drmatt wrote: 
> Hi,
> 
> Yes exactly it has nothing to do with recorded sound per se, and that is
> because there is a distinction between remembering the *sound*, and
> remembering the *music*. It's a different part of the brain and a
> different learned skill.
> 
> So a conductor's brain remembers the ebb and flow of the music (consider
> it the "delivered meaning" of the piece), which though it could be
> exceptionally complex, is actually only a mental representation of the
> sound they heard and the actions of the players. This it's possible to
> know, and remember, from one day to the next, just like any person who
> can read can remember the meaning and story from a 100,000 word novel
> without having to remember all the words.
> 
> Musicians (I know some but wouldn't claim to be one) have muscle memory
> (actually subconscious mental programming) that does the hard stuff of
> translating the feel of the music and that remembered melody and energy
> into the movement of fingers/lungs/lips/limbs whatever to play the
> instrument. The musician rarely has to think consciously about where to
> place fingers/limbs etc in response to the tune. This is that final step
> from conscious competence to unconscious competence. The point I think
> to take from this is that the musician / conductor only really
> consciously remembers a very simplified meta view of the piece, and the
> subconscious fills in the rest... So you are entirely correct they are
> not reliant on auditory memory for anything other than very short term
> reanalysis.
> 
> Matt.
> 
> Sent from my ONEPLUS A3003 using Tapatalk

Hi Doc,

Thanks for indulging me. It's making more sense (I think)...

Dave :)


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