Prodigies and Savants Psychological Research In Music Prodigies and Savants Julie Vaught, Jody Morrow April 26, 1997 In the deserts of the heart Let the healing fountain start, In the prison of his days Teach the free man how to praise. W. H. Auden Prodigies and Savants Prodigy: an extraordinary, marvelous, or unusual accomplishment, deed or event. Savant: a person with detailed knowledge in some specialized field. --Webster's Ninth New Collegiate Dictionary The question has repeatedly been asked of what happens to some people that enables them to have profound capabilities
where others cannot or do not. For centuries prodigies and savants have mystified and terrified people with seemingly
superhuman abilities. Out of every 1000 children born, supposedly 50 are bright, 20 are brilliant and only one is a prodigy.When looking into the science of child prodigies, medical experts explain a difference in the actual constitution found in the
pituitary, pineal and adrenal glands. Certain portions of these children's nervous systems reach peak activity well before the rest
of the body has a chance for equal development. Emotions and physique cannot keep up with the pace of the brain. It may be
noted that child prodigies are far more common in boys than in girls. This is due to the higher prevalence of infantile gland
disorders in males.Savants are people with intelligence quota usually of 70 or lower that have some remarkable skill in usually one area, and
otherwise are cognitively lower functioning than average. There are three areas of savants: Talented savants, Prodigious
savants, and Autistic savants (sometimes called idiot savants or savant syndrome). Savant abilities among autistic people is at
10%, where in non-autistic population, prevalence is at 1%.Such special faculties most commonly develop in the areas of mathematics, music, and chess; all of which do not require
wealth of life experience as would be necessary for a painter or writer. Dr. Louis Berg states that, "Involuntary actions- actions that
have become automatic through experience and repetition- eventually become spinal in character and are caused by a simple
spinal reflex arc, not involving the brain." The memory of a piece of music is considered to be in the muscles of the hands and in
the nervous system, not in the mind. An automatic correlation develops between seeing and playing. Such automatic feats are
very intriguing and described here:
"It commonly happens that in the course of four or five minutes a player will have struck four or five thousand notes. If we take into
consideration the rests, dotted notes, accidentals, variations of time etc., we shall find his attention must have been exercised on
many more occasions than when he was actually striking notes; so that in may not be too much to say that the attention of a first-
rate player may have been exercised- to an infinitesimally small extent, but still truly exercised- on as many as ten thousand
occasions within the space of five minutes, for no note can be struck not point attended to without a certain amount of attention, no
matter how rapidly or unconsciously given." Sir James Paget pointed out that, "in rapid piano playing, of a master like Lizst or
Paderewski, the finger moves 24 times a second, each movement involving at least three muscular contractions, which if
multiplied by ten gives 720 impulses per second for both hands (Barlow, 134)."An unusual connection is developed with the subconscious- those thoughts and feelings beneath the ordinary
threshold of consciousness. Uncertainty arises in questioning whether the subconscious mind is a storehouse of all information
that has been received up to date, or if it can initiate and bring to the surface information that has never been a part of the
conscious mind. This initiation of information is sometimes described as "coming from the outside" and is often referred to as
inspiration. In this way such processes can be found on a much more common level in many examples; the preacher whose
words must have come from divine intervention, the musician whose melody 'came to them' in a dream, or while stuck in traffic. A
superconscious, as it is called, is the portion of the mind that has this type of contact with 'other worlds of being.'Prodigies and Savants can have the ability for amazing memory functions. Decay of memory due to time does not seem to
occur with comparison to the average person, and access to stored information is not hindered by lack of retrieval cues due to the
automatic nature of processing. There are elaborate mnemonic techniques that these people develop, often unknowingly, to
provide means of structure and calculation without involving the usual processes needed. Reduction coding, elaboration coding
(when remembering a name adding the details of how you met), rhyme, and imagery are some basic techniques. Tables and
squares that are developed, such as the one here used with amusing 'age cards,' eliminate the original process used to come up
with the same results or answers. Column Number: | 11 11 13 13 21 37 1 2 4 8 16 32 | 13 14 14 14 22 38 3 3 5 9 17 33 | 15 15 15 15 23 39 5 6 6 10 18 34 | 17 18 20 24 24 40 7 7 7 11 19 35 | 19 19 21 25 25 41 9 10 12 12 20 36 | … continues through 63Using this chart, an observer is to say which columns their age appears. The catch is that the mentalist can guess the age
