The

Ecosystem of
Learning
Music
and anything else

Gregg Goodhart
The Learning Coach

ggoodhart.com
www.ggoodhart.com
[email protected]

The Learning Coach @Gregg_Goodhart

I. The Surprising and Unique Usefulness of Teaching The Arts. 2

II. Teachers are Brain Surgeons, Literally 3

III. Learning Happens in Your Brain 3

IV. Deliberate Practice 6

V. Varied Repetition 8

VI. Talent is Overrated 12

VII. Self-Control 13

VIII. Habit Pattern Development 14

IX. Mindset 15

X. Real Accomplishment as Motivator 16

XI. Teaching Creativity 16

XII. Recommended Books 19

XIII. Bibliography 22

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 The Surprising and Unique Usefulness of Teaching The Arts
• There are no B+’s in arts education, yet they are celebrated in academics. There is
something wrong here.
• It is interesting (to note) that if we got our dry cleaning back with 89% of the stains
out, or our Happy Meal missing 11% of what we paid for we would find that
unacceptable, yet we can consider that a successful level of competence in other
areas. The goal of all learning is competent performance, and music shows us how to
teach it. (Goodhart 2016)
o Why Music Education Matters in Academics: It May Not Be What You Think.
(Goodhart 2014)
• Imagine a 90-minute play or music performance in which 11% (10 full minutes)
were unintended (mistakes). That is not 10 mistakes, but 10 full minutes of them.
Imagine visual art with 11 percent that was not at all what the artist intended. (I’m
looking at you Jackson Pollock!)
o Why A is not Enough https://youtu.be/KpyzGO2aQzE?t=20 -2:30
• Arts teachers must, as a normal part of their jobs to be considered ‘good,’ get all of
their performing students to about 98% or better. The really good ones get very
close to 100%. I taught music successfully for 13 years at the high school level. It is a
common myth that arts teachers at the pre-college level seek out ‘talented’ students,
or identify them in their classes, and then develop them. What we do is take anyone
and everyone and know that if they will follow our directions (the learning process
in its purest form) they will get good.
o The goal of all learning is performance
§ Are we starting to see the bigger picture here?
• It is interesting that if we got our dry cleaning back with 89% of the stains out, or
our Happy Meal missing 11% of what we paid for we would find that unacceptable,
yet we can consider that a successful level of competence in other areas. The goal of
all learning is competent performance, and music shows us how to teach it. A grade
of 98% or better in learning basic skill elements in any subject is competence, not
excellence.
• Because of this arts teachers, as a natural course of doing their jobs over the last few
centuries, have had to learn the essence of the learning process and immerse
students within it, literally rewiring the brain physically and functionally. This
process has been around as long as humanity, and is responsible for all great human
achievement from the Renaissance (the apprenticeship model is excellent for
developing mastery) to Beethoven’s symphonies and Jimi Hendrix’ guitar work
(Goodhart 2016)
• Newer research has begun to enlighten us as to what is going on neurobiologically
in arts instruction that serves this.
• “Improved Effectiveness of Performance Monitoring in Amateur Instrumental
Musicians.”
o “. . .for present purposes, higher levels of musical practice were also
associated with a better engagement of cognitive control processes, as
indicated by more efficient error and conflict detection. . .and reduced post-
error interference and post-conflict processing adjustments.” (Jentzsch, et
al.)
§ To put it another way it trains the brain to search for areas of error,
is able to maintain focus instead of giving in to frustration, and then
make adjustments based on finding those errors over and over as
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 one works. I believe we teachers have a word for that – learning.
That is how learning works for any subject, any skill, anything. The
more you do of it the better, smarter, faster you get.
• It turns out that high efficiency learning does not work the way most people think it
does ( is it any wonder we’ve been trying to ‘fix’ our school system for over half a
century?)
• Let’s knock out one basic misunderstanding. Just the tip of the iceberg.
o Do we really only use 10% of our brains (see next page)?
• So then what is it, what is the difference? Process over content. How do we
understand the essence of what we do to teach students to apply this everywhere,
and even teach our academic colleagues how to get results more like ours!

Teachers are Brain Surgeons, Literally

Webster online
Full Definition of surgery
plural surgeries
1: a branch of medicine concerned with diseases and conditions requiring or
amenable to operative or manual procedures.
• We are literally brain surgeons. While it is quicker with a scalpel, we use cognition
to change student’s brains and we do it in very specific ways depending on the
subject.
• We know how to build our biceps, and are not surprised when they get bigger with
exercise.
• It just takes a long time for the necessary large-scale neurobiological changes to
occur. We easily accept this with our bodies. If someone decides to start working out
and eating well we know that, over time, their body will gradually change. Even if
they are very dedicated we know there will be little change in a few weeks.
• And that is just normal everyday life. Think about the level of training needed for the
different levels of athletics. Now think of the cognitive training beyond regular
competence for high educational performance.
o BTW this is the exact model we use for giftedness education. Why should
this be special?
o Neuroplasticity

Learning Happens in Your Brain

• Neuroscience has improved dramatically over the last 30 years. The advent, and
more importantly improvement, of fMRI (Functional Magnetic Resonance Imaging)
as well as other diagnostic tools have pushed the field forward at an astonishing
rate.
• Everybody has some of this, the great teachers have most of it, but few know the
terms and how these concepts are organized as part of a larger model. This is
because the research has only recently been disseminated and those of us who teach
are, understandably, very far removed from the field of cognitive and behavioral
psychology and neuroscience.

