File Name: practicing perfection memory and piano performance .zip
Professor Emeritus, Psychology, University of Connecticut.
The memory feats of famous musicians seem almost superhuman. Can such extraordinary accomplishments be explained by the same principles that account for more ordinary, everyday memory abilities? To find out, a concert pianist videotaped her practice as she learned a new piece for performance, the third movement, Presto, of the Italian Concerto by J. The story of how the pianist went about learning, memorizing and polishing the piece is told from the viewpoints of the pianist the second author and of a cognitive psychologist the first author observing the practice. The counterpoint between these insider and outsider perspectives is framed by the observations of a social psychologist the third author about how the two viewpoints were reconciled.
Listening to music entails processes in which auditory input is automatically analyzed and classified, and conscious processes in which listeners interpret and evaluate the music. Performing music involves engaging in rehearsed movements that reflect procedural embodied knowledge of music, along with conscious efforts to guide and refine these movements through online monitoring of the sounded output. Composing music balances the use of intuition that reflects implicit knowledge of music with conscious and deliberate efforts to invent musical textures and devices that are innovative and consistent with individual aesthetic goals. Listeners and musicians also interact with one another in ways that blur the boundary between them: Listeners tap or clap in time with music, monitor the facial expressions and gestures of performers, and empathize emotionally with musicians; musicians, in turn, attend to their audience and perform differently depending on the perceived energy and attitude of their listeners. Musicians and listeners are roped together through shared cognitive, emotional, and motor experiences, exhibiting remarkable synchrony in behavior and thought. In this chapter, we describe the forms of musical thought for musicians and listeners, and we discuss the implications of implicit and explicit thought processes for musical understanding and emotional experience.
Roger Chaffin 21 Estimated H-index: Find in Lib. Add to Collection. Musical performances by concert soloists in the Western classical tradition are normally memorized. For memory to work reliably under the pressures of the concert stage, the performance must be practiced until it is thoroughly automatic. At the same time, the performance must be fresh and spontaneous in order to communicate emotionally with the audience.
Now be a good girl and get us a cup of tea. Just a few words would have done. Cruz had no visible assets other than his sportfishing boat. And Proctor, being a cowardly man, tried to run. Instead of standing his ground and continuing to mimic the actions of the bodies all around him, the stupid man tried to run. They ripped him to pieces before he had chance to scream for help.
Musicians generally believe that memory differs from one person to the next. As a result, memorizing strategies that could be useful to almost everyone are not widely taught. We describe how an years old piano student Grade 7, ABRSM , learned to memorize by recording her thoughts, a technique inspired by studies of how experienced soloists memorize. Rather than explicitly teaching the student how to memorize, the teacher taught her to record her thoughts while playing by marking them on copies of the score, adapting an approach used previously in research with experienced performers. The thoughts that the student reported were prepared during practice, stable over time, and functioned as memory retrieval cues during reconstruction. This suggests that the student memorized in the same way as the more experienced musicians who have been studied previously and that teaching student musicians to record their thoughts may be an effective way to help them memorize. The speed and durability of her memorization surprised the student, inspiring her to perform in public and to use the same technique for new pieces.
PRACTICING PERFECTION: Piano Performance as Expert Memory. Roger Chaffin1 and Gabriela Imreh2. 1University of Connecticut and 2Ewing, New Jersey.
I would go so far as to say that the report of their research should be required reading for every pianist, piano student and teacher in the land. Centering on a description and analysis of how pianist Gabriela Imreh learned the third movement of J. Bach's Italian Concerto, the authors relate the pianist's account of how she learns to the psychologists' interpretation of the process. Recommended for all inclusive music libraries and for undergraduate and graduate libraries in institutions emphasizing performance, this book will also be useful to psychology students who study memory and memorization. Contents: Series Editor's Foreword.
Skip to search form Skip to main content You are currently offline. Some features of the site may not work correctly. DOI: Chaffin and G. Chaffin , G.
Hoffman, NanacyJ. Simonton, RobertJ. Sternberg, and ChristopherD.
Фойе оказалось помещением с изысканной отделкой и элегантной обстановкой. Испанский Золотой век давным-давно миновал, но какое-то время в середине 1600-х годов этот небольшой народ был властелином мира. Комната служила гордым напоминанием о тех временах: доспехи, гравюры на военные сюжеты и золотые слитки из Нового Света за стеклом. За конторкой с надписью КОНСЬЕРЖ сидел вежливый подтянутый мужчина, улыбающийся так приветливо, словно всю жизнь ждал минуты, когда сможет оказать любезность посетителю. - En que puedo servile, senor. Чем могу служить, сеньор? - Он говорил нарочито шепеляво, а глаза его внимательно осматривали лицо и фигуру Беккера.
Беккеру даже сделалось дурно. - Прошу прощения. Офицер покачал головой, словно не веря своим глазам. - Я должен был вам рассказать… но думал, что тот тип просто псих.
Очень хорошенькие? - повторил он с нарочитым немецким акцентом. - Рыженькие. - Да, а как зовут вашего брата. Я скажу вам, кто его сегодня сопровождает, и мы сможем прислать ее к вам завтра. - Клаус Шмидт, - выпалил Беккер имя из старого учебника немецкого.
- Тем более приходи. Мы успеем выспаться перед поездкой на север.
Комнату освещали лишь странные оранжевые блики. В воздухе пахло жженой пластмассой. Вообще говоря, это была не комната, а рушащееся убежище: шторы горели, плексигласовые стены плавились. И тогда она вспомнила. Дэвид.
Но Стратмор понимал, что Хейл не станет долго держать язык за зубами. И все же… секрет Цифровой крепости будет служить Хейлу единственной гарантией, и он, быть может, будет вести себя благоразумно.
Request PDF | Practicing Perfection: Memory and Piano Performance | Contents: Series Editor's Foreword. Preface. In the Green Room.Ninette D. 22.03.2021 at 05:26
Request PDF | Practicing Perfection: Piano Performance as Expert Memory | A concert pianist recorded her practice as she learned the third.Gaetan A. 27.03.2021 at 20:48
Afaa group fitness study guide pdf apprentice interview questions and answers pdf