Relevant bibliographies by topics / Piano practices

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Piano practices'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Piano practices"

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Dumlavwalla, Diana T. "The piano pedagogy scenes in India and the Philippines: An introductory cross-cultural comparison." International Journal of Music Education 37, no. 3 (April 17, 2019): 390–406. http://dx.doi.org/10.1177/0255761419839169.

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Categorized as developing nations, India and the Philippines are not generally known as centers for piano study. There has been little research investigating the traditions of piano education in these nations. In this study, I examined a number of issues related to piano pedagogy in each country. Data were collected from teachers in India ( n = 45) and the Philippines ( n = 28), who completed a 29-item questionnaire. Additionally, three instructors from India and one instructor from the Philippines were interviewed to gain further insight. A summary and comparison of the availability of piano instruction for pre-college students were outlined and opportunities for teacher support and professional development were explored. I looked at the current professional practices, the types of pedagogical methodologies and materials used in each country, the quality and types of pianos and keyboard instruments available, as well as the practice expectations and environments of students. How each country’s system of piano education adopts Western influence and observes their respective traditions is also presented. It is hoped that this research will lead to more in-depth investigation about these countries’ teaching practices and provide additional perspectives for pedagogues around the world.
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Redmond, Margaret, and Anne M. Tiernan. "Knowledge and Practices of Piano Teachers in Preventing Playing-related Injuries in High School Students." Medical Problems of Performing Artists 16, no. 1 (March 1, 2001): 32–38. http://dx.doi.org/10.21091/mppa.2001.1006.

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The purpose of this descriptive study was to determine what playing-related injury prevention principles piano instructors teach their high-school-aged students. Forty-two piano instructors who are members of the Washington State Music Teachers Association completed a survey. Findings indicated that the participants had received education in injury prevention, most frequently from their teachers or colleagues. The principles that the participants were most likely to teach their students included proper body mechanics and posture, specific playing techniques, importance of warm-up, and choosing repertoire that was appropriate for the student’s physical abilities. Some topics varied significantly depending on the participant’s age and years of teaching experience. Most participants desired more information on playing-related injury prevention, but appeared hesitant to provide students with information that was outside of their experience. It is recommended that health care professionals and piano instructors collaborate to provide resources for injury prevention.
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Kaleli, Yavuz Selim. "The Effect of Computer-Assisted Instruction on Piano Education: An Experimental Study with Pre-service Music Teachers." International Journal of Technology in Education and Science 4, no. 3 (June 19, 2020): 235–46. http://dx.doi.org/10.46328/ijtes.v4i3.115.

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This study investigated the effect of computer assisted teaching practices in piano courses in Department of Music Education of Faculty of Education on students’ success, piano playing skills and to what extent they provided permanent learning. The research was carried out with the pre-test/post-test research design with a control group, one of quasi experimental designs. In the study, the experimental group was provided computer-assisted piano instruction, while the control group received the regular curriculum instruction. There were 7 female and 6 male students in the control group and 6 male and 7 female students in the experimental group. A computer-assisted piano instruction program was developed for the experimental group. Instruction in the experimental and control groups lasted for 10 lessons. Piano Achievement Test and Piano Observation Form were used as data collection tools. Mann Whitney U test was used to test permanent learning and the success and piano skills of the groups. The results of the research show that computer assisted piano instruction applied in the experimental group is more effective than the regular curriculum instruction in increasing students’ course success and permanent learning. However, no significant difference was found between the post-test levels of the experimental and control groups in terms of piano skills.
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Brown, A. Peter. ""Performance Practices in Classic Piano Music" By Sandra P. Rosenblum." Performance Practice Review 3, no. 1 (1990): 90–96. http://dx.doi.org/10.5642/perfpr.199003.01.8.

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Mazza, Luigi. "Ippodamo e il piano." TERRITORIO, no. 47 (February 2009): 88–103. http://dx.doi.org/10.3280/tr2008-047011.

