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Brewer, Ferhiz. "Case study examinations of independent piano instruction in India /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1999.
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Orlandi, Laetitia Annette. "Basic piano instruction for vocal art students at the Tshwane University of Technology in Pretoria, South Africa." Diss., University of Pretoria, 2009. http://hdl.handle.net/2263/23885.
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At most universities internationally, secondary piano instruction is compulsory for all music students regardless of their field of specialisation. Vocal art students studying at the Tshwane University of Technology (TUT) are also expected to complete three years of basic piano tuition. Since the researcher teaches secondary piano at the Department of Performing Arts: Vocal Art (TUT), the aim of this study was to determine the objectives of the tuition, and appropriate methods through which they can be best achieved. The research is based on an investigation of relevant literature on secondary piano instruction for music majors at universities in South Africa and abroad. Since the researcher was primarily trained to teach basic piano to very young beginners, it was thought necessary to firstly investigate the field of adult education and basic piano instruction for adults and college-age students. The results of the literature search confirmed that basic piano tuition for children differs greatly from that for older beginners. It became clear that the success of basic piano instruction for adults greatly depends on the teacher’s understanding of these fundamental differences as well as knowledge of appropriate approaches and methods with which to accommodate adults’ unique characteristics. Subsequently, the purpose of teaching piano playing skills to non-piano music majors was investigated. Results indicated that there is a broad spectrum of skills which can aid the musician in his future career. These include technique, sight-reading, accompanying, harmonisation, transposing, repertory study, vocal score-reading and reduction, instrumental score reduction, improvisation, playing by ear, playing of folk songs, developing musicianship skills, critical listening, performance skills, chord playing, ensemble playing, realisation of figured bass, modulation, memorisation, music analysis, playing two or more parts from multiple staves, playing warm-up exercises, singing a vocal part while playing other parts, and jazz piano playing. The most important piano playing skills for non-piano music majors to acquire were identified as technique, sight-reading, accompanying, repertory study and improvisation. Controversies exist about the importance of each of these skills, but most teachers agree that they should all be present in the secondary piano curriculum. The most common method used to teach these skills to instrumentalists and singers was identified as group tuition. This method of teaching is not used merely because it is more economical but also for various musical and sociological reasons. Musical advantages include the acquisition of a broad spectrum of skills such as critical faculties, listening skills, ensemble activities, self-assessment skills, improved practice habits and progress, rhythmic stability, improved intonation, memory training and notational reading. Social advantages include interaction, peer-learning, motivation, encouragement, discovery-learning, enjoyment, involvement and the development of individuality and self-esteem. At the end of each chapter, specific guidelines for teaching basic piano to vocal art students at TUT are given. The study culminates in conclusions and recommendations drawn from the results of the literature investigation CopyrightDissertation (Music)--University of Pretoria, 2010.
Music
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Skroch, Diana. "A descriptive and interpretive study of class piano instruction in four-year colleges and universities accredited by the National Association of Schools of Music with a profile of the class piano instructor /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1991.
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Carney, Robert D. "Using Web-Based Instruction to Teach Music Theory in the Piano Studio: Defining, Designing, and Implementing an Integrative Approach." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28404/.
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This dissertation rationalizes the best use of Web-based instruction (WBI) for teaching music theory to private piano students in the later primary grades. It uses an integrative research methodology for defining, designing, and implementing a curriculum that includes WBI. Research from the fields of music education, educational technology, educational psychology, and interaction design and children receive primary consideration. A synthesis of these sources outlines several research-based principles that instructional designers can use to design a complete blended learning environment for use within the piano studio. In addition to the research-based principles, the precise methods of determining instructional tasks and implementing the program online are described in detail. A full implementation is then deployed, and piano teachers evaluate the extent to which the online program fulfills the research-based principles. This dissertation does not argue for the complete migration of theory instruction from traditional workbook approaches to an entirely Web-based medium but rather outlines the best use of face-to-face instruction, collaboration amongst students, teachers, and parents, and interaction with a Web-based program. This formative research provides a complete model of integrating WBI within the piano studio that can guide instructional designers and music educators.
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Benson, Cynthia Ann Stephens. "The effects of instructional media on group piano student performance achievement and attitude /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.
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Pickering, Melinda. "Retention ideas for middle school piano students using group instruction." Kansas State University, 2016. http://hdl.handle.net/2097/34535.
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Master of MusicDepartment of Music, Theatre, and Dance
Virginia Houser
Maintaining interest to continue studying and practicing the piano during the middle school years can be very challenging. Not only are students distracted by so many activities but peer interactions and opinions are taken more seriously. One way to motivate piano students to continue study is to use some form of group instruction. This can be done in various ways, including theory and performance classes as well as chamber and duet preparations. I conducted two separate assessments: five middle-school aged boys and two sixth graders, a girl and a boy. I gave each of these participants a survey to determine the positive and negative outcomes experienced during these group experiences. The results of this study included the following conclusions: Students who take ownership of their music-making are also more motivated to practice; if they really enjoy a piece, they will learn it. This motivation also extends to playing with a friend, since the student will want to play competently in front of their friend. Extrinsic motivation (i.e. candy, prizes, etc.) is exciting at first, but does not really provide long-term motivation for the middle school student to practice more. The ensuing embarrassment of being unprepared was a stronger form of motivation. Middle school students also liked having goals such as working toward an upcoming festival or competition, since it gave them a goal toward which to work, even if they did not like the idea of being judged. Students also enjoyed playing duets with a parent, which proved to be a positive experience in this study. Occasionally, however, the teacher had to deal with factors beyond their control and the student decided to discontinue study.
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Michal, Elva Tice. "Teaching piano skills to handicapped persons through use of systematic instruction : a proposal." Connect to resource, 1987. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1262631645.
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Kronish, Neomi Baylin. "Social, cultural, and psychological influences on three promising piano students' desicions to continue taking piano lessons." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85180.
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In this inquiry, I used a qualitative-portraiture approach to examine the social, cultural, and psychological influences on piano students' decisions to continue taking piano lessons. I collected data between 1997 and 2002. Data types included field notes, interpretive memos, audiotaped and videotaped piano lessons, audiotaped one-on-one interviews and retrospective interviews, email messages, and written documents. The main sources of data used for analysis were transcribed videotapes of piano lessons in the music studio and interviews with the teacher and three of her promising students. I drew on Vygotsky Halliday, and Wenger's theoretical frameworks to conceptualize my understanding of the social, cultural, and psychological issues that influence promising music students' commitment to learning music. I used Vygotsky's social-psychological-developmental theory of learning and Halliday's social theory of language to portray the significance of piano students' experiences in a music studio, their relationships with their teacher, and the teachers' use of language in the decision. Vygotsky's perspective on volitional-affective tendencies provided a framework for understanding how students' abilities to cope with their emotions influenced them to continue their music studies. I drew on Halliday's concept of Register to analyze the transcribed videotaped lesson data sets. I used Wenger's notion of Community of Practice to portray the social, cultural, and historical characteristics that play a role in motivating students to learn music. I found that being socialized into the music community, developing musical competencies, becoming a self-regulated learner, and being able to cope with the emotional experiences of playing and performing shape students' decisions to continue piano lessons. The results of my findings support that teachers influence their students' decision to continue their music studies by socializing them into the practices
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Mortyakova, Julia Vladimirovna. "Existential Piano Teacher: The Application of Jean-Paul Sartre's Philosophy to Piano Instruction In a Higher Educational Setting." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/230.
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This essay uses existential ideas of Jean-Paul Sartre to provide a philosophy of college piano performance teaching which includes awareness of freedom, abandonment and responsibility as a prerequisite for student-teacher interaction. To set the stage for the interaction the study uses Sartre's philosophy, illustrated with concrete examples from the world of piano teaching and performing, to describe what it means to be human. The author applies Sartre's writings about literature to support the idea of an engaged performance, relating it to existential psychoanalysis, making the performer and audience member realize freedom through choice, while addressing ideas of abandonment and performance anxiety. Sartre's philosophy is used to identify the roles both teachers and students play in the college environment as people and as performers. The study with the help of existentialism, describes the interaction between the different elements: teacher, student, performer, and human being, and provides a better understanding of the complexity of the pupil/professor relationship in the college piano performance program.
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Roothaan, John P. E. "Perspectives on teaching jazz piano "comping" in the college music program with sample instructional units." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1164926.
