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Journal articles on the topic 'Piano scores'
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Anggoro, Raden Roro Maha Kalyana Mitta. "Optimalisasi Kompetensi Primavista Mahasiswa Instrumen Pokok Piano Melalui Metode Drill." Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 4, no. 1 (June 30, 2021): 70. http://dx.doi.org/10.26740/vt.v4n1.p70-81.
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Every musical instrument that is taken at the college "demands" students to be mastery learning, in both theoretical and practical aspects, as well as possible. However, in the process, there are obstacles that often arise. As in learning the Piano Major course. Based on observations in class, students are constrained in terms of primavista. With the character of the piano score that is consisting of two staves, students are constrained to coordinate their cognitive processing when reading piano scores, with the application of their ten fingers when playing the piano. This study discusses the primavistalearning of piano with the drill method. The type of research conducted was qualitative research, which was conducted in Music Arts Study Program, Universitas Negeri Surabaya.Based on the results, there was a significant improvement in the students' ability to apply the music notation they had read primavistly. In the pre-test session, most of the students' scores were below 40%. However, when the post-test session was conducted, the results of the work shown were very satisfactory. All students were able to achieve scores above 70%. Based on these results, it can be stated that the drill method has succeeded in optimizing the development of primavistaabilities of piano students. It is hoped that this method can be used routinely in piano classes so that students' primavistaabilities can be further honed.Keywords: piano, primavista, drill method.
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Levitsky, Myron. "Saint-Saëns scores bell-like piano tones." Physics Today 68, no. 3 (March 2015): 9. http://dx.doi.org/10.1063/pt.3.2703.
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MacRitchie, Jennifer. "Deciphering and Embodying Contemporary Piano Scores: A Commentary on Huisman, Gingras, Dhondt, and Leman (2017)." Empirical Musicology Review 12, no. 1-2 (September 26, 2017): 75. http://dx.doi.org/10.18061/emr.v12i1-2.5304.
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Rehearsing a new contemporary notated piano score often requires the performer to dedicate a large amount of time to translating the notation: tasks may include interpreting new symbols, or old symbols in new contexts, learning new extended techniques, and learning the link between symbol and physical gesture. Huisman et al's article details an experiment that studies the use of various types of music editions and their effect on the practice and performance of contemporary piano music scores. This commentary considers the following issues when discussing the interpretation of unfamiliar piano scores: 1) issues in reading notation that arise from performance practice challenges, 2) cultivating an interpretive platform, and 3) embodiment in the rehearsal of a new, contemporary score.
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MacDonald, Calum. "Further reviews." Tempo 60, no. 238 (October 2006): 49–50. http://dx.doi.org/10.1017/s0040298206330318.
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CYRIL SCOTT: Piano Concerto No.1; Symphony No.4; Early One Morning. Howard Shelley (pno), BBC Philharmonic c. Martyn Brabbins. Chandos CHAN 10376.SCOTT: Complete Piano Music Volume One – Suites and Miniatures. Leslie De'Ath, Cyril Scott (pnos). Dutton Epoch CDLX 7150 (2-CD set).SCOTT: Complete Piano Music Volume Two – Complete Piano Sonatas. Leslie De'Ath (pno). Dutton Epoch CDLX 7155.SCOTT: Complete Piano Music Volume Three – Concert Pieces, Ballet Scores, Unpublished Works, Two-piano Works. Leslie De'Ath, Anya Alexeyev (pnos). Dutton Epoch CDLX 7166 (2-CD set).SCOTT: Sonata op.66; Second Sonata; Sonata III; Sphinx op.63; Rainbow Trout; Rondeau de Concert; Ballad; Victorian Waltz. Michael Schäfer (pno). Genuin GEN 85049.
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Casas Figueroa, Maria Victoria. "El piano de la música de salón. Un estudio de caso en Guadalajara de Buga, 1890-1930." HiSTOReLo. Revista de Historia Regional y Local 2, no. 3 (January 1, 2010): 94–124. http://dx.doi.org/10.15446/historelo.v2n3.12260.
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El artículo analiza, a partir de las partituras empastadas y obras manuscritas, entre otro tipo de fuentes, la música de salón y la interpretación del piano en Guadalajara de Buga (Valle del Cauca) entre 1897 y 1930. En particular el papel jugado por las mujeres pianistas, los compositores y directores locales. La autora estudia también la composición musical y tendencias registradas, los distintos esquemas rítmicos del vals y el pasillo manifiestos en la escritura de la música para piano. Identifica que para ciertos aires tales como el vals, el pasillo, entre otros, existen diferentes formas de ejecución del instrumento, uso del teclado, y que la armonía del repertorio está dada por el ambiente tonal. El piano se muestra como un factor diferenciador respecto de la colectividad.Palabras clave: partituras, música de salón, piano, vals, pasillo, Guadalajara de Buga The piano of the music salon. A case study in Guadalajara de Buga, 1890-1930 Abstract The article analyzes, from the bound scores and manuscript works, among other sorts of sources, salon music and piano interpretation in Guadalajara de Buga (Valle del Cauca) between 1897 and 1930, in particular, the role played by the female pianists, the composers, and local directors. The author also studies reported musical composition and tendencies, the distinct rhythmic schemes of the waltz and the pasillo manifested in the writing of piano music. She identifies that for certain tunes such as the waltz, the pasillo, among others, the different ways of using the instrument and the keys which exist, and that repertoire harmony is made by the tonal environment. The piano is shown to be a differentiating factor, with regard to collectivity. Keywords: scores, salon music, piano, waltz, pasillo, Guadalajara de Buga.
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Jing, Wen, and Pramote Danprdit. "Piano Rhythmic Exercise for Preschool Education Major Teaching at Taiyuan Teacher College." Journal of Green Learning 2, no. 2 (December 31, 2022): 100–105. http://dx.doi.org/10.53889/jgl.v2i2.120.
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The purpose of this paper is to create piano rhythm exercises and to study the evaluation results after use. The researcher designed the research as experimental research, consisting of a single set of experiments verifying the consistency and effectiveness of the tool. The researchers created and developed piano rhythm exercises with three experts in an experiment with 22 piano beginners majoring in preschool education. The study was conducted from September to December 2021 at Taiyuan Teacher College. Results showed that the creation of the piano rhythm exercises course is effective; it consists of 9 weeks of teaching, 3 weeks of examination, and concludes with 12 weeks of using 9 etudes and 6 children's songs. In the evaluation performance results, the average scores of the 3 tests were 27.45, 28.77, 33.16 respectively and the percentage scores were 68.64, 71.93, 82.9 respectively. However, after the test, the students who participated in the activity felt fun, were willing to practice, and, of course, had higher skills. All students request a practice file for further use.
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KANDEMİR, Özlem, and Tuba YOKUŞ. "Öğrenme Stratejilerinin Piyano Performansı Öz Yeterlik Düzeyi ve Performans Başarısına Etkisi." Cukurova University Faculty of Education Journal 52, no. 2 (August 31, 2023): 446–70. http://dx.doi.org/10.14812/cuefd.1265516.
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This study aimed to determine the effect of using learning strategies on piano performance self-efficacy levels and performance success among piano students. The study group comprised first year students (n = 20) receiving piano course in the fall semester of the 2019–2020 academic year in the Muğla Sıtkı Koçman University, Faculty of Education, Department of Fine Arts, Program of Education Music Education. The study used an experimental research design and data were collected using the Self-Efficacy Scale of Piano Performance and an observation form. The study results indicated that there were significant differences in favor of the experimental group regarding piano performance success, comparing the post-test scores of the experimental group, in which activities were performed for the use of learning strategies in piano course, and the control group, which received education in a regular process. However, no statistically significant difference was found between piano performance self-efficacy levels of the experimental and control groups. The study revealed that the use of learning strategies in piano education did not play a role in the piano performance self-efficacy level, but that it was much more effective in increasing students’ piano performance success than the existing process-based education.
