The Cambridge Handbook of Expertise and Expert Performance

The Cambridge Handbook of Expertise and Expert Performance The Cambridge Handbook of Expertise and Expert Performance

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468 the cambridge handbook of expertise and expert performance Csikszentmihalyi, M., Rathunde, K., & Whalen, S. (1993). Talented teenagers: The roots of success or failure. Cambridge: Cambridge University Press. Davidson, J. W., Howe, M. J. A., Moore, D. G., & Sloboda, J. A. (1996). The role of parental influences in the development of musical ability. British Journal of Developmental Psychology, 14, 399–412. Easton, C. (1989). Jacqueline du Pre: A biography. New York: Summit. Elbert, T., Candia, V., Altenmüller, E. O., Rau, H., Sterr, A., Rockstroh, B., Pantev, C., & Taub, E. (1998). Alteration of digital representations in somatosensory cortex in focal hand dystonia. NeuroReport, 9, 3571–3575. Elbert, T., Pantev, C., Wienbruch, C., Rockstroh, B.,&Taub, E. (1995). Increased cortical representation of the fingers of the left hand in string players. Science, 270, 305–307. Ericsson, K. A. (2003). The search for general abilities and basic capacities. In R. J. Sternberg & E. L. Grigorenko (Eds.), The psychology of abilities, competencies, and expertise (pp. 93– 125). Cambridge: Cambridge University Press. Ericsson, K. A., & Crutcher, R. J. (1990). The nature of exceptional performance. In P. B. Baltes, D. L. Featherman, & R. M. Lerner (Eds.), Life-span development and behavior (Vol. 10, pp.187–217). Hillsdale, NJ: Erlbaum. Ericsson, K. A., & Kintsch, W. (1995). Longterm working memory. Psychological Review, 102, 211–245. Ericsson, K. A., Krampe, R. T., & Tesch-Römer, C. (1993). The role of deliberate practice in the acquisition of expert performance. Psychological Review, 100, 363–406. Ericsson, K. A., & Lehmann, A. C. (1996). Expert and exceptional performance: Evidence of maximal adaptations to task constraints. Annual Review of Psychology, 47, 273–305. Farnsworth, P. R. (1969). The social psychology of music. Ames: Iowa University Press. Fitts, P. M., & Posner, M. I. (1967). Human performance. Belmont: Brooks/Cole. Fiz, J. A., Aguilar, J., Carreras, A., Teixido, A., Haro, M., Rodenstein, D., & Morera, J. (1993). Maximum respiratory pressures in trumpet players. Chest, 104, 1203–1204. Galton, F. (1979). Hereditary genius: An inquiry into its laws and consequences. London: Friedman. (Original published 1869.) Gaser, C., & Schlaug, G. (2003). Gray matter differences between musicians and nonmusicians. Annals of the New York Academy of Sciences, 999, 514–517. Gembris, H. (1998). Musikalische Begabung und Entwicklung. [Musical ability and development] Augsburg: Wissner. Goolsby, T. W. (1994). Profiles of processing: Eye movements during sightreading. Music Perception, 12, 97–123. Green, L. (2002). How popular musicians learn. London: Ashgate. Gruber, H., Degner, S., & Lehmann, A. C. (2004). Why do some commit themselves in deliberate practice for many years – and so many do not? Understanding the development of professionalism in music. In M. Radovan & N. Dordević (Eds.), Current issues in adult learning and motivation (pp. 222– 235). Ljubljana: Slovenian Institute for Adult Education. Gruber, H., Weber, A., & Ziegler, A. (1996). Einsatzmöglichkeiten retrospektiver Befragungen bei der Untersuchung des Expertiseerwerbs. [The use of retrospective inquiry in the study of expertise acquisition] In H. Gruber & A. Ziegler (Eds.), Expertiseforschung. Theoretische und methodische Grundlagen (pp. 169–190). Opladen: Westdeutscher Verlag. Gruhn, W., & Rauscher, F. (2002). The neurobiology of music cognition and learning. In R. Colwell & C. Richardson (Eds.), The new handbook of research on music teaching and learning (pp. 445–460). New York: Oxford University Press. Gruson, L. M. (1988). Rehearsal skill and musical competence: Does practice make perfect? In J. A. Sloboda (Ed.), Generative processes in music (pp. 91–112). Oxford: Clarendon. Hallam, S. (1995). Professional musicians’ approaches to the learning and interpretation of music. Psychology of Music, 23, 111–128. Hargreaves, D., Cork, C., & Setton, T. (1991). Cognitive strategies in jazz improvisation: An exploratory study. Canadian Journal of Research in Music Education, 33, 47–54. Hayes, J. R. (1989). The complete problem solver. (2nd ed.). Hillsdale, NJ: Erlbaum. Houtsma, A. J., Durlach, N. I., & Horowitz, D. M. (1987). Comparative learning of pitch and loudness identification. Journal of the Acoustical Society of America, 81, 129–132.

