Individual differences in expertise development over decades in a complex intellectual domain

Learners acquire expertise at different rates and reach different peak performance levels. Key questions arise regarding what patterns of individual differences in expertise development occur and whether innate talent affects such development. International chess is a good test domain for both issues, because it has objective performance measures, actual practice measures (number of games), longitudinal population data, and minimal gatekeeper influence. Players’ expertise development typically follows either a logarithmic or a power-function curve, approaching asymptote by around 750 games. A comparison of eventual top players and other eventually well-practiced players typically reveals a performance difference at domain entry, which widens progressively with practice and then stays large and constant. The data show various correlated signs of apparent greater natural talent in eventual top players: precocity (indexed by entering the domain and gaining the grandmaster title much younger on average), faster acquisition of expertise (indexed by fewer years and games needed to gain the grandmaster title from domain entry), and a higher peak performance level after extensive actual practice. A factor analysis found evidence for an underlying natural talent factor that constrains ultimate performance level.     

The role of domain-specific practice, handedness, and starting age in chess

The respective roles of the environment and innate talent have been a recurrent question for research into expertise. The authors investigated markers of talent, environment, and critical period for the acquisition of expert performance in chess. Argentinian chess players (N = 104), ranging from weak amateurs to grandmasters, completed a questionnaire measuring variables including individual and group practice, starting age, and handedness. The study reaffirms the importance of practice for reaching high levels of performance, but it also indicates a large variability: The slower player needed 8 times as much practice to reach master level than the faster player. Additional results show a correlation between skill and starting age and indicate that players are more likely to be mixed-handed than individuals in the general population; however, there was no correlation between handedness and skill within the sample of chess players. Together, these results suggest that practice is a necessary but not sufficient condition for the acquisition of expertise, that some additional factors may differentiate chessplayers and nonchessplayers, and that starting age of practice is important.     

Deliberate practice in dogs: a canine model of expertise

The acquisition of expertise is an area of controversy between those who lean more toward learning and those who lean more toward talent. Because the genetics and early life experiences of humans are not open to direct manipulation, human studies are of limited use in this debate. Studies using nonhumans as expert models may prove useful in resolving this dispute. For nonhumans to be considered proper models of human experts, there must be evidence supporting a shared acquisition mechanism. A candidate mechanism is deliberate practice. The author tested the deliberate practice theory of expertise acquisition on dogs competing in the sport of agility. The author examined the relationships between amounts of accumulated deliberate practice and agility performance measures. The author found there was a statistically significant relationship between the amount of deliberate practice and measured performance in agility dogs, even when controlling for sex, breed group, age, and height.     

Does high-level intellectual performance depend on practice alone? Debunking the Polgar sisters case

The famous Polgar sisters started chess very young, undertook extensive study, and two became grandmasters. This case often is cited as decisive evidence that practice alone is key in development of expertise, that innate talent is unimportant or non-existent, and that almost anyone can become a grandmaster. But on close examination these claims do not hold up. Performance differences among the sisters cannot be accounted for by practice differences. Furthermore, two sisters reached peak performance levels comparable to those of many far less-practiced players entering the international domain around the same time and only one sister ever reached the top ten. Contrary to a popular view, the case does not show that becoming a grandmaster requires only practice and raises innate talent as a plausible contributor.     

Selecting the Better Model by Using Data,Occam's Razor,and a Little Common Sense: Reply to Ericsson

The issue is which model, practice‐alone or innate talent affecting learning speed and limiting asymptotic performance level, better accounts for expertise development in international chess. The innate talent model does much better by the usual criteria. A study to determine what innate talent for chess might consist is now needed. Copyright © 2012 John Wiley & Sons, Ltd.     

Gritting One’s way to success – Grit explains skill in elite youth soccer players beyond (deliberate) practice

Practice is one of the most important predictors of skill. To become an expert, performers must engage in practice for a prolonged time to develop the psychological characteristics necessary for outstanding performance. Deliberate practice (DP), that is focused repetitive activities with corrective feedback, is particularly beneficial for skill development. The amount of accumulated DP differentiates experts and novices. However, the predictive strength of DP weakens considerably when it comes to differentiating between differently skilled experts, leaving a way clear for other non-practice related factors to exercise their influence. In this paper, we demonstrate using a large sample (388) of elite youth soccer players that one such factor, the personality trait of grit, predicts expertise level both directly and indirectly. Grittier players accumulated more time in coach-led team practice, the activity, which is arguably closest to DP in team sports, which in turn predicted the skill level. Other practice activities, such as self-led training or playing with peers, were not predictive of skill level, neither were they influenced by grit. Grit, however, continued to exert a direct positive influence on the skill level of players even after accounting for the hours of DP accumulated. Overall, a standard deviation of change in the grit score resulted in at least a third of standard deviation improvement in skill. Our findings highlight the need for the inclusion of additional factors in theoretical frameworks in situations where the predictive power of traditional expertise factors, such as practice, is limited.     