without looking at the cards by adding the numerical value of the columns identified. For example, if your age is 11, you would
point out columns 8+1+2 (=) 11. If your age is 19, you would point out columns 1+2+16 (=) 19. This is the same premise that
many of the mental calculations and processes operate under.Psychologists have studied prodigies in search of methods that may be useful in ordinary education and have found most of the
process to be subliminal and in essence out of reach to others. When asked how the feats are accomplished, even the most
articulate of these people do not have an explanation, because they are so free with the facility to accomplish a task, that the
elements are not even considered. Mozart was asked about the method he uses to compose his sonatas and symphonies, to
which he replied,
"I do not myself know and can never find out. When I am in a particularly good condition, perhaps riding in a carriage, or in a walk
after a good meal, and in a sleepless night, then the thoughts come to me in a rush and best of all. Whence or how- that I do not
know and cannot learn. Those which please me, I retain in my head and hum them perhaps to myself- at least, so others have told
me. Then, it goes on growing and I keep on expanding it and making it more distinct and the thing becomes almost finished in my
head so that I afterward survey it at a glance, like a goodly picture or handsome man, and in my imagination do not hear it at all in
succession, as it afterwards must be heard, but as a simultaneous whole. All the finding and making only goes on in me as in a
very vivid dream (Barlow, 132)."Musical prodigies have had an avenue unique to the other fields. These children often live up to their expectations begun at
such an early age.Wolfgang Amadeus Mozart born in 1756, was recognized as a child prodigy and was a great musician until his last years in life.
His musical career was reinforced by his father, Leopold who was a professional musician and a well-educated, industrious
citizen of the world. When Leopold discovered the unique musical talents of his son, Wolfgang and his daughter, Maria Anna, he
decided to promote and exhibit their talents. Many biographers contended that Leopold was cruel and a mercenary exploiter of
his prodigy children. However, many look at the unselfishness with which he gave up furthering his own career to complete the
education, musical and otherwise, of his children.A famous letter written by Andreas Schachtner, a musician friend of the Mozart family, is said to contain information about
Mozart's early life. Schachtner describes Mozart as a child and his precocity that neither games nor toys meant anything to him
when he was engrossed in music. Schachtner relates a story that he deems true stating that at four years of age, Wolfgang was
writing a concerto with such an acute sense of pitch which only two years later enabled the six-year-old to point out minute
differences in the tuning of two violins that had been played on different days.Wolfgang never received any formal training and he never attended schools of any kind. He was said to have demonstrated
extraordinary musical talent by the time he was four. Most of his musical training came from his father and before he was six he
was composing music. At this time he was a harpsichord virtuoso, and became an excellent organist and violinist also. In 1762,
Leopold took Wolfgang and Maria Anna to Munich, where they played harpsichord for the Elector of Bavaria. Mozart's travel did
not stop there as his talents led him to principle cities and courts of Germany, Austria, France, England, Holland, and Italy. During
his travel, Mozart heard much music and met many musicians which was an important part of his education. He began to develop
critical faculties, an interest in people, and a phenomenal memory. Many musical impressions that he received were later
reflected in his own compositions. Some of these styles were used for some time and then once rejected, others were facilitated
into his musical style.As a child, Mozart was frequently subjected to tests, to prove he was truly a prodigy. He demonstrated an astounding ability in
memory, he could accurately reproduce a work after hearing it only once, a capability that he retained throughout the duration of
his life. He also demonstrated the ability to read music at sight which impressed the King of London when he and his sister
appeared before the King and Queen.In 1764, Wolfgang's first published compositions appeared in Paris. They consisted of two pairs of sonatas for keyboard and
violin. Mozart furthered his study in Chelsea, near London where he composed his first symphonies. In 1767, the Mozart family
visited Vienna where they stayed for over a year. During this time he composed arias and scenes for voice and orchestra. In
1769, he composed a full-length opera buffa, La Finta Semplice in Salzburg. He also composed other works such as a Mass,
sacred works, minuets, and serenades. In late October, he was appointed honorary Konzertmeister at the Salzburg Court
involving no pay.
