The Argument
Shinichi Suzuki believes that "early musical training has an overwhelming advantage over later training" (136) which Shenk supports when he states, "with every year, you have...less brain and muscle plasticity" (124). For example, scientists state that "every human being is likely born with the capacity for absolute pitch, but...it gets activated only in those who are exposed to enough tonal imprinting at a very early age" (94). However, Michael Jordan who is arguably the greatest basketball player of all time did not show such talent during his youth.Which seems to be more vital to greatness, early exposure or long term dedication? Is it possible for someone who was not given training in his or her early life to surpass someone who has grown up completely surrounded in such training who continually practiced as well (such as Mozart and Yo-Yo Ma)? Why or why not? If someone does not receive training from a young age, does that prevent that person from reaching his or her potential? Please relate your answer to the various types of learning discussed in Section 51.2 of Campbell and the biological theme of interdependence in nature.
Josh Choi (joshchoi95@yahoo.com)
Early exposure and long-term dedication are not more important than one another in creating greatness in general, but they result in different types of greatness. According to Ellen Winner, "most gifted children, even most child prodigies, do not go on to become adult creators" (91-92). Shenk elaborates on this argument and points out that "the skill sets are very different" (92). Child prodigies generally develop incredible technical capabilities such as multiplying large numbers rapidly. In contrast, "talented" adults must explore and discover such as uncovering a new mathematical proof rather than simply being technically proficient. Thus, the greatness achieved by child prodigies is generally a technical capability that is amazing relative to others that age, while the greatness of successful adults centers on creativity and discovery.
ReplyDeleteIt is entirely possible for someone who did not receive early exposure to surpass a child prodigy that continued to practice. First, the type of practice of both individuals is very important. Shenk notes that "child achievers… develop a terrible fear of new challenges" (92) that limit them from achieving success as adults. A child prodigy can consistently develop and hone his technique, but never reach the same level of success that he/she had as a child because of unwillingness to move beyond his/her comfort zone and develop a unique quality. On the other hand, the "late-starter" is unimpaired by this psychological barrier. But even on a strictly technical level, with enough commitment and vision, the "late-starter" can surpass the former child prodigy. When compared to geniuses such as Mozart and Yo-Yo Ma, musicians who not only maintained their technical abilities with extensive practice but also developed the creativity necessary to thrive as an adult, the late-starter would need a very supportive environment and work even harder. However, the success and the dedication is all relative; with enough commitment, a "late-starter" can still surpass geniuses like Mozart. Nevertheless, age can introduce a wide range of factors that may limit the dedication necessary to acquire this genius: "less time, less schedule flexibility, less energy, and less brain and muscle plasticity" (124). But Shenk and many "extraordinarily successful achievers" argue that "there is no age of impossibility" (124). It is difficult to compare the development of these abilities to the learning of other animals because most are much more complex than processes such as operant or classical conditioning. Still, one can conclude that while the success of an adult genius requires a significant degree of cognition and problem solving to truly create something new, the success of child prodigies appears to be much more mechanical like associative learning or habituation, requiring only extensive repetition to develop a technical expertise (Campbell 1127-1128). Thus, the development of an adult genius may also rely much more on the impact of others, arising out of the social learning from a community. Nevertheless, an important environment and community are important for any development of genius, emphasizing social relationships among humans and the biological theme of interdependence of nature.
On the other hand, not receiving early exposure can limit one's ability to achieve one's full potential. Josh provides a quote from Shenk citing claims from some scientists that everyone can develop absolute pitch, but only those with early exposure to music actually develop the ability (94). Certainly, some physical capabilities are beyond practice and gene-environment interaction after a specific period. These limited-development traits are comparable to imprinting, behavioral or otherwise. Like behavioral imprinting in which certain behaviors only develop within a sensitive period (Campbell 1126), absolute pitch may be a trait that can only be activated by extensive exposure to music when a child is very young.