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Journal articles on the topic 'Pianists'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

Lin, Ma. "Individual Performance Style of the Pianist in the Context of E. Erikson's "Identity" Theory." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(56-57) (December 26, 2022): 139–52. http://dx.doi.org/10.31318/2414-052x.3-4(56-57).2022.278225.

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The individual performance style of the pianist is considered from the standpoint of both conscious and unconscious advocacy of an adequate "my own personnality" in the network of perfect standards and aesthetic performance values of other pianists. It is proposed to interpret the specified phenomenon as a pianist's way of constructing in his imagination artistic images of musical works and their unique/original sound realization, taking into account the innate psychophysiological properties and acquired artistic and aesthetic values of the artist. It was found that the pianist's individual pe

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2

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

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3

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 an

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4

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 ninet

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5

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

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6

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

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7

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 biome

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8

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

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9

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 pianis

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10

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-reductio

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11

KUYUMCU, Melina. "A GUIDE FOR THE PIANIST IN CLASSICAL BALLET ACCOMPANIMENT." SOCIAL SCIENCE DEVELOPMENT JOURNAL 8, no. 36 (March 15, 2023): 203–9. http://dx.doi.org/10.31567/ssd.851.

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Accompanying a classical ballet technique class contains different elements and difficulties for a pianist when compared to accompanying instruments and voice. The score is specific when accompanying instrument or voice whereas the pianist is mostly free to choose the music suitable for the movments in a ballet class. Due to this exact problem the ballet instructor and the accompanist have problems from time to time. In this case the pianist’s experience plays a big role for the class course. The professional ballet pianist has mastered the essential elements for the class, therefore the probl

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12

Lisle, Rae de, Dale B. Speedy, John M. D. Thompson, and Donald G. Maurice. "Effects of Pianism Retraining on Three Pianists with Focal Dystonia." Medical Problems of Performing Artists 21, no. 3 (September 1, 2006): 105–11. http://dx.doi.org/10.21091/mppa.2006.3022.

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Focal dystonia is a debilitating movement disorder that occurs from many repetitions of a specific task. It typically manifests in involuntary muscle contractions and, in pianists, causes an incoordination between fingers, making it impossible to play at concert level. Prognosis is poor, and most sufferers are forced to abandon their careers. The aim of this research was to ascertain whether pianism retraining would enable pianists affected by focal hand dystonia to play again. Three pianists with focal hand dystonia participated in a retraining programme based on a biomechanically sound way o

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13

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 prece

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14

Miao, Xiaoyu. "Qualitative Study on Playing-related Injury of College Student Pianists." Transactions on Social Science, Education and Humanities Research 7 (May 6, 2024): 214–24. http://dx.doi.org/10.62051/eczev757.

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This study aimed to investigate student pianists' playing-related musculoskeletal disorder (PRMD) from the perspective of qualitative research. This study used a transcendental phenomenological approach to collect data through one-on-one interviews and focus group discussions. Four themes emerged in these data: experiencing memories of PRMD, pianist's self-awareness, social support, and deal with injury. The findings are highly relevant regarding self-awareness, social relationships, education, and healthcare and provide educators and healthcare personnel with an experienced way to understand

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15

Methuen-Campbell, James, and Wilson Lyle. "Pianists." Musical Times 127, no. 1718 (April 1986): 211. http://dx.doi.org/10.2307/964715.

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16

Siepmann, Jeremy. "Pianists." Musical Times 128, no. 1731 (May 1987): 275. http://dx.doi.org/10.2307/965124.

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17

de Lisle, Rae, Dale B. Speedy, and John MD Thompson. "Pianism Retraining via Video Conferencing as a Means of Assisting Recovery from Focal Dystonia: A Case Study." Medical Problems of Performing Artists 25, no. 3 (September 1, 2010): 126–29. http://dx.doi.org/10.21091/mppa.2010.3026.