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Li, Chan. "A Deep Learning-Based Piano Music Notation Recognition Method." Computational Intelligence and Neuroscience 2022 (June 2, 2022): 1–9. http://dx.doi.org/10.1155/2022/2278683.
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In the era of rapid development of computer technology, piano music notation and electronic synthesis system can be established using computer technology, and the basic laws of music score can be analyzed from the perspective of image processing, which is of a great significance in promoting piano improvement and research and development, etc. In this paper, the Beaulieu analysis method is used to analyze the piano music notation and electronic synthesis system module. For piano sheet music, sheet music recognition is the main problem in the whole system. Through the digital recognition method, the piano sheet music feature matrix is extracted to get the piano sheet music multiplication frequency points and the envelope function needs to be extracted for better electronic synthesis of piano sheet music. The envelope function can represent the relationship between piano sound intensity and time change and finally achieve the recognition of the piano score. We extract the music information from the digital score, thus converting the music information into MIDI files, reconstructing the score, and providing an audio carrier for the score transmission. The experimental results show that the system has a correct rate of 94.4% in extracting music information from piano scores, which can meet the needs of practical applications and provide a new way for music digital libraries, music education, and music theory analysis.
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Kuncoro, Zelika Alin. "The One Smart Piano Classroom: Integrasi Teknologi dalam Sekuen Belajar Piano." INVENSI 5, no. 2 (November 27, 2020): 113–27. http://dx.doi.org/10.24821/invensi.v5i2.3944.
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Sebagai salah satu cara alternatif yang berperan membentuk keterampilan bermain piano, konsep kelas pintar The One Smart Piano Classroom dinilai mempunyai keuntungan kompetitif yang mempunyai fungsi triggering, accelerating, dan sharpening. Triggering karena penggunaan teknologi membuat lompatan masuk ke dunia musik dari titik manapun seseorang belajar. Accelerating mempercepat pengembangan musikalitas murid, dan sharpening karena mampu mempertajam pedagogi musik konvensional sehingga lebih berorientasi dengan dunia nyata. Tulisan ini bertujuan untuk mengevaluasi integrasi The One dalam sekuen belajar piano dan kemudian berimplikasi pada skill pianistik yang terbentuk. Ditandai dengan adanya substitusi skor piano cetak dengan skor piano digital, teknologi diintegrasikan dalam setiap tahap dalam sekuen. Dengan kata lain, seluruh sekuen tidak lepas dari keberadaan jaringan berkabel dan nirkabel dalam teknologi The One. Dengan menggunakan pendekatan studi kasus, analisis dilakukan dengan mengoperasionalkan kerangka pemikiran Ruben Puentedura tentang teori integrasi teknologi pendidikan SAMR. Hasil menunjukkan adanya integrasi The One berimplikasi pada beberapa hal di antaranya peralatan, perlengkapan, infrastruktur, hingga skill pianistik meliputi pemahaman dan pengaplikasian konten tonal, konten ritme, aural, asosiasi verbal. Diketahui pula jika ditinjau dari prosesnya menuju target hasil belajar, integrasi dalam The One Smart Piano Classroom berlangsung hingga tahap redefinisi dengan beberapa catatan pergeseran makna. The One Smart Piano Classroom: Integration of Technology in Piano Learning ABSTRACT As an alternative way that plays a role in shaping pianistic skills, the concept of The One Smart Piano Classroom is considered to have a competitive advantage that has the functions of triggering, accelerating, and sharpening. Triggering because of the use of technology makes the leap into the world of music from any point someone learns. Accelerating, accelerating the development of student musicality, and sharpening because it is able to sharpen conventional music pedagogy so that it is more oriented to the real world. This paper aims to evaluate The One's integration in piano learning sequences and then have implications for the formed pianistic skills. Characterized by the substitution of printed piano scores with digital piano scores, technology is integrated at each stage in the sequence. In other words, the whole sequence is inseparable from the existence of wired and wireless networks in The One technology. Using a case study approach, the analysis was carried out by operationalizing Ruben Puentedura's framework of the theory of integration of SAMR education technology. The results show the integration of The One has implications for several things including equipment, equipment, infrastructure, to pianistic skills including understanding and applying tonal content, rhythmic content, aural, verbal associations. It is also known that when viewed from the process towards the target of learning outcomes, integration in The One Smart Piano Classroom goes to the redefinition stage with some notes of shifting meaning.
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Herrera, Miriam, and Roberto Cremades. "The Study of Memorisation in Piano Students in Higher Education in Mexico." Musicae Scientiae 24, no. 3 (October 18, 2018): 330–41. http://dx.doi.org/10.1177/1029864918805312.
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This paper describes how Mexican piano students enrolled in higher education music courses memorise scores, which is necessary to increase their capacity for memorisation and to prepare a repertoire of higher complexity. We also analysed the different types of memory in the musical practice of the students, investigating what they emphasise the most to memorise musical pieces. Interest in this topic arose because it was observed that piano syllabi in the different participating institutions do not include a specific memorisation development process for piano repertoire; however, piano students are required to present a memorised repertoire at the end of each semester. We distributed a questionnaire to 545 students from 18 Higher Artistic Education institutions with a degree in music, with piano as the main instrument, in 13 states of Mexico. The results indicate that the development of analytical memory through musical analysis is fundamental and essential while learning memorisation skills to achieve a better understanding of the score and its piano performance. We also found that there are significant differences between the variables of age range and gender.
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Toyama, Fubito, Kenji Shoji, and Juichi Miyamichi. "Music Symbol Recognition of Printed Piano Scores with Touching Symbols." Journal of The Institute of Image Information and Television Engineers 64, no. 8 (2010): 1267–72. http://dx.doi.org/10.3169/itej.64.1267.
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Cho, Eun-Byul, and Soyoung Moon. "The Effects of Piano Duo-based Music Therapy Program on Disabled and Non-disabled Children’s Sibling Relationships and Interactions." Korean Association of Music Therapy and Psychological Rehabilitation 3, no. 1 (October 31, 2022): 47–65. http://dx.doi.org/10.47858/kjmtpr.2022.3.1.47.
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This study analyzes the effects of piano duo-based music therapy program on the sibling relationships and interactions of disabled and non-disabled children. For the research, three pairs of siblings consisting of children under the age of 18 with developmental disabilities and non-disabled children were selected.
Using single-subject research design, total 12 sessions of a 40-minute the piano duo-based music therapy program were provided once a week for from Jan. 7th 2017 to Apr. 8th. Pre- and post-tests were performed before and after the program. The result of this study suggests that there was an general improvement in the scores for sibling relationships reported by the non-disabled children and the mothers. Sibling relationships score reported by the mothers from pair C decreased by 12%; however, pair C still showed decrease in scores for negative domains especially the sense of rivalry/competition score indicating a lower level of negativity in their sibling relationship.
In conclusion, the study proves that piano duo-based music therapy program can influence the sibling relationships and interactions of disabled and non-disabled children. The study attempted to provide a basis for further researches investigating programs for disabled and non-disabled children’s sibling relationships and the therapeutic use of piano duo-based program.
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Shang, Rui. "A Deep Learning-Enabled Composition System Based on Piano Score Recognition." Mobile Information Systems 2022 (July 5, 2022): 1–9. http://dx.doi.org/10.1155/2022/9132697.