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• Neuromyth
o “The popularization of neuroscientific ideas about learning – sometimes
legitimate, sometimes merely commercial – poses a real challenge for
classroom teachers who want to understand how children learn. Until
teacher preparation programs are reconceived to incorporate relevant
research from the nuro and cognitive sciences, teachers need translation.. . .
Meanwhile, the success of our schools will continue to be narrowly defined
by achievement standards that ignore knowledge of the neural and cognitive
processes of learning. . .these naïve misinterpretations of science have
spread throughout the folk psychology of educators in recent years. . .The
problems facing scientists and teachers are only exacerbated by the popular
media, particularly those who sensationalize the, “Bold new findings,” of
scientists and exaggerate their immediate impact on society. . .An exchange
of knowledge between neruo- and cognitive scientists and educators will
help generate a better understanding of how learning takes place in real-
world contexts.” (Hardiman et al 1, 3)
o “The need for translators and for greater collaboration between educators
and neuro- and cognitive scientists has been previously described by a
number of researchers [Ansari and Coch, Fischer et al., Hinton and Fischer,
Kuriloff et al., Ronstadt and Yellin].” “These translators, trained in
multidisciplinary programs tied to school of education, can return to schools
and school districts with sufficient background in the neuro- and cognitive
sciences to provide perspective and transmit knowledge to their colleagues.”
(ibid 3)
• Do we really only use 10% of our brains?
• Process Efficiency Change – less is more

o During this process the brain is working through confusion to find the
perfect efficiency point for that task. (See the fMRI images on page 2). This
occurrence has been called a process efficiency change. (Hill and Schneider)

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 o At first the brain it is lit up like a Christmas tree. Most notably the pre-
frontal cortex, responsible for executive function, is very involved. As the
task is learned more and more regions drop out as the brain finds the
perfect efficiency point for the desired ability. Here the skill can be reliably
executed. This process involves difficulty and frustration as the brain is
trying to figure out how to best deal with it.
• Just as we can lift weights in order to change and strengthen our muscles so too can
we engage in exercises that physically and/or functionally change the brain.
(Doidge)
o Violinists left hand representations, London cab drivers Hippocampi. On and
on.
• This is the idea of neuroplasticity. A concept that some still find hard to believe.
o The book, The Brain That Changes Itself, follows the transition from the old
thinking of specialization in the brain to our current understanding of how
we can change it by the choices we make. (Doidge).
o The old ideas that the brain is done evolving after childhood have been
totally debunked. The brain is plastic for life.
• Training your brain - Everything we do or think is a neural representation in the
brain. Neurons talking to other neurons. We have an estimated 100 billion neurons
(give or take a few billion) that create more than 100 trillion connections.
o Such communications are neural networks.
o Synapses are gaps between neurons across which action potentials
(electrochemical nerve impulses) travel.
o Action potentials travel down an axon which is punctuated by little gaps
called the nodes of Ranvier.
o Just as with the electricity we use, if the conduit is not insulated then the
action potential leaks out and the signal is not as powerful (does not travel
as fast). The more insulated the axon the faster it travels.
o There are cells attached to axons called oligodendrocytes. Each time an
action potential travels through an axon oligodendrocytes are activated to
produce an insulating substance called myelin, which forms a covering
known as the myelin sheath (Araque and Navarrete 1588; Wake, Lee, and
Fields 1649-1651).

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 o The more insulated the axon the faster the action potential travels (i.e. faster
cognition, finger movements, etc.). That is why thoughtful repetition over
and over creates solid technical foundation and speed in all domains.
o Learning; slow accurate movements/thoughts create accurate neural
representations ready for myelination.
o Eventually (it takes some time) enough myelin accumulates for a process
called
saltatory conduction to take place. This change between the processes has
been called the “Lillie Transition” (Young, Castelfranco, and Hartline 533-
546). In this process the action potential leaps across the axon at far greater
speeds. Specifically it originates on both ends of the axon and meets in the
middle instead of linear conduction from one end to the other.
§ Interestingly during the onset of the “Lillie Transition” action
potential velocity decreases before the significant increase of
saltatory conduction. This may explain plateaus in learning and why
sometimes after working a lot on something we can seem to regress.
• We control our brains, how much we use them and how we use them.
• 10 years 10,000 hours to become world class in any complex domain, and that
number is rising.
• The point is not to do 10 years 10,000, but to take the same steps as one would if
one were to follow that process however many hours they may work to improve.
• And that process is. . .

Deliberate Practice
• Effortful activity generating constant feedback that guides the refinement of that
activity over and over and over.
• The term was first coined in the 1993 paper, “The Role of Deliberate Practice in the
Acquisition of Expert Performance,” published in Psychological Review by the
leading researcher in skill development K. Anders Ericsson and some of his
colleagues and (Ericsson, Krampke, and Tesch-Romer).
o He refined and updated this in, “The Influence of Experience and Deliberate
Practice on the Development of Superior Expert Performance.” (Ericsson
2006)

DO

PLAN REFLECT

• Cognitive researchers have developed an inclusive model for the Plan-Do-Reflect

model calling the three phases Forethought-Performance-Self Reflection, as well as
addressing other environmental and psychological factors surrounding the
paradigm of skill development (Zimmerman 707-715, 705-719).
• One characteristic of deliberate practice is that it is not inherently enjoyable.
(Ericsson, Krampke, and Tesch-Romer 368).
o It is work. Whereas physical work is taxing on the body, this type of
intellectual work is taxing on the brain.

