PDF] Seeking the Aesthetic in Creative Drama and Theatre for Young Audiences Nellie McCaslin Introduction Is an aesthetic experience ever achieved in a creative drama class or in attending a performance of a children's play? If it is, how do I know and how can it be achieved? This is a question to which I have given much (...) thought and in so doing have been flooded with memories of my own passion for theatre in all its forms, first as a child and years later as a teacher. These memories have shaped my perception of the aesthetic presence, elusive but powerful, which comes in its own way and in its own time. The following is an account of revisiting those memories in the light of today's practices and objectives. The result is not a scholarly piece or approach to the question but simply a record of one person's journey through the theatre arts as she experienced it at a particular point in time, when the pedagogy and the terminology of today were nonexistent, or at least were not generally known. Nor, I might add, was the question.From that journey through time, I have reached a few tentative convictions. First among them is that the most important element in teaching creative drama or producing children's plays is the one too often marginalized by practitioners today in their pursuit of practical ends and contemporary issue-oriented scripts.1 It is the aesthetic. Is theatre an art form worth studying in its own right or is it an educational tool, appealing to administrators and producers because it is effective? I believe that it is an art and should be taught as an art form first and foremost, but that skillfully done, it can accomplish both objectives. The grey area between art and education is difficult for the inexperienced teacher to negotiate without the loss of one goal or the other. It is the intent that charts the course. [End Page 12] Early Recollections What was it that first drew me to the theatre? Was it the play? The players? Or the combined skills of all who were involved in the production whether it was a professional company in a theatre downtown; a puppet show at a community center; "dramatics" in the classroom, when the teacher allowed us to "act out" a history lesson or favorite story; or an assembly program put on by the eighth grade in the school auditorium? To me, they were all theatre, and theatre in whatever form it took was magic. To us, theatre was real, regardless of the performers or the venue. Even the puppets ceased to be inanimate figures in the hands of an artist who shared his belief in their reality with his young audiences. Indeed, the puppets assumed human proportions before our eyes and have remained so in my memory ever since. Was this not just as much of an aesthetic experience for us, the viewers, as the performance of living actors? I believe that it was, although at the age of eight I had never heard the word "aesthetic" or stopped to analyze my reactions.The reason, among others, for my lack of discrimination as a child was the fact that in America at that time no differentiation was made between what we did and what we saw, never mind who did it. There was a clear distinction between the amateur and the professional; it didn't concern us. We flocked to the few shows, both amateur and professional, deemed appropriate for children, and we made up shows of our own in our own backyards. Our shows were improvised (another term we didn't know then), but even minus a script, it was still theatre because we believed in it and so did the little ones on our block who were the audience.It was Winifred Ward, an American pioneer in the field, writing a few years later, who was to distinguish between process and product... (shrink)

Children's cognitive and imaginative development is greatly enhanced by creative projects, which establish the groundwork for critical thinking, problem-solving, and flexibility. By evaluating improvements in creativity, memory, and problem-solving abilities, this study seeks to determine how creative activities affect children’s imaginative and cognitive growth. The dataset includes performance measures from 894 children between the ages of seven and ten who participated in eight weeks of either traditional or creative learning activities. Split the data into two groups, such as (...) Group A (experimental group) and Group B (control group). A normal curriculum was followed by Group B (n=212), while Group A (n=481) participated in a variety of creative activities like music, art, and storytelling. Cognitive and imaginative assessments were administered pre- and post-intervention, covering four key indicators: fluency, originality in narrative creativity, flexibility and graphic abilities in drawing creativity. The results showed that the Group A had performed better than Group B in terms of originality. In conclusion, creative activities help children to develop specific cognitive and imaginative skills; this means that including them in curriculums is important for their overall development. (shrink)

To better understand the nature of joint expertise and its underlying processes, we need not only analyses of the general conditions for skilled group action, but also descriptive accounts of the features and dimensions that vary across distinct performances and contexts, such as sport and the arts. And in addition to positioning our accounts against current models of individual skill, we need concepts and lessons from work on collaborative processes in other cognitive domains. This paper examines ecological or situational (...) components of expert joint action in practice, then offers a selective survey of some key cognitive and affective resources that shape and transform group performance. (shrink)

