AHRC Research Centre
for Music as Creative Practice
Workshop 10-11 March 2010
Shaping music in performance:
Structure, memory and shape
Dr Jane Ginsborg
Centre for Music Performance Research, RNCM
Outline of talk
• Shape: some definitions
• Memory expertise and structure
• Effective memorising of music – advice and
experiments
• Shared performance cues: understanding of
compositional structure; effects on recall
• Beating time
• Shaping contour: bodily movement
• Summary and conclusion: mental
representations revisited
Shape: some definitions
• A particular kind of mental representation
• Questionnaire survey on Music and Shape seeks
expert musicians’ reports on representations
evoked by the word “shape”
• For me as a performer = “structure”
• Also “contour” (of pitch and dynamic – NB often
associated cf Schumann’s Mondnacht)
pp
Memory expertise and structure
• Method of loci: Cicero De
Oratore (55 BC)
• Simonides (556-468 BC)
• Theatre of memory – birth of
mnemonics
1. Relies on representation of
table, theatre, house etc.,
and ability to “walk” round it
Memory expertise
• Ericsson, Chase & Faloon
(1980)
• Extended normal digitspan by utilising
knowledge of running
times to make
associations e.g.
• 3492 = “3 minutes and
49.2 seconds, near worldrecord mile time
Effective memorising of music
• Cognitive analysis - identifying key changes,
harmonic structure, length of rests, difficult exit
points (Hallam, 1997 – interviews)
• Use of compositional structure
– To guide practice (Chaffin & Imreh, 1997)
– As retrieval scheme to perform from memory
(Taylor et al., 1999)
– Longitudinal case study method (Chaffin et
al., 2002)
• Impossible without information in LTM re
sections, phrases, sub-phrases etc.
Advice: analyse before learning
Edwin Hughes (1915).
Musical memory in piano playing
and piano study. The Musical
Quarterly, 1, 592-603
Tobias Matthay (1926).
On Memorizing and Playing from
Memory. Oxford University Press
Experiments
• Benefits of analysis (Rubin-Rabson, 1937; Ross,
1964)
• Use of structural boundaries to guide practice:
– more so in skilled pianists; developed over
course of practice sessions (Williamon &
Valentine, 2002)
– singers (Ginsborg, 2002)
Development of shared
performance cues
• Ginsborg, Chaffin & Nicholson (2006a)
• Singer’s and conductor’s understanding of
compositional structure
• Ricercar 1 from Stravinsky’s Cantata
Longitudinal case study method
• Chaffin, Imreh & Crawford (2002)
(and many other papers since
1994)
• One pianist
– 33 hours’ practice /
memorisation of Bach’s Italian
Concerto
– one performance (a
commercial CD)
– Written-out free recall of first
page two years later
More recent case studies
• Jazz pianist (Noice, Jeffrey, Noice & Chaffin,
2008) – 45 minutes preparation and one
performance
• Cellist (Chaffin, Lisboa, Logan & Begosh, 2009) –
also Bach – 33 hours preparation, multiple
performances, free and cued recall
• Students
– http://www.htfdcc.uconn.edu/psyclabs/musiclab.html
– http://www.htfdcc.uconn.edu/psyclabs/SYMP.html
The opportunity
• Projected performance of Stravinsky’s Cantata
for soprano and tenor soloists, small instrumental
ensemble and women’s choir in December 2003
at Firth Hall, Sheffield
• Ricercar 1 for solo soprano and instrumental
ensemble
• Conductor / rehearsal pianist: George Nicholson
• Soprano soloist: me
Theoretical framework
• Performer attends to important features of the music
while practising / rehearsing (basic, structural,
interpretive, expressive)
• Some of these stop being perceived as important
• Others are attended to automatically
• The remainder are retained as retrieval or
performance cues – landmarks in the performer’s
mental representation of the piece – when
performing from memory
• Converging evidence that attention to features that
become performance cues determines what is
practised… and subsequently, what is forgotten
Shared performance cues
Procedure (1)
• Video-record all individual practice sessions, joint
rehearsals (ten in all lasting 8 ½ hours) and
performance
• THEN determine transcription and analysis
methods (to avoid “demand characteristics”)
• Give performance
• Post-performance reports: indicate musical features
and PCs on multiple copies of score
• Calculate start-and-stop beats for every practice
segment
Shared performance cues
Procedure (1)
• Video-record all individual practice sessions, joint
rehearsals (ten in all lasting 8 ½ hours) and
performance
• THEN determine transcription and analysis
methods (to avoid “demand characteristics”)
• Give performance
• Post-performance reports: indicate musical features
and PCs on multiple copies of score
• Calculate start-and-stop beats for every practice
segment
Shared performance cues - original
“shiny” sound
Count/listen
yearning
Count/listen
dancing
Count
Tidied up (beats 92-129): expressive and prepare PCs
Shared performance cues
Procedure (1)
• Video-record all individual practice sessions, joint
rehearsals (ten in all lasting 8 ½ hours) and
performance
• THEN determine transcription and analysis
methods (to avoid “demand characteristics”)
• Give performance
• Post-performance reports: indicate musical features
and PCs on multiple copies of score
• Calculate start-and-stop beats for every practice
segment
Starts, stops and repetitions
Ginsborg, J., Chaffin, R. and Nicholson, G. (2006b).