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 o This state of difficulty is the ‘sweet spot of learning’. I, half-jokingly, have
called this the ‘burn of learning’ or the blearn – Feel the Blearn! Of course I
later found it has a real name. Two UCLA researchers have described this
condition as, “Desirable Difficulty,” (Bjork and Bjork 58). Writing about the
current state of education professor Bjork states, “optimizing instruction
will require unintuitive innovations in how the conditions of instruction are
structured (ibid 56).” Or to put it colloquially – learning is not what many
people think that it is.
o Vygotsky and the Zone of Proximal Development

Panic
Zone
Learning Zone

Comfort
Zone

• “. . .deliberate practice requires that one identify certain sharply defined elements of
performance that need to be improved and then work intently on them. Examples
are everywhere. . .Tiger Woods has been seen to drop golf balls into a sand trap and
step on them, then practice shots from that near impossible lie. The great
performers isolate remarkably specific aspects of what they do and focus on just
those things until they are improved; then it’s on to the next aspect.” (Colvin 68)
• How most kids do homework is not deliberate practice. No wonder classes seem
hard. Kids who do all the assignments as assigned when assigned in their homework
do not need to study for tests to get A’s (rich mental model). I have known plenty of
honors students who do this and it has everything to do with how they prepare not
‘giftedness’.
• Might that knowledge benefit you, or any students you know? If they are convinced
of their own efficacy then how smart they are is entirely up to them.
• Recovery periods and sleep.
o Studies show that high achievers take more naps (Ericsson, Krampke, and
Tesch-Romer 376-377).
§ Memory is consolidated.
§ Recently it has been discovered that a ‘sanitation system’ called
Metabolite Clearance that is not active during waking hours flushes
out waste in the brain during sleep (Xie et al.).
• Practice before school, first thing in the morning, on
weekends, and nap.
o Recovery Periods.
§ Engaging in deliberate practice is intellectually taxing (mental
fatigue) and breaks need to be taken when serious confusion occurs.
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 § Current research shows that world class experts cannot engage in
more than 4-5 hours of deliberate practice daily (Ericsson 699). 90
continuous minutes of deliberate practice at a time seems to be the
limit. Consider this if you want to introduce your students to this
concept. Generally 45 minutes on and 15 minutes off works for high-
level study. For beginners start with five minutes. This is far better
than 15 minutes of unfocused practice.
§ When true mental confusion occurs, however long that takes, a
recovery period is necessary.
§ Leisure activity (Ericsson, Krampke, and Tesch-Romer 377).
§ Plan recovery periods.
o Focus is like a muscle. Those new to this type of intense concentration will
only be able to lift a little intellectual weight until exhaustion. Start with little
bits at a time, it will grow, but do not push through genuine mental fatigue.
Take a break and do something that takes little intellectual investment.
• Repetition – I can’t stress enough the importance of massive amounts of thoughtful
repetition (did I do it right? If not how do I fix it? If I don’t know ask my teacher, etc.)
tens of thousands of times in the pursuit of effortless expert performance.
Performing is fun, practicing is work; the more work you’ll do the more fun you’ll
have. The good news is we’ve got about 12 years of schooling to do this a little bit at
a time.
o 100 rep scheme.
o Getting something ‘right’ is on only the first step. Then repetition can begin
with an eye for anything that can be improved for each subsequent
repetition. This process can take days, weeks, or months depending on the
challenge.
o It is fine to make mistakes. It is not fine to not recognize and correct them.
Pay attention.
• Interestingly there is a way to supercharge the brain’s learning potential when
doing reps. . .

Varied Repetition
• The Power Law of Practice (Newell, Allen, and Rosenbloom)
o What many of us call the ‘80/20 rule’. Most progress is made during the
initial stages then progress slows, sometime to a halt (plateau) for a while
and the last stages take a long time.
• “The Strategy Specific Nature of Improvement: The Power Law Applies by Strategy
in Task,” Delaney et al.
o Varied repetition; the power law can be reset so that initial fast gains occur
again by working on the same material in new ways.
o Take Ben Franklin and writing. He learned to be a great man of letters
through an ingeniously designed set of varied repetition.
o This is present in all high efficiency/high level teaching and coaching.
• Don’t just try these once or twice. Don’t give up on new ideas too soon. Some of
these will work better than others in certain situations. After you begin using them
for a while that you will be able to identify the strategy needed for specific
circumstances when necessary. In any case, doing any of this will work much better
than doing none.
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 • Interleaving (Bjork)
o Spacing repetitions with periods of ‘forgetting’ in between increases
learning. Useful after using other devices to get the execution solid. Then
try 1 rep slowly every 5-10 minutes. You’ll be amazed.
• Don’t just try these once or twice. Don’t give up on new ideas too soon. Some of
these will work better than others in certain situations. After you begin using them
for a while that you will be able to identify the strategy needed for specific
circumstances when necessary. In any case, doing any of this will work much
better than doing none.
• Daniel Coyle, The Little Book of Talent.
o Great ideas for the practical application of strategy changes applicable to any
domain.

For a detailed step by step instructions on how to begin implementing the following in
music instruction (and a starting point for other domains) and enjoy significant
improvement pretty quickly download, “Practical Ways to Play Better Now, Right Now,
C’mon, go do it,” here http://www.ggoodhart.com/wp-
content/uploads/2014/06/goodhart-feel-the-blearn.pdf

Strategy change explanations (using music as an example)

Dots and Reverse Dots (with and without metronome): If this is not obvious to you see
the musical examples herein. Reverse dot is a term I made up until someone brought to my
attention that it is a Scotch snap. I should have paid more attention when studying Lully
overtures in grad school!