The first systematic collaboration between cognitive scientists and sports psychologists considers the mind–body relationship from the perspective of athletic skill and sports practice. This landmark work is the first systematic collaboration between cognitive scientists and sports psychologists that considers the mind–body relationship from the perspective of athletic skill and sports practice. With twenty-six chapters by leading researchers, the book connects and integrates findings from fields that range from philosophy of mind to sociology of sports. The chapters show not (...) only that sports can tell scientists how the human mind works but also that the scientific study of the human mind can help athletes succeed. Sports psychology research has always focused on the themes, notions, and models of embodied cognition; embodied cognition, in turn, has found striking confirmation of its theoretical claims in the psychological accounts of sports performance and athletic skill. Athletic skill is a legitimate form of intelligence, involving cognitive faculties no less sophisticated and complex than those required by mathematical problem solving. After presenting the key concepts necessary for applying embodied cognition to sports psychology, the book discusses skill disruption ; sensorimotor skill acquisition and how training correlates to the development of cognitive faculties; the intersubjective and social dimension of sports skills, seen in team sports; sports practice in cultural and societal contexts; the notion of “affordance” and its significance for ecological psychology and embodied cognition theory; and the mind's predictive capabilities, which enable anticipation, creativity, improvisation, and imagination in sports performance. Contributors Ana Maria Abreu, Kenneth Aggerholm, Salvatore Maria Aglioti, Jesús Ilundáin-Agurruza, Duarte Araújo, Jürgen Beckmann, Kath Bicknell, Geoffrey P. Bingham, Jens E. Birch, Gunnar Breivik, Noel E. Brick, Massimiliano L. Cappuccio, Thomas H. Carr, Alberto Cei, Anthony Chemero, Wayne Christensen, Lincoln J. Colling, Cassie Comley, Keith Davids, Matt Dicks, Caren Diehl, Karl Erickson, Anna Esposito, Pedro Tiago Esteves, Mirko Farina, Giolo Fele, Denis Francesconi, Shaun Gallagher, Gowrishankar Ganesh, Raúl Sánchez-García, Rob Gray, Denise M. Hill, Daniel D. Hutto, Tsuyoshi Ikegami, Geir Jordet, Adam Kiefer, Michael Kirchhoff, Kevin Krein, Kenneth Liberman, Tadhg E. MacIntyre, Nelson Mauro Maldonato, David L. Mann, Richard S. W. Masters, Patrick McGivern, Doris McIlwain, Michele Merritt, Christopher Mesagno, Vegard Fusche Moe, Barbara Gail Montero, Aidan P. Moran, David Moreau, Hiroki Nakamoto, Alberto Oliverio, David Papineau, Gert-Jan Pepping, Miriam Reiner, Ian Renshaw, Michael A. Riley, Zuzanna Rucinska, Lawrence Shapiro, Paula Silva, Shannon Spaulding, John Sutton, Phillip D. Tomporowski, John Toner, Andrew D. Wilson, Audrey Yap, Qin Zhu, Christopher Madan. (shrink)

In exploring skilled performance in Contact Improvisation, we utilize an enactive ethnographic methodology combined with an interdisciplinary approach to examine the question of how skill develops in CI. We suggest this involves the development of subtleties of awareness of intra- and interkinaesthetic attunement, and a capacity for interkinaesthetic negative capability—an embodied interpersonal ‘not knowing yet’—including an ease with being off balance and waiting for the next shift or movement to arise, literally a ‘playing with’ balance, falling, nearly falling, momentum and (...) gravity. We draw on insights from an interdisciplinary approach, including from a developmental perspective concerning the experience of dyadic interpersonal embodied skill development in both infancy and CI. Building on Ravn and Høffding’s definition of expertise in improvisation as an “oscillatory process of assuming and relinquishing agency” we propose that a key aspect of expertise in CI involves oscillation between levels and processes of interkinaesthetic sense of agency. These interdisciplinary insights also elucidate limitations within current conceptualisations of sense of agency, including the relationship between sense of agency and sense of control. (shrink)