Shared performance cues: Predictors of expert
individual practice and ensemble rehearsal.
In M. Baroni et al. (Eds.) Proceedings of the 9th
International Conference on Music Perception and
Cognition, Bologna, Aug 22-26, 2006.
Practice in Session 1 (black = from memory, grey = score open)
Shared performance cues
Procedure (2)
• Transcribe and analyse verbal data
• Analyse behavioural data: relate post-performance
reports to practice using mixed hierarchical
regression analyses
• Make and analyse written-out free recalls for six
years post-performance
Shared performance cues
Procedure (2)
• Transcribe and analyse verbal data
• Analyse behavioural data: relate post-performance
reports to practice using mixed hierarchical
regression analyses
• Make and analyse written-out free recalls for six
years post-performance
Singer
Conductor
Section 1
Verse 1: The maidens came when I was in my
mother’s bower / I had all that I wolde
Verse 1: The maidens came when I was in my
mother’s bower / I had all that I wolde
Refrain 1: The baily berith the bell away
The lilly, the rose, the rose I lay
Refrain 2: The baily berith the bell away
The lilly, the rose, the rose I lay
Refrain 1: The baily berith the bell away
The lilly, the rose, the rose I lay
The silver is whit, red is the golde
The robes thay lay in folde
The baily berith the bell away
The lilly, the rose, the rose I lay
Verse 3:
And through the glass window shines the sone
How should I love, how should I love, and I so
young?
Verse 2:
And through the glass window shines the sone
Verse 2a: How should I love, how should I love,
and I so young?
Refrain 3: The baily berith the bell away
The lilly, the rose, the rose I lay
Refrain 2: The baily berith the bell away
The lilly, the rose, the rose I lay
Verse 4: For to report it were now tedius…
Verse 3: For to report it were now tedius…
Section 2: Recitative / fanfare:
Right mighty and famus Elizabeth, Our quen
princis, Preportent and eke victorius,
Recitative:
Right mighty and famus Elizabeth,
Our quen princis, Preportent and eke victorius,
Section 3: Prayer [first phrase is transitional]
Vertuos and bening, Lett us, lett us pray all…
Coda [change of direction in text at “Lett us”]:
Vertuos and bening, Lett us, lett us pray all…
Verse 2: The silver is whit, red is the golde
The robes thay lay in folde
Singer
Conductor
Section 1
Verse 1: The maidens came when I was in my
mother’s bower / I had all that I wolde
Verse 1: The maidens came when I was in my
mother’s bower / I had all that I wolde
Refrain 1: The baily berith the bell away
The lilly, the rose, the rose I lay
Refrain 2: The baily berith the bell away
The lilly, the rose, the rose I lay
Refrain 1: The baily berith the bell away
The lilly, the rose, the rose I lay
The silver is whit, red is the golde
The robes thay lay in folde
The baily berith the bell away
The lilly, the rose, the rose I lay
Verse 3:
And through the glass window shines the sone
How should I love, how should I love, and I so
young?
Verse 2:
And through the glass window shines the sone
Verse 2a: How should I love, how should I love,
and I so young?