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The purpose of this study was to design and develop instructional units for teaching jazz piano comping to collegiate music students possessing basic piano skills but limited experience in jazz performance. In establishing bases and rationale for the instructional units, a number of issues were considered. These issues were (1) the need for teaching jazz piano comping, (2) a definition and explanation of the musical elements and characteristics of jazz and jazz comping, (3) an understanding of the African and European transmission traditions and musical characteristics that contributed to the development of jazz, (4) a review of literature relating to jazz piano comping, including jazz, music teaching and learning, and learning theory literature, and (5) a review of jazz piano comping practice from the swing era to the present, as reflected in the work of selected central jazz pianists. The twenty-four instructional units present basic harmonic and rhythmic materials of jazz piano comping. Harmonic materials include seven basic chord structures, harmonic extensions and alterations, upper-structure triads, II-V-I cadences, tritone substitution, chord successions, and typical chord progressions. Rhythmic materials include typical jazz rhythms. Each instructional unit is comprised of (A) presentation of a theoretical concept, (B) exercises for learning the particular concept, (C) a chord progression containing the particular concept, (D) a list of recorded examples of the chord progression for examination, and (E) suggested song titles for realization by the student. The instructional units are organized into four chapters of six units each. Instructional Units I through VI focus on individual voicings, organized into cycles of descending fifths. Units VII through XII focus on the II-V-I cadence and tritone substitution. Units XIII through XVIII focus on short chord successions. Units XIX through XXIV serves as a "summing up" of material presented in the first eighteen units. Overall, this work is designed to guide the student to technical proficiency, theoretical understanding, idiomatic fluency, and a creative approach to jazz piano comping.School of Music
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Lin, Meichang. "Principal themes and intellectual structure of research in piano pedagogy : the mapping of doctoral and masters' research 1951-2008." HKBU Institutional Repository, 2010. http://repository.hkbu.edu.hk/etd_ra/1184.
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Xu, Ying. "Piano teaching in Hong Kong : portraits of four outstanding piano pedagogues." HKBU Institutional Repository, 2004. http://repository.hkbu.edu.hk/etd_ra/542.
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Chen, Hung-Ling. "An investigation of self-directed learning among non-music major adult piano learners in one-to-one piano instruction /." Access Digital Full Text version, 1996. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11974515.
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Thesis (Ed.D.)--Teachers College, Columbia University, 1996.Typescript; issued also on microfilm. Sponsor: Robert Pace. Dissertation Committee: Harold Abeles. Includes bibliographical references (leaves 104-110).
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Jutras, Peter J. "The benefits of adult piano study as self-reported by selected adult piano students." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20031/jutras%5Fpeter/index.htm.
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Chin, Huei Li. "Group piano instruction for music majors in the United States : a study of instructor training, instructional pratice, and values relating to functional keyboard skills." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1241179092.
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Chin, Huei Li. "Group piano instruction for music majors in the United States : a study of instructor training, instructional practice, and values relating to functional keyboard skills /." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486402957196481.
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Rickey, Eunice L. "An investigation to observe the effects of learning style on memorization approaches used by university group piano students when memorizing piano literature." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1285407.
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Piano proficiency students who are required to memorize music take different approaches in their learning process. They may not be aware of how they memorize or how these approaches are related to their learning style preferences. Seventeen test subjects (N=17) who volunteered from a private university in north central Indiana were _ tested for their learning style preferences and then were given a sample of music to memorize. A video camera recorded the memorization process for observation of the learning approaches each subject used while memorizing. In addition, each subject completed 1) a brief experience and task ease pretest, 2) an interview while observing the video of what took place during the memorization process, and 3) a posttest questionnaire on learning approaches used.The purpose of this study was to observe which learning approaches to memorization were being used by group piano students and which of these were most effective in short memorization tasks. Investigation of existing literature of piano pedagogy found that the most common ways in which pianists memorize are by using aural, visual, tactile and analytical approaches.Subjects who were observed for this research had a tendency-to memorize more from the visual and tactile approaches. Out of the 17 class piano students who were observed, 15 or 88% used visual and or tactile memory as their preferred approach. Students also assessed their own procedure of memorization by rating the approach as to how much they used it. Findings in this posttest questionnaire indicated that the aural and visual approaches to memory were rated by the students as being the preferred ways of memorizing. Thirteen subjects or 76% indicated that they preferred the aural and or visual memory approach to memory.The effectiveness of these approaches was indicated by the subjects receiving a memory performance rating. This research showed that there was more tendency for subjects using visual approach memory to receive the best memory scores (excellent, no errors). This study also indicated that students using the analytical approach to memory tended to have the highest percentage of best performance score (two of three received excellent/no errors scores).School of Music
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Vigran, Joshua. "The Rise and Fall of Piano Improvisation in Western Classical Music Performance: Why Today's Piano Students Should be Learning to Improvise." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703338/.
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Improvisation is an art form which has arguably been present since the existence of music itself. Inventing music on the spot, like spontaneous speech, is a common expression of artistry throughout history and across musical boundaries. While improvisation has maintained its importance in jazz, classical organ music and the music of many eastern cultures, this dissertation will focus on the presence of improvisation as acceptable performance practice within the tradition of western classical music. At several points in history, this musical tradition was encouraged and even expected to be a regular part of a musician's life, and yet in the classical music tradition of the twenty-first century, improvisation is rarely, if ever, heard from the concert stage, nor is it regularly included in the general education of the conservatory student.
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Dimmick, Penny Gail. "Piano instruction in music methods classes for elementary education majors : a case study." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/917840.
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This study was undertaken in an effort to determine the effects of piano instruction on attitudes and piano skills of elementary education majors enrolled in a music methods class. A class of nineteen elementary education majors at a private mid-western university served as subjects for the case study. They were given both written and oral pre and posttests, and extensive anecdotal data were recorded.As a result of the study, general conclusions and recommendations were as follows:1. Subjects' initial perceptions of their probable success in the piano laboratory were high. In addition, seventy-nine percent of the subjects accurately predicted their probable success (or failure) in the piano laboratory. It is recommended that instructors take time at the outset of the course to reassure and encouage the students in an effort to increase confidence and thereby the probability of success in the piano laboratory.2. Subjects' attitudes and skill development were negatively affected by perceived inadequacies when comparing themselves to other subjects in the class. As the more advanced students tested out of the piano laboratory, skills and attitudes of the slower subjects improved appreciably. This suggests that ability grouping in methods classes may improve students' perceptions and also performances in these lasses.3. Subjects' confidence in their ability to teach music increased, as indicated by pretest and posttest rankings. Since the sample size was adequately large, the Wilcoxin T value of 7.5 was standardized to a Z value = 2.66 (p <.01). Interpretation of a Z-value = 2.66 strongly suggests the posttest score has significantly increased over the pretest score.4. Subjects' perceptions of their ability to read and write music, their ability to sing songs with their students, and their piano playing ability significantly increased as shown by a series of paired comparisons t-test analyses on the pretest/ posttest data.It is recommended that additional case studies be conducted in the methods class in an effort to isolate and identify additional aspects of the class which influence the students' growth and/ or lack of growth in self confidence and musical skills.School of Music
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Allen, Thomas Orrin. "Components of instruction in general music and piano in selected educational settings in Buenos Aires, Argentina." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/833669.
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Pianists from Buenos Aires, both artists and students, have seemed to this writer to possess common qualities of spirit, fluency and command. The research project was organized to investigate facets of Argentine culture and the training of pianists in Buenos Aires which may have contributed to this perception. Observations of musical education in Buenos Aires were conducted in August and September of 1986. Learning situations observed included piano lessons in private studios, public and private conservatories and preparatory schools. Also observed were aural perception training and general music education in private elementary schools, public high schools, pre-professional schools, public and private conservatories and preparatory programs. The social, political, cultural and economic conditions that existed were also studied in order to better understand the climate in which musical training occurred.Those factors in the culture and training of pianists in Buenos Aires that would seem to have a discernible effect on students within that system include: 1) The Argentines' sense of cultural identity is consciously enhanced by deliberate inclusion of Argentine culture in the Music Education curriculum and the conservatory syllabus. 2) Important to the sense of command and success is the will to succeed in the struggle against the economic and political hardships of life in Argentina. 3) Music education is highly structured and weighted toward aural perception training. Aural skills were taught thoroughly and with great consistency of method in every class visited. 4) The piano teaching was carried out with expert technical guidance, beautifully played demonstrations and much singing of phrase and tone. 5) The central government established for the conservatories a ten-year Programa de Piano, which insures consistent standards of achievement in technique and literature throughout the country. 6) The Argentine government offers totally free public education. Any students able to pass the entrance examination at the conservatory can avail themselves of the country's best education in music.School of Music
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Minadeo, Liz Helena Marcondes de Oliveira Santos 1963. "A técnica pianística do professor Pietro Maranca : uma proposta de metodologia /." São Paulo, 2019. http://hdl.handle.net/11449/183588.
