Multiple Memory Music Learning: A Music Education Pedagogy of Cognition and Memory Pathways: CMS Pedagogies and Innovations
Autor Karen L. Heathen Limba Engleză Hardback – 23 feb 2027
Through the Multiple Memory Music Learning (MMML) framework, the book presents a research-informed approach to understanding how different memory pathways can be recognized and deliberately engaged to support more efficient, enduring, and individualized learning. Moving from cognitive theory to practical application, it offers a framework through which educators and musicians can better understand the processes underlying musical development and create more responsive, student-centered approaches to teaching and practice.
This book will appeal to music educators, performers, students, researchers, and anyone interested in the cognitive processes that underpin how we learn music.
Preț: 455.24 lei
Preț vechi: 583.56 lei
-22% Precomandă
Puncte Express: 683
Carte nepublicată încă
Livrare prin curier în România Precomanda se expediază când titlul devine disponibil.
Transport gratuit pentru acest produs Plată online sau ramburs, în funcție de opțiunile comenzii.
Retur gratuit în 14 zile Comandă securizată și suport în română.
Doresc să fiu notificat când acest titlu va fi disponibil:
Se trimite...
Specificații
ISBN-13: 9781041199007
ISBN-10: 1041199007
Pagini: 160
Ilustrații: 32
Dimensiuni: 138 x 216 mm
Ediția:1
Editura: Taylor & Francis
Colecția Routledge
Seria CMS Pedagogies and Innovations
Locul publicării:Oxford, United Kingdom
ISBN-10: 1041199007
Pagini: 160
Ilustrații: 32
Dimensiuni: 138 x 216 mm
Ediția:1
Editura: Taylor & Francis
Colecția Routledge
Seria CMS Pedagogies and Innovations
Locul publicării:Oxford, United Kingdom
Public țintă
Academic, Postgraduate, and Undergraduate AdvancedCuprins
ACKNOWLEDGEMENTS
FOREWORD
PREFACE
INTRODUCTION
ABSTRACT
WHAT TO EXPECT FROM THIS BOOK
WHO THIS BOOK IS FOR
THE STRUCTURE OF THIS BOOK
Reframing Music Learning
Defining Ability in Music
FROM THEORY TO APPLICATION: MULTIPLE MEMORY MUSIC LEARNING
REFERENCES: INTRODUCTION
CHAPTER 1
THE UNIQUENESS OF MUSIC LEARNING
ABSTRACT
WHAT IS MULTIPLE MEMORY MUSIC LEARNING?
THE COMPLEXITY OF LEARNING AND PLAYING MUSIC
FIGURE 1.1: CORTICAL AND SUBCORTICAL BRAIN REGIONS
MUSIC, MEMORY, AND COGNITIVE PROCESSING
TABLE 1.1: A LIST OF TASKS MUSICIANS PERFORM IN AN ENSEMBLE SETTING
LEARNING MUSIC: A JUGGLING ACT OF SIMULTANEOUS TASK PERFORMANCE
CORTICAL AND SUBCORTICAL REGIONS OF THE BRAIN
COGNITIVE OVERLOAD
COGNITIVE LOAD THEORY
Defining Intrinsic, Extrinsic, and Germane Components of CLT
Cognitive Load Theory and Music Learning
WHAT ABOUT MULTITASKING?
