Arousal/Available Capacity
Kahneman's model assumes that all mental activities compete for a limited pool of attentional resources; however, this pool can be made larger or smaller depending on one's arousal. Imagine a box (which Kahneman labels capacity) representing the amount of attention available at any given moment. The volume of this box is variable, as represented by a movable top (labeled arousal). A person's capacity of attention increases with arousal up to a point as we become more alert and focused, but too much arousal can interfere with performance and decrease attention. Imagine that the top of the box collapses somewhat, causing a decrease in the volume of the box. As any performer knows all too well, attention is available in varying amounts at different times, depending on motivation, level of anxiety, and alertness. The movable line dividing arousal and available capacity represents this changing resource pool.
Diminished arousal is an all-too-familiar phenomenon when students "go through the motions" of practicing without really giving their practice full attention. In this unmotivated state, arousal and capacity of attention are much less than the amount which accompanies an important performance. Performers may be aware of their increasing attentional capacity as they focus on their playing more intently and juggle the various performance tasks much more efficiently. Unfortunately, most musicians have also experienced negative arousal in performance when anxiety creates lapses in concentration or distracting physical manifestations.
According to Yerkes and Dodson's 1908 law, performance is best at intermediate levels of arousal and most performers would probably agree that too much arousal can interfere with performance. It is very hard to concentrate on subtle musical choices when physical symptoms such as shaking hands, a dry mouth, or an upset stomach interfere. Much has been written about performance anxiety and how to keep maximum attention available for performance tasks by reducing physical and mental disruptions. These various symptoms of anxiety or distractions are labeled "miscellaneous manifestations of arousal" in the model because they are outside influences which impact attention (i.e., capacity) by influencing arousal. Performers who take beta-blockers before a performance are attempting to moderate the negative impact of too much adrenaline or arousal.
Capacity can also be limited by fatigue. The day before a performance it is tempting to practice an extra hour or two. Students study all night, hoping their additional efforts will mean more points on the final exam. The trade-off, of course, is that physical and mental fatigue does diminish attention. Through experience we come to understand our bodies and respect this fact of nature.
Motivation is a key factor in maximizing attention. Note the intense concentration exhibited by a young person playing video games. This same person may seem unable to concentrate for more than a few minutes at school or at the piano lesson. One of the ways that music teachers try to capture studentŐs attention is by selecting music which is appropriate for their age and interests of each pupil. By assigning interesting literature, we hope to increase the likelihood that students will be motivated to practice and to do so with concentration. When literature is uninteresting to students, it is likely that their capacity of attention during practice is diminished. Even when the music is satisfying to a student, however, it can be difficult to maintain interest throughout the weeks or months it may take to master a difficult piece. During a lesson, an observant teacher can tell when attention is waning. Teachers of very young children know how important it is to move from one task to another relatively quickly to keep attention. It takes maturity to focus attention on a project for long periods of time. But every teacher has seen examples of how an especially appealing assignment can suddenly increase the attention a student gives to the task at hand.
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