WMTA News - Waco Music Teachers Association

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Meaningful Memorization: A Holistic Approach to Secure Memory
Baylor University MTNA Collegiate Chapter, Waco, TX
Clara Boyett, NCTM; Hayden Coie; Serenity Fung; Kristen Neel; Blake Proehl, NCTM
History of Memorization – Hayden Coie
History of Memorization Pedagogy
 Memorization not a traditionally accepted practice until mid-nineteenth century
 Researchers and teachers began to explore methods of memorization
 Some historical documents that trace the journey from stage to studio:
o 1886: Article published in The Etude, argued to be one of the first documents for
systematic memorization
o 1899: Musical Memory and Its Cultivation by Frederick Shinn, an early
comprehensive look at memorization. Mentions four modes of memory: aural,
visual, kinesthetic, analytical.
o 1958: The Pianist’s Art by Powell Everhart talks about memory as being a
standard part of learning and playing piano.
Memorization Pedagogy Today
 Early ideas like a systematic approach and four memory modes still used today
 Music should be memorized to fully internalize it for performance
Science of Memorization – Serenity Fung
Memory Pathways: how your brain collects and stores outside stimuli to create different types of
memory. These are not sequential and a combination is often employed to create strong
 Procedural: muscle memory
o Repeated motion at the keyboard
 Episodic: context and setting
o Rehearsing in the performance venue and on actual instrument
 Semantic: words on the page and spoken word
o Score study and instruction from the teacher
 Automatic: conditioned responses
o Mental rehearsal, practice performing and how to respond to mistakes
 Emotional: strength and type of emotion related to memory
o Trace emotional relationship to the piece
Memory Recall: Utilizing Memorized Music – Blake Proehl
Performance cues
 Structural cues: movements, sections, sub-sections, and other boundaries
 Basic cues: technical details requiring attention
 Interpretive cues: conceptual ideas applied to specific spots
 Expressive cues: feeling to be conveyed to the audience
 Detailed Reviewing: keep score details fresh in mind and search for new ideas
 Mental Rehearsal: keep vivid memories and cues
 Practice Performance
 Expanding Rehearsal: short, frequent sessions → long, spread out sessions
Focus in Performance
 Pre-performance preparation: mindfulness, breathing techniques, positive thinking,
 Stable intention creates secure concentration – scripting, visualization, audiation
 Always push forward!
Teaching Strategies – Kristen Neel
Mindful Memorization: creative strategies to engage students’ minds to memorize in different
 Visual: Puzzle Game
 Aural: Singing Recall
o Three part: Phrasing, dynamics, and notes
o Memorize melody by shorter, then longer segments
 Kinesthetic: One Fingered-Hand Exercise
o Play RH or LH part with one finger
 Conceptual: Reverse Practice and Linking
o Break piece into sections and memorize starting from the last section and
working backwards
o Link shorter sections to form longer sections
 Combination: Starting Points (visual, kinesthetic, and conceptual)
o Emphasizes knowledge of form
o Choose and number starting points for form, texture, and key changes
Analysis – Clara Boyett
Using Analysis to Strengthen Memory
 Analytical memory
 Analyze form, harmonies, scales, patterns, etc.
 Streamlines memorization process and aids in memory recall and retrieval
 Should begin early in musical training
Sources and Further Reading
Chaffin, Roger. "Learning Clair de Lune: Retrieval Practice and Expert Memorization," Music
Perception: An Interdisciplinary Journal 24, no. 4 (April 2007): 377-393.
Croom-Hatch, Sarah. "Continuous Audition for Piano Performance," American Music Teacher
42, no. 1 (August/September 1992): 14-17, 72-73.
Dickinson, Stefanie. “A Multi-Level Approach to More Secure Memorization,” College Music
Symposium 49/50 (2009/2010): 271-283.
Forehand, Mark R., Kevin Lane Keller. "Initial Retrieval Difficulty and Subsequent Recall in an
Advertising Setting," Journal of Consumer Psychology 5, no. 4 (1996): 299-323.
Inglis, Holly J. “How Memory Works.” In Sticky Learning, by Kathy L. Dawson, Holly J. Inglis,
and Rodger Y. Nishioka. Minneapolis: Augsburg Fortress Publishers, 2014.
Klickstein, Gerald. The Musician's Way. New York: Oxford University Press, 2009.
Sharpe, David Drake. “Applications to the Pedagogy of Memory and Piano Playing: Building
Solid Foundations.” DMA diss., Arizona State University, 2004.
Musical Examples
Early Elementary: Russian Folk Song, from Faber Piano Adventures Primer Level
Late Intermediate: Sonatina in G Major, Op. 55 No. 2 by Friedrich Kuhlau
Early Intermediate: Arabesque, Op. 100 No. 2 by Friedrich Burgmüller

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