| Project/Area Number |
15500168
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| Research Category |
Grant-in-Aid for Scientific Research (C)
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| Allocation Type | Single-year Grants |
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| Section | 一般 |
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| Research Field |
Cognitive science
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| Research Institution | Niigata University |
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Principal Investigator |
OURA Yoko Niigata University, Institute of Humanities, Social Sciences and Education, Professor, 人文社会・教育科学系, 教授 (40092671)
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| Co-Investigator(Kenkyū-buntansha) |
MORISHITA Shuji Niigata University, Institute of Humanities, Social Sciences and Education, Associate Professor, 人文社会・教育科学系, 助教授 (80323947)
波多野 誼余夫 放送大学, 教育学部, 教授 (60049575)
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| Project Period (FY) |
2003 – 2006
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| Project Status |
Completed (Fiscal Year 2006)
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| Budget Amount *help |
¥3,800,000 (Direct Cost: ¥3,800,000)
Fiscal Year 2006: ¥600,000 (Direct Cost: ¥600,000)
Fiscal Year 2005: ¥500,000 (Direct Cost: ¥500,000)
Fiscal Year 2004: ¥700,000 (Direct Cost: ¥700,000)
Fiscal Year 2003: ¥2,000,000 (Direct Cost: ¥2,000,000)
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| Keywords | musical performance / expertise / mental model / strategy of exercise / 認知心理学 / 合奏 |
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| Research Abstract |
This research is about construction and use of mental models of other people in performing a musical piece, focusing (1) how mental models of the audience develop in the course of expertise, (2) how the audience in the mind constrain a pianist's performance, and (3) what kind of training is effective to improve the reflective attitude toward practice. Main findings were as follows. (1) When practicing a piece of music, junior expert college students listened to and checked their own performances reflectively from an audience's perspective, although novices did not do so. (2) Two concert class pianists, being asked to render two pieces of music under two virtual situations (giving encores at a recital and performing at a birthday party for kindergartners), were found to tune their performances to imagined different audiences, although they did not consciously change them. (3) When junior expert college students were asked to accompany a cellist reproduced on a screen, someone could do better than the other from the first trial. Poor accompanists were found to have a difficulty in improving their performances. At an interview after the experiment, poor accompanists said that it was hard to catch what the cellist wanted to say. A good accompanist, however, said that the cellist was so skillful to convey his musical idea that she could easily keep time with his performance, suggesting that she could construct and use a mental model of the cellist effectively but the poor accompanists could not do so. (4) Score of the reflective attitude toward practice was improved by giving an instruction to give attention to several structural characteristics of a musical piece.
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