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- It was with singular anticipation that in his writings on Hippodamus Aristotle placed social and spatial control in relation to each other: in this perspective planning is not only the art of building a city, but it is also a tool of government and the spatial order produced by planning is presented as an instrument of social control. The name Hippodamus is associated with a checkerboard urban layout, known as a ‘Hippodamus' grid'. Hippodamus was not the inventor of the grid which had been in use many centuries before him, but he can be considered as the inventor of planning, if it is defined as an instrument of social control through the control of space. The exercise performed on Hippodamus is designed to underline the association between a grid and constitution and to identify the political nature of planning practices in motives that are more radical than those normally recognised for it. It is also an attempt to ask questions about the criteria that govern planning action and to identify the elements that characterise it in order to condense them into a concept of planning, whose independence does not divorce planning actions from political designs. The paper concludes with the basics of a theory of social order planning.
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Bogue, Ronald. "Scoring the Rhizome: Bussotti's Musical Diagram." Deleuze Studies 8, no. 4 (November 2014): 470–90. http://dx.doi.org/10.3366/dls.2014.0166.

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The score of Piece Four of Sylvano Bussotti's Five Piano Pieces for David Tudor is the most important image in A Thousand Plateaus. It serves as a prefatory image not only to the Rhizome plateau, but also to the work as a whole. It functions as the book's musical score, guiding readers in their performance of the text. Embracing John Cage's graphism and aleatory practices, Bussotti created his own ‘aserial’ new music, one that celebrated passion and Bussotti's open homosexuality. The visual elements of Piece Four include a deterritorialisation of the standard piano score, a diagram of the composition's abstract machine, and a drawing that Bussotti had produced ten years before writing Five Piano Pieces for David Tudor. The drawing itself is a rhizomic artwork, with details that echo visual motifs throughout A Thousand Plateaus. The superimposition of the drawing on the deterritorialised framework of the standard piano score conjoins the visible and the audible, faciality and the refrain, in a single artefact.
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Maslen, Sarah. "‘Playing like a girl’: Practices and performance ideals at the piano." Performance Enhancement & Health 2, no. 1 (March 2013): 3–7. http://dx.doi.org/10.1016/j.peh.2013.01.001.

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Raikin, Bruno. "Towards a Better Understanding of Piano Technique." British Journal of Music Education 2, no. 2 (July 1985): 133–44. http://dx.doi.org/10.1017/s0265051700004733.

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Control of touch is the alpha and omega of beautiful piano playing. Each finger is a member of a playing apparatus that functions as a multiple lever comprising six segments, from shoulder to fingertips, each of which is controlled by its particular muscles. When a note is played inadequately, tests on the finger and wrist joints usually reveal weaknesses and the need for specific isometric gymnastic exercises to strengthen the muscles that control them. These produce a unity in the functioning of the whole limb, without which complete control is impossible. Such unity is duplicated by the kinaesthetic memory, and confirmed at subsequent practices.
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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 (July 10, 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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Pala, Ferhat Kadir, and Pınar Mıhcı Türker. "Developing a haptic glove for basic piano education." World Journal on Educational Technology: Current Issues 11, no. 1 (February 11, 2019): 38–47. http://dx.doi.org/10.18844/wjet.v11i1.4008.

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This study aims at developing a glove with integrated haptic interface to facilitate the learning of those who have just started playing piano and allowing them to perform without a need for a piano during daily activities. The steps of the analysis, design, development, implementation, evaluation model were used in the research. In the analysis stage, students’ needs were analysed and problems were determined. At the design stage, practices oriented to resolving these problems were analysed and it was decided that haptic gloves might be appropriate for the solution to the problems revealed. At the development stage, evaluations were made directed to development of the product and formatting. The participants used the haptic glove for a while and have expressed their opinions, which are recorded by video camera. The recordings were analysed and it was found that the second version of the haptic glove increased the participants’ recall level of the music.Keywords: Music education, haptic glove, piano education, passive haptic learning.*
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Dissertations / Theses on the topic "Piano practices"

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Yong, Kerry. "Performance practices in music for piano with electroacoustics." Thesis, Royal College of Music, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.576937.

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Da, Costa Neal Peres. "Performing practices in late-nineteenth-century piano playing." Thesis, University of Leeds, 2001. http://etheses.whiterose.ac.uk/1390/.

