Musicians’ understanding of non-verbal communication

“One of the most interesting characteristics of musicians is their need to precisely anticipate not only what is going to happen, but when.

As a reader anticipates the words whilst reading, so a musician anticipates another musician to play together.

Think for example of a string quartet. When the first violin “gives the signal” to begin, the the rest of the group will have a small natural delay of around 10 milliseconds. Moreover, during the performance, their synchronisation improves.

This ability of anticipation and coordination is absolutely extraordinary, even more so if we consider that it’s not just about playing a note together, but also playing it appropriately, with the right expression which is also dependent on the changing context.”*

How does this happen?

Our auditory system is able to synchronise with the temporal structure of the music stimulus, due to its rhythm and regularity.

Not only this but also other areas of our brain synchronise with the music, especially our motor system.

A musician, learning to play with another literally learns how to “read” other musicians during a performance, recognising their littlest movements, their way of breathing and feeling the sounds of the music.

“It is important to remember that, despite someones age, the practice of music seems to facilitate:

1. the creation of a coherent relationships between the external world and brain activity

2. the communication between the different regions of the brain.

The consequence of the first aspect is to allow a more precise interpretation of the outside world, in particular, the world of sound.

The consequence of the second aspect is more far-reaching, considering that cognition, in general, seems to depend on the good communication skills of different brain regions, like a successful organistaion benefits from good communication throughout its workforce.

Beyond our current knowledge, a combination of these two aspects could be that the practice of music facilitates a common vision of the world around us, through a better synchronization of the brain activities of different individuals, and a better sharing of reality.”*

*D. Schön, “Il cervello musicale. Il mistero svelato di Orfeo”, Il Mulino 2018

Improvisation with a 15 years old student

When I arrived in the UK I had to change completely my way of teaching piano.
My students basically don’t practice piano in between the classes, especially teenagers. I don’t assign them “homework” because they barely have the time to relax: English school keeps them really really busy. But they love music, they love to express themselves through it and eventually they learn how to play by composing their own pieces or improvising, even when they are really young – not repeating the same pieces for months.
I enjoy teaching piano a lot more now and while I help them to discover their creativity I also rediscover mine (which has been forgotten for so looooong after 17years of Conservatoire in Italy).

Here, me and my 15 years old student, improvising on a Christopher Norton piece.
Thank you, music.