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Piano is used for music and comprises a stringed keyboard instrument wherein the strings are tapped by softer-coated wooden hammers. The score providing music for the piano, often a compressed transcription of orchestral music, is referred to as piano score. Presently, the Internet is overflowing with music score resources. Having so many music score resources available, professional learners and amateur music lovers are unable to identify and obtain music score information that matches their needs and wasting valuable time. Due to the rapid development of deep learning algorithms, some individuals utilize these algorithms to detect piano scores and construct composition systems, reducing the need of traditional machine learning algorithms on manual design and music knowledge guidelines. This paper uses the deep learning algorithm to construct piano score recognition framework based on K-Nearest Neighbor (KNN) algorithm and formulates the recognition system into multinote that significantly improves the recognition rate for the system. The self-attention mechanism is then introduced in order to build a composition system based on a deep learning algorithm in which composition training and processes are described. Finally, a comparative experiment is conducted to evaluate the recognition accuracy for the KNN-based piano score recognition system. The results show that highest recognition accuracy of this system is 67.5%. The effect of composition system is evaluated based on prediction accuracy of notes. Three experiments are conducted to train the composition notes. As a result, the prediction accuracy of experiments 1, 2, and 3 is 89.2%, 91.8%, and 92.7%, respectively, indicating that the system has a high prediction accuracy and a perfect composition effect.
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Siti Nur Hajarul Aswad Shakeeb Arsalaan Bajunid and Rizal Ezuan Zulkifly Tony. "SCORE MODIFICATION OF FAZIL SAY PIANO PERFORMANCE: ALLA TURCA JAZZ OP.5B." Jurnal Gendang Alam (GA) 12, no. 1 (June 30, 2022): 169–76. http://dx.doi.org/10.51200/ga.v12i1.3834.
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The Alla Turca Jazz op.5b for piano solo is creative research in music performance. This study aims to examine unwritten Fazil Say’s embellishments of ornamentation, melodic and rhythmic phrases. The unwritten notations have developed since the seventeenth century of performance practice among keyboardists. However, the performance practice continuously occurs in the twenty-first-century performance although it is a complete notation. The Alla Turca Jazz op.5b was written and performed by Fazil Say throughout his performances globally with a dissimilar interpretation of embellishments. His unwritten embellishments contribute to the modification of the scores in contemporary piano works.
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MacRitchie, Jennifer, Massimo Zicari, and Diana Blom. "Identifying challenges and opportunities for student composer and performer peer learning through newly-composed classical piano scores." British Journal of Music Education 35, no. 2 (March 4, 2018): 153–75. http://dx.doi.org/10.1017/s0265051717000304.
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Limited consideration has been given to the challenges young composers and performers face when learning to communicate through notation in contemporary classical music, and the specific opportunities presented for peer learning. This article describes a project at a Swiss music conservatory in which two student composers wrote pieces for solo piano which were performed by three student pianists. Students were deprived of collaborative opportunities, with communication limited to score markings and legends. Results from individual interviews are discussed in relation to categories of approaches drawn from existing studies on learning new piano works, on notation and on collaboration, plus new categories arising from this research. The challenges and potential opportunities arising from this approach are examined here, highlighting specific areas to be targeted for future peer learning.
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Yan, Le. "How to Correctly Memorize Scores for Music Students in Piano Performance?" Educational Review, USA 7, no. 12 (December 28, 2023): 1850–53. http://dx.doi.org/10.26855/er.2023.12.003.
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Kuang, Jun, and Tingfeng Yang. "Popular Song Composition Based on Deep Learning and Neural Network." Journal of Mathematics 2021 (December 22, 2021): 1–7. http://dx.doi.org/10.1155/2021/7164817.
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For the general public, composition appears to be professional and the threshold is relatively high. However, automatic composition can improve this problem, allowing more ordinary people to participate in the composition, especially popular music composition, so the music becomes more entertaining, and its randomness can also inspire professionals. This article combines deep learning to extract note features from the demonstration audio and builds a neural network model to complete the composition of popular music. The main work of this paper is as follows. First, we extract the characteristic notes, draw on the design process of mel-frequency cepstral coefficient extraction, and combine the characteristics of piano music signals to extract the note characteristics of the demonstration music. Then, the neural network model is constructed, using the memory function of the cyclic neural network and the characteristics of processing sequence data, the piano notes are combined into a sequence according to the musical theory rules, and the neural network model automatically learns this rule and then generates the note sequence. Finally, the ideal popular piano music scores are divided into online music lover scores and offline professional ratings. The score index is obtained, and each index is weighted by the entropy weight method.
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Imai-Matsumura, Kyoko, and Megumi Mutou. "The influence of executive functions on eye-hand span and piano performance during sight-reading." PLOS ONE 18, no. 5 (May 2, 2023): e0285043. http://dx.doi.org/10.1371/journal.pone.0285043.
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The ability to perform an unrehearsed piece of music, or sight-read, is a skill required by music performers. In sight-reading, the performer reads and plays the music simultaneously, which requires the coordination of visual, auditory, and motor processing. While performing, they display a characteristic called eye-hand span, in which the part of the score being looked at precedes the part being played. They must recognize, decipher, and process the score in the time between reading a note and playing it. An individual’s executive function (EF) that control their cognition, emotions, and behavior may be involved in overseeing these individual movements. However, no study has investigated how EF is related to the eye-hand span and performance during sight-reading. Therefore, the purpose of this study is to clarify the relationships among EF, eye-hand span, and piano performance. Thirty-nine Japanese pianists and college students aspiring to be pianists with an average of 33.3 years of experience participated in this study. They performed sight-reading of two types of music scores with different difficulty levels while their eye movements were measured using an eye tracker to obtain their eye-hand span. The core EFs of inhibition, working memory, and shifting, were measured directly for each participant. Piano performance was evaluated by two pianists who did not participate in the study. Structural equation modeling was used to analyze the results. The results showed that auditory working memory predicted eye-hand span (β = .73, p < .001 in easy score; β = .65, p < .001 in difficult score), and eye-hand span predicted performance (β = .57, p < .001 in easy score; β = .56, p < .001 in difficult score). Auditory working memory did not directly affect performance, but through eye-hand span. The eye-hand span for easy scores was significantly greater than that for difficult scores. Furthermore, in a difficult music score, the shifting ability predicted higher piano performance. These suggest that the input of notes from the eyes becomes sound in the brain and activates the auditory working memory, which is then transmitted to finger movement, resulting in piano performance. In addition, it was suggested that shifting ability is also needed to perform difficult scores.
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THOMAS, PHILIP. "Understanding Indeterminate Music through Performance: Cage's Solo for Piano." Twentieth-Century Music 10, no. 1 (March 2013): 91–113. http://dx.doi.org/10.1017/s1478572212000424.
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AbstractThis article demonstrates how performance may further understanding of – and offer new perspectives on – indeterminate music, and in particular the ways in which performers realize the indeterminate aspects of the scores. Cage's Solo for Piano (1957–8), one of the most celebrated indeterminate scores, is used as the model for such an approach. The close involvement that performers have with the score and the music over what is often a prolonged period of time leads to a particular kind of understanding, different from that of non-performers, which, when articulated, can offer valuable insights. After a brief outline of the score, the article begins by discussing the performances of other pianists, notably David Tudor. It then examines in detail the author's own approach to making a realization, discussing the implications of such an approach from both practical and aesthetic perspectives.
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Liying Huang, Liying Huang. "Learning Experience of University Music Course Based on Emotional Computing." Journal of Electrical Systems 20, no. 1 (January 25, 2024): 313–25. http://dx.doi.org/10.52783/jes.684.
