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Relevant bibliographies by topics / Juvenile Piano music

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Academic literature on the topic 'Juvenile Piano music'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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Journal articles on the topic "Juvenile Piano music"

1

Kárpáti, János. "“Ecco la marcia, andiamo...” Mozart and the March." Studia Musicologica 60, no. 1-4 (October 21, 2020): 149–67. http://dx.doi.org/10.1556/6.2019.00008.

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Surprisingly little work has been dedicated to Mozart and the march genre. The literature has explored only the 17 marches which feature as introductory movements in his cassations and serenades (Neue Mozart-Ausgabe, Günter Hauswald, Wolfgang Plath). However, marches have important functions in Mozart’s operas – in his seria works as celebratory and greeting intermezzos, and at expressly key instances in his Da Ponte operas (“Non più andrai,” “Ecco la marcia, andiamo,” “È aperto a tutti quanti, viva la libertà!”, and “Bella vita militar”). The same applies to Idomeneo and The Magic Flute, where the priestly rituals are accompanied by marches, albeit of a slow variety, as is Tamino and Pamina’s trial by fire and water. Studying the marches reveals a formulaic recurring rhythmic model (a succession of eighth notes in the following pattern: 4:3:1:2:2) that acts as a thematic introduction to many works which do not conspicuously belong to the march genre – notably his piano concertos and symphonies. This model appears already in his juvenile pieces, reoccurring throughout his œuvre as a means of expressing the beginning of a purposeful action.

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2

Zagidullina, Dilbar Renatovna, and Ekaterina Evgenyevna Nikiforova. "Timbre-orchestra aspect of symphonic works by Boris Tchaikovsky." PHILHARMONICA. International Music Journal, no. 1 (January 2021): 52–66. http://dx.doi.org/10.7256/2453-613x.2021.1.34175.

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Boris Tchaikovsky is the author of bright and original symphonic compositions. A timbre-orchestra palette is, undoubtedly, one of the key components of the music language of his works. The authors of this research analyze Tchaikovsky’s  Violin concerto and Piano concerto, the symphonic poems “The Juvenile” and “The Winds of Siberia”, the Symphony No 3 “Sevastopol”, and the Symphony with Harp, in order to consider particular aspects connected with the timbre-orchestra language of his symphonic compositions, such as: the timbre-texture embodiment of thematic invention (the peculiarities of orchestra compositions); the ensemble combinations of instruments and their meaning. The authors also analyze the composer’s favorite timbre-texture techniques. The authors define and consider the phenomenon of “timbre pointillism” typical for the timbre writing of the composer. The original symphonic works by Tchaikovsky have been studied many times. In 2019 a research by Yu. Abdokov was published in which the author considers the peculiarities of an orchestra in Tchaikovsky’s theatrical music. The orchestra in his symphonic compositions also has theatrical features, however with some peculiarities. The features of Tchaikovsky’s timbre-orchestra writing haven’t been analyzed yet, and this fact determines the scientific novelty of the research. The authors attempt to generalize the peculiarities of the timbre writing of the composer. Tchaikovsky himself always emphasized the necessity of a single and final variant of orchestration.   

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Dissertations / Theses on the topic "Juvenile Piano music"

1

Gudmundsdottir, Helga Rut. "Music reading errors of young piano students." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82885.

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This study investigated the music-reading errors of 6--13-year-old piano students (n = 35) as they read three unfamiliar musical pieces. The musical pieces were similar in terms of tonality, and rhythmic and melodic complexity, but differed in terms of simultaneity of left- and right hand and complexity of left-hand arrangement.
Pitch errors were examined in terms of frequency, placement, and type. Of all pitches played, 23% were incorrect pitches. However, 30% of the incorrect pitches were followed by an immediate correction (self-correction). There were significantly more errors made in the left-hand parts than in right-hand parts of all three pieces. The most common error type was erroneous pitches, followed by redundant and omitted pitch errors respectively. Erroneous pitches were significantly more often contour preserving than contour violating. The younger children made significantly more redundant pitch errors and contour violating pitch errors than did the older children and the younger children tended to make more self-corrections than did the older children.
Timing data were examined in terms of the length of performances and in terms of the length and frequency of pauses. No significant differences were found between pieces or age groups in terms of timing. A high frequency of pauses was noted in both age groups. Evidence drawn from pitch and timing errors suggested that the children in this study tried to play all the pitches in the score with little or no consideration for the rhythmic information in the score. This finding was in accordance with results of previous studies on children and music reading. Implications for music education and research are discussed.

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2

Dimmick, Penny Gail. "Piano instruction in music methods classes for elementary education majors : a case study." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/917840.

