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1
Hökelmann, Anita, Peter Blaser, and Wolfgang Ellenberger. "Musik durch Bewegung und Bewegung durch Musik." Musik-, Tanz- und Kunsttherapie 11, no. 3 (July 2000): 141–45. http://dx.doi.org/10.1026//0933-6885.11.3.141.
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Zusammenfassung. Die Theorie zur Wechselwirkung zwischen auditiven Wahrnehmung und motorischen Reaktionen bildet die Basis zur Annahme, dass zwischen musikerzeugenden Bewegungen und Bewegungsinterpretation von Musik ein existentieller Zusammenhang besteht. Durch das Bewegungsverhalten des Pianisten wird ein Klangbild erzeugt, welches die Tänzerin als motoakustische Information aufgreift. Dieses Klangbild enthält bewegungsdefinierende Merkmale und dient als Orientierungsgrundlage für die Bewegungsgestaltung. Es lassen sich Ähnlichkeiten zwischen den musikerzeugenden (Pianist) und den musikgestaltenden Bewegungsparametern (Tänzerin) in unterschiedlich definierten Räumen anhand der Körpergeometrie nachweisen. Daraus resultiert die Annahme, dass durch die “Handschrift” des Musikers eine Tanzchoreographie wesentlich geprägt wird.
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Wessel-Aas, Jon. "Ikke skyt pianisten – om pressens videreformidlingsrett." Lov og Rett 42, no. 07 (August 16, 2003): 421–26. http://dx.doi.org/10.18261/issn1504-3061-2003-07-05.
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Meile, Jakob Kyril. "Kronik." Magasin fra Det Kongelige Bibliotek 28, no. 1 (April 9, 2015): 74–78. http://dx.doi.org/10.7146/mag.v28i1.66817.
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KRONIKKEN fortæller om det forgangne kvartal på Det Kongelige Bibliotek: Begivenheder, foredrag, udstillinger, koncerter, erhvervelser m.m. Indhold: H.O. Lange-prisen til Rasmus Glenthøj for værket 1864 –Sønner af de slagne; Carl Nielsen Brevudgaven (pianisten Amalie Malling og tenoren Adam Riis samt kammerkoret Ars Nova under ledelse af Paul Hillier); Det Kongelige Bibliotek på nettet; Erhvervelser; Ræson og Vidensfestival; International Forfatterscene; Ordscenen; Koncerter
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Schøien, Kristin Solli, Bjørn-Terje Bandlien, and Anna-Lena Østern. "I nærkamp med Notefienden: skam, myndiggjøring og performativ læringa." Journal for Research in Arts and Sports Education 6, no. 3 (August 30, 2022): 27–44. http://dx.doi.org/10.23865/jased.v6.3570.
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Denne studien er et bidrag til performativ musikkforskning, med et pedagogisk utgangspunkt. Metodologisk utforsker forfatterne eksperimentelle innganger til musikkforskning gjennom performance-skriving og collageteknikk. Artikkelen er en studie av på hvilke måter en komponists nærkamp med notefienden, vanskene med å lese og skrive noter, får agens i hennes komposisjon og formidling av musikk. Musikken i studien er komponert til tekster av den norske dikteren Herman Wildenvey, og studien gjør nedslag i tre tidsperioder med et spenn på tre desennier. Gjennom performance-skriving viser forfatterne hvordan notelesingsvanskene både hindrer og utfordrer det kreative arbeidet, og gjennom diffraktiv analyse undersøkes notefiendens agens i tre diffraksjoner: (1) når komponisten skaper melodiene til Wildenveys lyrikk, (2) når sangene blir urfremført og lydfestet, og (3) når komponisten og pianisten performativt utforsker en av sangene i samspill. Studien viser at notelesingsvanskene får betydning for komponistens valg av musikkstil, selvforståelse og kroppslige tilstedeværelse i musikken, og for det musiker-metaspråket som komponist og pianist utvikler i samspillsituasjonen. Studien avdekker gjennom et postperspektiv, inspirert av Barad, hvordan erfaringer fra en tidlig musikkpedagogisk praksis setter spor som har virkning i nåtid. Artikkelen gir også et eksempel på hvordan performativ læring er agent for endring og myndiggjøring i et livslangt perspektiv.
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Loehr, Janeen D., Dimitrios Kourtis, Cordula Vesper, Natalie Sebanz, and Günther Knoblich. "Monitoring Individual and Joint Action Outcomes in Duet Music Performance." Journal of Cognitive Neuroscience 25, no. 7 (July 2013): 1049–61. http://dx.doi.org/10.1162/jocn_a_00388.
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We investigated whether people monitor the outcomes of their own and their partners' individual actions as well as the outcome of their combined actions when performing joint actions together. Pairs of pianists memorized both parts of a piano duet. Each pianist then performed one part while their partner performed the other; EEG was recorded from both. Auditory outcomes (pitches) associated with keystrokes produced by the pianists were occasionally altered in a way that either did or did not affect the joint auditory outcome (i.e., the harmony of a chord produced by the two pianists' combined pitches). Altered auditory outcomes elicited a feedback-related negativity whether they occurred in the pianist's own part or the partner's part, and whether they affected individual or joint action outcomes. Altered auditory outcomes also elicited a P300 whose amplitude was larger when the alteration affected the joint outcome compared with individual outcomes and when the alteration affected the pianist's own part compared with the partner's part. Thus, musicians engaged in joint actions monitor their own and their partner's actions as well as their combined action outcomes, while at the same time maintaining a distinction between their own and others' actions and between individual and joint outcomes.
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Kremer, Joachim. "„Précurseur de toute la musique française moderne“? Die Rezeption Franz Liszts als Komponist in Frankreich zwischen 1844 und 1925." Studia Musicologica 48, no. 3-4 (September 1, 2007): 257–98. http://dx.doi.org/10.1556/smus.48.2007.3-4.2.
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Franz Liszts Wahrnehmung in Frankreich als Komponist setzte ab 1869 ein und erweiterte das bis dahin gewohnte Bild vom Pianisten. Liszts Orchesterwerke wurden zunächst im Lichte der Bewertung der Neudeutschen Schule gesehen, und auch die Kontroversen um die Programmmusik und das dahinterstehende Problemfeld ‚Klassizismus vs. Romantik‘ schufen erschwerte Rezeptionsbedingungen. Behindert wurde die Wahrnehmung zudem durch die selektive und verzögerte Aufführung der Werke. Bis zum aufwändig gefeierten Centenaire im Jahre 1911 war Liszt somit der ‚geborene‘ Vorläufer. Der Versuch einer Rehabilitierung kam angesichts der selektiven Wahrnehmung auf der einen und der rasanten Musikentwicklung nach 1900 auf der anderen Seite — zu denken ist an Ravel oder Strawinsky — sehr spät.
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Fu, Xi, Kateryna Cherevko, and Oksana Pysmenna. "Performing skills of Li Yundi in the context of China's leading trends in the piano art development." Revista Amazonia Investiga 10, no. 46 (October 25, 2021): 42–50. http://dx.doi.org/10.34069/ai/2021.46.10.4.
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The article examines how the performing skills of the outstanding Chinese pianist Li Yundi have been formed. Chinese piano art in a short time has reached the significant success. As Chinese performers have made a rapid rise in their skills, we can speak about the formation of special musical-performing principles, based on a strong national basis. Li Yundi's career success owed not only to a successful teaching methodology, but also to a deliberate state policy. The formation of Chinese piano pedagogy lies in the assimilation of European pianist-teachers' experience and the preservation of ancient Chinese national traditions. Chinese pedagogues-pianists often use elements of ancient art ‘Qigong’. The use of teaching methods in the two performing styles of "Wen" and "Wu" traditionally established in Chinese culture is also important. This work is intended to identify the leading developmental trends in Chinese piano performing and their role in the formation of young Chinese pianist Li Yundi's performing skills.The article reveals the peculiarities of Chinese piano performing, with its integration of European piano school performing traditions. Emphasis is placed on the performing problems of Chinese pianists' interpretation of European composers' piano works. Li Yundi, one of the finest performers of Frideric Chopin's works, is a notable example of Chinese piano pedagogy's successes in the multifaceted development of the pianist's personality.
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Bedina, Katarina. "Dve pismi Franca Šturma." Musicological Annual 43, no. 2 (December 1, 2007): 245–50. http://dx.doi.org/10.4312/mz.43.2.245-250.
