O presente trabalho avaliou o uso de guias de execução (Chaffin, 2012) com alunos iniciantes de piano com o objetivo de verificar se alunos iniciantes de piano apresentariam perfis similares de utilização de guias de execução, e se seria possível constatar o mesmo grau de aproveitamento observado em pesquisas anteriores. A amostra incluiu 14 alunos na faixa etária de 8 a 14 anos. Foi solicitado a cada participante a preparação de duas peças do seu repertório para gravá-las, em áudio e vídeo, executando-as de memória. A metodologia também incluiu a realização de entrevistas e anotações nas partituras dos alunos no decorrer de três encontros. Os resultados mostram que os alunos foram capazes de usar as quatro categorias de guias de execução propostas por Chaffin. Além disto, outros resultados foram corroborados tais como: a utilização de guias expressivos associada com os melhores desempenhos no teste oral e, a utilização de maior quantidade de guias básicos associada com maior ocorrência de lapsos nas gravações. / This study evaluated the use of Chaffin´s (2002) performance cues applied to beginner piano students in order to verify if an adaptation of this approach would profile similarly and show the equivalent results as in previous researches on this subject. The sample included 14 piano students ages eight to fourteen studying at the time with six piano teachers. Each participant was requested to prepare two pieces from their current repertoire to be played by memory and recorded both in audio and video. The methodology also included interviews and annotations made by students in their scores. The students and the researcher met three times for recordings, commentaries and interviews. Results show that the participating children were able to use all four categories of performance cues. Other results were verified such as the use of expressive cues associated with the best results in the oral test and the use of basics cues associated with higher rates of lapses on the recordings.

O presente trabalho avaliou a aplicabilidade do modelo de guias de execução de Roger Chaffin como estratégia para a memorização do segundo movimento da sonata para piano nº 2 de Dmitri Shostakovich. Foi realizado uma autorreflexão sobre o processo de aprendizagem no qual a própria autora é o sujeito do estudo. A metodologia incluiu o registro escrito das sessões de estudo, gravações em áudio e vídeo das apresentações públicas, confecção de planilhas e gráficos da ocorrência de falhas nas apresentações assim como a elaboração de outras estratégias para memorizar trechos específicos. Os resultados demonstram que o estudo deliberado apoiado nos recursos utilizados contribuiu para a recuperação da memória na execução. / The present dissertation evaluated the applicability of Roger Chaffin´s performance cues as a strategy for the memorization of the Second Movement of Shostakovich’s Second Piano Sonata. A case study was conducted in which the author is the subject of the study. The methodology included the written record of the practice sessions, audio and video recordings of public performances, use of spreadsheets and graphs showing memory failures during public performances, as well as the development of other strategies to memorize specific passages of the chosen work. The results show that deliberate practice supported by the selected resources contributed to the memory retrieval while playing.

The purpose of this study was to compare the effects of guided musical analysis and guided attention to textual understanding on the speed of solo memorization by selected university vocal students. The guided musical analysis consisted of instruction to a subject regarding the melodic elements, rhythmic elements, phraseology, form, and key relationships of the experimental songs. The guided attention to textual understanding consisted of instruction to a subject regarding the meaning and phraseology of the experimental song texts. Subjects were required to rhythmically scan the texts in a declamatory manner. It was concluded that the three conditions of memorization were equally effective. Memorization rates were not significantly altered by historical period of song. Differences in memorization rates appeared to parallel the subjects' academic performances and their performances on the Drake Musical Aptitude Tests. Findings of this study indicated that future memorization experiments should be conducted with larger samples of subjects of a single sex who are music majors.

Bipolar mood disorder is a severe mental condition that has multiple episodesof either of two types: manic or depressive. These phases can lead patients tobecome hyperactive, hyper-sexual, lethargic, or even commit suicide — all ofwhich seriously impair the quality of life for patients. Predicting these phaseswould help patients manage their lives better and improve our ability to applymedical interventions. Traditionally, interviews are conducted in the evening topredict potential episodes in the following days. While machine learningapproaches have been used successfully before, the data was limited tomeasuring a few self-reported parameters each day. Using biometrics recordedat short intervals over many months presents a new opportunity for machinelearning approaches. However, phases of unrest and hyperactivity, which mightbe predictive signals, are not only often experienced long before the onset ofmanic or depressive phases but are also separated by several uneventful days.This delay and its aperiodic occurrence are a challenge for deep learning. In thisthesis, a fictional dataset that mimics long and irregular delays is created andused to test the effects of such long delays and rare events. LSTMs, RNNs, andGRUs are the go-to models for deep learning in this situation. However, theydiffer in their ability to be trained over a long time. As their acronym suggests,LSTMS are believed to be easier to train and to have a better ability to remember(as their name suggests) than their simpler RNN counterparts. GRUs representa compromise in complexity between RNNs and LSTMs. Here, I will show that,contrary to the common assumption, LSTMs are surprisingly forgetful and thatRNNs have a much better ability to generalize over longer delays with shortersequences. At the same time, I could confirm that LSTMs are easily trained ontasks that have more prolonged delays.

