the memorizing of piano music for performance

This article was downloaded by: [University of Glasgow]On: 18 December 2014, At: 09:06Publisher: RoutledgeInforma Ltd Registered in England and Wales RegisteredNumber: 1072954 Registered office: Mortimer House, 37-41Mortimer Street, London W1T 3JH, UK

Proceedings of theMusical AssociationPublication details, includinginstructions for authors andsubscription information:http://www.tandfonline.com/loi/rrma18

The Memorizingof Piano Music forPerformanceFrederick G. Shinn Mus.D., DUNELM,A.R.C.M.Published online: 28 Jan 2009.

To cite this article: Frederick G. Shinn Mus.D., DUNELM, A.R.C.M.(1898) The Memorizing of Piano Music for Performance, Proceedings ofthe Musical Association, 25:1, 1-25, DOI: 10.1093/jrma/25.1.1

To link to this article: http://dx.doi.org/10.1093/jrma/25.1.1

PLEASE SCROLL DOWN FOR ARTICLE

Taylor & Francis makes every effort to ensure the accuracyof all the information (the “Content”) contained in thepublications on our platform. However, Taylor & Francis,our agents, and our licensors make no representations orwarranties whatsoever as to the accuracy, completeness,or suitability for any purpose of the Content. Any opinionsand views expressed in this publication are the opinions andviews of the authors, and are not the views of or endorsed

http://www.tandfonline.com/loi/rrma18

http://www.tandfonline.com/loi/rrma18

http://www.tandfonline.com/action/showCitFormats?doi=10.1093/jrma/25.1.1

http://dx.doi.org/10.1093/jrma/25.1.1

by Taylor & Francis. The accuracy of the Content should notbe relied upon and should be independently verified withprimary sources of information. Taylor and Francis shall not beliable for any losses, actions, claims, proceedings, demands,costs, expenses, damages, and other liabilities whatsoever orhowsoever caused arising directly or indirectly in connectionwith, in relation to or arising out of the use of the Content.

This article may be used for research, teaching, and privatestudy purposes. Any substantial or systematic reproduction,redistribution, reselling, loan, sub-licensing, systematicsupply, or distribution in any form to anyone is expresslyforbidden. Terms & Conditions of access and use can be foundat http://www.tandfonline.com/page/terms-and-conditions

Dow

nloa

ded

by [

Uni

vers

ity o

f G

lasg

ow]

at 0

9:06

18

Dec

embe

r 20

14

http://www.tandfonline.com/page/terms-and-conditions

NOVEMBER 8, 1898.

W. H. CUMMINGS, ESQ., F.S.A., VICE-PRBSIDENT,

IN THE CHAIR.

THE MEMORIZING OF PIANO MUSIC FOR

PERFORMANCE.

BY FREDERICK G. SHINN, MUS.D., DUNELM, A.R.C.M.

IN introducing for your consideration this afternoon thesubject of memory in connection with piano playing, I canhardly doubt that my subject is one in which every earneststudent and every competent teacher of the piano must feelno slight or passing interest. From the time the beginnerlearns the alphabetical names of the notes of the keyboard,by remembering their position in relation to the groupsof two and three black notes, until he reaches — if heever does — the highest summit of his profession as apianist, does the cultivation of the power of memory, inone form or another, enter in no small degree into hisstudies. Not merely is it employed by those whose memoryis sufficiently reliable and secure to enable them to playpieces without some assistance from the printed music, buteven by performers who carefully follow the printed page arethe forms of memory belonging respectively to the ear,the fingers, the eye, and the intellect employed more or lesscontinuously throughout the progress of a piece. It isobvious, therefore, that a consideration of the employmentof memory, in its various forms, in connection with pianoplaying, is one of wide and far-reaching importance ; and itwas therefore a matter of surprise to me, as it may be also toyou, to discover that, with the exception of a few slight andgeneral references to it in magazine articles and handbooksfor pianists, no literature exists on the subject. At least, asfar as I have been able to ascertain, nothing which approachesa thorough investigation of the subject on more or lessscientific and psychological lines exists either in English orGerman.

I have no intention of claiming that my paper will supplyanything in the nature of a complete investigation into this

2 Vol. 25

Dow

nloa

ded

by [

Uni

vers

ity o

f G

lasg

ow]

at 0

9:06

18

Dec

embe

r 20

14

2 The Memorizing of Piano Music for Performance.

most interesting and instructive subject; but as I proceed Ishall endeavour to indicate the lines upon which I believesuch an investigation should proceed, and then draw yourattention to certain widely recognised natural intellectuallaws to which the results of my investigation, as far as it ispossible to judge, may be said to conform. As I stated pre-viously, I believe I am breaking untrodden ground, and,therefore, before starting, I will claim your indulgence, lestin my eagerness to traverse hitherto unexplored territory,and become a musical-psychological pioneer, I have takennot only one, but perhaps many wrong turnings, from whichI may have eventually to retrace my steps.

Although every pianist, whether he plays with or withoutthe book, employs to a greater or less extent the variouspowers of memory, I shall confine myself this afternoonto a consideration of the extent to which these enter intowhat are recognised as " memory performances." Thequestion I propose to discuss is this: " When a pianistplays from memory, by what powers of memory does heremember that which he plays ?" I can quite believethat to some of you present the answer to this questionseems simple and obvious, and any discussion unneces-sary. You will say that when you play from memoryyou hear in your mind the various sounds of the piece,and these you translate on to the keyboard — in otherwords, you remember entirely by the aid of your ear.That this is quite true with regard to some who play frommemory I have not the least doubt, but that it is equallyuntrue of others I have also no doubt. One has only tonotice the inability of the ordinary pianist to write, say,a short melody, or a few chords from dictation, or to hearmentally the sound of a simple piece of music merely bylooking at it, to know that in their memory-performancesthe absolutely correct and instant translation of what theycould mentally retain would be quite beyond their powers;and when these play from memory they certainly cannot relyon the memory of their ear to supply information as to thenotes of the piece, but to a very limited extent. By their earthey will criticise the result as to correctness of notes,rhythm, phrasing, and general expression; but it doesnot require a very deep insight to discover that for theabsolute notes and material of the piece they rely very largelyupon other forms of memory.