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Identification and analysis of piano performance music are essential activities in the study of music knowledge and enjoyment. The goal of this study is to employ recurrent neural networks (RNNs) to create a multimedia identification and analysis method for piano performance music. RNNs excel at capturing the temporal relationships and dynamics seen in musical performances. The project entails gathering a large dataset of piano performance recordings that spans a variety of genres, performers, and playing techniques. The audio and video components of the performances are pre-processed in order to extract pertinent information. Long Short-Term Memory (LSTM), an RNN architecture, is used to mimic the sequential nature of the performances. The RNN is trained on the features that were retrieved in order to discover the patterns and traits connected to various piano performances. The similarity between the performance representations may be measured using similarity measures using Euclidean distance. The RNN-based system may be further developed to do tasks like score following, expressive performance analysis, and stylistic variation creation to aid in performance analysis. The system may provide insights into timing accuracy, dynamics, phrasing, and other expressive qualities of the piano performances by matching performance data with related musical scores. The proposed method RNN-LSTM provides accuracy about 99%, precision about 97% , recall about 98.9% and F1 Score of 97.6%.
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Bengtsson, Sara L., and Fredrik Ullén. "Dissociation between melodic and rhythmic processing during piano performance from musical scores." NeuroImage 30, no. 1 (March 2006): 272–84. http://dx.doi.org/10.1016/j.neuroimage.2005.09.019.
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Halvaşi, Bülent. "Attitudes of Pre-service Music Teachers Studying in Undergraduate Programs in Turkey Towards Piano Courses." Journal of Education and Training Studies 7, no. 2 (January 9, 2019): 142. http://dx.doi.org/10.11114/jets.v7i2.3844.
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Attitude, which is one of the important topics of social psychology, is defined in the literature as a psychological element that can direct the behavior of individuals (Özmenteş and Özmenteş, 2009). According to Tolan, the attitude “in its broadest sense is the way in which the individual is standing up against the objects or subjects that contain a psychological value” (Gömleksiz, 2003). It has been proved by many research findings that attitudes developed as a natural result of interaction, greatly affect the success of the individual (Canakay, 2006). The effects starting from childhood, the experiences gained in later years and the fields related to the interests, desires and aims of the personality play the most decisive and effective role in the formation of attitudes. These features, which are valid in music education, are also very important in the piano education of the student. From all these definitions, it can be concluded that students' attitudes to the piano have important effects on their education and their use of the piano in the future (Bakıoğlu, 2012).The main purpose of this research is to reveal the attitudes of pre-service teachers who take Piano courses in Music Education Departments of Faculty of Education. In this study, whether the scores obtained from the Piano lesson attitude scale showed significant difference according to some variables is also examined. The research was conducted on the students of Marmara University, Ataturk Faculty of Education, Music Education Department (N = 30) in 2017-2018 academic year. The data of the study was collected by using the “Personal Information Form” prepared by the researcher and “Piano Lesson Attitude Scale” which was prepared to learn the pre-service teachers' thoughts about Piano Lesson. As a result of the study, it was found that there were statistically significant differences between the attitude levels of students and some variables (p <.05).
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Wu, Guobin, and Wei Chen. "Construction and Application of a Piano Playing Pitch Recognition Model Based on Neural Network." Computational Intelligence and Neuroscience 2022 (September 17, 2022): 1–11. http://dx.doi.org/10.1155/2022/8431982.
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The intonation recognition of piano scores is an important problem in the field of music information retrieval. Based on the neural network theory, this study constructs a piano playing intonation recognition model and uses the optimized result as the feature of piano music to realize the prediction of the music recognition of the intonation preference. The model combines the behavioral preference relationship between intonation and musical notation to measure the similarity between intonations, which is used to calculate the similarity between intonation preference and music, and solves the quantification problem of intonation recognition. In the simulation process, the pitch preference feature of piano playing is used as the identification basis, and the effectiveness of the algorithm is verified through four sets of experiments. The experimental results show that the average symbol error rate of the improved network model is reduced to 0.3234%, and the model training time is about 33.3% of the traditional convolutional recurrent neural network, which is optimized in terms of recognition accuracy and training time in single-class pitch feature. In the recommended method of multi-category evaluation of pitch features, the recognition accuracy of multi-category pitch features is 42.89%, which effectively improves the musical tone recognition rate.
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Gromko, Joyce Eastlund, and Christine Russell. "Relationships among Young Children's Aural Perception, Listening Condition, and Accurate Reading of Graphic Listening Maps." Journal of Research in Music Education 50, no. 4 (December 2002): 333–42. http://dx.doi.org/10.2307/3345359.
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The purpose of our study was to explore relationships among children's aural perception, music listening condition, and the accuracy of children's reading of listening maps. The aural discrimination skills of 41 elementary children were tested using the Intermediate Measures of Musical Audiation (IMMA). The children were then systematically assigned to one of three listening conditions: passive, unstructured active, or structured active. After listening to European art music according to their assigned condition, every child traced a graphic listening map while listening to the music a second time. Results of an ANCOVA with accuracy of map reading as the dependent variable, listening condition as factor, and IMMA as covariate, showed a significant effect for the IMMA [F (1, 37) = 8.86, p < .01], but no significant effect for listening condition. In a separate analysis, IMMA scores were shown to be related to piano experience. When group means for accuracy of map reading were compared by piano experience, children with piano experience had a significantly higher mean accuracy score of 48.25, SD = 18.75 (n = 16) compared to children with no piano experience, M = 32.44, SD = 17.39 (n = 25), t = 2.76, p < .01. Our results support previous research in which investigators found that music experience explained accuracy of music-reading ability in children and adults.
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Sari, Amarria Dila, Ahmad Azhar Basyir, and M. Ragil Suryoputro. "Workload analysis for Sanding Small Grand Piano Department in Manufacturing company." MATEC Web of Conferences 221 (2018): 03001. http://dx.doi.org/10.1051/matecconf/201822103001.
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The production process is one of the main activities of manufacturing companies that need their continuous improvement and continuously. There are several factors that affect productivity, such as job stress and workload. The workload is shared with uneven to make the work environment uncomfortable. The production data in April 2017 explaining that the sanding small grand piano average produces for 20 units piano/day, with a production target of 21 units piano/day production target has not been achieved. The lack of achievement of these targets due to the difference between the expected level of ability with the capacity level. In this study focused to determine the operator workload on sanding small grand piano is included in the painting section. The workload is calculated using the method of Full-Time Equivalent (FTE). The results showed that the operators have overloaded with FTE scores of both 1.33, 1.35 and 1.34 While the operators have an underload workload with a value of FTE 0.94. 0.64, 0.72. Therefore, Kaizen activity such as balancing jobdesk and modification stopper were applied to reduce the waste. Workload after kaizen plan has decreased each 0.02 FTE with change of work element, each operator has a uniform workload with an average FTE value of 1.13 (underload).
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Meyer, Leonard B. "Commentary." Music Perception 13, no. 3 (1996): 455–87. http://dx.doi.org/10.2307/40286179.
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The preceding papers about the first movement of Mozart's Piano Sonata in B Major (K. 282) raise a number of interesting questions. These are considered in a series of relatively independent sections on hierarchic structures; experience and explanation; implication; methodology; performance, scores, and traditions; primary versus secondary parameters; classification; and form, process, and style.
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Bautista, Alfredo, Ma del Puy Pérez Echeverría, J. Ignacio Pozo, and Bárbara M. Brizuela. "Piano Students’ Conceptions of Musical Scores as External Representations: A Cross-Sectional Study." Journal of Research in Music Education 57, no. 3 (September 30, 2009): 181–202. http://dx.doi.org/10.1177/0022429409343072.
