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A presente pesquisa teve por objetivo investigar perspectivas de deliberação na prática pianística em função dos níveis de expertise, uma vez que a literatura consultada sustenta a temática num viés de polarização em níveis extremos e deixa em aberto à discussão acerca da prática de níveis intermediários dentre aqueles propostos na literatura de psicologia cognitiva, a saber: novato, iniciante avançado, competente, proficiente e o expert. Fundamentando-se nos princípios fenomenológicos de E. Husserl (1900-1970), o delineamento metodológico envolveu etapas de mapeamento preliminar da amostra, na qual 18 participantes (em níveis de extensão, graduação, pós-graduação universitária e profissional) gravaram em áudio e vídeo uma sessão de prática de duas peças de seus repertórios e participaram de duas entrevistas semiestruturadas. Quatro casos representativos em níveis distintos de expertise foram selecionados e analisados em profundidade por procedimentos qualitativos (perspectiva fenomenológica) e quantitativos (por estatística descritiva e inferencial). Para a descrição do fenômeno da prática, unidades de prática foram delimitadas, e nessas, as essências do fenômeno investigado denominadas categorias psicossensoriais (testar, repetir, isolar, ajustar, alternar, parar, explorar, dispersão e lapso). Essas categorias formaram o arcabouço no qual as incidências (em termos de ações, desvios e procedimentos) foram compiladas e organizadas, resultando maneiras de praticar tanto comuns a todos, como outras peculiares a cada participante investigado. As perspectivas de deliberação foram identificadas e refinadas numa dimensão mais pontual para o fenômeno da prática pianística como um indício de empenho na e para a situação de prática com relação à intencionalidade frente ao fenômeno estudado. Tais perspectivas resultaram na proposição de um modelo, que considera os limites do foco de atenção, as ações da prática sobre a natureza e a mobilidade dinâmica das categorias psicossensoriais, e possíveis fatores resultantes em função de uma dada intensificação de ações empreendidas. O argumento da presente tese é que a deliberação na prática pianística não é uma constante, e sim uma perspectiva dinâmica que ocorre a cada unidade de prática a partir da intencionalidade dos sujeitos para com as obras praticadas. / The present research aimed at investigating perspectives of deliberation in piano practice according to the levels of expertise, since the consulted literature supports this subject in polarized at extreme levels and leaves a gap in the discussion about the practice of intermediate levels among those proposed in the literature of cognitive psychology, namely: novice, advanced beginner, competent, proficient and the expert. Based on the phenomenological principles of E. Husserl (1900-1970), the methodological designed involved preliminary sample mapping, in which 18 participants (at university extension, undergraduate, graduate and professional levels) recorded in audio and video one practice session of two musical works from their repertoire and participated in two semi-structured interviews. Four representative cases at different levels of expertise were selected and analyzed in depth by qualitative procedures (phenomenological perspective) and quantitative ones (by descriptive and inferential statistics). For the description of the phenomenon of practice, units of practice were delimited, and in these, the essences of the phenomenon investigated denominated psychosensorial categories (testing, repeating, isolating, adjusting, alternating, stopping, exploring, dispersing and lapsing). These categories made up the framework in which the incidences (in terms of actions, deviations and procedures) were compiled and organized, resulting in ways of practicing both common to all participants and others peculiar to each investigated one. The perspectives of deliberation were identified and refined in a more specific dimension to the phenomenon of piano practice as an indication of commitment in and for the practice situation regarding intentionality at the studied phenomenon. Such perspectives resulted in the proposition of a model, which considers the limits of the focus of attention, the actions of the practice on the nature and the dynamic mobility of psychosensorial categories, and possible resulting factors from a given intensification of undertaken actions. The argument of the present thesis is that deliberation in piano practice is not a constant, but it is a dynamic perspective that occurs to each unit of practice from the intentionality of subjects towards the musical works practiced.

