Memorizing of music

That damn memorizing.
It is true that each artist has its own specificity and that we are all distinguished already by our predispositions (which, even if they are not the best, can be developed to unimaginable extent), but there is something what glorifies memorizing in its undeserved throne. Perhaps teachers, the time constraints, learning plans, etc.
In any case, memorizing is the last (and least important) thing to be worried about. It represents a logical result of a long, productive work on music and not a separate process of learning notes by hearth. Clearly there are musical works harder for the head (polyphony, dodecaphony etc..) and it is good that there are ways, which help to learn them (e.g., registration of numbers, fingerings, learning of harmonic structure, learning the piece from the end toward the beginning, recognizing motivic structure...). Nevertheles, we must not forget what is the most important thing for a musician: to (re)create music. That means to see what lies behind the notes, that means to detect emotional-poetic content, that means to create our own vision of musical piece and finally design all musical thoughts in slightest detail, dressing them in the sound that they require. Next step is: to call into exsistence our musical ideas, i.e. how to use our body to produce certain sounds (being placed in musical context). In all of this work there are three tipes of criteria for evaluating our own work and performance: how does our body look like while we play (body gestures have to be natural and consistent with the musical content), how do we feel (our body has to be relaxed or better not more tensed then it's necessary), and finally what we hear (the sound and musical flow that we produce is the same as our musical vision, internal hearing). These are the things we must be careful about when playing an instrument (when we practise, as well when we play in the concert). And now let's thing. Concentrating on all this, can we have other things on our mind? For example, which note is the following and if we are lucky to reach the end of the piece ... Not! We can not have. Considering that at the same time we are thinking in advance about the musical content, in the same time creating a proper thought, which will create respondent movements (for a desired sound), that in the same time we have to be careful on how we feel, how do we look like and how everything sounds, we reach to the conclusion that there isn't any space left for other (unimportant) thoughts. Why then so many disturbing thoughts sneak into practising of a musician? Why isn't he, even after so much time, able to play the piece from the start to the end without undue stopping? Is it the bad memory, which is guilty for that? No! Practising. Practising, which is not concentrated. Why is practising not sober-minded? Because a musician is not achieving desired results. That is why he is not enthusiastic, that's why the other thoughts come on his mind. It could be that he doens't have clear vision of music, that he doesn't know what to do with the music text, perhaps he doesn't know how to materialize music ideas (i.e. he is not aware of how to create a movement of the hand that will produce the desired sound result). If the musician, by contrast, practices productively - reaching the music, he can't get sleepy, and his thoughts can't go elsewhere, why he is too excited about the outcome, which he has created, about the sound and the ideas that are now hearable and have achieved their purpose.
The main problem therefore lies not in the memory capacity of the individual, but in his understanding of music and way of practising - that should always inspire good feelings (finally, don't we make music because it makes us incredibly happy?).
To sum up, memory isn't of a great importance for a musical reproduction (anyone can play with the score if he wants). Beeing sure in the musical content (in what's behind the music notes) and in the way of embodying the musical content in sound, brings true self-confidence in musician. And then he forgets that memorizing exsists at all...