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Musical scores are some of the most important learning tools for musicians’ acquisition of musical knowledge. However, despite their educational relevance, very little is known about how music students conceive of these cultural external representations. Given that these conceptions might act as mediators of students’ learning approaches, the importance of knowing these conceptions seems evident in order to eventually change them. The general aim of this investigation was to study the conceptions of piano students at Spanish music conservatories by adopting a developmental-instructional perspective. The participants were 215 students at intermediate and tertiary degree levels, representing three levels of the collapsed variable age— level of instruction. Data were collected by means of a written open-ended task and analyzed by means of descriptive, parametric, and nonparametric statistical methods.The findings suggested that (a) students’ conceptions were more sophisticated at higher age and education levels, (b) each developmental-instructional group typically focused on different musical aspects, which reflected an inclusive and hierarchical logic, and (c) five increasingly sophisticated conceptions could be identified among these students.
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Baeyens, Jean-Pierre, Ben Serrien, Maggie Goossens, Katia Veekmans, Regs Baeyens, Walter Daems, Erik Cattrysse, and Ron Clijsen. "Effects of Rehearsal Time and Repertoire Speed on Extensor Carpi Radialis EMG in Conservatory Piano Students." Medical Problems of Performing Artists 35, no. 2 (June 1, 2020): 81–88. http://dx.doi.org/10.21091/mppa.2020.2013.
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BACKGROUND: Repetitive actions while playing piano may overload forearm muscles and tendons, leading to playing-related musculoskeletal disorders (PRMDs), including lateral epicondylitis. METHODS: In this pilot study, surface electromyography (sEMG) activity of the extensor carpi radialis (ECR) was captured in 10 conservatory piano students while playing a fast and a slow music score selected from the individual’s repertoire, each 3 minutes long. Measurements were made at baseline and again after 2 hrs and 4 hrs of rehearsal time of the piano études. The amplitude of the sEMG signal was processed by a smoothing algorithm, and the frequency component with a non-orthogonal wavelets procedure. Amplitude of the sEMG was expressed in percent of maximal voluntary contraction (%MVC) at baseline. Statistical analysis encompassed 2-way repeated measures ANOVAs for the amplitude and frequency components of the sEMG signal (a set at 5%). The students also rated the intensity of rehearsals using a VAS. RESULTS: The ECR presented with a mean amplitude of 23%MVC for the slow scores, which increased significantly to 36%MVC for the fast scores. The sEMG signal presented a significant though small decrease of 1.9%MVC in amplitude between baseline and 4 hrs of rehearsal time and no shift in frequency, which may indicate that the rehearsals were held at a physiological steady-state and suggesting optimization or complementary muscle loading. CONCLUSIONS: These data accentuated that the loading of the ECR (as reflected in the amplitude component) was higher than that seen for computer keyboard workers. The augmented loading of the ECR and reduced blood flow to forearm muscles may be a factor in the development of PRMDs in pianists.
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Halpern, Andrea R. "Influences on Recognizing Style from Brief Glances at Piano Scores: A Commentary on Huovinen & Rinne (2023)." Empirical Musicology Review 18, no. 1 (January 12, 2024): 60–62. http://dx.doi.org/10.18061/emr.v18i1.9611.
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The study by Huovinen and Rinne (2023) examines the information derived from experts' brief glances at a piano score, using both quantitative and qualitative measures. Evidence for quick extraction of information using an intuitive route was presented. In this commentary, I offer some additional perspectives on how choice of composer may have influenced some aspects, potential involvement of subtle finger movements, changes that might differ over levels of musical experience, and how metacognitive judgments could be included in future work.
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Betts, Steven L., and Jane W. Cassidy. "Development of Harmonization and Sight-Reading Skills among University Class Piano Students." Journal of Research in Music Education 48, no. 2 (July 2000): 151–61. http://dx.doi.org/10.2307/3345573.
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This study is an exploration of the development of sight-reading and harmonization skills among nonkeyboard music majors enrolled in six intact sections of class piano ( N = 39). Classes included 10 minutes of instruction in each of two topics, harmonization and sight-reading, with the remaining time spent on keyboard skills not directly related to the study. Subjects were videotaped twice completing two harmonization and two sight-reading tasks. Videotapes were analyzed for pitch and rhythm errors. Statistical analysis compared pretest to posttest scores, right-hand to left-hand scores, the four tasks, and practice-group condition. Results indicated the right hand was more accurate and consistent than was the left hand, made less improvement on all tasks, and was slightly more accurate on the harmonization tasks than the sight-reading tasks. The left hand made noticeable gain in accuracy on all tasks and was more accurate on the easier tasks than on the more difficult ones.
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Starodub, Iryna. "Piano music by Viktoria Poleva: Experience of performing embodiment." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 135 (December 26, 2022): 48–57. http://dx.doi.org/10.31318/2522-4190.2022.135.270999.
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Relevance of the study. The main characteristic identifiers of Victoria Poleva's compositional style are considered, in particular, the dominant piano component of the music worldview, which translates the main ideas and meanings in the spiritual and instrumental genres of oeuvre. The actual factors of the special study of the meaningfulness of the texture embedded in the piano within the style of "sacred minimalism" are highlighted. The main performance specifics of the works were found to be close to the correct understanding in the construction of the interpretive version. The piano work of the composer has not been scientifically studied, the lack of competent analytical works prompts the study "Music for the Piano" (author's name), which is a sought-after and popular repertoire. Scientific investigations of this matter will reveal one of the bright styles of modern music art in the field of musicology and cultural studies. For the first time in home-bred art history, the main stylistic guidelines, image-emotional, programmatic priorities were identified, and the majority of piano music material was examined and analyzed. The chosen aspect of the research is under the spotlight of modern, global, concert life.
The main objective of the study. The purpose of the article is to reveal the artistic meanings-messages of the composer, the peculiarities of their concert performance, the role of meaningful interpretation of piano reception.
The methodology. Empirical research method was used from the experience of numerous performances of Viktoria Poleva's works, the analytical method reveals the essence of the actual problem; the comparative method consists in comparing the interpretive versions of pianists' performance live, and by comparing them in video and audio recordings, it allows presenting modern performance trends; the source method in the form of archival notes, newspaper publications, posters, work with manuscript scores argues the basis of the outlined aspect; relying on citations during communication with the author brings the research result closer to reliability.
Results and conclusions. It has been proven that the author's philosophical and artistic messages hit the listener's reactions-impressions through her performing skills during live music performances. The top priority role of a pianist’s training is emphasized. The importance of world performances of compositions that reflect the author's spiritual quest is explained in terms of restoring the man’s balance and harmony in response to the today’s cruel challenges. The author substantiates the means of music expressiveness in the piano presentation, which serve to achieve the goal-affect, as the main idea of focusing on powerful manifestations of aesthetic impression. Attention is focused on special, technical and artistic piano techniques that enhance sound effects, and with the help of which the main essence of the composer's ideas is expressed. Significance. The piano music of V. Poleva is gaining widespread worldwide popularity, the score music is mostly in the state of manuscripts and needs publication, the topic of piano works is relevant for future scientific research.
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Yu, Hecheng, and Xiaoming Luo. "The Healing Effects of Piano Practice-Induced Hand Muscle Injury." Computational and Mathematical Methods in Medicine 2022 (July 18, 2022): 1–6. http://dx.doi.org/10.1155/2022/1020504.
