Focus of Attention in Music

Many professional, semi-professional and amateur musicians regularly experience moments during practice or on stage when their attention is not consciously focused on relevant aspects of their performance before and during playing – and this can then have a negative impact on their performance or lead to more music performance anxiety (MPA). In this context, the question arises as to which aspects musicians should consciously focus on in order to practice and perform on stage in a successful, self-efficient and healthy way.

For over 20 years, research in sport has used an established experimental attention paradigm in this regard, which uses slightly modified verbal instructions to direct attention either to internal processes that focus on the body or, in the other case, to external processes that focus on the target of movements (internal vs. external focus). The results of many studies involving simple, complex and sport-specific movements show a positive effect when performers adopt an external focus, e.g. focusing on the dartboard instead of their own throwing hand when throwing a dart, or focusing on the basket and not their own throwing arm when throwing a basketball.

Various research projects from the fields of music education, music psychology and music physiology have attempted to transfer this paradigm to musical performance due to its promising effects on movement performance in sport. However, there are far fewer experimental studies and very contradictory results, as well as no music-specific theoretical model to which any results can be referred to. Although movements, motor processes and movement learning phases play a decisive role in the practice and performance of music, there are many other music-relevant mechanisms of sensorimotor synchronization, multimodal (e.g. audio-visual-tactile) integration and musical communication that have not yet been considered in the application of experimental paradigms. In addition, it is still unclear which parameters can be used to validly measure musical performance – and thus also the effects of different attentional focuses.

The abbreviation FOAM stands for Focus of attention in music.

The project presented on these pages firstly uses explorative studies to show the music-specific problem of a goal-oriented attentional focus for musicians and furthermore investigates the extent to which there are certain focus patterns or focus categories that are shared by different musicians. – Project phase 1 (finding focus)

Subsequently, the effects of different attentional focus instructions on musical performance and health aspects will be tested through innovative and consecutive experimental studies. – Project phase 2 (focus effects)

Finally, the question is to what extent an advantageous focus of attention can be learned or trained in different musical practice and performance situations for both amateur and professional musicians. – Project phase 3 (focus learning)

Based on the results, it is possible to derive pedagogical implications from the findings, which could be useful for both the practical work of musicians and teachers. In addition, the aim of the FOAM project is to lay the basics for further research within the field of performance studies.

The Baden-Württemberg Stiftung was established in 2000 and is one of the largest operating foundations in Germany. As an independent and non-partisan foundation of the state, it is particularly committed to the people of Baden-Württemberg. With a clear mission and a clear attitude, it shapes change – in society and culture, in education and in cutting-edge research. For a common future that is not based on the “I” but on the “we”. The Baden-Württemberg Stiftung is committed to a vibrant civil society and promotes social and cultural participation. With ideas and investments in education, science and culture, it is committed to creating a sustainable Baden-Württemberg worth living in.

Further information on the Baden-Württemberg Foundation can be found on its website.