In order to discover what these forms are, it will be well tolook first of all at the operation of piano playing, andsee, under normal conditions, what are the possible formsof memory which are available for piano performance.Omitting from our consideration the case of the blind, pianoperformances may be said to demand the active employ-

Dow

nloa

ded

by [

Uni

vers

ity o

f G

lasg

ow]

at 0

9:06

18

Dec

embe

r 20

14

The Memorizing of Piano Music for Performance. 3

ment and exercise of the ear, the fingers, the eyes, andthe intellect. In the vast majority of performances all thesepowers contribute something towards the final result. Thisbeing the case, there are therefore the forms of memorybelonging to these four powers, from all of which someamount of assistance may be derived. I have stated thatall of these four forms are to some extent available;but it must not be inferred that therefore they are forthis purpose of equal value, or that even under certainconditions some may not be almost valueless. I amsimply drawing to your notice the fact that they are possibleforms of memory, which in remembering piano music forperformance may help us to bear the burden and heat ofthe day.

I will now briefly consider each form of memory separately,drawing your attention to its special character, and showinghow such may make it more reliable and secure whenexercised in connection with some forms of passage ratherthan with others, and I will indicate to some extent thelimits of the judicious, employment of each form.

MUSICAL MEMORY.

Music, in whatever shape it assumes, or in whatever mannerit may be presented to us, is the language of sound. Bymeans of sound-sensations it makes its universal appeal andexercises a subtle, yet unlimited sway over our feelings andemotions. The memory of the ear, or what I shall termMusical Memory, is the form then to which we must allotthe first place by undisputed right.

By this power we are able to retain and recall thesound of intervals, melodies, chords, progressions ofchords, and anything which may be termed "music."The extent to which we are able to do this depends uponthe fineness or sensibility of the ear, or the power itpossesses to discriminate differences of pitch and thequalities of musical sounds generally; for it is a re-cognised intellectual law that the power of memorypossessed by any organ of sense varies directly with thediscriminative power of that organ, or its power of detectingfine distinctions and differences. A fine and sensitive ear todifferences of musical pitch invariably carries with it a goodretentive power for corresponding sounds. This, then, is thechiel condition for securing and retaining an accurate andcomplete mental storage of what may be presented to usin sound. Having stated our chief condition we mustnot, however, stop here. What is the value of mentalstorages of musical sounds, or, indeed, of anything, unlesswe can reproduce and employ them on future occasions ?

Dow

nloa

ded

by [

Uni

vers

ity o

f G

lasg

ow]

at 0

9:06

18

Dec

embe

r 20

14


Not only, therefore, must our ears be able to discriminatebetween the sound of different melodies and harmonies,and our memory to accurately retain such; but wemust be able to describe them and to classify themupon some definite and well recognised basis, and alsowe must be able to record what we hear in some in-telligible and well understood language. The ability todo this will include the complementary power of mentallytranslating into sound what we may see written inmusical notation—in other words, to read music. Thispower can only be gained by a comprehensive courseof ear-training or a cultivation in some rational manner ofour memory for musical sounds, a branch of musical edu-cation of the greatest importance, and yet which receives atthe present time most inadequate recognition in our schemesof education and examination.

Having drawn your attention to what, in some degree,should be the possession of every musician—a well-trainedear—I will now consider how far the form of memorybelonging to this organ can be employed by the pianist whoplays without the book. Music, first and foremost, is sound;therefore, given a sufficiently delicate and retentive ear, it ispossible to retain all music by this form of memory. Theremembering by this single power of long and elaboratepieces, with all their wealth of detail, presents to manypianists no insuperable difficulty or even an exceptional one.Assuming, therefore, the possession of an ideal ear, the powerof instantly translating what is mentally heard on to thepiano, and of course adequate powers of execution, theassistance of no other form of memory would be necessaryto remember music for piano performance.

This, however, is but one side of the question ; of the otherwe have yet to take notice.

Of the immense number of pianists who play to someextent from memory, how many do possess this ideal ear andcorrespondingly perfect memory for musical sounds ? Wethink but a comparatively few. In fact, we do not hesitateto say that the vast majority of pianists do not possess this—to the musician—invaluable gift, and if the memory of theear were the only form of memory possible, this great majoritywould have to work out their musical salvation with the aidof the book. Such, however, is not the case. There are, asI drew to your attention before, three other forms of memorywhich are available for employment; and when our ear is notequal to the task, it is to these supplementary non-musicalforms that we go for assistance, and that assistance theyreadily supply to an almost unlimited extent. But it mustever be remembered that, to whatever extent these formsdo assist, the ear must exercise, throughout the progress of a

Dow

nloa

ded

by [

Uni

vers

ity o

f G

lasg

ow]

at 0

9:06

18

Dec

embe

r 20

14


piece, a continual criticism of its tone, rhythm, and generalinterpretation.

MUSCULAR MEMORY.

When studying a musical instrument like the piano, wherefrom the very earliest steps the power of performing absolutelyaccurate and certain movements is of vital importance, theacquiring of complete control over several departments ofour muscular system, and the cultivation of our memory formovements, form no unimportant parts of our studies. Infact, the technical side of piano study is very largely devotedto secure these ends. So that after sufficient practice andrepetition, not only do we acquire perfect conscious controlover the movements of our hands and fingers, but eventuallythe muscles which control these will, as it were, memorizethe different series of movements, so that the hands andfingers instinctively assume good positions for playing andunconsciously make those movements which are of the greatestimportance in helping to secure good technique.

Those of you who have read modern works on psychologyknow that a muscular sense is now as generally recognised asa sense of sight or hearing, and like these it possesses thepower of memory or retention, although in a much lowerdegree. The word " possesses," which I have used here, isperhaps hardly correct; but I think it will convey to youwhat I mean better than any other word. The faculty ofretention, or memory, is one of our great primary intellectualpowers; and not only is it employed in purely mental matters,but it reveals or manifests itself through the medium of thedifferent senses, just as the sun shining through a glasswindow of many colours produces, on the opposite side, lightof various colours. And as in the latter case we speak of" blue light " or " red light," so in the former I think we mayspeak of " Musical Memory," of " Visual Memory," or of" Muscular Memory." There is one common source oforiginal power, but it appears in various garbs. Repetitionis the chief means of bringing our muscular memory intoemployment. By sufficient repetition, complicated series ofmovements, which at first could only be performed by givingthe closest attention to the several movements, eventuallybecome possible, not merely with a lesser degree of attention,but can be performed with absolute accuracy when ourattention is given entirely to other matters. They becomewhat is termed reflex movements.