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Early piano recordings provide audible evidence of the style of late- nineteenth and early twentieth century pianists. These clearly exhibit an approach to piano playing which differs radically from the present. The relationship between the practices preserved in the recordings and their description in contemporaneous written texts is the focus of attention here. The investigation shows that the important features of recordings are not faithfully conveyed by the written texts. Therefore, the recordings reveal a manner of execution and interpretation that could seldom have been envisaged from the written texts alone. The recordings examined here include those of a generation of pianists who were trained, in some cases, 150 years ago. These include Carl Reinecke, Theodor Leschetizky,Camille Saint-Satins, and Johannes Brahms, and those of a later generation have also been considered. Their recordings preserve vital information about general performing practices of the second half of the nineteenth century, as well as the idiosyncrasies of their playing. The significance of early recordings and their importance as a means of appreciating lost traditions is outlined in the Introduction. Chapter 1 explores the early recording processes and draws conclusions about the value of the recordings as preserved evidence. The following chapters investigate practices that are prevalent in the recordings. These include dislocation (asynchrony of the hands), unnotated chordal arpeggiation, metrical rubato and various types of rhythmic alteration, and tempo modification. Each chapter compares contemporaneous and historical written references with numerous recorded examples provided on the accompanying compact discs. This process reveals, in many cases, striking inconsistencies, and highlights the gulf between theory and practice. It also suggests that descriptive language and musical notation have hidden meanings for which the recordings provide an indispensable key. Early piano recordings capture an expressive style alien to modern taste. The implications of this study are that any attempt at historically informed performances must acknowledge the gulf between current aesthetics of performance and those of the late nineteenth and early-twentieth centuries.
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Jenkins, Matthew B. "Contemporary percussion performance an overview of aesthetics and performance practices /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453661.

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Thesis (M.A.)--University of California, San Diego, 2008.
Accompanying disc is DVD-ROM and contains sound files of the recording of the recital. Title from first page of PDF file (viewed Jun. 25, 2008). Available via ProQuest Digital Dissertations. Includes bibliographical references: P. 7.
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Morgenroth, David Jonathan. "Collaborative Crossover: Identifying Classical Vocal Collaborative Piano Practices in Jazz Vocal Accompanying." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804985/.

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Classical vocal collaborative piano and jazz vocal accompaniment are well-established fields with long-standing performance traditions. Classical collaborative performance practices have been researched and codified, but jazz accompanying practices largely remain in the domain of aural tradition. Both classical and jazz accompaniment share associated practices, such as rubato, transposition, and attention to lyric diction and inflection, but there is little previous investigation into the idea that classical collaborative practices might apply to jazz accompanying. This research examines jazz piano accompanying practices in sung verses of standard tunes to demonstrate how accomplished jazz pianists intuitively use many of the same techniques as classical collaborative pianists to create balance with singers. Through application of expressive microtiming analysis to graphical displays of transcribed recorded performances, a strong correlation is established between the classical and jazz vocal accompanying traditions. Linking classical practices to jazz potentially creates a foundation for jazz accompanying pedagogy.
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Rock, Emily Megan. "PROFESSIONALISM AND THE INDEPENDENT PIANO TEACHER: A COLLECTIVE CASE STUDY." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1151275370.

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Mullins, William D. "A survey of piano teachers whose students have ADHD: Their training, experiences, and best practices." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1500597748529337.

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Freitas, Stefanie Grace Azevedo de. "Modelagem como estratégia para o desenvolvimento de recursos expressivos na performance pianistica : três estudos de casos." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/71790.