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This study was undertaken in an effort to determine the effects of piano instruction on attitudes and piano skills of elementary education majors enrolled in a music methods class. A class of nineteen elementary education majors at a private mid-western university served as subjects for the case study. They were given both written and oral pre and posttests, and extensive anecdotal data were recorded.As a result of the study, general conclusions and recommendations were as follows:1. Subjects' initial perceptions of their probable success in the piano laboratory were high. In addition, seventy-nine percent of the subjects accurately predicted their probable success (or failure) in the piano laboratory. It is recommended that instructors take time at the outset of the course to reassure and encouage the students in an effort to increase confidence and thereby the probability of success in the piano laboratory.2. Subjects' attitudes and skill development were negatively affected by perceived inadequacies when comparing themselves to other subjects in the class. As the more advanced students tested out of the piano laboratory, skills and attitudes of the slower subjects improved appreciably. This suggests that ability grouping in methods classes may improve students' perceptions and also performances in these lasses.3. Subjects' confidence in their ability to teach music increased, as indicated by pretest and posttest rankings. Since the sample size was adequately large, the Wilcoxin T value of 7.5 was standardized to a Z value = 2.66 (p <.01). Interpretation of a Z-value = 2.66 strongly suggests the posttest score has significantly increased over the pretest score.4. Subjects' perceptions of their ability to read and write music, their ability to sing songs with their students, and their piano playing ability significantly increased as shown by a series of paired comparisons t-test analyses on the pretest/ posttest data.It is recommended that additional case studies be conducted in the methods class in an effort to isolate and identify additional aspects of the class which influence the students' growth and/ or lack of growth in self confidence and musical skills.
School of Music

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3

Henn, Wilana. "Aanvangsonderrig in klavier : ‘n situasie-analise en riglyne vir ondergekwalifiseerde musiekonderwysers in die Suid-Afrikaanse konteks." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/2997.

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Thesis (MMus (Music))--University of Stellenbosch, 2006.
The piano teacher faces an enormous task as educator in initial educational practice. The child must receive clear directives in terms of piano technique, sight reading skills, aural training, music theory and general music history. These aspects are accepted as providing the basic principles for effective tuition for beginners. Efficient guidance can be delivered only when the piano teacher has the necessary knowledge. In this study piano teachers who lack sufficient experience, knowledge and insight in the relevant knowledge, especially concerning piano technique, are considered to be underqualified.

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4

Carney, Robert D. "Using Web-Based Instruction to Teach Music Theory in the Piano Studio: Defining, Designing, and Implementing an Integrative Approach." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28404/.

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This dissertation rationalizes the best use of Web-based instruction (WBI) for teaching music theory to private piano students in the later primary grades. It uses an integrative research methodology for defining, designing, and implementing a curriculum that includes WBI. Research from the fields of music education, educational technology, educational psychology, and interaction design and children receive primary consideration. A synthesis of these sources outlines several research-based principles that instructional designers can use to design a complete blended learning environment for use within the piano studio. In addition to the research-based principles, the precise methods of determining instructional tasks and implementing the program online are described in detail. A full implementation is then deployed, and piano teachers evaluate the extent to which the online program fulfills the research-based principles. This dissertation does not argue for the complete migration of theory instruction from traditional workbook approaches to an entirely Web-based medium but rather outlines the best use of face-to-face instruction, collaboration amongst students, teachers, and parents, and interaction with a Web-based program. This formative research provides a complete model of integrating WBI within the piano studio that can guide instructional designers and music educators.

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Books on the topic "Juvenile Piano music"

1

Iwamura, Kazuo. Mori no piano. Tōkyō: Hisakata Chairudo, 1989.

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2

Liebermann, Lowell. Album for the young: For piano. Bryn Mawr, Pa: T. Presser, 1994.

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3

Carl, Orff. Orff-Klavierbuch: Leichte Stücke und Bearbeitungen aus = Orff piano book : easy pieces and arrangements from Carmina Burana, Klavierübung, Musik für Kinder, Der Mond, und Die Bernauerin. Mainz: Schott, 1994.

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4

Tchaikovsky, Peter Ilich. Kinderalbum: Op. 39 : Sammlung leichter Stücke für Kinder à la Schumann = Children's album : op. 39 : collection of easy pieces for children à la Schumann. Wien: Wiener Urtext Edition, 2000.

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5

Mamlok, Ursula. Four recital pieces for young pianists. Bryn Mawr, PA: Casia Pub. Co., 1993.

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6

1952-, Lacy Donna, ed. The music box: The story of Cristofori. Lawrenceville, Va: Brunswick, 1998.

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7

The compact piano: A complete guide to the piano and ten great composers. London: Macmillan, 1996.

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8

Elliott, Katie. The Usborne piano course. London: Usborne, 1994.

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9

Elliott, Katie. The Usborne piano course. London: Usborne, 1994.

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10

Searles, Beatrice. History of the piano: Its music and its composers. 2nd ed. [Arizona]: Central District, Arizona State Music Teachers Association, 1987.

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