Relevant bibliographies by topics / Piano – Technique

Contents

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

Academic literature on the topic 'Piano – Technique'

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

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Journal articles on the topic "Piano – Technique"

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Arthur, Matthew, Sang-Hie Lee, Brenda Wristen, Gail Berenson, and Kathleen Riley. "Piano Technique." Medical Problems of Performing Artists 28, no. 2 (June 1, 2013): 115–16. http://dx.doi.org/10.21091/mppa.2013.2022.

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I am an amateur pianist enquiring into improving piano technique but feeling slightly disillusioned by the lack of attention given to technique in the field of piano teaching. And whilst, however, there are many books out there written by great pianists that seem to combine logic, empirical knowledge, and scientific knowledge in a very convincing manner, their assertions are void of being subject to strict scientific investigation and therefore, in my opinion, cannot be treated too seriously. [with Replies]
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Ananda-Owens, Kathryn. "Piano Technique." Medical Problems of Performing Artists 28, no. 3 (September 1, 2013): 175. http://dx.doi.org/10.21091/mppa.2013.3035.

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I am writing in response to Matthew Arthur’s letter in the June issue, and the replies thereafter from Drs. Lee, Riley, Wristen, and Professor Berenson. While I appreciated the replies, I believe they overlook a larger issue in the profession: the fundamental lack of anatomical and biomechanical knowledge among many, and perhaps even most, piano pedagogues.
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Adderley, Meisha, and Seymour Fink. "Mastering Piano Technique." Music Educators Journal 93, no. 2 (November 2006): 18. http://dx.doi.org/10.2307/3878456.

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Pereverzeva, Marina V., and Anna A. Davydova. "History of Piano Technique Development: Methodical Aspect." Uchenye Zapiski RGSU 20, no. 1 (March 30, 2021): 181–88. http://dx.doi.org/10.17922/2071-5323-2021-20-1-181-188.

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The history of the development of piano technique has been counting down since the 17th century. The most common keyboard instruments before the invention of the piano were the harpsichord, clavicord and organ. These early instruments had much lighter keys compared to modern ones. Therefore, performers could easily press the keys without feeling much resistance. With the advent of the piano, both the playing technique and the training technique for professional pianists and amateurs began to be reviewed. Musicians, summarizing their own performing experience, wrote treatises, textbooks and manuals, looking for the most effective method of mastering the technique of playing the keyboard instrument. In history, there are two schools of piano technique: the so-called school of “high lifting of fingers” and “playing with all the weight of the hand”. This work is devoted to the history of the development of these schools and methodological approaches to piano training. The views on piano technique that developed in the 18th–20th centuries, which were reflected in the textbooks of pianistsperformers and teachers, help to understand how to perform music of a particular period and what finger technique to use for a perfect interpretation of piano works of the past.
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Tworko, Paulina. "Physiology and Ergonomics of Piano Playing." Kwartalnik Młodych Muzykologów UJ, no. 47 (4) (2020): 229–53. http://dx.doi.org/10.4467/23537094kmmuj.20.050.13923.

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Much has been said about performance, styles, and interpretation. However, we should ask ourselves where they come from, what they depend on, and what factors influence them. The answer proves very complex. This article deals with the problem of piano technique as an element on which interpretation, sound and expression depend to a large extent. The pi­ano is an instrument with incredible tonal possibilities, but it requires fingering skills, the ability to ‘feel’ the keys and a certain physical strength which is directly related to the technique we use. Achieving a high level in playing requires years of diligent work, perseverance, and determination. Technical proficiency, in turn, facilitates expression and appropriate interpretation, in line with the style of a given musical period and the feelings of the pianist-performer. We are thus talking about two things that inexorably influence each other: technique and its results. The latter depend largely on the former. This article explores the knowledge of piano technique which needs to be acquired so that in the end nothing comes in the way of communication between performers, listeners, and the music.
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Sholl, R. "The Craft of Piano Playing: A New Approach to Piano Technique." Music and Letters 88, no. 1 (October 25, 2006): 190–92. http://dx.doi.org/10.1093/ml/gcl052.

