The Neuroscience of Performing from Memory Part IV скачать в хорошем качестве

The Neuroscience of Performing from Memory Part IV

This video is Part III in a 4-part series. Links to the other videos: Part I: Different types of memory + Step 1 in the memorization process (encoding):    • The Neuroscience of Performing from Memory...   Part II: Step 2 in the memorization process (consolidation):    • The Neuroscience of Performing from Memory...   Part III: Step 3 in the memorization process (retrieval):    • The Neuroscience of Performing from Memory...   Part IV: Dealing with the fear of choking + summary:    • The Neuroscience of Performing from Memory...   Link to the PDF version of the full list of ideas: https://mollygebrian.files.wordpress.... Papers cited in this video: -Brian P. Lewis and Darwyn E. Linder, “Thinking About Choking? Attentional Processes and Paradoxical Performance,” Personality and Social Psychology Bulletin 23 no. 9 (1997): 937-944. -Sian L. Beilock and Thomas H. Carr, “On the Fragility of Skilled Performance: What Governs Choking Under Pressure?” Journal of Experimental Psychology: General 130 no. 4 (2001): 701-725. A little bit on my background: I attended Oberlin College and Conservatory as an undergraduate, double majoring in viola performance and neuroscience. The neuroscience was just for fun (truly!) and I had no plans to continue with it after I graduated. But when I got to New England Conservatory for my masters in viola performance, I realized something was missing. After my roommate came home from being a subject in a study at Harvard looking at musicians’ versus non-musicians’ brains, I realized I had to be a double degree student my whole life. So at NEC, I did a number of independent studies looking at topics having to do with music and the brain, as well as working for Dr. Mark Tramo, the director of the Institute for Music and Brain Science, at that time at Harvard (now at UCLA). After NEC, I attended the Shepherd School of Music at Rice University for my DMA in viola performance. While there, I took graduate-level neuroscience classes nearly every semester, I worked in a lab for a long time, I was the assistant director for two interdisciplinary symposia on music and the brain, and I developed and taught a class on music and the brain. Since that time, I have published several articles in both music and scientific journals on music and the brain (many of which you can access on my website: https://mollygebrian.com/writing/) and give presentations on the topic regularly at conferences, universities, and schools around the world. For five years, I taught viola at the University of Wisconsin-Eau Claire, where I also taught an honors course on music and the brain. Now, I teach viola at the University of Arizona, where I also continue to investigate aspects of the cognitive neuroscience of music.