Memory Wksp I
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Memory and the Performing Musician
November, 2007
Jennifer Mishra researches in the area of music cognition, specifically focusing on performance memory. Her articles have appeared in Psychology of Music, Psychomusicology, Bulletin of the Council for Research in Music Education, Update: Applications of Research in Music Education, Contributions to Music Education, Research Perspectives in Music Education, and the Journal of String Research. She has also presented at conferences hosted by the Society for Research in Psychology of Music and Music Education, and at the International Conference of Music Perception and Cognition, Desert Skies: Symposium on Research in Music Education, and MayDay Group Colloquium XI. She is on the editorial board for the Journal of String Research.
Musicians want to know: How to memorize a piece – in the most efficient way
possible How to avoid memory lapses in performance – memory
stability Memory – both encoding and retrieval
www.mishramusicresearch.com [email protected]
Performance (i.e., “memorization”) – not perception
Prokof'ev, Piano Sonata No. 7 Mov III Martha Argerich http://www.youtube.com/watch?v=PYcILrMN_cw Jennifer Mishra
University of Houston
November, 2007
Performing without notation… …is the rule rather than the exception in most
world cultures (no notation) Oral traditions: folk & popular musicians
Western phenomenon - specifically western classical tradition Music introduced via notation Music performed without notation (rote)
Franz Liszt and Clara Schumann commonly credited with popularizing musical memorization, especially with pianists The Romantic thirst for extra-ordinary musical feats Vocalists performing without music for centuries
Jennifer Mishra
Notation fixes the music and provides a correct standard to which performance are compared. Writing fixes material and creates “right” (or “write”) answer and allows for comparisons. Like collect-ing a butterfly.
University of Houston
November, 2007
Notation is a fixed standard
Allows for comparisons - creates
pressure to replicate exactly Notation is only a memory cue
Focus on exact pitches & rhythms Dynamics – relationships not exact
standard Articulation – relationships not exact standard
Notation does not capture full musical experience
Memorize many elements even when reading notation
Jennifer Mishra
Memorizing music is a multi-layered, serialposition task in which thousands of pitches, each bound to rhythmic, expressive, stylistic, and other implied musical as well as lyrical and production information must be recalled in a specified sequence with the final product coalescing into a new and understandable entity. Jennifer Mishra
Jennifer Mishra | [email protected]
University of Houston
November, 2007
Multi-layered Pitch rhythm, chord, form, articulation,
dynamic….
Each pitch is unique web of information C is different from next C which is
different from next C…
University of Houston
November, 2007
1
Memory and the Performing Musician
Memorizing music is a multi-layered, serial-position task in which thousands of pitches, each bound to rhythmic, expressive, stylistic, and other implied musical as well as lyrical and production information must be recalled in a specified sequence with the final product coalescing into a new and understandable entity.
Multi-layered
Verbal information (lists) Memorize these numbers in order 12
pitches
▪ Played simultaneously ▪ Played both before and after delay (minutes or hours)
relationships
Primacy & Recency effects
Memory limited to 7 + 2
University of Houston
November, 2007
Strategies to extend memory capacity
8th
#
Instead of 12 different numbers, there are only 4units to remember (plus extra symbols) Memorizing strict order not usually necessary in everyday life University of Houston
Jennifer Mishra
November, 2007
next movement (R) R becomes S for third movement Chain of motions
In music, one piece of information one note one measure one phrase one section one movement
Memorizing a piece of 1000 notes may only be 3 bits of information University of Houston
November, 2007
Procedural Memory – Knowing How Non-verbal Can know how to do something without
being able to describe what is done Same, though different motions
Introspection Translating procedural memory into
declarative
In music, stimuli aren’t isolated, but form relationships
Important for teachers, not necessarily
for performers
Cognition = understanding ≠ mindless S-R
Jennifer Mishra
November, 2007
Scales Bars/meter Beaming
Jennifer Mishra
Stimulus-Response (S-R)
University of Houston
Must remember thousands of notes (exceeds 7 + 2 limit) Group (chunk) notes
Movement (S) triggers
25
More remembered from beginning & end of list
Jennifer Mishra
1 20 6 9 26 49 19 14 8 35 Recall as many numbers as possible – in order
Context &
12/1/2006 1425 35 Recall as many numbers as possible – in order
Serial position tasks extensively studied by psychologists
Pitch meaning from relationship with other
Memorize these numbers in order 9:26 $49.19
Serial-position task
Bits of information recalled in a specific order
▪ Pitches form chords, chords form progressions… ▪ Pitches form bars, bars form phrases….
Group isolated information into meaningful units
Hierarchical
Jennifer Mishra
November, 2007
Developing procedural memory requires attention – a lot of attention Automate movements over time Requires a lot of time
University of Houston
Jennifer Mishra | [email protected]
November, 2007
2
Memory and the Performing Musician
Debate: Does learning = memory?
To Memorize
November, 2007
Music only learned when memorized notation distracts from the music Notation distracts from communication with the audience Ready to perform at any time Learns the music more thoroughly Avoid page turns Awkward or difficult passages Tradition
Memorization creates excessive anxiety Memorization requires huge amounts of time Fear of forgetting Unnecessary as notation available
Researcher video taped performances Memorized w/ & w/o music stand Not memorized w/ & w/o (off-camera)
Not to Memorize
music stand
Performances rated by audience performing from memory was superior visibility of the performer favorably
influenced ratings extra time spent preparing for the
memorized performances was beneficial musicians seemed biased in favor of
performances without a music stand
Jennifer Mishra
University of Houston
November, 2007
Jennifer Mishra
University of Houston
November, 2007
Williamon, A. (1999). The value of performing from memory. Psychology of Music, 27(1), 84-95.