A presente pesquisa teve por objetivo investigar perspectivas de deliberação na prática pianística em função dos níveis de expertise, uma vez que a literatura consultada sustenta a temática num viés de polarização em níveis extremos e deixa em aberto à discussão acerca da prática de níveis intermediários dentre aqueles propostos na literatura de psicologia cognitiva, a saber: novato, iniciante avançado, competente, proficiente e o expert. Fundamentando-se nos princípios fenomenológicos de E. Husserl (1900-1970), o delineamento metodológico envolveu etapas de mapeamento preliminar da amostra, na qual 18 participantes (em níveis de extensão, graduação, pós-graduação universitária e profissional) gravaram em áudio e vídeo uma sessão de prática de duas peças de seus repertórios e participaram de duas entrevistas semiestruturadas. Quatro casos representativos em níveis distintos de expertise foram selecionados e analisados em profundidade por procedimentos qualitativos (perspectiva fenomenológica) e quantitativos (por estatística descritiva e inferencial). Para a descrição do fenômeno da prática, unidades de prática foram delimitadas, e nessas, as essências do fenômeno investigado denominadas categorias psicossensoriais (testar, repetir, isolar, ajustar, alternar, parar, explorar, dispersão e lapso). Essas categorias formaram o arcabouço no qual as incidências (em termos de ações, desvios e procedimentos) foram compiladas e organizadas, resultando maneiras de praticar tanto comuns a todos, como outras peculiares a cada participante investigado. As perspectivas de deliberação foram identificadas e refinadas numa dimensão mais pontual para o fenômeno da prática pianística como um indício de empenho na e para a situação de prática com relação à intencionalidade frente ao fenômeno estudado. Tais perspectivas resultaram na proposição de um modelo, que considera os limites do foco de atenção, as ações da prática sobre a natureza e a mobilidade dinâmica das categorias psicossensoriais, e possíveis fatores resultantes em função de uma dada intensificação de ações empreendidas. O argumento da presente tese é que a deliberação na prática pianística não é uma constante, e sim uma perspectiva dinâmica que ocorre a cada unidade de prática a partir da intencionalidade dos sujeitos para com as obras praticadas. / The present research aimed at investigating perspectives of deliberation in piano practice according to the levels of expertise, since the consulted literature supports this subject in polarized at extreme levels and leaves a gap in the discussion about the practice of intermediate levels among those proposed in the literature of cognitive psychology, namely: novice, advanced beginner, competent, proficient and the expert. Based on the phenomenological principles of E. Husserl (1900-1970), the methodological designed involved preliminary sample mapping, in which 18 participants (at university extension, undergraduate, graduate and professional levels) recorded in audio and video one practice session of two musical works from their repertoire and participated in two semi-structured interviews. Four representative cases at different levels of expertise were selected and analyzed in depth by qualitative procedures (phenomenological perspective) and quantitative ones (by descriptive and inferential statistics). For the description of the phenomenon of practice, units of practice were delimited, and in these, the essences of the phenomenon investigated denominated psychosensorial categories (testing, repeating, isolating, adjusting, alternating, stopping, exploring, dispersing and lapsing). These categories made up the framework in which the incidences (in terms of actions, deviations and procedures) were compiled and organized, resulting in ways of practicing both common to all participants and others peculiar to each investigated one. The perspectives of deliberation were identified and refined in a more specific dimension to the phenomenon of piano practice as an indication of commitment in and for the practice situation regarding intentionality at the studied phenomenon. Such perspectives resulted in the proposition of a model, which considers the limits of the focus of attention, the actions of the practice on the nature and the dynamic mobility of psychosensorial categories, and possible resulting factors from a given intensification of undertaken actions. The argument of the present thesis is that deliberation in piano practice is not a constant, but it is a dynamic perspective that occurs to each unit of practice from the intentionality of subjects towards the musical works practiced.

