Robert Murillo

Educational Psychology of Music

Dr. Sheri Neill
1/20/16

Theory to Practice:
Ch. 1 (Science and Psychology of Music
Performance)
1. Summary and Purpose
The chapter, Musical Potential, is the opening to Part 1 of The
Developing Musician. Authors Anthony Kemp and Janet Mills present on
the identification of musical potential in young children, discussing
common characteristics and current theories in order to present a wellrounded understanding. In their writing, the main points of focus are
the motivational interest, stimulated environment, behavior, and
personality.
2. Theory and Practice
There are several key researchers that have been drawn from for this
discussion that have weight to the understanding of music learning
and practice. In regards to musical potential, Howe (1990) provides the
understanding that there is more than just the intellectual qualities
that allow for the advanced abilities that come with music playing. In
fact, there is the presence of interest and behavior that create a drive
to musical outlets. Howe continues to cite Shuter-Dyson (1985) whose
research supports the claim of a natural insatiable appetite that tie in
to the combination of particular abilities that exist in a successful
young musician. Additional research from Seashore (1938) also
supports the musical mind as a total personality that functions in a
total situation. This leads to the next major point made by the authors
that emphasize the importance of the musical stimulating and
nurturing environment that is supported by Bloom (1985), Sosniak
(1990), and Sloboda-Howe (1991). There is further elaboration from
Sloboda-Davidson-Howe (1994) about deeply intense musical
experiences in the childhood that are pivotal to a lifelong spark that
heightens enlightened musical awareness such as playing music with
close family members or attending music performances. Walters and
Gardner (1992) take the approach known as the crystallizing
experiences that manifest an immediate change in a child that creates
a powerful recall especially when the child is participating, essentially
being touched by music. The research in regards to personality and

behavior as being a role of music potential is primary to Kemp, himself,

as he presents fresh understanding by discussing the introversion and
sensitivity that is ever present in the practicing musician. Kemp
includes the critical concept of the independent musician that is a
natural inclination for young creative and introverted children to be
allowed to learn their instrument without too much intervention from
parents and teachers. There still needs to be the balanced nurturing
environment that a child needs for positive esteem and support. The
wrap up of the chapter on musical potential delves into the method
and approach to teaching young children, allowing for the natural
musical play and hooked interest to be the driving force that will
eventually lead to a more formalized practice as supported by Sosniak
and Mantuzeska (1990).
3. Professional Experience and Observation
Many of these theories and approaches are a difficult area for teachers
as there is such broad area when it comes to private instruction. For
the private music coach, there is emphasis on the foundation and
routine that a child must develop, often having to leave out some of
the childs personal interest. In defense of this concept, a critical goal
of the music lesson is to teach the whole child and not just how to play,
thus, the need to exposing the student to musical refinement and
appreciation of the art. Nearly all of the major theories presented in
this chapter can be observed in reality such as the supportive parental
role that is essential to the childs success, the emphasis of music
appreciation which adds to the intrinsic motivation needed for learning,
a supportive nurturing from the teacher as well as maintaining a
positive environment, and much more. In the general music classroom,
there is so much play and delight in a social environment from the
musical activities that create many memories and crystallizing
experiences that peak a childs interest for life. The entire curriculum
is solely fueled by motivation and hooking onto the students creative
minds.
4. Music Educator Application
As a music educator, I look forward to synthesizing some of these
concepts from research of these educational professionals. It is already
an incredible amount of work that goes into to teaching music that we
must be able to balance further these modalities of ability, personality,
and musicality. Teachers I have known have always created a unique
curriculum that correspond to their students. It is of great concern that
I am able to continue my own personal approach of allowing students
to discover their love of music, gradually bring about level appropriate
material and techniques that will give them the tools to be
independent musicians. I hold confidence in already upholding a fun,
supportive, and nurturing way of teaching; it is satisfying to know that I
have a maintained well-supported approach that is endorsed by the

researchers in this section. My favorite line of the reading comes from

something that has allowed me to make a sizeable income for years in
private instruction:
Are there a sufficient number of Teachers who are prepared to teach
beginners in this hooked fashion (and) will parents pay for such a
permissive teaching style?