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Neste trabalho discutimos três estudos de caso com o objetivo de investigar empiricamente a modelagem como ferramenta de estudo no desenvolvimento musical e pianístico de alunos do Bacharelado em Instrumento/Piano da UFRGS. Durante a pesquisa, cada um dos três participantes foi instruído a ouvir atentamente uma gravação de pianista de renome internacional como modelo a ser seguido. Na etapa da coleta de dados, os participantes realizaram três gravações de dois trechos contrastantes de uma obra do seu repertório e gravaram cinco entrevistas semiestruturadas. A análise dos dados baseou-se nos relatos sobre as preocupações referentes aos trechos escolhidos, nas reflexões sobre os efeitos da modelagem, na observação das características de suas interpretações após a modelagem e na análise do andamento e da condução do tempo musical. Para isso, utilizamos o software Sonic Visualiser. A análise de dados juntamente com o conjunto de entrevistas individuais comprovam nossa hipótese de que a modelagem incrementa e amplia os recursos expressivos dos participantes, incentiva a autonomia e individualidade de suas interpretações e potencializa a audição crítica e a reflexão sobre processos de estudo.
This research presents three case studies aiming at empirically investigating modeling as a learning tool for the musical and pianistic development of undergraduate students. Each one of the three students was instructed to critically listen to the recording of a famous pianist as a model to be followed. Data collection combined three recording sessions of two contrasting excerpts already in the students repertoire and five semi- structured interviews. The analysis of the resulting data was based on individual reports concerning the selected musical segments as well as their reflection on learning processes in relation to the model, observations of interpretive characteristics after the modeling and analysis of timing and choices of musical tempo. The chosen software was Sonic Visualiser. Data analysis in combination with the sets of individual interviews confirmed our initial hypothesis that modeling increases and widens the their interpretations, potentiates critical listening and promotes reflection on learning processes.
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Llewelyn-Jones, Iwan. "Studies in pianistic sonority, nuance and expression : French performance practices in the piano works of Maurice Ravel." Thesis, Cardiff University, 2016. http://orca.cf.ac.uk/100830/.

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This thesis traces the development of Maurice Ravel’s pianism in relation to sonority, nuance and expression by addressing four main areas of research that have remained largely unexplored within Ravel scholarship: the origins of Ravel’s pianism and influences to which he was exposed during his formative training; his exploration of innovative pianistic techniques with particular reference to thumb deployment; his activities as performer and teacher, and role in defining a performance tradition for his piano works; his place in the French pianistic canon. Identifying the main research questions addressed in this study, an Introduction outlines the dissertation content, explains the criteria and objectives for the performance component (Public Recital) and concludes with a literature review. Chapter 1 explores the pianistic techniques Ravel acquired during his formative training, and considers how his study of specific works from the nineteenth-century piano repertory shaped and influenced his compositional style and pianism. Chapter 2 discusses Ravel’s implementation of his idiosyncratic ‘strangler’ thumbs as articulators of melodic, harmonic, rhythmic and textural material in selected piano works. Ravel’s role in defining a performance tradition for his piano works as disseminated to succeeding generations of pianists is addressed in Chapter 3, while Chapters 4 and 5 evaluate Ravel’s impact upon twentieth-century French pianism through considering how leading French piano pedagogues and performers responded to his trailblazing piano techniques. It will be shown that through his activities as teacher and performer, as well as composer, Ravel took control of every detail pertaining to his piano works with his meticulously notated scores, piano roll recordings and interpretive guidance imparted to other pianists, thus catalysing performance practices that promulgated a distinctively French twentieth-century pianistic tradition.
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Silva, Flávia Figueira da. "Bagatelas op. 119 de Beethoven: um estudo interpretativo." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-07032013-105242/.

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O presente trabalho trata de questões relativas à interpretação musical das Bagatelas op. 119 de Beethoven. São abordados assuntos como: dificuldades técnicas, andamentos, dinâmica, fraseado, articulação, pedalização, entre outros. A finalidade é ressaltar alguns detalhes de estrutura e de notação utilizados pelo compositor que podem ajudar e enriquecer o processo de construção de uma interpretação musical desta obra. Discorre-se também sobre as circunstâncias que levaram Beethoven a compor suas Bagatelas, primeiras edições e o paradeiro de alguns dos esboços e manuscritos relativos a essas obras. Esta dissertação utiliza os textos musicais de duas das mais conceituadas edições da obra disponíveis no mercado (G. Henle Verlag, de 1970 e Wiener Uxtert/Schott Universal Edition, de 1973) e é fundamentada em trabalhos de especialistas da área, notadamente, Sandra Rosenblum (Performance Practices in Classic Piano Music), Barry Cooper (Beethoven\'s Portfolio of Bagatelles) e Alan Tyson (The First Edition of Beethoven\'s op.119 Bagatelles).
The present work deals with issues concerning the musical interpretation of Beethoven\'s Bagatelle op. 119. Were approached subjects such as technical demands, tempo, dynamic, phrasing, articulation, pedaling, among others. The goal is to bring out some of the composer\'s structural and notational details, which may help and enrich the process of creating a musical interpretation of this piece. It has also been discussed on the circumstances that led Beethoven to compose his Bagatelles, first editions and whereabouts of some of the sketches and manuscripts relating to these works. This essay uses the musical scores of two of the most prestigious editions available (G. Henle Verlag, 1970 and Wiener Uxtert/Schott Universal Edition, 1973) and is based on works from experts in the field, notably, Sandra Rosenblum (Performance Practices in Classic Piano Music), Barry Cooper (Beethoven\'s Portfolio of Bagatelles) and Alan Tyson (The First Edition of Beethoven\'s op.119 Bagatelles).
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Cathcart, Sally. "The UK piano teacher in the twenty-first century : exploring common practices, expertise, values, attitudes and motivation to teach." Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/10018208/.

