On Motor Learning (Learned Movement)

In the previous posts I've shared the keys to a successful learning process: a desire to pay attention, willingness to expend effort to do so, setting achievable goals to boost motivation. Given that music learning almost always involves a partnership, the following question arise: If these are the necessary traits in a learner, what must the music teacher possess in order to be successful?

The traditional emphasis in teacher training is on Knowledge, what the teacher knows. Schools looking to hire teachers typically prioritize the teacher with the highest level and quality of knowledge. But in music education teacher's qualifications & accomplishments do not guarantee the best teacher. What you know matters less than how you explain what you know. Of course possessing knowledge in the first place is an absolute prerequisite, however a teacher's knowledge has little value to a learner if the teacher cannot find a way into the learner's mind. There's a saying "teaching depends on what other people think, not what you think."

The Question is How, not just What

The successful transfer of any physical technique from teacher to student, no matter what form: martial arts, athletics, dance, or piano, ultimately relies on the ability to impose a motor skill from teacher to student. But what teachers know about fingering, stance, form, or breathing techniques doesn't guarantee that they will be able to successfully give it to students. The more expert motor performers become at their craft, the worse they could become at passing it on. This inverse relationship is known as the "curse of knowledge or expertise". A beginning musician in the early phase of this relationship may vaguely understand what needs to be done, yet doesn't know how. A master musician's handling of the instrument comes naturally, but unless he can empathize with the beginner and put himself in the student's mindset, he will struggle to teach the how, the student will therefore fail to learn. It would be the teacher's responsibility, not due to student's lack of talent.

Teachers are also lifelong learners, by focusing on How they deconstruct their knowledge into easy to understand concepts also helps reinforcing & accumulating teaching knowledge for himself while translating it for student's consumption.

Definition of Motor Learning

The field dedicated to understanding how movement is learned is called motor learning. Although the majority of research in this field are carried out on sports, motor learning is also a crucial part of hardwiring technique of any music instrument into the brain. Exposure and simple experience are not learning. Motor learning must be learned by doing through trial and error, can only be truly learned through repeated practice. According to Lyn Helding "it is defined as a process that is inferred rather than directly observed that leads to permanent changes in physical habit as the result of practice." The acquisition and retention of physical skills occurs over a dimension of time. Progress doesn't happen all at once but over a period of time measured in hours, days, weeks, months, and years. The dimension of time is a key aspect of motor learning, what is developed is not only a neural pathway in the brain but the flexibility and dexterity of muscle memory in our hands, along with solid habits of the mind. That's what makes learning music and performance an integration of mind body & spirit. There is no other ways except just doing it. Changes & improvement in habit can only be acquired through practice, not thinking about doing.

Apart from being a teacher of piano, I am also a beginner learner of Chinese Martial Arts - Wing Chun. What the art teaches me is invaluable, and what I've learned from the art also applies to piano playing. Practising the art requires complete focus of the body, posture and maintaining awareness. I was so hard and stiff when I first learned the 1st Form, it requires repeated practice with focus on loosening up the flexibility and staying relaxed, just like sitting on the piano. One of the key insights that Sifu told us repeatedly is "learning how to learn". To always be aware of what our body is feeling and doing. To have a clear intention with eyes on the opponent, the Yi of where our punch is directed at, to execute decisively without compromising power for speed. To constantly ask ourselves Why & How we're doing the movement in the moment. As we spend a significant amount of time practising on our own on a daily basis, just like practising piano; it's worth remembering that the best teacher lies within oneself before the learner seeks for external guidance.