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Orientador(a): Nahim Marun FilhoBanca: Luiz Guilherme Pozzi
Banca: Danieli Verônica Longo Benedetti
Resumo: Este trabalho refere-se à técnica pianística desenvolvida pelo pianista Pietro Maranca (1944-1995) que foi professor na Fundação das Artes de São Caetano do Sul e no curso de Bacharelado em Piano do Instituto de Artes da UNESP, na década de 1980. A técnica tem fundamentos na anatomia que estuda grandes estruturas e sistemas do corpo humano, na fisiologia cujo estudo engloba as funções e o funcionamento normal dos seres vivos, na biomecânica que aplica as leis da mecânica ao sistema locomotor do corpo humano, e na cinesiologia que estuda o movimento das forças que atual no corpo humano. Essa técnica permite que o pianista use de modo consciente e eficaz seus recursos físicos, psicomotores e sensoriais ao tocar, com base no relaxamento e fortalecimento muscular, na funcionalidade e na ação consciente dos movimentos e dos gestos, como parte da expressão musical e da performance através da demonstração, do estudo e da prática de exercícios específicos. O professor Pietro Maranca desenvolveu e sistematizou essa técnica a partir de seus estudos com Arturo Benedetti Michelangeli (na Itália), com Peter Feuchtwanger e Maria Curcio (em Londres, entre 1960 e 1970). Trata-se de uma série de exercícios de modo teórico, prático e sensorial (auditivo, visual e tátil), sendo que parte desses exercícios encontra-se no livro Klavierübungen zur Heilung physiologischer Spielstörungen und zum Erlernen eines funktionell-natürlichen Klavierspiels (Exercícios para curar desordens relacionadas a... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This work refers to the pianistic technique developed by pianist Pietro Maranca (1944-1995) who was a teacher at the São Caetano do Sul Arts Foundation and the Piano Bachelor of Arts Institute at UNESP in the 1980s. This technique has foundations in anatomy that studies large structures and systems of the human body, in physiology whose study encompasses the functions and normal functioning of living beings, in biomechanics that applies the laws of mechanics to the locomotor system of the human body, and in kinesiology that studies the movement of forces that current in the human body. This technique allows the pianist to consciously and effectively use his physical, psychomotor and sensory resources when playing, based on relaxation and muscle strengthening, functionality and conscious action of movements and gestures as part of musical expression and performance through demonstration, study and practice of specific exercises. Professor Pietro Maranca developed and systematized this technique from his studies with Arturo Benedetti Michelangeli (in Italy), Peter Feuchtwanger and Maria Curcio (in London, between 1960 and 1970). These are a series of exercises that are theoretical, practical and sensory (auditory, visual and tactile), and part of these exercises can be found in the book Klavierübungen zur Heilung physiologischer Spielstörungen und zum Erlernen eines funktionell - natürlichen Klavierspiels (Exercises to cure disorders related to playing and for assimilating of... (Complete abstract click electronic access below)
Mestre
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Poon, Letty, and 潘穎芝. "The piano as cultural capital in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B50534063.
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This dissertation is a study of the consumption of the piano and piano playing in Hong Kong from the late 20th century, when the new middle-class emerged, well into the 21st century, when the general Hong Kong population, including the working class, is better educated and economically more affluent. It attempts to answer the questions: “How do people look at the piano in Hong Kong?” “Why piano playing is so popular?” and “What does piano playing mean?” The investigation of how people consume the piano aims at finding out the cultural codes given to the object and its related activities, of which give answers to the above questions; while the consumption itself demonstrates “an act of deciphering, decoding, which presupposes practical or explicit mastery of a cipher or code” in Pierre Bourdieu’s words. The ways people consume the piano and piano playing are shaped by the city’s colonial history, the middle-class’s biedermeier mentality, as well as the utilitarian atmosphere prevailing in the society (regardless of social classes). Using the piano as a ‘viewing apparatus’ to peer through society, I attempt to develop a critique in reaction to scholarship that fails to come to terms with certain aspects of the Hong Kong culture and tends to see Hong Kong as unique or, worse, victimized.published_or_final_version
Music
Doctoral
Doctor of Philosophy
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Milanovic, Therese Elaine. "Learning and Teaching Healthy Piano Technique: Training as an Instructor in the Taubman Approach." Thesis, Griffith University, 2012. http://hdl.handle.net/10072/367173.
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This research examines what can be learned about healthy virtuosity through embodying the Taubman Approach, applying the principles to compelling music making, and teaching across a range of pedagogical settings. The indivisable relationship of technical principles to artistry is discusssed, through applying Taubman principles to particular interpretative and performance contexts. Additionally, various issues relating to teaching this technical approach are unpacked, including issues pertaining to retraining injured pianists, teaching children, and transferring Taubman principles to computer use and playing stringed instuments.
Insights into training to become a Taubman teacher are uncovered through a reflective examination of the author's learning process, contexualised by the broader literature, and positioned by the ethnographic and autoethnographic approaches chosen. David Kolb's Experiential Learning Model forms the theoretical framework, underlined by James Zull's research into the biology of learning. The four learning stages of embodying, analysing, teaching, and reflecting inform the research at all levels.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
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Li, Hanhan. "Stephen Chatman's Piano Fantasies (1993): An Instructional and Performance Guide for Teachers and Intermediate Piano Students." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505243/.
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Contemporary repertoire is not commonly taught or explored by teachers during the intermediate level, when a student's musical training is transitioning to an advanced level. Nonetheless, it is important for piano instructors to be open-minded about contemporary music and have some perspective on the development of music repertoire in the future. The purpose of this dissertation is to provide a performance and pedagogical guide to Stephen Chatman's (b. 1950) Fantasies, from both technical and artistic viewpoints. The collection, which consists of eleven pieces, features a wide variety of contemporary idioms, styles, and means of notation. For instance, there are jazz-like syncopated rhythms, asymmetrical accents reminiscent of Primitivism, and Impressionistic or dissonant sonorities. Fantasies is not only a valuable tool for students to explore new sounds and improve their performing techniques while executing nontraditional notations and contemporary idioms, it is also a great teaching resource for instructors to promote students' musicality through hearing, seeing, and thinking. In this study, I provide individual, detailed descriptions for each of the pieces in the score, adding examples on how to address the difficulties they present to the performer. As a result, instructors can better understand how to help students prepare to perform this collection and spark their interest in playing contemporary music.
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Simons, Jacqueline. "Die aanwending van groepsmusiekaktiwiteite in die ontwerp en implementering van 'n klavierkurrikulum vir Suid-Afrikaanse laerskole." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/50320.
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Thesis (MMus) -- University of Stellenbosch, 2005.ENGLISH ABSTRACT: South African education is currently moving in a new direction that is aimed at representing all the cultures of the country. Music education is grouped as part of the Arts and Culture learning area of Curriculum 2005 and the implication is that instrumental music teaching is being marginalized at the expense of general music teaching. In the past these two were regarded as separate subjects that each had its own dedicated syllabus. This thesis is geared toward the preservation of instrumental music teaching (in this case piano) as part of the Arts and Culture learning area of Curriculum 2005 by means of a complementary teaching program whereby general music teaching and instrumental music teaching can be taught in conjunction with each other. This approach is based on Gane (1996) who suggests activities and approaches to music education that can support the co-operation between these two areas of music teaching. This thesis is an exploratory study to determine if co-operation between prescribed music curricula and the suggestions for music activities and approaches as proposed by Gane (1996), have the potential to bridge the gap between general music teaching and instrumental music teaching. At the onset of this study it was not to test a predetermined hypothesis, but rather to establish the possibility of a complementary teaching model for music teaching. This research project was done according to the qualitative research methodology as it was done it was done in a social setting. This research project was done over a period of six months with a group of ten learners whose progress ranged from beginner to grade 2 level. A variety of music compositions was selected and applied in the practice of the music lesson to demonstrate the application of the music activities as suggested by Gane (1996). The ultimate goal of the use of the music compositions was to indicate how prescribed and additional music can be explored to optimize the learners' knowledge from the two fields of music learning. The following syllabi were used for this thesis: the British National Curriculum (1995), as well as these South African syllabi: Curriculum for Extra-Curricular Music - piano (1993), the Interim Syllabus for Classmusic (1995), and Curriculum 2005 (1997). The reasons for the focus on these specific syllabi in this research project are as follows: firstly the British National Curriculum serves as framework for Gane's (1996) article "Instrumental performance and the National Curriculum: a possible partnership?" and this forms the foundation for this thesis; secondly the Curriculum for Extra-Curricular music (piano) deals with instrumental music teaching and the Interim Syllabus for Classmusic deals with general music teaching and these are the two aspects of music teaching in South Africa which this thesis aim to bring together; and lastly the Curriculum 2005 (1997) is the curriculum whereby education is currently being practiced in South Africa. The most important finding of this study is that the proposed teaching method is workable for music education if certain conditions as is discussed in chapter 4 are in place. It has also been found that because this is an exploratory study, there is room for more empirical research in this regard. In conclusion it can be said that since this study revealed the possibility for an exploratory teaching method for music teaching, this teaching method does have merit.