A presente pesquisa teve por objetivo investigar perspectivas de deliberação na prática pianística em função dos níveis de expertise, uma vez que a literatura consultada sustenta a temática num viés de polarização em níveis extremos e deixa em aberto à discussão acerca da prática de níveis intermediários dentre aqueles propostos na literatura de psicologia cognitiva, a saber: novato, iniciante avançado, competente, proficiente e o expert. Fundamentando-se nos princípios fenomenológicos de E. Husserl (1900-1970), o delineamento metodológico envolveu etapas de mapeamento preliminar da amostra, na qual 18 participantes (em níveis de extensão, graduação, pós-graduação universitária e profissional) gravaram em áudio e vídeo uma sessão de prática de duas peças de seus repertórios e participaram de duas entrevistas semiestruturadas. Quatro casos representativos em níveis distintos de expertise foram selecionados e analisados em profundidade por procedimentos qualitativos (perspectiva fenomenológica) e quantitativos (por estatística descritiva e inferencial). Para a descrição do fenômeno da prática, unidades de prática foram delimitadas, e nessas, as essências do fenômeno investigado denominadas categorias psicossensoriais (testar, repetir, isolar, ajustar, alternar, parar, explorar, dispersão e lapso). Essas categorias formaram o arcabouço no qual as incidências (em termos de ações, desvios e procedimentos) foram compiladas e organizadas, resultando maneiras de praticar tanto comuns a todos, como outras peculiares a cada participante investigado. As perspectivas de deliberação foram identificadas e refinadas numa dimensão mais pontual para o fenômeno da prática pianística como um indício de empenho na e para a situação de prática com relação à intencionalidade frente ao fenômeno estudado. Tais perspectivas resultaram na proposição de um modelo, que considera os limites do foco de atenção, as ações da prática sobre a natureza e a mobilidade dinâmica das categorias psicossensoriais, e possíveis fatores resultantes em função de uma dada intensificação de ações empreendidas. O argumento da presente tese é que a deliberação na prática pianística não é uma constante, e sim uma perspectiva dinâmica que ocorre a cada unidade de prática a partir da intencionalidade dos sujeitos para com as obras praticadas. / The present research aimed at investigating perspectives of deliberation in piano practice according to the levels of expertise, since the consulted literature supports this subject in polarized at extreme levels and leaves a gap in the discussion about the practice of intermediate levels among those proposed in the literature of cognitive psychology, namely: novice, advanced beginner, competent, proficient and the expert. Based on the phenomenological principles of E. Husserl (1900-1970), the methodological designed involved preliminary sample mapping, in which 18 participants (at university extension, undergraduate, graduate and professional levels) recorded in audio and video one practice session of two musical works from their repertoire and participated in two semi-structured interviews. Four representative cases at different levels of expertise were selected and analyzed in depth by qualitative procedures (phenomenological perspective) and quantitative ones (by descriptive and inferential statistics). For the description of the phenomenon of practice, units of practice were delimited, and in these, the essences of the phenomenon investigated denominated psychosensorial categories (testing, repeating, isolating, adjusting, alternating, stopping, exploring, dispersing and lapsing). These categories made up the framework in which the incidences (in terms of actions, deviations and procedures) were compiled and organized, resulting in ways of practicing both common to all participants and others peculiar to each investigated one. The perspectives of deliberation were identified and refined in a more specific dimension to the phenomenon of piano practice as an indication of commitment in and for the practice situation regarding intentionality at the studied phenomenon. Such perspectives resulted in the proposition of a model, which considers the limits of the focus of attention, the actions of the practice on the nature and the dynamic mobility of psychosensorial categories, and possible resulting factors from a given intensification of undertaken actions. The argument of the present thesis is that deliberation in piano practice is not a constant, but it is a dynamic perspective that occurs to each unit of practice from the intentionality of subjects towards the musical works practiced.

Föreliggande uppsats är en fallstudie av tre gitarrstudenter på gymnasiets estetiska program. Uppsatsen handlar om elevernas utsagor av egen övning. Forskningsfrågorna ämnar ringa in hur eleverna lägger upp sin egen övning samt vilka element de anser är viktiga för att lyckas med sin övning. Studien utgår från kvalitativ metod där datainsamling skett genom kvalitativa intervjuer i halvstrukturerad form. Därefter har tematiskt analys skett ur ett hermeneutiskt perspektiv.  Resultatet i studien visar att eleverna använder sig av tydliga intentioner i relation till hur de lägger upp sin övning. Såväl likheter som skillnader uppdagades bland eleverna. Faktorer som strategier, struktur och tid visade sig vara viktiga. Vidare visar analysen att eleverna identifierar element som verktyg, motivation, utvärdering, lärarens roll och mål som viktiga för att lyckas med sin övning. Data från intervjuerna går i flera fall att knyta an till tidigare forskning.

