Does where you focus your attention have an impact on how well you do at a skill, either in practice or performance? To sum up these videos in one word: YES!

Part I: Background research on the power of attentional focus

Part II: Applying this to musicians and people at different skill levels

Part III: Implications for teaching and practicing

Papers cited in this video:

Wulf, G., Höß, M., & Prinz, W. (1998). Instructions for motor learning: Differential effects of internal versus external focus of attention. Journal of motor behavior, 30(2), 169-179.

Wulf, G., Lauterbach, B., & Toole, T. (1999). The learning advantages of an external focus of attention in golf. Research quarterly for exercise and sport, 70(2), 120-126.

Zarghami, M., Saemi, E., & Fathi, I. (2012). External focus of attention enhances discus throwing performance. Kinesiology, 44(1.), 47-51.

Zachry, T., Wulf, G., Mercer, J., & Bezodis, N. (2005). Increased movement accuracy and reduced EMG activity as the result of adopting an external focus of attention. Brain research bulletin, 67(4), 304-309.

Schücker, L., Hagemann, N., Strauss, B., & Völker, K. (2009). The effect of attentional focus on running economy. Journal of sports sciences, 27(12), 1241-1248.

Wulf, G., McNevin, N., & Shea, C. H. (2001). The automaticity of complex motor skill learning as a function of attentional focus. The Quarterly Journal of Experimental Psychology Section A, 54(4), 1143-1154.

Lohse, K. R., Sherwood, D. E., & Healy, A. F. (2010). How changing the focus of attention affects performance, kinematics, and electromyography in dart throwing. Human movement science, 29(4), 542-555.

Wulf, G., Dufek, J. S., Lozano, L., & Pettigrew, C. (2010). Increased jump height and reduced EMG activity with an external focus. Human movement science, 29(3), 440-448.

Wulf, G., McNevin, N. H., Fuchs, T., Ritter, F., & Toole, T. (2000). Attentional focus in complex skill learning. Research quarterly for exercise and sport, 71(3), 229-239.

A little bit on my background:

I attended Oberlin College and Conservatory as an undergraduate, double majoring in viola performance and neuroscience. The neuroscience was just for fun (truly!) and I had no plans to continue with it after I graduated. But when I got to New England Conservatory for my masters in viola performance, I realized something was missing. After my roommate came home from being a subject in a study at Harvard looking at musicians’ versus non-musicians’ brains, I realized I had to be a double degree student my whole life. So at NEC, I did a number of independent studies looking at topics having to do with music and the brain, as well as working for Dr. Mark Tramo, the director of the Institute for Music and Brain Science, at that time at Harvard (now at UCLA). After NEC, I attended the Shepherd School of Music at Rice University for my DMA in viola performance. While there, I took graduate-level neuroscience classes nearly every semester, I worked in a lab for a long time, I was the assistant director for two interdisciplinary symposia on music and the brain, and I developed and taught a class on music and the brain. Since that time, I have published several articles in both music and scientific journals on music and the brain (many of which you can access on my website: https://mollygebrian.com/writing/) and give presentations on the topic regularly at conferences, universities, and schools around the world. For five years, I taught viola at the University of Wisconsin-Eau Claire, where I also taught an honors course on music and the brain. Now, I teach viola at the University of Arizona, where I also continue to investigate aspects of the cognitive neuroscience of music.

Are exact repetitions the best way to practice? This 3-part series explains why doing exact repetitions may not be the best way the practice (but also why doing variable practice isn't always the best either!) and gives practical ideas for incorporating this into your practice.

Part I: What is variable practice and what is the research behind it?

Part II: A look at when to use variable practice (and when not to use it)

Part III: Practical ideas for using this in the practice room

Here is the video on random practicing I mention in this video

Papers cited in this video:

Schöllhorn, W. I. (2000). Applications of systems dynamic principles to technique and strength training. Acta Academiae Olympiquae Estoniae, 8, 67-85.

Kerr, R., & Booth, B. (1978). Specific and varied practice of motor skill. Perceptual and motor skills, 46(2), 395-401.

Wulf, G. (1991). The effect of type of practice on motor learning in children. Applied Cognitive Psychology, 5(2), 123-134.

Douvis, S. J. (2005). Variable practice in learning the forehand drive in tennis. Perceptual and motor skills, 101(2), 531-545.

