Syftet med detta arbete är att utifrån ett designteoretiskt perspektiv, utforska hur tre olika memoreringsprocesser av ett pianostycke prövas och tar form. Till detta hör frågeställningen: Hur designar jag tre olika memoreringsprocesser av Etyd op. 10 nr. 2 av Chopin? De tre olika sätten att memorera musik baserades på tidigare litteratur och forskning. Under en period av fem veckor har jag med videodokumentation och loggbok kartlagt denna process. Det teoretiska perspektiv som användes för att synliggöra lärandeprocessen var ett designteoretiskt perspektiv. Resultatet visade att metod ett, ”repetitionsmemorering”, genom materiella och kroppsliga resurser skapade en koreografi för händerna – ett kinestetiskt minne. För metod två, ”visualization”, designades memoreringsprocessen under två transformationscykler. För den tredje metoden, ”konceptuell memorering”, var analys och ”tvåstolstekniken” två övergripande designer. I diskussionen sätts dessa resultat i förhållande till litteratur, tidigare forskning och utifrån det teoretiska perspektivet. / The purpose of this study is, from a design theoretical perspective, to study how three different memorizing strategies of a piano piece takes shape. This includes the question: How do I design three different strategies for memorization of Etude op. 10 no. 2 by Chopin? The three different ways to memorize the music was based on previous literature and research. During a time period of five weeks,  I used logbook and video documentation as a method to study this process. The theoretical perspective that was used to describe the process was the design theoretical perspective. The results showed that method one, “Memorizing by rote”, created a choreography of the hands – a kinesthetic memory. This by using different physical and material resources. Method two, “Visualization” designed the learning through two transformation cycles. For the third method, “Conceptual memorization”, Analysis and the Two-Chair technique was two overall designs. In the discussion these results are put in relation to the literature, previous research and from the theoretical perspective.

This study was carried out in order to discover new strategies to memorize piano music. There are six different types of memory involved in performing: auditory, kinesthetic, visual, analytical, nominal and emotional. There are two main ways of practicing: playing practice and non-playing practice. I tried to find out if the order in which we use these two kinds of practice affects the quality of the memorization. During one week I practiced three different pieces following three different methods: 1 Using only playing practice; 2 using first playing practice and then non-playing practice; 3 using first non-playing practice and then playing practice. The second method had a much better result than the other two. The whole process was registered with a video camera and a logbook. / <p>The exam concert is archived for copyright reasons until 2023.</p>