The extent to which pianists rely upon this form of memorywhen playing, even when they are closely following theprinted page, would, if it were possible to discover the exactextent, certainly astonish many who have never considered

Dow

nloa

ded

by [

Uni

vers

ity o

f G

lasg

ow]

at 0

9:06

18

Dec

embe

r 20

14


the question. We hardly hesitate to say that in the perform-ance of music of a rapid and brilliant character, which coversin its progress a large portion of the keyboard by theintroduction of extended arpeggios and similar passages, thisform of memory is frequently employed to an almost un-limited extent.

Turning our attention to a consideration of the form ofpassage specially suitable to be memorized by this form ofmemory, it is obvious that these will be such as require intheir performance a clear, firm, and rapid touch. Shouldpassages of this class occur in any piece we may bestudying, and by presenting technical difficulties to usdemand and receive a large number of repetitions, simplythat they may be played with accuracy and fluency, we shallgenerally discover that, unconsciously, and without anyspecial effort on our part to memorize them, as a result ofthe frequent repetitions, our muscular sense will have as itwere memorized the whole series of movements; and afterthe start is given our fingers are guided over the wholepassage without any conscious or voluntary control.

Of passages of this class, those which are most secure whenmemorized by this form of memory alone are such as areconstructed upon the repetitions of a figure in differentoctaves and proceeding in one direction for a considerabletime, as the following passages from Chopin's Scherzo,Op. 3 1 : -Ex. u

&c.

Dow

nloa

ded

by [

Uni

vers

ity o

f G

lasg

ow]

at 0

9:06

18

Dec

embe

r 20

14


I do not wish to give you the impression that the memori-zation of these passages presents any great difficulty which-ever form of memory we may employ. That is not my point.In bringing before you the various forms of memory, before Ican show you how far their employment is possible in pianoplaying, I must give you some idea of the form of passageswhich favours their employment, and to do this I naturallybegin with the simplest type.

The passages which we have just heard require in per-formance the repetition of identical series of finger move-ments and present little or no opportunity for the fingers tomake a wrong movement. The least amount of voluntarycontrol carries us safely to the end.

Passages resembling these, in being constructed upon somefigure or pattern, which, however, is modified in its progress tosuit the harmonic structure, are hardly less secure. In thesethe series of movements are similar but not identical. Tonote the harmonic basis of such a passage as Ex. 4 in the wayshown in Ex. 4a would be a precautionary measure:—

SvaMENDELSSOHN, Op. 25.

MENDELSSOHN, Op. 22.

Ex 4a.

rAnother form of brilliant passage is that which is not con-

structed upon any figure or pattern and which may thereforebe termed " irregular." Such passages, on account of theirirregularity, frequently require and receive a larger numberof repetitions than other passages of simpler and moreobvious construction, in order that they may be played with

Dow

nloa

ded

by [

Uni

vers

ity o

f G

lasg

ow]

at 0

9:06

18

Dec

embe

r 20

14


accuracy and fluency. Such repetition tends to favour theirmemorization by the muscular sense. At the same time thefact of their irregularity makes them less secure whenmemorized by this or indeed by any single form of memory.Another form, therefore, should always be co-operating withthe muscular memory in order to avoid a false step.

In bringing before you fragmentary types of passages uponwhich our muscular memory may be most advantageouslyand securely employed, it must not be inferred that I am inany way excluding other forms of passage, although I believesuch to be less suitable. To define the limits of the employ-ment of this form of memory, or to say how far it maysafely be relied upon when employed in isolation—that is,unsupported and uncontrolled by other forms, is quiteimpossible. Theoretically speaking, most series of conjunctmovements of moderate extent may be memorized by thispower; but that is far from saying that it would be wise torely upon it in all such cases. As stated previously, inmusic of a brilliant and rapid character, taking the form ofextended passages, rather than of passages circling aroundclosely situated notes, ft may safely be employed to a verylarge extent. At the same time, it is well in the largemajority of cases to regard it as a supplementary form, sup-ported and controlled, at least to some extent, by otherforms, and, as such, it will be found an invaluable and trust-worthy coadjutor.

I will now pass on to a consideration of the memorypossessed by the eye, or what I will term

VISUAL MEMORY.

The memory of the eye may be employed in two distinctand quite different ways. It may retain the image of theprinted book or it may retain the order of the progressionon the keyboard. At the same time, the existence of manyexcellent blind pianists proves that it may be dispensedwith altogether.

Some pianists assert that when playing from memory theyremember almost entirely by means of visual memory. Thememory of their eye is so strong that they see before them amental image of the printed page, and that is what they relyupon for the notes of the piece they are playing.

We are not inclined to challenge these statements or todoubt that there are musicians who are gifted with such anexceptional memory for Forms that they are able to retainby this power lengthy pieces of modern music with all theirwealth and complexity of detail, as we hear actors haveretained their part in a play by the same power. But we donot think the majority of pianists possess the power of visual

Dow

nloa

ded

by [

Uni

vers

ity o

f G

lasg

ow]

at 0

9:06

18

Dec

embe

r 20

14


memory to that exceptional degree, and beyond retaining thegeneral aspect of a piece with the more prominent features,we doubt if this form, employed in this manner, suppliesmuch more to the average executant.

The other direction in which we employ visual memory isin connection with the keyboard. In this case we retain amental picture, which, as it were, unfolds the piece on thekeyboard before us as we proceed, the conclusion of eachpassage suggesting what is to follow, not in sounds, but inthe order of the notes of the keyboard as they are required.

In this case we must recognise, first of all, the peculiaritiesof the keyboard in regard to the distribution of the black andwhite notes, as the order which the notes of a progressionassumes in relation to these is something which may help us.

A beginner at the piano learns the alphabetical names ofthe white notes by their position in relation to the groups ofblack ones, and in the early stages of piano playing thefixing of the eyes in the direction of the keyboard generallyimplies that visual memory is being employed. Its toofrequent employment by beginners is what teachers havecarefully to guard against.

