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Introduction
The Music Psychology Lab at the University of Connecticut investigates various aspects of the cognitive processes involved in music performance and perception. For the past 10 years the lab has specialized in longitudinal case studies of experienced musicians preparing for a performance. In addition, the lab is investigating those aspects of a music performance that elicit emotional responses, how jazz musicians coordinate their performances, and how people entrain to music.
We are always looking for experts and amateur musicians willing to participate in a longitudinal case study. If you would like to participate please contact Roger Chaffin for more information.
The lab is currenly working on several projects:
1. Music and Memory
2. Music and Emotion
3. Performing on Cue: How Musicians Recover from Mistakes during Memorized Performances
4. Jazz and Double Time
5. Performance Cue Survey
6. Synchronization with Music
6. Study Your Own Music Performance (SYMP)
Below are descriptions of each of the current projects.
1. Music and Memory: To explore how expert musicians memorize performances we have used longitudinal case studies of concert soloists preparing for performance. We examine behavior during practice to understand into the learning process. Musicians constantly start, stop, back up, and repeat, making split-second decisions as they continuously evaluate every aspect of technique, interpretation, and performance. We have used this wealth of behavioral data to test the application of psychological theories of expert memory, problem solving, and motor control to the domain of music. If you would like to study your own performance using our methods please read projects 5 and 6 below.
2. Music and Emotion: Research has shown that performers have musical expressions that they intend to convey to their audience members at certain points of a given composition. In addition, skilled performers can intentionally vary the amount of expressivity that they use as they perform the same piece of music. Confirmatory evidence for this comes from examinations of the bar to bar fluctuations in tempo and volume obtained as the same musician performs the piece with different levels of expressive intention. These tempo and volume profiles show that the points in the music that were intended to be played with the most expressivity were very distinct from other points in the music where the performer did not have any specific expressive intention. In addition, the tempo and volume profiles differed depending on the amount of expressivity that the musician intended to play with. Although there is evidence that there are differences in performances depending on the musicians’ expressive intentions, little is known about whether or not audience members are able to detect them, and how they interpret them. We are currently examining this question by taking real time measurements of participants’ expressivity ratings as they listen to different pieces of music that were performed with different amounts of expressive intention.
3. Performing on Cue: How Musicians Recover from Mistakes during Memorized Performances: A series of longitudinal case studies has examined how musicians prepare a musical composition to perform it from memory in front of a live audience. These investigations have provided evidence that the musicians establish landmarks in the music— performance cues—to which they must direct their attention in order for the piece to be performed successfully. The researches have also suggested that in the event of a memory failure, the performance cues provide the musician with a landmark from which to commence playing. Doing so is preferable to going back to the very beginning of the piece and hoping that the same error does not occur again. By using a cued-recall technique, this project investigates the claim that musicians are better at beginning to play from performance cues than from locations in the music that are not performance cues. Results obtained thus far suggest that a highly skilled musician would find it easiest to commence playing from a location where s/he had made a decision about the musical expression to convey to the audience, and hardest to commence from a location where s/he typically has to pay attention to basic technique.
4. Jazz and Double Time: This research investigates what drives jazz musicians to transition to double time.
5. Synchronization with music: This research investigates how an individual’s movements are affected by music in the simple rhythmic task of rocking in a rocking chair. Further, we are looking at how music affects the spontaneous coordination of rhythmic movement that occurs when two or more people do this task at the same time.
6. Performance Cue Survey: Perfomance Cues(PCs) are the landmarks in a piece of music that a musician thinks about during performance. We know from that some musicians use PCs, but we do not know how PC use varies across musicians, music, instrument, and type of performance. The PC-Survey is intended to answer these questions by asking musicians to report PCs for music that they have already prepared or are in the process of preparing for performance. Although we call it a “survey”, each musician’s contribution is a much-abbreviated version of the longitudinal case studies (listed on this site) that we have used previously to establish that some musicians do use PCs. The PC-survey omits the time consuming step of recording and transcribing practice, greatly decreasing the demands on the musician. We invite musicians and researchers who are interested in contributing to the survey to contact us by emailing Roger.Chaffin@UConn.edu.p />
7. Study Your Own Music Performance: Empirical observation of practice has been successfully compiling practice data for these studies, however, has required the use of custom software. To facilitate empirical study of music practice, we have created SYMP (Study Your Music Practice), a software tool for summarizing music practice that has been previously recorded on audio or videotape. The program allows anyone interested in transcribing music practice to readily obtain graphic summaries and statistics showing how their practice was organized and which passages and difficulties were a focus of attention. The tool is written in Microsoft Excel 2007 and its use requires a basic knowledge of this program.