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Les skieurs et les skieuses de bosses constituent une communauté d’athlètes talentueux et exceptionnels au sein de la population sportive canadienne : ceux-ci ont remporté quatre médailles aux Jeux olympiques de Sotchi (2014) et leur absence du podium est atypique sur le circuit de la Coupe du monde. Comment ces skieurs et ces skieuses de bosses ont-ils développé une expertise leur permettant d’être parmi les meilleurs, sinon les meilleurs, au monde ? L’atteinte d’un niveau expert est attribuable à la conduite de pratiques délibérées dirigées par un professeur et visant à améliorer des habiletés critiques à la performance (Ericsson, Krampe et Tesch-Römer, 1993). Ces pratiques ont lieu en dehors des cours institutionnels (entraînements avec l’équipe de sport) (Ericsson et al., 1993). Le développement du talent (et de l’expertise) en sport résulterait d’une accumulation de pratiques délibérées et de jeux délibérés menés au cours de 10 années ou 10 000 heures (Memmert, Baker et Bertsch, 2010). Le jeu délibéré est un engagement précoce dans une activité physique intrinsèquement motivante qui procure une gratification immédiate ainsi qu’une expérience de plaisir (Côté et Hay, 2002). En ayant lieu à l’extérieur de l’institution sportive, ces pratiques et ces jeux sont invisibles au public, suggérant que d’autres formes d’activités existent. Dès lors, cette thèse investigue l’ensemble des situations d’apprentissage menées en dehors des équipes de ski de bosses par des skieurs/skieuses expert(e)s et prometteur(e)s canadiens/canadiennes. Cette thèse appliquée approfondit la contribution de ces situations d’apprentissage au développement de l’expertise et du talent au moyen du concept d’Activité privée, un outil conceptuel qui regroupe l’ensemble de ces situations. Notre méthodologie qualitative, rétrospective et ethnographique traduit le point de vue et l’expérience de ces skieurs et de ces skieuses provenant de la culture sportive spécifique (Darbon, 2002) du ski de bosses au Québec et au Canada. La première partie de la thèse met en évidence une variété de catégories d’activités privées qui apparaissent, disparaissent ou se maintiennent au cours du développement sportif. Ces activités privées correspondent non seulement à des pratiques et des jeux identifiés dans la littérature sur le développement de l’expertise et du talent (Côté, Erickson et Abernethy, 2013; Ericsson et al., 1993), mais également à des jeux contribuant au développement cognitif et moteur (Piaget, 1945). Les skieurs évoquent aussi des formes d’activités privées "Autres". La deuxième partie de la thèse montre que le choix et la mise en place des activités privées dépendent de la disponibilité des ressources environnementales (artefacts) et sociales, mais également du contexte spatio-temporel. La mise en place et le déroulement des activités privées sont subordonnés aux processus proximaux (Bronfenbrenner, 1977), c’est-à-dire aux étayages (Bruner, 1983a) de l’entourage (entraîneurs, parents, fratrie et coéquipiers) et aux moyens d’autorégulation (Zimmerman, 2000) de celles-ci. La troisième partie de la thèse démontre que le choix de l’activité privée à mener découle d’un désir (Ross, 1995), orienté vers une fin-en-vue (Dewey, 1938), et d’une valorisation pragmatique. Outre ces constats, le choix, la mise en place et le déroulement des activités privées sont orientés par une sensibilité à (Récopé, Rix-Lièvre, Kellin et Boyer, 2014) et un modèle de performance idéale propre à chaque skieur. La quatrième partie expose les bénéfices retirés des activités privées. Ces bénéfices retirés permettent au skieur de posséder des habiletés critiques (habiletés techniques, physiques, stratégiques, mentales, esthétiques, proprioceptives et visant la performance globale) lui permettant ainsi d’offrir une performance experte et talentueuse en compétition de ski de bosses. [...] / Canadian mogul skiers are a community of talented and exceptional athletes in the Canadian sporting community: they won four medals at the Sochi Olympics (2014) and their absence from the podium is atypical on the world Cup circuit. How did these mogul skiers develop an expertise which classified them among the best, if not the best, in the world? Expert people conduct deliberate practice aimed at improving performance-critical skills and these deliberate practices are supervised by an expert teacher (Ericsson, Krampe and Tesch-Römer, 1993. These