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Background. The muscles related to piano practice are mainly concentrated in the fingers and upper limbs, and the muscles related to other parts of the body are weak. Compared with other sports injuries, the injuries caused by piano practice are mainly chronic injuries caused by long-term strain of the upper limbs, and acute injuries rarely occur. The purpose of this study was to analyze the therapeutic effect of hand muscle injury caused by piano practice. Method. A total of 60 patients with hand muscle injury caused by piano practice admitted to our hospital from January 2019 to June 2020 were selected. According to the number random grouping method, they were randomly divided into two groups. There were 30 patients in the observation group, including 20 males and 10 females, aged 24-53 ( 39.51 ± 7.01 ) years old, and the course of disease was 1-5 ( 3.24 ± 1.62 ) months. In the control group, there were 30 patients, including 18 males and 12 females, aged 24-56 ( 39.62 ± 7.17 ) years old, and the course of disease was 1.5-5 ( 3.14 ± 1.71 ) months. If the observation group experienced excessive pain, the group took ibuprofen sustained-release capsules. On weekdays, exercise your fingers 2-3 times per day. After the intervention, the wrist joint function score of the observation group was higher than that before the intervention. Results. Before treatment, there was no significant difference in pain level scores between the two groups ( P > 0.05 ). After treatment, the limb pain score in the observation group was lower than that in the control group. The effective rate of hand tendon rehabilitation in the observation group was 93.33%. The effective rate of hand tendon rehabilitation in the control group was 70.00%. The comparison results showed that there was statistical significance ( P < 0.05 ). The score of the observation group was significantly higher than that of the control group, with statistically significant differences ( P < 0.05 ). Conclusion. Piano workouts can cause hand muscle difficulties, which can be alleviated by daily finger gymnastics. Daily finger exercises are simple and not limited by time and place. Piano practitioners can use the spare time of daily training and performance to exercise for a long time, so as to prevent or recover finger muscle damage caused by piano practice. It has the potential to help pianists avoid hand muscle injuries when practicing while also allowing music to reach its full potential.
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Ломтев, Д. Г. "The Commercial Strategies and the Product Range of the Music Publishing House Julius Heinrich Zimmermann." Научный вестник Московской консерватории, no. 3(42) (October 2, 2020): 182–98. http://dx.doi.org/10.26176/mosconsv.2020.42.3.008.
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Ассортимент и коммерческие стратегии музыкального издательства Юлиуса Генриха Циммермана Структура ассортимента издательства Ю. Г. Циммермана рассматривается в контексте его коммерческих стратегий. Выделяется наиболее прибыльная группа печатных изданий развлекательной музыки с центральным положением в ней русского бытового романса в его жанровых разновидностях. Прослеживаются финансово рискованные попытки изданий клавираусцугов опер. Особенности деловой коммуникации Циммермана раскрываются на примере договорной документации и переписки с М. А. Балакиревым. The assortment of the publishing house Julius Heinrich Zimmerman is considered in the context of the commercial strategies of his enterprise. Accordingly, the printed editions of the popular music prove to be particularly profitable. They primarily contain the Russian petty-bourgeois piano songs in their genre variants. In addition, the publications of piano-vocal scores, which were not always financially successful, are studied. A detailed representation of Zimmerman’s business communication can be reconstructed using contracts, agreements and correspondence with Mily Balakirev as an example.
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Costa-Giomi, Eugenia. "The Effects of Three Years of Piano Instruction on Children's Cognitive Development." Journal of Research in Music Education 47, no. 3 (October 1999): 198–212. http://dx.doi.org/10.2307/3345779.
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The relationship between music and cognitive abilities was studied by observing the cognitive development of children provided ( n = 63) and not provided ( n = 54) with individual piano lessons from fourth to sixth grade. There were no differences in cognitive abilities, musical abilities, motor proficiency, self-esteem, academic achievement, or interest in studying piano between the two groups of children at the beginning of the study. It was found that the treatment affected children's general and spatial cognitive development. The magnitude of such effects (omega squared) was small. Additional analyses showed that although the experimental group obtained higher spatial abilities scores in the Developing Cognitive Abilities Test after 1 and 2 years of instruction than did the control group, the groups did not differ in general or specific cognitive abilities after 3 years of instruction. The treatment did not affect the development of quantitative and verbal cognitive abilities.
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Го, Ц. "The influence of the piano work of D.B. Kabalevsky on modern music education in China." Management of Education 14, no. 3-1(78) (March 15, 2024): 248–53. http://dx.doi.org/10.25726/p3055-6183-2027-c.
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Китайская музыка на протяжении своего существования сохраняла своеобразие и особенности, однако она постепенно включается в процесс глобальной эволюции мирового музыкального пространства. Русская фортепианная культура оказала глубокое и продолжительное воздействие на формирование и развитие фортепианной культуры и образования Китая. В рамках статьи осуществляется анализ влияния концепции музыкального воспитания Кабалевского на создание китайских фортепианных произведений. Кабалевский работал во многих областях. Он написал большое количество произведений, в том числе фортепианную музыку, концерты, камерную музыку, оперы, музыку для кино и революционные песни. Конечно, помимо композиции, он внес также важный вклад в музыкальное образование. Во время своего обучения он устал от жесткой и старой модели преподавания и, таким образом, потерял интерес к музыке. Именно из-за этого опыта он решил окончить Московскую консерваторию, и посвятить себя педагогике, чтобы изменить этот скучный, жесткий и консервативный подход. Эти идеи были приняты и в Китае, а потому можно утверждать, что творчество и педагогические принципы Кабалевского, сыграли важную роль в фортепианном образовании и искусстве Поднебесной. Chinese music throughout its existence has retained its originality and characteristics, but it is gradually being included in the process of global evolution of the world musical space. Russian piano culture had a deep and lasting impact on the formation and development of piano culture and education in China. The article analyzes the influence of Kabalevsky's concept of musical education on the creation of Chinese piano works. Kabalevsky worked in many areas. He composed a large number of works, including piano music, concertos, chamber music, operas, film scores and revolutionary songs. Of course, in addition to composition, he also made important contributions to music education. During his studies, he became tired of the rigid and old teaching model and thus lost interest in music. It was because of this experience that he decided to graduate from the Moscow Conservatory and devote himself to pedagogy in order to change this boring, rigid and conservative approach. These ideas were also accepted in China, and therefore it can be argued that Kabalevsky’s creativity and pedagogical principles played an important role in piano education and art in the Middle Kingdom.
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Danilova, Yana Yu. "The Acoustic Images of Quasi-Ensemble Music-Making in the Slow Section of Mozart’s Clavier Sonata in B-flat Major, К. 570." ICONI, no. 3 (2019): 27–37. http://dx.doi.org/10.33779/2658-4824.2019.3.027-037.
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Music for clavier from the 18th century graphically recreates the acoustic images of the musical instruments and models of quasi-ensemble music making of that period. This tradition of “reflected musical texts” was typical for the Baroque period, when piano music presented a quasi-ensemble score condensed into two-staff notation. The acoustic features of the European practice of music-making in ensembles have also been universally reflected in the musical graphics of the piano sonatas of the Viennese Classicists – Haydn, Mozart and Beethoven. On the basis of the observations of this migration within the musical text of the slow movement of Mozart’s Sonata in B-flat minor K. 570, the article demonstrates the modifications of the structural dialogic models of Baroque practice and the process of their transformation into unfolded narrative-contextual signs, the peculiar features of the musical scores, and the acoustic images of the 18th century music-making practice.
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Ryan, Charlene, Hélène Boucher, and Gina Ryan. "Practice, Performance, and Anxiety: A Pilot Study on Student Perception of Parental Involvement and Formal Music Lessons." Music & Science 6 (January 2023): 205920432211450. http://dx.doi.org/10.1177/20592043221145000.
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Parents play a variety of important roles in their children's musical development. However, whether they impact upon children's music performance education and experience has only begun to be considered. The current study sought to examine whether student perception of parent involvement in music and performance education is related to their experience of music performance anxiety. Sixty-two piano students aged 11 to 17 completed a questionnaire regarding their piano studies, their parents’ involvement in them, and their parents’ prior music education. They also completed measures of performance anxiety and self-esteem. Results indicated that parents’ prior music education was significantly associated with performance anxiety in their children. Participant age, self-esteem, and practice time were also significant variables. Measures of parent involvement in music studies and parent response to weak performances were not found to be significantly related to performance anxiety scores. Implications of these findings and directions for furthering this line of research are discussed.