SYMP enables the user to transcribe practice by entering information about where playing started and stopped during practice into an electronic worksheet. The program auto-generates graphs that visually summarize the pattern of starts and stops in each practice session. The graphs also show the relationship of starts and stops to the musical structure of the piece and to the musicians’ decisions about technique, interpretation, and performance. The musician first marks this information on copies of the score, from where it is entered into the database by the researcher. The program also allows the user to track memorization by entering whether the musician played while looking at the score, and to track variations in tempo.
By helping musicians to study themselves, as well as their colleagues and students, we hope to learn more about what musicians actually do when they practice. We expect that empirical study of music practice will lead to strategies for making practice more effective and rewarding, and less frustrating and time consuming.
To learn more about SYMP and to download the program please click here or above.
Invitation to Participate in the Survey of Musicians’ Use of Performance Cues
Music Performance Laboratory, Department of Psychology, University of Connecticut
Recent studies conducted by our laboratory provide a good picture of how musicians prepare for performance. We are now looking for volunteers to participate in a survey that will give us a better idea of how the strategies that we have identified vary across musicians, pieces, instruments, and type of performance. We are looking for professionals, amateurs, and students, on a variety of instruments, including those who normally perform from memory and those who normally perform with a score.
In the earlier studies, we videotaped experienced soloists as they prepared new works for public performance. After the performance, the musicians marked copies of the score to indicate which aspects and features of the music they normally paid attention to during performance. We call these performance cues (PC’s). Their reports provided a window into their thinking about the music that provided a deeper understanding of their practice, memorization, and performance strategies. The musicians felt that they benefited greatly from the experience.
For the present study, we are asking musicians to provide the same kinds of reports, but for music already prepared for performance to your highest standard. Pieces that you played in a recent recital or performance class would be an obvious choice. Or you might choose something that you want to prepare in the coming months for your own reasons. We ask that you first perform the piece (for a practice or real audience) and then report your PC’s for the piece, i.e., the features of the music you normally pay attention to while you perform. You will need to reflect carefully on your thought processes during performance and may need to play through the piece more than once to satisfy yourself that your reports are accurate. We will help by providing you with step-by-step instructions that make the task manageable. We believe that you will be rewarded by a deeper understanding of how you prepare for performance and by contributing to music pedagogy and music psychology.
We prefer you select two pieces, one you consider easier to memorize/prepare and one you consider harder. This will allow us to compare them. The relevant contrast is ease of preparation rather than technical difficulty, although the two may go together. Of course, you can choose to do only one piece if you need to. The main consideration in choosing the pieces should be that you want to bring them up to performance quality for your own purposes. We suggest that each piece should take 3-6 minutes to perform. We prefer standards in the repertoire for your instrument. The researcher (or your teacher) can probably make suggestions if you need them. Remember that the survey will take longer to complete for longer pieces. Again, choose music that you want to perform.
The survey will take anywhere from 15 minutes to a couple of hours, depending on the piece and your level of preparation. This is after you have prepared and performed the piece(s). After you have done the reports, there are two additional parts to the study that you may chose to participate in, but which are not essential. You can decide whether to do these later. For now, the question is whether you will participate in the survey. This will be extremely valuable, with or without the additional two parts. If you are willing, or if you are considering participating, please let us know. Tell the person who contacted you or email Roger.Chaffin@UConn.edu. We will answer your questions and provide detailed information about how to proceed.
Roger Chaffin, Professor of Psychology, University of Connecticut
Click here to download the Instructions to the PC survey
Click here to download the Demographics form: questions about your training as a musician.
Click here to download the Music questionnaire: questions about the music you selected.
Click here to download the Performance questionnaire: questions about your performance of the music you have selected for study.
PEER REVIEWED ARTICLES, BOOKS, & BOOK CHAPTERS
2009
Chaffin, R., Lisboa, T., Logan, T., & Begosh, K.T. (2009). Preparing for Memorized Cello Performance: The Role of Performance Cues. Music Psychology, in press.