Suivre du regard un objet qui se déplace dans le champ visuel constitue un défi facilement relevé par le système nerveux central. Ce suivi consiste en une succession de mouvements rapides (saccades) et lents (poursuites) des yeux. La précision spatiotemporelle implique une annulation du délai entre l'activité rétinienne et la contraction des muscles extra-oculaires, et nécessite que la trajectoire de la cible soit connue et mémorisée. La question de l'élaboration de cette mémoire a été longtemps négligée, et les substrats neuronaux sous-jacents largement méconnus. L'objectif de mon travail était de mieux comprendre comment la trajectoire d'un objet est mémorisée et restituée lors du suivi oculaire d'une cible mobile. Il s'agissait en effet de caractériser comment s'opère la synergie entre les deux composantes oculaires (saccade et poursuite). Un premier versant comportemental, renseigne sur la mémorisation d'une trajectoire spatiotemporelle. Un second versant neurophysiologique, révèle le rôle du cervelet dans la restitution de cette trace mnésique. Au-delà de leur intérêt fondamental pour la neurologie, mes travaux apportent les prérequis pour accroître nos connaissances sur la mémorisation d'un évènement spatialement dynamique et pose les bases pour une compréhension neurophysiologique de la présence visuomotrice. / To track an object that moves in the visual field is a challenge easily executed by the central nervous system. This tracking consists of a succession of rapid (saccades) and slow (pursuit) eye movements. Spatiotemporal accuracy involves a cancellation of the delay between retinal activity and contraction of the extraocular muscles and requires that the trajectory of the target has been known and memorized. However, very few studies tried to explain how this memory was constructed, and the underlying neuronal substrates are largely unknown. The objective of my work was to better understand how the trajectory of an object is memorized and restored during the tracking of a moving target. The aim was to characterize the synergy between the two ocular components (saccade and pursuit). The first behavioral part of this work informs on the memorization of a spatiotemporal trajectory. The second neurophysiological part reveals the role of the cerebellum in the restitution of this memory. Beyond their fundamental interests in neurology, my work provides the prerequisites to increase our knowledge on the memorization of a spatially dynamic event.

Pour contrôler un système interactif, un utilisateur doit habituellement sélectionner des commandes en parcourant des listes et des menus hiérarchiques. Pour les sélectionner plus rapidement, il peut effectuer des raccourcis gestuels. Cependant, pour être efficace, il doit mémoriser ces raccourcis, une tâche difficile s’il doit activer un grand nombre de commandes. Nous étudions dans une première partie les avantages des gestes positionnels (pointage) et directionnels (Marking menus) pour la mémorisation de commandes, ainsi que l’utilisation du corps de l’utilisateur comme surface d’interaction et l’impact de deux types d’aides sémantiques (histoires, images) sur l’efficacité à mémoriser. Nous montrons que les gestes positionnels permettent d’apprendre plus rapidement et plus facilement, et que suggérer aux utilisateurs de créer des histoires liées aux commandes améliore considérablement leurs taux de rappel. Dans une deuxième partie, nous présentons des gestes bi-positionnels qui permettent l’activation d’un grand nombre de commandes. Nous montrons leur efficacité à l’aide de deux contextes d’interaction : le pavé tactile d’un ordinateur portable (MarkPad) et une montre intelligente (SCM). / To control an interactive system, users usually have to select commands by browsing lists and hierarchical menus. To go faster, they can perform gestural shortcuts. However, to be effective, they must memorize these shortcuts, which is a difficult task when activating a large number of commands. In a first part, we study the advantages of positional (pointing) and directional (Marking menus) gestures for command memorization, as well as the use of the user's body as an interaction surface and the impact of two types of semantic aids (stories, images) on the effectiveness to memorize. We show that positional gestures make learning faster and easier, and that suggesting to users to create stories related to commands significantly improves their recall rate. In the second part, we present bi-positional gestures that allow the activation of a large number of commands. We demonstrate their effectiveness using two interaction contexts: the touchpad of a laptop (MarkPad) and a smartwatch (SCM).