Refrain 3: The baily berith the bell away
The lilly, the rose, the rose I lay
Refrain 2: The baily berith the bell away
The lilly, the rose, the rose I lay
Verse 4: For to report it were now tedius…
Verse 3: For to report it were now tedius…
Section 2: Recitative / fanfare:
Right mighty and famus Elizabeth, Our quen
princis, Preportent and eke victorius,
Recitative:
Right mighty and famus Elizabeth,
Our quen princis, Preportent and eke victorius,
Section 3: Prayer [first phrase is transitional]
Vertuos and bening, Lett us, lett us pray all…
Coda [change of direction in text at “Lett us”]:
Vertuos and bening, Lett us, lett us pray all…
Verse 2: The silver is whit, red is the golde
The robes thay lay in folde
Content analysis of talk
• Ginsborg, J., Chaffin, R. and Nicholson, G.
(2006a). Shared performance cues in singing and
conducting: a content analysis of talk during
practice. Psychology of Music, 34 (3), 167-194.
Shared performance cues
Procedure (2)
• Transcribe and analyse verbal data
• Analyse behavioural data: relate post-performance
reports to practice using mixed hierarchical
regression analyses
• Make and analyse written-out free recalls for six
years post-performance
Features (locations)
• Structural – start of section (9), switch (7), start
of phrase (29)
• Basic – prepare (count, listen, think, watch) (35),
pronunciation of words (25), technical / breath
(45)
• Interpretive – meaning of words (29), dynamics /
tempo (9)
• Expressive (15)
Performance cues (locations)
• Individual PCs
– Basic – prepare PC (20) , technical / breath
PC (14)
– Interpretive – stress on words PC
(pronunciation + meaning) (28)
– Expressive PC (12)
• Shared PCs
– Basic – score SPC (cue entry, co-ordinate
rhythm, cadence) (11) , arrival/off SPC (8)
– Expressive – expressive SPC (5)
Start section
Start phrase
Relating reports to practice in Session 3
Type
Predictor variable
Z
STARTS – positive effects
Structural
Start of section
7.199***
Start of phrase
11.378***
Basic
Prepare
4.763***
Interpretive
Dynamics/Tempo
5.023***
Expressive PC
Expressive PC
-2.641*
Basic SPC
Score SPC
-3.266**
Structural
Start of phrase PC
-3.497***
Basic SPC
Arrival/off SPC
15.468***
Score SPC
3.509***
Structural
Start of phrase
5.184***
Basic PC
Prepare PC
-3.674****
STOPS
REPETITIONS
Type
Predictor variable
Z
Start of section
7.199***
Start of phrase
11.378***
Basic
Prepare
4.763***
Interpretive
Dynamics/Tempo
5.023***
Expressive PC
Expressive PC
-2.641*
Basic SPC
Score SPC
-3.266**
Structural
Start of phrase PC
-3.497***
Basic SPC
Arrival/off SPC
15.468***
Score SPC
3.509***
STARTS – positive effects
Structural
STOPS – positive effects
REPETITIONS – positive effects
Structural
Start of phrase
5.184***
Basic PC
Prepare PC
-3.674****
Type
Predictor variable
Z
STARTS – negative effects (without discussion or in context)
Structural
Start of section
7.199***
Start of phrase
11.378***
Basic
Prepare
4.763***
Interpretive
Dynamics/Tempo
5.023***
Expressive PC
Expressive PC
-2.641*
Basic SPC
Score SPC
-3.266**
STOPS – negative effects
Structural
Start of phrase PC
-3.497***
Basic SPC
Arrival/off SPC
15.468***
Score SPC
3.509***
REPETITIONS – negative effects
Structural
Start of phrase
5.184***
Basic PC
Prepare PC
-3.674****
Shared performance cues
Procedure (2)
• Transcribe and analyse verbal data
• Analyse behavioural data: relate post-performance
reports to practice using mixed hierarchical
regression analyses
• Make and analyse written-out free recalls for six
years post-performance
Very long term recall for words
and music
Ginsborg, J. and Chaffin, R.
(2009). Very long term memory
for words and music: an expert
singer’s written and sung recall
over six years. In K. Stevens et
al. (Eds), Proceedings of the 2nd
International Conference on
Music Communication Science
(ICoMCS2). University of Western
Sydney.
