Page 38 - How to Shine on Stage

versa, additionally, Gordon and Martin (1993) write that playing in
tempo is the most important aspect of musical performance.
3. kinaesthetic (motor) abilities.
4. aesthetic skills, which are a very important predictor of musical
achievement and represent the ability to repeat expressive elements
after the teacher.
5. creative abilities, which are divided into convergent (the ability to
36 recognize rhythmic and tonal patterns and musical syntax) and di-
vergent (fluency, flexibility, originality); children who hear the mu-
sic inside them need less physical presence of sound when compos-
ing (audiation is positively related to the development of ideas and
to silence).
How to Shine on Stage ple intelligences (1995), which defines musical intelligence as a distinct,
An interesting educational perspective is Gardner’s theory of multi-

independent ability. Gardner makes a case for the existence of musical
intelligence, but is still vague about its structure. His research findings
suggest that musical intelligence is also associated with general intelli-
gence, verbal intelligence, spatial intelligence, logical-mathematical in-
telligence, and emotional intelligence.
The section on musical abilities implies that these form the baseline
for successful musical performance. Thus, Boyle (1992) states that mu-
sical achievement is the result of musical abilities, external factors, and
personal interest. Performance is influenced by primary abilities (sen-
sitivity to pitch, intensity, tone duration) as well as secondary abilities
(intelligence, self-beliefs, temperament, persistence) (Schön, 1983). An
increasing amount of research is confirming that musical ability is an
innate capacity for learning music, specifically for the development of
musical skills (Gardner, 1995; Gordon, 1979; Mehr et al., 2013; Shut-
er-Dyson, 1985; Trehub, 1993), which is also confirmed by neuroscience
(Tan et al., 2014). According to Gordon (1990), predictors of children’s
achievements are their aesthetic abilities, manifested as the ability to re-
produce expressive elements after the teacher, which Gordon classifies
among the specific musical abilities.

2.1.1.2 From Musical Giftedness to Musical Talent
In Slovenia it is Bojan Kovačič who explores the depth of musical gift-
edness and musical talent. The latter (2016) defines musical talent as a
multidimensional concept including six factors: non-musical characteris-
tics, musical abilities, musical knowledge, musical performance, musical