In considering the particular forms of passage which aremost suitable to this form of memory, it must be obvious thata regular distribution of black and white notes in somerecurring octave pattern will be more easy to retain thanwhen such distribution is irregular. Thus Examples 1 and 2,where the distribution is regular, will be memorized by theeye alone with greater ease than Examples 3 and 4, where nosuch regularity exists.

This relative degree of difficulty, which these two passagespresent to both muscular and visual memory, suggest thepossibility of some connection between these two forms; andif we look deeper into the question, this relationship provesto be not merely ostensible but real, and has its basis inphysiological fact. We find that the memory of the eye forForms is due to a superior sensibility of the muscles of theeye and is really a most delicate form of muscular memory.

The type of passage which is most easily retained in thismanner takes the form of scale passages and arpeggios,where some regularly recurring octave-pattern, and thereforeregular distribution of black and white notes, occurs. Ofcourse it is quite possible to memorize other passages by thispower; but like muscular memory, which upon ultimateanalysis it proves, in some respects, to resemble, the greaterthe irregularity of a passage, the greater will be the difficulty.

Before quitting this portion of my subject, I must drawyour attention to another aspect of the case, in which visualmemory renders what I might almost describe as an un-willing service ; where special circumstances, as it were,

Dow

nloa

ded

by [

Uni

vers

ity o

f G

lasg

ow]

at 0

9:06

18

Dec

embe

r 20

14

io The Memorising of Piano Music for Performance.

force it into employment in connection with passages whichare not specially suited to it.

When, in order to play with absolute accuracy and cer-tainty, passages of considerable extension and wide range, orpassages which involve leaps to distant portions of the key-board, we prefer to look at the keyboard, we may besaid to exercise an amount of visual control over the per-formance of such passages. Although in the majority ofinstances when we employ this form of control the passagewill be memorized by other forms of memory than thatof the eye, yet the forcing of our eyes to note the orderof the progression upon the keyboard tends to bring intoemployment this form of memory in connection with passageswhich are not specially suited to it, and which, under normalconditions, would not be memorized by it.

Beside extended passages, during the performance of whichwe might prefer to look at the keyboard, passages in whichthe hands are crossed, as in Example 5, and passages involv-ing wide leaps, as Examples 6 and 7, are also liable to bememorized by the eye—

SCHUMANN, Op. 26.

Ex.5.

RACHMANINOFF.

Ex.6.

Dow

nloa

ded

by [

Uni

vers

ity o

f G

lasg

ow]

at 0

9:06

18

Dec

embe

r 20

14


SCHUMANN, Op. 26.

Ex. 7.

Although the eye possesses a greater retentive power thanany other sense, which in daily life we rely upon to anunlimited extent, yet in piano playing it is doubtful whetherin the majority of cases it is not relied upon in a smallerdegree than any other possible form of memory; and that itmay be dispensed with entirely is proved by the existence ofblind pianists, as well as others who, though possessing thepower of sight, are quite independent of it in memory-playing.

INTELLECTUAL MEMORY.

The last form of memory which we have to consider iswhat I have termed Intellectual Memory.

Music appeals to us primarily as organised sounds, and assuch by means of our sense of hearing it produces in usvarious states of emotion and feeling. When, however, weconsider the materials of music and the studies relatingthereto, such as Harmony, Form, and Composition, by whichwe are taught how to give intelligent utterance to ourmusical thoughts, how to develop such into passages ofgreater extent and to clothe them with suitable harmonies,and how to mould them into larger forms of a complex yetcarefully balanced nature, we open up, as it were, another andquite different aspect of music, which, although appealingultimately and conforming in its fundamental principles tothe deepest laws of our spiritual nature, yet is first of allperceived, understood, and brought to a high state oftechnical perfection by the operations of our intellectualpowers. To some of the high roads and a few of the moreprominent features of this wide area—the theoretical orintellectual aspect of music—I will now draw your attention,and show how a study of these may help us when playingfrom memory. In considering this branch of my subject,I intend at the outset to make three sub-divisions:—

FIRST, I will treat of the Form of a composition. SECONDLY,of the harmonic basis of passages. THIRDLY, of the elaborationof this basis.

FORM : To know in definite terms what is understood by the" Form " of a composition—that is, the order of the appearanceof its chief themes and the relationship of the keys in which

Dow

nloa

ded

by [

Uni

vers

ity o

f G

lasg

ow]

at 0

9:06

18

Dec

embe

r 20

14

12 The Memorising of Piano Music for Performance.

they appear—may not supply much that will help us toremember the entire work; yet the possession of a clearmental outline of such will bring to our notice prominentlandmarks to which all the details may be referred and towhich they bear some form of relationship.

Indeed, there are not a few compositions in which—if wedo not possess this clear intellectual idea of the order of thethemes and the sequence of the keys and keep such before uswhen playing—a moment's inattention will afford an oppor-tunity for our fingers to carry us along the wrong road, uponwhich it is far easier to embark than to retrace our steps.

My point will be clearer if I draw your attention to one ortwo examples—Ex.8. BEETHOVEN, Op. go. Ex. 8a.

Ex. g.

&c.Ex. ga.

To the unwary the pitfalls in my examples, in which thedifferent passages starting with the asterisks are led up to bypassages which are identical in both cases, are too obviousto need comment, and numerous other instances could becited which are as dangerous as these but far less obvious.

It is by no means exaggerating the matter to say thata clear mental conception of the Form of a piece, of its chiefmodulations, and any peculiar features in its construction are

Dow

nloa

ded

by [

Uni

vers

ity o

f G

lasg

ow]

at 0

9:06

18

Dec

embe

r 20

14

fht Memorizing of Piano Music for Performance. 13

ital conditions for its secure memorization; and such willfurnish a background upon which all other details may beintroduced and seen in their true perspective. This alone isa great aid to intelligent study.

My second sub-division treats of the HARMONIC BASIS OFPASSAGES. Piano music, as a general rule, is an elaborationof a more or less simple harmonic basis. To reduce thiselaboration to its simplest aspect, to recognise, as it were, theraw material from which brilliant or delicate ornamentation isevolved, will frequently help us immensely in our task ofmemorizing.

Here again an example will best show my point. Thetwo following examples show the harmonic basis of Ex. 2.Ex. 2a showing the simplest form and 26 the first step towardsthe elaboration in its proper form—Ex. 2a.