AFRIKAANSE OPSOMMING: In Suid-Afrika is opvoeding tans besig om in 'n nuwe rigting te beweeg wat daarop gemik is om verteenwoordigend van al die land se kulture te wees. Musiekopvoeding word as deel van Kurrikulum 2005 se Kuns en Kultuur leerarea gegroepeer en die implikasie is dat instrumentale musiekonderrig ten koste van algemene musiekonderrig ter syde gestel word waar dit voorheen as aparte vakke geag was wat elk volgens 'n afsonderlike sillabus onderrig was. Hierdie tesis poog vir die behoud van instrumentale musiekonderrig (in hierdie geval klavier) as deel van Kurrikulum 2005 se Kuns en Kultuur leerarea by wyse van 'n komplementêre onderrigprogram waarbyalgemene musiekonderrig en instrumentale musiekonderrig in wisselwerking met mekaar onderrig kan word. Hierdie benadering word op Gane (1996) se voorstelle vir aktiwiteite en benaderings tot musiekonderrig gebaseer aangesien hierdie skrywer ook 'n samewerking tussen die twee areas van musiekonderrig beywer. Hierdie tesis is 'n verkenningstudie om te bepaal of voorgeskrewe musiekkurrikula in samewerking met Gane (1996) se voorstelle vir aktiwiteite en benaderings tot musiekonderrig toegepas kan word om die oorbrugging tussen algemene musiekonderrig en instrumentale musiekonderrig, wat as twee aparte afdelings van musiekonderrig beskou word, te bewerkstellig. Die aanvang van hierdie tesis was nie om 'n voorafbebaalde hipotese te toets me, maar eerder om die moontlikheid van 'n komplementêre onderrigmodel vir musiekonderrig te bepaal. Die studie is volgens die kwalitatiewe navorsingsmetode gedoen aangesien dit in 'n sosiale opset plaasgevind het. Hierdie navorsingsprojek is oor 'n tydperk van ses maande en met 'n groep van tien leerders gedoen wie se vorderingstadia van beginner tot graad twee strek. Verskeie komposisies is geselekteer en in die musieklespraktyk uitgetoets wat daarop gemik is om algemene musiekonderrig by instrumentale musiekonderrig te laat aansluit, ter illustrasie van Gane (1996) se voorgestelde raamwerk vir musiekonderrig. Die uiteindelike doel met die gebruik van die gekose repertorium is om aan te dui hoe voorgeskrewe en aanvullende onderrigmateriaalontgin kan word om leerders se kennis vanuit die twee onderrigvelde bymekaar te bring en aan te vul. Die volgende sillabusse is in hierdie tesis uiteengesit: Die British National Curriculum (1995) en ook verskeie Suid-Afrikaanse kurrikula - dit wil sê die Kurrikulum vir Buitekurrikulêre musiek (klavier) (1993), die Tussentydse sillabus vir Klasmusiek (1995) en Kurrikulum 2005 (1997). Die redes waarom die voorafgenoemde sillabusse in die navorsingsprojek ingesluit is, is soos volg: eerstens dien die British National Curriculum as raamwerk vir Gane (1996) se artikel "Instrumental performance and the National Curriculum: a possible partnership?" en dit is waarvolgens hierdie tesis geformuleer is; tweedens handel die Kurrikulum vir Buitekurrikulêre musiek (klavier) oor instrumentale musiekonderrig en die Tussentydse sillabus vir Klasmusiek oor algemene musiekonderrig - hierdie twee onderrigvelde is juis die twee aspekte van Suid-Afrkaanse musiekonderrig wat hierdie tesis poog om by mekaar te laat aansluit; en laastens word Kurrikulum 2005 ingesluit omdat dit die onderrigprogram is waarvolgens opvoeding tans in Suid-Afrika gepraktiseer word. Die belangrikste bevinding van hierdie studie is dat hierdie voorgestelde onderrigmetode vir musiek werkbaar is indien daar sekere voorwaardes soos in hoofstuk 4 bespreek, in plek is. Ter afsluiting is daar ook bevind dat aangesien hierdie tesis as 'n verkenningsstudie gedoen was, daar ruimte vir meer empiriese navorsing in hierdie verband is. Die gevolgtrekking is dat aangesien hierdie studie die moontlikheid vir 'n ontginnende onderrigmetode vir instrumentale musiekonderrig aandui, hierdie metode wel meriete het.
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Brunner, Heather Nicole. "COLOR AND MUSIC: A REVIEW OF RESOURCES TO ENHANCE BEGINNING INSTRUCTION IN PIANO PEDAGOGY." OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/316.
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This paper will examine color-coded musical notation. The history of color and music will be briefly explored before a more in-depth analysis of the widely available color-coded curriculums. Traditional method book formats will be examined for the potential integration of color-coded musical notation.
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Santos, Rogério Lourenço dos. "Uma proposta de método para ensino de piano em grupo destinado ao curso de piano complementar nas universidades brasileiras." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-22082013-141410/.
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A presente tese teve como motivação inicial a confecção de um método de ensino de piano em grupo para utilização nos cursos de piano complementar das universidades brasileiras. Neste trabalho, relatam-se as etapas e processos reflexivos percorridos por este autor durante esta empreitada. Primeiramente, foi feita uma pesquisa histórica a respeito do surgimento do piano em grupo na Europa e nos Estados Unidos, chegando-se até às tecnologias utilizadas atualmente, assim como uma análise do cenário relativo ao ensino do piano em grupo e da disciplina de piano complementar nas universidades brasileiras. No segundo capítulo, apresenta-se uma análise crítica e comparativa dos mais importantes métodos de ensino em grupo existentes atualmente. O capítulo final descreve a organização do método considerada ideal para uma proposta de método de ensino de piano em grupo nas universidades brasileiras e apresenta parte dos exercícios confeccionados para o desenvolver cada uma das habilidades funcionais que são trabalhadas nos diversos capítulos do método elaborado ao longo desta pesquisa, assim como o porquê das escolhas envolvidas em sua confecção.This thesis had as its impetus the development of a group piano method designed for college level piano classes in the universities of Brazil. The purpose of this work is to reflect upon the process used in this endeavor. The first chapter presents a historical background from the beginnings of group piano instruction in Europe and the United States until its culmination in the technological era. It also examines group piano teaching in the secondary piano courses among Brazilian universities. The second chapter is a comparative analysis of the most important group piano methods currently in use. The final chapter describes the format and function considered ideal as a basis for the method of group piano teaching in Brazilian universities. Furthermore, it presents a sample of the exercises composed to develop each of the piano skills that are presented throughout the chapters of the method produced alongside with this research, as well as the rationale involved in its creation.
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Chan, Alton. "The Kinetic Structures of Metric Temporal Patterns in Selected Beginning Piano Method Series." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc279319/.
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The purpose of this study was to investigate the kinetic structures or reinforcement schedules of metric temporal patterns (metric combination of note values within a measure) in five best-selling beginning piano method series. Based upon a survey mailed to 98 music dealers, the five best-selling beginning piano method series in 1992 and 1993 were identified as: the Alfred Basic Piano Library, Bastien Piano Basics, David Carr Glover Piano Library, John. W. Schaum Piano Course, and John Thompson Modern Course for Piano. A coding system was developed for identifying the numerical appearances and occurrences of various metric temporal patterns per learning piece within each method series. Several computer programs were written to compute the kinetic structures, scope, and pacing of metric temporal patterns for each method series. The derived data were then compared to delineate relationships between the three analytical variables.
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Whittaker, Sue McGhee 1942. "Information feedback preferences of college students enrolled in piano class." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/282110.