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Focal dystonia (FD) is a devastating neurological condition which causes involuntary muscle contractions and often results in the loss of a musician’s playing ability. Our study investigated whether retraining via video conferencing could be helpful in the treatment of a professional pianist with a 5-year history of FD. Although full recovery was not seen, improvement was observed at slow tempi, and his hand was visibly less cramped as training sessions progressed. We conclude that video conferencing could be an acceptable medium to assist pianism retraining in pianists with FD when location p

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18

BIYIKOĞLU, Kaan Muzaffer, and Eray ALTINBÜKEN. "Aesthetically Warranted Emotions in the Theme of the Final Movement of Beethoven’s Piano Sonata Op.10 No.3." Musicologist 7, no. 1 (June 30, 2023): 26–48. http://dx.doi.org/10.33906/musicologist.1185395.

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In a video commentary, pianist and conductor Daniel Barenboim (2016) discussed the dangers of verbal descriptions of music by presenting two seemingly contradictory explanations about the ‘meaning’ of the theme of the final movement of Beethoven’s Piano Sonata Op.10/3 given by pianists Edwin Fischer and Claudio Arrau. We examined the tempo and dynamic fluctuations obtained from the studio recordings of this theme by Fischer in 1948 and 1954, and by Arrau in 1964 and 1985 by using the Sonic Visualiser software (Cannam et al., 2010), and interpreted these results by using Steve Larson’s (2012) t

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19

Chuanjie, Tu. "ACADEMIC CULTURE OF FUTURE PIANISTS: INTERPRETATION OF THE ESSENCE." Pedagogy and Education Management Review, no. 2(16) (June 30, 2024): 28–38. http://dx.doi.org/10.36690/2733-2039-2024-2-28-38.

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The academic culture of a pianist is one of the specialized forms of culture. That is due to the division of labor and the delimitation of mental and practical activity spheres. The generalization of scientific research has revealed a systematic approach to interpreting the concepts of "culture" and "academic culture." Still, no unambiguity has been found in understanding the concept of the "academic culture of the pianist." The article aims to study the essence and structure of the concept of the "academic culture of the future pianist." Research methods: theoretical analysis of scientific so

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20

d'Amato, Alison, and Elvia Puccinelli. "Considering Crossover and the Collaborative Pianist." Journal of Singing 80, no. 5 (May 2024): 593–99. http://dx.doi.org/10.53830/sing.00049.

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Abstract: The term "crossover" in classical vocal music has generally been used to refer to a classically-oriented artist's forays into non-classical styles or genres. In the singers' world, crossover not only exists, but is increasingly accepted as an important part of the twenty-first century singer's training and preparation. But what of the singer's partner, the pianist and/or coach who will work with them side-by-side? How are pianists and voice coaches affected by the new trends in vocal repertoire? The authors talked with coach-conductors Kathleen Kelly and Stephanie Rhodes Russell abou

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21

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

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22

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

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23

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

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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 s

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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'

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26

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

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Demchenko, Alexander Ivanovich. "Four masters of the Saratov piano school." Culture. Art. Education, no. 2 (January 23, 2023): 48–65. http://dx.doi.org/10.37816/2949-1762-2023-1-1-48-65.

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The Saratov Piano School is one of the most outstanding music schools in Russia, owing to its rich history and deep-rooted traditions. The Saratov Conservatory, founded as the third conservatory in the country and the first in the province, has played a pivotal role in shaping the school's identity. The school's lineage can be traced back to renowned pianists such as K. Igumnov and G. Neuhaus, among others. The school takes pride in its contemporary pianist pleiad, which includes several notable names such as Albert Tarakanov, Anatoly Katz, Anatoly Skripai, and Lev Shugom. Each of these pianis

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Harvey, Adam, Lewis Hou, Kirsteen Davidson-Kelly, Rebecca S. Schaefer, Sujin Hong, Jean-François Mangin, Katie Overy, and Neil Roberts. "Increased representation of the non-dominant hand in pianists demonstrated by measurement of 3D morphology of the central sulcus." Psychoradiology 1, no. 2 (May 28, 2021): 66–72. http://dx.doi.org/10.1093/psyrad/kkab004.