Results (1): Accurate recall (%)
100
95
90
85
80
75
70
65
FR0 Dec
03
FR1 Feb
05
FR2 Jun FR3 Aug FR4 June FR5 Nov FR6 Nov FR7 July FR8 July
05
06
07
07
08
09 SUNG 09 SUNG
(U)
(A)
FR0 to 2 (Dec 03, Feb 05, June 05)
1
0.75
0.5
0.25
0
1
13
25
37
49
61
73
85
97
109 121 133 145 157 169 181 193 205 217 229 241
1
13
25
37
49
61
73
85
97
109 121 133 145 157 169 181 193 205 217 229 241
1
13
25
37
49
61
73
85
97
109 121 133 145 157 169 181 193 205 217 229 241
1
0.75
0.5
0.25
0
1
0.75
0.5
0.25
0
FR3 to 5 (Aug 06, Jun 07, Nov 07)
1
0.75
0.5
0.25
0
1
13
25
37
49
61
73
85
97
109 121 133 145 157 169 181 193 205 217 229 241
1
13
25
37
49
61
73
85
97
109 121 133 145 157 169 181 193 205 217 229 241
1
13
25
37
49
61
73
85
97
109 121 133 145 157 169 181 193 205 217 229 241
1
0.75
0.5
0.25
0
1
0.75
0.5
0.25
0
FR6 to 8 (Nov 08, Jul 09, Jul 09)
1
0.75
0.5
0.25
0
1
13
25
37
49
61
73
85
97
109 121 133 145 157 169 181 193 205 217 229 241
1
0.75
0.5
Sung without accompaniment
0.25
0
1
13
25
37
49
61
73
85
97
109 121 133 145 157 169 181 193 205 217 229 241
1
0.75
0.5
Sung with accompaniment
0.25
0
1
13
25
37
49
61
73
85
97
109 121 133 145 157 169 181 193 205 217 229 241
Very long-term recall
Table 3: Effects of predictor variables on recall
showing effects across sessions
Type
Predictor variable
Estimate
Standard
Error
Z
Structural
Start of section
-0.038
0.008
-5.02***
Interpretive PC
Stress on words
-0.034
0.009
-3.835***
Basic PC
Prepare
0.017
0.009
1.98*
Interpretive
Dynamics/Tempo
1.606
0.320
5.023***
*** p < .0001, **p < .001, *p < .01
Ginsborg, J. and Chaffin, R. [forthcoming 2010]. Performance cues in
singing and conducting: evidence from practice and recall. In I. Deliège
and J. Davidson (Eds), Music and the Mind: Investigating the functions
and processes of music (a book in honour of John Sloboda).
Oxford: Oxford University Press.
Different roles of singer and
conductor
• Singer: serial chaining vs content addressability as
back-up (Happy birthday)
• Conductor: the bigger picture – declarative,
semantic memory
Train signalling: block system
Centralized traffic control
Singer
Conductor
Section 1
Verse 1: The maidens came when I was in my
mother’s bower / I had all that I wolde
Verse 1: The maidens came when I was in my
mother’s bower / I had all that I wolde
Refrain 1: The baily berith the bell away
The lilly, the rose, the rose I lay
Refrain 2: The baily berith the bell away
The lilly, the rose, the rose I lay
Refrain 1: The baily berith the bell away
The lilly, the rose, the rose I lay
The silver is whit, red is the golde
The robes thay lay in folde
The baily berith the bell away
The lilly, the rose, the rose I lay
Verse 3:
And through the glass window shines the
sone / How should I love, how should I love, and
I so young?
Verse 2:
And through the glass window shines the sone
Verse 2a: How should I love, how should I love,
and I so young?
Refrain 3: The baily berith the bell away
The lilly, the rose, the rose I lay
Refrain 2: The baily berith the bell away
The lilly, the rose, the rose I lay
Verse 4: For to report it were now tedius…
Verse 3: For to report it were now tedius…
Section 2: Recitative / fanfare:
Right mighty and famus Elizabeth, Our quen
princis, Preportent and eke victorius,
Recitative:
Right mighty and famus Elizabeth,
Our quen princis, Preportent and eke victorius,
Section 3: Prayer [first phrase is transitional]
Vertuos and bening, Lett us, lett us pray all…
Coda [change of direction in text at “Lett us”]:
Vertuos and bening, Lett us, lett us pray all…
Verse 2: The silver is whit, red is the golde
The robes thay lay in folde
Beating time
• Aim: to investigate associations between singer’s
practice and rehearsal behaviour (start-beats,
stop-beats and repetitions)…
• …with different kinds of movement – pulsing,
conducting and gesturing, and no movement (NB
independent judge) –
• …and musical features/performance cues
• Method: as before but with multiple rather than
mixed hierarchical regression analysis
Sessions 1 and 2 (individual:
learning): pulse beating, conducting
Session 3 (individual, memorising): conducting
Sessions 5 (individual, memorising) and 6 (joint):
pulse beating, conducting, no movement
Session 8 (individual): conducting, gesture
Sessions 9, 12 and 15 (joint): gesture, no movement
Outline of findings
• Different kinds of body movement are associated
with kinaesthetic learning at different stages of
the process of preparing to perform from memory
• Beating a pulse provides framework for ensuring
rhythmic accuracy
• Conducting during memorizing phase helps form
metrical representation – SHAPE
• Gesture – once piece is learned and memorized
– underpins communication of semantic meaning
(musical or verbal)
• Need for singer also to practise not moving in
preparation for performance
Beating time
Ginsborg, J. (2009). Beating
time: the role of kinaesthetic
learning in the development of
mental representations for
music. In A. Mornell (ed.) Art
in Motion. Vienna: Peter
Lang.
