To see the other types of publications on this topic, follow the link: Piano practices.
Journal articles on the topic 'Piano practices'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Piano practices.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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.
2
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.
Full textAbstract:
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.
3
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.
Full textAbstract:
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.
4
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.
Full text
5
Mazza, Luigi. "Ippodamo e il piano." TERRITORIO, no. 47 (February 2009): 88–103. http://dx.doi.org/10.3280/tr2008-047011.
Full textAbstract:
- 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.
6
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.
Full textAbstract:
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.
7
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.
Full text
8
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.
Full textAbstract:
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.
9
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.
Full textAbstract:
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.
10
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.
Full textAbstract:
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.*
11
Volans, Kevin. "WHAT IS FELDMAN?" Tempo 68, no. 270 (September 4, 2014): 7–14. http://dx.doi.org/10.1017/s0040298214000321.
Full textAbstract:
AbstractThis article is a reflection on aspects of the compositional practice and aesthetics of the American composer Morton Feldman (1926–1987) as viewed from the perspective of a fellow composer. Writing as a colleague immersed in Feldman's work for more than three decades, Kevin Volans discusses Feldman's concepts of time and form; his approach to touch on the piano, and to instrumentation and tone colour generally; his relationship with the visual arts; his notational practices with regard to pitch and rhythm; his anti-conceptualist standpoint, and much else.
12
Salinas, Edgardo. "The Form of Paradox as the Paradox of Form." Journal of Musicology 33, no. 4 (2016): 483–521. http://dx.doi.org/10.1525/jm.2016.33.4.483.
Full textAbstract:
Written in 1802, Beethoven’s “Tempest” piano sonata is the iconic work of the “wirklich ganz neue Manier” the composer announced right after his traumatic seclusion in Heiligenstadt. Suffused with asymmetries and contradictions, the sonata’s first movement has long attracted the attention of scholars concerned with the epistemic soundness of sonata form theories. Most conspicuously, the absence in the recapitulation of what seems to be on first hearing the main theme generates a formal paradox that challenges the theoretical models devised to analyze sonata forms. This article reinterprets that paradox through the prism of Friedrich Schlegel’s theory of form, formulated in his critique of modern art and literature. In doing so, it recasts Beethoven’s “Tempest” sonata and Schlegel’s theory in the light of what I call the paradox of mediated immediacy. It further suggests a genealogical homology between the novel and sonata form to advance a historicized model of musical form that contemplates the material conditions accompanying the consolidation of print culture around 1800. Situated in this context, the “Tempest” sonata serves as a case study for exploring how Beethoven’s reinvention of the piano sonata reconfigured the interface between form and medium, deploying self-referential strategies that both rendered apparent and resignified the mediations entailed by the compositional practices instituted with the classical style. As a result, Beethoven’s piano sonatas came to operate as technologies of the self that became integral to the fashioning of romantic subjectivities. My reading emphasizes the aural experience induced by the form’s asymmetries, and contends that the absence delivered at its structural crux complicates sonata form practices to afford an experience of immediacy that captures in the medium of piano music the paradoxical condition Schlegel reckoned immanent to the modern self.
13
Anderson, Julian. "HARMONIC PRACTICES IN OLIVER KNUSSEN'S MUSIC SINCE 1988: PART II." Tempo 57, no. 223 (January 2003): 16–41. http://dx.doi.org/10.1017/s0040298203000020.
Full textAbstract:
Songs without Voices, composed in 1991–2, is a set of four pieces for small instrumental ensemble comprising flute, cor anglais, clarinet, horn, piano, violin, viola and cello, lasting about eleven minutes. It follows on naturally from Knussen's Whitman Settings which preceded it, as three of its four movements derive their main melodic lines from purely instrumental settings of Whitman texts from the collection Leaves of Grass. Indeed the first movement's source text, Soon shall the winter's foil be here, is placed by Whitman in the collection immediately after The Voice of the Rain, the final text of Knussen's Whitman Settings.
14
Stefanovic, Ana. "Traditional vocal music as a reference in contemporary Serbian art song." Muzikologija, no. 20 (2016): 151–70. http://dx.doi.org/10.2298/muz1620151s.
Full textAbstract:
The article examines the relation between traditional vocal music and contemporary compositional poetics in Serbian art song, created in the last two decades. The special relationship between the ?eastern? Balkans inheritance and ?western? compositional practices which characterized Serbian music throughout the 20th century is considered in a contemporary, post-modern context and within a particular genre framework. The status of the reference itself, as well as of referential relationships, are examined through examples taken from three works: Dve tuzbalice (1997) for soprano, viola and piano by Djuro Zivkovic (1975), Da su meni oci tvoje (2008) for soprano, flute and piano by Ivan Brkljacic (1977) and Rukoveti (2000) for soprano and orchestra by Isidora Zebeljan (1967).