practices take place outside of the sport institution (sports team’s training program) (Ericsson et al., 1993). The development of talent (and expertise) in sport would result from an accumulation of deliberate practices and deliberate play conducted over 10 years or 10,000 hours (Memmert, Baker and Bertsch, 2010). Deliberate play is an early commitment to intrinsically motivating physical activity that provides immediate gratification and enjoyment (Côté and Hay, 2002). By taking place outside the sports institution, these practices and plays are invisible to the public, suggesting that other forms of activity exist. Therefore, this thesis investigates all learning situations conducted outside of the mogul teams by experienced and promising Canadian male and female skiers. This applied thesis study in depth the contribution of these learning situations to the development of expertise and talent through the concept of Private Activity, a conceptual tool that includes all possible learning situations. Our qualitative, retrospective and ethnographic methodology reflects the point of view and the experience of these skiers coming from the specific sports culture (Darbon, 2002) of mogul skiing in Quebec and Canada. The first part of the thesis highlights a variety of categories of private activities that appear, disappear or is maintain in the course of the skier’s sport development. These private activities not only correspond to practices and plays identified in the literature on the development of expertise and talent (Côté, Erickson and Abernethy, 2013, Ericsson et al., 1993), but also to plays contributing to cognitive and motor development (Piaget, 1945). Skiers also evoke private activities we identified as "Others". The second part of the thesis shows that the choice and the implementation of private activities depend on the availability of environmental (artefacts) and social resources, but also on the spatial-temporal context. The implementation and conduct of private activities are subordinated to the proximal processes (Bronfenbrenner, 1977), that is to say the entourage’s scaffolding (Bruner, 1983a) (coaches, parents, siblings and teammates) and to the self-regulation (Zimmerman, 2000) means. The third part of the thesis demonstrates that the choice of the private activity to be carried out arises from a desire (Ross, 1995), directed towards a end-in-view (Dewey, 1938), and a pragmatic valorization. In addition to these findings, the choice, implementation and conduct of private activities are oriented by a sensibility to (Récopé, Rix-Lièvre, Kellin and Boyer, 2014) and an ideal performance model specific to each skier. The fourth part describes the benefits derived from the private activities. These benefits allow the skier to acquired critical skills (technical, physical, strategic, mental, aesthetic, proprioceptive, and overall performance skills) allowing him to achieve expert and talented performance in mogul skiing competition. A modeling of the concept of Private Activity to study the development of expertise in sport is proposed at the end of the four parts of the thesis. To conclude, the non identical trajectory [...]

This master's thesis deals with interpreter's self-training. The aim of this theoretical-empirical study is to give an overview of the interpreting students' attitude towards interpreter's self- training as well as of the techniques students use when they perform their self-training. Another aim is to describe the role of teachers in interpreter's self-training, i.e. to what extent they motivate and support their students when it comes to self-training. The research part of the study was conducted at the Institute of Translation Studies, Charles University, and at the Department of Translation Studies, University of Graz, with the aim to compare the situation at those two institutes taking into account the abovementioned criteria. The theoretical part of the thesis discusses interpreter's self-training in the context of deliberate practice and focuses also on group practice as well as on the teachers' role. It also presents methods, techniques and e-learning tools which students may find useful during their self-training. The empirical part consists of an analysis of the data collected by means of questionnaires at the abovementioned institutes. Collected data suggest that both institutes support students' self-training, be it to different extents, and offer them all the necessary tools and...