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V prispevku, za življenjski jubilej profesorice Marije Bergamo, objavljamo dve pismi skladatelja Franca Šturma (1912–1943) slovenski pianistki Nedi Kozina, s katero se je spoprijateljil v Pragi, kjer sta oba študirala. Nanašata se na njun načrt, da bi organizirala koncert modernih čeških in slovenskih skladb v Mariboru. Tam je nekaj časa bivala naša pianistka, njun skupni češki prijatelj, pianist in skladatelj Karel Reiner je pomagal priskrbeti note čeških skladateljev. Prvo pismo štejemo kot dokument, na kako boren način je v Maribor prihajala tik pred drugo svetovno vojno sodobna misel v glasbi. Objavo drugega pisma utemeljuje malo znani Šturmov prispevek o glasbi kot socialnem dejavniku (Sodobnost, 1935). Sociologija (skupaj z estetiko) glasbe sodi v filozofsko disciplino. Beseda o njiju zaokroža bežen pogled v tradicijo teh predmetov na Oddelku za muzikologijo Filozofske fakultete v Ljubljani.
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Knickmann, Tobias. ""Strolche" der Reichsmusikkammer." Die Musikforschung 71, no. 1 (September 22, 2021): 33–42. http://dx.doi.org/10.52412/mf.2018.h1.324.
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Zwischen 1933 und 1940 "streunten" die Berliner Kontrolleure täglich als vermeintliche Musikexperten durch die Reichshauptstadt. Dabei verfügten sie zwar über geringe offizielle Befugnisse und gerieten deshalb oftmals in Konflikt mit offenbar untätigen Polizeiorganen. Doch sollte dies keineswegs darüber hinwegtäuschen, dass sie durch ihre Nachprüfungen, Diffamierungen und Berichte Hunderte, insbesondere jüdische Musiker*Innen im geringsten Fall in deren Berufsausübung einschränkten, im schlimmsten Fall in lebensbedrohliche Situationen brachten. Aus diesem Grund ist ihr Einfluss als bedeutend einzuschätzen. Indem sie die kulturpolitischen Bestimmungen im persönlichen Kontakt zu den Betroffenen rigoros umzusetzen versuchten, trugen sie erheblich zur alltäglichen Verfolgung der im NS-Regime unerwünschten Personen bei. - Die bisherigen Forschungen werden erweitert: erstens um eine bisher geleistete rudimentäre Chronologie der deutschlandweiten Abteilungen, genauer deren Befügnisse und Konflikte in der Zusammenarbeit mit der Polizei zwischen 1933 und 1940; sowie zweitens um eine Darstellung der Berliner Kontrolleure, deren biographische Hintergründe und Motivationen. Zudem erhöhen die Recherchen die Anzahl der bisher bekannten Personen, bei denen die Kontrollen teils schwerwiegende Folgen nach sich zogen. Exemplarisch wird der Fall des Kapellmeisters und Pianisten Fritz Lachs dargestellt.
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Lee, Sang-Hie. "Hand biomechanics in skilled pianists playing a scale in thirds." Medical Problems of Performing Artists 25, no. 4 (December 1, 2010): 167–74. http://dx.doi.org/10.21091/mppa.2010.4034.
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Pianists, who attend to the integral relationship of their particular musculoskeletal characteristics to the piano technique at hand, discover an efficient path to technical advancement and, consequently, to injury prevention. Thus, a study of pianist's hand biomechanics in relation to different piano techniques is highly relevant, as hand features may influence various techniques in different ways. This study addressed relationships between pianists' hand biomechanics and the performance of a scale in thirds, as a part of an ongoing series of studies examining relationships between hand biomechanics and performance data of primary techniques. The biomechanics of hand length and width, finger length, hand span, hand and arm weights, and ulnar deviation at the wrist were compared with tempo, articulation, and dynamic voicing (tone balance between two notes of the thirds). Pearson correlation analysis showed a positive association between ulnar deviation and tempo; the other biomechanical features showed no relationships with any of the performance criteria. Qualitative cross-sectional observation of individual profiles showed that experienced pianists perform with a higher degree of synchrony in two-note descent while pianists with organ training background play with a lesser degree of synchrony. All biomechanical features were closely related among one another with one exception: wrist ulnar deviation was not associated with any other biomechanical features; rather, data suggest possible negative associations. This study underscores the importance of wrist mobility in piano skills development. Further research using a complete set of prototype piano techniques and multiple-level pianist-subjects could provide substantive biomechanical information that may be used to develop efficient pedagogy and prevention strategies for playing-related injuries as well as rehabilitation.
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Horak, Yakym. "Volodymyra Bozhejko’s & her family letters Stanislav Liudkevych." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 11(27) (2019): 271–311. http://dx.doi.org/10.37222/2524-0315-2019-11(27)-15.
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The article bears witness to the history of relationship between composer and pianist. The extant letters (31 in all) are published with the scientific commentary for the first time, as well as letters of her father Ivan Bozhejko (2 in all), and a letter of her brother Yuliy Bozhejko to Stanislav Liudkevych. The pianists’ letters span the years from 1919 to 1947 — the time of her piano studies in Vienna, and later her employment as a piano teacher in Peremyshl subsidiary school of Higher Music Institute. The letters reveal the methodology of Liudkevuch professional tutoring of his student: he were the first music journalist, who met with great eclait the bright talent of a young pianist in a Peremyschl girls’ Liceum, extant in two articles of acclaim in 1911 and 1912. After the graduation from the Austrian Academy of Arts & Letters in a piano masterclass of E. Lialevytch , S. Liudkevych sent the letter of support on behalf of V. Bozhejko to prominent Austrian pianists Paul Weingartner and Emil Sauer, recommending the young pianist to enter Meisterschule in Vienna. Due to Liudkevuch support continued her studies in Meisterschule, and at a later date, in a Neuer Vienna Conservatoire, in the class of pianist Andjelo Cessisoglu of Greece. The letters bear witness to Viennies Promenade Concert Series, as a vibrant milieu the young Ukrainian pianist crafted her musicianship of a rich connoiseur’s appreciation of the artists of brilliance. The letters bear witness to her warm and sincere relationship with Stanislav Liudkevych, where she conveys her impressions of Vienna Concert Series, accounts of her teachers and studies, personal and family matters. During her studies in 1923 the pianist played the Recital Concert in Lviv, which met the great eclait of Stanislav Liudkevich, where he called it the Klavierabend of a premiere eclait in his acclaim article in a press, as a success were a unique resonance as a Ukrainian Concert Series. The letters of pianist's employment in a Peremyschl Subsidiary School of Higher Music Institute bear V. Bojeyko’s witness of Stanislav Liudkevych signifacance as a tutor to her arstistic endeavour, performance of his compositions, the musicianship’s intricacies and craft, revealed in her dialogs with the composer. This dialog were coninued througout their lives, as a piano teacher in Peremyschlyany Subsidiary School, and in calamities of war. Keywords: Volodymyra Bozheyko, Ivan Bozheyko, Yuliy Bozheyko, letters, concerts, Vienna, Paul Wiengartner, Emil Zauer, Angelo Cessisoglu, Meisterschule, Neue Vienna Musichochschule, Peremyschl, the Higher Music Insti¬tute subsidiary school, Stanislaw Liudkevych.
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Shoda, Haruka, and Mayumi Adachi. "The Role of a Pianist's Affective and Structural Interpretations in his Expressive Body Movement: A Single Case Study." Music Perception 29, no. 3 (December 2011): 237–54. http://dx.doi.org/10.1525/mp.2012.29.3.237.
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we explored how a pianist manipulates his upper body according to his interpretation of music. We asked a professional pianist to perform artistic, deadpan, and exaggerated renditions of two structurally contrasting pieces. The pianist’s affective interpretations clearly differentiated among the three renditions. The artistic rendition, representing the true nature of the piece, was compared to the contrived deadpan and exaggerated renditions. The pianist’s range of body movement in the artistic rendition differed from the other two for a fast, energetic piece, whereas it only differed from the deadpan for a slow, romantic piece. The pianist highlighted the structural contrasts within the artistic rendition by manipulating his range of body movement and by coordinating the variations between body movement and temporal/dynamical projection of tones.
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Goebl, Werner, and Caroline Palmer. "Synchronization of Timing and Motion Among Performing Musicians." Music Perception 26, no. 5 (June 1, 2009): 427–38. http://dx.doi.org/10.1525/mp.2009.26.5.427.
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WE INVESTIGATED INFLUENCES OF AUDITORY FEEDBACK, musical role, and note ratio on synchronization in ensemble performance. Pianists performed duets on a piano keyboard; the pianist playing the upper part was designated the leader and the other pianist was the follower. They received full auditory feedback, one-way feedback (leaders heard themselves while followers heard both parts), or self-feedback only. The upper part contained more, fewer, or equal numbers of notes relative to the lower part. Temporal asynchronies increased as auditory feedback decreased: The pianist playing more notes preceded the other pianist, and this tendency increased with reduced feedback. Interonset timing suggested bidirectional adjustments during full feedback despite the leader/follower instruction, and unidirectional adjustment only during reduced feedback. Motion analyses indicated that leaders raised fingers higher and pianists' head movements became more synchronized as auditory feedback was reduced. These findings suggest that visual cues became more important when auditory information was absent.