Ex. 24.

Ex. 4 and \a may also be studied in connection with partof the subject, while Ex. 10a shows the small amount of rawmaterial from which an extended brilliant passage like Ex. 10may be evolved—

SCHUMANN, Op. 2-2.

Ex. 10.

Dow

nloa

ded

by [

Uni

vers

ity o

f G

lasg

ow]

at 0

9:06

18

Dec

embe

r 20

14


Sva-

Ex. 10a.

— 45 6. 8. IO. 7- 9-

If when studying such passages, or other passages wherethe innermost melody or idea is obscured by the wealth offanciful embroidery or elaboration, we first of all perceiveand memorize the simple harmonic structure, we shall findwe have then a secure foundation upon which all otherdetails may be grafted in their natural and logical order.

My third and final sub-division will treat of THE FORMWHICH THE ELABORATION OP A HARMONIC BASIS MAY ASSUME.

This may be one of the ordinary forms of broken chordswhen only essential or harmony notes are employed, or itmay be in a form in which both auxiliary and essential notesare employed and dispersed either in regular or irregulargroups.

When both essential and auxiliary notes are employed itis best to reduce the passage to its bare outline as indicatedby the essential notes and then, noting the principle uponwhich the non-essential notes are introduced, to add themafterwards:—

Dow

nloa

ded

by [

Uni

vers

ity o

f G

lasg

ow]

at 0

9:06

18

Dec

embe

r 20

14


Ex. 11. ? » WEBER, Op. 62.

Ex. 11a.

From this brief consideration of what I have termed Intel-lectual Memory you will have noticed that it is employed inconnection with the theoretical aspect of music in its widestsense, and only those who possess a sound and comprehensiveknowledge of this subject can make use of the correspondingform of memory.

I have now brought before you the various forms ofmemory which are at the service of the pianist, and drawnyour attention to the particular form of passage upon whicheach may be most suitably exercised; but to draw yourattention also to the fact that I have but touched the fringeof my subject is doubtless quite unnecessary.

All I can claim to have done is to have erected sign-postsand indicated directions rather than traversed the pathspointed out, except, perhaps, the shortest distance. My timewill not permit me to further explore with you this country,which has yet to be carefully surveyed and accuratelymapped out. But I feel that my effort, imperfect andincomplete though it is, would be still more so if I did not,before I conclude, endeavour to unite the operation and

Dow

nloa

ded

by [

Uni

vers

ity o

f G

lasg

ow]

at 0

9:06

18

Dec

embe

r 20

14

16 The Memorizing of Piano Music/or Performance.

exercise of these different forms of memory in some generallaw, as I have tried to show you the conditions whichinfluence their employment in isolation. To show you thatthese various forms of memory, utterly different in character,in scope, and in power, when employed by an individual inconnection with one special subject—such as pianoforteplaying—do not appear or disappear from the scene by merechance or accident, but, as far as I have been able to discover(and I must admit it is but a theory), seem to conform in therelative extent of their employment to a recognised intellectuallaw, to which the operations of other powers and faculties ofthe human mind are subject.

I opened this paper by asking the following question:" When a pianist plays from memory, by what powers ofmemory does he remember what he plays ? " To this I haveendeavoured to supply an answer, incomplete, I admit, butstill one which I trust may have thrown some small andfeeble light upon a large and dark subject. I propose nowto ask yet another question, or rather a series of questions,and spend my remaining few moments in suggesting a solution.

My present inquiries are these:—To what extent does a pianist, who plays from memory,

employ the several forms possible ? Does he employ themall, or does he select some and reject others ? If he selects,does he do so consciously or unconsciously; and is his finalselection the result of accident, caprice, the form of theparticular passage, or according to the dictates of somenatural intellectual law ?

To throw out a few speculations in reference to my theoriesupon this subject is all I can do now, inadequate though suchmay appear before such a ravenous array of queries. Theymay supply you with food for thought, and there is nonecessity to become converts.

Let us glance for one moment away from the power ofmemory and turn our attention to the whole group offaculties of the human mind, and observe how the naturalabilities or superior local endowments of an individualinfluence and direct his tastes and pursuits, and even hispowers of observation.

The pursuits of individuals, when not influenced byoutward circumstances, tend in the direction of their naturalaptitudes. We prefer to do what we can do best with theleast amount of trouble. And this is not merely a pleasurablepride which we derive from excelling others in any occupa-tion. There is always a pleasure derived from the exerciseof faculties, which we may possess in a superior degree; andwhen we are left uninfluenced externally, our occupationsand pursuits unconsciously tend in the direction of these.When observing any object, or collection of objects, or an

Dow

nloa

ded

by [

Uni

vers

ity o

f G

lasg

ow]

at 0

9:06

18

Dec

embe

r 20

14


extensive view which comprises many different classes ofobjects, the particular objects, or the aspect of such, whichwill impress us most strongly will be those which respondto our superior faculty or faculties. Our interest will bemost readily and strongly awakened in that special direction,and the corresponding form of memory will retain moreclearly and vividly these special objects. Our superiorfaculties and their respective memories, as it were, leap tothe front, and emphasise and retain whatever most readilyresponds to them in what is engaging our attention.

This intellectual law seems of such general applicationthat I believe it may not unreasonably be applied to the casebefore us, and that we may legitimately employ it in ourefforts to determine the relative extent to which we employthe various forms of memory in piano playing.

Before applying it we must of course make due allowancefor the special circumstances of the case. Such as thepeculiar nature of music, as organised sounds appealingprimarily to the sense of hearing, and only secondarily to theintellect, and then the requirements of musical performancefavouring other special powers; and we must not lose sightof the different degrees of retentive power possessed by theseveral organs employed, the average eye possessing agreater power of memory than the average ear, and theear greater than the muscular sense; yet, after consideringall these circumstances, I think the following statementof this law in general terms seems to supply no un-reasonable or unsatisfactory solution to the problembefore us. Thus, " In memorizing piano music, we shallemploy and rely upon the several forms of memorypossible in a greater or less degree according to therelative superiority of them in us both natural and acquired."Our selection will be unconscious, but we shall employ thatwhich most readily appears on the scene to help us wheneveranything is presented for memorization. This principle willalso indicate roughly the manner in which we shall viewdifferent passages. Thus one who has dived deeply into themysteries of harmony will readily note the progression of thechords of a passage or any special feature about its con-struction, while one who knows less about the theory ofmusic, but possesses a fine and retentive ear, will rely chieflyon the special form of memory belonging to the ear. At thesame time, rarely will a passage be memorized only by oneform of memory; frequently two or even three will be workingsimultaneously and unconsciously, so that should one momen-tarily fail another is ready to step into the gap.