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The purpose of this study was twofold: to develop a computer-based piano performance trainer, and to study subjects' frequency of choices pertaining to different kinds of information feedback during self-directed practice while using a computer-based trainer. Additional concerns in the present study were: (1) the preferences of subjects regarding other practice options; (2) subjects' accuracy of performance, as measured by an investigator-designed test; (3) the relationship between subjects' accuracy of performance and their attributes of musical aptitude, reading ability, sightreading ability, and manual dexterity; and (4) the relationship between subjects' sightreading ability and the other three attributes. Data were collected from thirty-seven volunteers in piano class at Mesa Community College. In a natural setting, subjects practiced a fifteen-measure composition daily until the earlier of two events occurred: (1) students reached criterion level, or (2) two weeks elapsed. Results indicated that during self-directed practice as they were using a computer-based trainer, students most frequently chose: (a) to receive supplementary visual feedback--superimposed errors over the musical score, (b) to practice with a metronome and (c) to practice part of the composition with both hands. Across all subjects, the number of rhythm errors was significantly greater than the number of pitch errors; only two subjects reached criterion level during the two weeks. A correlation coefficent between performance accuracy scores and subject profile scores revealed a significant relationship between performance accuracy and sightreading, and a slight relationship between performance accuracy scores and reading. The findings indicated no significant relationship between performance accuracy and the other three attributes; also, there was no relationship between the same attributes and sightreading. Some of the writer's recommendations regarding future research in computer-based piano instruction were as follows: (1) Use courseware that "recognizes" student errors and makes incisive commentary or remediation as is necessary. (2) Select appropriately graded material for different skill levels. (3) Incorporate different styles of music. (4) Provide subjects with a supplementary IF mode that combines visual and aural feedback simultaneously. (5) Compare the performance accuracy of different groups of subjects with looser or tighter tolerances of the rhythm error for the beginning of each note.
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Zafranas, Nikolaos. "The effects of piano-keyboard instruction on cognitive abilities of female and male kindergarten children." Thesis, Brunel University, 2003. http://bura.brunel.ac.uk/handle/2438/5350.
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In several studies, children who received piano instruction achieved better results on spatial-temporal tasks than various control group children did. This difference, though, was not always statistically significant. Gender differences favouring boys in spatial abilities appear to exist in children as young as 4 1/2 years old. However, research linking piano instruction to spatial abilities did not report gender differences. This thesis had three main investigative objectives: to control if children would show significant improvement in cognitive test scores following piano-keyboard instruction; to compare if certain cognitive tasks such as the spatial tasks would show greater improvement than other, non-spatial, tasks; to examine if the effects of pianokeyboard training on spatial tasks are gender differentiated. Sixty-one kindergarten children, aged five to six years, participated in this research receiving two piano-keyboard lessons weekly during the school year 2001-2002. Six subtests from the Kaufman Assessment Battery for Children were administered before and after the instruction period. Results revealed that participants improved significantly in the Hand Movements, Gestalt Closure, Triangles, Spatial Memory, and Arithmetic tasks following pianokeyboard instruction. No significant improvement was found in the Matrix Analogies task. Pre-tests in all sub-tests showed no significant gender differences. At post-testing though, boys significantly outperformed girls in the Hand Movements task while their gain scores were significantly higher than girls' scores in the Triangles task. This research has demonstrated that piano-keyboard instruction produced enhanced spatial-temporal test scores in kindergarten children, and that these scores were gender differentiated. These findings are unique in presenting a gender difference in gain scores following piano-keyboard instruction favouring boys. It is hoped that these findings contribute to the growing body of research investigating the extra-musical effects of music instruction and that in the future, kindergarten program administrators might consider music and piano-keyboard instruction as an integral part of kindergarten education.
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Dai, Chenyan. "PRESCHOOL TEACHERS IN SHANGHAI, CHINA: PRE-SERVICE PIANO SKILL DEVELOPMENT, PERCEPTION OF ADEQUACY, AND CURRENT INSTRUCTIONAL USAGE." Scholarly Commons, 2019. https://scholarlycommons.pacific.edu/uop_etds/3656.
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This study investigates the influence of preschool teachers’ perceptions of the adequacy of their undergraduate piano skills training on the frequency of their use of piano skills with their students in Shanghai, China. In addition, the study explores the possible influence of these adequacy perceptions regarding their piano skills training on their usage of various piano skills in the classroom. The researcher-designed questionnaire covered twelve specific functional piano skills including improvisation, playing piano repertoire, accompaniment, sight reading, solo singing with self-accompaniment, composition, score reading, techniques, chord progressions, harmonization, transposition and modulation. They also reported on their perceived use and training adequacy of piano skills as a whole. Cluster sampling was used to recruit preschool teacher participants who graduated between 2013 and 2018 from six Shanghai preschool teacher preparation programs and had at least one year’s teaching experience. There were 567 participants who returned usable, completed surveys.
Using descriptive statistical analyses and sequential multiple regression, the researcher found that nearly all (99.1%) of the preschool teachers reported receiving less than three years of piano training before college. The analysis suggests that preschool teachers’ overall perception of the adequacy of college-level piano training they received affects their overall frequency of using piano skills in preschool teaching, after controlling for the amount of time spent on training received prior to entering college. Not only was this true for their perceptions regarding their training as a whole, but the same was found for 11 of the 12 specific skills investigated. That is, as perceptions of adequacy increased, so did usage of the particular skill in preschool teaching. The one exception was “score reading” which was not statistically significant. Specifically, 9.1% of the variation in piano skills usage, overall, can be predicted from their perceptions of undergraduate piano training adequacy, as a whole. Implications for college trainers and in-service teachers are discussed and suggestions for further research are offered. Caution is advised, however, when inferring cause from non-experimental designs such as the survey research employed in this study.
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Craige, Mary Ann 1940. "A Survey of the Instruction of Sight-Reading Skills to Undergraduate Piano Majors in Selected NASM Colleges and Universities." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278258/.
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One of the most important skills of a pianist is the ability to read at sight. Because there are so many areas of piano study to address, sight-reading is overlooked either out of frustration or simple neglect. However, if acquisition of this skill is neglected, it will be difficult for a pianist to ever attain his full potential. For a pianist, sight-reading is one area that strengthens all others. The purposes of this study were to secure data concerning teaching sight-reading to undergraduate piano majors, to identify methods and techniques in current use in the instruction of sight-reading, to determine the extent of keyboard and computer-assisted learning technology usage within sight-reading instruction, to identify more effective methods and techniques being used to teach sight-reading, and to search for ways to enhance sight-reading instruction, including the utilization of recent computer technology applications in education and learning. The method used was survey research with a questionnaire sent to 168 randomly selected NASM colleges and universities. Response rate was 49.4 percent. The questionnaire, designed by the researcher, sought to ascertain the status of sight-reading instruction in these colleges and universities and to endeavor to determine the extent, if any, keyboard and computer-assisted learning technology was being used. Respondents of the survey were requested to identify outstanding sight-reading instructors and prominent accompanists, seven of whom were then interviewed. Final conclusions and recommendations are based upon the summation of data from respondents and professionals. There were no emerging tendencies in the instruction of sight-reading, but there was a strong agreement among respondents that there is a need for the development of a program to enable the usage of CAI. There were ten recommendations, ranging from the addition of sight-reading skills classes to conferences among teachers and computer programmers, to devise suitable programs to assist in the instruction of sight-reading skills.
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Seidel, Liz. "Aspects of piano pedagogy and performance for the early advanced student : a stylistic analysis of the Concerto No. 1 for piano and orchestra by Robert Muczynski." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1236012.
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The purpose of this study is to investigate the pedagogical and performance aspects of Robert Muczynski's Concerto No. I for Piano and Orchestra. The work targets the early-advanced level of performance, representing a tutorial step in technical and musical difficulty. Muczynski's writing offers mild characteristic tendencies in comparison to later practices within the century, but does exhibit the emergence of a variety of significant keyboard skills. Moreover, his intermittent use of atonality is ideal for a student who is not yet comfortable with this idiom. For these reasons, the concerto serves as an excellent introduction to the genre for this level of study.This investigation is prefaced by an introduction to the topic of piano pedagogy in relation to concerto study, along with a brief biographical sketch of the composer. The investigation then provides a stylistic analysis of the Concerto No. 1 for Piano and Orchestra. Each movement is examined comprehensively (by formal structure) according to inherent technical and interpretive challenges, and musical examples are offered in connection with suggestions for practice and execution.Findings reveal a cross-section of twentieth-century innovation and challenge which not only represent the unification of Muczynski's style, but also offer opportunity for growth and development in terms of keyboard performance and the application of sound musical decisions.The investigation closes with suggestions for the study of other twentieth-century concerti closely resembling this work in style, but more artistically challenging in performance.School of Music
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Parr, Sharon M. "The effects of graduated exercise at the piano on the pianist's cardiac output, forearm blood flow, heart rate, and blood pressure." Virtual Press, 1985. http://liblink.bsu.edu/uhtbin/catkey/434086.