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Thumser-Woehs, Regina. "Hartmut Krones, ed. An: Karl Steiner, Shanghai: Briefe ins Exil an einen Pianisten der Wiener Schule. Vienna: Böhlau, 2015. Pp. 503, illus." Austrian History Yearbook 47 (April 2016): 242–43. http://dx.doi.org/10.1017/s006723781600045x.
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Turner, Craig, Peter Visentin, and Gongbing Shan. "Wrist Internal Loading and Tempo-Dependent, Effort-Reducing Motor Behaviour Strategies for Two Elite Pianists." Medical Problems of Performing Artists 36, no. 3 (September 1, 2021): 141–49. http://dx.doi.org/10.21091/mppa.2021.3017.
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One of the greatest challenges in reducing high rates of performance injuries among musicians is in providing them usable tools to address playing-related musculoskeletal problems (PRMP) before they become disorders. Studies in biomechanics have the potential to provide such tools. In order to better understand the mechanisms through which PRMP manifest in pianists, especially in the distal segments of the upper limbs, the current study quantifies wrist internal loading (WIL) and wrist impact loading frequency. It does so while discussing pianists’ motor behaviours and observed effort-reduction strategies in the wrists as a function of anthropometry. This concept has great utility for performers. A VICON 3D motion capture system documented two expert pianists performing a B major scale, hands together, at 4, 6, 8, 9, and 10 notes/sec. Biomechanical modeling quantified WIL. Changes in motor behaviour were observed at 8 notes/sec. Individualized anthropometry influenced the range of motor strategies available to each pianist. The pianist with the larger hand span employed a flexion/extension wrist strategy as a compensatory means for effort reduction, while the pianist with the smaller hand span employed a radial/ ulnar deviation strategy. The current study provides a new perspective in addressing PRMP among pianists by rationalizing anthropometric potentials in terms of ergonomic parameters and documenting the availability and utility of effort-reduction strategies in the wrists during piano performance as performers consider PRMP risk and avoidance.
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Wong, Grace K., Gilles Comeau, Donald Russell, and Veronika Huta. "Postural Variability in Piano Performance." Music & Science 5 (January 2022): 205920432211378. http://dx.doi.org/10.1177/20592043221137887.
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Variability is inevitable in human movement and posture, including piano performance, although little research has been conducted in this area. The purpose of this study was to determine if, when comparing individuals to themselves, pianists demonstrate consistent postural angles within a task across multiple measurements and to ascertain if, between various tasks, there are discernible task-related postural patterns. Fifteen pianists participated in this study. Each pianist returned for a total of three measurement sessions. The tasks they were required to perform at each session were quiet sitting, raising their hands on and off the keyboard, playing an ascending and descending scale, sight reading, and playing a piece in three expressive conditions (i.e., deadpan, projected, exaggerated). The following postural angles were calculated based on motion capture data collected during the performance of these tasks: craniovertebral angle, head tilt, head-neck-trunk angle, trunk angle, thoracic angle, thoracolumbar angle, and lumbar angle. The within-person variability ratio across the three measurements was calculated for each angle and across all tasks. Task-related patterns in angles were examined by comparing the same postural angle across different tasks. Results showed that there is a considerable amount of within-person variability, but not enough to be inconsistent over time. Task-related patterns indicate that reading a musical score or playing at the extreme ends of the keyboard tend to involve leaning closer to the instrument. Implications for future studies, intervention studies in particular, include taking more than a single baseline measurement to provide a more accurate picture of an individual pianist's typical posture.
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Pencheva Mincheva, Penka. "PIANO TRAINING - AN INCENTIVE FOR ACCELERATED INTELLECTUAL DEVELOPMENT." KNOWLEDGE INTERNATIONAL JOURNAL 31, no. 6 (June 5, 2019): 1827–30. http://dx.doi.org/10.35120/kij31061827p.
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Individual upward development of personality is directly related to its intellectual improvement. The ascending spiral of the development of human intellect is directed from the sensory culture a result of the impressions of reality to the brain centers, where it is processed, understood, evaluated, links, correlations, interdependencies are detected, this is a stimulus for reaction to action, after which the result is again reversed in a nervous way to assess the achievement. In this aspect, in the pianist's work is observed: Reading the musical text (unlike the notation for other instruments, in the musical score for piano are provided for simultaneously reading two staves on which text appears on two different clefs); Deciding on the application of the relevant technical skills in each hand individually, as their tasks are usually different; Synchronizing parties of the two hands until an adequate instrumental realization of the text is achieved; Making corrections where and if needed. In contrast to the performance of other musical instruments pianists perform multi voiced musical texture, which is subject to multiple rules of construction and development over time. However, this complicates many times the evaluation and realization actions of the pianist performer.
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Bragge, Peter, Andrea Bialocerkowski, and Joan McMeeken. "Understanding Playing-Related Musculoskeletal Disorders in Elite Pianists: A Grounded Theory Study." Medical Problems of Performing Artists 21, no. 2 (June 1, 2006): 71–79. http://dx.doi.org/10.21091/mppa.2006.2014.
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Objectives: Playing-related musculoskeletal disorders (PRMDs) are a recognised problem in elite (college/conservatory or professional) pianists. The aim of this study was to explore the behavioural, emotional, and physical world of the elite pianist and the interaction between this world and the experience of having a PRMD. Methods: A qualitative, grounded theory methodology was used. Oneon-one interviews were conducted with 18 elite pianists, 6 health practitioners, and 6 teachers who had had or managed PRMDs. Interview questions focused on the experience of being an elite pianist, the impact of PRMDs on piano playing and other activities, and the pianists' feelings about the effects of PRMDs. Interviews were transcribed and then analysed using grounded theory. Results: Major categories were “pressure: external,” “pressure: internal,” and “culture of silence.” The central category was “playing through pain.” Elite pianists experienced many internal and external pressures but were reluctant to declare physical problems due to a culture of silence, and they played through pain. This situation led to development or worsening of PRMDs, with physical, psychological, and global effects. Worsening symptoms or an impending examination or recital led pianists to seek treatment. Poor medical awareness of musicians' needs often resulted in suboptimal management of PRMDs. Conclusion: Open discussion of PRMD issues in elite pianists and dissemination of PRMD prevention and management information are warranted to help prevent the physical, psychological, and global effects of such disorders.
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Ferrario, Virgilio F., Chiara Macrì, Emilia Biffi, Paolo Pollice, and Chiarella Sforza. "Three-Dimensional Analysis of Hand and Finger Movements during Piano Playing." Medical Problems of Performing Artists 22, no. 1 (March 1, 2007): 18–23. http://dx.doi.org/10.21091/mppa.2007.1004.
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The movements required for piano playing usually involve low impact loads that do not exceed physiologic limits of human body, but their repetition may provoke microtrauma leading to overuse injuries. Experience may allow a pianist to modify the motor patterns used for a performance, allowing the highest accuracy with minimum effort. In the present study, hand and finger movement patterns were analyzed in 19 pianists (8 concert players, 11 students and teachers) while they played 16 measures of a minuet. The threedimensional coordinates of their right hand and fingers were obtained by a motion analyzer. Three-dimensional finger velocity was determined, unitary kinetic energy was computed, and movements were divided into useful (for sound production) and erratic (extraneous movements not used for sound production). The number of key presses for each pianist was counted, and singlefinger unitary kinetic energy computed. On average, the concert players used more total unitary kinetic energy than the students and teachers (p < 0.05, Wilcoxon test), while the useful unitary kinetic energy was similar. The number of key presses for each finger did not differ (p > 0.05, chi-squared test). The useful unitary kinetic energy per single key press differed between groups (p = 0.035, with concert players greater than students and teachers, analysis of variance) and among the five fingers (p = 0.008, with second and first fingers larger). In conclusion, the same piano exercise was performed with different movement patterns depending on the pianist’s experience. The patterns of extraneous hand and finger movements during playing could be investigated to assess their relationship to overuse injuries.
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Schultz, Tanjev. "Moralisierung und Meinungsfreiheit." UFITA 85, no. 1 (2021): 6–37. http://dx.doi.org/10.5771/2568-9185-2021-1-6.
