Abstract
This chapter presents a basic overview of Bernsteinian motor control theory, with particular reference to the performance of classical music. Key points include contrasts with Pavlovian approaches, the interdependence of action and perception, the centrality of goals and intentions, the role of repetition, and the nature of dexterity. Specific applications to motor training for musicians are sketched.
This paper is a revised (and condensed) version of [1].
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Notes
- 1.
More detail about Bernstein’s sister-in-law Tatiana Popova is found in the chapter by V.L. Talis, this volume.
- 2.
Clear examples of reactive and anticipatory adjustments are discussed in [5].
- 3.
Biesenbender similarly emphasizes learning through improvisation and the leading role of hearing, and he is also critical of pedagogy that relies excessively on static repetition [10].
References
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Bernstein, N.A., Popowa, T.: Untersuchung über die Biodynamik des Klavieranschlags. Arbeitsphysiologie 1, 396–432 (1929)
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Biesenbender, V.: Ein Plädoyer für improvisatorisches Lernen. Schweizer musikpedagogische Blätter 79, 28–39 (1991)
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Ito, J.P. (2015). Repetition Without Repetition: How Bernstein Illumines Motor Skill in Music Performance. In: Nadin, M. (eds) Anticipation: Learning from the Past. Cognitive Systems Monographs, vol 25. Springer, Cham. https://doi.org/10.1007/978-3-319-19446-2_14
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DOI: https://doi.org/10.1007/978-3-319-19446-2_14
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