SENSORIMOTOR PERCEPTION AND PROCESSING IN MUSIC
AUDITORY PERCEPTION
AUDITORY-SPATIAL PERCEPTION
INTEGRATIVE SKILLS IN MUSIC LEARNING
THE MULTIMODAL AND MULTISENSORY EXPERIENCE OF INSTRUMENTAL AND VOCAL MUSIC LEARNING
CHAPTER 1 SUMMARY
REFERENCES: CHAPTER 1
CHAPTER 2
MULTIPLE MEMORY SYSTEMS: HOW WE LEARN
ABSTRACT
MULTIPLE MEMORY SYSTEMS
NOT MULTITASKING—A MUSICAL NEURAL NETWORK DISTRIBUTION
PRINCIPLES AND STRUCTURE OF THE MULTIPLE MEMORY SYSTEMS FRAMEWORK (MMS)
Explicit Memory: Episodic and Semantic
IMPLICIT MEMORY: PROCEDURAL AND PERCEPTUAL
PROCESSING MODES FRAMEWORK
PARALLEL PROCESSING
MULTIPLE MEMORY SYSTEMS: A VARIETY OF FRAMEWORKS
FIGURE 2.1: MULTIPLE PARALLEL MEMORY SYSTEMS IN THE BRAIN (WHITE, 2007)
FIGURE 2.2: MULTIPLE MEMORY SYSTEM TAXONOMY (SQUIRE, 2004)
RETAINING AND RETRIEVING INFORMATION: CHANGING SHORT TERM MEMORY INTO LONG TERM MEMORY
COMPLEMENTARY LEARNING SYSTEMS THEORY (CLS)
RETAINING AND RETRIEVING INFORMATION
WORKING MEMORY AND EXECUTIVE FUNCTIONING
FIGURE 2.3: ORIGINAL WORKING MEMORY MODEL (BADDELEY & HITCH, 1974)
FIGURE 2.4: THE REVISED WORKING MEMORY MODEL (BADDELEY, 2000)
FIGURE 2.5: FRAMEWORK FOR AUDITORY PROCESSING
WORKING MEMORY AND MUSIC
MULTIPLE INTELLIGENCE THEORY
BRAIN-BASED LEARNING (BBL)
Commercial Educational Organizations: A Cautionary Tale
MUSIC AND TRANSFER LEARNING
HEBBIAN LEARNING
CHAPTER 2 SUMMARY
REFERENCES: CHAPTER 2
CHAPTER 3
MULTIPLE MEMORY MUSIC LEARNING
ABSTRACT
INTRODUCING THE MULTIPLE MEMORY MUSIC LEARNING THEORY: A PEDAGOGICAL FRAMEWORK FOR MUSIC EDUCATION
FIGURE 3.1: MULTIPLE MEMORY MUSIC LEARNING
THE PHILOSOPHY OF THE MULTIPLE MEMORY MUSIC LEARNING FRAMEWORK
AN OVERVIEW OF THE MMML THEMES
AUTOMATIC MUSIC LEARNING (AML)
Automaticity and Auto(in)correct: The Good, The Bad, and The Ugly
Applying AML in Practice
CONTEXTUAL MUSIC LEARNING (CML)
Contextual Music Learning and Arousal
Context Affects Memory Retrieval
Social Contexts and Psychological Safety
Applying CML in Practice
MUSIC LEARNING SEQUENCING AND ATTENTIONAL BEHAVIORS (MLSAB)
CHAPTER 3 SUMMARY
REFERENCES: CHAPTER 3
CHAPTER 4
WHY MULTIPLE MEMORY MUSIC LEARNING? SUPPORTING PEDAGOGIES THROUGH A DIAGNOSTIC FRAMEWORK
ABSTRACT
WHY EXPERTISE IS NOT ALWAYS ENOUGH
BRIDGING GAPS: NEUROSCIENCE, PSYCHOLOGY, AND MUSIC EDUCATION
COMMON PHENOMENA IN MUSIC EDUCATION
The Master and The Apprentice Model
Reflecting Mastery: The Role of Mirror Neurons
Assumptions and Expectations
Pervasive Perceptions: Talent versus “Untalent”
THE CASE FOR MULTIPLE MEMORY MUSIC LEARNING
WHAT MULTIPLE MEMORY MUSIC LEARNING IS NOT
EXISTING INTEGRATION OF MULTIPLE MEMORY SYSTEMS IN MUSIC EDUCATION
DEFINING THE ROLE OF AUTOMATICITY IN MUSIC LEARNING
GOING DEEPER INTO AUTOMATICITY: AUTOMATE BEFORE YOU ACCUMULATE
MULTITASKING
FLOW STATE
DIFFERENTIATING BETWEEN “GOOD” AUTOMATICITY AND “BAD” AUTOMATICITY
CHAPTER 4 SUMMARY
REFERENCES: CHAPTER 4
CHAPTER 5
UNCOVERING THE SUPERPOWERS OF THE HUMAN BRAIN
ABSTRACT
