A Theoretical Model of Musical Memorization.

The purpose of this article is to describe a model of how music is memorized for performances. The process of memorization appears to comprise three stages: preview, practice, and over-learning. Previous experience and enculturation also are very important in informing the memorization process. Hach stage is subdivided. The preview stage is divided into notational overview, aural overview, and performance overview. The practice stage is divided into notational practice and conscious memorization. The over-learning stage is divided into re-learning, automatization, and maintenance rehearsal. For the purposes of this model, the four most commonly discussed memorization strategies (aural, visual, kinesthetic, and analytical) are divided and grouped into sensory learning styles (consisting of aural, visual, and kinesthetic memories), and an analytical learning style (discussed separately). Four processing strategies also are discussed: holistic, serial, additive, and segmented. The amount of time and effort expended during each stage is a matter of individual preferences, performance goals, task difficulty, training, and ability. Furthermore, the stages and the subdivisions are flexible and not necessarily sequential, nor indeed compulsory, for all performers. A picture of how music is memorized for performance is emerging from 100 years of research and introspection. For more than a century (one of the earliest discussions of musical memory is Shinn, 1898), performers have attempted to understand the process of memorization by attempting to understand themselves, that is, investigating memorization by reflecting on their own individual practice. Pedagogues not only have sought to understand, but also to describe the process and identify successful memorization strategics for use by their students. Early researchers (e.g., Rubin-Rabson, 1937, 1939, 194Oa, 194Ob, 194 Ia, 194 Ib, 194 Ic, 1941d,& 1947) primarily were concerned with finding the most effective memorization strategies, though later researchers (e.g., Chaffin IGruson, 1988;Hallam, 1997;Miklaszewski, 1989& 1995) generally adopted a descriptive, rather than experimental approach, using interview and case study data to understand the memorization process. Despite the long history, investigations into musical memory have been sporadic and unsystematic. Though sharing common experiences, musicians lack common terminology with which to discuss the process of memorization and experimental researchers have been unable to shed light on the process. The process remains a mystery to many, thus leading to ineffective or inefficient memorization strategies, superstitious behavior, and additional performance anxiety. The purpose of this article is to clarify the process of memorization by synthesizing knowledge scattered throughout the literature. Relevant information will be organized into a working model, which also will serve to highlight areas of ignorance or ambiguity for future researchers to explore. The mode] is preliminary in that it is expected to change and grow as researchers continue to clarify the complex process of musical memorization. Memorization Model Overview The process of memorization appears to comprise three stages: preview, practice, and over-learning (see Figure 1). These stages appear consistent with those proposed by Wicinski ( 1950, in Miklaszewski, 1989): getting to know the music, hard work on technical problems, and fusion of ideas and technical skills. Imreh and Chaffin's model includes more detail, especially concerning the transitional stages of "scouting it out" section by section, "gray stage,"putting it together, polishing, and maintenance (Chaffin, Imreh, & Crawford, 2002.) The current model also includes a preliminary stage of enculturation and experience that might affect the memorization of music. Each stage is subdivided: The preview stage is divided into notational overview, aural overview, and performance overview; the practice stage is divided into notational practice and conscious memorization; and the overlearning stage is divided into re-learning, automatization and maintenance rehearsal. …