This "self-help" and non-academic book explores the process of memorization and music performance, beyond the most immediate type of muscle or kinetic memory. It examines the types of memory and the steps necessary for secure memorization on the piano, as well as analyzing common misconceptions and problems. Clearly, no study of memorization can ignore performance anxiety, practice methods, the nature of performing, as well as early education and the related skills of theory and ear-training, hence the term "holistic." The account is sprinkled liberally with teaching anecdotes, interviews with young pianists and other instrumentalists as well as personal tributes and recollections. The middle section of the book picks up on the ideas introduced in the first section and analyzes musical examples ranging from Bach to Stravinsky, not in strict theoretical terms, but specifically to identify memorization methods and to recognize possible pitfalls. While the book is designed primarily to help early advanced pianists to college-level musicians and young piano teachers, the applications to other instruments and music are obvious. These are borne out by the concluding section, which highlights commonalities and differences between different instrumental types.
