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Journal articles on the topic 'Piano performance practice'
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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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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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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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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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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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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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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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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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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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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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MacDonald, Claudia. "Schumann's Piano Practice: Technical Mastery and Artistic Ideal." Journal of Musicology 19, no. 4 (2002): 527–63. http://dx.doi.org/10.1525/jm.2002.19.4.527.
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From the summer of 1830 through the fall of 1831, Schumann worked diligently at the piano with the intention of becoming a professional performer. Beginning in May 1831 he regularly recorded his progress in his diary, describing his repertory, hand position, his aesthetic and technical goals, his frustrations and triumphs. Repeatedly he wrote of the clash between a cherished ideal, nurtured in him as an amateur, of music as an expression from the heart, and what he deemed the routine music making of professionalism——a clash played out in his piano practice until it reached an impasse he was unable to resolve in his performance. The conflict Schumann experienced was related to a larger one in the world of European concert music, namely the demand for ever more dazzling exploits just as music was elevated to the highest position among the arts. This essay presents the nearest possible look into a young artist's mind as he grappled with a dilemma basic to his generation: how to embrace the newest athletic developments while still claiming music as an expressive language reaching into inner depths that are supposedly immune to its power to dazzle. As one example it shows Schumann's progress toward a finished, ideal performance of Chopin's Variations, opus 2, as this is documented in a series of exercises recorded in his practice diary. These deal little with any mechanical problems in the set but instead give a glimpse of how Schumann hoped to realize physically his imagined, ideal sound world.
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Haddon, Elizabeth. "Piano performance: Group classes for the lifelong learner." Research Studies in Music Education 39, no. 1 (2017): 57–71. http://dx.doi.org/10.1177/1321103x17702972.
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This qualitative research presents data relating to eight amateur pianists who completed a 10-week Piano Performance course for lifelong learners at the University of York, UK. This article discusses the development of learning through the impact of group participation, challenges faced by learners and pedagogical strategies used by the leader to create a positive and productive learning environment. The findings suggest that learning in a non-assessed semi-formal group not only informs individual practice, technique, musicianship, analytical and performance skills but also has a positive impact on other areas of the participants’ lives.
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Goldstein, Joanna. "A Beethoven Enigma: Performance Practice and the Piano Sonata, Opus III." Journal of Aesthetics and Art Criticism 47, no. 1 (1989): 101. http://dx.doi.org/10.2307/432012.
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Alunno, Marco, and Andres Gomez-Bravo. "Approaching new piano literature: composition and interpretation of four piano etudes." Ricercare, no. 12 (May 5, 2020): 64–79. http://dx.doi.org/10.17230/ricercare.2019.12.4.
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In the literature for solo instrument, etudes typically present different kinds of technical and expressive challenges. In fact, they often focus on unique and problematic aspects of performance on a specific instrument. The short group of piano etudes presented here has the same purpose, although, in some cases, it recalls writing techniques and melodic-rhythmical modules usually associated with composers and styles of both the past and present times. In this article in particular, four etudes (Scales, Expressive Fingering, Parallel Thirds and Broken Octaves) are briefly described and analyzed from both a compositional and an interpretive approach, given the case that both the composer and the interpreter were in contact during the creative and learning process of the pieces. The result of this kind of collaboration is twofold: a composition whose playability and effectiveness are warranted by the practice of the interpreter, and a performance with a better understanding of the direct wishes of the composer.
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Brittin, Ruth V. "Instrumentalists' Assessment of Solo Performances with Compact Disc, Piano, or No Accompaniment." Journal of Research in Music Education 50, no. 1 (2002): 63–74. http://dx.doi.org/10.2307/3345693.
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Middle school and high school instrumentalists listened to 12 instrumental performances: four with no accompaniment, four with piano accompaniment, and four with compact disc accompaniment. Listeners (N = 188) judged the soloist's performance quality and indicated the performance's best feature and aspect needing most improvement. Listeners also rated their preference for each accompaniment. Materials were taken from popular beginning band method books. Results showed that accompaniment condition significantly affected performance quality ratings, with CD accompaniments rated highest and piano accompaniments lowest. Significant interactions revealed that younger students were swayed most by the accompaniment condition; certain popular music styles appeared most influential. There was a significant but modest relationship between greater preference for the accompaniment style and higher performance quality ratings. For preference, girls and boys responded significantly differently to the accompaniment styles. Overall, students consistently assigned the best feature and aspect needing most practice across accompaniment conditions.
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Melnik, V. Yu. "Aflamencado practice in the contemporary piano perfoming." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 266–80. http://dx.doi.org/10.34064/khnum1-56.17.
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Introduction. Flamenco is a cultural phenomenon that dates back to the 5–6th centuries. This artistic practice organically unites plastic, gesture, singing, word, instrumental play. It is difficult to determine the hierarchical relationships between these components. Each of them has its own “vocabulary”, its own laws of constructing the artistic whole, that is, its canons. In a wide artistic field, canons consider a set of certain rules, based on which creative activity is carried out, and the originality of its result is ensured by the specificity of their improvisational transformation by a particular performer. Any phenomenon that is subject to the action of a set of these specific canons acquires formal, stylistic, genre qualities that indicate the cultural and artistic environment from which they originate. Flamenco is developing dynamically and actively absorbing the experience of other musical cultures. Any phenomena that fall into the gravitational field of the flamenco canons acquire the specific traits inherent in this culture. This assimilation of alien elements is defined by the concept of aflamencado (“one that acquires the characteristic features of flamenco”). Theoretical background. Contemporary views toward flamenco culture are very different: the discrepancies are noticeable among flamenco fans, performers and scientists. The paper of Marta Wieczorec “Flamenco: Contemporary Research Dilemmas” (2018) considers disputes about the scientific issue of flamenco. She pays attention to the debatable side in science comprehension of this ethnic phenomena and its place in Spanish culture. This article also looks at the antagonism between traditional and contemporary, or, “pure” and commercial branches of flamenco. William Washbaugh in his book “Flamenco music and national identity in Spain” (2012) considers as a ambitious project the tendency to rethink Spanish national identity under the influence of the spread of flamenco music culture, its various forms. Among many contemporary musicians, he also calls Miriam Méndez. The purpose of this paper is to identify the basic strategies