Articles

Memorization

by Laurel Ann Maurer

In my opinion, memorization of music is a necessary skill for each student to develop for two reasons: ear-training and competition preparedness. The first reason, ear-training, is, I think, the most essential. When students work on memorizing, they usually listen more effectively. Humans are visual creatures. Without the music to look at, the ears perk right up and do a better job. For this reason, all warm-up exercises and scales, arpeggios etc. need to be memorized.

The second reason, competition preparedness, is simply a fact of life. Personally, I think performance by memory is not as essential as simply a fine performance -- music or not. Some people feel freer and more expressive without music; some feel more anxiety without music. Play how you play best. When I go to hear a performance, I go to hear the music, not to see whether or not music was used. But as teachers, our students need this skill if they wish to enter competitions.

Memorization of music occurs when the successful integration of three areas takes place: aural memory, muscle memory, and analytical memory. For the fortunate few who have "photographic" memories, you will have a much easier time memorizing music. I would still recommend a thorough knowledge of the piece utilizing these three aspects to ensure a solid performance, but it will be faster for you. The majority of us are not so lucky, so we must work a little harder.

Aural Memory

The basis for the Suzuki teaching method is how humans learn language. We learn our "mother-tongue" by imitating others, usually our parents. Before a child can read, he or she is able to express him or herself very well verbally. This occurs in every language.

Music is a language as well and can be learned by ear. With this type of approach early on, the student develops a keen ear and adapts to learning music aurally. This is achieved by continual exposure to recordings. As in language, we imitate with our own voice and expression, and so with music. I must emphasize that this does not take the place of reading music. I encourage all Suzuki teachers to address reading skills at an appropriate age and level!

Muscle Memory

The human body is able to learn intricate and highly complex motions through repetition. Think of learning dance steps. We have to coordinate physical moves with music. We learn these tasks through "practice" (repetition). This is muscle memory. Essential for total learning, but unable to carry the entire learning process. Muscle memory is habitual but not intellectual. We need the mind and ear to guide the body.

Analytical Memory

Analytical memory is basically understanding how the music is constructed and recognizing it. This is very successful if the teacher has put in place the necessary preparatory work. For instance, before learning a simple piece such as Twinkle, Twinkle Little Star I will teach the C Major scale. Then when the student is learning Twinkle he or she will learn the section that has part of the scale in it better -- because he or she already knows it.

As a student advances, point out the patterns that are already known, such as scales and arpeggios. Most music before the 20th century is comprised of these basic patterns. As students learn to recognize the construction of their music, learning becomes easier. This is the memorization "back-up" plan. In a performance situation when there are nerves and distractions to deal with, we can call up this information to help remember the music. When a student is learning advanced pieces, this plays a greater role. Most professionals that I know utilize analytical memory to a great degree.

Integration

It is recommended that each student be instructed to combine all three aspects of memory when practicing. Listen as you practice, feel the physical repetitions take place as you practice, and recognize the construction of the music as you practice. The mind is taking careful notes!