Having explained briefly the rough outline of certain theorieswhich I have formed respecting the memorizing of pianomusic, I leave the appraisement of their worth with you; but

Dow

nloa

ded

by [

Uni

vers

ity o

f G

lasg

ow]

at 0

9:06

18

Dec

embe

r 20

14


whether you accept or reject them, I feel that any contributionupon a subject about which so little seems to be accuratelyknown can hardly be unwelcome, for if it does no more thandraw your attention to the darkness, it will have led you onestep towards the attainment of light.

DISCUSSION.

THE CHAIRMAN.—We have just listened to a deeply inter-esting paper, the subject of which, so far as I know, isabsolutely new to most of us. I confess, for my part, I havenever given much thought to this question and I have accord-ingly overlooked the possibilities which there may be in thediscussion which will follow. I am quite sure that when wethink of it we shall be filled with wonder at the power ofmemory. You are all familiar with the fact that memoryincreases by use. People who never try to learn anythingmusical by heart never will acquire the power. The moreyou learn, the more you will be able to learn; I have foundthat in my own experience. I think my own memory ischiefly of the visual kind. I can well remember many yearsago being present at the rehearsal of an opera which we hadbeen rehearsing for some time. It was necessary to make arepeat from a place some way back. Our conductor, who wasdown below in the orchestra, could not at once find the placefrom which we ought to start. I called out, " It is page 34,second bar." That shows at once what kind of memory mineis. I find for myself, both in singing and playing, that unlessI can see the music mentally before me I can neither sing norplay it. I do not at all claim for myself that I have a mar-vellous memory; I do not exercise it sufficiently; but I amquite sure my memory is visual for the reason that if I wantto learn some particular piece, if I learn it from one book, Ican learn it very quickly ; but if I take up several books, inwhich the corresponding passages are on different parts of thepages, I do not get on at all. There was a young lady pupilat the Royal Academy of Music, a very clever pianist. Shewould play through a piece once, perhaps, with three or fourmistakes, which her master corrected, and then he said," Now play it again." She invariably shut up the music andplayed the whole through a second time without an error.That is a marvellous memory. This subject is so interestingthat I hope we may have some future and further develop-ment of this paper brought before the Society. I am sure it

Dow

nloa

ded

by [

Uni

vers

ity o

f G

lasg

ow]

at 0

9:06

18

Dec

embe

r 20

14

The Memoriiing of Piano Music for Performance. 19

is worth thinking very seriously about, and it ought to beproductive of great good. I myself am very glad indeed torecognise amongst my pupils the faculty of memory. It wasthe fashion when I was young to deprecate learning to playpieces from memory. People possibly thought we did notget a good insight into the music that way; but I am surethat in these days, and when we are taught in a much bettermanner than we used to be, this cultivation of the memory isregarded as a very important thing indeed. The memory ofpianists is perfectly wonderful. Faderewski's memory youknow is remarkable; but there was one man born in England,I cannot recall his name—that looks bad for my memory—wSo had absolutely at his fingers' ends fifty concerti andpieces which he could play with the orchestra. I will notdetain you longer, as there are so many members of thisAssociation who will be able to contribute very valuableremarks on this subject. I have the name now—Rummel.

Mr. C. G. PADEL.—May I be allowed to put one questionwhich occurred to my mind during Dr. Shinn's most interest-ing paper. I think he said he had come to the conclusionthat the memory of the eye was in reality a most delicateform of muscular memory. In my past experience I haveoften been struck by the close connection between thememory of the eye and the memory of the muscles. One weekI got my pianoforte pupils to make an experiment as towhether the recognition of an interval on music paper withcertainty would produce a certainty of touch so far that thehandshouldbeperfectlyshapedtothatinterval. IthinkI foundamong my seventy or eighty pupils that only two or threefailed, and those I found had very little concentration ofthought. I made them look at the notes, make up theirminds with which fingers they would strike the intervalselected, they not looking at the keyboard till after theyhad definitely fixed the two fingers decided upon, andI found that they had always got the exact distancerequired to suit the two corresponding keys on thepianoforte. With experienced players this may not seemstrange, but I found that even children who had played butlittle were successful. It struck me as a curious connectionbetween the eye and the hand, and I wonder whether Dr.Shinn would not call this a confirmation of his theory thatthis visual memory is a delicate form of muscular memory.I found my plan a good help afterwards in inducing pupilsnot to look at the keyboard.

THE CHAIRMAN.—There is one point I meant to say some-thing about, and that is in connection with the blind. Dr.Shinn rather implied that they could not by any possibilityhave a visual memory; but Dr. Hopkins will, I think, agreewith me that they have a kind of visual memory; they see

Dow

nloa

ded

by [

Uni

vers

ity o

f G

lasg

ow]

at 0

9:06

18

Dec

embe

r 20

14


through their fingers. Surely that is visual; it is not what wecall sight, but it is feeling, which is their sight. They learnwith each hand separately and then with both together. Ithink this visual memory must be very much more commonthan is generally supposed. To leave the piano and go tosioging, pupils often have a difficulty with the harmonic minorscale, but I never find them fail if I tell them to get the keys ofthe piano well into their heads, and as they sing the scalekeep these keys mentally before them.