Leopold and Mozart set out for the first of three journeys to Italy that were to have a profound influence on the young child
prodigy. Mozart often performed in aristocratic circles and in public, hoping to gain recognition for his talents and affluent
attention. Padre Martini of Bologna took interest in Mozart and gave him lessons. This affiliation with a great master, led to
acceptance into the Accademia Filarmonica of the city. Sammartini of Milan also took interest in Mozart. This was apparent in
several symphonies written by Mozart which had characteristics of Sammartini's symphonies. The great success of the first
voyage to Italy led to two more visits. During this time until 1773, an impressive number of compositions were written including
many symphonies and sacred works for the Salzburg Court.As time passed, Mozart and his father realized that Salzburg had a limited future to offer. Mozart took a tragedy in his career
when his court position never really materialized. Difficulties with the employer led Mozart to request a leave from the Archbishop.
In 1777 this was granted and he began to try his luck elsewhere. Mozart believed that further travel was essential for any artist to
keep up with his field.Mozart eventually moved on to Paris but found few musical satisfactions. He was commissioned to write a symphony for the
Concert Spirituel program on Corpus Christi. Mozart's disappointments were intensified by the overwhelming grief he
experienced at the death of his mother. Leopold then encouraged Mozart to return to Salzburg Court.
In 1781, the Archbishop and his retinue had traveled to Vienna for festivities celebrating the imperial accession of Joseph II and
Mozart was summoned there. Mozart was often denied opportunity to perform and he asked for dismissal. Eventually it was
granted and he was then on bad terms with the Archbishop. As a result, Mozart decided to remain in Vienna and live with the
Weber's. He took interest in Constanze and they were married in 1782.In 1787, Mozart visited Prague where both Die Entfuhrung and Figaro had been well received. He signed a contract for a new
opera to be produced in Prague. Don Giovanni turned out to everyone's satisfaction, yet lacking in the difficulty of execution.
Mozart was criticized because of musical and technical problems with which performers and audiences could not cope. As a
result, Mozart took a major setback in his works and recognition in the 1780's.Mozart occupied much of his time working on The Magic Flute during the first half of 1791. During this time, Mozart was asked
to compose a Requiem Mass. A further interruption came in request from Prague to write an opera for the coronation of Leopold II
as King of Bohemia. Mozart's health began to deteriorate visibly and rapidly. He worked feverishly to complete Tito and The
Magic Flute which were both performed before his death in December of 1791. He was not able to finish the Requiem.
Wolfgang Amadeus Mozart spent his entire life attempting to gain world renown recognition for his musical talents and
compositions. Little did he know that centuries later he would be considered one of the greatest composers of the classical era.
