Defying The Law Of Least Effort With Prof Adina Mornell


6:00 pm

Music, Mind & Wellbeing, in association with the Australian Music & Psychology Society (AMPS), invites you to attend our upcoming seminar entitled:


Link to video podcast:

Link to audio podcast:

The seminar will be held on Thursday 14/03/2013 at 6:00pm.

Location: Old Arts Theatre B, The University of Melbourne, Parkville Campus.

Presenter : Prof. Dr. Adina Mornell, University of Music and Theater Munich.

In the last few years, the cognitive neurosciences have provided new insights into the processes of learning, storage, and retrieval from memory. At the same time, sports psychologists are developing ever more scientific training methods. Empirical studies done with chess masters, commercial pilots, performing musicians, and surgeons, are allowing researchers to further define a work pattern identified as “deliberate practice” – an absolute prerequisite for expertise. In these diverse disciplines, one finds cutting-edge knowledge with implications for professionals in all work fields. This lecture compares myths and reality regarding the issue of innate talent versus hard work. Effective learning strategies and memorisation techniques are presented, as well as the “Three Stages of Expertise.” This model provides a structure useful in the evaluation of one’s own work habits and previous experience. On the basis of this information, musicians can develop viable alternatives to behaviour that has become routine.



Born in Los Angeles, Adina Mornell is a classical pianist and recording artist who studied Music, American Literature, Musicology, and Psychology, receiving degrees in the United States, Germany, and Austria, the latter being a doctorate in Music Psychology. She is currently Professor of Instrumental and Vocal Pedagogy (IGP) at the University of Music and Performing Arts in Munich, Germany. Her book on stage fright, Lampenfieber und Angst bei ausübenden Musikern, is one of the few scientific publications on the topic in the German language. She is responsible for the book series Art in Motion. Musical and Athletic Motor Learning and Performance, and regularly publishes articles about art and science. 
In addition to her empirical research on musical performance and expertise, and her career as a concert artist, she is active as an educator for musicians and music teachers, as well as for executives and managers, at institutions of higher education in both Europe and the United States.

All are welcome!