Studien syftade till att undersöka tidig specialisering (TS) inom estetiska idrotter. Inom denna ram utforskades motivationsaspekter utifrån de tre grundläggande behoven inom self determination theory: autonomi, kompetens och tillhörighet, samt om graden av TS var direkt relaterat till specifika orsaker till avhopp. Syftet delades in och besvarades utifrån följande frågeställningar: (1) Är graden av tidig specialisering relaterad till specifika skäl för avhopp? (2) Hur ser före detta aktiva på sina erfarenheter inom idrotten i relation till motivationsaspekter? (3) Vad anser idrottarna vara den huvudsakliga orsaken/orsakerna till avhopp? Metod: Studien baserades på erfarenheter från före detta estetiska idrottare som under minst tre år deltagit i träning på intensiv/hög nivå, minst tre dagar i veckan och var i åldrarna 15 till 20. Enkäten som besvarades var indelad i tre delar: (1) tidig specialisering (2) motivationsaspekter och (3) avhopp. Majoriteten av deltagarna, med undantag för fem män, var kvinnliga idrottare och före detta aktiva inom truppgymnastik (n=61), cheerleading (n=11), artistisk gymnastik (n=6), simhopp (n=3), rytmisk gymnastik (n=2), konståkning (n=2), konstsim (n=1) och trampolin (n=1). Ett index användes för att beräkna graden av TS. Datan behandlades sedan i Excel och SPSS samt redovisades i deskriptiv data samt genom korrelationer via Pearson korrelationskoefficient. Resultat: Signifikanta samband påvisades mellan samtliga kategorier av TS-relaterade orsaker och lägre tillfredsställelse av samtliga behov. Resultaten visade vidare att grad av TS var relaterat till högre tillfredsställelse av behovet kompetens. Slutligen rapporterade flertalet deltagare att det var tränaren och mental ohälsa som var de huvudsakliga orsakerna till deras avhopp. Slutsats: Estetiska idrottare som rapporterade en generellt låg behovstillfredsställelse av autonomi och kompetens, samtidigt som lågt behovsstöd från tränaren, visade på högre sannolikhet att hoppa av på grund av TS-relaterade orsaker. Grad av TS hörde däremot samman med en högre upplevelse av kompetens. Därmed konstaterades att avhoppen var mer relaterade till motivationsaspekter än grad av TS, vilket för oss till slutsatsen att ytterligare empirisk forskning kring TS bör utgå ifrån ett motivationsperspektiv. Utöver detta har tränaren visat sig spela en betydande roll för idrottarens fortsatta deltagande och motivation inom idrotten samt en eventuell del av förklaringen till den rådande negativa synen av TS. Ett större fokus bör läggas på att utbilda tränare i syfte att bedriva träning som främjar de grundläggande psykologiska behoven. / <p>Pernilla Sörensen är student på Ämneslärarprogrammet, Specialidrott.</p><p>Emelie Johansson är student på Tränarprogrammet.</p><p></p><p></p><p></p>

Thèse de doctorat présenté en vue de l'obtention du doctorat en psychologie - recherche intervention, option neuropsychologie clinique (Ph.D) / Les prodiges musicaux sont des musiciens qui ont atteint un niveau de performance exceptionnel, et ce avant l’adolescence. Les premières études à leur sujet ont été écrites il y a plus de 100 ans. Malgré tout, les données psychologiques sur les prodiges musicaux sont rares. Une des théories influentes concernant l’acquisition de l’expertise est celle de la pratique délibérée, selon laquelle le développement du talent se fait essentiellement avec la pratique. La précocité du talent des prodiges paraît défier cette notion et suggère la présence de prédispositions biologiques. D’autres modèles théoriques proposent une vision davantage multifactorielle du développement de l’expertise. La présente thèse vise à révéler les caractéristiques psychologiques des prodiges en utilisant une méthodologie empirique. L'objectif général est de déterminer en quoi ces musiciens exceptionnels se démarquent des autres. En premier lieu, une étude transversale avait comme objectif de déterminer si la pratique, l’intelligence et la personnalité font des prodiges des musiciens à part. Pour ce faire, nous avons recruté 19 prodiges musicaux et les avons comparés à 35 musiciens qui ont soit débuté leur pratique musicale tôt (vers 6 ans) ou plus tard (vers 10 ans), mais qui ont une quantité similaire d’année d’expérience musicale au moment de l’évaluation, ainsi qu’à 16 non-musiciens. Les participants ont tous complété une échelle d’intelligence de Wechsler, l’inventaire de personnalité du Big Five, le quotient du spectre de l’autisme, le Barcelona Music Reward Questionnaire, le Dispositional Flow Scale, et un historique détaillé de leur pratique musicale. Nos résultats indiquent qu’aucun des traits psychologiques ne distingue les prodiges des autres, hormis la propension à être dans un état de flow lors de la pratique musicale. D’autres aspects différenciant