Memory

1. Memory

2. Background • Many musicians experience memory laps during performance. These unpleasant memories shadow our confidence and exacerbate the level of performance anxiety. In many cases, afraid of having memory laps is the single reason, which causes stage fright. And for many musicians, memory is the only factor that prevents them from giving piano solo recitals.

3. Rational What causes memory slips What can we do to eliminate memory slips

4. Aim • Look for the cause • Search for a cure • Achieve performance success in finding the ways to eliminate memory slip

5. Thesis • Eliminate memory laps should start from how we learn and practice our pieces. • Understand how our brain works and use both left and right brains to build a safety nest and confidence to trust your automatic pilot. • Through practice, we can not only achieve performance success by eliminating memory slip, but also deliver music with conviction and meaning

6. Tradition • Mozart – Before the nineteenth century, it was considered bad taste and ostentatious for performers to play in public without the scores. Even Mozart, whose memory was prodigious, always placed the music before him whenever he performed. (Bernstein, 1981, p. 219) www.popularpersons.org/.../

7. Tradition was broken • Clara Schumann – In 1837, She premiered the complete Beethoven “Appassionata” Sonata in Berlin from memory. Leschetitzky maintained that she was the first pianist in history to perform without a printed score in public. Up through the 1840s it was held that to perform the work of a master without the notes was bad form: it showed disrespect to his art. (Schonberg, 1963, p. 221) http://www.klavarmusic.com/schumann.htm

8. Other Virtuosos • Sir Charles Hallé – British virtuoso, developed a mechanism operated by the foot that turned pages. People would go to his concerts just to see the spectacle of leaf after leaf turning over without intervention of human hands. In 1861 he started giving recitals in St. James’s Hall, playing Beethoven thirty-two sonatas in a series of eighteen recitals. He is the first pianist in history to play the cycle. The first two recitals were performed from memory. (Bernstein, 1981, p. 220) http://www.nndb.com/people/938/000101635/

9. Dr. Hans von Bülow – 1870 Feats of memory were legendary, it was his memory and not his musicality that seemed to make the greatest impression. (Bernstein, 1981, p. 220) http://commons.wikimedia.org/wiki/Image:Hans_von_buelow.jpg

10. Today’s Norm http://en.wikipedia.org/wiki/Vladimir_Horowitz http://topics.nytimes.com/top/reference/timestopics/people/p/murray_perahia/index.html

11. Reason for Memorize • Sharpens the mind – Greek rhetorician and grammarian, Athenaeus said, “The study of music contributes to the exercise and acumen of the mind.” “In ancient Greece, students of rhetoric were required to memorize all of their texts and recitations not only to master public speaking, but also to hone their minds. Music which occupied a status equal to that of arithmetic, geometry, and astronomy in the ancient curriculum, was performed without exceptions – both vocal and instrumental – were handed down directly from master to pupil without scores.” (Bernstein, 1981, p. 221)

12. Reason for Memorize Continues • Freeing a performer in musical and technical ways – “Memorization is the most direct toute to this critical juncture where thinking, feeling, and physical coordination become synthesized. It is at this point that we are able to transcend all technical details and deliver in our playing the meaning music was meant to convey.” (Bernstein, 1981, p. 228) http://www.cs.princeton.edu/~san/cliburn.jpg

13. What causes Memory Slips • Don’t know the piece well enough – “what is the next note?” • Analytical details may interfere with “Automatic Pilot” • May be concentrating on the wrong thing when performing • Distractions (visual, aural, attire, and environmental) • Nervousness www.carlysart.com/artwork/?artwork_id=48

14. Memorization is a skill • “All right, now go memorize it.” • Memorization must be taught and practiced as any other skill • Memorization should start at the beginning of the learn progress

15. Visual – What it looks like (both score and keyboard) Analytical – Harmonic and motivic structure ( Involve with more mental power. Helps to increase security and control) Aural –What it sounds like Tactile – What it feels like (Comes with least effort and seems natural and intuitive) Major Learning Modes involved in memorizing a Piece of Music margerydaw.wordpress.com/2008/05/