of aflamencado in piano art of the XX century (the ways of interaction flamenco and piano performance art of this period). Such study requires the use of musicological and performing analytical methods of scientific research, among them the methods of genre and style analysis, historical and comparative approach that are applied on this paper. The genre theory by E. Nazaykinskiy (1982) is used in this study. This theory defines genres as historically established types and kinds of musical creation, which divides according to number of criteria: by purpose (public, common, artistic function); by conditions and facilities of performing; by content and ways of creation. Aflamencado characterization using the theory of T. Cherednichenko (2002) about typologique of musical practices allowed considering different methods of adapting the flamenco ethnic elements to the academic traditions and to determine the degree of transformation of the constituent elements of the synthesis. Research results. Piano art began to embrace flamenco culture in the late XIX century. The pioneer along this path was maestro F. Pedrell and his students. One of them, І. Albenis, composed the cycles for piano “Spanish Music” No. 1 (1886), No. 2 (1889) and “Iberia” (1906–1908), where the piano pieces are enriched with the characteristic flamenco sound. The piano texture includes some elements of guitar technique: the “razguiado”, which involves repeated chords, the “punteado” – accenting performance of each sound. Melody line of Albenis’s piano works correlates with flamenco due to its generous embellishments, melismatics and hangs in detentions, which are also a projection of flamenco vocal art. The metro-rhythmic sphere of the Spanish opus by I. Albenis is often based on the typical flamenco-“compass” associated with changeable the dual and triple pulsations. Tonal and harmonic reliance on Lydian and Phrygian modes and the use of the so-called “Andalusian cadence” (t-VII-VI-D) complements the palette of flamenco expressive means of expression. These aflamencado examples have some contradictions. The nature of the pianoforte is extremely elitist and aristocratic. The “wild” and arbitrary art of Spanish Roma from the poorest regions of Andalusia, when it falls into the sound pianistic “wrapper”, is transformed significantly and acquires an academic taste. Authentic art with its oral tradition of imitation is engraved in the musical text, such fixation sends flamenco to “foreign” territory, creating grounds to believe that the cycles “Spanish suite” and “Iberia” are examples of “composer expansion” on the flamenco territory. In this example, the principles of aflamencado have a specific vector directed into the sphere of “opus- music”, and a set of tools and techniques that allow to attract the characteristic features of folk practice, with its oral and collective nature (according to T. Cherednichenko’s typology of musical practices), to creation of original, individual, non-canonical composer work. In such interaction the resources of one cultural layer allow to reach of new artistic content in other. In this sense, aflamencado acts as a means of simulating a particular object of reality in the individual perception of the author. Aflamencado in the works of contemporary composer, arranger and pianist Miriam Méndez is oriented in the opposite direction. She called her first album “Bach por Flamenco” (2005). The intertextuality of this musical experiment provides radically new content to the work that has long been canonized. J. S. Bach’s Fugue is transformed into a target. The rigid, immutable confines of the genre are being tested by the ever-changing, flamenco element. The timbre, the properties of the tools used, the built-in “cante” – all serve to update the original. The pianist, who, along with other musicians, created this genre mix, was guided, mainly, by the idea of flamenco. Conclusions. Thus, in the contemporary piano art, the aflamencado phenomenon reveals a dual nature that depends on the basic level of interaction between cultures. In one case, composer creativity engages a flamenco resource to implement authorial creative strategies. Otherwise, the composer’s work is being “prepared” for the purpose of immersing it in the primordial folk element. As a result, two fundamentally different models of pianism are formed – the academic and its flamenco variety adapted to the musical-linguistic canons. This version of piano performance in listening circles was called “flamenco-pianism”. The hybrid nature of this phenomenon now needs in further investigation.
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Perepelytsia, Oleksandr O. "The Performance Gesture as a Theatrical Reflection of New Contexts of Genre and Style in Contemporary Piano Music." ICONI, no. 1 (2019): 116–24. http://dx.doi.org/10.33779/2658-4824.2019.1.116-124.
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The article deals with the expressive role of gestures in the art of piano performance in relation to both classical and contemporary music. According to theoretical analysis, it is demonstrated that the issue of the performance gesture in contemporary music, in connection with the theatricalization of performance, as well as due to the fact that performance in many cases acquires the features of visual play-acting, stands out from the overall issue of artistry. The general provisions of the artistic gesture in contemporary piano music are complemented by multiple positions related to the art of playing the clusters, strings, pedals, using sound gestures, as well as theatricalization of the performed musical material. The article provides a detailed description of the categories of gestures adopted in the practice of modern music. They are: gestures related to performance of clusters; interspersed with verbal sounds in the process of playing the piano, the so-called verbal and sound gestures; related with playing on the strings by using fingers, sticks or other items; associated with playing pedals; theatricalized gestures. In conclusion: the expansion of the boundaries of musical language, and the emergence of performances and theatricalized compositions in performance practice has led to the expansion of the thesaurus of performance gestures’ and of its informative functions. In contemporary music gesture has become a bearer of meaning and forms one of the strata providing meaning to composition.
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Nisio, Antonio, Rossella De Carolis, and Stefania Losurdo. "Il ciclo della performance negli Enti Locali: un'analisi empirica sull'adozione del piano della performance." MANAGEMENT CONTROL, no. 2 (December 2012): 13–31. http://dx.doi.org/10.3280/maco2012-su2002.
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Performance has aroused considerable interest both nationally and internationally. Only with the 150/2009 Legislative Decree the term performance was introduced in the practice of the Italian public administrations (PA). These institutions are used to operating in a context where the performance measures have primarily focused on inputs rather than on results and impacts; moreover, managerial processes follow a mere compliance logic. The introduction of measurement systems and performance includes elements of absolute novelty in particular with regard to the effectiveness of the measurement and to the impact of public actions on the community. The research aims to assess the extent to which municipalities have started using the system of performance measurement and evaluation and, in particular, what the distribution of "Piano della Performance 2011-2013". This is to determine the Italian municipalities susceptibility regarding the performance management, make a first reflection on good practices and problems that emerged.
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Chaffin, Roger, Gabriella Imreh, Anthony F. Lemieux, and Colleen Chen. ""Seeing the Big Picture": Piano Practice as Expert Problem Solving." Music Perception 20, no. 4 (2003): 465–90. http://dx.doi.org/10.1525/mp.2003.20.4.465.
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Experts in many fields approach a new problem by identifying the general principles involved before starting work on details. Do expert musicians similarly begin work on a new piece with the big picture, an artistic image of the piece, in mind? To find out, a concert pianist recorded her practice of the third movement, Presto, of J. S. Bach's Italian Concerto, commenting as she did so about what she was doing. The behavioral record of where playing started, stopped, and slowed down indicated the musical dimensions affecting practice, while the comments indicated the main focus of the pianist's attention. An artistic image for the piece was already evident in the initial sight-read performance, guided work on technique in sessions 1-6, and was transformed into a plan for performance by practice of performance cues in sessions 7-8. Interpretive details were added in sessions 9-10 and remaining problems touched up in session 11-12. Despite its pervasive effects on practice, the pianist's artistic image was mentioned only indirectly in comments about technique in sessions 1-6 and about structure, memory, and interpretation in later sessions.