The process of memorization of musical pieces and performing without the support of sheet music is often described as ”playing a piece by heart.” This thesis delves into the process of memorization in classical music, with a particular focus on the author's personal journey in practicing the Kodaly’s solo cello sonata, highlighting the utilization of four distinct memory styles: kinesthetic, aural, visual, and analytical memory. Through an examination of each memory style, this study unravels the multifaceted nature of memorization in musical performance. The thesis not only explores the individual contributions of these memory styles but also examines how to combine them during the learning and memorization process. Through examples, the author sheds light on how she integrated these memory styles, achieving a comprehensive understanding of the piece and ultimately being able to perform it by heart. The findings of this study contribute to the broader field of music cognition, providing valuable insights into the mechanisms involved in memorization and performance. It highlights the importance of considering diverse memory styles and their integration in learning effective memorization techniques in classical music. This study can be useful for musicians who want to develop their memorization process and have a good experience from learning and performing pieces by heart. / <p>Program:</p><p>Zoltán Kodály sonata for unaccompanied cello, Op. 8 </p><p>Medverkande:</p><p>Katariina Kolehmainen - cello</p><p>Den klingande delen är arkiverad. The recording of the concert is filed.</p>

Training is one of the most important and widely-used applications of immersive Virtual Reality (VR). Research has shown that Immersive Virtual Environments (IVEs) are beneficial for training motor activities and spatial activities, but it is unclear whether immersive VEs are beneficial for purely mental activities, such as memorizing a procedure. In this thesis, we present two experiments to identify benefits of immersion for a procedural training process. The first experiment is a between-subjects experiment comparing two levels of immersion in a procedural training task. For the higher level of immersion, we used a large L-shaped projection display. We used a typical laptop display for the lower level of immersion. We asked participants to memorize two procedures: one simple and the other complex. We found that the higher level of immersion resulted in significantly faster task performance and reduced error for the complex procedure. As result of the first experiment we performed a controlled second experiment. We compared two within-subjects variables namely environment and location under various treatments formed by combination of three between-subject variables namely Software Field Of View (SFOV), Physical FOV, Field Of Regard (FOR). We found that SFOV is the most essential component for learning a procedure efficiently using IVEs. We hypothesize that the higher level of immersion helped users to memorize the complex procedure by providing enhanced spatial cues, leading to the development of an accurate mental map that could be used as a memory aid. / Master of Science

A pesquisa teve como objetivo investigar a utilização de guias de execução como estratégia de memorização da Allemande da Partita em Lá menor de J. S. Bach (BWV 1013) para flauta solo. O referencial teórico foi o estudo realizado por Roger Chaffin et. al 2010: Preparing for memorized cello performance: the role of performance cues. A pesquisa foi realizada através de auto-estudo, tendo o próprio autor como sujeito. A coleta de dados foi realizada através de onze sessões de estudo e duas apresentações públicas com registros em áudio e vídeo e diários de estudos. Para verificar a eficácia da memorização, a peça foi escrita de memória após um mês da última apresentação. Como resultado a pesquisa apontou a eficácia da utilização dos guias de execução onde a respiração atuou como um guia estrutural na obra escolhida. A pesquisa destaca a utilização de guias de execução como estratégia para aumentar o controle e eficiência em uma performance de memória. / This research aims to investigate the use of performance cues as a strategy to memorize a solo piece for flute by J. S. Bach (Allemande, BWV 1013). The theoretical framework was the study developed by Roger Chaffin et. al (2010): Preparing for memorized cello performance: the role of performance cues. The qualitative survey was developed through self-study, having the author himself as the subject. The data were collected through eleven study sessions and two public performances recorded on audio and video and registered on study diaries. To verify the efficiency of the memorization, the piece was written a month after the last performance. As a result, the research showed the efficiency the use of performance cues where breathing acted as a structural guide in the chosen piece. This research highlights the use of performance cues as a strategy to enhance control and efficiency in a performance by memory.

A pesquisa teve como objetivo investigar a utilização de guias de execução como estratégia de memorização da Allemande da Partita em Lá menor de J. S. Bach (BWV 1013) para flauta solo. O referencial teórico foi o estudo realizado por Roger Chaffin et. al 2010: Preparing for memorized cello performance: the role of performance cues. A pesquisa foi realizada através de auto-estudo, tendo o próprio autor como sujeito. A coleta de dados foi realizada através de onze sessões de estudo e duas apresentações públicas com registros em áudio e vídeo e diários de estudos. Para verificar a eficácia da memorização, a peça foi escrita de memória após um mês da última apresentação. Como resultado a pesquisa apontou a eficácia da utilização dos guias de execução onde a respiração atuou como um guia estrutural na obra escolhida. A pesquisa destaca a utilização de guias de execução como estratégia para aumentar o controle e eficiência em uma performance de memória. / This research aims to investigate the use of performance cues as a strategy to memorize a solo piece for flute by J. S. Bach (Allemande, BWV 1013). The theoretical framework was the study developed by Roger Chaffin et. al (2010): Preparing for memorized cello performance: the role of performance cues. The qualitative survey was developed through self-study, having the author himself as the subject. The data were collected through eleven study sessions and two public performances recorded on audio and video and registered on study diaries. To verify the efficiency of the memorization, the piece was written a month after the last performance. As a result, the research showed the efficiency the use of performance cues where breathing acted as a structural guide in the chosen piece. This research highlights the use of performance cues as a strategy to enhance control and efficiency in a performance by memory.