Focus of Attention in Wind Performance: Should I Think About My Fingers?

Document Type

Presentation

Presentation Date

8-2017

Abstract or Description

Presentation given at International Symposium on Performance Science, Reykjavik, Iceland.

Program

Background

A musician has many choices of where to direct her attention while playing. The field of motor control has identified these possible areas as “focus of attention” (FOA). FOA can be directed internally (embouchure or fingers) or externally (keys or the sound of one’s music). Previous research in motor learning and one piano study found an external FOA generally leads to more efficient and effective movement than an internal FOA. However, a recent study indicated university novice woodwind players were not differentially affected by internal and external FOAs, while the advanced players performed most evenly and accurately using an internal FOA.

Aims

The purpose of the current study was to examine the effect of FOA on second-year band students’ performance. It extended existing literature by including a control condition and by examining performance on wind instruments instead of piano or voice.

Method

Participants were forty-nine band students in their second year of study, aged 13-14 years (n=25, woodwinds; n=14, valved brass; n=10, trombones). The design was repeated measures, including three experimental conditions of a control condition (no directed FOA), an internal focus condition (fingers, or right hand for trombones), and an external focus condition (sound). The study stimuli were isochronous, alternating two pitch patterns (e.g. eighth notes C-A-C-A-C-A-C). Participants were tested in individual study sessions, across two days. On Day 1, students heard a model recording of each stimulus at a specified tempo and were then directed to play the measure as evenly and accurately as possible (control condition), while “thinking about your fingers” (internal focus condition), and while “thinking about your sound” (external focus condition). Participants played eight trials of each three stimuli. The design was fully counterbalanced, with the exception that the control condition was always performed first. Approximately 24 hours after the first study session, participants returned for a retention test, playing each stimulus three times with no directed FOAs.

Results

Each of the 1,617 performance trials was scored for pitch accuracy and evenness. Results will be analyzed as within group ANOVAs (Day 1 vs. Day 2, in woodwinds, valved brass, and trombone) and between group ANOVAs (control vs. internal FOA vs. external FOA, in each instrument group).

Conclusions

Results will be discussed in reference to previous literature in motor learning, which favors the external focus of attention, and the limited studies in music FOA, which has shown a trend favoring an internal FOA. Implications for teaching and individual practice will be discussed.

Sponsorship/Conference/Institution

International Symposium on Performance Science

Location

Reykjavik, Iceland

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