Part 2
Jennifer Mishra | [email protected]
3
November, 2007
Jennifer Mishra researches in the area of music cognition, specifically focusing on performance memory. Her articles have appeared in Psychology of Music, Psychomusicology, Bulletin of the Council for Research in Music Education, Update: Applications of Research in Music Education, Contributions to Music Education, Research Perspectives in Music Education, and the Journal of String Research. She has also presented at conferences hosted by the Society for Research in Psychology of Music and Music Education, and at the International Conference of Music Perception and Cognition, Desert Skies: Symposium on Research in Music Education, and MayDay Group Colloquium XI. She is on the editorial board for the Journal of String Research.
Musicians want to know: How to memorize a piece – in the most efficient way
possible How to avoid memory lapses in performance – memory
stability Memory – both encoding and retrieval
www.mishramusicresearch.com [email protected]
Performance (i.e., “memorization”) – not perception
Prokof'ev, Piano Sonata No. 7 Mov III Martha Argerich http://www.youtube.com/watch?v=PYcILrMN_cw Jennifer Mishra
University of Houston
November, 2007
Performing without notation… …is the rule rather than the exception in most
world cultures (no notation) Oral traditions: folk & popular musicians
Western phenomenon - specifically western classical tradition Music introduced via notation Music performed without notation (rote)
Franz Liszt and Clara Schumann commonly credited with popularizing musical memorization, especially with pianists The Romantic thirst for extra-ordinary musical feats Vocalists performing without music for centuries
Jennifer Mishra
Notation fixes the music and provides a correct standard to which performance are compared. Writing fixes material and creates “right” (or “write”) answer and allows for comparisons. Like collect-ing a butterfly.
University of Houston
November, 2007
Notation is a fixed standard
Allows for comparisons - creates
pressure to replicate exactly Notation is only a memory cue
Focus on exact pitches & rhythms Dynamics – relationships not exact
standard Articulation – relationships not exact standard
Notation does not capture full musical experience
Memorize many elements even when reading notation
Jennifer Mishra
Memorizing music is a multi-layered, serialposition task in which thousands of pitches, each bound to rhythmic, expressive, stylistic, and other implied musical as well as lyrical and production information must be recalled in a specified sequence with the final product coalescing into a new and understandable entity. Jennifer Mishra
Jennifer Mishra | [email protected]
University of Houston
November, 2007
Multi-layered Pitch rhythm, chord, form, articulation,
dynamic….
Each pitch is unique web of information C is different from next C which is
different from next C…
University of Houston
November, 2007
1
Memory and the Performing Musician
Memorizing music is a multi-layered, serial-position task in which thousands of pitches, each bound to rhythmic, expressive, stylistic, and other implied musical as well as lyrical and production information must be recalled in a specified sequence with the final product coalescing into a new and understandable entity.
Multi-layered
Verbal information (lists) Memorize these numbers in order 12
pitches
▪ Played simultaneously ▪ Played both before and after delay (minutes or hours)
relationships
Primacy & Recency effects
Memory limited to 7 + 2
University of Houston
November, 2007
Strategies to extend memory capacity
8th
#
Instead of 12 different numbers, there are only 4units to remember (plus extra symbols) Memorizing strict order not usually necessary in everyday life University of Houston
Jennifer Mishra
November, 2007
next movement (R) R becomes S for third movement Chain of motions
In music, one piece of information one note one measure one phrase one section one movement
Memorizing a piece of 1000 notes may only be 3 bits of information University of Houston
November, 2007
Procedural Memory – Knowing How Non-verbal Can know how to do something without
being able to describe what is done Same, though different motions
Introspection Translating procedural memory into
declarative
In music, stimuli aren’t isolated, but form relationships
Important for teachers, not necessarily
for performers
Cognition = understanding ≠ mindless S-R
Jennifer Mishra
November, 2007
Scales Bars/meter Beaming
Jennifer Mishra
Stimulus-Response (S-R)
University of Houston
Must remember thousands of notes (exceeds 7 + 2 limit) Group (chunk) notes
Movement (S) triggers
25
More remembered from beginning & end of list
Jennifer Mishra
1 20 6 9 26 49 19 14 8 35 Recall as many numbers as possible – in order
Context &
12/1/2006 1425 35 Recall as many numbers as possible – in order
Serial position tasks extensively studied by psychologists
Pitch meaning from relationship with other
Memorize these numbers in order 9:26 $49.19
Serial-position task
Bits of information recalled in a specific order
▪ Pitches form chords, chords form progressions… ▪ Pitches form bars, bars form phrases….
Group isolated information into meaningful units
Hierarchical
Jennifer Mishra
November, 2007
Developing procedural memory requires attention – a lot of attention Automate movements over time Requires a lot of time
University of Houston
Jennifer Mishra | [email protected]
November, 2007
2
Memory and the Performing Musician
Debate: Does learning = memory?
To Memorize
November, 2007
Music only learned when memorized notation distracts from the music Notation distracts from communication with the audience Ready to perform at any time Learns the music more thoroughly Avoid page turns Awkward or difficult passages Tradition
Memorization creates excessive anxiety Memorization requires huge amounts of time Fear of forgetting Unnecessary as notation available
Researcher video taped performances Memorized w/ & w/o music stand Not memorized w/ & w/o (off-camera)
Not to Memorize
music stand
Performances rated by audience performing from memory was superior visibility of the performer favorably
influenced ratings extra time spent preparing for the
memorized performances was beneficial musicians seemed biased in favor of
performances without a music stand
Jennifer Mishra
University of Houston
November, 2007
Jennifer Mishra
University of Houston
November, 2007
Williamon, A. (1999). The value of performing from memory. Psychology of Music, 27(1), 84-95.
Part 2
Jennifer Mishra | [email protected]
3
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