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Zhang, Jiaohua. "Piano sound formation as a parameter of performing intonation." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (2020): 259–69. http://dx.doi.org/10.34064/khnum1-57.16.
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Determining the specifics of sound production on the piano makes it possible to deepen the understanding of piano intonation, which is inseparable from the artistic concept, a choice of musical expressive means, methods of forming and reproducing sounds. The purpose of the article is to study the mechanical-acoustic features and properties of the piano in a holistic relationship with the organization of musical space and artistic means of performance, which were formed in the process of musical practice. Starting from B. Asafiev’s dialectical intonation theory, the methodology of the work reaches the systemic level, including the methods of historical, cultural and comparative research, general scientific logical methods of analysis, synthesis, induction and deduction. Realizing of the objectives of the article is carried out through the study of playing techniques and all the palette of piano touché used in their practice by pianists, as well as the factors that influence the formation of piano sound. It is claimed that conscious piano intonement, being the sound embodiment of musical thought, finds its direct expression through the specifics of sound formation on the studied instrument. The latter is inextricably linked with sound production techniques, dynamics, and pedaling.
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Duke, Robert A., Amy L. Simmons, and Carla Davis Cash. "It's Not How Much; It's How." Journal of Research in Music Education 56, no. 4 (2009): 310–21. http://dx.doi.org/10.1177/0022429408328851.
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We observed 17 graduate and advanced-undergraduate piano majors practicing a difficult, three-measure keyboard passage from a Shostakovich concerto. Participants' instructions were to practice until they were confident they could play the passage accurately at a prescribed tempo in a retention test session the following day. We analyzed the practice behaviors of each pianist in terms of numeric and nonnumeric descriptors and ranked the pianists according to the overall performance quality of their retention tests. Results indicated no significant relationship between the rankings of pianists' retention test performances and any of the following variables: practice time, number of total practice trials, and number of complete practice trials. There were significant relationships between retention test rankings and the percentage of all performance trials that were performed correctly, r = —.51, the percentage of complete performance trials that were performed correctly, r = —.71, and the number of trials performed incorrectly during practice, r = .48. The results showed that the strategies employed during practice were more determinative of performance quality at retention than was how much or how long the pianists practiced, a finding consistent with the results of related research.
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Riley, Kathleen, Edgar E. Coons, and David Marcarian. "The Use of Multimodal Feedback in Retraining Complex Technical Skills of Piano Performance." Medical Problems of Performing Artists 20, no. 2 (2005): 82–88. http://dx.doi.org/10.21091/mppa.2005.2016.
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Piano students working to improve technique often practice the same passage over and over to achieve accuracy, increase speed, or perfect interpretive nuance. However, without proper skeletal alignment of hands, arms, and shoulders and balance between the muscles involved, such repetition may lead to difficulties with, rather than mastery of, technique and stylistic interpretation and even physical injury. A variety of technologies have been developed to monitor skeletal alignment and muscle balance that serve to help students and teachers make needed corrections during performance by providing immediate biofeedback. This paper describes and illustrates a multimodal use of these biofeedback technologies and the powerful advantages of such a multimodal approach in making the student and teacher not only aware of improper alignments and balances in real time (or for later review) but also aware of approaches to correct them and improve musical outcome. The modalities consist of hearing playback through a Disklavier piano; simultaneous visual feedback displayed as a piano roll screen of what was played; video recording synchronized with the Disklavier and piano roll feedback; motion analysis of the arms, hands, and fingers; and electromyographic recordings of the muscle actions involved.
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Jelen, Birsen. "The Relationships Between Music Performance Anxiety and the Mindfulness Levels of Music Teacher Candidates." International Education Studies 14, no. 10 (2021): 116. http://dx.doi.org/10.5539/ies.v14n10p116.
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In this study the relationships between the Music Performance Anxiety (MPA) levels and mindfulness levels of Music Teacher Candidates (MTC) were investigated. A large sample of undergraduate students (N = 524) from seven different universities from around Turkey took place in the study. The data was collected with both Kenny’s MPA inventory and the Five Facets Mindfulness Questionnaire. The Pearson Moments Correlation Coefficient was used in determining the relationships between the MPA and mindfulness levels of the MTC. To determine whether the MPA of students and mindfulness differ in terms of piano lesson achievement and daily piano practice time (DPPT) variables, a variance analysis (ANOVA) and a Kruskal Wallis H test analyses were used. Students’ mindfulness levels were negatively correlated with their MPA levels. Their piano lesson achievement levels had positive relationship with mindfulness and a negative relationship with their MPA. Similarly, their DPPT had a positive relationship with mindfulness and a negative relationship with MPA.
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Ota, Mineo. "Bartók’s wrists and 19th-century performance practice: An essay on the historicity of piano technique." Studia Musicologica 53, no. 1-3 (2012): 161–70. http://dx.doi.org/10.1556/smus.53.2012.1-3.12.
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Mária Comensoli, who studied under Bartók in the mid-1920s, reports that her teacher used “peculiar fingerings and peculiar wrist and arm technique.” Examining such comments and the recordings of the composer-pianist, it becomes clear that Bartók played the piano partly according to the 19th-century performance practice. He frequently played chords in arpeggio, even when there were no markings of arpeggio in the score, and he respected the tone color of each finger by relying on the technique of leaping. Contemporary documents suggest that one of Bartók’s technical advantages was the flexibility of his wrists. In Bartók’s case it may have been a fruit of a conscious training by István Thomán. The writings of the Liszt-pupil Thomán suggest that, like his master, he valued the “active” use of wrists, even though he basically supported the modern, “synthetic” piano technique propagated by Breithaupt, who consistently recommended the “passive” use of the wrists. It is likely that, through Thomán, Bartók learned many things from the 19th-century performance practice.
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Grigoryev, Anatoly, Lyudmila Sukhitashvili, and Yulia Tselkovaya. "Piano-performance intonation in historical retrospect of the xix century." KANT Social Sciences & Humanities, no. 6 (April 2021): 92–98. http://dx.doi.org/10.24923/2305-8757.2021-6.7.
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The article discusses the issues of the formation and once-ultimate piano-performing intonation, nature and essence of expressive execution in the musical pedagogy of the first half of the nineteenth century. Qualitative changes, the most important style, performing, pedagogical features of various "schools", methodic-theoretical ideas about the expressiveness of the execution of not only classical, but also romantic pianism, "brilliant style" are defined and identified. Based on the integrated analysis, the uniqueness of innovative pedagogical principles, new terms and concepts in the field of piano intonation in the works of mobile, gummale, Chopin, who pre-rotated in the canons for subsequent pedagogical practice, made a huge contribution to the formation of romantic pianism, representing There are tremendous interest and remain relevant for modernity. The methodological potential racked in the article can be used in pedagogical activities to improve the educational process and upbringing the executive culture of the musician.