Mr. MACDONALD SMITH.—I think that in the way Dr.Shinn has attacked the subject he, perhaps, has not given usquite so much physiological or psychological data as mightbe desired. It is no doubt very interesting to know howsometimes visual memory may exist in a remarkable degreeor how another form of memory may do so. There arestories of men being able by just glancing at a page to learnall that was written on that page. But these are exceptionaland abnormal cases. What we really want is some rule thatwill be of practical value. Dr. Shinn has classified thedifferent forms of memory that are employed, and that is, ofcourse, very useful as far as it goes. He has come to theconclusion, if I quote him rightly, that musical memory isextremely serviceable; but he seems to take for granted aconsiderable knowledge of counterpoint or harmony, or atall events a knowledge of music which is certainly notpossessed by every pianist. Pupils often can play piecescreditably by heart, but they do not on that account possessthat knowledge necessary for the exercise of musical memory.The most practical form of memory undoubtedly is what hehas termed muscular memory, though I cannot agree to itsbeing dependent upon muscular sense, because, so far asphysiologists know, memory depends on paths in the brain.Both visual and intellectual as well as muscular memoryhave a physical basis of nerve paths; but for muscularmemory these are formed in the spinal ganglia, and do notreach the brain itself; and so it is that in playing a piece, asunfortunately pieces are generally played, the nerve paths ofthe brain do not come in at all. By the constant repetitionwhich is usually employed to acquire a succession of notesthe paths made in the spinal ganglia are deepened andaccentuated until the mere beginning of the pieces carriesthe performer through. Thus one nerve stimulus setsanother going, and so on; the movement of one bar givesrise to the next without any conscious attention. Now itseems to me that the question for practical purposes is,should we rely entirely on this muscular memory or is itdangerous to do so ? It is only repeating what every pianistknows practically to say that it is very undesirable to rely onthis entirely. The facts vary very much in the experience of

Dow

nloa

ded

by [

Uni

vers

ity o

f G

lasg

ow]

at 0

9:06

18

Dec

embe

r 20

14


different people. Some complain that their muscular memoryis too good, that their fingers run away with them. Theyhave not proper conscious control over their playing. I havecome across several cases of that sort, where pianists aretroubled, after much practice, that they cannot control theirfingers. That is a misuse of what we may call muscularmemory. I quite agree with Dr. Shinn when he says thatseveral forms ought to be employed. He says that visualmemory is very rare, and so it appears to be in spite of whatMr Cummings tells us; and again, it is not every one whoplays the piano who can analyse the chords as he should. Itappears that for general purposes the best thing is, therefore,to develop the muscular memory and to assist it with theintellectual memory, which, notwithstanding the differentclassifications he has given us of so many examples, wouldbe the most reliable plan—that is to say, to make the best useof muscular memory and reinforce it with the assistance ofintellectual memory.

Sir FREDERICK BRIDGE.—It is impossible for me, Mr.Chairman, to contribute anything satisfactory to this discus-sion, because I am in exactly the same position as you were,in that it is absolutely new to me. I must not speak ofpianoforte music, because I never tried to commit to memorybut one piece, and that was when I played my only piano-forte solo in public—curiously that same Moto perpetuo ofWeber, from which we heard an extract so well playedto-night. But I am sure that in any effort I have ever made inthis direction it is the visual memory I use. I quite feel withMr. Cummings on this. My friend Dr. Huntley tells me thatsometimes when he is playing, from memory he puts up hishand to turn over a leaf when he comes to a passage that isat the end of a right hand page in his copy.

Dr. HUNTLEY.—There is one point I should like to callattention to, and that is the wonderful power of memory thatsome people, who have not been trained in any way, seem topossess. I have a friend who will go to a concert, listen to along programme, and on his return will sit down at the piano-and play most marvellous recollections. I am inclined tothink that some who have not been trained at all surpass inthis respect the perfectly trained musicians, who seem to relymore upon visual memory than do those who have not hadtheir advantages.

Mr. DAVEY.—I understood Dr. Shinn to say that the senseof absolute pitch and musical memory were nearly the same,and that they vary in exact ratio. I must say my experienceis quite the opposite of that. The most singular instancesthat I have met of absolute and entire lack of musicalmemory have been among good musicians who had a verygood sense of absolute pitch. I have met with more than

Dow

nloa

ded

by [

Uni

vers

ity o

f G

lasg

ow]

at 0

9:06

18

Dec

embe

r 20

14


one instance of this among friends of my own. I have beentold of one very well known musician, whose name would befamiliar to you all, who is said to have exactly the samedeficiency and efficiency. I am inclined to think that thefaculties are something entirely different—in fact, that inmany cases they strive against each other—that a goodmusical memory means a memory for successions of notes,while a memory for absolute pitch has to be concentrated onthe one individual sound. That certainly has been myexperience. With regard to the blind, I do not know whetheranyone remembers a musician known as " Blind Tom," anegro, whom I heard in my boyhood. His conductor usedto come on the platform and challenge anyone to come upand play any piece whatever, and " Blind Tom" wouldrepeat it accurately. And he really did it. But there is astill stranger faculty which others of the blind possess. Ifthey are blind organists they repeat not only the piece, but theregistration. Their memory is a memory not only of the sound,but of the quality of the sound. I think that is a still moremarvellous faculty than that of remembering the mere suc-cession of notes. With regard to memory by the construction,I should like to cite one case that I have known, and that isin the first movement of the " Moonlight " Sonata. In thetenth bar the accompaniment remains in the position, but itchanges from £ major to E minor. In the recapitulation itremains in £ major, but rises one position. I have known apianist when playing the piece in public to give the secondversion first.

Mrs. CURWEN.—I am rather surprised that there have notbeen more speakers at this meeting, because, while talkingwith members of the Association before the meeting, I foundmany who had ideas of their own on the subject. But thefact is, Dr. Shinn has so completely covered the ground thathe has left very little for others to say. I have never listenedto a more interesting paper at a musical meeting than this.I have thought about the subject a great deal, and I agreewith Dr. Shinn in every detail of his paper. One of thespeakers says that Dr. Shinn took too much for granted inthe knowledge of his pupils ; but I hold that musical form isone of the things that should be taught to a child from thevery beginning—that is to say, he should be taught to noticethe imitations in rhythm and melody, the " shape " of phrases,and later on changes of key, &c. If this is done from thebeginning we may surely expect the requisite amount ofintelligence in the advanced pupil. Even a young child ishelped, not only in the memorizing, but the reading of apassage by having its harmonic basis simply explained.Then as to " muscular memory " being merely reflex action,prompted by the spinal ganglia and not the brain. I think

Dow

nloa

ded

by [

Uni

vers

ity o

f G

lasg

ow]

at 0

9:06

18

Dec

embe

r 20

14


the gentleman who referred to this forgot that the first timethe action is performed the nerve message must come directfrom the brain, so that it is memory after all. The reflexaction only begins to take place after a great many repetitions.I suppose the first time each of us possessed a watch he hadto be careful to remember to wind it; but the action of wind-ing the watch becomes in time so associated with the act oftaking it off that it is quite common for a man, if he has tochange his dress during the day, to wind up his watchunconsciously. That is reflex action, in which the nervemessage does not come from the brain, but from the spinalganglia. This paper was very, very closely packed, and onewanted to think very hard indeed in order to follow it all.