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Abstract Background Post-mortem and magnetic resonance imaging (MRI) studies of the central sulcus, as an indicator of motor cortex, have shown that in the general population there is greater representation of the dominant compared to the non-dominant hand. Studies of musicians, who are highly skilled in performing complex finger movements, have suggested this dominance is affected by musical training, but methods and findings have been mixed. Objective In the present study, an automated image analysis pipeline using a 3D mesh approach was applied to measure central sulcus (CS) asymmetry on MR

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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. Vo

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Lipke-Perry, Tracy, Morris Levy, and Darren J. Dutto. "Probing Focus of Attention: Multiple Case-Study Analysis of Pianists’ Pedaling Under Different Foci Conditions in Performance of Bartók’s Romanian Folk Dance Sz. 56, No. 2." Music & Science 5 (January 2022): 205920432211232. http://dx.doi.org/10.1177/20592043221123225.

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A differential benefit of external focus of attention (FOA) relative to internal focus has been demonstrated across a wide variety of athletic and rehabilitative pursuits; however, very little research has been undertaken in the performing arts. Given the unique aesthetic context of the arts and obvious transdisciplinary parallels, particular attention is warranted. This study examines nine pianists’ pedaling while performing Bartók’s Romanian Folk Dance Sz. 56, No. 2, and directing attention to three different focus conditions relative to a baseline condition. Differences in global pedal use

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Smirnova, Marina V., and Han Qing. "REFLECTING ON S. M. KHENTOVA’S BOOK “LEV OBORIN”." Arts education and science 4, no. 37 (2023): 107–16. http://dx.doi.org/10.36871/hon.202304107.

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The article is based on a review of a book by the remarkable and in the second half of the twentieth century exceptionally popular musicologist S. M. Khentova, who, as a student of L. N. Oborin, was a representative of the school of the legendary pianist K. N. Igumnov. Oborin continued the traditions of his teacher both as a performer and as a teacher. Not only great pianists, but also wonderful teachers and concertmasters came out of his class. Oborin’s students were such well-known Russian musicologists as V. Delson and G. Tsypin, who have made a considerable contribution to the formation of

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Imai-Matsumura, Kyoko, and Megumi Mutou. "Gaze Analysis of Pianists’ Sight-reading: Comparison Between Expert Pianists and Students Training to Be Pianists." Music & Science 4 (January 2021): 205920432110611. http://dx.doi.org/10.1177/20592043211061106.

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One of the most important skills for a pianist is sight-reading, which is the ability to read an unknown music score and play it. In recent years, research has analysed eye movement during sight-reading. However, the definition of sight-reading has varied. In addition, the participants enlisted as experts in most studies have been music college students. The present study aimed to compare eye movements during sight-reading between experts, teachers at a music college and pianists, and non-experts, music college students studying to become pianists, using an eye tracker. Using easy and difficul

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Repp, Bruno H. "The Art of Inaccuracy: Why Pianists' Errors Are Difficult to Hear." Music Perception 14, no. 2 (1996): 161–83. http://dx.doi.org/10.2307/40285716.

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Pianists' pitch errors were identified in a MIDI data base comprising more than 90,000 notes. Ten graduate student pianists had played four pieces (Schumann's Träumerei, Debussy's La fille aux cheveux de lin, Chopin's Prelude in D-flat Major, and Grieg's Erotik) three times from the score, after only a brief rehearsal. Pitch errors were classified exhaustively as substitutions, omissions, or intrusions. (A frequent form of intrusion was the "untying" of tied notes.) Nearly all errors occurred in nonmelody voices, often inside chords. The majority of the intrusions and nearly all substitutions

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34

Bye, Antony. "Young Pianists: 1." Musical Times 133, no. 1794 (August 1992): 398. http://dx.doi.org/10.2307/1002665.

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Bye, Antony, Sibelius, and Karg-Elert. "Young Pianists: 2." Musical Times 133, no. 1794 (August 1992): 398. http://dx.doi.org/10.2307/1002666.