Chaffin, R., Logan, T.R., & Begosh, K.T. (2009). Performing from memory. In S. Hallam, I. Cross, & M. Thaut (Eds.), The Oxforrd Handbook of Music Psychology (pp. 352-363). Oxford: Oxford University Press.
2008
Chaffin, R. & Lisboa, T.(2008). Practicing perfection: How concert soloists prepare for performance. Ictus, 9, 115-142.
Noice, H., Chaffin, R., Jeffrey, J., & Noice, A. (2008). Memorization by a jazz pianist: A case study. Psychology of Music, 36, 47-61.
Lehmann, A.C., & Chaffin, R. (2008). Erinnern und Weidererkennen: Auswendig- und Vomblatt-speil. In H. Bruhn, R. Kopiez & A.C. Lehmann. Musicpsyhologie: Das neue Handbuch (pp. 354-373). Reinbek bei Hamburg: Rowohlt Verlag.
2007
Chaffin, R., Lemieux, A., & Chen, C. (2007). “It’s different each time I play”: Spontaneity in highly prepared musical performance. Music Perception, 24, 455-472.
Chaffin, R. (2007). Learning Clair de Lune: Retrieval practice and expert memorization. Music Perception, 24, 377-393.
2006
Chaffin, R. & Logan, T. (2006). Practicing perfection: How concert soloists prepare for performance. Advances in Cognitive Psychology, 2, 113-130.
Ginsborg, J., Chaffin, R., Nicholson, G. (2006). Shared performance cues in singing and conducting: A content analysis of talk during practice. Music Psychology, 34, 167-194.
Chaffin, R., Lemieux, A., & Chen, C. (2006). Spontaneity and creativity in highly practiced performance. In I. Deliège & G.A. Wiggins. Musical creativity: Multidisciplinary research in theory and practice (pp. 200-218). London: Psychology Press.
2004
Chaffin, R., & Lemieux, A. (2004). General perspectives on achieving musical excellence. In A. Williamon (Ed.). Musical excellence: Strategies and techniques to enhance performance (pp. 19-39). Oxford: Oxford University Press.
2003
Chaffin, R., Imreh, G., Lemieux, A., & Chen, C. (2003). “Seeing the big picture”: Piano practice as expert problem solving. Music Perception, 20 461-485.
2002
Chaffin, R., Imreh, G., & Crawford, M. (2002). Practicing perfection: Memory and piano performance. Mahwah, NJ: Erlbaum Associates.
Chaffin, R. & Imreh, G. (2002) Practicing perfection: Piano performance as expert memory. Psychological Science, 13, 342-349.
Chaffin, R. Crawford, M., Imreh, G. (2002) Performing gender. Feminism & Psychology, 12, 182-189.
2001
Chaffin, R. & Imreh, G. (2001). A comparison of practice and self-report as sources of information about the goals of expert practice. Psychology of Music, 29, 39-69.
1997
Chaffin, R. & Imreh, G. (1997). "Pulling teeth and torture": Musical memory and problem solving. Thinking & Reasoning: Special Issue on Expert Thinking, 3, 315-336.
ARTICLES PUBLISHED WITHOUT PEER REVIEW
Chaffin, R., Imreh, G., & Crawford, M. (2004). La pratique de la perfection: Comment un pianiste concertise prepare sa performance. (Practicing perfection: How a concert pianist prepares for a concert.). Medecine des Arts, 48, 33-35.
Chaffin, R. (2002). Review of B. Snyder, Music and memory: An introduction. Music Perception, 20, 18-24.
Imreh, G. & Chaffin, R. (1996/97). Understanding and developing musical memory: The view of a concert pianist. American Music Teacher, 46, (3), 20-24, 67.
Chaffin, R. & Imreh, G. (1994). Memorizing for piano performance. Piano Journal, 15, 16-19.