Note Grouping: Playing a set number of notes then stopping and holding the last note for at
least twice the value you had been previously playing. I’ve found groups of 3’s (dots are
twos) through 7’s are enough. For an added challenge start your repetition with 1 or 2 or
however many less notes than your target grouping. Now the gaps will be in different places
challenging you. For example; after doing some reps with groups of 3 try playing the first
note, hold that longer, then do groups of three. Next time play the first two notes and begin
groups of 3, etc.

Continuous Grouping: This is a term I use when individual units that are practiced by
themselves with groupings are played as part of the larger whole with the same grouping.
The example herein is from Villa-Lobos’ Etude 2. In this piece each measure (a full arpeggio)
can and should be practiced on their own with all sorts of strategy changes. However, when
playing the whole piece and applying groupings the location of the long notes will shift each
measure giving an added challenge. Take the repeats in the piece or not, start with less
notes than the target grouping as described above. All of these displace the long notes and
challenge and focus the brain.

Pausing Before String Crossings: This is obvious. Sometimes this is exactly where the
issue is and everything else is fine. Doing this addresses that problem.

Sequences: Rep the passage with 3 note sequences, 4 note, 5 note, whatever.

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Add A Note: Play the first note, then the first two, then 1-2-3, 1-2-3-4, 1-2-3-4-5, etc. This is
a very powerful tool that is underused because it takes so long to get through. I generally
count one time through this exercise, if the passage is not really short, as 10 reps.

Right Hand Only: Self-explanatory. Lefty guitarists adjust as necessary. For bowed strings
this obviously only means the bow action on the open strings without the left hand.

Planting: I am not sure how bowed players would do this, but they might want to try it and
see if it could work for them perhaps by resting the bow at the start of the next note as
quickly as possible, before the first note’s duration is over without concern for legato. For
guitarists this means playing staccato and using the right hand finger for the next note to
quickly plant it on the string. When crossing strings don’t worry about staccato, just get the
next finger on the string as quickly as possible in readiness for the next note. This trains the
fingers to return to the string as quickly as possible helping to train speed. For arpeggios,
plant all fingers at once and ‘snap’ them back as you play the notes.

Make up Rhythms: As you can see note groupings are just specific rhythms applied to your
isolated repetitions. Make up your own rhythms, make them more than a measure long, try
all sorts of things like triplets to sixteenth notes to a double dotted rhythm. Write down
some random rhythms and try them. You can use examples from rhythm teaching texts as
well. Each time you have to navigate something new the brain focuses and learns.

Duple in triple and triple in duple: Set your metronome and play straight sixteenth notes
as triplets. Take something in 6/8 or in triplets and play four notes to the beat.

Groups of 4 and 8 forward and backward: Play the first four notes of a passage you are
trying to master forward and backward (or just forward). Do this at least 4x. Then do the
same with the next four. Then do it with the first 8. Continue through the passage like this. A
variation would be to do this starting with the first note, then the second, then the third, etc.
This would take a long time, but using it sparingly in your rep scheme can be beneficial.
Make sure to keep the fingering or bowing true to what it normally is both forward and
backward.

Adding Accents: Add accents deliberatively to whatever passage you are trying to master.
Really emphasize the accent. Do it on the odd note, the even notes, every third, fourth,
whatever note. Try alternating every third then fourth. This is harder than you may think
and really forces concentration.

Opposite Right Hand Fingering or Bowing: This is self-explanatory and I only use it
sparingly for the obvious reason that there is a fear of undoing a fingering one had to work
hard to learn in the first place. I’ve found this not to be the case, but again, I use it sparingly.
It can be effective.

Super Slow: This is obvious, but rarely used. The reason is the self-control it takes to play
something that you’ve got going at a much higher tempo at a painstakingly slow tempo. To
stay with that all the way through for many reps can be mentally taxing. This exercise
allows one to put the passage ‘under the microscope’ and magnify small details that may be
overlooked in other types of practice.

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And Yes, 100 Reps Slowly and Accurately in Time as Written: Some days it is just good
to rep as written and slowly enough to be entirely accurate. It works for myelination and
can be a welcome change from all of the other strategy changes. In any case it allows one to
view the work in the context it will be performed.
Position shifting: Here the idea is to gradually decrease the time between leaving one
position and arriving at another in a systematic way. Begin by playing the isolated position
shift (after it has been generally learned) as slowly as necessary to play each note or chord
perfectly. Consider this a quarter note rhythm. Do not worry about having a large gap in
sound as you move. The gap does not matter, the accuracy of the shift does (accurate neural
representation). After many repetitions (try 25, but no less than 10) play the first note or
chord at the same exact tempo but play it twice as eighth notes. You have just cut in half the
amount of time you spent moving during the shift (the silent space). Again, do not worry
about any gap in sound when you shift. As long as you play the rhythms correctly use as
much time as you’ve got to get to the next position perfectly. Then play the first in triplets,
then sixteenths, then quintuplets, then sextuplets. You get the idea.

For bowed string players tremolo bowing will probably achieve this. For guitarists and
pianists it will become too technically difficult to play repeated fingers (such as in block
chords) at the smaller note values. For these use arpeggios in the rhythm you desire to
apply.

Visualization: The ability to see in your mind’s eye, away from the instrument, what your
left, right, or both hands (depending on the situation) are supposed to do.

Eyes Closed Practice: This is obvious. It sharpens the sense of proprioception – the brains
sense of how limbs are oriented in space. Try it, you may be surprised at how well you can
do it the first time.