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Ob die Meinungs- und Pressefreiheit in Gefahr ist, wird auch in liberalen Demokratien diskutiert. Dabei spielen Wahrnehmungen des Meinungsklimas eine große Rolle. In Verbindung mit Begriffen wie „Political Correctness“ und „Cancel Culture“ wird über eine Moralisierung öffentlicher Debatten geklagt. Der Aufsatz analysiert diese Diagnosen und Befürchtungen aus moraltheoretischer und kommunikationswissenschaftlicher Sicht und erörtert den Umgang journalistischer Redaktionen mit moralischer Empörung. Er unterscheidet zwischen berechtigter moralischer und unberechtigter moralistischer Kritik und systematisiert, wie die Redaktionen auf Empörung über ihre Beiträge reagieren können. Möglich sind eine Kehrtwende und damit ein Einlenken gegenüber der Kritik oder ein Kurshalten und damit ein Beharren auf dem kritisierten journalistischen Beitrag. Anhand illustrativer Fallbeispiele kommt der Aufsatz zu weiteren Differenzierungen. Dafür untersucht er die Kontroversen um eine Folge der WDR-Sendung „Die letzte Instanz“ und um ein vom WDR-Kinderchor gesungenes Kinderlied („Oma Umweltsau“), um Antisemitismus-Vorwürfe gegen einen SZ-Artikel über den Pianisten Igor Levit, einen Gastbeitrag des AfD-Politikers Alexander Gauland in der FAZ sowie um die Texte des „Welt“-Kolumnisten Don Alphonso. Der Aufsatz zeigt verschiedene Instrumente auf, mit denen die Reaktionsmuster „Kehrtwende“ oder „Kurshalten“ umgesetzt werden können und diskutiert die Implikationen für die Meinungs- und Pressefreiheit. Er argumentiert, dass Chefredaktionen nur in seltenen Ausnahmen öffentlich intervenieren und einlenken sollten und ein probateres Mittel in vielen umstrittenen Fällen die Öffnung und Fortsetzung des Diskurses wäre.
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Schultz, Tanjev. "Moralisierung und Meinungsfreiheit." UFITA 85, no. 1 (2021): 6–37. http://dx.doi.org/10.5771/2568-9185-2021-1-6.
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Ob die Meinungs- und Pressefreiheit in Gefahr ist, wird auch in liberalen Demokratien diskutiert. Dabei spielen Wahrnehmungen des Meinungsklimas eine große Rolle. In Verbindung mit Begriffen wie „Political Correctness“ und „Cancel Culture“ wird über eine Moralisierung öffentlicher Debatten geklagt. Der Aufsatz analysiert diese Diagnosen und Befürchtungen aus moraltheoretischer und kommunikationswissenschaftlicher Sicht und erörtert den Umgang journalistischer Redaktionen mit moralischer Empörung. Er unterscheidet zwischen berechtigter moralischer und unberechtigter moralistischer Kritik und systematisiert, wie die Redaktionen auf Empörung über ihre Beiträge reagieren können. Möglich sind eine Kehrtwende und damit ein Einlenken gegenüber der Kritik oder ein Kurshalten und damit ein Beharren auf dem kritisierten journalistischen Beitrag. Anhand illustrativer Fallbeispiele kommt der Aufsatz zu weiteren Differenzierungen. Dafür untersucht er die Kontroversen um eine Folge der WDR-Sendung „Die letzte Instanz“ und um ein vom WDR-Kinderchor gesungenes Kinderlied („Oma Umweltsau“), um Antisemitismus-Vorwürfe gegen einen SZ-Artikel über den Pianisten Igor Levit, einen Gastbeitrag des AfD-Politikers Alexander Gauland in der FAZ sowie um die Texte des „Welt“-Kolumnisten Don Alphonso. Der Aufsatz zeigt verschiedene Instrumente auf, mit denen die Reaktionsmuster „Kehrtwende“ oder „Kurshalten“ umgesetzt werden können und diskutiert die Implikationen für die Meinungs- und Pressefreiheit. Er argumentiert, dass Chefredaktionen nur in seltenen Ausnahmen öffentlich intervenieren und einlenken sollten und ein probateres Mittel in vielen umstrittenen Fällen die Öffnung und Fortsetzung des Diskurses wäre.
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Lee, Sang-Hie, Kenneth B. Hanks, and Joseph Schwartz. "Pianist's Rehabilitation: Three Cases." Medical Problems of Performing Artists 20, no. 1 (March 1, 2005): 35–39. http://dx.doi.org/10.21091/mppa.2005.1006.
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Three pianists, each with academic and performing credentials, shared their experiences of physical problems, treatment, and rehabilitation. Preparing for solo performance puts an inordinate demand on mental and physical functioning and family life for the pianist in academia. Pianists, who must demonstrate technical and artistic prowess while teaching heavy loads, can easily overuse their piano-playing mechanisms by playing difficult works without proper conditioning and necessary rest. This can result in gradual or sudden bodily pain and incapacitation. Minor pains and injuries of the pianists profiled here were overcome by applying proper piano techniques. More serious injuries needed medical attention, alternative therapies, and combined management programs. With good health care and proper technical approach all three pianists resumed active performing life.
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Чжэн, Цзинюань. "The performance features of Ying Chengzong by the example of the interpretation of the First Piano Concertoin E Minor by F. Chopin." Вестник Адыгейского государственного университета, серия «Филология и искусствоведение», no. 3(302) (January 24, 2023): 180–89. http://dx.doi.org/10.53598/2410-3489-2022-3-302-180-189.
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Рассматривается вопрос исполнительского стиля выдающегося китайского пианиста и композитора Инь Чэнцзуна. В работе через анализ интерпретации музыки Ф. Шопена раскрываются его характерные признаки известного музыканта. Выбор данного композитора для анализа продиктован широкой мировой известностью его фортепианных опусов и самобытными исполнительскими особенностями стиля игры Инь Чэнцзуна. Это позволяет проводить сравнения с другими выдающимися пианистами с позиции исполнительской манеры игры китайского музыканта, особенностей голосоведения, фразировки, виртуозных качеств и т.п. Кроме того, можно сделать соответствующие выводы, которые касаются исполнительской стилистики китайского пианиста и его значения в общемировом фортепианном исполнительском искусстве современности The paper examines the issue of the performing style of the outstanding Chinese pianist and composer Ying Chengzong. In the work, through the analysis of the interpretation of music by F. Chopin, the author reveals the characteristic features of the performing style of the famous musician. The choice of this composer for analysis is related to the wide world fame of his piano opuses and the distinctive performing features of Yin Chengzong's playing style. The author makes comparisons between Yin Chengzong and other outstanding pianists from the position of the performing manner of playing, the peculiarities of voice, phrasing, masterly qualities, etc. In addition, appropriate conclusions are drawn that relate to the Chinese pianist's performing style and its significance in the worldwide piano performing art of modernity
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Ellis, Katharine. "Female Pianists and Their Male Critics in Nineteenth-Century Paris." Journal of the American Musicological Society 50, no. 2-3 (1997): 353–85. http://dx.doi.org/10.2307/831838.
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The sudden appearance of several female concert pianists in Paris in the mid 1840s forced male journalists to develop new critical rhetorics. Criticism of the period became saturated with problematic notions of gender, the use of the body, and levels of acting in performance. Because they were interpreters rather than composers, women pianists challenged traditional ideas about the meaning of pianistic virtuosity and were central to the enlargement of the concert repertory. In comparison with male colleagues, however, they were disadvantaged, caught in a web of conflicting ideas concerning the relative value of particular keyboard repertories that were themselves gendered.
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Marques, André Repizo. "Entrevista com Sônia Rubinsky." Revista Música 20, no. 1 (July 6, 2020): 501–16. http://dx.doi.org/10.11606/rm.v20i1.169755.
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Entrevista realizada com a pianista brasileira Sônia Rubinsky. A presente entrevista contribuiu imensamente para a pesquisa acadêmica de mestrado (concluída dia 26 de junho de 2017) do entrevistador, que tem por propósito investigar a diversidade de interpretações da obra de Ernesto Nazareth, cuja performance tem sido realizada tanto por pianistas eruditos como por rodas de choro.
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Garrett, Margo. "The (Collaborative Pianist’s) Art of Pedaling, Part I." Journal of Singing 79, no. 1 (August 22, 2022): 105–9. http://dx.doi.org/10.53830/pbat3580.
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The (Collaborative Pianist’s) Art of Pedaling: general information about the piano’s three pedals and their possibilities, particularly for the performing collaborative pianist. Instructions and ideas for use of the sostenuto pedal describes technique also. Includes an exercise for getting to know a piano quickly and well via its damper pedal.
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Manning, Fiona C., Anna Siminoski, and Michael Schutz. "Exploring the Effects of Effectors." Music Perception 37, no. 3 (February 1, 2020): 196–207. http://dx.doi.org/10.1525/mp.2020.37.3.196.