les prodiges étaient l’intensité de leur pratique avant l’adolescence, ainsi que la source de leur motivation lorsqu’ils ont commencé à jouer de leur instrument. En second lieu, nous avons étudié un virtuose de la guitare atteint du syndrome de Gilles de la Tourette, qui apprend très rapidement de nouvelles pièces. Pour ce faire, nous avons comparé sa vitesse d'apprentissage d'une nouvelle pièce à 3 autres guitaristes expérimentés et nous l'avons également comparé à un échantillon contrôle de musiciens (N = 15) sur une variété de tâches; apprentissage musical et verbal, perception musicale, mémoire de travail, QI et propension au flow. La structure et le fonctionnement de son cerveau ont également été analysés à l’aide de l’imagerie par résonance magnétique. Les résultats indiquent que le prodige peut apprendre davantage de notes que ses pairs en un temps donné, tout en étant plus musical. Celui-ci était également un des meilleurs pour percevoir et apprendre de nouvelles mélodies. Son QI était comparable à ses pairs, mais sa mémoire de travail auditivo-verbale et visuo-spatiale était supérieure à celle de ses pairs et de la population générale. Mis ensemble, nos résultats indiquent que les prodiges musicaux sont caractérisés par une diversité de trajectoires développementales, et que la pratique seule ne fait pas le prodige. Nos résultats sont compatibles avec les modèles multifactoriels de l’expertise. Plusieurs facteurs sont à l’œuvre ; la pratique intensive précoce, le flow, la motivation, et parfois la présence de conditions neurodéveloppementales et d’habiletés musicales et mnésiques supérieures. Les données suggèrent aussi que la douance musicale est un phénomène distinct de la douance intellectuelle. / Musical prodigies attained an exceptionally high level of performance before adolescence. The first studies on musical prodigies were published more than a hundred years ago. Nevertheless, empirical data on musical prodigies is scarce. An influent theory of expertise development is the deliberate practice view, which stipulates that talent is essentially developed through deliberate practice. Prodigies’ talent precocity apparently defies this assumption and suggests biological predispositions. Other theoretical models offer instead a multifactorial viewpoint of expertise development. This thesis aims to reveal musical prodigies’ psychological characteristics using empirical methods. The general goal is to determine on which levels do these extraordinary musicians stand out from their peers. First, a cross-sectional study aimed to determine if practice, intelligence and personality make prodigies stand out from their musician peers. To do so, we recruited 19 musical prodigies and compared them to 35 musicians who began their musical practice early on (around 6 years old) or later (around 10 years old), but who accumulated similar amounts of years of practice at the moment of testing, as well as 16 nonmusicians. Participants were administered a Wechsler intelligence scale, the Big Five personality inventory, the autism spectrum quotient, the Barcelona Music Reward Questionnaire, the Dispositional Flow Scale and the history of their lifetime practice. Results indicate that no psychological traits distinguish prodigies, except propension to experience flow during music practice. The other aspects differentiating prodigies were intense and precocious practice as well as the source of their motivation when they began to play. Second, we studied a guitar virtuoso with a Tourette syndrome who can allegedly learn new pieces very fast. To do so, we compared his learning speed of a new guitar piece to that of 3 other experienced guitarists. We also compared him to a sample of 15 control musicians on a variety of tasks; musical and verbal learning, musical perception, working memory, IQ and propension to experience flow. Brain structure and function was also analysed through magnetic resonance imaging. Results indicate that the prodigy can learn more notes than his peers in a given time, whilst being more musical. He was also better to perceive and learn new melodies. His IQ was comparable to his peers, but his working auditory and visual-spatial working memory were superior to his peers as well as the general population. Together, our results suggest that musical prodigies are characterized by a diversity of developmental trajectory. They also suggest that practice alone does not make a prodigy. Our results support multifactorial models of expertise. Multiple factors are at play ; intensive and precocious practice, flow, motivation, and sometimes neurodevelopmental conditions or particular musical or memory abilities. Data also suggest that musical giftedness and intellectual giftedness are two separate phenomena.