16. Aural Memorization • Music is sound • Musicians with absolute pitch regularly suffer memory slips • Hear with the inner ear (pitch, duration, intensity, etc.) • Sing with the inner voice • The inner voice direct the hands • Tamar Schalvashvili – Performs Skrjabin Poem Tragique B-Dur Op. 34 http://www.picturethesound.com/

17. Listening Techniques • Sing the notes and lines • Place your attention on the vibrations • Place your attention on each sound as it resonates in the space around you (Bruser, 1997, p.166-174) • These techniques not only improve musical memorization, but also develop musicality

18. Tactile • “Muscle memory” – anything we repeat enough becomes automatic • We used to memorize our pieces by repeating • We still memorize our pieces by repeating • Feeding the right information • Sufficient fingering • Correct dynamics • Accurate pitches • Sufficient physical movement • Natural musical feelings

19. Is that enough? • Distractions • Environmental • New Instrument • Acoustic • Lighting • Audience • Psychological • Doubt - interference • Physical • Heart rate • Dry mouth • Extra sharpness of the mind

20. Visual • What it looks like on the page • Photographic memory • Land marks • Practice from the back method (many starting points) • What it looks like on the keyboard • The danger lies in the slow movement • Visualize the hands with the inner eyes

21. Analysis • Importance • Theoretical • Form of the piece • Phrase Structure • Harmony • Rhythmic patterns • Comparison • Come up with your own method • Mapping

22. Mapping http://www.bl.uk/onlinegallery/features/images/thumbnail-maps.jpg • The “mind map” was developed by Tony Buzan to improve understanding and retention in reading or taking notes on a lecture. Buzan’s maps emphasize effective organization of material and the use of visual imagery to aid recall. Students are encouraged to abbreviate and link ideas in their own way by using underlining, colors, or pictures to highlight important words. (Shockley 1997, P. 5) • Map includes: • Piece structure, • Phrase structure and directions, (slurs, and lines) • Contour of the melodic lines • Harmonies (chord labels) • Rhythmic patterns

23. Practice away from the piano • Gina Bachauer – • Study everything about the piece before touching the piano • Alicia de Larrocha – • Study a work totally unknown • Relies on all four modes. And most importantly on analytical: form and harmonic structural aspects, phrasing, dynamics and rhythmic patterns. (Marcus, Great Pianists Speak,1979) http://www.beautyinmusic.com/artist_pages/alicia_de_larrocha.htm http://en.wikipedia.org/wiki/Image:Bachauer-Gina-02.jpg

24. Murray Perahia – • re-write the scores from memory • Vladimir Horowitz – • regularly spent several weeks studying and memorizing new repertoire at a cabin in Vermont without a piano before beginning practice back in New York http://www.imgartists.com/?page=artist/artistPicture.html&id=1610 http://web.telia.com/~u85420275/trivia.htm

25. Problems: The euphemism takes over Mindless repetition (need a plan) Only listen to the melody Solution: Practice and memorize hands separately Practice from the back (Land marks) Practice smaller chunks at a time (focus & purpose) Practice at a very slow tempo and exam every note (think/reflex) At the Piano

26. Feeling and Meaning • We tend to remember things that are familiar and meaningful to us. The more a piece of music affects our heart, the more easily we remember it. We, as performers, should take the time to think about the conceptual meanings behind the printed materials. It is important to have a concept of what the musical phrase is saying. Then say it in our own words. In this way, our message has more convincing power. It takes time to cultivate emotional vulnerability, mental clarity, physical ease, and vivid listening; all of these should work together. It starts from opening our heart to each sound we hear and each movement we make when practicing. (Bruser, 1997, p. 221)