Three times ten: In, “The Little Book of Talent,” Coyle references research by Dr. Douglas
Fields at the National Institutes of Health. “He discovered that our brains make stronger
connections when they’re stimulated three times with a rest period of ten minutes
between.” Work on something, do something else for ten minutes, work on it again and
repeat.

Interleaving: Is essentially what we are doing with strategy changes. This can be applied to
larger structures in practice. When learning multiple pieces of music work on one, then go
to another, back to the first, then to another, back to the first, etc. Applied to the larger
practice structure work on something, then go to something completely different (For
instance, moving from learning lines for a play to answering emails for a while) then return
to the original task several times a day in this manner.

Sandwich Technique: Do something the right way, then the wrong way, then the right way
again.

• This list is not comprehensive. Be open to all possibilities and keep your ears open
at masterclasses and workshops..
• Are you starting to see that. . .

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 Talent is Overrated
• This is a phenomenal resource to use as a jumping off point for more research, and it
is an entertaining read. This book, along with “Willpower,” and “Mindset,” form the
core overview of the three overarching areas relating to skill development.
• I know this may sound unusual to some of you. However, I ask you to read, “Talent is
Overrated,” consider the evidence, consider your teaching and see if you come to the
same conclusion, as this is very important. As Colvin writes, “If it turns out that
we’re all wrong about talent, and I will offer a lot more evidence that we are, that’s a
big problem. If we believe that people without a particular natural talent for some
activity will never be very good at it, or at least will never be competitive with those
who possess that talent, then we’ll direct them away from that activity. We’ll tell
them they shouldn’t even think about it. We’ll steer our kids away from particular
studies whether they’re art, tennis, economics or Chinese because we think we’ve
seen signs that they have no talent in those realms . . . most insidiously, in our own
lives, we will try something new, and finding that it isn’t easy for us conclude that
we have no talent for it, and so we never pursue it. Thus, our views about talent,
which are extremely deeply held, are extraordinarily important for the future of our
lives, our children’s lives, our companies and the people in them. Understanding the
reality of talent is worth a great deal.”
• Mozart and Tiger Woods explained (Colvin 25-30).
o Children of motivated master teachers.
o Put in thousands of hours of guided practice starting at a very early age.
o There is no magic here other than the unusually young age they started
focused, guided, serious work with excellent coaching.
• IQ , short of developmental disability, does not seem to matter.
o High achieving populations were studied and their IQ scores wire similar to
lesser achieving populations. What is more is that the populations studies
actually show up slightly lower on average, thought they do show up more at
both the upper and lower extremes (Baumeister and Tierney 195). Many
elite jobs held by the high achievers hold a minimum threshold of an IQ of
103, while those in lower achieving populations that threshold is 110.
(Baumeister and Tierney 195).
o James Flynn and his population IQ research. How can IQ across populations
reliably rise whenever an area becomes industrialized if it is a fixed factor?
• Are kids encouraged because they are talented or talented because they are
encouraged?
• 10 years 10,000 hours to become world class in any complex domain, and that
number is rising.
• The point is not to do 10 years 10,000, but to take the same steps as one would if
one were to follow that process however many hours they may work to improve.
• So, if all of the previous turns out to be true then what stands in the way of anyone,
really everyone, being really great at whatever they choose? It turns out it is. . .

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 Self-Control
• Also called executive function by neuroscientists and self-regulation by
psychologists. Many people call it willpower. This refers to the basic ability to
choose “should” over “want”.
• This is wired up in the pre-frontal cortex of the brain.
o The PFC is very underdeveloped in the young and will not finish developing
until the age of 25 (ever wonder why your insurance goes down, or you can’t
rent a car until you are 25?).
o Self-control is learned just like instrumental skills – we engage in the
behavior (create the neural network) and then reinforce it by repeating it
over and over (myelination).
o Because this control of impulse is unpleasant for a young person, and indeed
many people, many times they have to be taught, and sometimes structured
into these behaviors. It takes a good deal of self-control on the part of
parents and teachers to make children do things that appear to make the
child uncomfortable in the interest of making them self-reliant adults. That
is one of the greatest acts of love we can do for a child: not praising them
effusively for doing nothing or being their friend.
o We have a limited amount of this resource and it while it is governed by the
PFC it is fueled by glucose. (Baumeister and Tierney)
o These glucose fueled neural networks are generic willpower, that is to say
that they can be used to make yourself do any number of things you may not
feel like doing.
• Self-esteem movement from the 1970’s onward.
o Studies show self-esteem correlates with good grades (self-control) (ibid)
o Educators and others believe that praising children for nothing (everyone
gets a first place trophy!) will impart self-esteem thus facilitating better
grades.
o Researchers ran with it, with one in 1994 praising it. It made news, but what
did not make news was the end of his report in which he said it was
“disappointing” to see the lack of really solid evidence “to date”. (ibid)
o Does anyone see the problem? What is the causal factor? Why believe that
self-esteem leads to good grades when it seems obvious that good grades lead
to self-esteem, and that is indeed what later research found and it seems this
movement is coming to an end. But not after a generation was raised to
believe they are superstars for doing nothing and expect to be treated that
way. They have underdeveloped pre-frontal cortices and many of them are
living with their parents as adults with no intention of accomplishing
anything else. They may expect their parents to treat them a certain way, but
that is not going to work with society at large.
o Google, “You Can do Anything,” a Saturday Night Live sketch for a hilarious
view of this phenomenon. After you laugh you may cry when you realize
how accurate it really is.
• Creating motivation without negative consequences.
o This world does not exist, however there is much that can be done to reduce
the negative and produce lasting positive habit patterns