The role of retrieval structures in memorizing music

This article explores the use of structure in the encoding and retrieval of music and its relation to level of skill. Twenty-two pianists, classified into four levels of skill, were asked to learn and memorize an assigned composition by J. S. Bach (different for each level). All practice was recorded on cassette tape. At the end of the learning process, the pianists performed their assigned composition in a recital setting. The performances were subsequently evaluated by three experienced pianists according to a standardized grading system. From the cassette tapes, values for the frequency with which pianists started and stopped their practice on "structural," "difficult," and "other" bars were obtained. Starts and stops on each bar type were compared across three stages of the learning process. The analyses reveal that all pianists, regardless of level, started and stopped their practice increasingly on structural bars and decreasingly on difficult bars across the learning process. Moreover, the data indicate that starts and stops increased on structural bars and decreased on difficult bars systematically with increases in level of skill. These findings are interpreted and discussed so as to elucidate characteristics of the retrieval structures adopted by musicians in their practice and performance and how the formation and use of retrieval structures develop as a function of expertise. Finally, the elicited values for starts on structural, difficult, and other bars are examined and discussed according to how they relate to the pianists' scores on performance quality.     

Cognitive abilities of musicians

Playing music may involve different cognitive domains, but previous studies of musicians and patients with brain lesions have reported inconsistent associations between music performances and other cognitive functions. Fine musical performance may be associated with high executive and control functions. 21 skilled musicians and 21 age- and education-matched healthy controls with no specific musical competence were compared on attentive, executive, linguistic, perceptual, praxic, memory, and theory of mind functions, using standardized neuropsychological tests. No differences between the musicians and controls, music composers and performers, or between soloists or orchestral players were observed. In musicians, there was no correlation between the test scores and amount of music education. Findings based on these musician groups, carefully evaluated, suggest further exploration of associations of distinct components of music comprehension and expression with different cognitive functions and behavioral aspects.     

Attribution of athletic expertise by college coaches

The goals of the study were to identify the factors that college coaches associate with athletic achievement and to test deliberate practice theory predictions for practice relevance, effort, and pleasure. Swimming, tennis, and volleyball coaches from Division I and Division III schools rank ordered 15 attributes that contribute to successful athletic achievement. They also rated the relevance, effort, and pleasure of 7 athletic and 7 everyday events for improving athletic achievement. The rank orders showed that the coaches primarily attributed athletic achievement to innate talent, intrinsic motivation, and effort while factors such as accumulated practice and type of the practice received lower rankings. Findings for practice effort were consistent with deliberate practice theory while the relevance and pleasure findings were mixed. Several explanations for successful athletic achievement, other than talent, are discussed.     

Musical preference, deviance, and attitudes towards music celebrities

Two studies investigated the relationship among British students between liking for ‘problem’ music, indices of deviance, and scores on a slightly modified version of the Celebrity Attitude Scale (CAS). Study 1 indicated a positive relationship between liking for ‘problem’ music styles and psychoticism scores. Study 2 indicated that fans of ‘problem’ music scored higher than non-fans on measures of psychoticism, reactive rebelliousness, and two specific problem behaviours; that liking for ‘problem’ music was related only to psychoticism when all the indices of deviance were considered together in a multiple regression; and that fans of ‘problem’ music did not score higher on CAS measures of identification with the participants’ favourite musicians. The present data indicate a relationship outside North America between ‘problem’ music and deviance, that this might be attributable primarily to elevated psychoticism scores among listeners to this music, but that liking for ‘problem’ music was not associated with a greater tendency for participants to identify closely with licentious behaviours carried out by pop musicians.     