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The purpose of this study was to determine the effects of graduated exercise at the piano on the pianist's cardiac output, forearm blood flow, heart rate, and blood pressure. Also considered were the effects of piano practice conditioning, general cardiovascular conditioning, and acute cigarette smoking on the aforementioned parameters during and after graduated piano exercise.Fifteen adult pianists participated in the study. The piano exercises consisted of bilateral scales played in eight three-minute stages. Tempo was constant within stages but increased with each new stage. Cardiac output and forearm blood flow were monitored by electrical impedance utilizing a tetrapolar electrode-placement system.FindingsCardiac output, forearm blood flow, heart rate, and systolic blood pressure generally increased proportionally to exercise intensity and returned to basal levels within a five-minute recovery period.ConclusionsStrenuous piano exercise stresses the body in general, not just the active forearm muscles.The stress load placed on the heart by piano playing can be at least as great as that produced by a brisk walk.Piano playing can generate an oxygen debt in the forearm muscles.Conditioning of forearm muscles through regular piano practice results in training effect for piano playing in those muscles.Pianists who participate regularly in quality aerobic exercise programs generally begin and end piano exercise with lower heart rates than those who do not exercise. Frequently, they increase heart rates to a lesser extent during exercise and settle into steady postexercise rates more quickly as well.Both regular piano practice and general cardiovascular conditioning gained through quality aerobic exercise contribute to increased piano-playing endurance.Acute smoking increases cardiac outputs and heart rates of pianists resulting in higher levels of cardiac work during piano exercise.During piano exercise, acutely smoking pianists require greatly increased forearm blood flows to meet muscle needs.
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Moreira, Ana Lúcia Iara Gaborim. "Iniciação musical ao piano para crianças : um olhar sobre a prática pedagógica em conservatórios da cidade de São Paulo /." São Paulo, 2005. http://hdl.handle.net/11449/95109.
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Orientador: Marisa Trench de Oliveira FonterradaBanca: Ilza Zenker Leme Joly
Banca: Dorotéa Machado Kerr
Resumo: Esta pesquisa desenvolveu-se a partir da experiência pessoal da autora, que detectava alto índice de desistência entre alunos dos cursos de piano, e teve por objetivo investigar as possíveis causas dessa evasão, bem como compreender a atual situação do ensino desse instrumento. Para atender às questões propostas, realizou-se um estudo em conservatórios da cidade de São Paulo, por meio de entrevistas e questionários aplicados a professoras de piano e diretores, entre os anos de 2003 e 2004. Esse estudo englobou o material didático utilizado, a organização das aulas, a formação docente e a estrutura oferecida pelos conservatórios. Além disso, investigou-se a história do ensino do piano no Brasil, desde o século XIX, e os métodos e recursos utilizados pela pedagogia pianística a partir da década de 1930. A partir desse estudo, apresenta-se o resultado das reflexões da pesquisadora a respeito da pedagogia pianística, tal como praticada hoje em conservatórios paulistanos, acentuando-se as questões relacionadas ao peso da tradição presente nesse ensino e à necessidade de se responder aos desafios da época atual. Com isso, espera-se que esta pesquisa possa contribuir para a melhoria da qualidade do ensino do piano no Brasil.
Abstract: This research has been developed from the personal experiences of the author when noticing the high level of abandonment during the piano course by the students. Since then, it has been the objective of this project to investigate the possible causes of this evasion as well as to comprehend the actual situation of teaching piano in Brazil. It has been realized a study in conservatories at the city of São Paulo to attend to these questions, based on interviews and questionnaires applied to piano teachers and directors in the period of 2003-2004. This study has embraced the didactical materials used, the organization of the classes, the faculty and the structure offered by the conservatories. Besides that, it has been investigated the history of piano teaching in Brazil since century XIX and also the methods and resources used in piano pedagogy since 1930. From this perspective, this study has introduced the result of reflections in piano pedagogy by the author as it has been practiced today in the conservatories in São Paulo. This study has deepened in questions related to the traditional education of piano, in the need to answer challenges of this education nowadays and in the training of the faculty looking forward to contribute to the advance in the quality of the piano courses in Brazil.
Mestre
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Fu, Hui-Ju Camille. "A status and vision investigation of US university piano pedagogy programs." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3671/.
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The two major research questions were: “What is the current status of 20 prominent piano pedagogy programs?” and “what is the vision of an ideal future piano pedagogy program from the perspective of 20 piano pedagogy leaders?” Subjects were the leaders of the top 20 US university piano pedagogy programs. A survey study with interview questions was used as the instrument for the study. The results showed that faculty, curriculum, and teacher training were three top factors that contributed to the quality of the programs. Most interviewed subjects held a doctoral degree in music. The curricular content and degree options were diverse across the selected programs. The content of teacher training included private and group teaching. The perceived best qualifications of a piano pedagogy instructor were to have a balanced education. Most programs had small or little to no budget, however, the preparatory program was perceived to be an enhancement to teacher training program finances. The greatest challenges were faculty acquisition and financial limitations. Gaining more money was the most common improvement priority for programs. To envision an ideal future piano pedagogy program, most leaders stated that an ideal program should contain encourage: (1) collaborating with other divisions' faculty members for developing a diverse curriculum, (2) providing multiple types of teacher training, (3) offering knowledge that is highly pertinent to students' future careers, (4) continually adjusting topics in the curriculum, and (5) utilizing all the possible resources to establish up-to-date facilities. The chief obstacle was a lack of money. However, finding a major donor, and developing a preparatory program to generate money may help to overcome the obstacles. Having administrators with positive attitudes toward pedagogy could help programs to gain more resources. Encouraging students to participate in workshops and conferences could enrich the training. Several recommendations may help emerging pedagogy programs, such as : (1) raising faculty's visibility in public, (2) developing a diverse curriculum and collaborating with other faculty from different divisions, (3) establishing a preparatory program, (4) offering diverse degree options, (5) developing a general pedagogy degree, and (6) educating administrators on the importance of piano pedagogy.
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Gwatkin, Jan. "Investigating the viability of a national accreditation system for Australian piano teachers." University of Western Australia. School of Music, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0099.
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The Federal education system has 12 nationally accredited and portable qualifications issued by the Australian Qualifications Framework (AQF) which cover three sectors; Higher Education, Vocational Education and Training (VET) and Schools. A mandatory minimum bachelor qualification together with education units, state registration and ongoing professional development is imposed for all classroom music teachers. In direct contrast, however, Australian studio piano teachers and school instrumental teachers may or may not have formal qualifications, registration with professional associations, or ongoing professional development. All teachers must be registered with State registration boards for Working With Children (WWC) but no monitoring controls exist for studio teachers. Qualifications are available from public examination boards, private enterprises and state Music Teacher Associations (MTAs) but these are not recognised within the national system and consequently have no status or portability, although they are used and recommended within the industry and higher education institutions as course prerequisites. The aim of the current study was to investigate whether a National Accreditation System (NAS) for Australian studio piano teachers could be a viable system, adding unprecedented professionalism to the field and drawing upon the existing systems of government, private industry and educational institutions. In the thesis, current systems of accreditation, education and training available for classroom music teachers, school instrumental music teachers and other recognised professions such as lawyers, engineers, accountants, health professionals and sports coaches were reviewed as a comparative basis upon which to assess similar contexts for studio piano teachers. Results are combined with a survey of Australian piano teachers' perceptions, from which the study ascertained the extent to which studio piano teachers' needs were being catered for and met in available systems of accreditation and training.
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Lee, Jihyun. "Teaching Late Intermediate-level Technical Skills Through the Study of Leschetizky, Vengerova, and Neuhaus: Exercises or Repertoire?" Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862732/.
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To be successful and be effective in teaching, one must be familiar with a variety of methods in instruction and teaching strategies. This also includes becoming aware of any challenges that student and teachers might confront at all levels. Advanced-level piano students, such as those who are at the collegiate level, study the masterpieces of the great composers. However, they may still be in need of developing certain technical and musical skills which should have been covered at the late intermediate level. This study focuses both on exercises and on late intermediate-level repertoire. This study examined the methodical approaches of Russian technical school primarily through the exercises of Theodor Leschetizky, Isabelle Vengerova, and Heinrich Neuhaus and compared these exercises with passages from appropriate great literature suitable for late intermediate-level students. This may not only in preparing for more advanced piano repertoire but also broadening general piano techniques. All together, this may further promote in prevention of musical problems that might occur at a more advanced-level of piano study.This study focuses both on exercises and on late intermediate-level repertoire. This study examined the methodical approaches of Russian technical school primarily through the exercises of Theodor Leschetizky, Isabelle Vengerova, and Heinrich Neuhaus and compared these exercises with passages from appropriate great literature suitable for late intermediate-level students. This may not only in preparing for more advanced piano repertoire but also broadening general piano techniques. All together, this may further promote in prevention of musical problems that might occur at a more advanced-level of piano study.
