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The general consensus is that if you want to be a real musician, knowing music theory is a must. People also say that music theory helps us play better be it piano, guitar or any other instrument for that matter.

As an individual who truly wants to be a good home musician, how does music theory actually help reach this goal? Like if we wanted to play a song already on sheet music how does music theory help us then aside from the key signatures and knowing which notes are accidentals?

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When playing an instrument, a musician must be able to create the correct notes through the proper hand motions, whether it be hitting keys, closing valves or using another apparatus to produce sound. In addition, the musician is also required to read the sheet music and follow the conductor.

In the end, one of the most useful benefits of music education is the increased ability to process situations and find solutions mentally. Those with musical training have been found to have higher levels of grey matter volume in their brains, which are directly tied to auditory processing and comprehension.

The benefits of musical education for kids include: It helps students improve there memorization because students are recommended to read music by sight, play the proper notes and sing the right lyrics. The second reason it is good for students is it helps kids with there hand eye coordination. Playing an instrument is very hard because it takes a lot of practicing and hard work to become a good musician and it requires students to read the sheet of music and follow the music conductor. These are my reasons why I think that all schools should teach music.

We compared activation maps of professional and amateur violinists during actual and imagined performance of Mozart's violin concerto in G major (KV216). Execution and imagination of (left hand) fingering movements of the first 16 bars of the concerto were performed. Electromyography (EMG) feedback was used during imagery training to avoid actual movement execution and EMG recording was employed during the scanning of both executed and imagined musical performances. We observed that professional musicians generated higher EMG amplitudes during movement execution and showed focused cerebral activations in the contralateral primary sensorimotor cortex, the bilateral superior parietal lobes, and the ipsilateral anterior cerebellar hemisphere. The finding that professionals exhibited higher activity of the right primary auditory cortex during execution may reflect an increased strength of audio-motor associative connectivity. It appears that during execution of musical sequences in professionals, a higher economy of motor areas frees resources for increased connectivity between the finger sequences and auditory as well as somatosensory loops, which may account for the superior musical performance. Professionals also demonstrated more focused activation patterns during imagined musical performance. However, the auditory-motor loop was not involved during imagined performances in either musician group. It seems that the motor and auditory systems are coactivated as a consequence of musical training but only if one system (motor or auditory) becomes activated by actual movement execution or live musical auditory stimuli.

About ten years ago, I was startled by a headline that, in essence, said if you wanted a spouse or friend who picked up your most subtle emotional cues, find a musician. Intrigued, I tracked down the research behind the article and discovered the work of Dr. Nina Kraus, Director of the Auditory Neuroscience Lab (Brainvolts) at Northwestern University.

The Lab was already known at that time for its work on the neurobiology of music and speech perception (see previous post). This particular study found that, not only were musicians better able to process the emotion in sound than non-musicians, but the ability was directly related to the number of years of experience of the musician and the age at which he/she began to study.

Whatever the structure or harmonic content of a piece of music, musicians performing that piece practice to convey emotion (or not) through such means as subtle changes in timing (e.g., rubato), volume, or timbre (e.g., use of the una corda, sostenuto and damper pedals for a pianist, use of mutes for string or brass players). So it would seem to make sense that they might be more attuned to emotion in sound.

The auditory brainstem is a kind of hub where the electrical signal coming from the inner ear is integrated with signals coming from the cerebral cortex where higher order brain processes that have been influenced by experience or learning occur, processes such as memory and attention (such as the attention that musicians give to the emotional aspects of the music they are playing). This integration shapes the ultimate signal that we perceive as sound.

Years and years ago, nothing made me more nervous than the idea of telling someone that I played a musical instrument. Sure, I tinkered around at home and could maybe play a few bars of the last song I learned, but I certainly wouldn't consider myself a musician. I'd dabbled in lessons off and on, and eventually get bored, or feel like I wasn't making forward progress, and so I'd stop for a while. Maybe once a month I'd hear a song and think "I should learn to play that!", have a spark of motivation, but that would quickly fade.