Individual differences in music performance

Music cognition depends on the existence and deployment of processes for detecting, storing and organizing musical materials according to underlying structural features. Common cultural experiences develop these processes to a certain degree, but specifically designed and supported learning environments are required to achieve the levels of expertise required to perform western art music. Certain motivational and social factors are therefore implicated in the maintenance of activities that promote skill-acquisition, such as practice. Expert musical performance is not just a matter of technical motor skill, it also requires the ability to generate expressively different performances of the same piece of music according to the nature of intended structural and emotional communication. This review examines these abilities and describes how some of them have been shown to have lawful relationships to objective musical and extra-musical parameters. Psychological research is thus engaged in a process of demystifying musical expertise, a process that helps to improve upon culturally prevalent, but ultimately non-explanatory, notions of inborn 'talent'.     

Speaking to the trained ear: musical expertise enhances the recognition of emotions in speech prosody

Language and music are closely related in our minds. Does musical expertise enhance the recognition of emotions in speech prosody? Forty highly trained musicians were compared with 40 musically untrained adults (controls) in the recognition of emotional prosody. For purposes of generalization, the participants were from two age groups, young (18-30 years) and middle adulthood (40-60 years). They were presented with short sentences expressing six emotions-anger, disgust, fear, happiness, sadness, surprise-and neutrality, by prosody alone. In each trial, they performed a forced-choice identification of the expressed emotion (reaction times, RTs, were collected) and an intensity judgment. General intelligence, cognitive control, and personality traits were also assessed. A robust effect of expertise was found: musicians were more accurate than controls, similarly across emotions and age groups. This effect cannot be attributed to socioeducational background, general cognitive or personality characteristics, because these did not differ between musicians and controls; perceived intensity and RTs were also similar in both groups. Furthermore, basic acoustic properties of the stimuli like fundamental frequency and duration were predictive of the participants' responses, and musicians and controls were similarly efficient in using them. Musical expertise was thus associated with cross-domain benefits to emotional prosody. These results indicate that emotional processing in music and in language engages shared resources.     

Effect of musical expertise on visuospatial abilities: evidence from reaction times and mental imagery

Recently, the relationship between music and nonmusical cognitive abilities has been highly debated. It has been documented that formal music training would improve verbal, mathematical or visuospatial performance in children. In the experiments described here, we tested if visual perception and imagery abilities were enhanced in adult musicians compared with nonmusicians. In our main experiment, we measured reaction times of subjects who had to detect on which side of a horizontal or a vertical line a target dot was flashed. In the "imagery" condition the reference line disappeared before the target dot was presented. In order to accomplish the task, subjects had to keep a mental image of the position of the line until the dot appeared. In the "perception" condition, the procedure and stimuli were the same except that the line remained on the screen until the dot was displayed. In both groups, reaction times were shorter for horizontal compared to vertical discrimination, but reaction times were significantly shorter in musicians in all conditions. Moreover, discrimination on the vertical dimension, especially in imaging condition, seemed to be greatly improved on the long term by musical expertise. Simple and choice visual reaction times indicate that this advantage could only be partly explained by better sensorimotor integration in adult musicians.     

In the Anteroom of Divinity: The Reformation of the Angels from Colet to Milton

Abstract

Erasmus censures the musical practice of the medieval Church from ethical and rhetorical perspectives on music, and highlights decorum in delivery at the liturgical performance. His criticism of instrumental music echoes the patristic views of music, which are essentially logocentric and opposed to the use of musical instruments within the Church. The Erasmian ideal of church musicians lies in the classical model of the sacred-musical orator, with great emphasis on musicians’ moral status and intellectual ability. In relation to music (especially the Psalms) in the context of Christian worship, Erasmus regards music as a ‘spiritual sacrifice’ in which leading godly lives is combined with singing hymns and praises.     

Timing in solo and duet piano performances

Perhaps some of the most refined forms of timing arise in musical performance, particularly in the coordination between musicians playing together. Studies of timing in solo and duet piano performances are described, in which the musicians gave repeat performances of the music. In both solo and duet performances there was expressive use of timing, modulating the tempo of the music and the phase relationship between the voices, and the expressive forms were similar in successive performances of the piece. There was also evidence of separate timing control of the metre and of the production of notes and rests. Thus timing in musical performance is best modelled by assuming two levels of timekeeper, one pacing the metre and the other contained in the movement trajectories of note production, computed by motor procedure in relation to the metre. It is argued that expressive forms are derived from an interpretation of the music rather than memorized; and that coordination between voices in the music is achieved at the level of the metre.     