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Poon, Letty, and 潘穎芝. "Piano culture in Hong Kong: from City Hall toHarbour City." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B38711163.
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Serrin, Bret. "The Legacy of Theodore Leschetizky as Seen through His Pedagogical Repertoire and Teaching Style." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28474/.
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Theodore Leschetizky's singular pianistic legacy survives to this day because of his revolutionary pedagogical methods and his compositions for the piano repertory. The amalgamation of these two aspects formed his distinctive contributions to the fields of piano and piano pedagogy and left an indelible mark on the history of the instrument. His students lead an impressive list of the greatest artists of the previous century, each influencing the evolution of pianism with their own remarkable style and personality. While Leschetizky was arguably without peer as a pedagogue, many pianists today are unaware of the vast number of compositions that he wrote. These pieces were intended not only for the concert stage, but also as a very specific pedagogical repertoire that he used within his own teaching studio. This repertoire comprises a vital component of the Leschetizky legacy, albeit one which is often slighted in comparison. It is imperative that the pianists of our current generation understand the dual aspects of his contribution to our art form, in order to fully grasp the way in which he has changed the face of pianism. The purpose of this dissertation and lecture recital is to enumerate the various aspects that constitute the dual components of Leschetizky's pianistic legacy. For pedagogues of the current generation, it is of vital importance that we understand not only our own personal pedagogical lineage, but the various other individuals that, through their contributions, have led us to where we are in our understanding of the instrument. What is needed in the current research on this subject is one individual source that not only documents the characteristics of a pedagogical genius, but explores the legacy he left for future generations through documented accounts of his students and the examination of his own unfamiliar, pedagogical repertoire for the piano.
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Corvisier, Fátima Graça Monteiro. "Antônio de Sá Pereira e o ensino moderno de piano: pioneirismo na pedagogia pianística brasileira." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-19112010-090043/.
Full textAbstract:
Antônio de Sá Pereira é um dos pioneiros da Pedagogia do Piano no Brasil. Seu tratado Ensino Moderno de Piano (1933) aborda a técnica pianística cientificamente e abrange questões diversas como a leitura à primeira vista e o desenvolvimento da audição crítica do aluno. Esta obra refere-se pela primeira vez no Brasil à fisiologia dos movimentos pianísticos, sistematiza o emprego da técnica de peso do braço na execução, aplica estratégias racionais de estudo e visa ensinar o aluno a pensar e a ouvir por conta própria. A pesquisa analisa o tratado relacionando-o com as principais teorias que o fundamentaram. Ao mesmo tempo aponta seu pioneirismo em relação ao meio musical brasileiro da época, o grau de originalidade de seu conteúdo e a atualidade das ideias que defende. A obra é circunstanciada por dados biográficos de Sá Pereira, material documental e bibliográfico. Sá Pereira consegue através de um trabalho de síntese e objetividade, tornar acessível e compreensível uma visão da técnica até então praticamente desconhecida no Brasil. Embora haja grande afinidade entre suas ideias e as dos principais teóricos da época, a adesão de Sá Pereira aos princípios que norteiam a moderna técnica pianística não é dogmática, pois Sá Pereira encontra o equilíbrio entre a abordagem técnica que utiliza o peso do braço e a técnica de dedos. Ao considerar que ambas se completam, demonstra uma visão atual da técnica pianística. Mais do que um tratado de técnica pianística, o Ensino Moderno de Piano buscou transformar e modernizar o ensino pianístico praticado no Brasil.Antônio de Sá Pereira was a renowned scholar and a pioneer of Piano Pedagogy in Brazil. His treatise on piano teaching and technique, Ensino Moderno de Piano (Modern Piano Teaching -1933), encompasses several related subjects such as sight reading and critical listening. This is the first time a Brazilian work describes the physiology of piano playing movements and systematizes the use of the arm-weight technique. The work also applies rational strategies toward practice in order to teach the students to think and listen by themselves. This thesis analyzes Ensino Moderno de Piano relating it to the theories on which it was based and pointing out its originality in the context of related Brazilian works on piano technique. This thesis also verifies the modernity of its ideas. Biographical, documental and bibliographical data on Sá Pereira contextualize the treatise. Sá Pereiras work synthesizes the modern piano technique theory using an accessible and objective language. At that time, arm-weight technique was a barely known subject in Brazil. On the other hand, Sá Pereira does not follow the principles of Modern Piano Technique in a dogmatic way. Although there is great affinity with his ideas and those of the great theorists of the period, Sá Pereira still finds a balance between the two different types of piano technique approach the arm-weight and the finger technique. He considers them complementary to each other, a contemporary perspective on piano technique. More than a treatise on piano technique, the work Modern Piano Teaching aims to transform and to modernize piano teaching methods employed in Brazil.
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Hung, Sophie (Shuo-Hui). "An Instructional Guide to Teaching Dan Beaty's Woodsprite and Waterbug Collection for Intermediate Piano Students and Instructors." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404626/.
Full textAbstract:
The purpose of this dissertation is to offer a pedagogical guide to Woodsprite and Waterbug Collection (1977) by Dan Beaty (1937-2002) through an analysis of its pedagogical values and teaching applications. This set consists of twelve short, intermediate-level pieces, featuring various contemporary idioms. Each piece is also pedagogically written to help intermediate students to refine specific pianistic techniques beyond the elementary level. In addition, Beaty's collection expands students' musical vision and musicianship for more advanced studies via the incorporation of contemporary music theory and techniques. These qualities make Woodsprite and Waterbug Collection a valuable tool for intermediate piano students. It is also useful for instructors searching for repertoire to introduce contemporary idioms. The author hopes that this study will encourage performers, teachers and scholars to consider this work and Beaty's other piano compositions. By studying Woodsprite and Waterbug Collection, students will be more appreciative of contemporary repertoire and will welcome learning similar pieces in the future.
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Nahkur, Hando. "A Holy Night: 10 Arrangements of Timeless Carols: Preparing Early Advanced Piano Students for Standard Repertoire." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609160/.
Full textAbstract:
It is often challenging for early advanced piano students to move from intermediate level repertoire to standard repertoire because the techniques and difficulties present in the new repertoire are simply too overwhelming for them. "A Holy Night: 10 Arrangements of Timeless Carols" can help bridge the gap between the two repertoire categories by introducing several advanced techniques and combinations of techniques to early advanced students in a non-overwhelming way. Several standard techniques that were widely used by composers of different styles are addressed in the arrangements: legato and chord playing, orientation in different keys, pedaling, dynamics and octave playing. The topic of fingerings is also covered since using correct fingerings is a key for any technique to work. The arrangements help to prepare early advanced students for standard repertoire by allowing them to learn, practice, and perform a variety of standard repertoire techniques in short and engaging pieces. This dissertation is intended to demonstrate to private piano teachers ways in which this arrangement of mostly well-known seasonal tunes can be used to assist in the transition to more advanced repertoire.
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Woo, Laehyung. "Building an Effective Piano Technique while Avoiding Injury: A Comparison of the Exercises in Alfred Cortot's "Rational Principles of Pianoforte Technique" and Carl Tausig's "Daily Studies for the Pianoforte"." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984147/.
Full textAbstract:
It is the teacher's responsibility to guide students in building an effective and injury-free piano technique. Improper technique, poor training and bad posture at the instrument all may cause problems such as lack of muscle control, weakness, or tension in the hands. Many teachers are interested in finding information about specific exercises dealing with finger strengthening, stretching, and warm-up strategies, as well as guidelines for safe practicing. It is therefore important for both teachers and students to understand how to build a technique from the earliest years of instruction. Carl Tausig (1841-1871) and Alfred Cortot (1877-1962) both contributed to the development of piano technique by writing books that include a significant number of exercises and excerpts. Their books incorporate detailed instructions on how to play each exercise effectively and without fatigue. Subsequently, Heinrich Ehrlich (1822-1899) collected and systematically arranged Tausig's notes, complementing them with detailed information on how to play Tausig's exercises without causing injury. This dissertation compares and contrasts the exercises found in Alfred Cortot's book, Rational Principles of Pianoforte Technique, and Carl Tausig's book, Daily Studies for the Pianoforte. The latter is based on the practical guidebook, How to Practise on the Piano: Reflections and Suggestions, written by Heinrich Ehrlich. Included in this study are references to the performing arts medical literature dealing with pianists' injuries. By comparing two different historical piano methods and considering their effectiveness in light of modern medical performance research, this dissertation aims to help teachers to determine which methods might be better for students to build a solid piano technique without injuring themselves.