27. Free your Automatic pilot consciously • Ideally, everything that contributes to a convincing performance ought to be automatic • The ease and security of performing music from memory depend upon the full development of the automatic pilot (it is important to feed the brain with the right information) • To trust in the automatic pilot, you must first condition it by dealing consciously with each and every facet of the music • Supported by the conscious memory and conditioned reflexes, you can actually switch back and forth at will (Bernstein, 1981, p.231-233) http://www.iaac.us/AH_concert/images/Carnegiehall.jpg

28. Concentration is Essential • Concentration is the essential element for the brain to retrieve information with flow during the performance. • Obtain the high level of concentration starts in the practice rooms • Practicing performing • Eliminate distractions

29. Dealing with the Unexpected • Try-out is an important preparation step before the performance • Playing for friends should not be taken casually • Wear the clothes and shoes you plan to perform in • Rehearse in the concert hall if possible • Record yourself

30. Conclusion • Performing by memory is the most direct way to transcend music from printed notes to art • Connect the music with your senses: Visual, Aural, Analytical, Kinesthetic and Emotion. • The ease and security of performing music from memory depend upon the full development of the automatic pilot • Letting go consciously • Practice performing

31. References • Bernstein, S. (1981). With Your Won Two Hands. New York, N.Y.: Macmillan Publishing Co., Inc. • Bruser, M. (1997). The Art of Practicing: A guide to making Music From the Heart. New York, N.Y.:Crown Publishers, Inc. • Friedberg, R. C. (1993). The Complete Pianist Body, Mind, Synthesis. Metuchen, M. J. & London: The Scarecrow Press, Inc. • Gordon, S. (2006). Mastering the Art of Performance. New York, N. Y.: Oxford University Press. • Lhevinne, J. (1972). Basic Principles in Pianoforte Playing. Toronto, Ontario: Dover Publication, Inc. • Marcus, A. (1979). Great Pianists Speak. Neptune, NJ: Paganiniana Publications, Inc. • Newman, W. S. (1950, 1956). The Pianist’s Problems. New York: Da Capo Press, 1984. • Noyle, L. J. (1987). Pianists on Playing: Interviews with Twelve Concert Pianists. Metuchen, N.J. & London, The Scarecrow Press, Inc. • Schockley, R. P. (1997). Mapping Music: For Faster Learning and Secure Memory. Madison, Wisconsin: A-R Editions, Inc. • Schonberg, H. C. (1963). The Great Pianists From Mozart to the Present. New York, N.Y.: Western Corporation. • McKinney, D. L. (2008). Mental Strategies to Improve Playing From Memory. The American Music Teacher. Cincinnati: Vol. 57, Iss. 6; pg. 26, 3pgs.

32. Citation • http://www.superstock.com/stock-photography/piano/keyboard • www.popularpersons.org/.../ • http://www.klavarmusic.com/schumann.htm • http://www.nndb.com/people/938/000101635/ • http://commons.wikimedia.org/wiki/Image:Hans_von_buelow.jpg • http://en.wikipedia.org/wiki/Vladimir_Horowitz • http://topics.nytimes.com/top/reference/timestopics/people/p/murray_perahia/index.html • http://www.cs.princeton.edu/~san/cliburn.jpg • www.carlysart.com/artwork/?artwork_id=48 • http://margerydaw.wordpress.com/2008/05/ • http://www.fotosearch.com/photos-images/audience_30.html • http://www.bl.uk/onlinegallery/features/images/thumbnail-maps.jpg • http://www.beautyinmusic.com/artist_pages/alicia_de_larrocha.htm • http://en.wikipedia.org/wiki/Image:Bachauer-Gina-02.jpg • http://www.imgartists.com/?page=artist/artistPicture.html&id=1610 • http://web.telia.com/~u85420275/trivia.htm • http://www.picturethesound.com/ • http://www.iaac.us/AH_concert/images/Carnegiehall.jpg • http://office.microsoft.com/en-us/clipart/default.aspx?cag=1 • http://www.youtube.com/watch?v=OOgcmiStwQA