Bach Musette in D Mashup.
The first clip is played correctly, the next four are not.
We found that some of these schema mismatches are musically sophisticated and complex, and even catch the most trained performers unaware. For example, we found that teachers and professional performers were victims of musical miscues when we reversed roles and asked them to perform commonly misplayed musical phrases. We cued the first two measures of Bach’s “Musette” and asked them to hum the third measure. In every instance, the experienced musicians accented the A instead of the F sharp. However, they were almost indignantly confident in the accuracy of their performances until we pointed out their mistakes.
This suggests that the line between conscious and subconscious decisions surrounding these miscues is blurry at best, and it also indicates that when teachers are looking consciously at the notation, they see the veridical, but when they are called upon to perform the piece, they fall into the same schematic trap as the children.