This dissertation evaluated whether Visual Working Memory (VWM) is a distinct memory system or if it is an activated state of Visual Long Term Memory (VLTM). These two positions suggest different roles for VLTM representations in the performance of VWM. If VWM representations are an activated state of VLTM representations, it seems plausible that strong VLTM representations should facilitate VWM performance. However, if the two representations are actually distinct, it seems less likely that a facilitation interaction between VLTM and VWM representations should be observed. Five experiments were conducted in which participants learned a set of trained stimuli over two days of training. Participant performance with the trained stimuli was compared to performance with novel stimuli on a subsequent VWM change detection task to determine the plausibility of VLTM-VWM interactions. The first and second experiments revealed a LTM facilitation effect that could not be explained by priming, but the third experiment suggested that this facilitation effect was mediated by non-visual representations. The fourth and fifth experiments parceled out the contributions of non-visual memory representations, and failed to demonstrate any evidence of VLTM-VWM performance interactions. These results, in conjunction with other examples from the literature, all converged on the conclusion that VLTM-VWM facilitation interactions are relatively implausible. As such, it was concluded that VWM and VLTM representations are discreet.

Att spela ett stycke utan noter är en viktig aspekt i musicerandet, men trots detta finns få konkreta riktlinjer för hur memoreringsprocessen optimeras, och musiker hittar ofta sin egen väg. Syftet med denna studie var därmed att, ur ett designteoretiskt perspektiv, undersöka vilka resurser som ligger till grund för effektiv memorering. För att undersöka detta testades två memoreringsmetoder, konstruerade i linje med tidigare litteratur och forskning, på två Intermezzo av Brahms. Metod ett baserades på mekanisk inlärning utan analys, och metod två baserades på harmonikanalys. Videoobservation och loggbok användes för att dokumentera arbetet för varje metod, och effektiviteten mättes genom antal använda timmar. Resultatet visade att metod två i större utsträckning utnyttjade konceptuellt ramverk jämfört med metod ett, men att metoderna i övrigt liknade varandra i använda resurser. Metod två (5 timmar 15 minuter) var dessutom mer tidseffektiv jämfört med metod ett (14 timmar 20 minuter). I tillägg till den förbättrade effektiviteten bidrog dessutom metod två till större medvetenhet i musicerandet, vilket i sin tur ledde till ökad motivation för memorering. I diskussionen undersöks studiens resultat i relation till tidigare litteratur och forskning. / Playing a piece by heart is an important aspect of being a musician, despite this there are few concrete guidelines for how the memorization process is optimized, and musicians often find their own way. The purpose of this study was therefore to, from a design theory perspective, investigate which resources underlie effective memorization. To investigate this, two memorization methods, constructed in line with previous literature and research, were tested on two Intermezzo by Brahms. Method one was based on mechanical learning without analysis, method two was based on harmonics analysis. Video observation and logbook were used to document the process, efficiency was measured by utilized hours. Results showed that method two depended more on conceptual framework compared to method one, the methods were however similar in other used resources. Method two (5 hours 15 minutes) was more time-efficient than method one (14 hours 20 minutes). In addition to the improved efficiency, method two contributed to greater awareness in the memorization process, which in turn led to increased motivation for memorization. The discussion examines the study's results in relation to previous literature and research.