An experienced cello soloist recorded her practice as she learned and memorized the Prelude from J.S. Bach’s Suite No. 6 for solo cello and gave 10 public performances over a period of more than three years. She described the musical structure, decisions about basic technique (e.g., bowing), interpretation (e.g., dynamics), and five kinds of performance cues she attended to during performance (expressive, interpretive, intonation, and basic technique separately for left and right hand). The 38 hours of practice provide the most comprehensive empirical account to date of preparation of a new piece of music for performance. The cellist repeatedly took the piece apart section-by-section and then re-integrated the sections into practice performances in each of five stages: exploration, smoothing out, listening, reworking and preparation for performance. The location of starts, stops and repetitions identified the changing focus of practice in each stage. The cellist organized her practice around the musical structure, developed interpretation before working on technique and practised memory retrieval at each stage. When she wrote out the score from memory, better recall of expressive and structural performance cues showed that they served as landmarks in a hierarchical memory retrieval organization.

No abstract

Musicians' sway during performance seems to be related to musical structure. However, it has yet to be shown that examples of the relationship are not simply due to chance. Progress has been impeded by three problems: the assumption that musical structure is constant across performances; the complexity of the movements; and the inability of traditional statistical tests to accurately model the multilevel temporal hierarchies involved. We solved these problems in a study of the side-to-side postural sway of two trombonists as they each recorded two performances of each of two solo pieces in each of three different performance styles (normal, expressive, non-expressive). The musicians reported their phrasing immediately after each performance by marking copies of the score. We measured the rate and stability (mean line) of recurrence (self-similarity) and assessed the effect of serial position within a phrase, using mixed linear models to model the nesting of phrases within pieces, within performances, across expressive styles and musicians. Recurrence and stability of recurrence changed systematically across the course of a phrase, producing sinusoidal-like and arch-shaped phrasing contours that differed with the performance style and length of phrase. As long suspected, musicians' expressive movements reflect musical structure.

No abstract

This article discusses memory for performance, focusing on the role of serial chaining and content addressability. Two areas of the episodic memory literature are particularly relevant to the discussion: oral traditions and expert memory. In oral traditions, materials such as children's rhymes and folk songs are handed down from one generation to another without the benefit of written records, often for hundreds of years. Expert memory results from years of training and the effective use of retrieval schemes. Expert memorists develop retrieval strategies to make their memories content-addressable so that they can find the information they needwhenthey need it. Anders Ericsson's theory of expert memory is used to explain how experienced performers memorize, as opposed to simply learn, a new piece.