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Payne, Emily. "The craft of musical performance: skilled practice in collaboration." cultural geographies 25, no. 1 (2017): 107–22. http://dx.doi.org/10.1177/1474474016684126.
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This article examines the nature of skilled practice within two settings of musical performance, the rehearsal and the compositional workshop. Drawing primarily on the work of Richard Sennett and Tim Ingold, I suggest that a characterisation of musical performance as a craft practice attends to the development of skill and expertise through the performer’s physical and everyday encounters with the world and provokes a reconsideration of the dimensions of performance that might otherwise be taken for granted. The first case study addresses rhythmic coordination during a rehearsal of Four Duets for clarinet and piano (2012), composed by Edmund Finnis for Mark Simpson and Víkingur Ólafsson, and the second traces the development of instrumental techniques by composer Evan Johnson and performer Carl Rosman as they collaborate on a new work for historical basset clarinet, ‘indolentiae ars’, a medium to be kept (2015). The article makes the case for skilled practice as an improvisatory interplay between performers and the meshwork of people, objects, histories and processes which they inhabit.
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Herrera, Miriam, and Roberto Cremades. "The Study of Memorisation in Piano Students in Higher Education in Mexico." Musicae Scientiae 24, no. 3 (2018): 330–41. http://dx.doi.org/10.1177/1029864918805312.
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This paper describes how Mexican piano students enrolled in higher education music courses memorise scores, which is necessary to increase their capacity for memorisation and to prepare a repertoire of higher complexity. We also analysed the different types of memory in the musical practice of the students, investigating what they emphasise the most to memorise musical pieces. Interest in this topic arose because it was observed that piano syllabi in the different participating institutions do not include a specific memorisation development process for piano repertoire; however, piano students are required to present a memorised repertoire at the end of each semester. We distributed a questionnaire to 545 students from 18 Higher Artistic Education institutions with a degree in music, with piano as the main instrument, in 13 states of Mexico. The results indicate that the development of analytical memory through musical analysis is fundamental and essential while learning memorisation skills to achieve a better understanding of the score and its piano performance. We also found that there are significant differences between the variables of age range and gender.
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BELET, BRIAN. "Live performance interaction for humans and machines in the early twenty-first century: one composer's aesthetics for composition and performance practice." Organised Sound 8, no. 3 (2003): 305–12. http://dx.doi.org/10.1017/s1355771803000281.
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Technology influences all art, and therefore all music, including composition, performance and listening. It always has, and it always will. For example, technical developments in materials, mechanics and manufacturing were important factors that permitted the piano to supersede the harpsichord as the primary concert Western keyboard instrument by about 1800. And with each new technical development new performance issues have been introduced. Piano performance technique is quite different from harpsichord technique, and composers responded to these differences with new music ideas and gestures. The multiple relationships between technology and composer and performer are dynamic and of paramount importance to each party. And a true consideration of any aspect of music requires that all three areas be examined. This has always been a part of music, and so these relationships are inherently important within computer music. The difference is that electronic technology has caused a fundamental change for all aspects of music, a difference that is as pivotal in the history of Western music as was the shift from oral to written preservation of music over a thousand years ago, and then also the accessibility provided by printed music five hundred years ago. In computer music, all parties are always acutely aware of the presence and influence of machine technology in both the visual and audible realms.
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Ling, Chia-Ying, Fung-Chiat Loo, and Titi R. Hamedon. "Playing-Related Musculoskeletal Disorders Among Classical Piano Students at Tertiary Institutions in Malaysia: Proportion and Associated Risk Factors." Medical Problems of Performing Artists 33, no. 2 (2018): 82–89. http://dx.doi.org/10.21091/mppa.2018.2013.
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Musicians are prone to performance injuries due to the nature of musical practice, and classical pianists are among the groups at high risk for playing-related musculoskeletal disorders (PRMDs). With the growing number of classical pianists in Malaysia, this study aimed to investigate the proportion of PRMDs occurring among classical piano students in tertiary institutions in Malaysia. Associations between gender, practice habits, diet, sports involvement, and PRMD were investigated. A survey was conducted among classical piano students (n=192) at tertiary institutions of Kuala Lumpur and Selangor. Results showed that 35.8% (n=68) students reported having PRMD. The shoulder was the most commonly affected body site, followed by the arm, finger, and wrist. Pain, fatigue, and stiffness were the most cited symptoms by those who suffered from a PRMD. Chi-square analysis showed a significant relationship between the occurrence of PRMD and practice hours (p=0.031), the habit of taking breaks during practice (p=0.045), physical cool-down exercises (p=0.037), and special diet (p=0.007). Multivariate logistic regression analyses confirmed the independent correlation between PRMDs and the lack of taking a break during practice, physical cool-down exercises, and special diet. Because PRMDs are reported at various severity levels, this study should increase awareness of PRMD among classical piano students and encourage injury prevention in musicians in the future to ensure long-lasting music careers.
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Lexer, Sebastian. "Piano+: An Approach towards a Performance System Used within Free Improvisation." Leonardo Music Journal 20 (December 2010): 41–46. http://dx.doi.org/10.1162/lmj_a_00011.
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This article explores the author's strategy for developing a computer performance system designed for free improvisation with acoustic instruments following a non-idiomatic approach. Philosophical considerations on potentiality and personal and social space and research into the psychology of motivation and behavior have inspired and enabled a different approach to integrating technology with improvisation. The technical realization of a parameter space, in particular utilizing contingent behavior emerging from the convergent mapping of a mixture of controller types, has proven effective for the spontaneous creative decision making required to extend the sonic potential of an acoustic piano while minimizing direct computer operation, as applied regularly in practice by the author.
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NOORDUIN, MARTEN. "BEETHOVEN AND THE PIANO: PHILOLOGY, CONTEXT AND PERFORMANCE PRACTICE LUGANO, 4–7 NOVEMBER 2020." Eighteenth Century Music 18, no. 2 (2021): 327–29. http://dx.doi.org/10.1017/s147857062100004x.
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Cash, Carla Davis. "Effects of Early and Late Rest Intervals on Performance and Overnight Consolidation of a Keyboard Sequence." Journal of Research in Music Education 57, no. 3 (2009): 252–66. http://dx.doi.org/10.1177/0022429409343470.