He is now recognized as a child prodigy and musicians world wide are performing his pieces. He is also studied in history and
many students learn of his abilities and his contributions to the world of a musician.Ludwig van Beethoven was born in 1770 in Bonn and also grew up as a child prodigy. Beethoven's story is similar to Mozart in
that he had no formal education beyond elementary school and his father taught him to play piano and violin. Beethoven's father,
Johann van Beethoven had a great influence in starting his musical career. At the age of eight, he was taking further lessons from
local organists, and a relative taught him viola and violin.In 1779, Beethoven took organ lessons from Christian Neefe, along with counterpoint, and composition lessons. Much of his
study was done on the works of Bach. By 1782, Beethoven served as deputy organist when Neefe was away form court. In 1783,
Neefe hired him as orchestral harpsichordist at court, which was considered a responsible position that exposed him to all
musical genres and the variety of styles which were then current.By 1782, at the age of twelve, Beethoven was composing music. His early works consisted of piano sonatas and piano
concertos. Beethoven's duties in court were teaching piano lessons, studying violin with Franz Ries and in 1785 composing piano
quartets. In 1787, Beethoven traveled to Vienna and it was there that he met Mozart.During this time period, Beethoven's mother became ill and subsequently died. As a result, Beethoven's father began drinking
heavily and was dismissed at court. At age 19, Ludwig was assuming responsibilities as head of the family. For the next four
years, Beethoven played in the court chapel and theater orchestras.In 1792, Beethoven met Haydn in Bonn. Haydn invited Beethoven to move to Vienna and he graciously accepted. For about a
year, Beethoven studied with Haydn there. He then studied with Johann Schenk for counterpoint and composition lessons. In the
duration of Beethoven's time spent in Vienna, he composed primarily for piano. Once he began playing for gatherings in the halls
and salons of aristocrats, he established a reputation for himself. He then gave some concerts, received commissions for a few of
his compositions, sold performance rights to some of his works, and was paid for composing dedications.
Things appeared to be going well for Beethoven until he began to experience difficulty hearing. As the affliction
worsened, he sought medical aid. It was then that he realized that he was ultimately facing deafness. Barely the age of thirty, he
had disappeared from society as a result of his condition, and his career had ended as a virtuoso pianist. The struggle within
himself was so intense, he often contemplated suicide. Until this point in his life, Beethoven was a great performer more than a
composer. In 1802, Beethoven came to terms with his condition and decided to concentrate on pursuing a career as a composer.Beethoven returned to Vienna where he wrote the majority of his symphonies, piano sonatas, concerti, trios, the opera Fidelio,
string quartets, incidental music for plays, and several other works. These compositions were written between 1802 and 1812
when he barely had any hearing at all. His amazing ability to compose and perform with a hearing disability could give cause to
label him an idiot savant, that in many other ways he was no longer functioning. Even with little hearing, Beethoven is able to
compose his most renowned works which are still well known centuries later. As his condition worsened, Beethoven no longer
performed in public as piano soloist. His last performance as pianist was in April 1808 when his "Archduke" Trio was first
performed.Ludwig considered marriage but either was rejected or lost interest. The woman he was interested in was never named in his
correspondence. He usually referred to her as "the immortal beloved." The death of Kaspar Beethoven in 1815 left Beethoven as
guardian of his only child, Karl. Karl's mother was found unfit to care for him.
By 1818, Beethoven's deafness worsened to the extent that any communication with him had to be written. Between
1820 and 1826, Beethoven created many masterpieces. These include Piano Sonatas, Symphony No. 9, the Missa Solemnis,
String Quartets, and the Grosse Fuge.
Beethoven became seriously ill in December of 1826. His condition worsened and was complicated by pneumonia.