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 Habit Pattern Development
• Practicing, and doing work properly, can be developed incrementally into a habit.
(Duhig)
• 30 days to build a solid habit. (Coyle)
• We are working on two things here: amount of work and type of work (as discussed
earlier). Both can be trained simultaneously. Both are like muscles and can be
developed as one would develop a muscle. Start with a little resistance and increase
as strength increases.
1. Amount of work.
§ Getting started, assessing time (see attached time inventory sheet),
quit without guilt. Identify the smallest details and begin building
from there.
§ Start with 10 minutes 5 days a week. After two weeks it will begin to
become a habit. That is to say that the act of getting started and
going through the first 10 minutes is like tying your shoes. It may not
be pleasant, but it is just something you do automatically without
any significant discomfort.
§ Go to 15-20 for the next two weeks. The student can quit without
guilt at 15. All I ask is that they try to push through for another
minute. If not right away then eventually they will go past that
without even noticing.
2. Type of work. Focus; what it is and how to train it
§ What many people think is focus and work toward improvement is
not. Thus significant improvement is rare. Getting work off of one’s
desk is much different than getting the work done right which is the
essential concept of skill development.
§ How most kids do homework is not deliberate practice. No wonder
classes seem hard. Kids who do all the assignments as assigned when
assigned in their homework do not need to study for tests to get A’s
(rich mental model). I have known plenty of honors students who do
this and it has everything to do with how they prepare not
‘giftedness’.
§ Attention to every detail, the smaller the better – build up from
there.
§ Always endeavor to not give answers, ask questions to let students
find the answers. This is harder than just giving information and is a
mark of master teaching. If you are new to doing this it will be a bit
confusing and mentally uncomfortable. You are going through
desirable difficulty (Feel the Blearn!), don’t abandon it, and embrace
it.
§ Meta coaching.
§ 10x perfect game.
§ What if. . .
§ I’m going to ask you to play and listen to yourself and everyone else
in your group. When you we finish this section be prepared to speak
for 2-3 minutes about every aspect of everyone’s performance. This
brings the student to acute awareness paying attention to as many
details as possible in order to fill the time (I usually start by
becoming totally silent for 30 seconds. It seems like an eternity and

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 then I tell them I’ll want them to fill at least four times that amount
with their critique). I do not make them speak, but they always
perform better on that attempt and learn what good focus is.
• By the way – would you like to start working out and become healthier? Don’t
commit to spend an hour at the gym five days a week – you will likely fail. Go home
and do push-ups and sit-ups and then run around the block taking about 15 minutes
total for 3 days a week for a few weeks. Go from there.
• It turns out that many sabotage themselves when trying to learn. This is the study of.
..

Mindset
• Researcher Carol Dweck and growth vs. fixed mindset.
o Her three decades plus of research has addressed why, to put it colloquially,
most of us can’t get out of our own way when it comes to learning.
o See attached handout
o Praise the work, not the ‘talent’. This is simply the truth and not a
manufactured motivational strategy.
o Perseverance/patience.
§ Setting goals is good, setting deadlines may not be.
• The views of talent.
o Research shows that there is no fast track to improvement. Level of
accomplishment always correlates with amount of practice.
o Don’t measure yourself against where you want to be, measure yourself
against where you have been and how you have improved over the course of
months, at least.
o Setting goals is great, setting deadlines may not be.
o Adults thinking they should learn music, or other brand new concepts, as
they do in science and math and reading (All things they’ve had a massive
amount of practice in over the years). They will not be able to assimilate a
brand new skill like playing an instrument the way they acquire higher level
knowledge in those fields.
o Don’t compare yourself to others by age. Compare by hours put in and, more
specifically, the type of work done during those hours.
o How progress is measured. Days vs. weeks or months.
• Perseverance and patience.
• Skill acquisition is set up backward to what most people perceive it should be. Many
perceive that because something is hard at first and little progress is made with
great effort that they do not have talent. In reality it is pushing through this initial
phase and getting to a level of competence in which higher level accomplishment
can be trained is itself ‘talent’. Many tend to think that being really good at
something right away (which never happens, the research is overwhelming on this)
reveals a ‘talent’ and then hard work to reach one’s potential can begin. This is part
of the misunderstanding of talent.
• Accountability/assessment.
o ASTA article 8/2012. Christopher Selby. “10 Strategies for Developing a
Strong Student Practice Ethic”

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 Real Accomplishment as Motivator
• We cannot get there without pushing through the initial learning (Blearn,
motivation, allocation of time, acquisition of instruction, etc.) just like your muscles
would be sore and you would hurt for a while if you started working out. It is a myth
that any given individual begins learning a skill with no previous exposure or
participation in that domain significantly faster than anyone else.
• Development and Adaptation of Expertise: The Role of Self-Regulatory Processes
and Beliefs by Barry J. Zimmerman.
o Using several domains this research showed that genuinely getting better
(good) at something through proper training created a genuine interest in
participating in and improving in a given domain.
o Passion can be developed and nurtured. Could all passion for life pursuits
come from here?
• Flow (Csikszentmihalyi)
o This researcher has devoted his career to explaining that state of losing
ourselves in a challenge, time melting off the clock, and much being
accomplished. This is what some people refer to as the ‘zone’.
o It is a real psychological phenomenon, and it appears that this is the highest
state of efficiency at which we can function.
o This occurs when developed ability meets a higher challenge. This is the
most efficient way to coach and design lessons.
§ When it happens write it down!!
§ Keep asking questions and redirecting focus – every second (though
don’t forget about the importance of recovery periods. A little
silliness for a minute will usually do the trick. After some intense
work I might say, “Now would you please recite the Gettysburg
Address . . . backwards . . . and in Latin.” Clear the mind, reset, and
begin again).
o He makes a distinction between enjoyment (when the brain is stimulated
and we are in flow) and pleasure (lying on the beach, watching TV, etc.).
o This is the state we all strive for, but we do not know that as beginners. This
applies to everything we do (general learning theory).