THE NEUROCOGNITIVE SUPERPOWERS OF MUSIC LEARNING
THE HUMAN BRAIN: A RESOURCEFUL BIOLOGICAL SYSTEM
BRAIN PLASTICITY AND BRAIN PRUNING
NEURODIVERSITY AND INDIVIDUAL LEARNING PATHWAYS
EFFECTS OF MUSICAL TRAINING ON SKILL DEVELOPMENT: TRANSFER LEARNING
THE BRAIN: AN EFFICIENCY MACHINE
FIGURE 5.1: THREE STAGES OF LEARNING (FITTS & POSNER, 1967) AND MMS
UNEQUAL BUT EQUALLY IMPORTANT: ACQUIRING KNOWLEDGE THROUGH A VARIETY OF MEANS
TABLE 5.1: DISTRIBUTION OF MUSICAL ACTIONS BETWEEN BIOLOGICALLY PRIMARY KNOWLEDGE AND BIOLOGICALLY SECONDARY KNOWLEDGE
CULTIVATING A “NATURALNESS” TO LEARNING
MUSICALITY: HARNESSING THE MUSICAL POTENTIAL OF ALL LEARNERS
ILLUMINATING PRACTICE THROUGH THEORY: SWELLER, PIAGET, VYGOTSKY, BRUNER, GARDNER, MMS, MMML
CHAPTER 4 SUMMARY
REFERENCES: CHAPTER 5
CHAPTER 6
EVERY LEARNER CAN DO, EVERY MUSICIAN CAN PLAY
ABSTRACT
WELCOMING STUDENTS TO LEARNING: RELATIONALITY AND AFFECTIVE NEUROSCIENCE
SETTING STUDENTS UP FOR SUCCESS
FIGURE 6.1: MASLOW’S HIERARCHY OF NEEDS
DEFICIENCY NEEDS
Physiological Needs
Safety Needs
Belonging and Love Needs
Esteem Needs 127
GROWTH NEEDS
Cognitive Needs
Aesthetic Needs
Self-Actualization
Transcendence
APPLYING MASLOW’S HIERARCHY OF NEEDS IN MUSIC EDUCATION
EVALUATING SUCCESS IN MUSIC LEARNING: CONSIDERING WELLBEING, ENGAGEMENT, AND RETENTION
SELF-DETERMINATION
FINDING FLOW
CHAPTER 6 SUMMARY
REFERENCES: CHAPTER 6
CHAPTER 7
PRACTICAL APPLICATIONS OF MULTIPLE MEMORY MUSIC LEARNING
ABSTRACT
PRACTICAL APPLICATIONS FOR MUSIC EDUCATORS
MULTIPLE MEMORY MUSIC LEARNING (MMML) AS A DIAGNOSTIC TOOL FOR EDUCATORS
MMML as a Personalized Learning Approach
Scenario 1: Beginner Clarinet Students Learning the G Major Scale
Scenario 2: Accuracy in the Teaching Studio; Mistakes in the Rehearsal Room
Scenario 3: A Young Violinist Struggles with the 4th Finger Position
TABLE 7.1: EXAMPLES OF LEARNING BEHAVIORS, ASSOCIATED MEMORY SYSTEMS, AND POSSIBLE INTERVENTIONS
MULTIPLE MEMORY MUSIC LEARNING AS A TOOL FOR SELF-DIAGNOSIS: FOR TERTIARY STUDENTS, PROFESSIONALS, AND SERIOUS AMATEURS
Practicing for Automaticity, or “Headroom”
Headroom and “Overlearning” in Music Learning: Why Automaticity Matters
RESPONSIVE TEACHING PRACTICE
HIGH IMPACT TEACHING FRAMES
TABLE 7.2: 10 MINDFRAMES FOR VISIBLE LEARNING
CHAPTER 7 SUMMARY
REFERENCES: CHAPTER 7
CHAPTER 8
IMPLICATIONS AND CONCLUSION
ADVOCATING FOR EVERY MUSICIAN
EUDAIMONIA VERSUS REWARD-BASED LEARNING
THE IMPORTANCE OF LEARNING ABOUT BEAUTY, ART, AND NATURE
CONCLUSION: FOR MUSIC EDUCATORS
CONCLUSION: FOR PERFORMERS
FINAL REMARKS
CHAPTER 8 SUMMARY
REFERENCES: CHAPTER 8
FOREWORD
PREFACE
INTRODUCTION
ABSTRACT
WHAT TO EXPECT FROM THIS BOOK
WHO THIS BOOK IS FOR
THE STRUCTURE OF THIS BOOK
Reframing Music Learning
Defining Ability in Music
FROM THEORY TO APPLICATION: MULTIPLE MEMORY MUSIC LEARNING
REFERENCES: INTRODUCTION
CHAPTER 1
THE UNIQUENESS OF MUSIC LEARNING
ABSTRACT
WHAT IS MULTIPLE MEMORY MUSIC LEARNING?