Ok, so now, thanks to my timer, I knew I was spending the total time I intended to while practicing. But, I still had another problem - I would spend the majority of my practice session playing something easy and fun, instead of learning something new. This isn't necessarily a problem for everyone! If your goal is to just be able to enjoy yourself and you're happy with what you're playing, awesome! But for me, I wanted to learn new things - long term, I wanted to be a better musician.

To solve this, I started tracking my repertoire of known songs, and each practice session, I would spend part of the time looking through the repertoire and finding a song that I didn't remember very well. I'd do this towards the end of my session - after working on new songs, but before my "rock out" time, and I started experiencing the joy of being able to pick up those songs very quickly again, and even see how my general musicianship would affect how I would play them.

At this point, I felt like I had a pretty good system going! My practice time was higher, I was learning more, and learning faster, and I had songs I could draw upon and refresh myself on rather quickly. But, I still had to tackle that last problem.

By tracking my practice, I went from someone who didn't feel worth of the title of musician because of my poor practice habits to someone who now has a steady, regimented approach to practicing, and has become a far better musician as a result. I've been able to learn theory a bit at a time. I've been able to pick up songs much faster. I've become a multi-instrumentalist, and I feel generally confident that I can talk the talk and walk the walk of music - even though it continues to be a wonderful lifelong journey.

Since building tuneUPGRADE and using it to track my practice, I've become a better pianist, and went from knowing nearly nothing about guitar to becoming a fairly proficient guitarist in just a few years. I've written and recorded fun songs for my friends, and feel comfortable sitting down and playing something on demand for anyone who asks. In short, tracking my practice was the best way for me to learn faster, more effectively, and consistently to be able actually feel like I could call myself a musician.

Aiming to test the hypothesis that long-term musical practice is associated with improved cognitive abilities in adulthood, we assessed intelligence and executive functions of adults with different levels of musical expertise while controlling for background variables such as socio-economic status (SES), age, years of education and personality traits. Differently from previous studies (Brandler and Rammsayer, 2003; Helmbold et al., 2005; Schellenberg and Moreno, 2010; Swaminathan et al., 2017), we adopted the Wechsler Adult Intelligence Scale III (WAIS-III) as intelligence test. WAIS belongs to the family of Wechsler tests, the most used to assess intelligence in the psychological literature (Weiss et al., 2016). To investigate executive functions, we used the Wechsler Memory Scale III (WMS-III) for WM and the Stroop test for selective attention, cognitive flexibility and processing speed. Lastly, personality was assessed by administering participants with the Big Five Inventory questionnaire (BFI) as it was previously done in Corrigall et al. (2013) and in Corrigall and Schellenberg (2015). Our sample includes 101 highly educated Finnish adults (representative of the high education level in Finland; oecd.org) with a mean IQ higher than the average Finnish population [comparing the individual scores with the WAIS norms; (Wechsler, 1997a)].

Before testing for group differences in cognitive abilities along musicianship, we controlled that there were no significant group differences in background variables. Therefore, two regression models were performed: the first includes background variables of age, years of general education, SES, personality traits variables and years of music playing as predictors of musicianship (classification in non-musicians, amateurs, and musicians); the second model was performed for amateurs and musicians only and included music-background variables such as onset of musical training and musical practice, average of weekly hours spent in practicing and on listening to music, together with years of music playing as predictors of musicianship. By doing so, we obtained the relative contribution of each variable in predicting group differences when holding constant the others.

Post hoc tests controlled by Bonferroni correction reported significantly higher values in favor of musicians as opposed to non-musicians for all the different tests: FSIQ (p = 0.018), WMI (p = 0.018), Stroop (p = 0.001), and VIQ (p = 0.030) as provided in Table 4. In turn, amateurs did not differ significantly from musicians and non-musicians in either of tests. e24fc04721