Teaching Creativity and Why We Need to do it in All Domains

• Creativity, as most experience it, is a performance of intelligence.
o “Creativity is intelligence having fun.” - Albert Einstein
o Big C, little C and mini C creativity (Colvin 159)
• In this brand new age of globalization there will always be someone somewhere who is
willing to manufacture something more cheaply than we can in America and maintain
the expected quality of life. Former Federal Reserve Chairman Alan Greenspan wrote of
this;
o “Manufacturing jobs can no longer be highly paid, since it is consumers who
at the end of the day pay the wages of factory workers. And they have
balked. They prefer Wal-Mart prices. Those prices, reflecting Chinese low
wages, are inconsistent with a funding of high-wage traditional U.S. factories.
Forcing U.S. consumers to pay above-market prices to support factory
salaries eventually would run into severe resistance. But by then, the
American standard of living would have fallen.” (Greenspan 395-396)
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• “In a world of forces that push toward the commoditization of everything, creating
something new and different is the only way to survive. A product unlike any other can’t
be commoditized.” (Colvin 146)
o “. . .too many of our students languish at too low a level of skill upon
graduation, adding to the supply of labor in the face of an apparently
declining demand.” (Greenspan 399-400)
• Take Apple – created here, made there.
• There has been a push to teach creativity in schools for some time. Sometimes with
disastrous results.
o In 1989 the National Council of Teachers of Mathematics, “. . . report
recommended a curriculum that dropped emphasis on basic math skills
(multiplication, division, square roots, and so on) and pressed students to
seek more free-flowing solutions and to study a range of special math topics.
I always wondered how you can learn math unless you have a thorough
grounding in the basics and concentrate on a very few subjects at a time.
Asking children to use their imagination before they know what they are
imagining about seemed vacuous to me. It was.” (Greenspan 406). They have
since reversed that position.
o “. . .cognitive load theory suggests that the free exploration of a highly
complex environment may generate a heavy working memory load that is
detrimental to learning. This suggestion is particularly important in the case
of novice learners, who lack proper schemas to integrate the new
information with their prior knowledge.” (Kirschner, Sweller, and Clark 80)
• And this about where we currently stand when it comes to teaching creativity in most
subjects. How, then, should we do it?
• The first thing we should understand is exactly what Greenspan was addressing – How
can you create in a domain without requisite knowledge?
o “. . .the epistemology of a discipline should not be confused with a pedagogy
for teaching or learning it. The practice of a profession is not the same as
learning to practice the profession.” (ibid 83)
o Do what they did, not what they do.
• Creativity at the atomic level. The creative process is present in the steps involved in
deliberate practice.
o Plan - Even the most rudimentary solution, even a wrong one that the
student should be guided to understand was wrong in the reflect stage, is
problem solving which is separate from problem discovery. This is the
exercise of rudimentary creativity. – generating an answer that was not
there before. The continued refinement of those answers over time is the
refinement of the creative process.
o Reflect – This is the act of critical thinking. This can be done with the young,
though they need to be scaffolded in the problem discovery process. In a
1987 study on that issue researchers found, “These results suggest that
problem discovery is associated with creative performance in adolescents. .
.This result is consistent with Arlin’s (1875) position that problem finding is
a developed skill and only becomes distinct from problem solving skill
during adolescence.” (Runco and Okuda 217) Can you see the educational
progression from the very basics to higher-level creativity?

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 o High-level creative thought has already worked through basic solutions
thousands of hours and repetitions ago. What is left are novel solutions born
of a rich mental model.
• This follows the recommendations of The President’s Committee on the Arts and the
humanities.
o “. . .the approaches used in teaching the arts are very compatible with the
development of balance among the three types of abilities associated with
creativity as described in a well-known theory of creativity development:
§ synthetic ability or generating new and novel ideas;
§ analytic ability or critical thinking which involves choosing which
ideas to pursue; and
§ practical ability or translating ideas into action (Sternberg &
Williams, 1996).”(38-39)

DO

PLAN REFLECT

• Manipulate basic information using strategy changes to apply deliberate practice at the
earliest stages and reinforce to students, and everyone else for that matter, that they are
learning the very beginning stages of high level creative thought.

This stuff works, why not do it?

I could talk about this all day. If you have any questions, comments, whatever please email
or visit my website www.ggoodhart.com.

Whether you think you can, or you

think you can’t – you’re right.
-attributed to Henry Ford

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© 2016 Gregg Goodhart
 Books

The first three are a jumping off point for everything you need to know and research.
Though starting with anything on this list that interests you, would be a good start as
well.

Talent is Overrated: What Really Separates World-Class Performers from Everybody

Else
Geoff Colvin
http://www.geoffcolvin.com/books/talent-is-overrated-by-geoff-colvin/
For my money the single best reference on the nuanced overarching idea of talent,
how we wrongly perceive it, and how these implications inform teaching and learning.
Unlike Outliers Colvin describes the things that you need to do to be successful. He also
points to research you can review on your own. It is scholarly, but also it is an entertaining
read.