Willey, C. R., & Liu, Z. (2018). Long-term motor learning: Effects of varied and specific practice. Vision research, 152, 10-16.

Landin, D. K., Hebert, E. P., & Fairweather, M. (1993). The effects of variable practice on the performance of a basketball skill. Research quarterly for exercise and sport, 64(2), 232-237.

A little bit on my background:

I attended Oberlin College and Conservatory as an undergraduate, double majoring in viola performance and neuroscience. The neuroscience was just for fun (truly!) and I had no plans to continue with it after I graduated. But when I got to New England Conservatory for my masters in viola performance, I realized something was missing. After my roommate came home from being a subject in a study at Harvard looking at musicians’ versus non-musicians’ brains, I realized I had to be a double degree student my whole life. So at NEC, I did a number of independent studies looking at topics having to do with music and the brain, as well as working for Dr. Mark Tramo, the director of the Institute for Music and Brain Science, at that time at Harvard (now at UCLA). After NEC, I attended the Shepherd School of Music at Rice University for my DMA in viola performance. While there, I took graduate-level neuroscience classes nearly every semester, I worked in a lab for a long time, I was the assistant director for two interdisciplinary symposia on music and the brain, and I developed and taught a class on music and the brain. Since that time, I have published several articles in both music and scientific journals on music and the brain (many of which you can access on my website: https://mollygebrian.com/writing/) and give presentations on the topic regularly at conferences, universities, and schools around the world. For five years, I taught viola at the University of Wisconsin-Eau Claire, where I also taught an honors course on music and the brain. Now, I teach viola at the University of Arizona, where I also continue to investigate aspects of the cognitive neuroscience of music.

View Summary Sheet

This video introduces the research on spaced practicing and illustrates how taking breaks can help you learn faster.

Part II explains WHY taking breaks leads to faster, better learning

Part III gives practical advice on how to use this research in your own practicing

Papers cited in this video:

-Boettcher, M., Boettcher, J., Mietzsch, S., Krebs, T., Bergholz, R., & Reinshagen, K. (2018). The spaced learning concept significantly improves training for laparoscopic suturing: a pilot randomized controlled study. Surgical endoscopy, 32(1), 154-159.

-Moulton, C. A. E., Dubrowski, A., MacRae, H., Graham, B., Grober, E., & Reznick, R. (2006). Teaching surgical skills: what kind of practice makes perfect?: a randomized, controlled trial. Annals of surgery, 244(3), 400.

-Spruit, E. N., Band, G. P., & Hamming, J. F. (2015). Increasing efficiency of surgical training: effects of spacing practice on skill acquisition and retention in laparoscopy training. Surgical endoscopy, 29(8), 2235-2243.

Other videos on the neuroscience of practicing:

What Musicians Can Learn About Practicing from Current Brain Research

The Neuroscience of Performing from Memory

How To Practice to Increase Speed

A little bit on my background:

I attended Oberlin College and Conservatory as an undergraduate, double majoring in viola performance and neuroscience. The neuroscience was just for fun (truly!) and I had no plans to continue with it after I graduated. But when I got to New England Conservatory for my masters in viola performance, I realized something was missing. After my roommate came home from being a subject in a study at Harvard looking at musicians’ versus non-musicians’ brains, I realized I had to be a double degree student my whole life. So at NEC, I did a number of independent studies looking at topics having to do with music and the brain, as well as working for Dr. Mark Tramo, the director of the Institute for Music and Brain Science, at that time at Harvard (now at UCLA). After NEC, I attended the Shepherd School of Music at Rice University for my DMA in viola performance. While there, I took graduate-level neuroscience classes nearly every semester, I worked in a lab for a long time, I was the assistant director for two interdisciplinary symposia on music and the brain, and I developed and taught a class on music and the brain. Since that time, I have published several articles in both music and scientific journals on music and the brain (many of which you can access on my website: https://mollygebrian.com/writing/) and give presentations on the topic regularly at conferences, universities, and schools around the world. For five years, I taught viola at the University of Wisconsin-Eau Claire, where I also taught an honors course on music and the brain. Now, I teach viola at the University of Arizona, where I also continue to investigate aspects of the cognitive neuroscience of music.