THE COMPLEXITY OF LEARNING AND PLAYING MUSIC
FIGURE 1.1: CORTICAL AND SUBCORTICAL BRAIN REGIONS
MUSIC, MEMORY, AND COGNITIVE PROCESSING
TABLE 1.1: A LIST OF TASKS MUSICIANS PERFORM IN AN ENSEMBLE SETTING
LEARNING MUSIC: A JUGGLING ACT OF SIMULTANEOUS TASK PERFORMANCE
CORTICAL AND SUBCORTICAL REGIONS OF THE BRAIN
COGNITIVE OVERLOAD
COGNITIVE LOAD THEORY
Defining Intrinsic, Extrinsic, and Germane Components of CLT
Cognitive Load Theory and Music Learning
WHAT ABOUT MULTITASKING?
SENSORIMOTOR PERCEPTION AND PROCESSING IN MUSIC
AUDITORY PERCEPTION
AUDITORY-SPATIAL PERCEPTION
INTEGRATIVE SKILLS IN MUSIC LEARNING
THE MULTIMODAL AND MULTISENSORY EXPERIENCE OF INSTRUMENTAL AND VOCAL MUSIC LEARNING
CHAPTER 1 SUMMARY
REFERENCES: CHAPTER 1
CHAPTER 2
MULTIPLE MEMORY SYSTEMS: HOW WE LEARN
ABSTRACT
MULTIPLE MEMORY SYSTEMS
NOT MULTITASKING—A MUSICAL NEURAL NETWORK DISTRIBUTION
PRINCIPLES AND STRUCTURE OF THE MULTIPLE MEMORY SYSTEMS FRAMEWORK (MMS)
Explicit Memory: Episodic and Semantic
IMPLICIT MEMORY: PROCEDURAL AND PERCEPTUAL
PROCESSING MODES FRAMEWORK
PARALLEL PROCESSING
MULTIPLE MEMORY SYSTEMS: A VARIETY OF FRAMEWORKS
FIGURE 2.1: MULTIPLE PARALLEL MEMORY SYSTEMS IN THE BRAIN (WHITE, 2007)
FIGURE 2.2: MULTIPLE MEMORY SYSTEM TAXONOMY (SQUIRE, 2004)
RETAINING AND RETRIEVING INFORMATION: CHANGING SHORT TERM MEMORY INTO LONG TERM MEMORY
COMPLEMENTARY LEARNING SYSTEMS THEORY (CLS)
RETAINING AND RETRIEVING INFORMATION
WORKING MEMORY AND EXECUTIVE FUNCTIONING
FIGURE 2.3: ORIGINAL WORKING MEMORY MODEL (BADDELEY & HITCH, 1974)
FIGURE 2.4: THE REVISED WORKING MEMORY MODEL (BADDELEY, 2000)
FIGURE 2.5: FRAMEWORK FOR AUDITORY PROCESSING
WORKING MEMORY AND MUSIC
MULTIPLE INTELLIGENCE THEORY
BRAIN-BASED LEARNING (BBL)
Commercial Educational Organizations: A Cautionary Tale
MUSIC AND TRANSFER LEARNING
HEBBIAN LEARNING
CHAPTER 2 SUMMARY
REFERENCES: CHAPTER 2
CHAPTER 3
MULTIPLE MEMORY MUSIC LEARNING
ABSTRACT
INTRODUCING THE MULTIPLE MEMORY MUSIC LEARNING THEORY: A PEDAGOGICAL FRAMEWORK FOR MUSIC EDUCATION
FIGURE 3.1: MULTIPLE MEMORY MUSIC LEARNING
THE PHILOSOPHY OF THE MULTIPLE MEMORY MUSIC LEARNING FRAMEWORK
AN OVERVIEW OF THE MMML THEMES
AUTOMATIC MUSIC LEARNING (AML)
Automaticity and Auto(in)correct: The Good, The Bad, and The Ugly
Applying AML in Practice
CONTEXTUAL MUSIC LEARNING (CML)
