Piano World Home Page Forums Our Most Popular Forums Pianist Corner Prodigies in early childhood: Is it like "learning" to talk?

One of the things that's common to humans everywhere is the way we naturally acquire the speech of our native language. It happens everywhere in the same fashion, and during a predictable period of infancy—yet if that opportunity is lost, for whatever reason, all bets are off: Language acquisition will never again be possible in that way. The pedagogy of language learning emulates it through immersion in the target language, but the process can never be duplicated; it's a once-in-a-lifetime chance unique to that juncture of early childhood.

I read the discussion of prodigies in another thread, and took a little time to watch some of them. My absolute favorite is eight-year-old Kit Armstrong, playing Liszt's La Leggierezza . This is nine-year-old Rachel, playing Impromptu Op. 28 No. 3 by Hugo Reinhold. I've read insinuations that the talented young Asians are robotic and unmusical, but these two kids belie that claim—to my eyes and ears, anyway. I wonder if, as a generalization, it's rooted more in racism than reality. (Read some of the comments suggesting that overachieving stage parents have somehow beaten the music into their children—with bamboo, no less.)

This is the question I've been pondering: Even if an eight-year-old like Kit Armstrong started piano at the age of two, that would be six years of study. Could there ever again be a six-year period in his (or anyone else's) lifetime during which even the most sustained and concentrated practice would yield such a result from the ground up?

I'm inclined to believe the answer is "no"; I would also guess that Kit hasn't needed to spend every waking hour in a regimen of sustained, concentrated practice. I think that the nature of this gift is that it comes without serious effort if, and only if, it's caught in time—just like language acquisition.

I don't think any of us should feel discouraged just because our own ships may have sailed in this regard any more than people feel deterred from learning foreigh languages. That's a process that can be rewarding in and of itself, while remaining one which—as I sense to be true of the full development of a musical gift—will never again be naturally occurring.

If there exists a parallel here between language and music, there's another question that's deeper still: Does the window for natural music acquisition only apply to the gifted? After all, every human acquires speech; there's no threshold level of talent required! Should every human, then, have a latent capacity for understanding and making music that goes beyond, say, singing in the shower?

Steven

I pondered this apparent parallel myself, between music and language. I am inclined to say that it is not requisite, but it doesn't hurt. My reasoning is simply that there are many pianists throughout history, indeed, some of the "greats," that started at a variety of ages. Paderewski didn't start til 21 is what I heard. While that's kind of strange, I've read of many successful pianists who didn't start til age 11-15.

There certainly is such a thing as talent, but I dont think it's age-specific. That said, our brains are so much more fertile at an earlier age, that it's likely easier for most of us to learn tasks like these at a young age.

Interestingly, I've also met some people whose native langugage is not English, yet the speak it so flawlessly (with NO detectable accent) that one would never know it. My dad's boss is originally from France, and didn't speak a word of English til he was almost 30. Now just over 50, he sounds like a native Midwesterner.

That kind of rambled. My conclusion: For most of us, it easier to learn tasks like language and piano at a young age. That does not mean, however, that we cannot attain fluency/virtuosity if we started later.

I firmly believe in the idea that the developmental period during which language is so naturally acquired can be the same period when musical ability is similarly acquired. This has always been reinforced for me when I witness those incredibly young prodigies.

I consider musical expression as little more than another language... or, I guess another type of language. Different instruments and styles are dialects of that language. I mean, it IS just another way of communicating with people. Why wouldn't it also enjoy a similar period of... um, natural absorption?

I've always felt lucky that my dad started me playing an instrument around the same time I was learning to speak. Probably a little later, but not much. Although I was never a prodigy on any instrument, I've always been more comfortable than most picking up new instruments and learning new music. Unfortunately, I've never been dedicated enough to develop on any advantage I may have gained.

Conversely other modes of communication such as visual art and dance are entirely lost on me. I've tried but I just don't 'get it'. I'm not sure what that says about this theory since I doubt I had more or less exposure at an early age than most others.

Well, I don't know whether my observations are relevant to this discussion or not, but learning the language of music (theory and harmony), would entail the same mental processes used for learning a foreign language. Of course, it would be easier at an early age--but as others have pointed out, can be learned at any age.