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Wristen, Brenda, Sharon Evans, and Nicholas Stergiou. "Sight-Reading Versus Repertoire Performance on the Piano: A Case Study Using High-Speed Motion Analysis." Medical Problems of Performing Artists 21, no. 1 (March 1, 2006): 10–16. http://dx.doi.org/10.21091/mppa.2006.1003.

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This study was intended to examine whether differences exist in the motions employed by pianists when they are sight-reading versus performing repertoire and to determine whether these differences can be quantified using high-speed motion capture technology. A secondary question of interest was whether or not an improvement in the efficiency of motion could be observed between two sight-reading trials of the same musical excerpt. This case study employed one subject and a six-camera digital infrared camera system to capture the motion of the pianist playing two trials of a repertoire piece and

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Keshuang, Liu. "“Children’s Album” by P. I. Tchaikovsky and Its Musical Context." Университетский научный журнал, no. 76 (September 24, 2023): 110–16. http://dx.doi.org/10.25807/22225064_2023_76_110.

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The “Children’s Album” by P. I. Tchaikovsky remains the most popular and beloved cycle in the repertoire of young musicians to this day. It is also performed by adult pianists, because the music of the pieces in the “Children’s Album” refl ects the unique style of the great Russian composer. Among the famous masters of piano art who performed the “Children’s Album” are outstanding Russian pianists Alexander Goldenweiser, Yakov Flier, Arkady Sevidov, Mikhail Pletnev, as well as American pianist of German origin Michael Ponti. In Russian, many works, popular and scientifi c, have been devoted to

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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 determ

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Rosalem-Signorelli, André. "HISTORY OF PIANO AND PIANISTS." RCMOS - Revista Científica Multidisciplinar O Saber 1, no. 11 (January 22, 2024): 345–66. http://dx.doi.org/10.51473/rcmos.v1i1.2020.190.

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As we have already asked in another scientific article: does tradition have something to teach us about how to interpret a Musical Work? Like Signorelli (2019), this work aims to demystify the concept of tradition as something old and outdated. In this scope, we use the theoretical framework embodied in the Literature Review; as well as the wealth of knowledge experienced in the author's own life. Thus, the proper alignment of technical-musical ideas with the great piano masters may have the power to form pianists engaged in technical excellence, mastery of the pianistic apparatus and faithful

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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

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Repp, Bruno H. "Quantitative Effects of Global Tempo on Expressive Timing in Music Performance: Some Perceptual Evidence." Music Perception 13, no. 1 (1995): 39–57. http://dx.doi.org/10.2307/40285684.

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This study examines whether global tempo and expressive timing microstructure are independent in the aesthetic judgment of music performance. Measurements of tone interonset intervals in pianists' performances of pieces by Schumann ("Traumerei") and Debussy ("La fille aux cheveux de lin") at three different tempi show a tendency toward reduced relative variation in expressive timing at both faster and slower tempi, relative to the pianist's original tempo. However, this could reflect merely the pianists' discomfort when playing at an unfamiliar tempo. Therefore, a perceptual approach was taken

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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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Widyatama Putra, Zakarias Aria, and Mastri Dihita Sagala. "Kajian Musikologis: Program Super SightReading Secrets Howard Richman Dalam Pengembangan Keterampilan Primavista Pianis." Jurnal TACET 1, no. 2 (October 6, 2022): 65. http://dx.doi.org/10.26418/tacet.v1i2.60550.

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This musicological study discusses Howard Richman's super sight-reading secrets program on the development of primavista pianist skills. Looking at the two elements of musicology, the research method used examines qualitatively with a musicological approach (theoretical and analytical). The process of collecting data using observation techniques, interviews, literacy studies, and documentation. The data that has been taken is then carried out by the process of selection, adaptation or processing, and delivery. Data validity uses source triangulation. The results of the study obtained theoretic

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Fernandes, Luciane Fernanda Rodrigues Martinho, and Ricardo Machado Leite de Barros. "Grip pattern and finger coordination differences between pianists and non-pianists." Journal of Electromyography and Kinesiology 22, no. 3 (June 2012): 412–18. http://dx.doi.org/10.1016/j.jelekin.2012.02.007.