Contextual Music Learning and Arousal
Context Affects Memory Retrieval
Social Contexts and Psychological Safety
Applying CML in Practice
MUSIC LEARNING SEQUENCING AND ATTENTIONAL BEHAVIORS (MLSAB)
CHAPTER 3 SUMMARY
REFERENCES: CHAPTER 3
CHAPTER 4
WHY MULTIPLE MEMORY MUSIC LEARNING? SUPPORTING PEDAGOGIES THROUGH A DIAGNOSTIC FRAMEWORK
ABSTRACT
WHY EXPERTISE IS NOT ALWAYS ENOUGH
BRIDGING GAPS: NEUROSCIENCE, PSYCHOLOGY, AND MUSIC EDUCATION
COMMON PHENOMENA IN MUSIC EDUCATION
The Master and The Apprentice Model
Reflecting Mastery: The Role of Mirror Neurons
Assumptions and Expectations
Pervasive Perceptions: Talent versus “Untalent”
THE CASE FOR MULTIPLE MEMORY MUSIC LEARNING
WHAT MULTIPLE MEMORY MUSIC LEARNING IS NOT
EXISTING INTEGRATION OF MULTIPLE MEMORY SYSTEMS IN MUSIC EDUCATION
DEFINING THE ROLE OF AUTOMATICITY IN MUSIC LEARNING
GOING DEEPER INTO AUTOMATICITY: AUTOMATE BEFORE YOU ACCUMULATE
MULTITASKING
FLOW STATE
DIFFERENTIATING BETWEEN “GOOD” AUTOMATICITY AND “BAD” AUTOMATICITY
CHAPTER 4 SUMMARY
REFERENCES: CHAPTER 4
CHAPTER 5
UNCOVERING THE SUPERPOWERS OF THE HUMAN BRAIN
ABSTRACT
THE NEUROCOGNITIVE SUPERPOWERS OF MUSIC LEARNING
THE HUMAN BRAIN: A RESOURCEFUL BIOLOGICAL SYSTEM
BRAIN PLASTICITY AND BRAIN PRUNING
NEURODIVERSITY AND INDIVIDUAL LEARNING PATHWAYS
EFFECTS OF MUSICAL TRAINING ON SKILL DEVELOPMENT: TRANSFER LEARNING
THE BRAIN: AN EFFICIENCY MACHINE
FIGURE 5.1: THREE STAGES OF LEARNING (FITTS & POSNER, 1967) AND MMS
UNEQUAL BUT EQUALLY IMPORTANT: ACQUIRING KNOWLEDGE THROUGH A VARIETY OF MEANS
TABLE 5.1: DISTRIBUTION OF MUSICAL ACTIONS BETWEEN BIOLOGICALLY PRIMARY KNOWLEDGE AND BIOLOGICALLY SECONDARY KNOWLEDGE
CULTIVATING A “NATURALNESS” TO LEARNING
MUSICALITY: HARNESSING THE MUSICAL POTENTIAL OF ALL LEARNERS
ILLUMINATING PRACTICE THROUGH THEORY: SWELLER, PIAGET, VYGOTSKY, BRUNER, GARDNER, MMS, MMML
CHAPTER 4 SUMMARY
REFERENCES: CHAPTER 5
CHAPTER 6
EVERY LEARNER CAN DO, EVERY MUSICIAN CAN PLAY
ABSTRACT
WELCOMING STUDENTS TO LEARNING: RELATIONALITY AND AFFECTIVE NEUROSCIENCE
SETTING STUDENTS UP FOR SUCCESS
FIGURE 6.1: MASLOW’S HIERARCHY OF NEEDS
DEFICIENCY NEEDS
Physiological Needs
Safety Needs
Belonging and Love Needs
Esteem Needs 127
GROWTH NEEDS
Cognitive Needs
Aesthetic Needs
Self-Actualization
Transcendence
APPLYING MASLOW’S HIERARCHY OF NEEDS IN MUSIC EDUCATION