The purpose of the present mixed method study was to investigate personal benefits, perceptions, and the effect of a 15-week sport psychological skills training program adapted for musicians. The program was individually tailored for six music performance students with the objective of facilitating the participants' instrumental practice and performance. The participants learnt techniques such as goal setting, attentional focus, arousal regulation, imagery, and acceptance training / self-talk. Zimmerman's ( 1989 ) cyclical model of self-regulated learning was applied as a (...) theoretical frame for the intervention. The present study's mixed-method approach (i.e., quan+ QUAL) included effect size, semi-structured interviews, a research log, and practice diaries of the participants (Creswell, 2009 ). Thematic analysis revealed that participants had little or no experience concerning planning and goal setting in regard to instrumental practice. Concentration, volition, and physical pain were additional issues that the participants struggled with at the time of pre-intervention. The study found that psychological skills training (with special emphasis on planning and goal setting) facilitated cyclical self-regulated learning patterns in the participants. In essence, the intervention was found to facilitate the participants' concentration, self-observation, self-efficacy, and coping in the face of failure. The appliance of practice journals facilitated the participants‘ self-observation, self-evaluation, and awareness of instrumental practice. Finally, the psychological skills intervention reduced participants' worry and anxiety in performance situations. An 8-month follow up interview revealed that the participants were still actively applying psychological skills. (shrink)

Understanding everyday behavior relies heavily upon understanding our ability to improvise, how we are able to continuously anticipate and adapt in order to coordinate with our environment and others. Here we consider the ability of musicians to improvise, where they must spontaneously coordinate their actions with co-performers in order to produce novel musical expressions. Investigations of this behavior have traditionally focused on describing the organization of cognitive structures. The focus, here, however, is on the ability of the time-evolving patterns (...) of inter-musician movement coordination as revealed by the mathematical tools of complex dynamical systems to provide a new understanding of what potentiates the novelty of spontaneous musical action. We demonstrate this approach through the application of cross wavelet spectral analysis, which isolates the strength and patterning of the behavioral coordination that occurs between improvising musicians across a range of nested time-scales. Revealing the sophistication of the previously unexplored dynamics of movement coordination between improvising musicians is an important step towards understanding how creative musical expressions emerge from the spontaneous coordination of multiple musical bodies. (shrink)

Adolescent risk-taking behaviour has potentially serious injury consequences and school-based behaviour change programmes provide potential for reducing such harm. A well-designed programme is likely to be theory-based and ecologically valid; however, it is rare that the operationalisation process of theories is described. The aim of this paper is to outline how the theory of planned behaviour and cognitive behavioural therapy informed intervention design in a school setting. Teacher interviews provided insights into strategies that might be implemented within the curriculum (...) and provided detail used to operationalise theory constructs. Benefits and challenges in applying both theories are described with examples from an injury prevention programme, Skills for Preventing Injury in Youth. (shrink)

Joint actions typically involve a sense of togetherness that has a distinctive phenomenological component. While it has been hypothesized that group size, hierarchical structure, division of labour, and expertise impact agents’ phenomenology during joint actions, the studies conducted so far have mostly involved dyads performing simple actions. We explore in this study the complex case of collectively improvised musical performances, focusing particularly on the way group size and interactional patterns modulate the phenomenology of joint action. We recorded two expert improvisation (...) ensembles of contrasting sizes (16 vs 4 musicians) and collected data about their musical behaviour, as well as reports about five aspects of their phenomenology (sense of agency, agentive identity, integration, dependence, reflexivity) and about their musical intentions. Our overall data enabled us to assess how those five phenomenological dimensions related to one another during jointly improvised performances. They also show how such phenomenology varied with the way improvisers dynamically related to one another throughout the performance. Finally, we observe that group size strongly altered the phenomenology of improvisers who otherwise shared many characteristics (high expertise, similar aesthetic preferences, etc.). Our study thus sheds light on the interactional and structural parameters that shape and modulate our felt experience when acting together, and thereby highlights the importance of pluralism for studying the phenomenology of joint action. (shrink)