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Thirty-six nonmusicians practiced a five-element key-press sequence on a digital piano, repeating the sequence as quickly and accurately as possible during twelve 30-s practice blocks alternating with 30-s pauses. Twelve learners rested for 5 min between Blocks 3 and 4, another 12 learners rested for 5 min between Blocks 9 and 10, and the remaining 12 participants performed 12 blocks without an extended rest interval. All were retested following a night of sleep in six 30-s blocks with a 5-min rest interval between Blocks 3 and 4. Results show that the introduction of extended rest in the early and late stages of practice significantly affected rates of learning within and between sessions. Immediately following the 5-min rest intervals, participants showed large gains in performance, but only following early rest did participants continue to show improvements during training. Participants who rested early in practice also demonstrated the greatest overnight gains. Findings suggest that the temporal placement of rest in practice affected subsequent motor sequence learning and memory consolidation processes.
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Palmer, Caroline. "On the Assignment of Structure in Music Performance." Music Perception 14, no. 1 (1996): 23–56. http://dx.doi.org/10.2307/40285708.
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Cues for listeners' assignment of melodic structure are investigated in music performance. Performers' interpretations of musical structure can influence listeners' perceptions, especially when structural relations among musical events are ambiguous. Performances recorded on a computermonitored acoustic piano were compared with each performer's notated interpretations of melody. Small timing changes (20-50 ms) marked performers' melodic intentions; events interpreted as melody (the most important voice) preceded other events in chords (melody lead). The emergence of melody leads was investigated in successive performances of unfamiliar music: melody leads were larger in experts' than in students' performances, but students showed more increase with practice. In additional experiments, performances of the same music with different melodic interpretations displayed the melody lead in different amounts, which subsequently affected listeners' perceptions of melodic intentions. Subtle expressive cues in music performance arise from individual interpretations and can aid listeners in determining musical structure.
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Simmons, Amy L. "Distributed Practice and Procedural Memory Consolidation in Musicians’ Skill Learning." Journal of Research in Music Education 59, no. 4 (2011): 357–68. http://dx.doi.org/10.1177/0022429411424798.
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This research was designed to determine whether musicians’ learning is affected by the time intervals interposed between practice sessions. Twenty-nine non-pianist musicians learned a 9-note sequence on a piano keyboard in three practice sessions that were separated by 5 min, 6 hr, or 24 hr. Significant improvements in performance accuracy were observed in Session 2 only in the group whose sessions were separated by 24 hr. There were significant increases in performance speed in Session 2 in all three practice conditions, results which likely were attributable to the inclusion of all Session 1 data in the analysis. Additional significant speed increases were observed in Session 3 only in the groups whose sessions were separated by 6 and 24 hr. These results suggest that sleep-based procedural memory consolidation may enhance performance accuracy in music skill learning, whereas enhancements in performance speed may be attributable to both wake- and sleep-based consolidation processes.
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Morris, Robert. "Aspects of Performance Practice in Morton Feldman's Last Pieces." MusMat: Brazilian Journal of Music and Mathematics IV, no. 2 (2020): 28–40. http://dx.doi.org/10.46926/musmat.2020v4n2.28-40.
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Morton Feldman’s Last Pieces for piano solo of 1959 poses an interesting interpretive problem for the performer. As in many Feldman compositions of the 1950s and 60s, the first movement of the work is notated as a series of "sound events" to be played by the performer choosing the durations for each event. The only tempo indications are "Slow. Soft. Durations are free." This situation is complicated by Feldman’s remark about a similar work from 1960, "[I chose] intervals that seemed to erase or cancel out each sound as soon as we hear the next." I interpret this intension to keep the piece fresh and appealing from sound to sound. So, how the pianist supposed to play Last Pieces in order to supplement the composers desire for a sound to "cancel out" preceding sounds? To answer this question, I propose a way of assessing the salience of each sound event in the first movement of Last Pieces, using various means of associating each of its 43 sound events according chord spacing, register, center pitch and bandwidth, pitch intervals, pitch-classes, set-class, and figured bass. From this data, one has an idea about how to perform the work to minimize similarity relations between adjacent pairs of sound events so that they can have the cancelling effect the composer desired. As a secondary result of this analysis, many cohesive compositional relations come to light even if the work was composed "intuitively".
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Üstün, Emre, and Burcu Ozer. "Effects of piano accompaniment on instrument training habits and performance self-efficacy belief in flute education." Cypriot Journal of Educational Sciences 15, no. 3 (2020): 412–22. http://dx.doi.org/10.18844/cjes.v15i3.4906.
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Education methods to be used in the emotional, mental and psychological development of instrument education are of great importance in terms of education process. In this context, the training habits and self-efficacy developments of the students with their instruments can be supported by the accompaniment education process, thus increasing the performance of the instruments. In this context, an experimental method was used in the research by using piano accompaniment training practice, individual instrument training habits and instrument performance self-efficacy belief questionnaires. Pre-test-post-test pattern of this method was preferred. The study was carried out with 9 students who studied flute in Nevsehir Hacı Bektas Veli University music department. After the experiment process, the scores of the groups were reached by using T-test. As a result of the research, it was revealed that the application of piano accompaniment in flute education has a positive effect on all sub-dimensions of both questionnaires. In addition, it was determined that students use time in a disciplined and productive way, develop themselves in terms of musicality, see themselves more adequate with the positive progress of the psychological effects of this development, and increase their love for their instrument and desire to work.
 Keywords: Instrument education, flute education, piano accompaniment, training habits, self-efficacy developments;
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YONG, KERRY. "Electroacoustic adaptation as a mode of survival: arranging Giacinto Scelsi's Aitsi pour piano amplifée (1974) for piano and computer." Organised Sound 11, no. 3 (2006): 243–54. http://dx.doi.org/10.1017/s1355771806001567.
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Arrangement has always played an essential part of transmitting, preserving and disseminating works in the musical practice of both ‘high art’ and popular music. However, at present it is rarely practised in electroacoustic music, which can partly be explained by the nature of electronic technology and current thinking about authenticity. Despite this context, there are benefits to performance opportunities through the diversity created by arrangement; therefore, the process of adapting the electroacoustics of Scelsi's Aitsi is explored. The work offers this opportunity, since it lacks precision in its musical documentation, has received a number of quite different renditions and shows ontological malleability as it exists in another form, Scelsi's Fifth String Quartet. The new electroacoustic adaptation exploits Max/MSP software to extend the electroacoustic treatment of the piano beyond previous interpretations, whilst attempting to remain consistent with the aesthetic of the work. The article aims to encourage the composition and adaptations of works that afford performers interpretative licence with the electroacoustics in order to promote the distinctive and evanescent nature of mixed acoustic-electroacoustic works in concert performance, and encourage its continuation through an evolving performing tradition.