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We explore the effects of trained musical movements on sensorimotor interactions in order to clarify the interpretation of previously observed expertise differences. Pianists and non-pianists listened to an auditory sequence and identified whether the final event occurred in time with the sequence. In half the trials participants listened without moving, and in half they synchronized keystrokes while listening. Pianists and non-pianists were better able to identify the timing of the final tone after synchronizing keystrokes compared to listening only. Curiously, this effect of movement did not differ between pianists and non-pianists despite substantial training differences with respect to finger movements. We also found few group differences in the ability to align keystrokes with events in the auditory sequence; however, movements were less variable (lower coefficient of variation) in pianists compared to non-pianists. Consistent with the idea that the benefits of synchronization on rhythm perception are constrained by motor effector kinematics, this work helps clarify previous findings in this paradigm. We discuss these outcomes in light of training and the kinematics involved in pianist keystrokes compared to musicians synchronizing movements in other studies. We also overview how these differences across motor effector synchronization and training must be accounted for in models of perception and action.
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Wagner, Carolyn. "The Piano." Phenomenology & Practice 11, no. 2 (December 11, 2017): 51–54. http://dx.doi.org/10.29173/pandpr29349.
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A pianist experiences the thingness of the piano as an extension of the body. Although contact occurs only through the player’s extremities, the piano invites the use of the whole body to transmit emotion, transport the player into the body and mind of a composer, and transform the pianist’s ability to hear.
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Murray, J. William, and Fausto Borém. "O Jazz de Bill Evans: formação, influências, obras e estilo composicional." Per Musi, no. 28 (December 2013): 21–34. http://dx.doi.org/10.1590/s1517-75992013000200004.
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Estudo estilístico sobre a música do compositor e pianista norte-americano Bill Evans. Inclui um contexto sobre os pianistas, compositores (eruditos e populares) e o teórico do jazz George Russell, que marcaram sua formação musical. A análise de 19 obras selecionadas de Bill Evans revela características estilísticas relacionadas ao estilo/andamento, métrica, tonalidade, forma, duração, ritmo harmônico, linguagem harmônica e outros detalhes relevantes.
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Park, So-Hyun, Sun-Young Ihm, Aziz Nasridinov, and Young-Ho Park. "A Feasibility Test on Preventing PRMDs Based on Deep Learning." Proceedings of the AAAI Conference on Artificial Intelligence 33 (July 17, 2019): 10005–6. http://dx.doi.org/10.1609/aaai.v33i01.330110005.
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This study proposes a method to reduce the playing-related musculoskeletal disorders (PRMDs) that often occur among pianists. Specifically, we propose a feasibility test that evaluates several state-of-the-art deep learning algorithms to prevent injuries of pianist. For this, we propose (1) a C3P dataset including various piano playing postures and show (2) the application of four learning algorithms, which demonstrated their superiority in video classification, to the proposed C3P datasets. To our knowledge, this is the first study that attempted to apply the deep learning paradigm to reduce the PRMDs in pianist. The experimental results demonstrated that the classification accuracy is 80% on average, indicating that the proposed hypothesis about the effectiveness of the deep learning algorithms to prevent injuries of pianist is true.
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Naie, Lăcrămioara. "4. The Enescian Pianistic Notes and Commentaries (2st part)." Review of Artistic Education 19, no. 1 (April 1, 2020): 21–28. http://dx.doi.org/10.2478/rae-2020-0004.
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AbstractGeorge Enesco was a remarkable composer, conductor, teacher, violinist and pianist. He is one of the few “chosen” ones who lived under the emblem of the idea of BEAUTIFUL in its multiple images: by art, in the name of art and under the sign of art. Being in the circuit of authentic spiritual values, his entire pianistic creation is delicate, subtle, refined and elegant but extremely difficult as an artistic technique and expression; it calls for the intelligence accordingly, a lot of common sense, potential of much spiritual unrest, very much scenic experience, by determining the interpreters to very special refinement and expressive elevation, in addition to a worked touché trained in the art of the pianistic expression.
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Rumiantseva, A. Yu. "Lucas Debargue’s performing interpretation as a new horizon for understanding the artistic space of N. Medtner’s Sonata fmoll, op. 5." Culture of Ukraine, no. 75 (March 21, 2022): 103–8. http://dx.doi.org/10.31516/2410-5325.075.13.
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The relevance. The development of piano performance is the result of the interaction of two alternatives — tradition and innovation. Innovations emerge and are affirmed, overcoming the conservative resistance of traditional performance stamps. Each new stage of this evolutionary process is marked by the appearance on the musical horizon of bright names of pianists, who, stunning the audience with their unexpected performance decisions, break established traditions and form new landmarks for performing and perceiving musical works. In the modern space of world piano performance, such a unique musician is the French pianist Luc Debarg. In his extraordinary interpretations, the pianist convincingly demonstrates the new organics of performance and reflects the latest pianistic trends, which deserves special attention and determines the relevance of the study.
The purpose of the article consists in realizing the performing conception of Lucas Debargue regarding the N. Medtner’s Sonata f-moll, op. 5 through identification of performing stylistics features of the French pianist.
The topicality of the article. The research material was: the musical text of the Sonata f-moll, op. 5 M. Medtner; videorecording of the performance of the Sonata by Luc Debargue and Boris Berezovsky.
The methodology. The study used a historical approach, the method of comparative analysis, musicological and performing analysis
The result. In musical performance and musicology, N. Medtner’s Sonata f-moll, Op. 5 is grasped as retrospective in the nature of imagery. It is characterized usually by a deep but restrained melancholy, nobility, perfection of form, density and graphic texture, lack of colorism.
Lucas Debargue sees the Sonata as a symbol of cultural memory. The texture becomes transparent and differentiated, each of the texture layers seems to be visually filled with color and acquires semantic meaning. Comparing textured layers during performance forms an idea of “traveling” through different time spaces. Strengthening the texture and semantic allusions of M. Medtner’s text, L. Debargue, using well-established, historically characteristic types of articulation, corresponds to the style of J. S. Bach, D. Scarlatti, R. Schumann, F. Chopin, S. Rachmaninoff, A. Scriabin.
Through a carefully constructed system of interaction between microagogics, microdynamics, and texture density, the pianist forms a through image — memories that are revived by the memory but do not lose their brightness.
So, the leading principle of L. Debargue’s performing style is the modernization of texts of past eras. The pianist offers a post-romantic concept of reading N. Medtner’s Sonata, which actualizes the polylogue of musical and historical eras.
The scientific novelty. For the first time in musicology, the features of L. Debargue’s performing style are studied.
The practical significance. The results of the work can be applied in the training courses «Piano», «History of piano performance», in further scientific researches.
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Răducanu, Cristina. "A Subjective Approach of the Performance of Edvard Grieg’s Piano Concerto in A minor, Op. 16." Artes. Journal of Musicology 23, no. 1 (April 1, 2021): 207–23. http://dx.doi.org/10.2478/ajm-2021-0012.
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Abstract Starting from a stylistic analysis based on musical language elements, this study offers a personal standpoint with respect to the interpretation and performance of Edvard Grieg’s Piano Concerto in A minor, op. 16. The author accounts for all the technical and interpretive observations starting from a structural analysis of the opus. The reflections on various melodic, harmonic, rhythmic, dynamic or agogic characteristics come to reinforce the rationale for the subjective choices of how to perform this piece. The article is not by far an exhaustive study on the topic; it merely offers a personal viewpoint and understanding of this Concerto based on several musical excerpts that have been deemed particularly relevant by the author, who is a pianist as well as a piano teacher. Given that the literature on the stylistic and performative analysis of major piano repertoire is sadly scarce, the author wishes to provide pianists and researchers alike with a paper that may serve them in their artistic or academic enquiries. As this Concerto is very well-known and enthusiastically approached by most pianists due to its beautiful, impressive themes and brilliant virtuosic passages, the author has considered it opportune to present her own point of view as a performing pianist for other pianists who may be strictly interested in various versions to resolve technical-performative issues or, perhaps, who may wish to merely contemplate this opus from a different angle.
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Kulish, Mariya. "Arrangement and transcriptions in creations by Alexander Siloty at the mention of traditions for musical and redactional practice at the end of XIXth – the first part of the XXth centuries." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 190–95. http://dx.doi.org/10.32461/2226-2180.39.2021.238718.