The aim of this study was to test whether an online video game can be used to investigate planning ability and whether fluid intelligence, objective numeracy, and subjective numeracy are predictive of game performance. Our results demonstrate that fluid intelligence is particularly important, which is in line with previous non-game-based studies that show a relationship between classical planning tests and fluid intelligence. Video games have been previously used for research into cognitive processes and taking them online facilitates data collection (...) on a larger scale. Online video games also afford data collection without the expense and stress of a laboratory environment. For these reasons, using online video games to investigate human cognition is a promising alternative to the classic cognitive paradigms used in laboratories. (shrink)

Hubert Dreyfus argues that explicit thought disrupts smooth coping at both the level of everyday tasks and of highly-refined skills. However, Barbara Montero criticises Dreyfus for extending what she calls the ‘principle of automaticity’ from our everyday actions to those of trained experts. In this paper, I defend Dreyfus’ account while refining his phenomenology. I examine the phenomenology of what I call ‘esoteric’ expertise to argue that the explicit thought Montero invokes belongs rather to ‘gaps’ between or above moments of (...) reflexive coping. However, I agree that the ‘principle of automaticity’ does not adequately capture the experience of performing such skills. Drawing on examples of expert performance in sport and improvised music and dance, I argue that esoteric action, at its best, is marked by a distinct state of non-conceptual awareness- an experience of spontaneity, flow and ‘owned-ness’- that distinguishes it from the automaticity of everyday actions. (shrink)

We present a synthetic theory of skilled action which proposes that cognitive processes make an important contribution to almost all skilled action, contrary to influential views that many skills are performed largely automatically. Cognitive control is focused on strategic aspects of performance, and plays a greater role as difficulty increases. We offer an analysis of various forms of skill experience and show that the theory provides a better explanation for the full set of these experiences than automatic theories. (...) We further show that the theory can explain experimental evidence for skill automaticity, including evidence that secondary tasks do not interfere with expert performance, and evidence that experts have reduced memory for performance of sensorimotor skills. (shrink)

Expert skill in music performance involves an apparent paradox. On stage, expert musicians are required accurately to retrieve information that has been encoded over hours of practice. Yet they must also remain open to the demands of the ever-changing situational contingencies with which they are faced during performance. To further explore this apparent paradox and the way in which it is negotiated by expert musicians, this article profiles theories presented by Roger Chaffin, Hubert Dreyfus and Tony and Helga Noice. (...) For Chaffin, expert skill in music performance relies solely upon overarching mental representations, while, for Dreyfus, such representations are needed only by novices, while experts rely on a more embodied form of coping. Between Chaffin and Dreyfus sit the Noices, who argue that both overarching cognitive structures and embodied processes underlie expert skill. We then present the Applying Intelligence to the Reflexes (AIR) approach?a differently nuanced model of expert skill aligned with the integrative spirit of the Noices? research. The AIR approach suggests that musicians negotiate the apparent paradox of expert skill via a mindedness that allows flexibility of attention during music performance. We offer data from recent doctoral research conducted by the first author of this article to demonstrate at a practical level the usefulness of the AIR approach when attempting to understand the complexities of expert skill in music performance. (shrink)

ABSTRACTIn keeping with the dominant view that skills are largely automatic, the standard view of memory systems distinguishes between a representational declarative system associated with cognitive processes and a performance-based procedural system. The procedural system is thought to be largely responsible for the performance of well-learned skilled actions. Here we argue that most skills do not fully automate, which entails that the declarative system should make a substantial contribution to skilled performance. To support this view, we review evidence showing (...) that the declarative system does indeed play a number of roles in skilled action. (shrink)

In this paper, we address the question of how an agent can guide its behavior with respect to aspects of the sociomaterial environment that are not sensorily present. A simple example is how an animal can relate to a food source while only sensing a pheromone, or how an agent can relate to beer, while only the refrigerator is directly sensorily present. Certain cases in which something is absent have been characterized by others as requiring ‘higher’ cognition. An example of (...) this is how during the design process architects can let themselves be guided by the future behavior of visitors to an exhibit they are planning. The main question is what the sociomaterial environment and the skilled agent are like, such that they can relate to each other in these ways. We argue that this requires an account of the regularities in the environment. Introducing the notion of general ecological information, we will give an account of these regularities in terms of constraints, information and the form of life or ecological niche. In the first part of the paper, we will introduce the skilled intentionality framework as conceptualizing a special case of an animal’s informational coupling with the environment namely skilled action. We will show how skilled agents can pick up on the regularities in the environment and let their behavior be guided by the practices in the form of life. This conceptual framework is important for radical embodied and enactive cognitive science, because it allows these increasingly influential paradigms to extend their reach to forms of ‘higher’ cognition such as long-term planning and imagination. (shrink)