Jørgensen, H. (1997). Time for practising? In H. Jørgensen & A. C. Lehmann (Eds.), Does practice make perfect? (pp. 123–140). Oslo: Norges Musikhogskole. Kauffman, W. H., & Carlsen, J. C. (1989). Memory for intact music works: The importance for musical expertise and retention interval. Psychomusicology, 8, 3–19. Keele, S., Pokorny, R., Corcos, D., & Ivry, R. (1985). Do perception and motor production share a common timing mechanism? Acta Psychologica, 60, 173–193. Kopiez, R. (1998). “Singers are late beginners”: Sängerbiographien aus Sicht der Expertiseforschung. Eine Schwachstellenanalyse. [Singers’ biographies from the perspective of research on expertise. An analysis of weaknesses] In H. Gembris, R. Kraemer, & G. Maas (Eds.), Singen als Gegenstand der Grundlagenforschung (pp. 37–56). Augsburg: Wissner. Kopiez, R., Langner, J., & Steinhagen, P. (1999). Afrikanische Trommler (Ghana) bewerten und spielen europäische Rhythmen African dicummers assess and play European rhythms. Musicae Scientiae, 3, 139–160. Krampe, R. T., & Ericsson, K. A. (1996). Maintaining excellence: Deliberate practice and elite performance in young and older pianists. JEP: General, 125, 331–359. Lehmann, A. C. (1997a). Acquired mental representations in music performance: Anecdotal and preliminary empirical evidence. In H. Jørgensen & A. C. Lehmann (Eds.), Does practice make perfect? (pp. 141–164). Oslo: Norges Musikhogskole. Lehmann, A. C. (1997b). Acquisition of expertise in music: Efficiency of deliberate practice as a moderating variable in accounting for subexpert performance. In I. Deliège & J. A. Sloboda (Eds.), Perception and cognition of music (pp. 161–190). London: Psychology Press. Lehmann, A. C. (2002). Effort and enjoyment in deliberate practice: A research note. In I. M. Hanken, S. G. Nielsen, & M. Nerland (Eds.), Research in and for music education. Festschrift for Harald Jørgensen (pp. 153–166). Oslo: Norwegian Academy of Music. Lehmann, A. C., & Ericsson, K. A. (1996). Music performance without preparation: Structure and acquisition of expert sight-reading. Psychomusicology, 15, 1–29. music 469 Lehmann, A. C., & Ericsson, K. A. (1997). Research on expert performance and deliberate practice: Implications for the education of amateur musicians and music students. Psychomusicology, 16, 40–58. Lehmann, A. C., & Ericsson, K. A. (1998). The historical development of domains of expertise: Performance standards and innovations in music. In A. Steptoe (Ed.), Genius and the mind: Studies of creativity and temperament in the historical record (pp. 64–97). Oxford: Oxford University Press. Lehmann, A. C., & Papousek, S. (2003). Selfreported performance goals predict actual practice behavior among adult piano beginners. In R. Kopiez, A. C. Lehmann, I. Wolther, &C.Wolf (Eds.), Proceedings of the 5th Triennial Conference of the European Society for the Cognitive Sciences of Music (pp. 389– 392). Hannover: University of Music and Drama. Lim, V., & Altenmüller, E. O. (2003). Musicians’ cramp: Instrumental and gender differences. Medical Problems of Performing Artists, 18, 21–27. Mach, E. (1981). Great pianists speak for themselves. London: Robson. Manturzewska, M. (1995). A biographical study of the life-span development of professional musicians. In M. Manturzewska, K. Miklaszewski, & A. Bialkowski (Eds.), Psychology of music today (pp. 311–337). Warsaw: Fryderyk Chopin Music Academy. Matthay, T. (1926). On memorizing and playing from memory and on the laws of practice generally. Oxford: Oxford University Press. McPherson, G. E., & Davidson, J. W. (2002). Musical practice: Mother and child interactions during the first year of learning an instrument. Music Education Research, 4, 141–156. McPherson, G. E., & Zimmerman, B. J. (2002). Self-regulation of musical learning: A social cognitive perspective. In R. Colwell & C. Richardson (Eds.), The new handbook of research on music teaching and learning (pp. 327–347). New York: Oxford University Press. Miller, L. K. (1999). The savant syndrome: Intellectual impairment and exceptional skill. Psychological Bulletin, 125, 31–46. Münte, T. F., Altenmüller, E. O., & Jäncke, L. (2002). The musician’s brain as a model of