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Purpose of the article. Consists of research of redactional heritage by Alexander Siloty at the border of the XIXth-XXth centuries and analysis of his arrangement and transcriptions. The methodology consists of using resources-studying, comparative methods, and also method of systematization and generalization. The resources-studying method was used for analyzing previous resources and working with the full edition of redactions by Alexander Siloty. A comparative method was necessary during the comparison of the first piece`s resource and its transcription. Method of systematization and generalization consists of generalization for processed material and summarizing of this exploring. This mythological approach allows the analysis of details previsions information at the thymes of arranging and transcriptions by Alexander Siloty. The scientific novelty of the article consists of an introduction to scientific circulation redactions by Alexander Siloty, which are not explored at this moment, and also in locating of the creating by Alexander Siloty arrangements and transcriptions for piano pieces for orchestral and vocal genres. Сonclusions. Arrangements and transcriptions by Alexander Siloty absorbed in itself basis points of edition`s working by representatives of the previous generation, as C. Cherny and F. Busoni. But pedagogical and performable functions in Alexander Siloty`s redactions were actually balanced, in the same moment when pieces by previous representatives were calculated for the most part only for professional pianists. Identifying during exploration this approach in the way of editions` deleting on amplifications and reductions, did conclusions, that they had full right to take place in the repertoire of the modern pianists and in the pedagogical base of professional piano teachers. Modern pianist sets a goal of the technical problem`s solving and maximally exactly represent of score`s text, and left interpretative goals on the second side. On the other hand, redactions by Alexander Siloty weren`t focused attention on the only pianistic tricks. The general goal of it becomes the individual mind through the personality of the single performer.
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Altizer, Katherine. "“Is it gonna be fun?”: Lolabelle, Dog Pianists, and Musical Réussite." Society & Animals 29, no. 7 (December 23, 2021): 716–32. http://dx.doi.org/10.1163/15685306-bja10055.
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Abstract This article examines historical dog pianists and the pianistic training of Lolabelle the rat terrier to explore a musical question beyond structure and intention: what might musical encounters between human and nonhuman animals make possible? Reviewers of Laurie Anderson’s film Heart of a Dog, in which some of Lolabelle’s performances appear, rarely center either Lolabelle or her pianism and frequently distance themselves from indicating belief in the musicality of the activity. The tone of this reporting is consistent with that of other Western reporting on dog pianists in the nineteenth and twentieth centuries. While piano-playing dogs have historically strengthened the human-animal divide by reinforcing dogs’ status as never-human, the frames for anthropomorphic acts are what strengthen this divide rather than something inherent in the anthropomorphic activity itself.
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Liu, Peng. "Constructing a Versatile Virtuoso Persona." Journal of Musicology 40, no. 1 (January 1, 2023): 73–102. http://dx.doi.org/10.1525/jm.2023.40.1.73.
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German pianist Anna Caroline de Belleville was one of the foremost virtuoso pianists in the 1820s and 1830s, deemed the “Chamber Virtuoso of Her Royal Highness” by Princess Louise of Prussia and “Queen of the Piano” by Paganini. Although a few modern biographical accounts provide an overview of her life and career, there has been no critical examination of her virtuosity within the context of early nineteenth-century performance culture. Drawing on periodicals, magazines, correspondence, memoirs, and contemporary writings, this article reconstructs Belleville’s early career and illustrates her significance by examining her strategic programming, pianism, and reception. I argue that Belleville’s reorientation of her public concert repertory in the mid-1830s, particularly her incorporation of works considered “classical” or “serious,” enabled her to mediate the conflicting musical tastes of her critics and audiences, and to reinvent herself as a pianist renowned not for a bravura style but for a versatile, eclectic virtuosity centering on the faithful interpretation of “serious” works. This course of action marked Belleville as a significant forerunner to the interpreter-performer pianists who came to dominate the virtuoso scene from the mid-nineteenth century onward.
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Shaymukhametova, Liudmila N. "The Pianist-Producer. Interpretation and Transcription in the Work with Beginning Pianists." ICONI, no. 3 (2019): 77–89. http://dx.doi.org/10.33779/2658-4824.2019.3.077-089.
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One of the main criteria of professional performance by the musician of compositions established in the repertoire is considered to be a concise interpretation of the musical text with rendering all the markings made by the editor and the composer. A steadfast tradition has been created of application in pedagogical practice of interpretation by other musicians and an authoritarian approach to learning. However, if such demands are to be considered to be admissible, they cannot be applied to all the styles and genres. The pianist’s interaction with the musical text has been historically determined by two forms which have evolved in the practice of music-making itself. For example, in Baroque music the ensemble form of music-making, which predominated in it, presumed a variant-type unfolding of the keyboard musical text in various performance versions and ensembles. The Baroque tradition is distinct for its active transformation of the musical material and its improvisatory manner in the work with the primary musical source, and it presumes an active incorporation of transcriptions, adaptations, elaborations, arrangements and variations on the original musical text. The second form, which is the soloist variety, regulated by the composer’s precise notation, is designed for interpretation of the music and its performance in concerts. It is particularly the second type, characteristic for the later Classical-Romantic tradition, which is used in teaching, hence the rules of interaction with the musical text are transferred by pedagogues to the other type of musical text, namely, the Baroque variety, as well. The primary musical source contains numerous possibilities for the variant-type replication and creation of performance scenarios both in the ensemble and solo forms. By applying both forms of performing music, transcription and interpretation, the pedagogue would enhance the revival of the traditions of a creative attitude towards the musical text. The article shows examples of work with beginning pianists in a problem-based situation which may be called the role game of “Pianist- Producer.”
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Oliveira, Luísa Camargo Mitre de. "O O piano no grupo de choro." Música Popular em Revista 6, no. 1 (August 29, 2019): 8–30. http://dx.doi.org/10.20396/muspop.v6i1.13147.
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Este artigo propõe um estudo de aspectos da prática do Choro ao piano, abordando questões idiomáticas do instrumento e enfocando principalmente contextos coletivos de performance dessa música, onde as principais funções de melodia e sustentação rítmico-harmônica do grupo sejam desenvolvidas por outros instrumentos. Dessa forma, o estudo apresenta recursos e elementos em que o pianista possa abordar numa performance junto a grupos de Choro de formações instrumentais variadas. Como material principal, foram analisadas performances, registradas em áudio (CDs) e vídeos, de dois pianistas importantes do cenário atual do choro: Cristóvão Bastos e Laércio de Freitas. Como ferramenta de auxílio na visualização e interpretação desses elementos, foi utilizado o processo de transcrição (considerado, no presente trabalho, como o registro de sons musicais através da notação musical tradicional), apresentadas juntamente com os áudios dos exemplos escolhidos. Foram utilizados também trechos de entrevistas feitas com pianistas abordados no artigo.
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Gorobets, Svetlana V. "Alexander Ziloti, A Portrait." Observatory of Culture, no. 2 (April 28, 2015): 78–83. http://dx.doi.org/10.25281/2072-3156-2015-0-2-78-83.
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Is dedicated to the outstanding Russian pianist, conductor, teacher Alexander Ziloti who was also a public person. The author addresses his life and works while the special attention is given to the period of his personality formation. The international recognition of his pianistic uniqueness and a contribution to the dissemination of Russian music abroad are highlighted. The St. Petersburg period of Ziloti’s life, organisation of the “Alexander Ziloti’s Concerts” enterprise, and his life in America are studied in detail.
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ȘUTEU, Claudia-Ligia. "The collaborative pianist – Skills and excellence." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 14(63), Special Issue (January 27, 2022): 177–82. http://dx.doi.org/10.31926/but.pa.2021.14.63.3.17.
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This article aims to conduct a study on the skills of the collaborative pianist. His role changed during centuries, in terms of requirements and deeply understanding of the repertoire. He became equal to the soloist, especially after 1770, with the arrival of the fortepiano. The keyboard’s importance has increased in the Classical period. Aspects of technique and interpretation highlighted the capacity of a performer. This study refers to the accompanist as a complex figure, with functional pianistic skills, being able to differentiate types of accompaniments, the attributes of different musical eras and sight-reading capabilities. The analysis plays a very important role in the development of the collaborative pianist. For guiding the musical interpretation of a piece, aspects regarding style, musical form and character of the chosen repertoire lead to a deeply analysis and continuous learning in the accompanist career. Excellence in performance, especially when it comes to an ensemble, can be obtain through a list of steps, starting with solving the technical problems, analysis and understanding the meaning of music, the collaborative pianist being the complete musician.
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Chernyavska, M. S. "The instructive repertoire in the programs of students of the Department of Special Piano of the Kharkiv I. P. Kotlyarevsky National University of Arts." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 297–308. http://dx.doi.org/10.34064/khnum1-57.19.