EVALUATING SUCCESS IN MUSIC LEARNING: CONSIDERING WELLBEING, ENGAGEMENT, AND RETENTION
SELF-DETERMINATION
FINDING FLOW
CHAPTER 6 SUMMARY
REFERENCES: CHAPTER 6
CHAPTER 7
PRACTICAL APPLICATIONS OF MULTIPLE MEMORY MUSIC LEARNING
ABSTRACT
PRACTICAL APPLICATIONS FOR MUSIC EDUCATORS
MULTIPLE MEMORY MUSIC LEARNING (MMML) AS A DIAGNOSTIC TOOL FOR EDUCATORS
MMML as a Personalized Learning Approach
Scenario 1: Beginner Clarinet Students Learning the G Major Scale
Scenario 2: Accuracy in the Teaching Studio; Mistakes in the Rehearsal Room
Scenario 3: A Young Violinist Struggles with the 4th Finger Position
TABLE 7.1: EXAMPLES OF LEARNING BEHAVIORS, ASSOCIATED MEMORY SYSTEMS, AND POSSIBLE INTERVENTIONS
MULTIPLE MEMORY MUSIC LEARNING AS A TOOL FOR SELF-DIAGNOSIS: FOR TERTIARY STUDENTS, PROFESSIONALS, AND SERIOUS AMATEURS
Practicing for Automaticity, or “Headroom”
Headroom and “Overlearning” in Music Learning: Why Automaticity Matters
RESPONSIVE TEACHING PRACTICE
HIGH IMPACT TEACHING FRAMES
TABLE 7.2: 10 MINDFRAMES FOR VISIBLE LEARNING
CHAPTER 7 SUMMARY
REFERENCES: CHAPTER 7
CHAPTER 8
IMPLICATIONS AND CONCLUSION
ADVOCATING FOR EVERY MUSICIAN
EUDAIMONIA VERSUS REWARD-BASED LEARNING
THE IMPORTANCE OF LEARNING ABOUT BEAUTY, ART, AND NATURE
CONCLUSION: FOR MUSIC EDUCATORS
CONCLUSION: FOR PERFORMERS
FINAL REMARKS
CHAPTER 8 SUMMARY
REFERENCES: CHAPTER 8
Notă biografică
Dr. Karen Heath is a musician, educator, and researcher whose career spans nearly three decades of music performance, teaching, and research. As a professional musician, she has performed nationally and internationally with artists such as Karlheinz Stockhausen and Andrea Bocelli, and her compositions have been performed across Europe, Asia, and North America. Her research focuses on cognition, memory, automaticity, and the processes through which musical skills are acquired and developed. She is the creator of the Multiple Memory Music Learning (MMML) framework, which brings together research in memory and cognition with the practical realities of learning, teaching, and performing music.
Descriere
Multiple Memory Music Learning: A Music Education Pedagogy of Cognition and Memory Pathways explores how multiple memory systems contribute to the ways musicians learn, retain, automate, and perform musical skills.