15
Berehova, Olena. "Ukrainian piano competitions in the space of global intercultural dialogue." Culturology Ideas, no. 20 (2'2021) (2021): 78–89. http://dx.doi.org/10.37627/2311-9489-20-2021-2.78-89.
Full textAbstract:
The article clarifies the influence of globalization on the musical culture of Ukraine, in particular, on international piano competitions. It emphases the role of global music organizations, which play an important integrative role in the processes of international artistic exchange and at the same time are a communication field for the demonstration of the best national artistic creative practices. In the field of international music competitions, the most influential organizations, in particular, are the World Federation of International Music Competitions, European Union of Music Competitions for Youth, Alink-Argerich Foundation, etc. The study of information materials of Ukrainian international piano competitions, which are the members of these prestigious international organizations, revealed global trends in the development of the competition and festival movement. Specific examples of international music festivals and other art projects initiated by the organizing committees of Ukrainian piano competitions have shown that they contribute to the development and promotion of Ukraine's cultural identity globally, help spread the best national traditions of musical performance in the world and are one of the best forms of cultural diplomacy.
16
Pala, Ferhat Kadir, and Pınar Mihci Turker. "Developing a haptic glove for basic piano education." World Journal on Educational Technology: Current Issues 11, no. 1 (February 6, 2019): 38–47. http://dx.doi.org/10.18844/wjet.v11i1.3985.
Full textAbstract:
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.
17
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.
Full textAbstract:
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.
18
Miucci, Leonardo. "Beethoven’s pianoforte damper pedalling: a case of double notational style." Early Music 47, no. 3 (July 23, 2019): 371–92. http://dx.doi.org/10.1093/em/caz045.
Full textAbstract:
Abstract This article challenges the so-called ‘Urtext’ approach whereby performers aim to play no more and no less than is notated in an authoritative edition. With reference to Beethoven’s pedalling, it shows that he provided no pedal markings in the authorised editions of his piano sonatas before op.26 (1801), which constitute nearly a third of his output in this genre. After this point, however, his notation evolved, and he began indicating pedal markings with increasing intensity. The article traces practices of piano pedalling as indicated in keyboard treatises around 1800 and also as revealed in Beethoven’s ‘Kafka sketchbook’. It argues that the authorised editions of his sonatas show a double notational style. Beethoven did not add pedal markings for passages where he expected his players to use the pedal according to convention. Instead his pedal markings indicate locations where usage of the pedal contravened conventions such as harmonic clarity.
19
Grace, Sherrill. "Timothy Findley, His Biographers, and The Piano Man’s Daughter." Text Matters, no. 8 (October 24, 2018): 413–30. http://dx.doi.org/10.1515/texmat-2018-0024.
Full textAbstract:
In this paper, Sherrill Grace, Findley’s biographer, will examine her biographical practices in the context of Findley’s own memoir, Inside Memory, and his interest in creating fictional auto/biographers and auto/biography in several of his major novels (notably The Wars, Famous Last Words, The Telling of Lies, and The Piano Man’s Daughter). His fictional auto/biographers often use the same categories of document that Findley himself used—journals, diaries, archives—and this reality produces some fascinating challenges for a Findley biographer, not least the difficulty of separating fact from fiction, or, as Mauberley says in Famous Last Words, truth from lies. Like many writers, Findley kept journals all his life, and they are a key source of information for his biographer; however, his way of recording information and his creation of fictional journals means that a biographer (like the readers of his fictional auto/biographers) must tread carefully. While not a theoretical study of auto/biography, in this paper Grace will offer insights into the traps that lie in waiting for a biographer, especially when dealing with a biographee who is as self-conscious an auto/biographer as Findley.
20
Romero, Sergio Ospina. "Ghosts in the Machine and Other Tales around a “Marvelous Invention”: Player Pianos in Latin America in the Early Twentieth Century." Journal of the American Musicological Society 72, no. 1 (2019): 1–42. http://dx.doi.org/10.1525/jams.2019.72.1.1.
Full textAbstract:
Gabriel García Márquez's literary portrait of the arrival of the pianola in Macondo in One Hundred Years of Solitude functions as a metaphor for the reception and cultural legitimization of player pianos in Latin America during their heyday in the 1910s and 1920s. As a technological intruder, the player piano inhabited a liminal space between the manual and the mechanical as well as between unmediated musical experiences and the mechanically mediated consumption of sounds. It thus constitutes a paradigmatic case by which to examine the contingent construction of ideas about tradition and modernity. The international trade in player pianos between the United States and Latin America during the first decades of the twentieth century was developed in tandem with the commercial expansion and political interventionism of the United States throughout the Americas during the same period. The efforts of North American businessmen to capture the Latin American market and the establishment of marketing networks between US companies and Latin American dealers reveal a complex interplay of mutual stereotyping, First World War commercial geopolitics, capitalization on European cultural/musical referents, and multiple strategies of appropriation and reconfiguration in relation to the player piano's technological and aesthetic potential. The reception of player pianos in Latin America was characterized by anxieties very similar to those of US consumers, particularly with regard to the acousmatic nature of their sounds and their perceived uncanniness. The cultural legitimization of the instrument in the region depended, however, on its adaptation to local discourses, cultural practices, soundscapes, expectations, language, gender constructions, and especially repertoires.