BackgroundCognitive deficits are one of the core features of major depressive disorder that play crucial role in functional recovery. Studies have explored cognitive deficits in MDD, however, given inconsistent results, especially in mild-moderate MDD. Recently, studies have explored music as cognitive ability in various clinical conditions. In MDD, large focus has been on evaluating emotion deficits and just a handful on music cognition. With growing evidence on use of music based intervention to target cognitive (...) deficits, it is imperative to explore nature of music cognitive ability in MDD.AimTo examine musical and neuro-cognitive deficits in patients with mild-moderate MDD.MethodsPatients diagnosed with mild or moderate MDD and matched healthy controls were evaluated on selected tests from NIMHANS Neuropsychological test battery and Montreal battery for evaluation of amusia.ResultsMDD group performed significantly lower than HC on working memory, verbal learning and retention. Three indices were computed for a comprehensive evaluation. Groups did not differ significantly in any of the indices- focused attention, executive function, learning and memory as well as on music cognition. Focused attention and memory index predicted music cognition in HC and the combined group. Attention alone contributed to 62.1% of variance in music cognition. Similarly, music cognition significantly predicted focused attention.ConclusionIndividuals with mild-moderate MDD show significant deficits in working memory, verbal learning and memory, however, not in music cognition. There exists a significant relationship between music cognition and attention, which could be implicated in use of music interventions to ameliorate cognitive deficits. Limitations of study include small sample size and heterogeneity. Future studies on larger cohort examining musical emotion perception and neurocognition is imperative to have deeper understanding of this debilitating condition. (shrink)

Anticipation is a crucial perceptual-cognitive skill in fast-ball sports, and the effect of high anxiety on performance has attracted more attention from sports psychologists. Related studies mainly focus on the effect of anxiety on influencing processing efficiency and attentional control during information processing in sport. Attentional Control Theory has been supported by several studies. However, these studies have been criticized by the low ecological validity of task design, such as neglecting the dynamic process of anticipation, and inadequate performance analysis, (...) such as analyzing response accuracy and time separately. Using temporal occlusion paradigm, we tested ACT in a dynamic anticipation process. Eighteen skilled and eighteen less-skilled table tennis players were required to anticipate the serves of opponents under dynamic task constraints and anxiety conditions. High cognitive state anxiety decreased processing efficiency for both groups whereas performance effectiveness did not differ. In addition, it negatively affected processing efficiency in early anticipation compared with late anticipation tasks, suggesting that high cognitive state anxiety may have a greater impact on top-down attentional control. Our findings provide support for ACT and show that anxiety impairs anticipation efficiency and performance, possibly due to an ineffectively attentional shift from external kinematic cues to internal long-term working memory. Findings also have implications for the adaptation of attentional strategies and anxiolytic training. (shrink)

Social cognition, social skill, and social motivation have been extensively researched and characterized as atypical in autistic people, with the assumption that each mechanistically contributes to the broader social interaction difficulties that diagnostically define the condition. Despite this assumption, research has not directly assessed whether or how these three social domains contribute to actual real-world social interaction outcomes for autistic people. The current study administered standardized measures of social cognition, social skill, and social motivation to 67 autistic and 58 non-autistic (...) adults and assessed whether performance on these measures, both individually and relationally between dyadic partners, predicted outcomes for autistic and NA adults interacting with unfamiliar autistic and NA partners in a 5 minute unstructured “get to know you” conversation. Consistent with previous research, autistic adults scored lower than NA adults on the three social domains and were evaluated less favorably by their conversation partners. However, links between autistic adults' performance on the three social domains and their social interaction outcomes were minimal and, contrary to prediction, only the social abilities of NA adults predicted some interaction outcomes within mixed diagnostic dyads. Collectively, results suggest that reduced performance by autistic adults on standardized measures of social cognition, social skill, and social motivation do not correspond in clear and predictable ways with their real-world social interaction outcomes. They also highlight the need for the development and validation of more ecological assessments of autistic social abilities and the consideration of relational dynamics, not just individual characteristics, when assessing social disability in autism. (shrink)