Willpower: Rediscovering the Greatest Human Strength

Baumeister and Tierny
http://www.us.penguingroup.com/nf/Book/BookDisplay/0,,9781594203077,00.html
These researchers have done some amazing work on what happens in the brain with regard
to self-control and how it is been trained. They also cite other relevant research and weave
together a compelling take on how discipline is learned. Another scholarly entertaining
read. This, TIO, and Mindset are the fundamental must-reads of this list.

Mindset: The New Psychology of Success

Carol Dweck
http://mindsetonline.com/thebook/buythebook/index.html
Professor Dweck has spent over three decades researching the psychology of learning. Since
learning is different than what most people think it is things like failure and mistakes seem
to indicate a lack of ability to them. In an attempt to appear competent they cover this by
not participating in learning. It is, of course, more complex than that and her work is
fascinating. You will recognize it all around you and likely, as did I, in yourself to some
extent.

The Little Book of Talent

Daniel Coyle
http://thetalentcode.com/book/
An owner’s manual containing specific things great coaches and teachers use to
maximize skill development. I am amazed that an investigative journalist could figure this
out so well. I thought one would have to do thousands of hours of teaching. This is an
invaluable resource.

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The Talent Code: Greatness isn’t born. It’s grown. Here’s how.
Daniel Coyle
Coyle, Daniel. The Talent Code. New York: Bantam Dell; Random House, 2009. Print.
http://thetalentcode.com/book/
Mr. Coyle elucidates an exciting theory at the time (2009), and proposes that all
human improvement can be traced to a single biological process. This process is
myelination. Myelin is an insulating sheath around axons in the brain. The more insulation
the faster the nerve impulse travels, thus faster cognition, motor skills, etc.
Since 2009 important research has been published showing evidence that the
underpinning process Mr. Coyle writes about is indeed accurate. As you read it keep in mind
that starting in 2011 it has been shown scientifically that sending an impulse through an
axon does cause an oligodendrocyte to produce myelin.

The Genius in All of Us: New Insights into Genetics, Talent and IQ
David Shenk
http://davidshenk.com/books_genius_reviews.html
Another take on the same theme. He identifies a new paradigm for nature vs. nurture
(nature times nurture) and explains how much of what we think about genetics is not
correct. This is partly an introduction to epigenetics which is a very active field now.

The Power of Habit: Why We do What We do in Life and Business

Charles Duhigg
http://charlesduhigg.com/the-power-of-habit/
How hard is self-control really? It can be developed into a habit. This is a well-
researched, practical and interesting look into how our brains ingrain and act on habits and
what we can do about them for ourselves, and in teaching others.

Outliers: The Story of Success

Malcom Gladwell
2008. Print.
http://gladwell.com/outliers/
Gladwell uses good storytelling to show how the environment we create influences success
and that it is not innately limited. It is probably the most interesting read, but the least
scientific, and he does not explain how the process works. I describe it as Entertainment
Tonight to Colvin’s 60 Minutes. In any case it is a worthwhile read. The information on
Canadian hockey players and how that speaks to the talent myth is worth the price alone

Good Business Leadership: Flow, and the Making of Meaning.

Mihaly Csikszentmihalyi
http://www.us.penguingroup.com/nf/Book/BookDisplay/0,,9780142004098,00.html
Csikszentmihalyi (pronounced ‘Csikszentmihalyi’) first described the concept of
flow in the late 1990’s. This is the state experienced when time melts away as you are
working on a task. You’ve worked hard, done a lot, but it feels like hours have passed in
moments. In Good Business, one of his several books on flow, he describes the concept on
its own and relates to business structures. In any case the application of flow in any group
setting has benefit and this book is quite illuminating. Don’t dismiss it upon first read, it
took a while for this to sink in, but when it did it had a profound effect.

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The Willpower Instinct: How Self-Control Works, Why It Matters, and What You Can
Do To Get More of It .
Kelly McGonigal
http://kellymcgonigal.com/willpowerinstinct/
A great companion to the Baumeister/Tierny book. Suggests exercises you can try for a
week at a time and looks at some of the issues from a different angle.

The Brain That Changes Itself

Doidge, Norman. The Brain That Changes Itself. New York: Viking; Penguin, 2007. Print.
http://www.normandoidge.com/?page_id=1259n/
A wonderful introduction to the history, from perceived quackery to foundational
neuroscience, of brain plasticity. The field is progressing rapidly and there are some things
in this 2007 book that we now know more about, but the author is transparent when he is
hypothesizing and has the idea right if not the process sometimes. The insight about the
nucleus basalis is worth it alone, and there is much more. People in general really seem to
enjoy this book. It does have a general appeal.

The Cambridge Handbook of Expertise and Expert Performance

Edited by K. Anders Ericsson et al.
http://www.cambridge.org/us/academic/subjects/psychology/cognition/cambridge-
handbook-expertise-and-expert-performance
Ericsson has established himself and his team as the leading research authority on
skill acquisition and expertise over the last 30 years. This is not a book per se but a
collection of peer reviewed studies on all aspects of performance development including
how it is done in specific fields, how motivation works, the specific process of skill
acquisition (deliberate practice) and more. It is not a light read, very clinical, and at 900+
pages I myself have not read it all. I have read much of it and its organization makes it easy
to pick which studies one wishes to read.

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 Bibliography

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