UConn Faculty Collaborators:
| Mary Crawford |
is Professor of Psychology and former Director of the Women’s Studies Program at the University of Connecticut. Her research and theoretical interests are in the social psychology of language, gender and communication. Professor Crawford is an advocate for innovative research methods that acknowledge the social and interactional context of psychological inquiry. Her co-edited volume Innovative Methods for Feminist Psychological Research (1999) received the Distinguished Publication Award from the Association for Women in Psychology. She co-authored Practicing Perfection: Memory and Piano Performance (2002), which reports a collaboration with Roger Chaffin, a cognitive psychologist, and Gbriela Imreh, a professional pianist, to develop innovative methods for studying music performance. Her role in this project was to provide a critical reflection on how the subjectivity of the researcher affects the process and outcomes of psychological research. Dr. Crawford is a Fellow of both the American Psychological Association and the American Psychological Society and a former Fulbright Senior Scholar. She is author or editor of 10 books and over 50 journal articles and book chapters. |
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| Kerry Marsh |
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Biography Roger Chaffin is Professor of Psychology at the University of Connecticut in the USA. In his research he has studied the cognitive processes involved in musical performance. His longitudinal case studies of experienced musicians preparing for performance provide a new level of understanding of the psychological processes involved. These studies combine the third-person perspective of the scientist, which provides objectivity and rigor, with the first-person perspective of the musician, which provides a rich of understanding of the musical intuitions guiding the performance. The studies generally confirm what musicians already know about themselves; but sometimes they are surprised. When this happens, everybody learns something new. He has reported this research in journals such as Psychological Science, Music Perception, and Music Psychology and in, Practicing perfection: Memory and piano performance (2002), written in collaboration with pianist Gabriela Imreh and social psychologist Mary Crawford. The book describes how their friendship led to the first longitudinal study of Gabriela’s learning of the Italian Concerto (Presto) and initiated the research on performance cues that is still an important focus of the music performance lab today. His work on musical memory complements his earlier work on memory and language reported in numerous journal articles in journals such as Journal of Experimental Psychology: Learning, Memory, and Cognition, Cognitive Science, and Psychological Bulletin. He is co-editor of Memory in Historical Perspective (1988) and co-author of Cognitive and Psychometric Analysis of Analogical Problem Solving (1991). Professor Chaffin is an amateur flautist who has performed in public exactly once and prefers running white-water rapids in a kayak to the excitement of performing on the concert stage.
Education
| B.A. |
Oxford University, England, 1969
Philosophy and Psychology |
| M.A. |
University of Delaware, 1972
Psychology
Thesis: Similarity and categorization |
| Ph.D. |
University of Illinois, 1976
Cognitive Psychology (minor in Linguistics)
Dissertation: Semantic versus factual knowledge |
Contact Information
Department of Psychology
406 Babbidge Rd, U-1020
Storrs CT 06269-1020
860-486-4100 Office (Storrs)
860-570-9272 Office (Hartford)
Roger.Chaffin@uconn.edu
Select Publications
BOOKS:
Chaffin, R., Imreh, G., & Crawford, M. (2002). Practicing perfection: Memory and piano performance. Mahwah, NJ: Erlbaum Associates.
Click here to download Garbriela Imreh playing the J.S. Bach's Presto from the Italian Concerto BWV 971.
Bejar, I.I., Chaffin, R., & Embretson, S. (1991). Cognitive and psychometric analysis of analogical problem solving. New York: Springer-Verlag.
Herrmann, D.J. & Chaffin, R. (1988). Memory in historical perspective: The literature before Ebbinghaus. New York: Springer-Verlag.
PEER REVIEWED ARTICLES (# indicates graduate student co-author, * undergraduate co-author)
Chaffin, R., Lisboa, T., Logan#, T., & Begosh#, K.T. (2009). Preparing for Memorized Cello Performance: The Role of Performance Cues. Music Psychology, in press.
Chaffin, R. & Lisboa, T.(2008). Practicing perfection: How concert soloists prepare for performance. Ictus, 9, 115-142.
Noice, H., Chaffin, R., Jeffrey, J., & Noice, A. (2008). Memorization by a jazz pianist: A case study. Psychology of Music, 36, 47-61.
Chaffin, R., Lisboa, T., Logan#, T., & Begosh#, K.T. (2009). Preparing for Memorized Cello Performance: The Role of Performance Cues. Music Psychology, in press.
Chaffin, R., Lemieux#, A., & Chen*, C. (2007). “It’s different each time I play”: Spontaneity in highly prepared musical performance. Music Perception, 24, 455-472.
Chaffin, R. (2007). Learning Clair de Lune: Retrieval practice and expert memorization. Music Perception, 24, 377-393.
Chaffin, R. & Logan#, T. (2006). Practicing perfection: How concert soloists prepare for performance. Advances in Cognitive Psychology, 2, 113-130.