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Background. The article discusses the experience of the teaching staff of the Department of Special Piano of the Kharkiv I. P. Kotlyarevsky National University of Arts. One of the innovations of the department was the use of instructive piano repertoire in the educational process for better development of piano skills among students. It has been proved that the acquisition of a technical base as a necessary basis for piano mastery is impossible without the systematic use of instructive etudes – relatively small instrumental pieces with a specific technical purpose. The correct choice of the complexity of the lessons, their compliance with the student’s level of development is a determining factor in the successful development of a pianist. Thus, an instructive piano repertoire is very useful not only at the initial stage of the pedagogical process, but is also extremely necessary at the subsequent stages of the professional pianistic education of a young musician. Objectives. The purpose of the article is to justify the need to use a number of instructive etudes for piano in junior undergraduate musical challenges, to draw the attention of students and teachers to their wider development and use in educational and concert practice. Methods. The methodology of the article is based on the totality of scientific approaches necessary to uncover problem, combining the principle of musical-theoretical, performing analysis as well as methodical and pedagogical observations. Conclusions. Statement of the main material. For the formation of the pianistic apparatus, the pupil, and then the student, needs etudes, thanks to which you need to develop strength, evenness, independence and fluency of the fingers. But the process must be complicated gradually: it is impossible to move on to mastering a more complex task, if it is simpler, it remains unresolved. It should be noted that the division of etudes into instructive and characteristic, as well as characteristic – concert and artistic is very conditional and, first of all, is determined by the level of composer skill of their authors. For the performer, any, even the simplest musical construction, should be played expressively, understood intonationally, and built dramatically. Therefore, even in the simplest and easiest etudes, novice pianists need to be tuned to the fact that this composition is highly artistic and attitude to its should be appropriate. In the subsequent educational process of mastering pianism, an accurate algorithm should be built up that allows using the huge arsenal of piano etudes to properly develop the student, to give him the opportunity to form the perfect pianistic apparatus, while instilling not only appropriate motion, but also auditory professional skills. For the formation of the piano apparatus and many auditory skills, not only schoolchildren but also students need to develop strength, equality, independence and speed of the fingers. This role should be performed by instructive and characteristic sketches. It is noted that one of the substantive dominants of the etude genre is the formularity of the musical language, the game moment, the implementation of which allows one to overcome a technical problem, which forms the basis of pianism both in motor skills and intonation. Results. The importance of the correct choice of etudes during the entire process of training a pianist is proved. Unfortunately, we often observe how the unhealthy ambitions of a teacher negatively affect students. It is necessary to adequately assess the level of capabilities of the young performer, and most importantly, with the help of correctly selected sketches, step by step, professionally develop his motor and auditory skills. In no case should students be given complex artistic etudes if their pianistic apparatus is not yet fully formed! For this purpose, the decision was made at the special piano department of the Kharkiv I. P. Kotlyarevsky National University of Arts: to pass instructive etudes of a high degree of complexity in junior undergraduate courses without fail.
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Arthur, Matthew, Sang-Hie Lee, Brenda Wristen, Gail Berenson, and Kathleen Riley. "Piano Technique." Medical Problems of Performing Artists 28, no. 2 (June 1, 2013): 115–16. http://dx.doi.org/10.21091/mppa.2013.2022.
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I am an amateur pianist enquiring into improving piano technique but feeling slightly disillusioned by the lack of attention given to technique in the field of piano teaching. And whilst, however, there are many books out there written by great pianists that seem to combine logic, empirical knowledge, and scientific knowledge in a very convincing manner, their assertions are void of being subject to strict scientific investigation and therefore, in my opinion, cannot be treated too seriously. [with Replies]
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Sumelius-Lindblom, Eveliina. "The Pianist’s Perception as a Working and Research Method: Encountering Intertextual and Phenomenological Approaches in Piano Playing." Art/Research International: A Transdisciplinary Journal 4, no. 1 (February 27, 2019): 83–105. http://dx.doi.org/10.18432/ari29397.
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The approach to my research topic “French Modernism in the 1920s” is to observe and analyze the methods I use as a pianist in dealing with multilayered artistic questions related to the French neoclassical repertoire, in particular, questions of intertextuality. Divergent performer-based approaches are needed because the musical aesthetics of this repertoire crucially deviates from German and earlier French traditions, and in musicological contexts, their intellectually challenging aesthetic purposes are somewhat misunderstood. My research aims are condensed into a single question: “What are the main characteristics of the pianist’s way of perceiving music in the context of French neoclassical piano music and its intertextuality.” This question formulates a thought experiment in which the aim is to observe the inherently analytical properties of piano playing, which I have named “the pianist’s perception,” based on Maurice Merleau-Ponty’s theories in Phenomenology of Perception (1945/2014).
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Lysenko, Yanina, Dariia Korotenko, Tetyana Martynyuk, Olena Tkachenko, and Eleonora Vlasenko. "Interdisciplinary communication in pianists’ education: experience from M. Hlinka Dnipropetrovsk academy of music." Linguistics and Culture Review 5, S2 (August 1, 2021): 514–21. http://dx.doi.org/10.21744/lingcure.v5ns2.1387.
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In modern social conditions, the demand of formation of a new generation of teachers is raising. The problem of interdisciplinary communication in the field of musical-pedagogical preparation of specialists is of particular interest since new organizational and methodological forms, theoretical and practical research are not used enough in the educational process. The authors conducted a study on the issues of professional and conceptual foundations of pianists’ education on the example of M. Hlinka Dnipropetrovsk Academy of Music. The concept of interdisciplinary communication was defined. Vocational and pedagogical skills and pianist skills that are formed due to the interconnection of the disciplines of the historical-pedagogical cycle were characterized. The tasks that contribute to ensuring the effectiveness of the results of pianists’ educational process in M. Hlinka Dnipropetrovsk Academy of Music were identified and main pedagogical principles were outlined.
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Chychkanov, Ihor. "The creative personality of Grigory Sokolov in the piano art of the XX–XXI centuries." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (March 26, 2021): 171–84. http://dx.doi.org/10.34064/khnum1-59.12.
Full textAbstract:
Problem statement. Piano art of the XX–XXI centuries is extremely colorful and, perhaps, provocative phenomenon, whose uniqueness is determined primarily by the coexistence of numerous creative principles and individual preferences. This determines the constant relevance of questions of the interpretation of performance and identification of factors influencing the formation of the performance concept of a musical piece. The system of causation, which is the basis for the interpretation of a particular piece of music toughts such factors as school, nationality, era, style, personality of the artist and even the condition of the instrument, the acoustics of the hall, etc. All these parameters affect the formation of individual performance style. Several aspects of the formation of the pianist’s style are analyzed: the development of personality and character, the piano school, the attitude to musical text, the inclination towards some composers and styles. Objectives. The purpose of this article is to determine the parameters that influenced the formation and development of individual performance style of G. Sokolov. Theoretical background. In this article, we rely on scholar sources, the subject of which are the main categories of performing musicology, especially a category of musical style. The concept of style has been substantially developed by many scholars who have proposed authorial definitions. In this paper we will rely on what was proposed by S. Skrebkov: “Style in music, as in all other arts, is the highest kind of artistic unity”. (Skrebkov, 1973: 10) This understanding of style as a certain integrity, in our opinion, correlates with the point of view of domestic scientist V. Moskalenko (1998, 2012), who emphasizes that the specificity of the musician’s musical thinking determines the uniqueness of his musical language, which, among other things, is the key to its cognition. Thus, the methodological basis of this study is the concept of the style in music by S. Skrebkov (1973), V. Moskalenko (1998, 2012), M. Lobanova (1990). Results for discussion. G. Sokolov is a rather closed person, he has not given interviews for years, he is increasingly concentrating exclusively on his solo career, practically giving up performing with the orchestra. Moreover, this is not a sign of late style, or a certain consequence of personality development, the pianist’s classmates claim that he was like that all his life. So, the only way to determine what influenced the formation and development of individual performance style of G. Sokolov is detailed comparative analysis of the stages of his formation as a musician. In our opinion, later, this closeness, some emotional detachment of G. Sokolov, not only influenced the basic parameters of his individual performance style, but also allowed the pianist to avoid the problems associated with overstrain. We also emphasize that the pianist is characterized by attention to details. G. Sokolov since childhood was interested in butterflies, transport and air routes, rational planning of routes and flights, he was a perfectionist in everything. Let us also mention his child’s passion for conducting, which began his acquaintance with music. It is known that sometimes the repertoire chosen to participate in the competition reveals some secrets of the pianist’s stylistic preferences, but in the case of G. Sokolov it did not happen. The pianist can be called universal. His repertoire includes works of different styles, due to the tendency to present a variety of compositional sound concepts of the world, which is the uniqueness and significance of the art of music. In this regard, the pianist himself says the following: “I think in the art of all who interest us, unites their dissimilarity” (from interview, Sokolov, 2016). Over the years, G. Sokolov increasingly gravitated to miniature forms. Trying to move away from pathetic and epic works, pianist, obviously, prefers the aesthetic dimension of the phenomenon of piano playing. Such a subtle understanding of music characterizes him more as a philosopher than a virtuoso. In a sense, he can be called an artisan, because he just does his job well, it is also an art. It is necessary to disassemble the structure of the work, find a balance, take into account the peculiarities of the sound of the instrument at the time of writing, the style of the author and many other small (but very important) aspects. This jewelry work shows the true style. Conclusions. So, can we call G. Sokolov a pianistic phenomenon? Positive answer can be fortified with factors such as isolation, alienation from many modern trends in culture, while retaining the ability to perform repertoire of completely different styles. For him, the art of music is a very intimate, thoughtful process of understanding meaningful content of each sound. Taking as a basis the thesis of S. Skrebkov that style is the highest form of artistic unity, we can say that G. Sokolov’s style is holistic, convincing and has an impact on modern performing arts precisely because of its uniqueness.
