Carden, J. & Cline, T. (2015). Problem solving in mathematics: the significance of visualisation and related working memory. Educational Psychology in Practice, 31, 235-246.

In recent years there has been an increase in emphasis on maths problem solving (or ‘word-based problems’) right up to GCSE level. With this has come an increase in the phenomenon that I had previously noted: some pupils have particular difficulties with this way of working, even when their maths and reading skills are generally good. I became interested in whether research could offer insights into the role of certain cognitive skills in problem solving; namely visual/spatial skills and working memory.

The article reviews the literature on the roles of visual/spatial skills and working memory in maths problem solving and the practical implications of these for assessment and teaching. It is relevant to assessing psychologists and teachers as well as to parents and other professionals interested in this area. I also offer training based on this article.

Carden, J. & Cline, T. (2019). Absolute pitch: Myths, evidence and relevance to music education and performance. The Psychology of Music, 47, 890-901. Article first published online: 9 July, 2019.

Absolute pitch (or ‘perfect pitch’) is typically described as the unusual ability to identify and/or reproduce notes without reference to other notes (‘relative pitch’). In fact, possessors are likely to function and learn differently in many ways compared to others. A great deal of assumed knowledge about absolute pitch has captured the imagination of society. However, much of this knowledge was not in keeping with the young people I knew with absolute pitch, and the discrepancy gave rise to the more scientific exploration of this article.

My article looks at the research-based evidence about absolute pitch and explodes some of the most widely accepted myths. It explores the evidence that does exist in terms of implications for music education and performance, including neurological studies and the relevance of languages spoken. In particular, it argues that the frequency of absolute pitch is massively underestimated and that all music teachers should be considering the different skills and needs of possessors.

I would describe this article as essential reading for anyone involved in the teaching of music, especially to young people, and in music performance. Older students and parents of music pupils may also find it interesting. I offer training based on this article.