Ginsborg, J., Chaffin, R., Nicholson, G. (2006). Shared performance cues in singing and conducting: A content analysis of talk during practice. Music Psychology, 34, 167-194.
Chaffin, R., Imreh, G., Lemieux#, A., & Chen*, C. (2003). “Seeing the big picture”: Piano practice as expert problem solving. Music Perception, 20 461-485.
Chaffin, R. & Imreh, G. (2002) Practicing perfection: Piano performance as expert memory. Psychological Science, 13, 342-349.
Chaffin, R. Crawford, M., Imreh, G. (2002). Performing gender. Feminism & Psychology, 12, 182-189.
Chaffin, R., Morris, R.K., & Seely, R.E. (2001). Learning new word meanings from context: A study of eye movements. Journal of Experimental Psychology: Learning, Memory, and Cognition, 27, 225-235.
Chaffin, R. & Imreh, G. (2001). A comparison of practice and self-report as sources of information about the goals of expert practice. Psychology of Music, 29, 39-69.
Chaffin, R. & Imreh, G. (1997). "Pulling teeth and torture": Musical memory and problem solving. Thinking & Reasoning: Special Issue on Expert Thinking, 3, 315-336.
BOOK CHAPTERS
Chaffin, R., Logan, T.R., & Begosh, K.T. (2009). Performing from memory. In S. Hallam, I. Cross, & M. Thaut (Eds.), The Oxforrd Handbook of Music Psychology (pp. 352-363). Oxford: Oxford University Press.
Lehmann, A.C., & Chaffin, R. (2008). Erinnern und Weidererkennen: Auswendig- und Vomblatt-speil. In H. Bruhn, R. Kopiez & A.C. Lehmann. Musicpsyhologie: Das neue Handbuch (pp. 354-373). Reinbek bei Hamburg: Rowohlt Verlag.
Chaffin, R., Lemieux, A#., & Chen, C*. (2006). Spontaneity and creativity in highly practiced performance. In I. Deliège & G.A. Wiggins. Musical creativity: Multidisciplinary research in theory and practice (pp. 200-218). London: Psychology Press.
Chaffin, R., & Lemieux, A#. (2004). General perspectives on achieving musical excellence. In A. Williamon (Ed.). Musical excellence: Strategies and techniques to enhance performance (pp. 19-39). Oxford: Oxford University Press.
ARTICLES PUBLISHED WITHOUT PEER REVIEW
Chaffin, R., Imreh, G., & Crawford, M. (2004). La pratique de la perfection: Comment un pianiste concertise prepare sa performance. (Practicing perfection: How a concert pianist prepares for a concert.). Medecine des Arts, 48, 33-35.
Chaffin, R. (2002). Review of B. Snyder, Music and memory: An introduction. Music Perception, 20, 18-24.
Crawford, M., & Chaffin, R., (2003). Testimonies of trauma: Exploring gender and memory. Review of J. Haaken, Pillar of Salt: Gender, Memory and the Perils of Looking Back. Psychology of Women Quarterly, 27, 80-88.
Chaffin, R. & Gruenfeld, K.E. (1997a). Leslie A. Williams: A pioneer in psychology at the New Jersey State Normal School. History of Psychology Newsletter, 29, 7-10.
Chaffin, R. & Gruenfeld, K.E. (1997b). Leslie A. Williams: Founder of an early psychology laboratory for teaching. Psychology of Women: Newsletter of Division 35, APA, 24, (2), 17, 19.
Imreh, G. & Chaffin, R. (1996/97). Understanding and developing musical memory: The view of a concert pianist. American Music Teacher, 46, (3), 20-24, 67.
Chaffin, R. & Imreh, G. (1994). Memorizing for piano performance. Piano Journal, 15, 16-19.
Chaffin, R., & Crawford, M. (1990). On using your noodle in the supermarket. Review of Jean Lave's Cognition in Practice. Applied Cognitive Psychology, 4, 505-506.
RECENT CONFERENCE PRESENTATIONS:
Chaffin, R., Demos, A., & Crawford, M. (2009, December). The PC-survey: How does the use of performance cues vary across musicians, instruments, musical styles, and performances? Paper to be presented at the International Symposium on Performance Science, Aukland, New Zealand.
Lisboa, T., Chaffin, R., & Logan, T. (2009, December). How memory fades: Very-long-term recall of Bach. Paper to be presented at the International Symposium on Performance Science, Aukland, New Zealand.