21
Rehding, Alexander. "Three Music-Theory Lessons." Journal of the Royal Musical Association 141, no. 2 (2016): 251–82. http://dx.doi.org/10.1080/02690403.2016.1216025.
Full textAbstract:
AbstractThis article is an attempt to understand music theory from the perspective of written and sounding media. It examines three radically different music-theoretical practices, which operate with different forms of written notation and different musical instruments, and have surprisingly different purposes in mind: the monochord-based theory of Franchinus Gaffurius (1518), the siren-based theory of Wilhelm Opelt (1834) and the piano-and-score-based theory commonly practised in our age. The instruments used in these three music theories hold the key to a fuller understanding: they can be understood as ‘epistemic things’ – that is, in producing sounds, these objects simultaneously produce knowledge about music. From a media-archaeological perspective, I suggest, these three music-theoretical practices stand emblematically for Pythagorean, digital and textual approaches to music.
22
Brenner, Brenda, and Katherine Strand. "A Case Study of Teaching Musical Expression to Young Performers." Journal of Research in Music Education 61, no. 1 (March 7, 2013): 80–96. http://dx.doi.org/10.1177/0022429412474826.
Full textAbstract:
What does it mean to teach musical expression to child performers? Is it teaching how to interpret a piece of music “correctly,” or is there more involved? In this case study, we explored the beliefs and practices of five teachers who specialized in teaching children to perform in a variety of musical performance areas, including violin, cello, piano, guitar, voice, and musical theater. To discover their pedagogy for teaching musical expressivity, we asked the initial questions, “How do these teachers define musical expression?” “What are the characteristics of an expressive performance for children?” and “Can musical expression be taught to children?” Data were collected through interviews with teachers and students, observations of lessons with children, and archival materials about each teacher’s studio practice. Transcripts of interviews, artifacts, and observed lessons were analyzed through emergent category coding and axial coding, using member checking and negative case analysis. Findings are discussed in relation to extant literature. Implications for teacher training and future research are explored.
23
Ho, Jocelyn. "Towards an Embodied Understanding of Performing Practices. A Gestural Analysis of Debussy’s “Minstrels” According to the 1912 Piano Rolls." Revue musicale OICRM 2, no. 1 (2014): 40. http://dx.doi.org/10.7202/1055845ar.
Full text
24
Balmer, Yves, Thomas Lacôte, and Christopher Brent Murray. "Messiaen the Borrower: Recomposing Debussy through the Deforming Prism." Journal of the American Musicological Society 69, no. 3 (2016): 699–791. http://dx.doi.org/10.1525/jams.2016.69.3.699.
Full textAbstract:
This article shows, through a new reading of Messiaen's Technique de mon langage musical and examples of his composing with elements found in the music of Debussy, that borrowing plays a more central role in his compositional practices than has previously been recognized. Messiaen's conscious reuse of Debussy's music spans his entire career, and primarily involves passages from Pelléas et Mélisande and a handful of piano works. Using his descriptions of Debussy's influence, his analyses of Debussy, and his own theoretical writings, we examine examples of Messiaen's musical borrowing in terms of compositional strategy. Four groups of case studies show how he transforms borrowed harmonic material, creates meaning, borrows gesture, and composes texture and form by combining different types of borrowed material.
25
SALINAS, EDGARDO. "Beyond the Candelabra: The Liberace Show and the Remediation of Beethoven." Journal of the Society for American Music 13, no. 1 (February 2019): 27–53. http://dx.doi.org/10.1017/s1752196318000512.
Full textAbstract:
AbstractLiberace entered the sprawling scene of US pop culture in 1952 emceeing a TV show that initially garnered higher ratings than I Love Lucy. The Liberace Show presented staples of the classical piano repertoire in abridged versions that cut the “dull parts” and liberally added orchestrations. Liberace's heterodox practices outraged prominent music critics, who soon deemed him the very incarnation of kitsch. Turning from aesthetic criticism to an archaeological analysis of media, I discuss the show's presentation of classical music, taking as its main case study Liberace's iconoclastic rendition of Beethoven's “Tempest” sonata, and examine it through the theory of remediation advanced by Jay David Bolter and Richard Grusin. Analyzing archival videos, I show how the alterations exerted on the musical text were inextricably tied to the telegenic mise-en-scènes staged for each episode while situating them in the new media landscape that emerged in the 1950s. The show remediated not only the pieces Liberace performed but also his own TV persona to nurture an intimate bond with home viewers who became captivated by the host's enchanting presence. I contend that Liberace's remediations drastically collapsed the specificity of performance medium that modern critics construed to be immanent to the musical work. This collapse entailed a proliferation of musical and audiovisual media that afforded Liberace's devoted viewers an alluring experience of immediacy and ultimately retrieved the domestic intimacy that had been integral to the genealogy of the piano sonata.