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Hess, Carol A. "Enrique Granados and Modern Piano Technique." Performance Practice Review 6, no. 1 (1993): 89–94. http://dx.doi.org/10.5642/perfpr.199306.01.05.

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Mansell, Thomas. "Sam's Shambles: Beckett's piano-pedalling technique." Performance Research 12, no. 1 (June 2007): 124–36. http://dx.doi.org/10.1080/13528160701398214.

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Miller, Derek. "On Piano Performance – Technology and Technique." Contemporary Theatre Review 21, no. 3 (August 2011): 261–75. http://dx.doi.org/10.1080/10486801.2011.585980.

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Ying, Loo Fung, Gabriel Isaac Evens, Mohd Nasir Hashim, and Loo Fung Chiat. "Tension Release in Piano Playing: Teaching Alexander Technique to Undergraduate Piano Majors." Procedia - Social and Behavioral Sciences 174 (February 2015): 2413–17. http://dx.doi.org/10.1016/j.sbspro.2015.01.910.

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Dissertations / Theses on the topic "Piano – Technique"

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Sung, Meir Mei Wah. "A Survey of Technique Elements in Piano Method Books and Technique Books for Young Piano Beginners." Thesis, Université d'Ottawa / University of Ottawa, 2017. http://hdl.handle.net/10393/36485.

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Piano teachers agree that acquiring piano technique knowledge and skills is beneficial for musical interpretation as lacking a good technique may impact on the musicality of a performance and poor technique may lead to muscular pain or injury. Many piano teachers use a series of piano method books as major teaching materials in the lesson. It is essential for teachers to understand the technical elements included in the piano method books and to investigate whether any piano technical element is missing so that they may consider using supplementary technique teaching materials. Besides, to understand how the technical elements are presented and how soon each technique element is introduced would help teachers to teach more efficiently. The purpose of this study was to review how expert pedagogues teach piano technique to establish a framework of technique elements that should be taught to young piano beginners. Based on this framework, we undertook an analysis of the technical elements found in thirteen series of piano method lesson books together with their accompanying technical books. A calculation of the proportion of each piano technique element in each series, an evaluation of the pace at which new technique elements are introduced and an analysis of how each one is presented forms the objective of this study. The results will provide piano teachers with thorough information on the technique elements found in different method books and will help piano teachers to select the most appropriate method books for their students.
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Hosaka, Yoshinori. "Sumiko Mikimoto's piano method a modern physiological approach to piano technique in historical context /." College Park, Md.: University of Maryland, 2009. http://hdl.handle.net/1903/9176.

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Thesis (D.M.A.) -- University of Maryland, College Park, 2009.<br>Thesis research directed by: Dept. of Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Oh, Sang-Eun. "La musique pour piano d'Olivier Messiaen: technique et esthétique." Paris 4, 2004. http://www.theses.fr/2004PA040082.