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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

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Chuanjie, Tu. "ACADEMIC CULTURE OF FUTURE PIANISTS: CRITERIA, INDICATORS, AND LEVELS OF ITS FORMATION." Education. Innovation. Practice 12, no. 4 (April 30, 2024): 42–47. http://dx.doi.org/10.31110/2616-650x-vol12i4-007.

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To solve the problem of forming the academic culture of pianists, it is important to develop a diagnostic apparatus to identify the levels of formation of the academic culture of future pianists. This requires the selection of criteria and indicators that should perform diagnostic and evaluation functions. The purpose of the study is to substantiate the criteria, indicators, and levels of academic culture of pianists. Methods used: structural and logical analysis of the concept of "academic culture of future pianists", comparison and contrast to develop criteria and indicators, and comparison

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Aiba, Eriko, Koji Kazai, Takayuki Shimotomai, Toshie Matsui, Minoru Tsuzaki, and Noriko Nagata. "Accuracy of Synchrony Judgment and its Relation to the Auditory Brainstem Response: the Difference Between Pianists and Non-Pianists." Journal of Advanced Computational Intelligence and Intelligent Informatics 15, no. 8 (October 20, 2011): 962–71. http://dx.doi.org/10.20965/jaciii.2011.p0962.

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Synchrony judgment is one of the most important abilities for musicians. Only a few milliseconds of onset asynchrony result in a significant difference in musical expression. Using behavioural responses and Auditory Brainstem Responses (ABR), this study investigates whether synchrony judgment accuracy improves with training and, if so, whether physiological responses are also changed through training. Psychoacoustic experiments showed that accuracy of synchrony judgment of pianists was higher than that of non-pianists, implying that pianists’ ability to perceive tones increased through trainin

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Fry, H. J. H., M. Hallett, T. Mastroianni, N. Dang, and J. Dambrosia. "Incoordination in pianists with overuse syndrome." Neurology 51, no. 2 (August 1998): 512–19. http://dx.doi.org/10.1212/wnl.51.2.512.

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To investigate claims that painful musculoligamentous overuse in the arms and hands of pianists is accompanied by loss of motor control, we studied 18 pianists with overuse syndrome of one or both arms and hands and 22 skill-matched pianists with no history of overuse. All of the pianists performed continuous repetitions of a five-finger exercise on a piano keyboard at metronome-paced tempos. The main outcome measures were quantitative analysis of four measurements of performance (duration of key presses, interval between key presses, velocity of key presses [loudness], and time off the metron

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Till, Sophie. "The Taubman/Golandsky Approach to the Violin." Public Voices 12, no. 2 (November 23, 2016): 7. http://dx.doi.org/10.22140/pv.81.

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Three years ago Sophie Till started working with pianist Edna Golandsky, the leading exponent of the Taubman Piano Technique, an internationally acclaimed approach that is well known to pianists, on the one hand, for allowing pianists to attain a phenomenal level of virtuosity and on the other, for solving very serious piano-related injuries. Till, a violinist, quickly realized that here was a unique technical approach that could not only identify and itemize the minute movements that underlie a virtuoso technique but could show how these movements interact and go into music making at the high

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LIN, MA. "Psychological and Physiological Determinants of the Formation and Manifestation of a Pianist's Individual Performance Style." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 2(59) (June 30, 2023): 99–118. http://dx.doi.org/10.31318/2414-052x.2(59).2023.295422.

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The author examines the essence of the concept "personal temperament" taking into account the context of the scientific theories developed by Hippocrates - Galen, A. Haller, H. Vrisberg, S. Sigaud, E. Krechmer, B. Merlin, V. Nebylitsyn, I. Pavlov, and U. Sheldon. The internal processes of every individual depend on the innate features of the given phenomenon, which are reflected in his external behavior. The specificity of the impact of innate psychological and physiological determinants of a pianist's temperament is a significant factor in the process that causes the formation and manifesting

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