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, C. (2018). How music moves us: Entraining to musicians’ movements. Music Perception, accepted for publication.

Demos, A.P., Lisboa, T, Logan, T., Begosh, K., & Chaffin, R. (2018).  A longitudinal study of the development of expressive timing. Psychology of Music, accepted for publication.

Lisboa, T., Demos, A.P. & Chaffin, R. (2018). Training thoughts and actions for virtuoso performance. Musicae Scientiae, accepted for publication.


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.