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Üstün, Emre, and Burcu Ozer. "Effects of piano accompaniment on instrument training habits and performance self-efficacy belief in flute education." Cypriot Journal of Educational Sciences 15, no. 3 (June 29, 2020): 412–22. http://dx.doi.org/10.18844/cjes.v15i3.4906.
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Education methods to be used in the emotional, mental and psychological development of instrument education are of great importance in terms of education process. In this context, the training habits and self-efficacy developments of the students with their instruments can be supported by the accompaniment education process, thus increasing the performance of the instruments. In this context, an experimental method was used in the research by using piano accompaniment training practice, individual instrument training habits and instrument performance self-efficacy belief questionnaires. Pre-test-post-test pattern of this method was preferred. The study was carried out with 9 students who studied flute in Nevsehir Hacı Bektas Veli University music department. After the experiment process, the scores of the groups were reached by using T-test. As a result of the research, it was revealed that the application of piano accompaniment in flute education has a positive effect on all sub-dimensions of both questionnaires. In addition, it was determined that students use time in a disciplined and productive way, develop themselves in terms of musicality, see themselves more adequate with the positive progress of the psychological effects of this development, and increase their love for their instrument and desire to work.
Keywords: Instrument education, flute education, piano accompaniment, training habits, self-efficacy developments;
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STEELE, KENNETH M. "Do Rats Show a Mozart Effect?" Music Perception 21, no. 2 (2003): 251–65. http://dx.doi.org/10.1525/mp.2003.21.2.251.
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The ““Mozart effect”” is an increase in spatial reasoning scores after listening to a Mozart piano sonata. Both the production and interpretation of the effect are controversial. Many studies have failed to replicate the original effect. Other studies have explained a Mozart effect as being caused by changes in arousal or differences in preferences of the listener. F. H. Rauscher, K. D. Robinson, and J. J. Jens (1998) reported that rats learned to complete a T-maze more quickly if they had been exposed in utero and reared hearing a Mozart piano sonata. They concluded that the result indicated a direct effect of the music on brain development and contradicted competing accounts of arousal or preference. This article is an analysis of the experiment by Rauscher et al. The in utero exposure would have been ineffective because rats are born deaf. A comparison of human and rat audiograms, in the context of the frequencies produced by a piano, suggests that adult rats are deaf to most notes in the sonata. The successful performance of the Mozart group may be explained by the incomplete use of random assignment of subjects to groups and by experimenter effects in the construction of groups. The results of Rauscher et al. (1998) do not provide strong support for the existence of the Mozart effect.
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Killian, Janice N., and Michele L. Henry. "A Comparison of Successful and Unsuccessful Strategies in Individual Sight-Singing Preparation and Performance." Journal of Research in Music Education 53, no. 1 (April 2005): 51–65. http://dx.doi.org/10.1177/002242940505300105.
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High school singers ( N=198) individually sang two melodies from notation, with and without a 30-second practice opportunity. Overall accuracy scores were significantly higher with preparation time. The less accurate singers, however, did not benefit from practice time. Analysis of videoed tests indicated that high scorers tonicized (vocally established the key), used hand signs, sang out loud during practice, physically kept the beat, and finished practicing the melody within 30 seconds significantly more frequently than did low scorers during practice. Similar strategies were used during performance, with the addition of tonicizing before singing. Sight-singing system used made no significant difference. Characteristics appearing significantly more often among high scorers included: region/state choir, private voice or piano lessons, playing an instrument, membership in instrumental ensemble, sight-singing individually outside class, and director giving individual sight-singing tests. Results are discussed in terms of strategies for teaching individual sight-singing and recommended areas of future research. August 11, 2004 January 18, 2005.
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Morrison, Simon. "Galina Ustvolskaya Outside, Inside, and Beyond Music History." Journal of Musicology 36, no. 1 (January 1, 2019): 96–129. http://dx.doi.org/10.1525/jm.2019.36.1.96.
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Even among devotees of her music, Galina Ustvolskaya is often reduced to an intersectional victim of gendered and political repression, a fearful casualty of the Soviet system. Her percussive scores, including the Sixth Piano Sonata, have earned Ustvolskaya the nickname “lady with the hammers.” This article reviews the literature about this composer alongside scores from the beginning, middle, and end of her career, asking: Should her life and work be considered from a less empathetic perspective in order to take greater account of her craft, and to avoid the gendered, cultural, and political furrows that would narrow our conception of her music? Instead of defining Ustvolskaya’s life and work against our own expectations, this essay questions our assumptions.
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Palmer, Caroline. "Anatomy of a Performance: Sources of Musical Expression." Music Perception 13, no. 3 (1996): 433–53. http://dx.doi.org/10.2307/40286178.
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Research on music performance often assumes that a performer's intention to emphasize musical structure as specified in a score accounts for most musical expression. Relatively unstudied sources of expression in performance include notational variants of compositional scores, performer-specific aspects, and the cultural norms of a particular idiom, including both stylistic patterns that exist across musical works and expectations that arise from a particular musical context. A case study of an expert performance of a Mozart piano sonata is presented in which influences of historical interpretations of scores, performer-specific treatments of ornamentation and pedaling, and music- theoretic notions of melodic expectancy and tension-relaxation are revealed. Patterns of organization internal to the performance expression transcended the coarsegrained information given in scores, suggesting that performance is a better starting point than a musical score for testing theories of many musical behaviors.
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Kim, Sarah, Jeong Mi Park, Seungyeon Rhyu, Juhan Nam, and Kyogu Lee. "Quantitative analysis of piano performance proficiency focusing on difference between hands." PLOS ONE 16, no. 5 (May 19, 2021): e0250299. http://dx.doi.org/10.1371/journal.pone.0250299.
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Quantitative evaluation of piano performance is of interests in many fields, including music education and computational performance rendering. Previous studies utilized features extracted from audio or musical instrument digital interface (MIDI) files but did not address the difference between hands (DBH), which might be an important aspect of high-quality performance. Therefore, we investigated DBH as an important factor determining performance proficiency. To this end, 34 experts and 34 amateurs were recruited to play two excerpts on a Yamaha Disklavier. Each performance was recorded in MIDI, and handcrafted features were extracted separately for the right hand (RH) and left hand (LH). These were conventional MIDI features representing temporal and dynamic attributes of each note and computed as absolute values (e. g., MIDI velocity) or ratios between performance and corresponding scores (e. g., ratio of duration or inter-onset interval (IOI)). These note-based features were rearranged into additional features representing DBH by simple subtraction between features of both hands. Statistical analyses showed that DBH was more significant in experts than in amateurs across features. Regarding temporal features, experts pressed keys longer and faster with the RH than did amateurs. Regarding dynamic features, RH exhibited both greater values and a smoother change along melodic intonations in experts that in amateurs. Further experiments using principal component analysis (PCA) and support vector machine (SVM) verified that hand-difference features can successfully differentiate experts from amateurs according to performance proficiency. Moreover, existing note-based raw feature values (Basic features) and DBH features were tested repeatedly via 10-fold cross-validation, suggesting that adding DBH features to Basic features improved F1 scores to 93.6% (by 3.5%) over Basic features. Our results suggest that differently controlling both hands simultaneously is an important skill for pianists; therefore, DBH features should be considered in the quantitative evaluation of piano performance.
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Huovinen, Erkki, and Jenni Rinne. "Brief Exposure to Notated Scores: Pianists' Quick Impressions of Musical Style." Empirical Musicology Review 18, no. 1 (January 12, 2024): 42–59. http://dx.doi.org/10.18061/emr.v18i1.9578.
