Memory Wksp Iii
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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
Performance (i.e., “memorization”) – not perception Reasons for forgetting Not all memory slips can be eliminated through sheer repetition Why memorization slips happen How to avoid!
www.mishramusicresearch.com [email protected]
Jennifer Mishra
Day before recital Memory, for many musicians, is relegated to that category of the feared and mysterious. Even the greatest musicians can fear a memory lapse in performance and may practice an extraordinary number of hours because of this fear. Dissipating the fears will lead to an increased feeling of control over the seemingly random process of memorization
Jennifer Mishra
November, 2007
Human Memories are Designed to Forget Musicians want memory to work like a tape recorder. Musicians accomplish an extraordinary feat when memorizing music. Exceeding – by a lot – limited memory capacity (7 + 2) Remembering in strict order Remember music exactly - gist is not enough
Shouldn’t ask why memorizing is so difficult, should ask how we manage to do it at all!
Nancy plays through her Prokofiev right before her recital... but gets a memory slip at the very end. Watch part II to find out whether or not she overcame her challenges... http://www.youtube.com/watch?v=hJpqSKuSmbA http://www.youtube.com/watch?v=7s3lyzCLOVU University of Houston
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.
November, 2007
Recall as much of the story as possible
Bartlett discovered story was not recalled exactly Recalled gist of the story, overall concept Patterns to forgetting & errors
University of Houston
Jennifer Mishra | [email protected]
Paraphrased & Condensed Added extra information Omitted irrelevant details Ambiguities clarified Unfamiliar details made more familiar
Save memory capacity Condense when stored (practiced) Reconstituted when retrieved (performed) Errors happen at each stage – bits of information lost &
Bartlett, F. C. (1932). Remembering: A study in experimental and social psychology. Cambridge University Press. www.bbc.co.uk/radio4/science/mindchangers3.shtml Jennifer Mishra
University of Houston
filled in November, 2007
based on our expectations and knowledge Jennifer Mishra
University of Houston
November, 2007
1
Memory and the Performing Musician
November, 2007
How piece memorized affects memory Practice techniques = Recall techniques
Mind-ful practice (analytical) Deep level of processing - find patterns, connections Repetition is a superficial level of processing
More connections = deeper processing =
stronger memory Sensory “memories” ▪ Aural ▪ Visual ▪ Kinesthetic
University of Houston
November, 2007
Analysis may be visual (based on scored notation) Analysis may be aural (i.e., not notation-based) Analysis may be kinesthetic (e.g., blocking chords)
Jennifer Mishra
Kinesthetic memory often confused One problem in determining why memory lapses occur is that an interruption during a performance of a memorized piece is not necessarily caused by the inability to recall the music. Technical errors or a physical mistake may result in a breakdown in the flow of the music, but are not the result of a memory error.