468 the cambridge h<strong>and</strong>book <strong>of</strong> expertise <strong>and</strong> expert performance<br />

Csikszentmihalyi, M., Rathunde, K., & Whalen,<br />

S. (1993). Talented teenagers: <strong>The</strong> roots <strong>of</strong> success<br />

or failure. <strong>Cambridge</strong>: <strong>Cambridge</strong> University<br />

Press.<br />

Davidson, J. W., Howe, M. J. A., Moore, D. G.,<br />

& Sloboda, J. A. (1996). <strong>The</strong> role <strong>of</strong> parental<br />

influences in the development <strong>of</strong> musical ability.<br />

British Journal <strong>of</strong> Developmental Psychology,<br />

14, 399–412.<br />

Easton, C. (1989). Jacqueline du Pre: A biography.<br />

New York: Summit.<br />

Elbert, T., C<strong>and</strong>ia, V., Altenmüller, E. O., Rau,<br />

H., Sterr, A., Rockstroh, B., Pantev, C., & Taub,<br />

E. (1998). Alteration <strong>of</strong> digital representations<br />

in somatosensory cortex in focal h<strong>and</strong> dystonia.<br />

NeuroReport, 9, 3571–3575.<br />

Elbert, T., Pantev, C., Wienbruch, C., Rockstroh,<br />

B.,&Taub, E. (1995). Increased cortical representation<br />

<strong>of</strong> the fingers <strong>of</strong> the left h<strong>and</strong> in string<br />

players. Science, 270, 305–307.<br />

Ericsson, K. A. (2003). <strong>The</strong> search for general<br />

abilities <strong>and</strong> basic capacities. In R. J. Sternberg<br />

& E. L. Grigorenko (Eds.), <strong>The</strong> psychology<br />

<strong>of</strong> abilities, competencies, <strong>and</strong> expertise (pp. 93–<br />

125). <strong>Cambridge</strong>: <strong>Cambridge</strong> University Press.<br />

Ericsson, K. A., & Crutcher, R. J. (1990). <strong>The</strong><br />

nature <strong>of</strong> exceptional performance. In P. B.<br />

Baltes, D. L. Featherman, & R. M. Lerner<br />

(Eds.), Life-span development <strong>and</strong> behavior<br />

(Vol. 10, pp.187–217). Hillsdale, NJ: Erlbaum.<br />

Ericsson, K. A., & Kintsch, W. (1995). Longterm<br />

working memory. Psychological Review,<br />

102, 211–245.<br />

Ericsson, K. A., Krampe, R. T., & Tesch-Römer,<br />

C. (1993). <strong>The</strong> role <strong>of</strong> deliberate practice in the<br />

acquisition <strong>of</strong> expert performance. Psychological<br />

Review, 100, 363–406.<br />

Ericsson, K. A., & Lehmann, A. C. (1996).<br />

<strong>Expert</strong> <strong>and</strong> exceptional performance: Evidence<br />