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Nombre de compositeurs du XXe siècle considèrent que le travail est beaucoup plus important que l’inspiration. Pour Messiaen, la part de celle-ci est aussi importante que le travail. On peut dire que sa musique a joué un rôle de pont entre la musique classique et la moderne : tout en créant un langage novateur, il a pris des éléments de traditions anciennes pour les appliquer à sa composition. Il a beaucoup encouragé ses élèves à faire avancer la musique, en leur ouvrant des horizons nouveaux. Comme la vie moderne évolue rapidement, surtout grâce aux technologies, il en est de même dans le domaine musical ; le souci majeur pour la plupart des musiciens contemporains est l’avancement de la technique. Mais Messiaen a plutôt fait évoluer ses éléments de musique à travers ses diverses sources d’inspiration. Parmi celles-ci furent l’écoute de la nature (symbole de liberté), sa foi (le monde des choses invisibles), la gloire de Dieu (l’inatteignable). Grâce à ce compositeur, on peut sentir tous ces éléments comme s’ils nous apparaissaient. A travers l’évolution de sa technique pianistique, on peut saisir au plus près ce développement, du début à la fin de sa vie. Le piano fut un atout principal, qu’il a choisis pour exprimer son désir d’approcher à la fois le monde d’en haut et le monde d’en bas<br>While many composers in the 20th century considered the work itself to be the most important factor in making admirable music rather than inspiration, Olivier Messiaen has regarded the inspiration as equally important to the work itself for his composition. We can say that he has bridged the era of classical music toward that of modern music. While pioneering in the creation of his own musical language, he fabulously applied all the traditional elements from the past to his composing. He has always encouraged his students to advance music by enlightening them with new vision. Undoubtedly, everything changes so fast these days especially due to the rapid advancement of technology. This is the same in musical domain, as well. Therefore, one of the major issues for the majority of contemporary composers is the advancement of technology. But, Messiaen used new musical elements adopted from his various inspirations. He has generated his inspirations by keeping his eyes and ears to the nature (the symbol of liberty), the faith (the object we cannot see) and the glory of God (the stature we cannot reach). Thanks to the hands of composer, we are able to feel as if they are in front of us. Exploring the evolution of his technique with piano, we can better understand his musical development from the beginning to the end of his life. The piano is the primary instrument he chose to express his desire to approach the world on the earth and the Heaven at the same time
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Nicolls, Sarah Louise. "Interacting with the piano : absorbing technology into piano technique and collaborative composition : the creation of 'performance environments', pieces and a piano." Thesis, Brunel University, 2010. http://bura.brunel.ac.uk/handle/2438/5511.

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This thesis explores the expansion of the piano performance environment, using technology to augment the sound, the playing area of the piano and its surroundings, and/or the performer's own body in controlling electronic elements of the music. In particular I examine the extension of piano technique and how this is affected by adding technology. I also discuss collaborative compositional processes in creating co-authored musical works and have given a critical appraisal of the different technological systems used in all of these pieces. I have also introduced ideas about developing the structure of the piano to better suit contemporary techniques and the addition of technological elements in piano playing. These ideas are represented by my own "Inside-out Piano", illustrated within the thesis. Throughout this work many new pieces for piano and live electronics have been generated and I hope these may also be useful as a resource for other pianists exploring their own interactions with the piano.
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Proulx, Jean-François. "A Pedagogical Guide to Extended Piano Techniques." Diss., Temple University Libraries, 2009. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/38213.

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Music Performance<br>D.M.A.<br>Extended piano techniques, which mainly involve playing directly on the internal components of the piano, emerged early in the twentieth century, mainly in the United States. Henry Cowell (1897-1965) explored some of these techniques in short piano pieces such as The Tides of Manaunaun (1917; clusters) The Banshee (1925; glissando, pizzicato) and Sinister Resonance (1930; mute, harmonic). Several contemporary composers followed this path. Notably, George Crumb's (b. 1929) mature works combine conventional techniques with an unprecedented variety of extended techniques, including vocal and percussive effects. Although extended techniques are no longer a novelty, most pianists are still unfamiliar with them. Extended piano works are rarely performed or taught. This situation is regrettable considering the quality of these compositions, and the great potential of extended techniques to expand the piano's coloristic resources. A Pedagogical Guide to Extended Piano Techniques is designed to help pianists learn this idiom and achieve fluency. Teachers may also find it useful in planning courses at the undergraduate college level. Chapters 1 and 2 provide general information such as the development and classification of unconventional techniques, and the construction of the grand piano. Chapters 3, 4 and 5 form the core of the monograph. They contain practical exercises, composed by the author, presented in a progressive order and accompanied by detailed instructions explaining how to execute and practice each technique. From a technical point of view, natural string piano techniques--pizzicatos, glissandos, mutes and harmonics--are the basis upon which most other extended techniques are founded. Therefore, this document focuses mainly on mastering these string techniques through the acquisition of two important skills: visual techniques and aural-motor coordination. The following topics are also discussed: use of foreign objects inside the piano, percussive technique, vocal effects, and strategies to integrate various techniques into a unified musical context. Prepared piano techniques are excluded because they do not require the acquisition of performance skills, which form the essence of this monograph. Chapter 6 provides a suggested course schedule to organize the pianist's study and practice time, and offers practical advice for the preparation of performances involving extended piano techniques. It is hoped that this document will play a positive role in helping pianists gain the knowledge, ability, confidence and enthusiasm to explore and perform extended piano repertoire.<br>Temple University--Theses
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Song, Hyun-Joo. "Mikrokosmos and 32 Piano Games: Introducing Contemporary Musical Language and Developing Piano Technique for the Beginning Student." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc84279/.

