To see the other types of publications on this topic, follow the link: Piano – Technique.
Dissertations / Theses on the topic 'Piano – Technique'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Piano – Technique.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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.
2
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.
Full textAbstract:
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.
3
Oh, Sang-Eun. "La musique pour piano d'Olivier Messiaen: technique et esthétique." Paris 4, 2004. http://www.theses.fr/2004PA040082.
Full textAbstract:
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
4
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.
Full textAbstract:
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.
5
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.
Full textAbstract:
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
6
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/.
Full textAbstract:
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.
7
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.
Full textAbstract:
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.
8
Xu, Mo. "The high finger piano technique in China: past, present, and future." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6342.
Full textAbstract:
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.
9
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/.
Full textAbstract:
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.
10
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.
Full textAbstract:
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.
11
Kruja, Mira. "PIANO INSIDE OUT: THE EXPANSION OF THE EXPRESSIVE, TECHNICAL, AND SONOROUS SPECTRUM IN SELECTED TWENTIETH-CENTURY ART-MUSIC REPERTOIRE FOR THE MODERN ACOUSTIC PIANO." Lexington, Ky. : [University of Kentucky Libraries], 2004. http://lib.uky.edu/ETD/ukymuar2004d00228/Mkrujadma.pdf.
Full textAbstract:
Thesis (Ph.D.) --University of Kentucky, 2004.<br>Title from document title page (viewed on August 17, 2005). Document formatted into pages; contains: vii, 201 p. : music. Includes abstract and vita. Includes bibliographical references (p.187-197).
12
Wheatley-Brown, Michèle T. "An Analysis of Terminology Describing the Physical Aspect of Piano Technique." Thesis, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/20434.
Full textAbstract:
Mastering the physical aspect of piano technique has long been a topic of great interest and importance to pianists. This is borne out in the numerous pedagogical approaches on the topic of piano technique. Despite the many contributions from pedagogues and scholars in developing an understanding of piano technique, many conflicting approaches often cause more confusion than clarity. After reviewing the literature on pedagogical approaches to piano technique, this study determined that problematic language might lie at the root of the confusion. Core concepts identified in the review of literature as recurring areas of misunderstanding were tension, relaxation, co-contraction, arm weight, and hand and finger shape.
The purpose of this study is to seek where issues of language exist in contemporary piano pedagogical approaches and to show how these problems may contribute to the systemic confusion in piano technique. To do this, the language that is used to describe and define the core concepts identified in the review of literature is analyzed in five modern pedagogical approaches. Five authors who have developed approaches that reflect current trends in piano technique have been selected for this study: Barbara Lister-Sink; Dorothy Taubman; Thomas Mark; Fred Karpoff; and Alan Fraser. The first step of this study entails collecting data from each of the five pedagogical approaches. The data is then analyzed for consistency and accuracy. Problems in language that contribute to the inconsistencies and inaccuracies are examined and illustrated with material from the data collection.
This study concludes by identifying the main sources of confusion in the use of language: inconsistent and inaccurate use of terms; wavering between scientific, common, and invented language; challenges in describing opposing qualities that come from tension and relaxation; and failing to discern between the individual subjective experience and the mechanics of movement. By recognizing where the problems in language exist, this study represents an important first step for the pedagogical community to reach a common understanding of the language used to describe the physical aspect of piano technique.
13
Lipke-Perry, Tracy Donna. "Integrating Piano Technique, Physiology, and Motor Learning: Strategies for Performing the Chopin Etudes." Diss., The University of Arizona, 2008. http://hdl.handle.net/10150/193854.
Full textAbstract:
Chopin's twenty-seven études are both unique and standard within the genre of advanced piano literature. Having been composed as the instrument itself was standardized and on the heels of the didactic studies of the classical period, Chopin's études are widely heralded as exemplary pedagogical material for their uniform quality and comprehensiveness. Nevertheless, despite the vast number of resources devoted to the topic of how one might approach the études and the innumerable endorsements which tout their incomparable worth, relatively cursory mention is made of their musical value. From a physiological perspective, what makes Chopin's études exceptional amongst vast pedagogical repertory, and how does their musical value impact what pianists learn from their study?From a modern perspective, a musical image is both the model and the yardstick for the measure of technical achievement as one compares performance with his or her musical image. The Chopin études are therefore unique in two ways. First, a pianist's musical image of each of the Chopin études initiates an individual process of motor learning. The musical images, and therefore the goals and the processes, are inherently different from the vast majority of purely didactic studies and exercises. Secondly, the genius of Chopin permeates the overall conception of the études as he intuitively employed the human ability to develop motor skills in natural ways which continue to be understood and supported by ongoing research.This paper explores the Chopin études from a largely physiological and psychological perspective such that modern studies of mental imagery, skill acquisition, and human motor abilities converge and highlight what is readily available in the music itself.
14
Finlow, Simon Robert. "The piano study from 1800 to 1850 : style and technique in didactic virtuoso piano music from Cramer to Liszt." Thesis, University of Cambridge, 1986. https://www.repository.cam.ac.uk/handle/1810/250876.
Full text
15
Oliveira, Filho Manoel Theophilo Gaspar de. "A Utilização de Exercícios de Técnica Pianística no Ensino e na Prática de Sete Professores de Piano do Recife." Universidade Federal da Paraíba, 2015. http://tede.biblioteca.ufpb.br:8080/handle/tede/8669.