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The thesis explores common practices, expertise, values, attitudes and motivation to teach amongst piano teachers. The findings are based on the Piano Survey 2010 which gathered responses from 595 piano teachers across the UK. The research is first placed in context by tracing the history of piano teaching from the Victorian period to the present day. The findings of the survey start by presenting demographic information about teachers followed by an in-depth exposition of pupil numbers, the standard of pupils, lesson elements and performance opportunities. The research was particularly concerned with establishing more understanding about teaching beginners and one chapter focusses on early lessons and tutor books. How respondents ensured progression for their piano pupils was discussed in the next chapter. The last areas to be reported on covered teachers and their motivation. First their motivation for becoming a piano teacher was outlined, followed by what were found to be the rewarding and less rewarding features of teaching. Finally, how the piano teachers developed their piano teaching skills was explored and teachers’ attitudes to professional development and membership presented. During the discussion the Victorian inheritance of piano teaching was placed in context and the lack of development since that period highlighted. The conclusion argued that piano teaching principles need to be developed by the profession and a set of widely accepted teaching standards adopted for progress to be made.
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Books on the topic "Piano practices"

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Off the record: Performing practices in Romantic piano playing. New York: Oxford University Press, 2012.

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Performance practices in classic piano music: Their principles and applications. Bloomington: Indiana University Press, 1988.

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Decina, Maurizio. Goodbye Telecom: La banda della banda larga : il piano di Telefónica e il nuovo ordine mondiale. Roma: Castelvecchi, 2013.

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Linda, Wehrli, ed. Piano practice and performance. Valley Village, CA: Wehrli Publicartions, 2007.

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The Renzo Piano logbook. London: Thames and Hudson, 1997.

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Kelly, Robert. Buying a piano: A practical guide. Bath: Sulis Publications, 1991.

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Company of pianos. Goudhurst, Kent, England: Finchcocks Press, 2004.

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The piano sonority of Claude Debussy. Lewiston: E. Mellon Press, 1994.

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Groom, Billy Lynn. Music theory and practical application through piano. Arlington [Tex.]: Liberal Arts Press, 1986.

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Hinson, Maurice. The pianist's bookshelf: A practical guide to books, videos, and other resources. Bloomington, IN: Indiana University Press, 1998.

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Book chapters on the topic "Piano practices"

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Chugunov, Evgeny. "Nikolai Bernstein’s Theory of Movement Construction as a Foundation of Flow in Piano Technique." In Perspectives in Performing Arts Medicine Practice, 101–10. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-37480-8_7.

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Arencibia, Pablo. "Discrepancies in Pianists’ Experiences in Playing Acoustic and Digital Pianos." In Perspectives in Performing Arts Medicine Practice, 179–94. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-37480-8_12.

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Hinrichsen, Hans-Joachim. "‘Quasi una fantasia’? The legacy of improvisational practice in Ludwig van Beethoven’s piano sonatas." In Musical Improvisation and Open Forms in the Age of Beethoven, 161–77. Milton Park, Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315406381-10.