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Loshkov, Artем. "The «Chateau of the Loire Valley» piano fresco as a representation of the artistic thinking of Lesia Dychko." Музикознавча думка Дніпропетровщини, no. 18 (November 12, 2020): 50–64. http://dx.doi.org/10.33287/222017.
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The purpose of this represented scientific article is to reveal the specificity of piano thinking of L. Dychko as exemplified in the «Chateau of the Loire Valley» piano fresco. Methods. The methodological background of the study includes the integration of general scientific (historical, system-related, dialectic, culturological, comparative) and special artistic, in particular, music study methods and approaches of the scientific study. The application of the series of special methods of the music study research, characteristic to the historical, theoretical and performance musicology promoted the solution of the problems brought up in the article. Scintific novelty. The scintific novelty of the undertaken study is the revealing of the conceptual bases and intonational-stylistic specificity of the «Chаteau of the Loire Valley» piano fresco as the representation of the universality of L. Dychko’s creative thinking. Conclusion. The article reveals the form-forming and textural principles of the music mirroring of the masterpieces of French architecture in the text of the «Chаteau of the Loire Valley» piano cycle. The performed analysis enabled the distinguishing of L. Dychko’s piano piece as a model of the interspecific artistic communication and a manifestation of the artistic dialogue within «music - architecture» system, which is revealed on the graphically-associational, intonational and semantic, structural, texture and stylistic levels. The article proves that the «Chаteau of the Loire Valley» fresco of Lesia Dychko is distinguished by the immensity of the artist's intention, concert performance and stylistic direction and the high level of the pianistic technique, which is evidenced by the diversity of the piano texture, wide register coverage of the fingerboard, the predominance of the elements of octaval-chordal technique, the diversity of masterly performed passages and figured approaches, which are indued with formal and meaningful properties and acquire the value of the stylistic and graphically-semantic factors. There has been proved in the work the composer’s appeal to the music thesaurus of contemporary pianism, the established in the piano practice texture and expressive means and general types of movements, as well as the individualized performance approaches, endued in the context of the cycle with different functionally-semantic loads (coloristic background, representation of the sonic flow dynamics, graphical and emotional tension, disconcentrated figurative thematic invention, concert-virtuous style).
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Clarke, Eric, Nicholas Cook, Bryn Harrison, and Philip Thomas. "Interpretation and performance in Bryn Harrison's être-temps." Musicae Scientiae 9, no. 1 (2005): 31–74. http://dx.doi.org/10.1177/102986490500900102.
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The majority of studies of performance focus on the tonal and metric music of the common-practice period, studied at the moment of performance rather than over a period of rehearsal, and usually divorced from the context of real rehearsal and performance (schedules, audiences, auditoria). This paper reports part of a larger project in which three newly commissioned works for solo piano have been studied from the moment that the performer received them, through a period of preparation and rehearsal, to their first public performance. The data consist of interview and diary data, audio recordings, and MIDI data taken from the piano at rehearsals and the public premiere. The paper is a collaboration between one of the composers (Bryn Harrison), the performer (Philip Thomas), and two analysts (Nicholas Cook and Eric Clarke). The paper demonstrates the stability of the performer's approach to this complex music from a very early stage in the rehearsal process; some interesting attributes of his approach to rhythm and tempo; the function of notation as a “prompt for action” rather than as a recipe for, or representation of, sound; and the concealed social character of solo performance and apparently solitary composition. The paper concludes with a discussion and critique of the “communication” model of performance that prevails in psychological studies of performance.
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Rea, John. "On Stockhausen’s Kontakte (1959-60) for tape, piano and percussion." Circuit 19, no. 2 (2009): 77–86. http://dx.doi.org/10.7202/037453ar.
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Abstract A lecture/analysis given by John Rea at the University of Toronto, March 1968, discusses various topics in the composition such as: concepts (performance time, production time, subjective perception of time, moment time, moment characteristics), discussion of particular Moments, hardware, overall formal organization, definition of structure, parameter of space (an example), temporal transformation, and performance practice. The lecture text is also notable for the fact that Rea spoke to the pianist who had premiered Kontakte, David Tudor, who was in Toronto at that time to participate in a four and a half hour ‘happening’ known as Reunion (on March 5, 1968) organized by John Cage, and featuring Marcel Duchamp with whom he played chess on a photo-sensitive electronic chessboard.
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Johnson, David, Daniela Damian, and George Tzanetakis. "Detecting Hand Posture in Piano Playing Using Depth Data." Computer Music Journal 43, no. 1 (2020): 59–78. http://dx.doi.org/10.1162/comj_a_00500.
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We present research for automatic assessment of pianist hand posture that is intended to help beginning piano students improve their piano-playing technique during practice sessions. To automatically assess a student's hand posture, we propose a system that is able to recognize three categories of postures from a single depth map containing a pianist's hands during performance. This is achieved through a computer vision pipeline that uses machine learning on the depth maps for both hand segmentation and detection of hand posture. First, we segment the left and right hands from the scene captured in the depth map using per-pixel classification. To train the hand-segmentation models, we experiment with two feature descriptors, depth image features and depth context features, that describe the context of individual pixels' neighborhoods. After the hands have been segmented from the depth map, a posture-detection model classifies each hand as one of three possible posture categories: correct posture, low wrists, or flat hands. Two methods are tested for extracting descriptors from the segmented hands, histograms of oriented gradients and histograms of normal vectors. To account for variation in hand size and practice space, detection models are individually built for each student using support vector machines with the extracted descriptors. We validate this approach using a data set that was collected by recording four beginning piano students while performing standard practice exercises. The results presented in this article show the effectiveness of this approach, with depth context features and histograms of normal vectors performing the best.
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Furuya, Shinichi, and Sayuri Yokota. "Temporal exploration in sequential movements shapes efficient neuromuscular control." Journal of Neurophysiology 120, no. 1 (2018): 196–210. http://dx.doi.org/10.1152/jn.00922.2017.