Not more memory slips because of
kinesthetic practice – automation is necessary for complex motor movements Conscious thought (declarative) slower than automatic movements (procedural) Performance problem if attempt to impose thought on faster moving automatic movements Landmarks to monitor automatic muscle movements Jennifer Mishra
University of Houston
May reflect technical problem rather than
memory problem
Fewer errors than expected on structural bars More starts & stops on structural bars Supports knowledge of phrase structure Incidental learning
Debate Forgetting: Memories can’t be retrieved
passing of time not cause loss Rust – oxidization not time
▪ Memories 0verwritten ▪ Forgetting is active process
Jennifer Mishra | [email protected]
Unsurprising – Difficult bars more errors than expected
Forgetting: Memories are lost
Memories don’t just disappear
University of Houston
November, 2007
November, 2007
Ebbinhaus forgetting curve Memory is an active process
Jennifer Mishra
University of Houston
with automated procedural memory
playing hands separately blocking chords (on keyboard) rehearsing under-tempo rehearsing the piece backwards score study away from the instrument transposing
interplay between voices in a fugue
Finding Patterns (analytical) Jennifer Mishra
Common practice techniques emphasize pattern recognition; allow obscure patterns to become clear
Two primary reasons for forgetting Interference Context-Dependent Memory
November, 2007
Jennifer Mishra
University of Houston
November, 2007
2
Memory and the Performing Musician
November, 2007
Interference
Memory of past piece or section interfere with retrieval 2 passages that are similar – but not the same New piece can interfere with retrieval of previously learned
piece
Ironic as enculturation – previous learning helps memory Overcoming interference
When memorizing musical material, also memorizing environment ▪ Incidental to material, but may provide memory cues ▪ Lights, décor, smells, sounds…
▪ Memory cues lost if changed - impedes retrieval
Memory is context-dependent
Retrieval problems when mismatch
Practice & performance
Make each piece / section distinct Imagery, emotion, labels… Different environments Mishra, J. & Backlin, W. (2007). The effects of altering environmental and instrumental context on the performance of memorized music. Psychology of Music, 35(3), 453-472. Jennifer Mishra
University of Houston
November, 2007
Instrument as “Context”
Jennifer Mishra
University of Houston
November, 2007
Mediating context effects
Changing instruments = changing contexts
Practice in performing environment (dress rehearsal) ▪ Practice context = performance context Practice in many environments ▪ Music matched to different cues - context in flux ▪ Less chance of encountering truly novel environment for performance ▪ Experts less likely to have memory slip in novel contexts played in many different contexts Imagery – imagine performance; imagine practice
Mishra, J. & Backlin, W. (2007). The effects of altering environmental and instrumental context on the performance of memorized music. Psychology of Music, 35(3), 453-472. Jennifer Mishra
University of Houston
November, 2007
Distributed & Imagery
Context = external & internal
Internal contexts (state-dependent memory): mood/anxiety
state, physiological state, drug state Changes in internal states negatively affects retrieval Practice: Low Anxiety Perform: Heightened Anxiety
Drug state may change (beta-blockers)
Anxiety brings physiological changes
Different times Different places Take breaks
though anxiety states may stabilize with drugs
Jennifer Mishra
University of Houston
Jennifer Mishra | [email protected]
Even slight change in internal context is a change of context Less likely to have memory lapse due to change of context
Appear in performance, absent from the practice: shallow breathing, cold hands, stiff legs, sweaty palms, tremors in hands, legs, heightened awareness of limited visual field. Though anxiety may, in itself, be seen as the cause of memory slips, an alternative hypothesis is that memory slips occur because the performer’s internal context at the time of performance is different to that at the time of practice.
Spread out memorization
November, 2007
Make practice situation like performance situation
Heighten anxiety during practice (record, audience)
Jennifer Mishra
University of Houston
November, 2007
3
Memory and the Performing Musician
November, 2007
Attribution Theory
Memory & Aging
Memory lapses during performance can appear
Why do we think we mysterious and unrelated to practice and can lead to feeling that successful memorized forget? performances result from wishful thinking or good Influences amount & luck. type of practice, persistence, motivation, superstitious behavior Internal / External reasons ▪ Within or outside of the performer Stability
Declarative memory (knowing that) affected by age Procedural memory (knowing how) preserved Implications for music: Process of memorizing may be affected by age Once pieces are memorized, age doesn’t affect
performance of pieces
Why memory lapse? Not a good memorizer – give up Why memory lapse? Memorizing is too difficult – give up Why memory lapse? Luck – may persist Why memory lapse? Didn’t practice enough – persist*
Jennifer Mishra
University of Houston
November, 2007
Memorization is difficult Rare in everyday remembering
tasks
Encoding affects retrieval
Jennifer Mishra
University of Houston
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.