Several canonical experimental paradigms (e.g., serial reaction time task, discrete sequence production task,m×ntask) have been proposed to study the typical behavioral phenomenon and the nature of learning in sequential keypress tasks. A characteristic feature of most paradigms is that they are representative ofexternally-specifiedsequencing—motor tasks where the environment or task paradigm extrinsically provides the sequence of stimuli, i.e., the responses are stimulus-driven. Previous studies utilizing such canonical paradigms have largely overlooked the learning behaviors in a more realistic class of motor tasks (...) that involveinternally-guidedsequencing—where the sequence of motor actions is self-generated or internally-specified. In this work, we use the grid-navigation task as an instance of internally-guided sequencing to investigate the nature of learning in such paradigms. The participants performed Grid-Sailing Task (GST), which required navigating (by executing sequential keypresses) a 5 × 5 grid from start to goal (SG) position while using a particular key-mapping (KM) among the three cursor-movement directions and the three keyboard buttons. The participants performed two behavioral experiments—Single-SG and Mixed-SG condition. The Single-SG condition required performing GST on a single SG position repeatedly, whereas the Mixed-SG condition involved performing GST using the same KM on two novel SG positions presented in a random, inter-mixed manner. In the Single-SG condition, we show that motor learning contributes to the sequence-specific learning in GST with the repeated execution of the same trajectories. In the Mixed-SG condition, since the participants utilize the previously learned KM, we anticipate a transfer of learning from the Single-SG condition. The acquisition and transfer of a KM-specific internal model facilitates efficient trajectory planning on novel SG conditions. The acquisition of such a KM-specific internal model amounts to trajectory-independent cognitive learning in GST. We show that cognitive learning contributes to the learning in GST by showing transfer-related performance improvements in the Mixed-SG condition. In sum, we show the role of cognitive and motor learning processes in internally-guided sequencing and further make a case for using GST-like grid-navigation paradigms in investigating internally guided skill learning. (shrink)

Treatments for students with problematic levels of music performance anxiety commonly rely on approaches in which students are referred to psychotherapists or other clinical professionals for individual care that falls outside of their music training experience. However, a more transdisciplinary approach in which MPA treatment is effectively integrated into students’ training in music/performing arts colleges by teachers who work in consultation with clinical psychologists may prove more beneficial, given the resistance students often experience toward psychotherapy. Training singing (...) teachers, and perhaps music teachers at large, to use an evidence-based coaching strategy like Acceptance and Commitment Coaching to directly manage students’ MPA is one such approach. Building on the work of a previous study in which ACC was administered by a singing teacher to a musical theatre student with problematic MPA, we piloted the effectiveness of a six-session, group ACC course for a sample of performing arts students with MPA related to vocal performances, using a mixed-methods design. The coach here was also a singing teacher without a clinical background, and her training in ACC by a clinical psychologist was of a similar duration as the previous teacher’s. Similar to the musical theatre student, the students reported being significantly less fused with their MPA-related cognitions, more accepting of their MPA-related physiological symptoms, and more psychologically flexible while performing in general, and these improvements were maintained after 3 months. Furthermore, they appeared to lower their shame over having MPA and change how they thought in relation to one another. Of note, these improvements were similar to those shown by seven vocal students with MPA after they received Acceptance and Commitment Therapy from a clinical psychologist, but with larger reductions in shame and better acceptance of MPA, which suggests a non-clinical, group ACC intervention that includes supportive discussions to normalize MPA and challenges attempts to control it may be more helpful than individual psychotherapy. These results are promising and indicate a brief training in ACC may be sufficient for singing teachers to provide significant benefit for students with problematic MPA. (shrink)