Commander HAVERGAL.—I should like to make a remarkwith regard to what Mr. Davey has just said respecting thedifference between memory for melody and memory for pitch.He said, I think, that he thought they were absolutelyantagonistic. I should like to give one illustration in whichthis certainly was not the case. The late Professor atOxford, who was at one time the most respected Presidentof this Association, Sir Frederick Ouseley, was, as you allknow, extremely fond of organs. He knew the St. Paul'sorgan well. He had occasion to travel abroad—I forget forhow long, but certainly for a considerable period—andduring that time the pitch of the St. Paul's organ was raised.He came back after his travels, and the first thing he said toSir John Goss when he tried the St. Paul's organ again was," Why you have raised the pitch of this organ a semitone."It was a fact. Of course nobody who heard him play eitheron the organ or the pianoforte could have any doubt of hismemory for melody and for sound.

The CHAIRMAN.—Dr. Hopkins will tell you, from his ex-perience at the Normal College for the Blind, that ten out oftwelve pupils there have a sense of absolute pitch, and theyhave remarkable memories, so that there is nothing antagon-istic between these two things. And I would also say, withregard to my children, they have admirable memories, andthey are both capital musicians. Therefore I do not thinkanyone need be afraid that, being a good musician, he maylose his memory for sense of pitch.

Dr. HOPKINS.—The Chairman has twice referred to me inconnection with the Normal College, and there are two orthree facts that I might state with regard to the pupils there.One refers to Mr. Alfred Hollins—his name may be familiarto some of you. He was once engaged to open an organ.He was in the vestry just before the service and someonemade the observance, " We are very sorry, but we find wehave given you the wrong chant for the second Psalm ; whaton earth are we to do" ? He said, " Read it out to me."

Dow

nloa

ded

by [

Uni

vers

ity o

f G

lasg

ow]

at 0

9:06

18

Dec

embe

r 20

14


" But you will have no opportunity of trying it over."" Read it out to me; it will be all right." So they read itto him. It was a double chant. When this service wasperformed he had taken the impression of the chant, and heplayed it perfectly, without having heard a note of it, and ofcourse without having seen it. I can mention also withregard to the retentive power that unsighted players have,the case of a pupil to whom I used to read the music, thus :I would read a bar of soprano, he would play it over; then abar of alto, tenor, and bass, then he would play them overtogether ; he would then take a second bar in the same way,and then play the two bars together, and in this way hewould get hold of twenty-five or thirty bars, and would knowthese perfectly. Probably he might have traced the musicas I read it to him, first soprano, then alto, and so on,but he carried it away with him. Next time he came hewould begin by playing through what he had previouslylearnt, and would then go to work with a second portion inthe same way as the first. He learnt some of the mostelaborate of Bach's pedal fugues in this way.

A vote of thanks to Dr. Shinn was proposed by the Chair-man and passed unanimously.

Dr. SHINN.—I felt it a great honour to be invited to reada paper before this Association, which, as you knowi is theonly musical association which exists simply for lectures;but I felt it a greater honour to number amongst my audiencetwo of my old masters, Sir Frederick Bridge and Mr. StephenKemp. Mr. Davey mentioned the subject of absolute pitch.I did not intend to give anybody the idea that I spoke ofabsolute pitch. I will read the exact words: " The extentto which we are able to do this depends upon the fineness orsensibility of the ear, or the power it possesses to discriminatedifferences of pitch and the qualities of musical soundsgenerally." That is a very different thing from absolute pitch.

Mr. DAVEY.—I did not say you referred to absolute pitch.I merely asked if it were so, and if I understood it correctly.

Dr. SHINN.—This law applies, as you see, not merely to theear and sound sensations, but to all our senses. With regardto a form of visual memory possessed by the blind, that is anaspect of the case about which, not being familiar, I cannotspeak; but I have no doubt that Mr. Cummings and Dr. Hop-kins are correct. I must ask you to guard yourselves againstconfusing visual memory for colours with visual memory forforms. The two things are quite distinct. The architect, forinstance, or the scholar in Chinese would need to have aretentive memory for forms. With regard to the psychologicalaspect of memory, I think musicians are more interested withthe manifestations of memory than with the relation of theseto the laws of thought. A knowledge of the physiology of the

Dow

nloa

ded

by [

Uni

vers

ity o

f G

lasg

ow]

at 0

9:06

18

Dec

embe

r 20

14


vocal organs is interesting, but I am not sure that the singeris greatly assisted by a detailed knowledge of the action of theseveral parts of the larynx. Neither do I think that a verydeep knowledge of psychology would necessarily be of greathelp to us in the cultivation of a musical memory. I had tobring a certain amount of psychology into my paper, but onlya limited quantity. With regard to a gentleman on my rightwho spoke about intellectual memory, and said we expecttoo much, my words were that we could only use this powerso far as our knowledge of theory goes. But, as Mrs. Curwensays, we can explain to a child who knows nothing aboutharmony how a passage is built up on a chord, and he canlearn it more easily thus than in any other way. Withregard to muscular memory, I believe, technically speaking,a piece can be said to be securely memorized only when it haspassed below the plane of consciousness. Those of you whomay dance know that when you have perfectly acquired sucha step as the waltz step, you find no occasion to think howthe different movements occur. But at first every separatemovement was a conscious one. You have to teach a childnearly everything. It is only by repetition that its actionseventually become automatic and reflex. The action whichby frequent repetition has become mechanical is performedunconsciously and instinctively, just as one may walk homewithout thinking of the way he is taking. I thank you forthe way you have listened to me, and should also like toexpress my indebtedness to Miss F6darb for the way inwhich she has played the illustrative examples.D

ownl

oade

d by

[U

nive

rsity

of

Gla

sgow

] at

09:

06 1

8 D

ecem

ber

2014

the memorizing of piano music for performance

Documents