Relevant bibliographies by topics / Piano performance practice

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  1. Journal articles

Academic literature on the topic 'Piano performance practice'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Piano performance practice"

1

DING, SHIAU-UEN. "Developing a rhythmic performance practice in music for piano and tape." Organised Sound 11, no. 3 (2006): 255–72. http://dx.doi.org/10.1017/s1355771806001518.

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There are many excellent works for piano and tape; however, there have been an insufficient number of pianists widely performing these works. The purpose of this article is to critically analyse the rhythmic relationships between piano and tape, serving a pedagogical function for both composers and pianists in technical and aesthetic terms. Hopefully these techniques will encourage pianists to include music for piano and tape as part of their repertoire.
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2

Chaffin, Roger, and Gabriela Imreh. "Practicing Perfection: Piano Performance as Expert Memory." Psychological Science 13, no. 4 (2002): 342–49. http://dx.doi.org/10.1111/j.0956-7976.2002.00462.x.

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A concert pianist recorded her practice as she learned the third movement, Presto, of J.S. Bach's Italian Concerto. She also described the formal structure of the piece and reported her decisions about basic features (e.g., fingering), interpretive features (e.g., phrasing), and cues to attend to during performance (performance cues). These descriptions were used to identify which locations, features, and cues she practiced most, which caused hesitations when she first played from memory, and which affected her recall 2 years later. Effects of the formal structure and performance cues on all three activities indicated that the pianist used the formal structure as a retrieval scheme and performance cues as retrieval cues. Like expert memorists in other domains, she engaged in extended retrieval practice, going to great lengths to ensure that retrieval was as rapid and automatic from conceptual (declarative) memory as from motor and auditory memory.
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3

Comeau, Gilles, and Veronika Huta. "Addressing Common Parental Concerns about Factors That Could Influence Piano Students’ Autonomous Motivation, Diligence, and Performance." Articles 35, no. 1 (2017): 27–52. http://dx.doi.org/10.7202/1038943ar.

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We examined the effects of choices parents can make regarding their child’s piano lessons: age started, instruction method, taking exams, taking group lessons, sitting in on lessons, helping with home practice, giving rewards for practising. Parental choices were correlated with the following child variables regarding piano playing: autonomous motivation, interest in performance and creativity, interest in effortful practice, time spent practising, feeling of competence, and exam performance. We administered questionnaires to 173 piano students aged six to sixteen and their parents. The most beneficial predictors were: initiating lessons before age seven, sitting in on lessons, and helping with home practice.
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4

Kilincer, Ozlem, Emre Ustun, Selcuk Akpinar, and Emin E. Kaya. "Motor Lateralization May Be Influenced by Long-Term Piano Playing Practice." Perceptual and Motor Skills 126, no. 1 (2018): 25–39. http://dx.doi.org/10.1177/0031512518807769.

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Motor lateralization is viewed as anatomical or functional asymmetry of the two sides of the body. Functional motor asymmetry can be influenced by musical practice. This study explored whether piano playing experience modulates motor asymmetry and leads to an altered pattern of hand selection, reflecting an altered handedness. We asked two groups of right-handed participants—piano players and non-piano players—to reach targets in their frontal space with both arms, and we tested the motor performance of each arm on this task and then on an arm preference test. As musical practice can decrease motor asymmetry between arms, we hypothesized that participants with piano playing experience would display less interlimb asymmetry and that this, in turn, would change their arm preference pattern, compared with participants without piano playing experience. We found support for both hypotheses, and we conclude that arm selection (preference) is not biologically fixed, but, rather, can be modulated through long-term piano playing.
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5

Lehmann, Andreas C., and K. Anders Ericsson. "Preparation of a Public Piano Performance: The Relation between Practice and Performance." Musicae Scientiae 2, no. 1 (1998): 67–94. http://dx.doi.org/10.1177/102986499800200105.