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Senette, Caterina, Maria Claudia Buzzi, Marina Buzzi, and Amaury Trujillo. "Visual Aids for Teaching Piano to Students with Autism: Designing a Web App Through Practice." In Technology-Enhanced Learning for a Free, Safe, and Sustainable World, 37–51. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-86436-1_4.

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Zeng, Hong, Xingxi He, and Honghu Pan. "A New Practice Method Based on KNN Model to Improve User Experience for an AR Piano Learning System." In Virtual, Augmented and Mixed Reality. Applications and Case Studies, 398–409. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-21565-1_27.

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Crappell, Courtney. "Training Teaching Skills and Practices." In Teaching Piano Pedagogy, 96–121. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190670528.003.0005.

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Chapter 4, “Training Teaching Skills and Practices,” covers topics related to what teachers do in piano lessons. Essentially, it presents the best-practices with which piano teachers should be prepared before entering the teaching studio, and it outlines how pedagogy students can practice and begin to master these skills. After a brief introduction, it includes models and frameworks that serve to guide the mental processes of teachers as they make decisions about performance problems. It helps the pedagogy teacher understand how to train pedagogy students to think and act during lessons. Several classroom exercises are provided to demonstrate how pedagogy students can apply and practice the principles and suggestions within this chapter.
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Chapman, David. "Improvisation, Two Variations on a Watermelon, and a New Timeline for Piano Phase." In Rethinking Reich, 217–38. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190605285.003.0011.

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Steve Reich’s Piano Phase (1967) represents a pivotal moment in the composer’s creative practice. With this keyboard duet, the composer felt that he had successfully translated his phase-shifting process to live performance and had left behind earlier improvisatory practices. Documents held in the Steve Reich Collection at the Paul Sacher Stiftung complicate this picture: in the months before its composition and premiere, Reich first revived Music for Two or More Pianos or Piano and Tape (1964) as a potential model for live performance, and in Improvisations on a Watermelons (1966) he explored concepts now firmly associated with Piano Phase. An archival audio recording of the Piano Phase premiere also documents a brief improvisation performed by Reich and Arthur Murphy. This chapter argues for a more critical reading of the composer’s autobiographical statements—such as, “we were not improvising”—and offers a newly detailed timeline for the origins of Piano Phase.
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"Orthodoxies, Paradoxes, and Contradictions: Performance Practices in Nineteenth-Century Piano Music." In Nineteenth-Century Piano Music, 32–70. Routledge, 2013. http://dx.doi.org/10.4324/9781315024479-10.

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Da Costa, Neal Peres. "Early RecordingsTheir Value as Evidence." In Off the RecordPerforming Practices in Romantic Piano Playing, 3–40. Oxford University Press, 2012. http://dx.doi.org/10.1093/acprof:oso/9780195386912.003.0001.

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Da Costa, Neal Peres. "Playing One Hand after the OtherDislocation." In Off the RecordPerforming Practices in Romantic Piano Playing, 41–100. Oxford University Press, 2012. http://dx.doi.org/10.1093/acprof:oso/9780195386912.003.0002.

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Conference papers on the topic "Piano practices"

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Cox, Susanne, and Richard Sänger. "Digitale Fassungsvergleiche am Beispiel von Beethovens Eigenbearbeitungen." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.99.

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In its second module, „Beethovens Werkstatt“ deals with five of Beethoven’s compositions which exist both in their original versions and as authentic arrangements (Piano Sonata op. 14/1 arranged for string quartet, Septett op. 20 and Trio op. 38, Opferlied op. 121b and Bundeslied op. 122 as piano reductions, Große Fuge op. 133 as arrangement for piano for four hands op. 134). To demonstrate Beethoven’s arrangement practices, the original version of each work is synoptically linked with its arrangement in a digital edition called „VideApp Arr“. Through digital tools for comparison the relationships between the two versions can be investigated from different perspectives. It becomes visible how the versions are related to each other both by „invariance“ (text elements with the same structure), by „variance“ (text elements with a similar structure) and, in special cases, also by „difference“ (text elements without corresponding parameters). Each view within the „VideApp Arr“ is generated from the underlying MEI data.
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Molloy, Will, Edward Huang, and Burkhard C. Wunsche. "Mixed Reality Piano Tutor: A Gamified Piano Practice Environment." In 2019 International Conference on Electronics, Information, and Communication (ICEIC). IEEE, 2019. http://dx.doi.org/10.23919/elinfocom.2019.8706474.

