University of Connecticut University of UC Title Fallback Connecticut

Lab Publications

Books, Articles, & Chapters


Chaffin, R., Imreh, G., & Crawford, M. (2002). Practicing perfection: Memory and piano performance. Mahwah, NJ: Erlbaum Associates.

Articles (peer reviewed)


Demos, A. P., Chaffin, R., Begosh, K. T., Daniels, J. R., & Marsh, K. L. (2010). Rocking to the Beat: Effects of Music and Partner’s Movements on Spontaneous Interpersonal Coordination. Journal of Experimental Psychology: General. Vol. 141(1), 49–53.


Ginsborg, J. & Chaffin , R. (2011). Preparation and spontaneity in performance: A singer’s thoughts while singing Schoenberg. Psychomusicology: Music, Mind & Brain, 21(1), 1-22.

Lisboa, T., Chaffin, R. & Logan, T. (in press). An account of deliberate practice: Thoughts, behaviour and the self in learning Bach’s Prelude 6 for cello solo. In A. Cervino, M. Lettberg, C. Laws & T. Lisboa (Eds.) Practice of Practising (pp. 9-30). Orpheus Research Centre in Music: Leuven, Belgium.


Chaffin, R., Lisboa, T., Logan, T., & Begosh, K.T. (2010). Preparing for Memorized Cello Performance: The Role of Performance Cues. Psychology of music, 38, 3-30.


Chaffin, R., Logan, T.R., & Begosh, K.T. (2009). Performing from memory. In S. Hallam, I. Cross, & M. Thaut (Eds.), The Oxford Handbook of Music Psychology (pp. 352-363). Oxford: Oxford University Press.


Chaffin, R. & Lisboa, T.(2008). Practicing perfection: How concert soloists prepare for performance. Ictus, 9, 115-142.

Noice, H., Chaffin, R., Jeffrey, J., & Noice, A. (2008). Memorization by a jazz pianist: A case study. Psychology of Music, 36, 47-61.

Lehmann, A.C., & Chaffin, R. (2008). Erinnern und Weidererkennen: Auswendig- und Vomblatt-speil. In H. Bruhn, R. Kopiez & A.C. Lehmann. Musicpsyhologie: Das neue Handbuch (pp. 354-373). Reinbek bei Hamburg: Rowohlt Verlag.


Chaffin, R., Lemieux, A., & Chen, C. (2007).“It’s different each time I play”: Spontaneity in highly prepared musical performance. Music Perception, 24, 455-472.

Chaffin, R. (2007). Learning Clair de Lune: Retrieval practice and expert memorization. Music Perception, 24, 377-393.


Chaffin, R. & Logan, T. (2006). Practicing perfection: How concert soloists prepare for performance. Advances in Cognitive Psychology, 2, 113-130.

Ginsborg, J., Chaffin, R., Nicholson, G. (2006). Shared performance cues in singing and conducting: A content analysis of talk during practice. Music Psychology, 34, 167-194.

Chaffin, R., Lemieux, A., & Chen, C. (2006). Spontaneity and creativity in highly practiced performance. In I. Deliège & G.A. Wiggins. Musical creativity: Multidisciplinary research in theory and practice (pp. 200-218). London: Psychology Press.


Chaffin, R., & Lemieux, A. (2004). General perspectives on achieving musical excellence. In A. Williamon (Ed.). Musical excellence: Strategies and techniques to enhance performance (pp. 19-39). Oxford: Oxford University Press.


Chaffin, R., Imreh, G., Lemieux, A., & Chen, C. (2003). “Seeing the big picture”: Piano practice as expert problem solving.Music Perception, 20 461-485.


Chaffin, R. Crawford, M., Imreh, G. (2002) Performing gender. Feminism & Psychology, 12, 182-189.

Chaffin, R. & Imreh, G. (2002). Practicing perfection: Piano performance as expert memory. Psychological Science, 13, 342-349.


Chaffin, R. & Imreh, G. (2001). A comparison of practice and self-report as sources of information about the goals of expert practice. Psychology of Music, 29, 39-69.


Chaffin, R. & Imreh, G. (1997). “Pulling teeth and torture”: Musical memory and problem solving. Thinking & Reasoning: Special Issue on Expert Thinking, 3, 315-336.

Articles Published without Peer Review

Chaffin, R., Imreh, G., & Crawford, M. (2004). La pratique de la perfection: Comment un pianiste concertise prepare sa performance. (Practicing perfection: How a concert pianist prepares for a concert.). Medecine des Arts, 48, 33-35.

Chaffin, R. (2002). Review of B. Snyder, Music and memory: An introduction. Music Perception, 20, 18-24.

Imreh, G. & Chaffin, R. (1996/97). Understanding and developing musical memory: The view of a concert pianist. American Music Teacher, 46, (3), 20-24, 67. Chaffin, R. & Imreh, G. (1994). Memorizing for piano performance. Piano Journal, 15, 16-19.