26
Leistra-Jones, Karen. "Hans von Bülow and the Confessionalization of Kunstreligion." Journal of Musicology 35, no. 1 (January 1, 2018): 42–75. http://dx.doi.org/10.1525/jm.2018.35.1.42.
Full textAbstract:
Hans von Bülow often used pointedly religious rhetoric in his statements about music: “I believe in Bach the Father, Beethoven the Son, and in Brahms the Holy Ghost of music,” he famously proclaimed. Elsewhere, he called Bach’s Well-Tempered Clavier the “Old Testament” and Beethoven’s sonatas the “New Testament” of piano music. Beginning in the 1870s, these types of pronouncements became a central aspect of Bülow’s public image. This occurred as he began to position himself as a Beethoven specialist, with his celebrated edition of Beethoven’s piano sonatas (1871) and his new practice of performing “cycles” of Beethoven’s sonatas and (beginning in the 1880s) symphonies. Critical responses to Bülow as both pianist and conductor began to mirror his religious rhetoric: critics described his concerts as a kind of preaching, a proclaiming of the musical “gospel,” or a scriptural exegesis, and his audiences as a devout congregation. Such accounts participated in the well-documented elevation of instrumental music as a Kunstreligion in the nineteenth century. Yet they moved beyond the mysticism and religious pluralism characteristic of early-Romantic Kunstreligion, and avoided calling the performer a “priest,” an epithet common in mid-century music criticism. Instead, Bülow and his critics positioned his activities within a more traditional German Protestantism by emphasizing the didactic nature of his performances, their focus on a strict “gospel” of canonic works, and their affinity with preaching and biblical interpretation. This article situates these developments within attempts to create a national culture in the new Kaiserreich of the 1870s and 1880s. This period saw numerous calls for new forms of religious experience free from the dogmas of organized religion, yet consistent with the Protestantism that was increasingly touted as a unifying force. In this context, Bülow was able to invest his role as performer with a prestige that drew on the interpretive practices and modes of authority associated with the Protestant church.
27
Brown, Julie Hedges. "Study, Copy, and Conquer." Journal of Musicology 30, no. 3 (2013): 369–423. http://dx.doi.org/10.1525/jm.2013.30.3.369.
Full textAbstract:
Schumann's 1842 chamber music exemplifies a common theme in his critical writings, that to sustain a notable inherited tradition composers must not merely imitate the past but reinvent it anew. Yet Schumann's innovative practices have not been sufficiently acknowledged, partly because his instrumental repertory seemed conservative to critics of Schumann's day and beyond, especially when compared to his earlier experimental piano works and songs. This essay offers a revisionist perspective by exploring three chamber movements that recast sonata procedure in one of two complementary ways: either the tonic key monopolizes the exposition (as in the first movement of the Piano Quartet in E♭ major, op. 47), or a modulating main theme undercuts a definitive presence of the tonic key at the outset (as in the first movement of the String Quartet in A major, op. 41, no. 3, and the finale of the String Quartet in A minor, op. 41, no. 1). Viewed against conventional sonata practice, these chamber movements appear puzzling, perhaps even incoherent or awkward, since they thwart the tonal contrast of keys so characteristic of the form. Yet these unusual openings, and the compelling if surprising ramifications that they prompt, signal not compositional weakness but rather an effort to reinterpret the form as a way of strengthening its expressive power. My analyses also draw on other perspectives to illuminate these sonata forms. All three movements adopt a striking thematic idea or formal ploy that evokes a specific Beethovenian precedent; yet each movement also highlights Schumann’s creative distance from his predecessor by departing in notable ways from the conjured model. Aspects of Schumann’s sketches, especially those concerning changes made during the compositional process, also illuminate relevant analytical points. Finally, in the analysis of the finale of the A-minor quartet, I consider how Schumann’s evocation of Hungarian Gypsy music may be not merely incidental to but supportive of his reimagined sonata form. Ultimately, the perspectives offered here easily accommodate—even celebrate—Schumann’s idiosyncratic approach to sonata form. They also demonstrate that Schumann’s earlier experimental tendencies did not contradict his efforts in the early 1840s to further advance his inherited classical past.
28
Sebba, Rosângela Yazbec. "Neal Peres da Costa, Off the Record: Performing Practices in Romantic Piano Playing (Oxford: Oxford University Press, 2011). xxxiv + 342 pp. $45.00." Nineteenth-Century Music Review 11, no. 1 (June 2014): 141–45. http://dx.doi.org/10.1017/s1479409814000184.
