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Critical review of Chaffin, Imreh, and Crawford, Practicing Perfection: memory and piano performance.

Andrew Geeves, Wayne Christensen, John Sutton & Doris McIlwain

Empirical Musicology Review 3 (3):163-172 (2008)

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Scaffolding Memory: themes, taxonomies, puzzles.John Sutton - 2015 - In Lucas Bietti & Charlie Stone (eds.), Contextualizing Human Memory: An interdisciplinary approach to understanding how individuals and groups remember the past. Routledge. pp. 187-205..details Through a selective historical, theoretical, and critical survey of the uses of the concept of scaffolding over the past 30 years, this chapter traces the development of the concept across developmental psychology, educational theory, and cognitive anthropology, and its place in the interdisciplinary field of distributed cognition from the 1990s. Offering a big-picture overview of the uses of the notion of scaffolding, it suggests three ways to taxonomise forms of scaffolding, and addresses the possible criticism that the metaphor of scaffolding (...) Download Export citation Bookmark 15 citations
(1 other version)To Think or Not To Think: The apparent paradox of expert skill in music performance.Andrew Geeves, Doris J. F. McIlwain, John Sutton & Wayne Christensen - 2013 - Educational Philosophy and Theory (6):1-18.details Expert skill in music performance involves an apparent paradox. On stage, expert musicians are required accurately to retrieve information that has been encoded over hours of practice. Yet they must also remain open to the demands of the ever-changing situational contingencies with which they are faced during performance. To further explore this apparent paradox and the way in which it is negotiated by expert musicians, this article profiles theories presented by Roger Chaffin, Hubert Dreyfus and Tony and Helga Noice. For (...) Download Export citation Bookmark 14 citations
(1 other version)Embodied remembering.Kellie Williamson & John Sutton - 2014 - In Lawrence A. Shapiro (ed.), The Routledge Handbook of Embodied Cognition. New York: Routledge. pp. 315--325.details Experiences of embodied remembering are familiar and diverse. We settle bodily into familiar chairs or find our way easily round familiar rooms. We inhabit our own kitchens or cars or workspaces effectively and comfortably, and feel disrupted when our habitual and accustomed objects or technologies change or break or are not available. Hearing a particular song can viscerally bring back either one conversation long ago, or just the urge to dance. Some people explicitly use their bodies to record, store, or (...) Download Export citation Bookmark 20 citations

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