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As new musical styles have emerged in the twentieth century with characteristic sounds, chords, forms, meters, and intervals, teachers need to broaden and re-define the way they introduce musical concepts to beginning piano students. The purpose of this study is to offer different instructional possibilities aside from conventional methods of teaching beginning pianists. This is accomplished through a comparison of the two different approaches of the Hungarian composer Béla Bartók and the American composer Ross Lee Finney. Bartók’s Mikrokosmos, a graded set of 153 pieces, and Finney's 32 Piano Games are examined through this paper.
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Cheng, shu ching. "THE INTERDEPENDENCE OF MOVEMENT AND SOUND IN ALL ASPECTS OF PIANO TECHNIQUE IN FALKO STEINBACH'S "FIGURES" - 17 CHOREOGRAPHIC ETUDES FOR PIANO (2006)." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/195471.

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The piano etude is a musical genre that has evolved since the 18th century from a work composed to develop technique into a full-fledged concert piece. The genre has continued to pose a challenge for the composer who attempts to combine the utility of a technical exercise with musical invention equivalent to other genres in the concert repertoire.Falko Steinbach composed his first set of piano etudes, entitled "Figures," 17 Choreographic Etudes, in 2006. This major work is comprised of 17 pieces, which explore all the physical components of successful pianism. These components are outlined in his book A Compendium on Piano Technique. The book also explores psychological disciplines, which can assist the pianist in overcoming technical difficulties, both in practice and performance.This document will consist of an analysis of both "Figures" and A Compendium. It will address the issue of "Figures" as both a didactic work and a work of art in the tradition of the Chopin etudes. It will also discuss how Steinbach synthesizes aspects of both physiological and mental learning disciplines to create a technical approach to the piano that directly impacts both sound and movement.
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Xu, Mo. "The high finger piano technique in China: past, present, and future." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6342.

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The high finger piano technique is an approach to playing the piano which focuses on training the fingers to have extreme independence. The fingers are required to function in the extreme ranges of motion, lifting high before each strike of the key. This is an outdated technique from nineteenth century Europe, where the Lebert-Stark high finger school successfully promoted this technique in European conservatories. It was introduced to China at the beginning of the twentieth century, shortly after pianos began to be imported. From that point forward, this technique became the standard for Chinese pianists. Meanwhile, the high finger technique was abandoned by most pianists in the West in the twentieth century. Instead, the modern piano technique, which focuses on anatomical and scientific analysis, became the mainstream. In order to establish China’s place in the history of piano playing and technique, I will provide a brief overview of the history and how China developed from it. I will demonstrate evidence for why the high finger school became popular and why it persisted throughout the twentieth century. Finally, I will discuss current trends in Chinese piano pedagogy and provide a guide for how the future development of a healthy, informed technique might look.
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Woo, Laehyung. "Building an Effective Piano Technique while Avoiding Injury: A Comparison of the Exercises in Alfred Cortot's "Rational Principles of Pianoforte Technique" and Carl Tausig's "Daily Studies for the Pianoforte"." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984147/.