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This study concerns classical musicians' ability to recognize style periods from very brief visual exposure to musical notation. 25 professional pianists were shown nine 500-ms displays of musical excerpts from piano works by J. S. Bach, L. v. Beethoven, and F. Chopin. The pianists were told to describe what they saw and to assess the style period of the music. Recognition was relatively good: 49% of the verbal protocols included a correct style period label or the right composer name. Verbal protocols also supported the notion that style recognition chiefly relies on intuitive, holistic integration of information, rather than on reflective, analytic processing. First, correct responses regarding style period occurred significantly earlier than incorrect ones, which suggests that they may have taken place more intuitively. Second, correct recognitions were not preceded by richer spoken contents than was found in the case of non-recognition. Indeed, the opposite was the case for composer recognition, which again associates recognition with intuitive processing. It is argued that the rapid recognition of musical style characteristics is a prerequisite for stylistically sensitive sight reading.
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Lucas, Keitha V. "Contextual Condition and Sightsinging Achievement of Middle School Choral Students." Journal of Research in Music Education 42, no. 3 (October 1994): 203–16. http://dx.doi.org/10.2307/3345700.
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The purpose of this study was to investigate the influence of harmonic context on the sightsinging skill of middle school choral music students. A nonrandomized control-group pretest-posttest design with one between-group (treatment method) and two within-group (trial and test context) factors was used. The treatment method used three harmonic contexts: (a) melody only, (b) piano harmony, and (c) vocal harmony. The trial condition had two levels (pretest and posttest), and the test context condition had four levels: (a) melody-only, (b) piano-harmony, (c) vocal harmony/upper with the melody in the higher of two voices, and (d) vocal harmony/lower with the melody in the lower of two voices. A repeated measures ANOVA revealed significant differences for the test context and trial main effects and for the trial by treatment group interaction; subjects obtained the highest sightsinging scores when tested in a melody-only context. Because of the significant interaction between trial and treatment group, one-way ANOVAs were used to test for simple main effects in both trial conditions (pretest and posttest). Although no significant differences were detected in the pretest ANOVA, the posttest ANOVA revealed significant differences among treatment groups. Post hoc analysis indicated that subjects in the melody-only treatment group showed more improvement in sightsinging skill than did subjects in the vocal-harmony treatment group. No difference was revealed, however, between the melody-only treatment group and the piano-harmony treatment group.
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Andriuţa, Viorica. "3. Pianist Aurelia Simion - Talent, Creativity, Performance." Review of Artistic Education 25, no. 1 (March 1, 2023): 16–21. http://dx.doi.org/10.2478/rae-2023-0003.
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Abstract Coming from a family of musicians, the descendant of a dynasty that traces its roots back to the 19th century, had Lia Oxinoit as a teacher at the pre-university cycle and Ludmila Vaverco at the Gavriil Musicescu State Conservatory from Chisinau. The artistic career of the pianist Aurelia Simion is impressive, ascending, marked by important professional successes realized in concerts and solo recitals or in collaboration with soloists, teachers, students and pupils, with participation in the Musical Olympics, in national and international competitions as an accompanist, member or president of the juries. It is particularly important to highlight the fact that Aurelia Simion, in her artistic ascent, performed on concert stages in the Romania and abroad (Ukraine, Belgium, Germany, Italy, Switzerland, France, Holland, Austria, Russia etc). Inquisitive spirit, always concerned with learning something new, she also played the harpsichord, celesta, marimbaphone and vibraphone, learned to play the portable organ with pedals, and in the moments when she had to complete the timbral color of the scores as part of the Percussion Ensemble Alternances, led by Constantin Stavrat, played claves, guiro, maracas and other small percussion instruments. Her compositional creation materialized in scores for solo piano, solo instruments with piano accompaniment, arrangements for percussion ensemble. For her academic and artistic achievements, she was awarded numerous awards, medals and diplomas of merit, honor and excellence awarded by various cultural and educational institutions.
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Turea, Elena. "The correlation of the voice and the piano parts in the vocal music of Schubert’s predecessors." Studiul artelor şi culturologie: istorie, teorie, practică, no. 2(43) (April 2023): 54–60. http://dx.doi.org/10.55383/amtap.2022.2.09.
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This article analyzes the historical and cultural background of F. Schubert’s achievements in the field of chamber vocal music, in particular, in correlation with the vocal and piano parts. We are talking about the fact that the basis of Schubert’s Lied are the traditions of German and Austrian folk songs, the work of minnesingers, meistersingers, predecessor composers. Reliance on folklore determines the intonation, the rhythmic and structural patterns of Schubert’s songs. The influence of the masters of minnesang and meistersang is felt in the harmony and composition logic of the Austrian genius. The legacy of Mozart and Beethoven is especially close to the romantic achievements of Schubert. In the chamber-vocal music of these Viennese classics are used different types of correlation between the vocal and instrumental music scores: accompaniment prevails according to the principles of the general bass, but there are already some examples of relative independence of the music score ensemble. There appear instrumental introductions, conclusions, interludes. The texture of the piano part is diversified according to the types of presentation, and contains an imitation of the sounds of nature.
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Misitova, Adilya, Ihor Sediuk, Oleh Kopeliuk, Olga Cherednychenko, and Kateryna Pidporinova. "The four-hand ensembles by Ludwig van Beethoven: search and gain." Revista Amazonia Investiga 12, no. 67 (August 30, 2023): 337–51. http://dx.doi.org/10.34069/ai/2023.67.07.30.
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The original four-hand ensembles by L. Beethoven have not received the proper attention of scientists. The aim of the study is to evaluate the composer’s gain from the standpoint of the searches for new sonority and timbre variety. This approach reveals the process of the mutual influence of the two-hand and four-hand compositions in his piano heritage. The main method was musical analysis, using which Beethoven's notes and scores were examined, and their structure was investigated on the basis of analysis and synthesis. The principles of abstraction, specification and generalization are also used. The result is the semantization of the developed techniques, the modelling of various figurative-playing situations in the march genre, the variety of characteristic means as the ways of varying song melodies, the combination in the variation cycle of the features of amateur music-making and concert style. In conclusions it is shown, that assimilation of the experience accumulated in the four-hand literature and new capabilities of the instrument laid the foundation for a new type of composer thinking. As the example Variations on the Theme of Beethoven for two pianos by C. Saint-Saens are considered.
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Guerpin, Martin. "Partition ou objet d’art ? Les 34 Scores for Piano, Organ, Harpsichord and Celeste de Björk (2017)." Circuit: Musiques contemporaines 31, no. 3 (2021): 43. http://dx.doi.org/10.7202/1085812ar.
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Carruthers, Glen. "The Piano Music of Percy Grainger: A Pianist's Perspective on Pedalling." Canadian University Music Review 21, no. 2 (March 4, 2013): 77–93. http://dx.doi.org/10.7202/1014486ar.
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Eminent pianist and composer Percy Aldridge Grainger (1882–1961) filled his original music and folksong arrangements with detailed, though idiosyncratic instructions to performers. The extent to which his own meticulous pedal technique is mirrored in careful directions to pianists is both unusual and revelatory. Grainger's scores are examined here from the standpoint of the damper, sostenuto and una corda pedals. Numerous musical examples serve two purposes: 1) they give information concerning the complexity of Grainger's pedal technique and 2) they exhibit the array of notational methods the composer employed, at various stages in his career, to enable performers to replicate as nearly as possible his own scrupulous pedalling. As well, by examining in detail this one aspect of Grainger's rich artistry, light is shed on the relationship between composer and performer, and notation and interpretation, that Grainger sought to understand and articulate ever more clearly throughout his career.