Full text
29
Tzortzi, Kali. "The art museum as a city or a machine for showing art?" Architectural Research Quarterly 14, no. 2 (June 2010): 129–38. http://dx.doi.org/10.1017/s1359135510000746.
Full textAbstract:
This paper presents the comparative analysis of the National Museum of Modern Art, in the Pompidou Centre, Paris, designed by Richard Rogers and Renzo Piano (1972–77), and the Tate Modern art gallery, London, the conversion of an industrial building by Swiss practice Herzog & de Meuron (1995–2000). The two museums share a set of conspicuous similarities so that their parallel investigation seems self-evident. Both are large-scale national museums of modern art, extending over two floors, in buildings that constitute urban landmarks and are often seen as examples of the museum as a box [1a–b]. Their ground floors are conceived as a space you walk through, as a ‘piazza’; their spatial organisation is modular and flexible; their visual construction, punctuated by powerful views to the city. Moreover, they are guided by similar spatial ideas and share common fundamental morphological properties. Interestingly, their affinities extend to their collections – both begin with the turn of the twentieth century and extend to the twenty-first century; and their curatorial practices – as, for instance, the practice of reprogramming the galleries on a regular basis. But the experience of visiting the two museums is entirely different and each appears to have its own idiosyncratic spatial character, quite distinct from the other (described metaphorically by the museum designers as the museum as a city in the case of the Pompidou and as a machine for showing art in the case of Tate Modern). So, could these obvious similarities hide critical differences between the two museums?
30
Tan, Melvyn, and Sandra P. Rosenblum. "Piano Practice." Musical Times 130, no. 1754 (April 1989): 215. http://dx.doi.org/10.2307/966471.
Full text
31
LOUGHRIDGE, DEIRDRE. "Magnified Vision, Mediated Listening and the ‘Point of Audition’ of Early Romanticism." Eighteenth Century Music 10, no. 2 (August 1, 2013): 179–211. http://dx.doi.org/10.1017/s1478570613000043.
Full textAbstract:
ABSTRACTEmploying the term ‘point of audition’ to describe the spatial position musical works imply for their listeners, this article examines the use of technologies for extending the senses to define new points of audition in the late eighteenth and early nineteenth centuries. Popular literature on natural philosophy promoted magnifying instruments as windows onto distant or hidden realms and as tools for acquiring knowledge. On the operatic stage and in writers' metaphorical musings, kindred sensory extensions were imagined for hearing. These contexts connected (magic) mirrors and magnifying instruments to their musical analogues: muted tone and keyboard fantasizing. The development of these associations in opera and literature made it possible for instrumental music to position listeners as eavesdroppers upon unknown realms. Such a point of audition is shown to be implied by the Adagio un poco mosso of Beethoven's Fifth Piano Concerto. By examining material practices and discourses surrounding sensory extension, this article demonstrates the relevance of technologically mediated observation to musical culture at the turn of the nineteenth century, and its contribution to the otherworldly orientation characteristic of romantic listening.
32
Golding, Dan. "Finding Untitled Goose Game’s Dynamic Music in the World of Silent Cinema." Journal of Sound and Music in Games 2, no. 1 (January 1, 2021): 1–16. http://dx.doi.org/10.1525/jsmg.2021.2.1.1.
Full textAbstract:
There are three unusual things about Untitled Goose Game’s music. First, for an independent video game produced by a small studio, the music is dynamic and reactive to a high degree. The game uses pre-recorded, non-generative musical performances and yet will respond to onscreen events within a buffer of only a few seconds at maximum. Second, the music takes inspiration not from other dynamic music systems in video games but from the varying practices of musical accompaniment for silent cinema and early comedy, aiming to replicate affect rather than process. Finally, the music for Untitled Goose Game takes the unusual step of adapting pre-existing classical music from the public domain—in this case, six of Claude Debussy’s Préludes for solo piano—rather than creating an original score intended from its conception to be dynamic. Accordingly, this article outlines the dynamic music system at work in Untitled Goose Game and the influence drawn on for this system from non–video game approaches to musical accompaniment. The article discusses the varying practices for music for the silent era of cinema, the theoretical frameworks used to conceptualize these many divergent approaches, and how closely we might recognize their legacy at work in Untitled Goose Game’s soundtrack. Ultimately, this article argues that by looking to approaches beyond more familiar debates about dynamic music for video games, Untitled Goose Game helped shortcut familiar problems that confront developers and composers when working with dynamic and reactive music.
33
Calella, Michele. "Raphael, the Virgin Mary, and Holy Matrimony: Recontextualizing Franz Liszt's Sposalizio." Studia Musicologica 59, no. 1-2 (June 2018): 3–20. http://dx.doi.org/10.1556/6.2018.59.1-2.1.