It would be interesting to know how many of these young prodigies have had immersion in theory and harmony as well as technical excercises at the keyboard. Gaby Tu

Actually Paderewski started his piano training as a child and entered the Warsaw Conservatory when he was 12.

There are definitely advantages to early training in terms of making neural connections and in that respect I think it is similar to the great advantages of learning a language when one is young. It is not that you cannot learn it when you are older but it is more difficult and harder to attain true fluency. As adults I think it's hard for us to admit that we might be at a disadvantage but sad to say, I think in general, it's true.

Sophia

The idea that there is an opportunity to make a baby learn music at a very early age such that it becomes like a second language to him has always made me thinking.

But no one will never know if this can happen or not .. anyone tried? Maybe it just needs some talented individuals (like Mozart).

Let us say 90% acquire language naturally and later becomes a natural reflex. Bit what is the % of those who acquire music (what is music exactly? Perfect pitch? Piano playing?)

We are not born with the natural ability to play an instrument.

But can we say that perfect pitch is like language and it can be a natural reflex .. but we just are not trained to use it like we train our children to speak? I am not sure.

Thanks Sotto for opening this topic. I wish the discussion expands.

Wow, I just noticed that this thread —ostensibly about concert pieces that sound harder than they are—is verging close to this very topic. I wish they'd come over here!

Just to clarify my original question: When referring to learning of native speech, I mean in the very narrow sense of this near-automatic acquisition—a kind of quote-unquote learning that's a passive process, and one that's not repeated (or even available to us) at any other stage of our lives.

Thanks to all who have contributed so far. I'm looking forward to more, especially from people who had exposure to, or even immersion in, music from an early age but did not develop into prodigies—or did initially, but didn't continue such a trajectory.

Steven

yeah, kind of. Learning how to play an instrument at an early age is like learning how to talk for prodigies.

My Friends,
I come from France, where I have been a critic for more than thirty years in the most respected dayly newspaper. As so, I have had the great chance to befriend almost all the great musicians of the twentieth century. Some were even close friends. They gave me in all confidence recordings they made when they were children. I have a few thousands od them together with recent videos of today's children. Apart from a very few, these great instumentalists we so much admire were not very good, certainly not as good as today's children. Some of you seem to have a great passion for Kit Armstrong. I can understand that but Kit's mind is above all scientific which show in some of his recordings. Of course, he's great but I am not sure he will even care to become a pianist. The only true geniuses of the piano among younsters are Aimi Kobayashi whom I have followed since the age of three an has spontaneously showed pianistic talents AND musical feelings. It doesn't come from her parents nor her teacher and she can't explain it herself. The other is less known: it's A In YOON who has a musical instinct that comes from heaven. The problem with this kind of forum is that everybody tries very hard to explain things that are of the same spirit as the essence of God.
When I listen to some of my favorite works, I sometimes think: No! no man could have imagined such a masterpiece, it must be the work od God.
The same thing happens with these very talented children ( almost all asians ). I'm an atheist but they sometime make me think very deeply.
Your truely and excuse my poor english
Patrick from Paris

Thank you for opening an interesting discussion, Sotto Voce.

Learning to play the piano I think it is like learning to walk, talk, draw, write and understand your feelings at the same time and it takes a prodigy to do it in early age.

Music, though, is a language and so :
singing is most effectively learned prior to or together with talking,
dancing can be learned together with walking, making piano sounds you can do when you start drawing and
notes can be teached together with letters.

Apart from that I agree with you Patrick, one can not explain what is divine. But why do you think all the great talents nowadays are Asian ?

Ragnhild

Dear Ragnild,
First of all, let me be very clear: I have not a single drop of asian blood in my veins. It's a simple constatation. My total lack of health has made me a young retired person with plenty of time to explore and to make contact. I'm only talking about the comming generation where there is an incredible number of Asians. The Paris National Conservatoire is packed with them. Our most renowned piano competition: the Marguerite Long, counts more asian candidates than the rest world put together.
I can't explain it but it's a fact: our old Europe is declining where music is concerned as most of our countries lack any musical education. Also, all the studies that have been made by specialised newspapers have concluded that the percentage of the population in France concerned by classical music is so low that it can almmost be called non-existent. It is all very sad.
Best regards
Patrick

Patrick