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O'Meara, Connor. "Selected Orchestral Excerpts for Bass Clarinet with Piano Reduction." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984170/.
Full textAbstract:
The idea of reducing popular and musically satisfying operatic or orchestral works to smaller instrumental forces is not uncommon, but the idea of reducing large scores for the exclusive use of orchestral excerpt pedagogy is. Although there are a multitude of excellent resources detailing how select excerpts from both the clarinet and bass clarinet orchestral repertoire should be performed, no resources for clarinetists or bass clarinetists provide a piano reduction of orchestral scores. Through piano reduction of orchestral scores, bass clarinetists have access to a resource that simulates the experience of playing in an orchestra. Bass clarinetists using a piano reduction will learn the pitch tendencies of the instrument. Consequently, the performer will discover ways to study excerpts in-tune with other instruments that will not compromise for the shortcomings of the bass clarinet. Use of piano transcriptions will also aid with recognition of important moving lines, harmonic textures and rhythmic ostinatos that might otherwise be overlooked by score study and listening alone. Finally, many of the excerpt transcriptions provided are taken from several bars before the primary bass clarinet excerpt, unlike many excerpt books currently available. This provides bass clarinets a more contextual view of an excerpt by facilitating the need to count rests correctly and play solo entrances in the correct style and affect presented by the preceding orchestral material.
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Heisler, Paul K. "An Investigation of Personal Investment Levels Among Nonmusic Major Piano Students Using Portfolio Assessment." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278578/.
Full textAbstract:
The purpose of this study was to compare personal investment levels among nonmusic major piano students in the contexts of portfolio and teacher-directed assessment. Three problems were addressed: 1) identifying students' perceptions of direction, persistence, continuing motivation, intensity, and performance in the context of teacher-directed goal setting, choice of instructional activities, and evaluation of performance; 2) identifying students' perceptions of the five personal investment behaviors in the context of portfolio assessment; and 3) comparing student perceptions as
identified in problems one and two.
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Son, Youjoo. "Assessing Perception and Attitude of Pianists toward Ergonomically Scaled Piano Keyboards (ESPK): Raising Awareness about ESPK and Evaluating Changes of Attitude through an Educational Survey." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248515/.
Full textAbstract:
As epidemiologic research demonstrates health concerns for hand problems among pianists, scientists are measuring historic piano keyboards and realizing that much of the piano literature was composed for and played on pianos with smaller keys compared to what is used on the modern piano. Having to play this literature on a larger keyboard is especially difficult for small-handed piano students and professionals. Fortunately, smaller keyboards are now available for use with standard pianos - and research shows that this ergonomic adjustment does reduce piano-related hand pain for small-handed musicians. Major universities are now offering this option to students, but only a few music schools possess these keyboards and not many people know about them. There are no known research studies to address people's awareness and attitude toward ergonomically scaled piano keyboards (ESPKs). The purpose of this study was to assess perception and attitude toward ESPKs and help to raise its awareness. To examine pianists' perception, two surveys was composed. First one was conducted on UNT campus in which ESPKs are available for their students, and the second survey was carried out on schools of music in the United States. The results reveal that substantial number of people already know about the existence of ESPKs, but they are not totally aware specific information about ESPKs. Subjects who are aware of ESPKs report significantly higher positive attitude compared to those have not known about ESPKs. Results from this study may have implications for health education initiatives within NASM schools of music.
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Zhan, Le. "William Gillock's Contributions to Piano Pedagogy: A Comparison of Three Works of Gillock with Selected Stylistic Models from the Baroque, Classical, and Romantic Repertoire." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609147/.
Full textAbstract:
William Gillock, a 20th-century American composer and pedagogue, composed numerous works in the styles of different periods for early intermediate-level piano students. The purpose of this dissertation is to introduce Gillock's pieces to teachers of early intermediate students and illustrate how they can be used as a bridge to the study of similar music from Baroque, Classical, and Romantic periods. Gillock's Little Suite in Baroque Style is compared with Handel's Suite in E Major, HWV 430; his Accent on Analytical Sonatinas (Classical) is compared with Clementi's Piano Sonatinas, Op. 36, No. 3, 5, 6; and his Lyric Preludes in Romantic Style (Romantic) is compared with Chopin's 24 Preludes, Op. 28, No. 3, 6, 9, 16, 18, and 24. Each work is examined to reveal its compositional and technical elements along with pedagogical concepts.
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Crane, Joyce L. (Joyce Lydia). "Independent Piano Teachers: An Investigation of Their Attitudes toward Selected Attributes of Profession." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc330700/.
Full textAbstract:
The purpose of the study was to investigate independent piano teachers' view of themselves in the light of selected attributes found in sociological writings on the professions. The research problems were: (a) to determine the attitudes which independent piano teachers held toward selected professional attributes; (b) to determine the relationship between the attitudes toward the professional attributes and selected background variables; and (c) to determine the degree of association between these attributes. The problems were addressed by a questionnaire directed to independent piano teachers active in the area of Dallas-Ft. Worth, Texas. Thirty teachers were also interviewed to determine consistency of response and to explore issues which the questionnaire had raised. Reliability and validity were established at acceptable levels. Techniques of statistical analysis included Pearson's product-moment correlation, multiple regression, chi-square in conjunction with Cramer's V_, and factor analysis. The strongest attitudes expressed by the teachers in the study concerned professional self-image, altruism, client orientation, commitment to work, and independence. The most important background variables were age, years of experience, number of students, certification by a professional association, and college degree in music. A multiple regression analysis tested each variable against the dependent variable professional self-image; recognition by others, commitment to work, client orientation, and qualification were found to account for 25% of the common variance. A factor analysis was also conducted to seek out patterns of attitudes among the attributes being studied; seven factors were identified among the subjects' belief systems as Professional Actions, Satisfaction, Quality Control, Professionalism, Compliance, Autonomy, and Focus on Student. These factors accounted for almost half of the total variance in the data. The study concluded that: (a) independent piano teaching was a female-dominated, subsidized occupation, and (b) the piano teachers' professional self-image seemed to be an evaluation of themselves and their work, rather than the use of profession as a definable goal for which to strive.
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Forrest, David Lawrence. "The educational theory of Dmitri Kabalevsky in relation to his piano music for children." Connect to thesis, 1996. http://repository.unimelb.edu.au/10187/1164.
Full textAbstract:
This study investigates the educational theories and beliefs of the Russian composer and educator Dmitri Borisovich Kabalevsky as they relate to his piano music for children.A biographical sketch of the composer’s public life was developed incorporating the significant events in his life as they relate to the compositions, and in particular, his work with children. The primary sources for this study are the composer’s own writings - some of which were specially translated from Russian into English for the purpose of this study.
Kabalevsky offered an alternative philosophy to that of many Western educators and musicians. His educational and musical views are discussed in the context of the overriding political philosophy to which he adhered throughout his life. The clearest expression of his educational views is seen in his book A Story of Three Whales and Many Other Things and the recorded talks with children entitled What Music Says, both of which were translated from the Russian for this study.
An overview of Kabalevsky’s music was developed, with particular reference to his music for children. Kabalevsky’s piano music for children is discussed in the larger context of his output for the instrument. Particular emphasis is placed on the use he made of the song, the dance and the march - the three major genres that are the basis of the small character pieces which constitute the majority of his works for children.
Five sets of music, from the twelve-volume collection entitled Piano Music for Children and Young People, have been selected for investigation in this study. The sets are In the Pioneer Camp Op. 3/86 (127/1968), From Pioneer Life Op. 14 (1931/1968), Thirty Children’s Pieces Op. 27 (1937-38), Twenty-Four Easy Pieces Op. 39 (1943) and Thirty-Five Easy Pieces Op. 89 (1972).
A descriptive analysis of each of the 100 pieces (under set criteria) was carried out, highlighting the major focus of the piece as well as the important pedagogical elements. An important aspect of this study was the identification and classification of the piano pieces in terms of the genre or style of the song, the dance or the march; only some were identified as such by the composer. The classification of pieces provided an important link between Kabalesky’s educational philosophy and his piano music for children.