He prepared a Will when he realized that he was near death. He left his entire estate to Karl. Beethoven died in March 1827. His
legacy still lives on in his music centuries later and he is recognized and valued as a prodigy still today.This list of prominent musical prodigies of the past could be quite extensive, and would also include Berlioz, Brahms, Chopin,
Debussy, Dvorak, Handel, Haydn, Liszt, Mendelssohn, Rossini, Schubert, Verdi, Wagner, and Weber, all of which displayed
evidence of prodigal adeptness for music by performing, composing, perfect pitch, etc., at a very early age, and sometimes even
before being able to talk.Among the many contemporary prodigious people, the same amazement and awe occurs of their fantastic abilities and
accomplishments. In prime focus, included are Kreisler, Midori, Sarah Chang, Joshua Bell, and Yo Yo Ma. One concert hall and
recording legend of our time is Glenn Gould. As a child, he had no interest in being outdoors, playing with other children, and was
frail with diminishing posture. At three years old, he would sit on his mother's lap at the piano, demonstrating that he had perfect
pitch. At five he was able to play tunes she taught him and began making up ones of his own. His classmates were said to have
often seen him conducting an invisible orchestra as he walked home from school. A piano teacher was finally brought into the
picture at age eleven for the next nine years. His parents decided that he must not be allowed to practice too much so they set a
limit of four hours a day; for if left alone, they presumed he would ruin his health entirely by sitting at the piano the entire day and
night. At the age of 22, he had his debut in New York City where soon after, "he no longer yearned for the musical life, or tried to
promote it; triumphantly, he embodied it (McGreevy, 63)."
There are many issues concerning the lifestyles and reactions to prodigies and savants. As such abilities become
evident, many people are eager to take advantage and exploit the talent, especially of young musicians. In the examples of
Mozart and Beethoven, both were exhibited by their fathers in attempt to gain recognition or fame. This was a concern of Gould's
parents who were not tempted by the financial gain of performing due to family wealth, and he didn't perform publicly until he was
17. They set a schedule that would attempt to avoid burnout and mental frying at an early age.
Music therapists are very likely to encounter clients that display an extraordinary musical adeptness. This is in part due
to the number of clients that have autism or other conditions that inhibit their mental functioning such as mental retardation. Such
people often are cut off from other methods of communication in their daily living, and find an avenue through music.When working with a client this semester, she demonstrated advanced musical abilities. The client was an elderly
patient at Brooks Memorial Hospital. At the beginning of the session, she was reluctant to interact within the setting. However,
when she was provided the opportunity to play the keyboard, she responded with some enthusiasm. She began to display an
ability to improvise using jazz and swing to her style. The client then proceeded to play various songs by ear, such as Silent Night
and other Christmas carols. When asked if she had previous training in piano, she said that she used to play when she was
younger many years ago. This is just one example of how a client can surprise us as music therapists to their talents and abilities
in music.
Research is limited in the area of prodigy and savant abilities. This is due to the lack of knowledge of the 'why' a child develops
these capabilities. There has been findings as to how such mental and physical processes actually occur, but there is still mystery
about who will be affected and how such complex neuronal systems can take off with such a rapid rate. Internet Links libertynet.org/~mha/index.html Advocacy rights information can be found for prodigies and savants and related information regarding national groups to contact. www.forteantimes.com Journal of strange phenomena. Examples of prodigy and savant musicians can be searched out here, as well as a whole bunch of wild and strange things that are considered to be phenomena in the United Kingdom. www.autism.org/savant/html Center for the study of autism. Information about autistic children, related research findings, and some indications of savant capacities. www.tiac.net/users/cri/idiot.html We came across this and found a number of inaccurate statements regarding prodigies and savants that contradicted the research we found. www.tdprs.state.tx.us/ccl/ccl.html Children's Advocacy centers. Protective and regulatory services can be found here under the various locations that can be specific to different situations that require legal protection. Bibliography Barlow, Edmond, The Mind of a Prodigy. Oxford Press, New York, 1970. Hodges, Donald, Handbook of Music Psychology. IMR Press, Institute For Music Research, 1996, Second Edition. McGreevy, John, Glenn Gould By Himself and His Friends. Doubleday & Company, Toronto, 1983. Pauly, Reinhard G. Music in The Classic Period. Prentice Hall, New York, 1988, Third Edition. Rosen, Charles, The Classical Style Haydn, Mozart, Beethoven. Norton & Company, New York, 1972. Stolba, K. Marie, The Development of Western Music A History. Brown & Benchmark. 1994, Second Edition.