Full textAbstract:
Sposalizio, the piece opening the “Italian year” of Franz Liszt's Années de pèlerinage (first published in 1858), is one of the most analyzed and interpreted compositions in this piano cycle. Much attention has been paid to its connection with the painting of the same title by Raphael, which was printed as an internal title page for the piece's first edition at the explicit request of the composer. This connection has inspired many studies on the relationship between image and music, reinforcing the notion of Sposalizio as a musical realization of Raphael's painting as seen by Liszt for the first time in February 1838 at the Pinacoteca di Brera in Milan. Adopting a critical view of the hermeneutical tradition, which has an impact on the interpretation of the piece still today, and assuming that its composition began in Weimar only around 1848, the article proposes an alternative reading of the piece. By connecting pictorial and musical elements, Sposalizio seems to evoke several cultural discourses and practices fundamental to Liszt's artistic and biographical background, such as Raphael's image as a genius, the revival of Marian devotion, and marriage as a sacrament of the Catholic Church.
34
Pike, Pamela D. "Self-regulation of teenaged pianists during at-home practice." Psychology of Music 45, no. 5 (February 17, 2017): 739–51. http://dx.doi.org/10.1177/0305735617690245.
Full textAbstract:
Professional musicians employ self-regulation and deliberate practice strategies when learning music. Although self-regulation is difficult for beginners, presumably students practice deliberately as music becomes more difficult and they develop musical skills. It is not clear to what extent intermediate piano students self-regulate during learning. This study explored practice strategies used during at-home practice of nine intermediate-level teenaged piano students. Over a two-month period, piano students recorded three videos of themselves practicing. Data were triangulated from coded video, teacher interviews, and student questionnaires regarding practice habits, strategy use, and perceived challenges. Students regularly practiced under less-than-ideal circumstances and had limited attention spans, but skill level was not an indicator of self-regulation. Nine practice strategies were observed and reportedly employed. While six of the students mostly played through repertoire, three participants were motivated to deliberately use practice strategies and they attempted to self-regulate when practicing without a teacher present.
35
Lu, Wang. "Pedagogical conditions for training future teachers of Musical Arts in developing schoolchildren’s artistic and aesthetic worldview." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2019, no. 2 (127) (August 29, 2019): 100–107. http://dx.doi.org/10.24195/2617-6688-2019-2-15.
Full textAbstract:
The article is devoted to the coverage of the results dealing with the theoretical and methodological stage of the study regarding the professional training of future teachers of Musical Arts in developing schoolchildren’s artistic and aesthetic worldview. The introduction reflects the relevance of this problem, the goals and objectives of this stage. To achieve the goals and solve the tasks, a set of methods was used: theoretical ‒ analysis, induction, comparison, generalization of philosophical, psychological, pedagogical, artistic and historic; musical and pedagogical sources in order to clarify the content and specify the essence of the concept “pedagogical conditions”, the contextual analysis – to clarify the concept “Artistic and aesthetic perception of the world”; empirical ‒ a generalization of pedagogical and methodological experience, innovative practices; theoretical generalization – to explain the essence of special pedagogical conditions for developing schoolchildren’s artistic and aesthetic worldview. The author clarifies the essence of the phenomenon “pedagogical conditions”, presents and characterizes the pedagogical conditions for training future teachers of Musical Art in developing schoolchildren’s artistic and aesthetic worldview: actualization of the artistic and philosophical potential of the piano-performing activity fulfilled by the future teachers of Musical Arts; stimulation of a comprehended attitude of the future teachers majoring in Musical Arts to the artistic and aesthetic content of piano works in the process of working on their interpretation; a purposeful orientation on the creation of a methodological trajectory of influence on the artistic and aesthetic worldview by the future teachers of Musical Arts through comprehension of the artistic image of the work; involvement of the future teachers of Musical Arts into the organization and participation in real and virtual intercultural innovative and interactive forms of the educational process. These conditions are grounded through the prism of the component structure of the phenomenon “artistic and aesthetic worldview”. It is noted in the conclusions that the methodology, which includes pedagogical conditions, optimizes the further development of the phased implementation of the pedagogical conditions alongside with their corresponding methods in order to verify their effectiveness. Keywords: artistic and aesthetic perception of the world, future teachers of Musical Arts, pedagogical conditions.
36
As'ari, Andi Winata. "Living Hadits Oral, Lisan, dan Tulisan Jamaah Maiyah, Emha Ainun Najib, dan Gamelan Kyai Kanjeng." TARBIYA ISLAMIA : Jurnal Pendidikan dan Keislaman 7, no. 2 (September 22, 2018): 188. http://dx.doi.org/10.36815/tarbiya.v7i2.224.