<strong>of</strong> maximal adaptations to task constraints.<br />

Annual Review <strong>of</strong> Psychology, 47, 273–305.<br />

Farnsworth, P. R. (1969). <strong>The</strong> social psychology <strong>of</strong><br />

music. Ames: Iowa University Press.<br />

Fitts, P. M., & Posner, M. I. (1967). Human performance.<br />

Belmont: Brooks/Cole.<br />

Fiz, J. A., Aguilar, J., Carreras, A., Teixido, A.,<br />

Haro, M., Rodenstein, D., & Morera, J. (1993).<br />

Maximum respiratory pressures in trumpet<br />

players. Chest, 104, 1203–1204.<br />

Galton, F. (1979). Hereditary genius: An inquiry<br />

into its laws <strong>and</strong> consequences. London: Friedman.<br />

(Original published 1869.)<br />

Gaser, C., & Schlaug, G. (2003). Gray matter differences<br />

between musicians <strong>and</strong> nonmusicians.<br />

Annals <strong>of</strong> the New York Academy <strong>of</strong> Sciences,<br />

999, 514–517.<br />

Gembris, H. (1998). Musikalische Begabung und<br />

Entwicklung. [Musical ability <strong>and</strong> development]<br />

Augsburg: Wissner.<br />

Goolsby, T. W. (1994). Pr<strong>of</strong>iles <strong>of</strong> processing: Eye<br />

movements during sightreading. Music Perception,<br />

12, 97–123.<br />

Green, L. (2002). How popular musicians learn.<br />

London: Ashgate.<br />

Gruber, H., Degner, S., & Lehmann, A. C.<br />

(2004). Why do some commit themselves<br />

in deliberate practice for many years – <strong>and</strong><br />

so many do not? Underst<strong>and</strong>ing the development<br />

<strong>of</strong> pr<strong>of</strong>essionalism in music. In M.<br />

Radovan & N. Dordević (Eds.), Current issues<br />

in adult learning <strong>and</strong> motivation (pp. 222–<br />

235). Ljubljana: Slovenian Institute for Adult<br />

Education.<br />

Gruber, H., Weber, A., & Ziegler, A. (1996).<br />

Einsatzmöglichkeiten retrospektiver Befragungen<br />

bei der Untersuchung des <strong><strong>Expert</strong>ise</strong>erwerbs.<br />

[<strong>The</strong> use <strong>of</strong> retrospective inquiry in the<br />

study <strong>of</strong> expertise acquisition] In H. Gruber &<br />

A. Ziegler (Eds.), <strong><strong>Expert</strong>ise</strong>forschung. <strong>The</strong>oretische<br />

und methodische Grundlagen (pp. 169–190).<br />

Opladen: Westdeutscher Verlag.<br />

Gruhn, W., & Rauscher, F. (2002). <strong>The</strong> neurobiology<br />

<strong>of</strong> music cognition <strong>and</strong> learning. In R.<br />

Colwell & C. Richardson (Eds.), <strong>The</strong> new h<strong>and</strong>book<br />

<strong>of</strong> research on music teaching <strong>and</strong> learning<br />

(pp. 445–460). New York: Oxford University<br />

Press.<br />

Gruson, L. M. (1988). Rehearsal skill <strong>and</strong> musical<br />

competence: Does practice make perfect?<br />

In J. A. Sloboda (Ed.), Generative processes in<br />

music (pp. 91–112). Oxford: Clarendon.<br />

Hallam, S. (1995). Pr<strong>of</strong>essional musicians’<br />

approaches to the learning <strong>and</strong> interpretation<br />

<strong>of</strong> music. Psychology <strong>of</strong> Music, 23, 111–128.<br />

Hargreaves, D., Cork, C., & Setton, T. (1991).<br />

Cognitive strategies in jazz improvisation:<br />

An exploratory study. Canadian Journal <strong>of</strong><br />

Research in Music Education, 33, 47–54.<br />

Hayes, J. R. (1989). <strong>The</strong> complete problem solver.<br />

(2nd ed.). Hillsdale, NJ: Erlbaum.<br />

Houtsma, A. J., Durlach, N. I., & Horowitz, D. M.<br />

(1987). Comparative learning <strong>of</strong> pitch <strong>and</strong><br />

loudness identification. Journal <strong>of</strong> the Acoustical<br />

Society <strong>of</strong> America, 81, 129–132.

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