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It is the teacher's responsibility to guide students in building an effective and injury-free piano technique. Improper technique, poor training and bad posture at the instrument all may cause problems such as lack of muscle control, weakness, or tension in the hands. Many teachers are interested in finding information about specific exercises dealing with finger strengthening, stretching, and warm-up strategies, as well as guidelines for safe practicing. It is therefore important for both teachers and students to understand how to build a technique from the earliest years of instruction. Carl Tausig (1841-1871) and Alfred Cortot (1877-1962) both contributed to the development of piano technique by writing books that include a significant number of exercises and excerpts. Their books incorporate detailed instructions on how to play each exercise effectively and without fatigue. Subsequently, Heinrich Ehrlich (1822-1899) collected and systematically arranged Tausig's notes, complementing them with detailed information on how to play Tausig's exercises without causing injury. This dissertation compares and contrasts the exercises found in Alfred Cortot's book, Rational Principles of Pianoforte Technique, and Carl Tausig's book, Daily Studies for the Pianoforte. The latter is based on the practical guidebook, How to Practise on the Piano: Reflections and Suggestions, written by Heinrich Ehrlich. Included in this study are references to the performing arts medical literature dealing with pianists' injuries. By comparing two different historical piano methods and considering their effectiveness in light of modern medical performance research, this dissertation aims to help teachers to determine which methods might be better for students to build a solid piano technique without injuring themselves.
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Holmberg, Pontus. "Pianoundervisning genom genren? : En intervjustudie av lärares syn på sig själva och sin undervisning inom klassiskt piano och afropiano." Thesis, Karlstads universitet, Musikhögskolan Ingesund, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-26535.

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Syftet med denna studie är att identifiera skillnader och likheter i olika pianolärares undervisningsupplägg, samt undersöka om deras synsätt och metoder går att knyta till de respektive genrer som de undervisar i. Inom forskning och litteratur har motsättningar som kan kopplas till afro och klassiskt undersökts och framställts i kontraster såsom gehör kontra noter eller improvisatoriskt kontra återgivande. Sådana motsättningar ligger till grund för föreliggande studies intresseområde. Studien utgår från ett sociokulturellt perspektiv, vilket innebär att lärande ses som en social aktivitet, där kunskap finns i kommunikation och de redskap som har växt fram i samhället. Datamaterialet består av kvalitativa intervjuer med fyra mer eller mindre aktiva musiker/pianopedagoger (två afrolärare och två klassiska lärare) med olika arbetssituationer. Resultatet visar att individanpassning och musikalisk mening samt glädjefullhet värderas högt i samtliga informanters pianoundervisning. Målet tycks vara att eleverna får uppleva glädje av att kunna musicera, snarare än att de ska bli ”stora” och kända pianister. Motivationen och det främsta ansvaret till att utvecklas anses ligga hos eleven. Fokus på teknik och övning ges efter elevens behov. Musikalitet ska alltid finnas i fokus. Omusikaliska övningar anses vara hämmande för uttrycket och motivationen. Att inkludera improvisation i undervisningen ses som viktigt. Informanterna har dock något olika arbetssätt och mål med improvisation. De klassiska lärarna arbetar efter rytmiska och tonala mallar med syfte att få eleven att utvecklas och/eller våga spela utan noter. Afrolärarna fokuserar mer på att spela till en särskild låt och att hitta personliga uttryck i improvisationen.<br>The purpose of this study is to identify differences and similarities in various piano teachers’ teaching approach, and investigate whether their approach and methods relate to the respective genres they teach. In research and literature, contradictions that can be linked to ”afro” and ”classical” have been investigated and described in contrasts like ear for music versus sheet music or improvisation versus reproduction. Contractions like that form the basis to this study’s area of interest. The study is based on a socio-cultural perspective, which means that learning is seen as a social activity, where knowledge exists in communication and the tools that have been developed in the community. The data consists of qualitative interviews with four more or less active musicians/piano teachers (two “afro” teachers and two classical teachers) with different work situations. The result shows that personalization, musical meaning and joyfulness are highly valued in all their piano teaching.  The goal seems to be the students´ experiences of joy in making music, rather than that they should become "great" and famous pianists. It is considered that the student has the primary responsibility in evolving and staying motivated. Focus on technique and training is connected to the student's needs. Musicality will always be in focus. “Unmusical” exercises are considered to be inhibiting the expression and motivation. To include improvisation in teaching is seen as important. The informants have somewhat different approaches and goals with improvisation. The classical music teachers work with rhythmic and tonal templates designed to get students to evolve and/or get courage to play without sheet music. “Afro” teachers focus more on playing a particular song and finding personal expressions in improvisation.
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Books on the topic "Piano – Technique"