Chaffin, R., Demos, A., & Crawford, M. (2009, December). Sources of variation in musicians’ use of performance cues. In R. Chaffin (Chair), Resolving the dissonance between arts and science: Why musicology needs practice based research. Symposium to be conducted at the Second International Conference on Music Communication Science, Sydney, Australia.
Ginsborg, G. & Chaffin, R. (2009, December). Very long term memory for words and melocdy: An expert singer’s written and sung recall over six year. In R. Chaffin (Chair), Resolving the dissonance between arts and science: Why musicology needs practice based research. Symposium to be conducted at the Second International Conference on Music Communication Science, Sydney, Australia.
Lisboa, T., Chaffin, R., & Logan, T. (2009, December). Memory for music performance: Comparing played and written recall. In R. Chaffin (Chair), Resolving the dissonance between arts and science: Why musicology needs practice based research. Symposium to be conducted at the Second International Conference on Music Communication Science, Sydney, Australia.
Chaffin, R, Ginsborg, J, & Dixon, J. (2009, August). Serial position effects in a singer’s long term recall identify landmarks and lacunae in memory. Presented at the Society for Music Perception and Cognition (SMPC), Indianapolis, IN.
Chaffin, R, Ginsborg, J, & Dixon, J. (2009, August). S erial Position Effects in a Singer’s Long Term Recall Identify Landmarks and Lacunae in Memory. Paper presented at the European Society for the Cognitive Sciences of Music (ESCOM), Jyväskylä, Finland.
Begosh, K. T. & Chaffin, R. (2009, August). Listeners' Sensitivity to Performers' Expressive Intentions. Poster presented at the Society for Music Perception and Cognition (SMPC), Indianapolis, IN.
Begosh, K. T., Chaffin, R., Barros, L.C., & Lisboa, T. (2009, August). Cued Recall of Memory for Performance. Poster presented at the European Society for the Cognitive Sciences of Music (ESCOM), Jyväskylä, Finland.
Demos, A., Chaffin, R., Lewis, A., Begosh, K.T., Daniels, J., Marsh, K.(2009, August). Rocking in Synch: Effects of music on interpersonal coordination. Poster presented at the Society for Music Perception and Cognition (SMPC), Indianapolis.
Demos, A. P., Chaffin, R. (2009, August). A Software Tool for Studying Music Practice: SYMP (Study Your Music Practice) . Poster presented at the European Society for the Cognitive Sciences of Music (ESCOM), Jyväskylä, Finland.
Logan, T., Demos, A. P., Chaffin, R. (2009, August). A Method for Studying Music Practice: SYMP (Study Your Music Practice) . Poster presented at the Society for Music Perception and Cognition (SMPC), Indianapolis.
Biography Kristen T. Begosh is pursuing her doctorate in experimental psychology as well as a certificate in quantitative research methods from the University of Connecticut. Since beginning the program in 2005 she has worked on a variety of research projects, which investigate the cognitive strategies of musicians as they perform from memory. Her current research also includes making connections between what is known about the way in which musicians prepare a piece to perform and how people might commit poetry to memory. Kristen is also an amateur clarinetist.
Education
| B.A. |
The College of New Jersey, 2005
Major: Psychology. Minor: Italian |
| M.A. |
University of Connecticut, 2008
Experimental Psychology |
Contact Information
Department of Psychology
406 Babbidge Rd, U-1020
Storrs CT 06269-1020
Kristen.Begosh@uconn.edu
Publications
Chaffin, R., Lisboa, T., Logan, T., & Begosh, K.T. (2009). Preparing for Memorized Cello Performance: The Role of Performance Cues. Music Psychology, in press.
Chaffin, R., Logan, T. R., & Begosh, K. T. (2009). Performing from memory. In S. Hallam, I. Cross, & M Thaut (Eds.), The oxford handbook of music psychology (pp. 352-363). Oxford: Oxford University Press.
Chaffin, R., Lisboa, T., Logan, T., & Begosh, K.T. (2009). Preparing for memorized cello performance: The role of performance cues. Music Psychology, in press.
Conference Presentations
Begosh, K. T. & Chaffin, R. (2009, August). Listeners' Sensitivity to Performers' Expressive Intentions. Poster presented at the Society for Music Perception and Cognition (SMPC), Indianapolis, IN.