Repetition inefficient Deep levels of processing (aural,
visual, kinesthetic, analytical)
Interference leads to forgetting Change of context leads to forgetting Distribute practice time Distribute practice space
Jennifer Mishra
Use imagery
University of Houston
Jennifer Mishra | [email protected]
November, 2007
www.mishramusicresearch.com [email protected]
4
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
Performance (i.e., “memorization”) – not perception Reasons for forgetting Not all memory slips can be eliminated through sheer repetition Why memorization slips happen How to avoid!
www.mishramusicresearch.com [email protected]
Jennifer Mishra
Day before recital Memory, for many musicians, is relegated to that category of the feared and mysterious. Even the greatest musicians can fear a memory lapse in performance and may practice an extraordinary number of hours because of this fear. Dissipating the fears will lead to an increased feeling of control over the seemingly random process of memorization
Jennifer Mishra
November, 2007
Human Memories are Designed to Forget Musicians want memory to work like a tape recorder. Musicians accomplish an extraordinary feat when memorizing music. Exceeding – by a lot – limited memory capacity (7 + 2) Remembering in strict order Remember music exactly - gist is not enough
Shouldn’t ask why memorizing is so difficult, should ask how we manage to do it at all!
Nancy plays through her Prokofiev right before her recital... but gets a memory slip at the very end. Watch part II to find out whether or not she overcame her challenges... http://www.youtube.com/watch?v=hJpqSKuSmbA http://www.youtube.com/watch?v=7s3lyzCLOVU University of Houston
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.
November, 2007
Recall as much of the story as possible
Bartlett discovered story was not recalled exactly Recalled gist of the story, overall concept Patterns to forgetting & errors
University of Houston
Jennifer Mishra | [email protected]
Paraphrased & Condensed Added extra information Omitted irrelevant details Ambiguities clarified Unfamiliar details made more familiar
Save memory capacity Condense when stored (practiced) Reconstituted when retrieved (performed) Errors happen at each stage – bits of information lost &
Bartlett, F. C. (1932). Remembering: A study in experimental and social psychology. Cambridge University Press. www.bbc.co.uk/radio4/science/mindchangers3.shtml Jennifer Mishra
University of Houston
filled in November, 2007
based on our expectations and knowledge Jennifer Mishra
University of Houston
November, 2007
1
Memory and the Performing Musician
November, 2007
How piece memorized affects memory Practice techniques = Recall techniques
Mind-ful practice (analytical) Deep level of processing - find patterns, connections Repetition is a superficial level of processing
More connections = deeper processing =
stronger memory Sensory “memories” ▪ Aural ▪ Visual ▪ Kinesthetic
University of Houston
November, 2007
Analysis may be visual (based on scored notation) Analysis may be aural (i.e., not notation-based) Analysis may be kinesthetic (e.g., blocking chords)
Jennifer Mishra
Kinesthetic memory often confused One problem in determining why memory lapses occur is that an interruption during a performance of a memorized piece is not necessarily caused by the inability to recall the music. Technical errors or a physical mistake may result in a breakdown in the flow of the music, but are not the result of a memory error.
