Lab Publications

Disclaimer: The copyright to the publications listed below is, in most cases, held by the publisher. Pdfs are provided here to facilitate the commonly accepted practice of authors distributing copies of their own work to interested parties for personal use. No commercial use may be made of the material nor is mass production permitted.

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, C. (2018). How music moves us: Entraining to musicians’ movements. Music Perception, 35(4), 405-424.

Demos, A.P., Lisboa, T, Logan, T., Begosh, K., & Chaffin, R. (2018).  A longitudinal study of the development of expressive timing. Psychology of Music, https://doi: 10.1177/0305735618783563.

Lisboa, T., Demos, A.P. & Chaffin, R. (2018). Training thoughts and actions for virtuoso performance. Musicae Scientiae, 22, 519-538.


Demos A.P., Chaffin, C., & Logan, T. (2017). Musician’s body movements embody musical structure and expression: A dynamical systems approach. Musicae Scientiae, advanced online.

Demos, A.P., & Chaffin, R. (2017).  Removing obstacles to the analysis of movement in musical performance: Recurrence, mixed models, and surrogates. In M. Lesaffre, P-J. Maes & M. Leman (Eds). The Routledge Companion to Embodied Music Interaction (pp. 341-349). Routledge, New York, NY.


Chaffin, R., Demos, A.P. & Logan, T. (2016). Performing from memory. In S. Hallam, I. Cross, & M. Thaut (Eds.), The Oxford Handbook of Music Psychology, 2nd Ed. (pp. 359-371). Oxford: Oxford University Press.

Demos, A.P., Lisboa, T, & Chaffin, R. (2016).  Flexibility of expressive timing in repeated musical performances. Frontiers in Psychology, 7.

Chueke, Z. & Chaffin, R. (2016). Performance cues for music ‘with no plan’: a case study of preparing Schoenberg’s Op. 11, No. 3. In C. Mackie (Ed.), New thoughts on piano performance (pp. 255-268). London: London International Piano Symposium. (Available from ).


Lisboa T., Chaffin R. & Demos A.P. (2015). Recording thoughts while memorizing music: a case study. Frontiers in Psychology. 1561(5).


Demos, A.P. & Chaffin, R (2014). W. Thompson, J. G. Golson (Eds).  Body movements. In W. Thompson (Ed.), Music in the social and behavioral sciences: An encyclopedia. (Vol. 2, pp. 145-148). Thousand Oaks, CA: Sage Publications, Inc. doi:

Demos, A.P., Chaffin, R., & Kant, V. (2014). Toward a dynamical theory of body movement in musical performance. Frontiers in Psychology, 477(5).


Demos, A. P., Chaffin, R., Begosh, K. T., Daniels, J. R., & Marsh, K. L. (2012). 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. (2012). Preparation and spontaneity in performance: A singer’s thoughts while singing Schoenberg. Psychomusicology: Music, Mind & Brain, 21(1), 1-22.

Ginsborg J., Chaffin R., and Demos A.P.  (2012). Different roles for prepared and  spontaneous thoughts: A practice-based study of musical performance from memory. Journal of Interdisciplinary Music Studies, 6, 201-231.


Chaffin, R. (2011). Thinking about performance: Memory, attention, and practice. In A. Williamon, D. Edwards, and L. Bartel (eds.), Proceedings of the International Symposium on Performance Science 2011 (pp. 689-699). Utrecht, The Netherlands: European Association of Conservatoires (AEC).

Lisboa, T., Chaffin, R. & Logan, T. (2011). 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.

Ginsborg, J. & Chaffin R. (2011) Performance cues in singing and conducting: evidence from practice and recall. In I. Deliege & J. Davidson (Eds), Music and the mind: Essays in honour of John Sloboda (pp. 339-360). Oxford: Oxford University Press.


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. (2013). Estratégias de recuperação da memória na execução musical: aprendendo Clair de Lune. Em Pauta, 20, 186-221. (Previously published article translated and published in online journal by Universidade Federal do Rio Grande do Sul, Brazil).

Chaffin, R., Logan, T., Begosh, K. (2013). A memória e a execução musical. Em Pauta, 20, 222-244. (Previously published chapter translated and published in online journal by Universidade Federal do Rio Grande do Sul, Brazil).

Chaffin, R. & Demos, A.P. (2012) Review of Psychology of Music: From Sound to Significance. Psychomusicology: Mind, Music & Brain, 22, 55-56.

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.