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This study investigated an expert pianist's nine-month preparation for a public music performance (recital) through the collection of practice diaries and MIDI recordings of the eight scheduled pieces. Recordings were made under the experimentally varied conditions of solitary performance and public performance. The practice diaries revealed that the expert (an advanced student performer) allocated practice time consistently across the entire preparation period and tended to use mornings to practice the pieces perceived as being more difficult. Total preparation time for each of the pieces could be predicted on the basis of the pianist's subjective ratings of complexity and independent ratings of complexity given by other experts. An analysis of the performance data showed that, near the time of the recital, variability in performance tempo was large between pieces but very small for multiple renditions of the same piece, even under the different experimental conditions. Thus, to attain a highly reproducible public performance, the expert allocated practice time in response to task demands and engaged in specific preparations that would safeguard the performance against unexpected problems.
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6

Bernardi, Nicolò Francesco, Alexander Schories, Hans-Christian Jabusch, Barbara Colombo, and Eckart Altenmüller. "Mental Practice in Music Memorization: An Ecological-Empirical Study." Music Perception 30, no. 3 (2012): 275–90. http://dx.doi.org/10.1525/mp.2012.30.3.275.

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The present study aims to systematically describe mental practice (MP) in music memorization, with regard to individual differences in the use of different MP strategies and their performance outcomes. Sixteen pianists were studied while they memorized piano pieces. Each subject memorized two pieces, either via MP or physical practice (PP). In order to keep the setting as ecologically valid as possible within the experimental setup, we allowed subjects to freely apply their preferred MP strategies with the exception of physically playing a real piano. Practice and performances were video documented and expert rated; practice strategies were reported in researcher-developed questionnaires. The use of MP alone led to successful music learning. MP combined with PP produced results that were indistinguishable from those following PP alone. Pitch imagery and structural analysis were associated with better post-MP performance. Results are discussed in the frame of expert memory theory (Chase & Simon, 1973; Chaffin, Logan, & Begosh, 2009) and practical implications for musicians are provided.
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7

Coffman, Don D. "Effects of Mental Practice, Physical Practice, and Knowledge of Results on Piano Performance." Journal of Research in Music Education 38, no. 3 (1990): 187. http://dx.doi.org/10.2307/3345182.

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8

Treviño, Jeffrey, and Craig Sapp. "Automated Notation of Piano Recordings for Historic Performance Practice Study." Journal on Computing and Cultural Heritage 7, no. 3 (2014): 1–7. http://dx.doi.org/10.1145/2597179.

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9

Meinz, Elizabeth J., and David Z. Hambrick. "Deliberate Practice Is Necessary but Not Sufficient to Explain Individual Differences in Piano Sight-Reading Skill." Psychological Science 21, no. 7 (2010): 914–19. http://dx.doi.org/10.1177/0956797610373933.

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Deliberate practice—that is, engagement in activities specifically designed to improve performance in a domain—is strongly predictive of performance in domains such as music and sports. It has even been suggested that deliberate practice is sufficient to account for expert performance. Less clear is whether basic abilities, such as working memory capacity (WMC), add to the prediction of expert performance, above and beyond deliberate practice. In evaluating participants having a wide range of piano-playing skill (novice to expert), we found that deliberate practice accounted for nearly half of the total variance in piano sight-reading performance. However, there was an incremental positive effect of WMC, and there was no evidence that deliberate practice reduced this effect. Evidence indicates that WMC is highly general, stable, and heritable, and thus our results call into question the view that expert performance is solely a reflection of deliberate practice.
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10

MacRitchie, Jennifer. "Deciphering and Embodying Contemporary Piano Scores: A Commentary on Huisman, Gingras, Dhondt, and Leman (2017)." Empirical Musicology Review 12, no. 1-2 (2017): 75. http://dx.doi.org/10.18061/emr.v12i1-2.5304.

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Rehearsing a new contemporary notated piano score often requires the performer to dedicate a large amount of time to translating the notation: tasks may include interpreting new symbols, or old symbols in new contexts, learning new extended techniques, and learning the link between symbol and physical gesture. Huisman et al's article details an experiment that studies the use of various types of music editions and their effect on the practice and performance of contemporary piano music scores. This commentary considers the following issues when discussing the interpretation of unfamiliar piano scores: 1) issues in reading notation that arise from performance practice challenges, 2) cultivating an interpretive platform, and 3) embodiment in the rehearsal of a new, contemporary score.
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