Not more memory slips because of
kinesthetic practice – automation is necessary for complex motor movements Conscious thought (declarative) slower than automatic movements (procedural) Performance problem if attempt to impose thought on faster moving automatic movements Landmarks to monitor automatic muscle movements Jennifer Mishra
University of Houston
May reflect technical problem rather than
memory problem
Fewer errors than expected on structural bars More starts & stops on structural bars Supports knowledge of phrase structure Incidental learning
Debate Forgetting: Memories can’t be retrieved
passing of time not cause loss Rust – oxidization not time
▪ Memories 0verwritten ▪ Forgetting is active process
Jennifer Mishra | [email protected]
Unsurprising – Difficult bars more errors than expected
Forgetting: Memories are lost
Memories don’t just disappear
University of Houston
November, 2007
November, 2007
Ebbinhaus forgetting curve Memory is an active process
Jennifer Mishra
University of Houston
with automated procedural memory
playing hands separately blocking chords (on keyboard) rehearsing under-tempo rehearsing the piece backwards score study away from the instrument transposing
interplay between voices in a fugue
Finding Patterns (analytical) Jennifer Mishra
Common practice techniques emphasize pattern recognition; allow obscure patterns to become clear
Two primary reasons for forgetting Interference Context-Dependent Memory
November, 2007
Jennifer Mishra
University of Houston
November, 2007
2
Memory and the Performing Musician
November, 2007
Interference
Memory of past piece or section interfere with retrieval 2 passages that are similar – but not the same New piece can interfere with retrieval of previously learned
piece
Ironic as enculturation – previous learning helps memory Overcoming interference
When memorizing musical material, also memorizing environment ▪ Incidental to material, but may provide memory cues ▪ Lights, décor, smells, sounds…
▪ Memory cues lost if changed - impedes retrieval
Memory is context-dependent
Retrieval problems when mismatch
Practice & performance
Make each piece / section distinct Imagery, emotion, labels… Different environments Mishra, J. & Backlin, W. (2007). The effects of altering environmental and instrumental context on the performance of memorized music. Psychology of Music, 35(3), 453-472. Jennifer Mishra
University of Houston
November, 2007
Instrument as “Context”
Jennifer Mishra
University of Houston
November, 2007
Mediating context effects
Changing instruments = changing contexts
Practice in performing environment (dress rehearsal) ▪ Practice context = performance context Practice in many environments ▪ Music matched to different cues - context in flux ▪ Less chance of encountering truly novel environment for performance ▪ Experts less likely to have memory slip in novel contexts played in many different contexts Imagery – imagine performance; imagine practice
Mishra, J. & Backlin, W. (2007). The effects of altering environmental and instrumental context on the performance of memorized music. Psychology of Music, 35(3), 453-472. Jennifer Mishra
University of Houston
November, 2007
Distributed & Imagery
Context = external & internal
Internal contexts (state-dependent memory): mood/anxiety
state, physiological state, drug state Changes in internal states negatively affects retrieval Practice: Low Anxiety Perform: Heightened Anxiety
Drug state may change (beta-blockers)
Anxiety brings physiological changes
Different times Different places Take breaks
though anxiety states may stabilize with drugs
Jennifer Mishra
University of Houston
Jennifer Mishra | [email protected]
Even slight change in internal context is a change of context Less likely to have memory lapse due to change of context
Appear in performance, absent from the practice: shallow breathing, cold hands, stiff legs, sweaty palms, tremors in hands, legs, heightened awareness of limited visual field. Though anxiety may, in itself, be seen as the cause of memory slips, an alternative hypothesis is that memory slips occur because the performer’s internal context at the time of performance is different to that at the time of practice.
Spread out memorization
November, 2007
Make practice situation like performance situation
Heighten anxiety during practice (record, audience)
Jennifer Mishra
University of Houston
November, 2007
3
Memory and the Performing Musician
November, 2007
Attribution Theory
Memory & Aging
Memory lapses during performance can appear
Why do we think we mysterious and unrelated to practice and can lead to feeling that successful memorized forget? performances result from wishful thinking or good Influences amount & luck. type of practice, persistence, motivation, superstitious behavior Internal / External reasons ▪ Within or outside of the performer Stability
Declarative memory (knowing that) affected by age Procedural memory (knowing how) preserved Implications for music: Process of memorizing may be affected by age Once pieces are memorized, age doesn’t affect
performance of pieces
Why memory lapse? Not a good memorizer – give up Why memory lapse? Memorizing is too difficult – give up Why memory lapse? Luck – may persist Why memory lapse? Didn’t practice enough – persist*
Jennifer Mishra
University of Houston
November, 2007
Memorization is difficult Rare in everyday remembering
tasks
Encoding affects retrieval
Jennifer Mishra
University of Houston
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.
Repetition inefficient Deep levels of processing (aural,
visual, kinesthetic, analytical)
Interference leads to forgetting Change of context leads to forgetting Distribute practice time Distribute practice space
Jennifer Mishra
Use imagery
University of Houston
Jennifer Mishra | [email protected]
November, 2007
www.mishramusicresearch.com [email protected]
4
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