Begosh, K. T., Chaffin, R., Barros, L.C., & Lisboa, T. (2009, August). Cued Recall of Memory for Performance. Poster presented at the European Society for the Cognitive Sciences of Music (ESCOM), Jyväskylä, Finland.
Demos, A.P., Chaffin, R., Lewis, A., Begosh, K.T., Daniels, J., Marsh, K.(2009, August). Rocking in Synch: Effects of music on interpersonal coordination. Poster presented at the Society for Music Perception and Cognition (SMPC), Indianapolis.
Begosh, K. T., Boncoddo, R. A., & Magnuson, J. S. (2008, May) Cognitive problem solving strategies differ as a function of performance. Poster session presented at the annual meeting of the Association for Psychological Science. Chicago, IL.
Begosh, K.T., Chaffin, R., & Barros, L.C. (2007, August) Cued recall of memory for performance: A case study. Poster session presented at the meeting of the Society for Music Perception and Cognition. Montreal, QC Canada.
Logan, T., Begosh, K., Chaffin R., Lisboa T. (2007, August) Memorizing for Cello
Performance. Paper presented at the meeting of the Society for Music Perception and Cognition. Montreal, QC Canada.
Begosh, K.T., Lisboa, T., & Logan, T. (2007, July). Memorizing for cello performance:
Effects of performance cues on recall. In H. Noice (Chair), Expert memory in the performing arts. Symposium conducted at the meeting of the Society for Applied Research in Memory and Cognition. Lewiston, ME.
Begosh, K.T., Logan, T., Chaffin, R., & Lisboa, T. (2007, July). Expert memory in music
performance: Effects of performance cues on recall and tempo variation. Poster session presented at the Society for Applied Research in Memory and Cognition. Lewiston, ME.
Logan, T., Begosh, K.T., Chaffin, R., & Lisboa, T. (2006, May). Expert musicians and
memory: Comparing self-report and practice in music performance research. Poster session presented at the annual meeting of the Association for Psychological Science. New York, NY.
Chaffin, R., Lisboa, T., Begosh, K.T., & Logan, T. (2006, May). Expert memory in solo
cello performance. Poster session presented at the annual meeting of the Association for Psychological Science. New York, NY.
Biography Topher Logan is the Director of the Community School of the Arts and a doctoral student in the Perception, Action and Cognition program at UConn involved in graduate research in the field of Psychology of Music. Topher's current research interests include Memory and Performance, Expressive Timing, Coordination, Jazz Improvisation
Education
| B.M. |
Univesity of Connecticut, 1987
Major: Music Performance |
| M.M. |
Baylor University, 1991
Trombone Performance |
Select Publications
Chaffin, R., Lisboa, T., Logan, T., & Begosh, K.T. (2009). Preparing for Memorized Cello Performance: The Role of Performance Cues. Music Psychology, in press.
Chaffin, R., Logan, T.R., & Begosh, K.T. (2009). Performing from memory. In S. Hallam, I. Cross, & M. Thaut (Eds.), The Oxforrd Handbook of Music Psychology (pp. 352-363). Oxford: Oxford University Press.
Chaffin, R. & Logan, T. (2006). Practicing perfection: How concert soloists prepare for performance. Advances in Cognitive Psychology, 2, 113-130.
Conference presentations
Lisboa, T., Chaffin, R., & Logan, T. (2009, December). How memory fades: Very-long-term recall of Bach. Paper to be presented at the International Symposium on Performance Science, Aukland, New Zealand.
Lisboa, T., Chaffin, R., & Logan, T. (2009, December). Memory for music performance: Comparing played and written recall. In R. Chaffin (Chair), Resolving the dissonance between arts and science: Why musicology needs practice based research. Symposium to be conducted at the Second International Conference on Music Communication Science, Sydney, Australia.
Logan, T., Demos, A. P., Chaffin, R. (2009, August). A Method for Studying Music Practice: SYMP (Study Your Music Practice) . Poster presented at the Society for Music Perception and Cognition (SMPC), Indianapolis.