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Grindea, Carola. Healthy piano technique. London: Richard Schauer, 2001.

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Colomer, Consuelo. On piano technique. New York: Vantage Press, 1991.

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The craft of piano playing: A new approach to piano technique. 2nd ed. Lanham, Md: Scarecrow Press, 2011.

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Smallman, Basil. The piano trio: Itshistory, technique, and repertoire. Oxford: Clarendon, 1990.

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Raikin, Bruno. The complete piano student: A new approach to piano technique for piano students and performers. London: KLJ/TR, 1998.

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Famous pianists & their technique. Washington, DC: R. B. Luce, 2007.

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Smallman, Basil. The piano trio: Its history, technique, and repertoire. Oxford [England]: Clarendon Press, 1990.

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Smallman, Basil. The piano trio: Its history, technique, and repertoire. Oxford: Clarendon, 2000.

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Cortot, Alfred. Rational principles of pianoforte technique. Paris: Salabert, 1998.

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Byman, Isabelle Yalkovsky. Piano Teachers Art: Piano Technique. Kenyon, 1986.

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Book chapters on the topic "Piano – Technique"

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Thompson, Merlin B. "Piano Tone and Technique." In SpringerBriefs in Education, 47–60. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-65533-8_5.

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Granieri, Niccolò, James Dooley, and Tychonas Michailidis. "Harnessing Ancillary Microgestures in Piano Technique." In Innovation in Music, 269–82. New York, NY : Routledge, 2019. | Series: Perspectives on music production series: Routledge, 2019. http://dx.doi.org/10.4324/9781351016711-17.

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McPherson, Andrew P., and Youngmoo E. Kim. "Piano Technique as a Case Study in Expressive Gestural Interaction." In Music and Human-Computer Interaction, 123–38. London: Springer London, 2013. http://dx.doi.org/10.1007/978-1-4471-2990-5_7.

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

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Hayashi, Eiji. "Automated Piano: Techniques for Accurate Expression of Piano Playing." In Springer Tracts in Advanced Robotics, 143–63. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-22291-7_9.

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Vamsi Krishna, U., R. Priyamvada, G. Jyothish Lal, V. Sowmya, and K. P. Soman. "A Comparative Evaluation of Decomposition Methods Based on Pitch Estimation of Piano Notes." In Smart Computing Techniques and Applications, 833–43. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-0878-0_82.

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Garrett, Steven L. "Modes of Bars." In Understanding Acoustics, 235–81. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44787-8_5.

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Abstract The perspectives and techniques developed in the previous chapters will now be applied to calculation of wave propagation in solids. Their application to longitudinal and shear waves will be both familiar and simple. Even more satisfying is the success of those same techniques in finding solutions for waves in a system that does not obey the wave equation and exhibit a phase speed that varies with frequency. Measurement of the frequencies of the normal modes of thin bars will be used to determine the bars’ elastic constants to high precision. The relationship between measured modal frequencies and the elastic moduli is particularly simple because the torsional, flexural, and longitudinal modes of bars can be selectively excited and detected. The technique of resonant ultrasound spectroscopy will allow the extraction of moduli from resonance frequencies even for samples with dimensions that are not as conducive as those of thin bars by a process that is significantly more computationally intensive. The flexural rigidity of wires under tension will be analyzed to determine the normal modes of a “stiff string,” and those effects will be discussed in relation to the tuning of pianos
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Schenker, Heinrich. "The Technique of Playing the Piano." In The Art of Performance, 7–18. Oxford University Press, 2002. http://dx.doi.org/10.1093/acprof:oso/9780195151510.003.0003.