The story so far
• Shared performance cues
1. Verbal commentaries and discussions: content
analysis of four sample practice sessions /
rehearsals
• Cognitive, metacognitive and hints at social
processes
2. Annotations (representing features and PCs) as
predictors of very long term recall via practice
behaviour (stops, starts, repetitions)…
3. …with and without bodily movement (singer only)
Shaping contour:
Bodily movements
• Study of “gestures and glances” (Ginsborg &
King, 2009; King & Ginsborg, forthcoming [2010])
• Research questions: How do performers’
1. bodily movements (“gestures”) and
2. use of eye contact (“glances”) compare
• when they collaborate in ensemble rehearsal with
performers of different levels of
A.Expertise (student vs professional)
B.Familiarity (regular vs new duo partners)
Shaping contour:
Bodily movements
• Study of “gestures and glances” (Ginsborg &
King, 2009; King & Ginsborg, forthcoming [2010])
• Research questions: How do performers’
1. bodily movements (“gestures”) and
2. use of eye contact (“glances”) compare
• when they collaborate in ensemble rehearsal with
performers of different levels of
A.Expertise (student vs professional)
B.Familiarity (regular vs new duo partners)
Ekman & Friesen (1969, in
Davidson, 2001, 2006)
Emblems
Direct verbal translation e.g. thumbs
up for “yes”
Illustrators
Used to describe or reinforce points
Adaptors
Satisfy personal needs e.g. twiddling
fingers
Affect displays
Reveal affective or emotional state
Regulators
Regulate interaction
Cassell (1998, in Davidson, 2005)
Propositional
To denote meaning
Iconic
Describe action
Metaphoric
Illustrating metaphor
Deictic
Indicative or pointing gesture
Beat
Repetitive motor gestures
Cassell (1998, in Davidson, 2005)
Propositional
To denote meaning
Iconic
Describe action
Metaphoric
Illustrating metaphor
Deictic
Indicative or pointing gesture
Beat
Repetitive motor gestures
Ekman & Friesen (1969)
Cassell (1998)
Illustrators
Iconic
Emblems
Propositional
Adaptors
Regulators
Deictic or beat
Ekman &
Friesen
(1969)
Illustrators
Cassell
(1998)
Delalande (1988) of Glenn
Gould’s gestures
Iconic
Meditative, vibrant, fluid,
delicate, vigorous
Emblems
Propositional
Adaptors
Regulators
Deictic
or beat
Participants
Name
(singer &
pianist)
Mean age
(years)
Experience
together
(years)
Level of
expertise
Amanda &
Colin
68
10
Professional
Isobel &
George
57
15
Professional
Betty &
Robert
25.5
2
Student
Sophie &
Guy
21.5
2
Student
Materials
•
•
•
Three songs by Ivor Gurney (1890-1937)
– Epitaph
– On the Downs
– I Shall be Ever Maiden
Video-recordings of practice sessions,
rehearsals and performances stored as DVDs
Analysis using Noldus The Observer
Procedure
Session 1:
familiar / same
expertise
Session 2:
unfamiliar / same
expertise
Session 3:
unfamiliar /
different expertise
Professional A /
Professional 1
Professional A /
Professional 2
Professional B /
Professional 2
Student A /
Student 1
Professional B /
Professional 1
Professional A
(Isobel) / Student
1 (Guy)
Student B /
Student 2
Student B
Student 1
Student A /
Student 2
Professional 1
(George) /
Student A (Betty)
Analysis (1)
States “Gesture”
Pulsing with hand / head
Shaping with hand
Conducting with hand
“Glance”
Points “Gesture”
“Glance”
Gazing at partner / elsewhere
Gesture
Glance at partner / elsewhere
Analysis (2)
420.301",“Betty & Guy","pianist","Glance other","Point",""
"447.876","Betty & Guy","singer","Pulse hand","State start","26-35"
"457.251","Betty & Guy","pianist","Gesture","Point","lifts hand"
"467.770","Betty & Guy","singer","Pulse hand","State stop",""
