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For Sight-Reading Music, Practice Doesn’t Make Perfect

A memory skill that pianists have little control over may orchestrate their performance.

Fri Jun 18, 2010 11:50 AM ET
Content provided by Bruce Bower, Science News
THE GIST

  • Sight-reading is the ability to play sheet music on an instrument with little or no preparation.
  • Having a strong ability to remember pieces of relevant information while performing a task aids sight-reading.
  • The best sight readers combined strong working memories with tens of thousands of hours of piano practice.
Music
Here’s a harsh piano lesson: Years of tickling the ivories go only so far for those who want to sight-read sheet music fluently, a new study suggests. Aside from those painstaking hours of practice, a memory skill that pianists have little control over may orchestrate their performance.

Sight-reading is the ability to play sheet music on an instrument with little or no preparation. Any piano player who practices sight-reading for thousands of hours will get pretty good at it, say study coauthors Elizabeth Meinz of Southern Illinois University Edwardsville and David Hambrick of Michigan State University in East Lansing. But having a strong ability to keep different pieces of relevant information in mind while performing a task — known as working memory capacity — aids sight-reading regardless of how much someone has practiced, the psychologists report in a paper published online June 9 in Psychological Science.

In the researchers’ investigation, the best sight readers combined strong working memories with tens of thousands of hours of piano practice over several decades.

Working memory appears to be a capacity that gels early in life and can’t be improved much by learning, the study suggests. High scores on working memory tests did not cluster among volunteers who had practiced piano playing and sight-reading the most.

Previous research indicates that working memory capacity varies from one person to another and changes little from childhood to adulthood, the scientists say.

“Deliberate practice, although necessary for acquiring expertise, will not always be sufficient to overcome limitations due to a person’s basic cognitive abilities,” Meinz says.

When sight-reading, a piano player’s working memory capacity may determine the extent to which he or she can prepare for upcoming moves on the keyboard by looking ahead in a music score, Meinz and Hambrick speculate.

Psychologist Glenn Schellenberg of the University of Toronto Mississauga agrees. IQ scores probably relate to sight-reading proficiency as well, he notes, since IQ tests tap into working memory capacity.

Schellenberg sees the new findings as a challenge to the influential view, championed by psychologist K. Anders Ericsson of Florida State University in Tallahassee, that expertise in sight-reading or anything else depends on skills acquired through extensive practice. Novices at a particular activity rely on general mental faculties, such as working memory, Ericsson argues. But after roughly 10 years of practice at a task such as sight-reading, he suggests, specific mental mechanisms for getting the job done emerge and general-purpose faculties are jettisoned.

Ericsson regards the new study as “not a fair test” of his hypothesis. Most musicians tested by Meinz and Hambrick — including those who had played piano for a long time — were not skilled sight readers, Ericsson asserts. So the study can’t address whether differences in working memory capacity limit the performance of expert sight readers, he says.

Meinz and Hambrick recruited 57 volunteers who had played piano for between one and 57 years. Their estimated hours of overall practice ranged from 260 to 31,096, and hours of sight-reading practice ranged from zero to 9,048. Two university piano teachers rated volunteers’ performance on six sight-reading pieces. A majority of players were rated as moderately good sight readers.

Four tasks assessed working memory capacity. On one, a math equation with an answer, as well as a word, briefly flashed on a computer screen. Participants had to say whether the answer was correct and remember the word for later.

Statistically speaking, working memory capacity actually shows a weak relationship to individual differences in sight-reading skill in the new paper, remarks psychologist Reinhard Kopiez of Hanover University of Music and Drama in Germany. In a 2008 study of 52 accomplished piano players — as opposed to the piano players with a broad range of experience studied by Meinz and Hambrick — Kopiez and a colleague found no link between working memory capacity and sight-reading ability.

Two motor traits unaffected by practice — an ability to tap two fingers rapidly in alternation and to press a computer key quickly in response to visual and acoustic cues — characterized effective sight readers in Kopiez’s investigation. Sight readers who can speedily translate perceptions into actions may have an advantage, the German researcher proposes.

String Quartet Competition

Swiss Global announces their competition for use of “The Evangelists”

St John St Mark St Matthew St Luke

“No dents!” Laurent Marfaing remembers noticing when he was first presented with St Matthew in April 2008. The description was perhaps fitting, as the viola had been “sleeping”, completely unheard, for at least 35 years. St Matthew is a member of The Evangelists, a string quartet unique to the world in that it represents the only matched set made by a master maker with wood from the same tree. Remarks Foundation Director Heather de Haes, “Each instrument is outstanding in its own right, but when heard as a group their collective sound assumes an extraordinary beauty and radiant energy.”

Built in Paris, 1863, by Jean-Baptiste Vuillaume, The Evangelists (comprised of St John and St Mark violins, St Matthew viola and St Luke cello) were acquired by the Swiss Global Foundation in April 2008 and summarily loaned to the Paris-based Modigliani Quartet, of which Laurent Marfaing is violist. The loan to Modigliani for a period of two years represented the Foundation’s ongoing commitment to help young artists attain the highest levels of musical performance and professional advancement.

Visit the News Archive from April 2008 to learn more about the acquisition of the instruments.