HughesEdwin, “Musical Memory in Piano Playing and Piano Study”Musical Quarterly1 (1915): 595.
2.
NoyleLinda J., Pianists on Playing: Interviews with Twelve Concert Pianists (London: Scarecrow Press, 1987).
3.
StorrAnthony, Music and the Mind (London: Harper Collins, 1992), 31.
4.
DavidsonJane W., “Visual Perception of Performance Manner in the Movements of Solo Musicians”Psychology of Music21 (No. 21993): 103–113; “Which Areas of a Pianist's Body Convey Information about Expressive Intention to an Audience?” Journal of Human Movement Studies 26 (No. 6 1994): 279-301.
5.
See Noyle (1987) and Susan Hallam, “The Development of Memorisation Strategies in Musicians,” Paper presented at the 7th Conference on Developmental Psychology: Krakow, Poland, 1995.
6.
SlobodaJohn A., The Musical Mind: The Cognitive Psychology of Music (Oxford: Oxford University Press, 1985).
7.
WilliamonAaron, “The Value of Performing from Memory”Psychology of Music27 (No. 21999): 84–95.
8.
To arrive at this answer, ratings of the memorized performances of Conditions 2 and 3 were compared with the non-memorized performances of Conditions 1, 4, and 5. Note that the view of the performer was obstructed by a stand in Condition 2 but not in Condition 5; therefore, differences between ratings of the conditions, when grouped in this way, would have resulted mainly from the effects of memorization and not from visual information.
9.
For this answer, ratings of the unobstructed performances of Conditions 3 and 5 were compared with the obstructed performances of Conditions 1, 2, and 4. Note, once again, that the view of the performer was obstructed by a stand in Condition 2 but not in Condition 5; therefore, differences between ratings of the conditions, when grouped in this way, would have resulted mainly from the effects of visual information and not from memorization.
10.
This answer was obtained by comparing ratings of the performances before the extra month of practice (Condition 1) to those of performances afterwards (Conditions 4 and 5).