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The interaction of early and deliberate practice with genetic predisposition endows experts with virtuosic motor performance. However, it has not been known whether ways of practicing shape motor virtuosity. Here, we addressed this issue by comparing the effects of rhythmic variation in motor practice on neuromuscular control of the finger movements in pianists. With the use of a novel electromyography system with miniature active electrodes, we recorded the activity of the intrinsic hand muscles of 27 pianists while they played the piano and analyzed it by using a nonnegative matrix factorization algorithm and cluster analysis. The result demonstrated that practicing a target movement sequence with various rhythms reduced muscular activity, whereas neither practicing a sequence with a single rhythm nor taking a rest without practicing changed the activity. In addition, practice with rhythmic variation changed the patterns of simultaneous activations across muscles. This alteration of muscular coordination was associated with decreased activation of muscles not only relevant to, but also irrelevant to the task performance. In contrast, piano practice improved the maximum speed of the performance, the amount of which was independent of whether rhythmic variation was present. These results suggest that temporal variation in movement sequences during practice co-optimizes both movement speed and neuromuscular efficiency, which emphasizes the significance of ways of practice in the acquisition of motor virtuosity. NEW & NOTEWORTHY A key question in motor neuroscience is whether “ways of practicing” contribute to shaping motor virtuosity. We found both attenuation of activities and alteration of coordination of the intrinsic hand muscles of pianists, specifically through practicing a movement sequence with various rhythms. The maximum speed of the finger movements was also enhanced following the practice. These results emphasize the importance of ways of practicing in facilitating multiple skills: efficiency and speed.
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Hamond, Luciana, Evangelos Himonides, and Graham Welch. "The nature of feedback in higher education studio-based piano learning and teaching with the use of digital technology1." Journal of Music Technology & Education 13, no. 1 (2020): 33–56. http://dx.doi.org/10.1386/jmte_00015_1.
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The aim of the current research was to investigate the nature of feedback when a digital technology system was introduced in the higher education (HE) piano studio alongside three teacher and student pairs in Brazil. Data were collected by using video-recorded observations of lessons, participant interviews, and also data related to the use of a specific technology. A thematic analysis of the resultant data suggests that participants used verbal and non-verbal feedback in three areas of lesson focus: music (score), performance (e.g. dynamics, articulation), and technology (Musical Instrument Digital Interface [MIDI] parameters). The application of technology seems to allow the focus of the lesson to become clearer, making students more aware of their performances and their learning processes. Data suggest that the engagement with technology varied across the three observed cases. There seems to be a valuable use for technology-mediated feedback; this could, in turn, optimize more traditional pedagogical approaches in HE piano learning and teaching, and also enrich private practice.
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Killian, Janice N., and Michele L. Henry. "A Comparison of Successful and Unsuccessful Strategies in Individual Sight-Singing Preparation and Performance." Journal of Research in Music Education 53, no. 1 (2005): 51–65. http://dx.doi.org/10.1177/002242940505300105.
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High school singers ( N=198) individually sang two melodies from notation, with and without a 30-second practice opportunity. Overall accuracy scores were significantly higher with preparation time. The less accurate singers, however, did not benefit from practice time. Analysis of videoed tests indicated that high scorers tonicized (vocally established the key), used hand signs, sang out loud during practice, physically kept the beat, and finished practicing the melody within 30 seconds significantly more frequently than did low scorers during practice. Similar strategies were used during performance, with the addition of tonicizing before singing. Sight-singing system used made no significant difference. Characteristics appearing significantly more often among high scorers included: region/state choir, private voice or piano lessons, playing an instrument, membership in instrumental ensemble, sight-singing individually outside class, and director giving individual sight-singing tests. Results are discussed in terms of strategies for teaching individual sight-singing and recommended areas of future research. August 11, 2004 January 18, 2005.
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Duke, Robert A., and Carla M. Davis. "Procedural Memory Consolidation in the Performance of Brief Keyboard Sequences." Journal of Research in Music Education 54, no. 2 (2006): 111–24. http://dx.doi.org/10.1177/002242940605400203.
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Using two sequential key press sequences, we tested the extent to which subjects' performance on a digital piano keyboard changed between the end of training and retest on subsequent days. We found consistent, significant improvements attributable to sleep-based consolidation effects, indicating that learning continued after the cessation of practice during both the first and second nights of sleep following training. When subjects briefly recalled a learned sequence 1 day after training and then immediately learned a second, similar sequence, there were no observable improvements in subjects' performance of the first sequence after the second night of sleep. We discuss our results in relation to similar findings in neuroscience and cognition.
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Simmons, Amy L., and Robert A. Duke. "Effects of Sleep on Performance of a Keyboard Melody." Journal of Research in Music Education 54, no. 3 (2006): 257–69. http://dx.doi.org/10.1177/002242940605400308.
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Recent research has shown that both the speed and accuracy of novel motor skills improve during sleep in a process called consolidation. Such off-line learning in the absence of practice as yet has been experimentally observed only with learners performing relatively simple tasks. In the experiment we report here, we tested whether experienced learners performing a music skill obtain similar sleep-dependent improvements. Participants learned a 12-note melody on the piano, and recalled the melody following 12- or 24-hour intervals that either did or did not include sleep. We found significant sleep-dependent improvements in performance accuracy in the retests that followed intervals of sleep, and no significant improvements following intervals that did not include sleep. This is the first demonstration of consolidation-based enhancement of motor skills in the context of music. We did not find consistent sleep-dependent enhancements in performance speed, but we observed that temporal evenness improved in the absence of practice 24 hours after training.
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Simmons, Amy L., Sarah E. Allen, Carla Davis Cash, and Robert A. Duke. "Effects of early break intervals on musicians’ and nonmusicians’ skill learning." Psychology of Music 47, no. 1 (2017): 83–95. http://dx.doi.org/10.1177/0305735617735373.
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We measured the extent to which motor skill performance is advantaged by break intervals that include varied types of cognitive activity interposed early in a training session, directly comparing the performances of musicians and nonmusicians. Participants ( N = 118; 59 music majors, 59 nonmusicians) learned a 5-element keypress sequence on a digital piano during 12 min training sessions. Participants in three conditions took a 5 min break after 3 min of practice, and either practiced a new 5-element sequence (Break-motor), memorized word pairs (Break-word pair), or conversed with the proctor (Break-talk). Those in the fourth condition took no break (No-break). Participants were tested 12 hr later, following a night of sleep. Participants made significant performance gains across training and test, but musicians significantly outperformed nonmusicians at all timepoints. Nonmusicians made greater percentage gains than did musicians over the 5 min break interval and overnight, and participants in the Break-motor condition made significantly smaller gains over the 5 min break interval than did participants in the Break-talk and Break-word pair conditions. These results demonstrate that tasks involving declarative memories do not diminish performance enhancements that accrue during breaks early in motor skill practice, but these enhancements can be inhibited by engaging in competing motor tasks.
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Lee, Seow Phing, C. H. Raymond Ooi, and Ku Wing Cheong. "Bach and Busoni Essentials in A Chaotic World." Harmonia: Journal of Arts Research and Education 21, no. 1 (2021): 1–8. http://dx.doi.org/10.15294/harmonia.v21i1.30152.