"467.770","Betty & Guy","singer","Still","State stop",""
"467.770","Betty & Guy","singer","Pulse hand","State start","29-38"
"477.834","Betty & Guy","pianist","Glance other","Point",""
"478.133","Betty & Guy","singer","Pulse hand","State stop",""
"478.477","Betty & Guy","singer","Glance other","Point","29-38"
"480.144","Betty & Guy","singer","Gesture","Point","point "heart""
"481.066","Betty & Guy","pianist","Glance other","Point",""
"482.083","Betty & Guy ","singer","Gesture","Point","point "was""
"513.205","Betty & Guy","singer","Gesture","Point"," = 'stop"' (error)"
"513.682","Betty & Guy","singer","Pulse hand","State start","26-41"
"514.039","Betty & Guy","singer","Gesture","Point",""heart""
"518.674","Betty & Guy","singer","Pulse hand","State stop",""
"532.370","Betty & Guy","singer","Pulse head","State start",""
"537.722","Betty & Guy","singer","Pulse head","State stop",""
"
Analysis (3)
States % of
rehearsal
time
Pulsing with hand / hand
Shaping with hand
Conducting with hand
Gazing at partner / elsewhere
Points Rate per
minute of
rehearsal
time
Gesture
Glance at partner / elsewhere
Pulsing (hand / head), shaping and
conducting (% of rehearsal time)
35
30
25
20
Pulse
Shape
Conduct
15
10
5
0
Isobel (P)
Betty (S)
George (P)
Guy (S)
Isobel (P) with her three partners
(% of rehearsal time)
35
34
33
32
31
Pulse hand
30
29
28
27
26
George (P)
Colin (P)
Guy (S)
Betty (S) with her three partners
(% of rehearsal time)
18
16
14
12
10
Pulse hand
Pulse head
Shape hand
8
6
4
2
0
Robert (S)
Guy (S)
George (P)
Gesture (rate per minute)
1.4
1.2
1
0.8
Gesture
0.6
0.4
0.2
0
Isobel (P)
Betty (S)
George (P)
Guy (S)
Isobel and George (both P)
Betty and Robert (both S)
Discussion: “gestures” (1)
• Performers used more physical gestures when
rehearsing with familiar and same-expertise than
new or different-expertise partners
• Wider range of gestures in familiar partnerships
Discussion: “gestures” (2)
Emblems
Consolidate technical details
Illustrators
Establish rhythms and secure pitching
Convey narrative
Regulators
Co-ordination / structural boundaries
Beats (deictic)
Conducting to establish tempo or
pulse
Convey musical information
Metaphoric
gestures
Discussion: gestures in
relation to music
• Contribute to the development of mental
representations for formal structure (cf Williamon &
Davidson, 2002)
• Pianists’ gestures primarily expressive and
communicative; singers’ gestures support technical
production of sound and convey information
• “Movement-related information may be limited to
relatively general, instrument-independent forms of
body motion, e.g. swaying, rocking and expressive
gesturing” (Keller, 2008, p. 209)
Discussion: effects of familiarity
and expertise
• Closer harmonisation of gestures in established
duo: “combined rhetoric” of movements
• Ensemble performers anticipate, attend and
adapt to their own and each others’ playing
(Keller, 2008)…
• …so as to develop joint mental representations
and implement shared decisions; auditory and
motor information
• Complemented by verbal information (Ginsborg
& King, 2007ab, 2008)
Summary and conclusions:
mental representations revisited
• Understanding of structure (and structural
boundaries) crucial to memory
• Shared performance cues research – serial
chaining (block signalling) vs content
addressability (centralized traffic control)
• Beating time – role of kinaesthetic memory in
forming mental representation of metrical
structure
• Shaping contour – role of bodily movement (also
kinaesthetic memory?) in creating mental
representation of meaning
Thank you for your attention
• Any questions?
• Jane.ginsborg@rncm.ac.uk