#memory encoding

[section-9]

http://www.youtube.com/watch?v=6MCf-6It0Zg メモリーの分子基盤： The Molecular Basis of Memory: 記憶形成の観測。 Observation of memory formation. http://io9.com/scientists-watch-glowing-molecules-morph-into-memories-1509819147 研究室の出版物： Research Lab publications : http://www.einstein.yu.edu/labs/robert-singer/publications/

[fourthballade]

Memory

I've been reading Brain Rules slowly over the course of the last month or two and it's re-piqued my interests in neuroscience and memory.  When I decided to go to graduate school I decided that piano pedagogy and not psychology was my track (well, I'm out of grad school now and sometimes I do wonder what my income would be if I'd decided to go do psychology instead).

Anyway, there was some discussion at the Piano Forums about a student who had a hard time memorizing.  This hasn't ever been an issue for me because I have a good memory and I tend to memorize quickly.  But, to paraphrase from the book, the best memories are encoded through meaningful or emotional experiences.  This got me thinking about my own deeply encoded repertoire and my students' struggles to get things memorized.

When I was much younger my teacher assigned me "Duet" from Mendelssohn's Songs Without Words.  This was an epic struggle, let me tell you.  I liked it, but I worked on it a lot, and that's an understatement.  Part of the memory encoding process was to practice with lights out, eyes closed, or both.  This was to build on my kinesthetic awareness of the piece.  As it turned out, there was a violent thunderstorm during the recital and the power went out right as I headed into the DbM section.  It stayed out for the remainder of the recital and came back on only for the last chord.  Fortune favors the prepared!  I tell this story to my students and they never question having to practice with eyes closed.

Well, that was a bit of a digression - I'd meant to talk about meaningful encoding during lesson and practice.  Of course, this can't happen every single lesson.  My students can't be in gales of laughter or choking back sobs as they play piano.  That would most assuredly provide them with a strong impression of what they're doing, but then their parents would start wondering what happens in the studio (what happens in the studio stays in the studio).  Neither can they be zombies that sit through my endless talking.  Yes, I do a LOT of talking.

So really what we have to do is make the playing of the piece itself a strongly encoded memory.  I'm willing to try some experiments using silly distraction for one of my 9-year-olds to see if she'll focus more on what she's doing.  You know those kids that play piano but are able to look all around and only leave half their brain with their fingers?  She's one of them.  I figure I'll probably have to dance and sing and wear dumb things and generally look like a fool.  Hopefully she'll be able to summon up enough concentration to ignore me and bear down on her task.

Another experiment requires two pianos and a game of tag.  I don't know if this will actually work, but I'm willing to try.  Say the student and teacher both learn the student's piece.  To test how well the student knows the piece, the teacher (with the music) plays up to a random spot, then stops.  The student immediately has to pick up where the teacher left off, and the student and teacher go back and forth, tagging each other until the piece is over.  I'm not going to lie: this sounds really difficult.  But rewarding, if it can be accomplished.

My student's recital is this Sunday.  I will try these things, and report back later!