Practice
Posted in Cognition, Genetics on November 10th, 2006 by sam – Be the first to commentK. Anders Ericsson studied pianists and violinists in their early 20s at the Music Academy of West Berlin, Germany. He asked the music professors to nominate the best young musicians, those who they thought had the potential for careers as international soloists, as well as others whose potential they regarded as not quite so great, and a third group who were most likely to become music teachers.
The best musicians had simply practiced more across their lives than the next best ones, who in turn had practiced more than the ones likely to become music teachers. Each of the musicians was asked to estimate approximately how many hours a week they had practiced each year since the outset of their musical training, and these estimates yielded cumulative totals of about 10,000 hours for the best musicians, followed by 8,000 for the next best ones and 5,000 for the least accomplished. The musicians also kept diaries for a week, recording their exact amounts of practice, and these yielded comparable differences, suggesting that the retrospective estimates were roughly accurate.
There is now abundant evidence that roughly 10,000 hours of practice is needed to achieve international levels of performance. For instance, it has been estimated that about this many hours of practice is usually completed between the time of first learning the rules of chess and becoming an international master. Ericsson has argued that similar amounts of practice are seen in first-rate sportspeople, writers and scientists.
John Sloboda & Michael Howe at the Unit for the Study of Musical Skill and Development at the University of Keele, England, studied a large number of children between 8 and 18, some of whom were sufficiently good musicians to have won places at a selective music school. The remainder were divided into further groups of differing musical ability, with the least musical group comprising children who had been relatively unsuccessful in learning an instrument, most giving up after less than a year.
Sloboda & Howe asked the students to estimate how many hours of practice per day they had engaged in each year since taking up their instrument, just as Ericsson and his colleagues had done in their study. Since the musicians were regularly taking musical grade exams, Sloboda, Howe and their colleagues were able to use this as a measure of musical progress and could therefore calculate the amount of practice that took place between successive grades. The surprising result was that the most gifted children required just as much practice as the less gifted ones: in fact, if anything, there was a tendency for them to require more. For instance, the most gifted group required on average 971 hours of cumulated practice to reach Grade 4, while a less talented group took 656 hours. The high figure in the former group is boosted by a small number of young people who practiced for exceptionally long periods of time, but even when these individuals are excluded, there is still no evidence that more gifted people can get by on less practice.
“Outstanding Performers: Created, Not Born?” by David R. Shanks