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Tarchynska, Yulia. "WAYS OF FORMING THE TECHNIQUE OF SOUND PRODUCTION IN THE INTERPRETATION OF MULTI-STYLE PIANO MUSIC." In Integration of traditional and innovative scientific researches: global trends and regional as. Publishing House “Baltija Publishing”, 2020. http://dx.doi.org/10.30525/978-9934-26-001-8-1-9.

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The article discusses the ways of the optimal formation of sound production techniques in the interpretation of multi-style piano music. The research methodology is based on the use of the historical method to highlight the evolution of methodological approaches to the formation of piano performing technique; analytical - to study the problem in scientific research in psychology, psychophysiology, musical pedagogy, piano performance; musicological method of analysis of piano styles; method of generalizing the piano performing experience of leading artists to substantiate the peculiarities of performing intonation of multi-style piano music. The purpose of this study is to identify the integral direction of improving the process of the formation of instrumental and performing technique, to concretize the sound forms of the embodiment of key pianistic skills, and to outline their typical motor characteristics. For the purpose of the study, methodological approaches to the formation of performing technique in the history of piano pedagogy are analyzed. The evolution of views on the technical development of the performer in different piano schools appears as a transition from empirical methods to scientifically grounded ones, as a change in the subject of the direction of the pianist's consciousness: identification of the most advanced forms of playing techniques, maximum attention to the sound result with the intuitive establishment of auditory-motor connection, conscious processing of auditory-motor coordination. The conditions for the optimal development of piano playing technique are considered, taking into account scientific achievements in the field of physiology, psychophysiology, and musical pedagogy. The circle of those skills of the pianist is determined, the acquisition of which optimizes the technical development of the performer: the skills of style-like sound production and sound science, which make up the technique of style-like sound formation. The content of the process of conscious mastering of interdependent and mutually conditioned components of such playing techniques is specified: generalized understanding of the common factors of the musical and linguistic environment of a certain piano style; creation of vivid sound-like performances based on emotional and intellectual comprehension of musical compositions, coordination of auditory-motor representations of such "mobile" expressive means as articulation, dynamics, agogics and timbre; improvement of motor skills from the point of view of physical convenience with the help of associations with previously acquired relevant performance experience, as well as life motor experience of economical expedient use of motor activity. The main stylistic features of sound production techniques in the interpretation of the piano heritage of Ludwig van Beethoven, Fryderyk Chopin, Serhiy Prokofiev are characterized on the basis of an analysis of their aesthetic ideals, "stable" and "mobile" expressive means of the composers' music, and the performing styles of the artists themselves. The examples of effective mastering by specific ways of combining tones that are appropriate in the style of composers are given. The described playing techniques are primarily a reference point in the art of sound production, a generalization of the rich scale of the pianistic initial touch. In practice, certain changes, combinations of techniques and movements can and do occur. In order to render the specific content of a piece of music, it is often necessary to deviate from the "textbook" way of playing with "exemplary" movements. At the same time, mastering the relationship and interdependence of stylistically conditioned sound tasks and expedient motor skills will make it possible to variably apply the playing techniques mastered in the embodiment of many nuances of the soundest images of highly artistic pieces of piano music.
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Humberstone, James. "The Patented Humberstone Four-Finger Technique (Beginner)." In The Music Technology Cookbook, 81–86. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197523889.003.0013.