Superior formation of cortical memory traces for melodic patterns in musicians

The human central auditory system has a remarkable ability to establish memory traces for invariant features in the acoustic environment despite continual acoustic variations in the sounds heard. By recording the memory-related mismatch negativity (MMN) component of the auditory electric and magnetic brain responses as well as behavioral performance, we investigated how subjects learn to discriminate changes in a melodic pattern presented at several frequency levels. In addition, we explored whether musical expertise facilitates this learning. Our data show that especially musicians who perform music primarily without a score learn easily to detect contour changes in a melodic pattern presented at variable frequency levels. After learning, their auditory cortex detects these changes even when their attention is directed away from the sounds. The present results thus show that, after perceptual learning during attentive listening has taken place, changes in a highly complex auditory pattern can be detected automatically by the human auditory cortex and, further, that this process is facilitated by musical expertise.     

Examining the relationship between skilled music training and attention

While many aspects of cognition have been investigated in relation to skilled music training, surprisingly little work has examined the connection between music training and attentional abilities. The present study investigated the performance of skilled musicians on cognitively demanding sustained attention tasks, measuring both temporal and visual discrimination over a prolonged duration. Participants with extensive formal music training were found to have superior performance on a temporal discrimination task, but not a visual discrimination task, compared to participants with no music training. In addition, no differences were found between groups in vigilance decrement in either type of task. Although no differences were evident in vigilance per se, the results indicate that performance in an attention-demanding temporal discrimination task was superior in individuals with extensive music training. We speculate that this basic cognitive ability may contribute to advantages that musicians show in other cognitive measures.     

Practice other than playing games apparently has only a modest role in the development of chess expertise

Evidence that chess expertise rests on practice alone mostly comes from studies using a correlational retrospective recall paradigm, which confounds amount of study with number of games played and possible innate talent. Researchers also often use latest performance rating and include participants who play and study little. Study 1 partially replicated such studies with improvements such as use of peak rating and a large, skilled sample. Number of internationally‐rated games played was the strongest predictor of peak rating. Total study hours was a significant but weaker predictor. Study 2 controlled for sampling confounds by including only very well‐practiced players who had played at least 350 internationally‐rated games. Total study hours did not predict rating at 350 games. Study 3 found that the subjective phenomenon of reaching a performance ceiling and undertaking specific practice to get beyond it does occur but does not distinguish between stronger and weaker players. Study 4 found that many players play relatively few internationally‐rated games mostly because of other commitments, such as work and education. Extensive study may go along with great interest in and persistence at chess but apparently lacks a major causative role in chess performance level.     

The Creation Process of Brazilian Musicians

This study investigated the creative process of well‐known musicians in Brasília, Brazil and the conditions that facilitated the development of their creative abilities. A sample of 14 professional musicians (11 composers and 3 performers) participated in semi‐structured interviews to discuss the following topics: musical formation, dedicating time to music, working conditions, creativity in music, the creative process, and the importance of music in their lives. The results indicated that the majority of the musicians view creativity as a complex process supported by many factors, especially the environment. Four stages of the creative process were described by these musicians: process triggering, preparation, product elaboration, and product validation.     

Musicians and tone-language speakers share enhanced brainstem encoding but not perceptual benefits for musical pitch

Behavioral and neurophysiological transfer effects from music experience to language processing are well-established but it is currently unclear whether or not linguistic expertise (e.g., speaking a tone language) benefits music-related processing and its perception. Here, we compare brainstem responses of English-speaking musicians/non-musicians and native speakers of Mandarin Chinese elicited by tuned and detuned musical chords, to determine if enhancements in subcortical processing translate to improvements in the perceptual discrimination of musical pitch. Relative to non-musicians, both musicians and Chinese had stronger brainstem representation of the defining pitches of musical sequences. In contrast, two behavioral pitch discrimination tasks revealed that neither Chinese nor non-musicians were able to discriminate subtle changes in musical pitch with the same accuracy as musicians. Pooled across all listeners, brainstem magnitudes predicted behavioral pitch discrimination performance but considering each group individually, only musicians showed connections between neural and behavioral measures. No brain-behavior correlations were found for tone language speakers or non-musicians. These findings point to a dissociation between subcortical neurophysiological processing and behavioral measures of pitch perception in Chinese listeners. We infer that sensory-level enhancement of musical pitch information yields cognitive-level perceptual benefits only when that information is behaviorally relevant to the listener.