This paper examines the process of creating the “Piano Memorization Master” compendium. It also reflects on the methods used in current Neuro-Music research, including a lack of funding. The paper establishes the historical context of memorization, the benefits of memorization in general, the unreliability of modern Neuro-Music research and how I convey it all to a wider audience. In addition, the paper explores the struggles of creating a project alone and my weaknesses as a performer, teacher, and mediator. The project uses 20th century piano pieces as examples to eliminate the use of standard music theory and instead seek out alternative methods. Finally, the paper outlines my project plans, the methods I will use and how I will use them in my teachings and performance preparations.