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Zubai, Yu M. "The phenomenon of pianist-composer in Ukrainian musical culture." Culture of Ukraine, no. 76 (June 29, 2022): 111–19. http://dx.doi.org/10.31516/2410-5325.076.12.
Full textAbstract:
The phenomenon of pianist-composer in Ukrainian musical culture, considered in retrospect, is studied. Its consideration allows to fully understand the place and role of creative and instrumental performance of Ukrainian artists both in the history of musical culture of Ukraine and in terms of the development of musical culture in Europe.
The purpose of the article. To make a systematic review of the phenomenon of pianist-composer in Ukrainian musical culture, in the XIX-XXI centuries, in terms of the contribution of Ukrainian musicians into the development of both the art of composition and performance (instrument — piano).
The methodology. Interdisciplinary approach has been applied, within which there is an appeal to cultural, art, psychological, historical, etc., scientific principles; we used activity-structural method in the direction of research of creative personality (pianist-composer), method of cultural-historical analysis (activity and historical significance of creativity of pianist-composer in Ukrainian musical culture); applied intonation, genre-style and text-interpretation methods that contribute to the adequate assessment of the results of the creative process in the field of composition and performance; methods of biography and source studies used in the historical research aspect of assessing the importance of the personality of Ukrainian pianists-composers.
The results. A retrospective review of the work and instrumental and performance activities (piano) of Ukrainian pianists-composers in terms of their importance for Ukrainian musical culture and for world, European musical activity.
The scientific novelty. For the first time we made an attempt of a systematic diachronic analysis of the meaning of compositional and instrumental-performance activities (piano) of Ukrainian artists of the XIX–XXI centuries in terms of formation and further development of the domestic piano school with the simultaneous influence of the compositional activities of these individuals on the musical culture of Ukraine and the world.
The practical significance. Systematized presentation of historical and cultural, musicological, etc., characteristics of the phenomenon of pianist-composer in Ukrainian musical culture, allows to apply its results in teaching at the level of specialized music institutions, in the segment of development of educational materials on this topic, to promote Ukrainian piano schools and compositional works of outstanding domestic artists, also in the direction of determining the projective trends in the development of domestic compositional and performing (piano) musical activities.
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Wristen, B. G., M. C. Jung, A. K. G. Wismer, and M. S. Hallbeck. "Assessment of Muscle Activity and Joint Angles in Small-Handed Pianists: A Pilot Study on the 7/8-Sized Keyboard versus the Full-Sized Keyboard." Medical Problems of Performing Artists 21, no. 1 (March 1, 2006): 3–9. http://dx.doi.org/10.21091/mppa.2006.1002.
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This pilot study examined whether the use of a 7/8 keyboard contributed to the physical ease of small-handed pianists as compared with the conventional piano keyboard. A secondary research question focused on the progression of physical ease in pianists making the transition from one keyboard to the other. For the purposes of this study, a hand span of 8 inches or less was used to define a “small-handed” pianist. The goal was to measure muscle loading and hand span during performance of a specified musical excerpt. For data collection, each of the two participants was connected to an 8-channel electromyography system via surface electrodes, which were attached to the upper back/shoulder, parts of the hand and arm, and masseter muscle of the jaw. Subjects also were fitted with electrogoniometers to capture how the span from the first metacarpophalangeal (MCP) joint to the fifth MCP joint moves according to performance demands, as well as wrist flexion and extension and radial and ulnar deviation. We found that small-handed pianists preferred the smaller keyboard and were able to transition between it and the conventional keyboard. The maximal angle of hand span while playing a difficult piece was about 5º smaller radially and 10º smaller ulnarly for the 7/8 keyboard, leading to perceived ease and better performance as rated by the pianists.
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Tudor, Brîndușa. "10. Famous Pianists Perform Beethoven 32 Variations on an Original Theme in C Minor According to the Pianists Daniel Barenboim and Evgeny Kissin." Review of Artistic Education 21, no. 1 (June 1, 2021): 78–84. http://dx.doi.org/10.2478/rae-2021-0010.
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Abstract Year 2020 constitutes an incredibly significant landmark in the classical music history as it is the year celebrating 250 years since the composer Ludwig van Beethoven was born. The “32 Variations on an Original Theme in C minor” are deemed to be some of the most brilliant pianistic works marking the second period of Beethoven creation. The interpretative visions of Daniel Barenboim and Evgeny Kissin are equally interesting, the two great pianists putting their personality, sensitivity, and culture mark. All these elements confer upon the piece “32 Variations on an Original Theme in C minor” particular expressive valences highlighting Beethoven’s creative genius.
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Duke, Robert A., Amy L. Simmons, and Carla Davis Cash. "It's Not How Much; It's How." Journal of Research in Music Education 56, no. 4 (January 2009): 310–21. http://dx.doi.org/10.1177/0022429408328851.
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We observed 17 graduate and advanced-undergraduate piano majors practicing a difficult, three-measure keyboard passage from a Shostakovich concerto. Participants' instructions were to practice until they were confident they could play the passage accurately at a prescribed tempo in a retention test session the following day. We analyzed the practice behaviors of each pianist in terms of numeric and nonnumeric descriptors and ranked the pianists according to the overall performance quality of their retention tests. Results indicated no significant relationship between the rankings of pianists' retention test performances and any of the following variables: practice time, number of total practice trials, and number of complete practice trials. There were significant relationships between retention test rankings and the percentage of all performance trials that were performed correctly, r = —.51, the percentage of complete performance trials that were performed correctly, r = —.71, and the number of trials performed incorrectly during practice, r = .48. The results showed that the strategies employed during practice were more determinative of performance quality at retention than was how much or how long the pianists practiced, a finding consistent with the results of related research.
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Yelyzaveta, Chorna. "G. Cziffra in Beethovenian context of the twentieth century." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 61, no. 61 (December 31, 2021): 98–110. http://dx.doi.org/10.34064/khnum1-61.05.
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The celebration of L.VanBeethoven’s 250th anniversary stimulated an already sustained interest in his creative heritage. Musicological thought has not stayed away from the figure of the outstanding Viennese classicist. Therefore, the question of the interpretation of his works again becomes relevant in this context. The name of György Cziffra, the famous twentieth-century Hungarian pianist, is closely linked in the history of European pianism with the element of virtuosity, at first, with F. List’s music presentation. The difference opinions about Cziffra’s interpretations of other composers and Beethoven among them, as well as unexplored peculiarities of the pianist’s interpretation of Beethoven’s music actualize the choice of our theme and determine the scientific novelty of the research results. The purpose of the article is to reveal the parameters of G. Cziffra’s individual performing style in historical context of the twentieth-century Beethovenian. For the first time in Ukrainian musicology, the creative principles of the Hungarian pianist as an interpreter of Beethoven’s works on the example of the composer’s “32 Variations” in C minor are analyzed; some parallels between the performance principles of Hungarian master and the composer himself are outlined. The methods of a stylistic analysis in projection to the performance art, as well as on a comparative approach, which allows to reveal the uniqueness of Cziffra’s interpretation of Beethoven’s music text, were applied. Analyzing the Hungarian pianist’s performance of the “32Variations” cycle, we heard a new interpretation of Beethoven’s ‘heroic’ character, but we did not observe any emphasis on virtuosity for the sake of itself, but rather a musical intellectuality took place. It is the subtle nuances, strokes, tempo, character and the rich palette of articulations that determine the Hungarian pianist’s performance style. Summarizing, we can observe, on the one hand, Cziffra’s own ‘romantic’ individualized interpretation of Beethoven’s music in the 20th century, and, on the other hand, some parallels, although less evident, with the specific features of Beethoven’s own performance style.