Full textAbstract:
This article aims to discuss the unique Living Hadis which exists on Gamelan Kiai Kanjeng and explains how hadis understood by Emha Ainun Najib as a speaker in every event they held. Thus, this research finds that some of the event held by Kiai Kanjeng and Emha Ainun Najib is an exspression of sunnah due to Emha always invites all audiences to be independence and teaches them how to face and manage problem in their life. Also, Emha and Kiai Kanjeng are able to give good interpretations to Holy Qur’an and Sunnah that agree with the conditions of Indonesians wihich have multicultured and multireligious nations. Throught metodological study, the author find that Kiai Kanjeng is one of organisations that practice and deliver sunnah for all classes and grades of society, such as: moslem or non moslem, college students, workers, public staff, teachers and many others.
There are explanations of performance of Emha Ainun Najib that can be considred as living of sunnah, for instance: Having shalawatan together, problem solving, social respons, political education, and interpreations of normative text of Holy Qur’an and Hadis which is able to support and advise Indonesian people. Emha Ainun Najib is not only a pious speaker who practices living sunnah orally but also a character who can do living sunnah in writing. Gamelan Kiai Kanjeng with Emha Ainun Najib is a group of musical instrument which colaborated with some other music toos such as Guitar, Piano, band, and others. It can stimulate suciety to worship by listening and saying shalawat together in happy conditions and is going to produce good character of human being.
37
Kramer, Lawrence. "Chopin at the Funeral: Episodes in the History of Modern Death." Journal of the American Musicological Society 54, no. 1 (2001): 97–125. http://dx.doi.org/10.1525/jams.2001.54.1.97.
Full textAbstract:
Abstract This essay seeks to shed fresh light on Chopin's all-too-famous Funeral March by exploring its relationship to the social history of death. Virtually from the day of its publication, the march has had a career independent of the Piano Sonata in B Minor, Op. 35, into which Chopin inserted it. It quickly became Western music's paramount anthem of public mourning, a role it played at funerals from Chopin's own to John F. Kennedy's. This civic character, however, at best represents only a fraction of the music's cultural resonance. By consulting the first context of the march, the treatment of death and burial in Chopin's Paris, it becomes possible to tell a different and a richer story. Responding to a historical crisis bequeathed by the French Revolution, France during the first half of the nineteenth century was engaged in renovating the culture of death literally from the ground up—and down. Three major institutions emerged in the capital to carry on this work, each with its own distinctive set of customs and symbolic practices: the catacombs of Paris, the Paris Morgue, and the modern cemetery, the prototype for which was Pere Lachaise. Each of the three can be said to have left a mark on Chopin's Funeral March; deciphering those marks is the project of this essay.
38
Zhu, Jia. "University Digital Piano the Innovation of Teaching Methods and Practice." Key Engineering Materials 474-476 (April 2011): 1899–902. http://dx.doi.org/10.4028/www.scientific.net/kem.474-476.1899.
Full textAbstract:
In allusion to insufficiency in teaching method of tradition “one-to-one” piano class, we lead to innovative means of "one-to-many" teaching method in digital piano lesson to resolve the issues, we analysis and research the issues in the development of digital piano collective classes, to look for a better and new piano teaching in universities.
39
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 (November 14, 2018): 25–39. http://dx.doi.org/10.1177/0031512518807769.
Full textAbstract:
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.
40
Chaffin, Roger, and Gabriela Imreh. "Practicing Perfection: Piano Performance as Expert Memory." Psychological Science 13, no. 4 (July 2002): 342–49. http://dx.doi.org/10.1111/j.0956-7976.2002.00462.x.
Full textAbstract:
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.
41
DING, SHIAU-UEN. "Developing a rhythmic performance practice in music for piano and tape." Organised Sound 11, no. 3 (November 17, 2006): 255–72. http://dx.doi.org/10.1017/s1355771806001518.
Full textAbstract:
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.
42
Raducanu, Cristina Andra. "11. Basic Practice Methods in University General Piano Classes." Review of Artistic Education 15, no. 1 (March 1, 2018): 104–9. http://dx.doi.org/10.2478/rae-2018-0011.
Full textAbstract:
Abstract The purpose of this article was to present and analyse some practicing piano methods which are used during secondary piano lessons at the university. The final goal was to show the benefits of these practice strategies in the process of learning a new piano piece. Experience demonstrated that in order to keep students motivated, there is a need for them to know how to approach and study a new repertoire and to be sure that implementing these practice methods will help them gain the necessary skills which will enable them to fluently perform a musical piece.
43
HANNINEN, DORA A. "Feldman, Analysis, Experience." Twentieth-Century Music 1, no. 2 (September 2004): 225–51. http://dx.doi.org/10.1017/s1478572205000137.