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The study analyses the manifestation of structural change from the Bach Violin Chaconne (BWV1004, c.1720) to the Bach-Busoni piano transcription (c.1897). This article explores the use of two-dimensional music abstraction for vertical (pitch height) and horizontal (time) and its signal insignificant identified bariolage sections in music. Bariolage excerpts are chosen for they are implied sounds captured in repeatability and recontextuality. The first part of the article offers an excerpt of the Bariolage from violin at bars (113-120) and its parallel piano transcription at bars (118-125). Significant expressions of registral change utilizing different voice parts (Soprano, Alto, Tenor) offer a wider expansion with piano. These excerpts were chosen after reviewing the original Bach Chaconne and its essentials in analytical aesthetics for the projection of beauty in symmetry-asymmetry-chaos in composition. This study captures the aesthetics of the beautiful from the original score of the violin Chaconne at (bars 89-96) and (bars 113-120) for Bach-Busoni piano transcription. Further, there are recommendations for future studies to explore vertical spaces and mathematical sequences embedded in the music in other sections. The findings of this study were implied through new music analytical formats to be applied in composition, pedagogy, and performance practice.
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Oleh, Klendii. "The Semantics of Virtuosity in Genre-Stylistic System of C. Saint-Saëns’s Album for Piano op. 72." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (2019): 38–52. http://dx.doi.org/10.34064/khnum1-52.03.
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Background. In recent decades an intensive development of art semiotics, which contributes to the investigation of the concept of musical compositions and their functioning in performance practice, has been observed. Music semantics and performance texture are closely interrelated, since texture elements as semantic signs are able to convey the semantic expression of the language of music. Texture depends on a lot of factors. There is a strong semantic interrelation between an individual music genre and its typical texture, which has established itself in music practice and has become its distinctive feature. The typical examples are chant chords, which is a typical accompaniment of a waltz, and toccata martellato as an articulation technique. There is an interdependence of music styles and texture elements at historical, national and individual composer’s levels. For example, there is exquisite embellishment in French clavecinists’ works and Alberti bass in Viennese classics’ works. An unexpected outburst of virtuoso style in performance art has become a cultural heritage of Romantic era. In the 19th century the semantics of virtuosity, which is evident in the choice of the mediums of expression in piano works, was of significant importance more than ever before. Texture was in focus and tempo-rhythm, articulation, dynamics and agogics created tonal variations (clarity of Chopin’s jeu perlé, bravura octaval passage works by Liszt). Together with the main meaning-making mechanisms of genre and style in piano works of the 21st century, there is program music. In Baroque era it was closely connected with oratory and the theory of affects. Romanticists gained a better understanding of the potential of music art as a universal language. As a result, during the last two centuries, a “dictionary” of texture semantic signs connected with program music was in the process of its creation. Its demonstrative and wide-spread example is the onomatopoeia of bells (indexical sign by V. Kholopova), which provided for using chords, a broad range of registers and polyrhythm (F. Liszt, O. Borodin, S. Rachmaninoff, C. Debussy). C. Saint-Saëns is one of the most brilliant representatives of French piano school, who personifies the phenomenon of a “composer-virtuoso”. That is why, among all the kinds of conceptual-music and conceptual-word signs (by V. Kholopova), which make up the texture of C. Saint-Saëns’s piano music, virtuosity signs are of great importance and their scientific apprehension reveals the principles of his piano style better. Album for piano op. 72 was written in the years of C. Saint-Saëns’s intensive creative work as a performer and as a composer and it emphasizes the main trends in mature pianoforte mentality. Objectives. The paper covers the determination of the style basics of C. Saint-Saëns’s piano music in terms of the influence of a virtuoso performance practice, which was developed in Western European art. Methods. Research methodology is based on the unity of style, genre, intonation and system analysis types, which highlight the significance of the piano music heritage of the great artist for contemporary performers. Results. A genre and stylistic system of the miniature cycle of Album for piano op. 72 is complex and various. There is a principle of genre interrelation, which manifests itself in the use of folk genres of Italian music culture as a national tradition of this country and the combination of prelude genres of Baroque and Romantic eras (Baroque principles of composition in creating a romantic character). The composition of Album can be roughly divided into two “small cycles”, which are characterized, first of all, by the presence of motor (motor-dance) genres in the final parts and, secondly, by the contrast in the middle part, namely a sound representing one and a cantilena one. The first cycle contains Prélude, Carillon, and Toccata and the second one includes Valse, Chanson Napolitaine and Finale. As for the virtuosity, three main semantic complexes, through which it is manifested, can be distinguished. Their differentiation depends on the dominating expressive means. A high tempo, loud dynamics (ff, fff) and a high level of articulation clarity (non legato, marcatissimo, rinforzando) are the most significant ones in the first cycle. The second cycle is characterized by a multilayer texture with a complex metro-rhythm organization and the elements of a polyphonic notation, which compensates a medium tempo. The third complex represents the semantic values, which are opposite to the first one. They are reached due to a clear light texture, fine finger action combined with articulatory leggiero and dynamics (p, pp). C. Saint-Saëns’s Album for piano op. 72 requires the performer to have the whole set of technical skills. The works of this cycle contain not only a creative synthesis of the piano music of Baroque, Classicism and Romantic era, which is heritable for the artist, but also new ideas of a thematic organization followed by the appearance of music impressionism stylistics in future. Conclusions. C. Saint-Saëns’s piano music style combines the fundamentals of common European instrumental music and mental evidences of French national tradition. The main principles of the composer’s pianoforte mentality include polygenre, stylization, onomatopoeia in program music and virtuosity that were brilliantly embodied in the original authenticated forms of piano music. The virtuosity signs, which were determined in the process of the semantic analysis of Album, bring French instrumental miniature to the whole new level of artistic music creation. Being a virtuoso, C. Saint-Saëns further developed miniature poetics, and thus, contributed to the understanding of the virtuosity style of piano music performance.
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Калицкий, V. Kalitskiy, Диденко, and N. Didenko. "Musical Communication: Problems of Theory and Practice." Modern Communication Studies 3, no. 4 (2014): 10–16. http://dx.doi.org/10.12737/5396.
Full textAbstract:
The article considers the concept of musical communication as the content
 of music and performing practice. Phenomenon of existence of a musical
 work in miscommunication relationships. Reveals the importance of
 an integrated approach for the most successful performance of a musical
 work. The need detailed consideration of the phenomenon of musical communication
 serves to update through a review and analysis as a means
 of Humanities and art history. The essence and specific features of the
 phenomenon are projected on specific examples of music: in the process
 of composing musical works of the composer, his artistic interpretation by
 the contractor and multifaceted perception of the recipient. The authors of
 this article, with special emphasis on musical practice of the twentieth century
 (especially in the field of writing and interpretation of piano works by
 russian and western european composers and performers), allowing most
 adequately and fully disclose material provisions of musical communication.