Logan, T., Begosh, K., Chaffin R., Lisboa T. Memorizing for Cello Performance. Paper presented at 8th Conference of The Society for Music Perception and Cognition. Montreal, QC Canada. August, 2007. Poster presented at SARMAC 2007 conference
Biography Alexander is a doctoral student in the Perception, Action and Cognition program at UConn. As an undergraduate, Alex started working with two researchers at NYU (Doris Aaronson & Rita Aiello) investigating expert musicians' listening strategies. After graduation he worked for small non-profit educational testing company, started his master’s degree, and continued his music research. His current research interests include music perception, synchronization between musicians, and the similarities between language and music. Alex is an amateur violinist.
Education
| B.A. |
New York University, 2003
Major: Psychology. Minors: Biology & Chemistry |
| M.A. |
New York University, 2006
Psychology
Thesis: The Perception of Music in Real-Time: An Evaluation of Expert Musicians’ Listening Strategies |
Contact Information
Department of Psychology
406 Babbidge Rd, U-1020
Storrs CT 06269-1020
Alexander.Demos@uconn.edu
Publications
Aiello, R., Aaronson, D., & Demos, A.P. (2006). Individual Differences in Music Perception. In: M. Baroni, A. R. Addessi, R. Caterina, M. Costa (Eds.), Proceedings of the 9th International Conference on Music Perception & Cognition (pp.1226-1232). Bologna, Italy.
Roth, J., Somma, R., Greenberg, S. & Demos, A. (2006) Developing and Implementing a Certification Program to Drive Change in the Pharmaceutical Industry. Pharmaceutical Engineering, May/June 2006.
Aiello, R., Aaronson, D., & Demos, A.P. (2004). Musicians’ Perceptions of Musical Boundaries. In S.D. Lipscomb, R. Ashley, R.O. Gjerdingen, & Webser (Eds.), Proceedings of the 8th International Society for Music Perception and Cognition (pp.681-685). Adelaide, Australia: Casual Productions.
Aiello, R., Aaronson, D., & Demos, A.P. (2003). What is Salient When You Listen? An evaluation of Musicians' Responses. In Proceedings of Society for Music Perception and Cognition 2003. Nevada USA.
Demos, A.P. (2003). How Musician's Perceive Classical Music. Scientific Inquiry. New York University, June 2003.
Conference Presentations and Posters
Chaffin, R., Demos, A., & Crawford, M. (2009, December). The PC-survey: How does the use of performance cues vary across musicians, instruments, musical styles, and performances? Paper to be presented at the International Symposium on Performance Science, Aukland, New Zealand.
Chaffin, R., Demos, A., & Crawford, M. (2009, December). Sources of variation in musicians’ use of performance cues. In R. Chaffin (Chair), Resolving the dissonance between arts and science: Why musicology needs practice based research. Symposium to be conducted at the Second International Conference on Music Communication Science, Sydney, Australia.
Demos, A.P., Chaffin, R., Lewis, A., Begosh, K.T., Daniels, J., Marsh, K.(2009, August). Rocking in Synch: Effects of music on interpersonal coordination. Poster presented at the Society for Music Perception and Cognition (SMPC), Indianapolis.
Demos, A. P., Chaffin, R. (2009, August). A Software Tool for Studying Music Practice: SYMP (Study Your Music Practice) . Poster presented at the European Society for the Cognitive Sciences of Music (ESCOM), Jyväskylä, Finland.
Logan, T., Demos, A. P., Chaffin, R. (2009, August). A Method for Studying Music Practice: SYMP (Study Your Music Practice) . Poster presented at the Society for Music Perception and Cognition (SMPC), Indianapolis.
Demos, A.P., Aaronson, D. & Aiello, R. (2008, July). Musicians’ cognitive processing strategies. Presentation at the 2nd International Conference on Psychology, Athens, Greece, July 13, 2008.
Aaronson, D., Demos, A., & Aiello, R. (2007, March). Cognitive Processing Strategies for Music and Language: Some Individual Differences. Poster session at the Eastern Psychological Association, March 2007.
Demos, A.P. (2005, November). Quantitative and Qualitative Analyses of Music Listening Strategies. Presentation at NYC 17th Greater New York Conference on Behavioral Research, New York, NY.
Demos, A.P. (2005, April). Transitioning from Paper- to Web-Based Surveys. Poster presented at the NYU Graduate School of Arts and Sciences Research Conference, New York, NY.
Demos, A.P. (2004, April). Musicians’ Strategies for Perceiving Music. Poster presented at the NYU Graduate School of Arts and Sciences Research Conference, New York, NY.
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