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Pronyaeva, Nadezhda Anatolevna. "The Specifics of Work With Gifted Children in Special Piano Lessons at Children’s Art School." In All-Russian research-to-practice conference with international participation. Publishing house Sreda, 2020. http://dx.doi.org/10.31483/r-75365.

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The concept of “musical talent” is considered, as well as the main musical and performance abilities and skills of students-pianists. The features of teachers’ modern teaching approach in piano lessons with gifted children are characterized. The distinctive features of the manifestation of the basic musical talent of gifted children in the piano lessons are analyzed. The importance of enlightening the teacher to the individual characteristics of a gifted child is emphasized.
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Koroleva, Elena Nikolaevna. "Some aspects of inclusive learning in the piano class." In XI International research and practice conference. TSNS Interaktiv Plus, 2018. http://dx.doi.org/10.21661/r-469507.

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Lestari, Afrina Nurfizia, and Yudi Sukmayadi. "Multimedia-Based Interactive Learning Media Design for Piano Practice." In 3rd International Conference on Arts and Design Education (ICADE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210203.040.

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Begutova, Tatiana Sergeevna. "The Significance of Franz Schubert's Piano Sonatas in the Cultural Space." In International Scientific and Practical Conference. TSNS Interaktiv Plus, 2020. http://dx.doi.org/10.21661/r-530460.

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Asahi, Shota, Satoshi Tamura, Yuko Sugiyama, and Satoru Hayamizu. "Toward a High Performance Piano Practice Support System for Beginners." In 2018 Asia-Pacific Signal and Information Processing Association Annual Summit and Conference (APSIPA ASC). IEEE, 2018. http://dx.doi.org/10.23919/apsipa.2018.8659463.

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Ji, Wenge. "Piano Teaching Reform and Practice based on Applied Talent Cultivation." In International Conference on Education, Management and Computing Technology (ICEMCT-15). Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icemct-15.2015.203.

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Xin, Aiyong. "Analysis of the Practical Value of Czerny Piano Etudes." In 2nd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iccese-18.2018.179.

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Hori, Matsuto, Christoph M. Wilk, and Shigeki Sagayama. "Piano Practice Evaluation and Visualization by HMM for Arbitrary Jumps and Mistakes." In 2019 53rd Annual Conference on Information Sciences and Systems (CISS). IEEE, 2019. http://dx.doi.org/10.1109/ciss.2019.8692813.

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Reports on the topic "Piano practices"

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Mayas, Magda. Creating with timbre. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.686088.

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Unfolding processes of timbre and memory in improvisational piano performance This exposition is an introduction to my research and practice as a pianist, in which I unfold processes of timbre and memory in improvised music from a performer’s perspective. Timbre is often understood as a purely sonic perceptual phenomenon. However, this is not in accordance with a site-specific improvisational practice with changing spatial circumstances impacting the listening experience, nor does it take into account the agency of the instrument and objects used or the performer’s movements and gestures. In my practice, I have found a concept as part of the creating process in improvised music which has compelling potential: Timbre orchestration. My research takes the many and complex aspects of a performance environment into account and offers an extended understanding of timbre, which embraces spatial, material and bodily aspects of sound in improvised music performance. The investigative projects described in this exposition offer a methodology to explore timbral improvisational processes integrated into my practice, which is further extended through collaborations with sound engineers, an instrument builder and a choreographer: -experiments in amplification and recording, resulting in Memory piece, a series of works for amplified piano and multichannel playback - Piano mapping, a performance approach, with a custom-built device for live spatialization as means to expand and deepen spatio-timbral relationships; - Accretion, a project with choreographer Toby Kassell for three grand pianos and a pianist, where gestural approaches are used to activate and compose timbre in space. Together, the projects explore memory as a structural, reflective and performative tool and the creation of performing and listening modes as integrated parts of timbre orchestration. Orchestration and choreography of timbre turn into an open and hybrid compositional approach, which can be applied to various contexts, engaging with dynamic relationships and re-configuring them.
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