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The lesson in this chapter explains a compositional approach for students who do not have any theoretical understanding of chords or harmony. Students are often put off by a music theory-first approach to composing, which can be a barrier for many interested but inexperienced students. This lesson emphasizes having fun and making music. This approach gets students who are using a keyboard (MIDI, on-screen, piano, it does not matter) to “randomly” create chords, then order them, and sequence them, to create an original piece of music. By diving directly into composing, students can gain both knowledge and confidence in their own musical voice.
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Conference papers on the topic "Piano – Technique"

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Wu, Ruisheng. "Analysis on the Emotion Expressing Technique in Piano Performance." In Proceedings of the 6th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/assehr.k.191217.201.

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Martin, Joel, Mark Latash, and Vladimir Zatsiorsky. "Inverse piano technique for studying finger interaction during pressing tasks." In 2009 world Haptics Conference (WHC 2009). IEEE, 2009. http://dx.doi.org/10.1109/whc.2009.4810806.

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Chen, Ping-Hsuan, Kai-Wen Liang, and Pao-Chi Chang. "Music Conversion from Synthetic Piano to Chinese Guzheng Using Image-based Deep Learning Technique." In 2020 IEEE International Conference on Consumer Electronics - Taiwan (ICCE-Taiwan). IEEE, 2020. http://dx.doi.org/10.1109/icce-taiwan49838.2020.9258036.

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Annisa, Auliya Ayu, Diah Latifah, Rita Milyartini, and Juju Masunah. "The Semi-Supine IT-Based Position of Alexander Technique to Overcome Adult Beginner Nervousness while Playing Piano." In 2nd International Conference on Arts and Design Education (ICADE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200321.033.

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Fahn, Chin-Shyurng, and Kai-Jay Lu. "Humanoid recognizing piano scores techniques." In 2014 International Conference on Information Science, Electronics and Electrical Engineering (ISEEE). IEEE, 2014. http://dx.doi.org/10.1109/infoseee.2014.6946149.

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"Analysis on the Evolution of Piano Playing Techniques." In 2018 4th International Conference on Social Sciences, Modern Management and Economics. Clausius Scientific Press, 2018. http://dx.doi.org/10.23977/ssmme.2018.62243.

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Zhu, Yiyu. "Study on the Evolution of Piano Playing Techniques." In 6th International Conference on Social Science, Education and Humanities Research (SSEHR 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/ssehr-17.2018.55.

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Liang, Beici, György Fazekas, and Mark Sandler. "Recognition of Piano Pedalling Techniques Using Gesture Data." In AM '17: Audio Mostly 2017. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3123514.3123535.

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Zhou, Xianying. "The combination of national music elements and western composition techniques in Liu Xiaogeng's Piano Works--In the piano works qSani fantasyq." In 2016 5th International Conference on Social Science, Education and Humanities Research. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/ssehr-16.2016.338.

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Tiemeyer, Daniel. "Johann Nepomuk Hummels Sonate in fis-Moll Op. 81 – Studien zu Entstehungshintergrund, Rezeption und formaler Struktur." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.74.

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The article examines the significance of one of Johann Nepomuk Hummel’s masterpieces. First, it highlights the circumstances of its production and the contemporary critical acclaim in the AmZ. In a second step, Robert Schumann’s involvement with this work is shown. In his journal, the sonata of Hummel is mentioned several times which indicates the engagement of the young piano discipline. In a short article, published in the NZfM in the year 1839, Schumann links this sonata with the compositional “way of Mozart” and thus gives an important hint to the formal design of the piece itself. Aspects of formal organization and structure of this sonata are analyzed and presented in the third part of the essay. In opposition to Beethoven’s motivic development, Hummel pursues another strategy of formal structure by stringing together each of the segments and themes. Thus, the focus shifts from a dynamic design of sonata-form to a more epic layout of the piece. Additionally, technical development and innovations concerning piano techniques and virtuosity are examined.
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