Full textAbstract:
The growing number of performances and recordings of Feldman’s music in recent years attests to increased interest among performers and listeners; yet his music remains an uncommon subject for detailed music analysis. Proceeding on the premise that this disparity is no accident, I argue that certain distinctive qualities of the music render it difficult to analyse with tools, methods, and practices developed in response to other repertories. This paper investigates the analytical challenges posed by Feldman’s music. A survey of such challenges as they relate to his output in general is followed by an account of two particular issues associated with his late work: scale and repetition. Two case studies address these issues in turn, advancing relevant conceptual and methodological approaches. In the first study, on Coptic Light for orchestra (1985), I suggest that analysts might reconsider part–whole relationships in music analysis, and use the idea of ‘populations’ (with their attendant features of range of variation and distribution) to develop a non-reductive (and non-constructive) approach to scale. In the second study, on Piano, Violin, Viola, Cello (1987), I encourage analysts to rethink the role of repetition in music analysis, such that repetition is no longer (only) a goal, but becomes a point of departure. Throughout the essay I take the view that analysis is an investigation of experience; that a particular difficulty of analysing Feldman’s music is the self-knowledge it requires; and that the concerted inquiry that is music analysis can well be used to expand – not only condense – the realm of musical experience.
44
BANGERT, MARC, UDO HAEUSLER, and ECKART ALTENMÜLLER. "On Practice: How the Brain Connects Piano Keys and Piano Sounds." Annals of the New York Academy of Sciences 930, no. 1 (June 2001): 425–28. http://dx.doi.org/10.1111/j.1749-6632.2001.tb05760.x.
Full text
45
Gellrich, Martin, and Richard Parncutt. "Piano Technique and Fingering in the Eighteenth and Nineteenth Centuries: Bringing a Forgotten Method Back to Life." British Journal of Music Education 15, no. 1 (March 1998): 5–23. http://dx.doi.org/10.1017/s0265051700003739.
Full textAbstract:
We develop a creative method for teaching and learning piano technique which motivates students to devote more time and energy to technical exercises. First, we describe the approach to technical exercises of pianists and piano students of the eighteenth and nineteenth centuries. Second, we address a central feature of technical practice from earlier periods: fingering rules and systems. Third, we discuss whether and how older methods might be reintroduced to contemporary piano pedagogy and practice.
46
Liguang, Zhou. "A NEW APPROACH IN PIANO TEACHING: WE TEACHERS CAN COMPOSE REPERTOIRE IN MINIMALISM FOR STUDENTS." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 46–48. http://dx.doi.org/10.36550/2415-7988-2021-1-195-46-48.
Full textAbstract:
Patterns and repetitions are the essence of studies and exercises for piano. In music history, among composers, Carl Czerny (1791–1857) composed a great number of easy pieces for piano pedagogy that widely employed patterns and repetitions. Nowadays, minimalistic music is a new style but overlaps with the traditional repertoire of piano pedagogy on this emphasis. To employ minimalistic music in piano teaching is a new approach. Further, piano teachers can even compose pedagogical repertoire in minimalism for students. Here, I introduced my own experiences of composing such music for my students. The result was proved satisfactory in teaching. Many piano teachers composed music for their students, which was a convention in piano teaching in music history. They contributed huge amount of repertoire to piano. In the meanwhile, they were dedicated to teaching as well. Nowadays, this practice is still shining in A New Approach in Piano Teaching 6 piano pedagogy. There is a great number of piano teachers who compose music for piano pedagogy. They naturally make the music collections and published them. Undoubtedly, music composition is a specific major study in music schools and conservatories. However, the twenty-first century is an era of free style, like you can mix drinks of different flavors from a beverage machine. Further, minimalism naturally brings a solution for achieving your own piano pedagogical pieces. You can have a try! It is so fun and joyful, when you teach your students your own pieces and then enjoy progresses your students make. Ultimately, this practice will bring you such happiness when they can even memorize and perform your music. Of course, it will be fantastic if you publish your music for piano pedagogy.
47
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 (February 14, 2017): 27–52. http://dx.doi.org/10.7202/1038943ar.
Full textAbstract:
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.
48
Ryu, Jee Yeon. "I Wish, I Wonder, and Everything I Like: Living Stories of Piano Teaching and Learning With Young Children." LEARNing Landscapes 11, no. 2 (July 4, 2018): 319–30. http://dx.doi.org/10.36510/learnland.v11i2.965.
Full textAbstract:
The purpose of my inquiry is to learn more about how young children learn to play the piano through examining my own teaching practice. By using autoethnography as a creative nonfictional form of storytelling, I illustrate my learning journey in search for joyful and meaningful ways of exploring music and piano playing with young beginner students. In writing stories about my learning experiences as a piano teacher, I discuss the importance, value, and need for piano teachers’ autoethnographies.
49
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 (March 10, 2020): 259–69. http://dx.doi.org/10.34064/khnum1-57.16.
Full textAbstract:
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.
50
Lim, Serene, and Louis G. Lippman. "Mental Practice and Memorization of Piano Music." Journal of General Psychology 118, no. 1 (January 1991): 21–30. http://dx.doi.org/10.1080/00221309.1991.9711130.
Full text