Full textAbstract:
Submitted by Morgana Silva (morgana_linhares@yahoo.com.br) on 2016-09-19T17:59:45Z
No. of bitstreams: 1
arquivototal.pdf: 1594329 bytes, checksum: 35c7653a9196ce37c2c8d75e4c54f7ce (MD5)<br>Made available in DSpace on 2016-09-19T17:59:45Z (GMT). No. of bitstreams: 1
arquivototal.pdf: 1594329 bytes, checksum: 35c7653a9196ce37c2c8d75e4c54f7ce (MD5)
Previous issue date: 2015-03-25<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>Historically, piano exercises have served a significant role in the development of piano
pedagogy. Nonetheless, these drills still manage to provoke debates and cause frequent
divergences of opinion among pianist and piano teachers world wide. Willing to offer further
material for debate, the objective of this research is to develop a better understanding of how
the teachers at the largest public schools in Recife (the Conservatório Pernambucano de
Música and Universidade Federal de Pernambuco) handle the topic. In other words, whether
or not they incorporate piano exercises into their teaching material. In order to collect this
information, we used semi-structured interviews. As a theoretical basis of the proposed
subject, this work will provide a historical description of piano technique and its evolution,
explain the differences in approach of various “Piano Technique Schools”, explore the
opinions of renowned pianists of the twentieth and twenty-first centuries, and compare those
opinions to the ideologies of the teachers interviewed. The conclusion of this work relies on
the fact that the use of technical exercises is still a controverse subject among piano teachers,
surrounded by disagreements, conceptual incoherences and diversity of opinion.<br>Em que pese ser um tema bastante antigo no âmbito da pedagogia pianística, o uso dos
exercícios de técnica ainda provoca debates e constantes divergências de opinião entre os
pianistas e professores de piano mundo afora. Com a finalidade de fornecer mais material para
discussão, este trabalho tem por objetivo investigar como um grupo de professores de piano
da cidade do Recife (docentes ou ex-docentes das duas principais escolas de música públicas
da cidade: Conservatório Pernambucano de Música e Universidade Federal de Pernambuco)
utiliza esse material, ou se o rejeita completamente na sua prática pedagógica. Para coletar
essas informações, optamos pelo uso de entrevistas semi-estruturadas. Neste trabalho
podemos encontrar, como embasamento teórico do tema proposto, um histórico da técnica
pianística, onde se discutem aspectos ligados à pedagogia pianística e às chamadas Escolas de
Técnica Pianística; relatos de importantes pianistas do século XX e XXI e suas posturas
acerca da utilização dos exercícios técnicos, e uma comparação analítica entre suas opiniões e
as dos professores do Recife entrevistados. À guisa de conclusão do trabalho vemos que a
utilização de exercícios técnicos ainda é um tema controverso no meio pianístico, cercado de
desacordos, de divergências conceituais e diversidade de opiniões.
16
Bascom, Brandon Roger. "The legacy of József Gát on piano performance and pedagogy." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3564.
Full text
17
Lym, Sang-hee. "Aspects of compositional technique in the late original solo piano pieces by Franz Liszt /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
Full text
18
Strohschein, Aura. "A performer's guide to Jody Nagel's "Concerto in B for piano and orchestra."." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5649.
Full textAbstract:
Jody Nagel completed his first piano concerto in 2005. I will discuss technical challenges within the piece and practice techniques to overcome these challenges so that one can perform the work successfully. I cover fingering, pedaling, texture, character, and harmonic issues. I also give performance advice to make the orchestral reduction more pianistic while still honoring the orchestra’s influence within the work.
19
Larsson, Daniel. "Tumregeln : En självstudie om tummen och dess roll i pianoteknik." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-78004.
Full textAbstract:
Syftet med denna studie är att utforska vilken roll tummen spelar inom pianoteknik, vilka metoder som kan användas för att minska ofrivilliga spänningar i tummen samt om medveten övning under en period leder till en märkbar förbättring i tumteknik. Studien utgår ifrån ett fenomenologiskt perspektiv och baseras på självobservationer med hjälp av loggbok och videodokumentation. Forskning tyder på att överansträngning av tummens muskler är vanligt bland pianister, samt att fingrarna påverkar varandra i deras rörelser. Litteratur inom pianoteknik diskuterar ofta hur tummen kan påverka spelet och att problematiken med ofrivilliga spänningar. I resultatet diskuteras min upplevda utveckling, vilka metoder jag använde och vilka fördelar jag upplevde i samband med färre spänningar i tummarna. I resultatet framgår det att jag i samband med dedikerade övningspass upplevde en förbättring i tumteknik på flera håll, att flera olika metoder för att minska ofrivilliga spänningar i tummens muskler hittades och att det fanns flera fördelar med friare tummar, exempelvis mindre trötthet och mer tillfredställande musikalisk gestaltning. Studien ställer resultatet mot tidigare litteratur och forskning och finner samband mellan bland annat använda metoder och hur trötthet i muskler infinner sig under pianospel.<br>The purpose of this study is to investigate the roll of the thumb in piano technique, what methods can be used to reduce involuntary tensions in the thumb and whether dedicated practise over a certain time period can lead to a noticeable improvement of thumb technique. The study is based on a phenomenological perspective and self-observations using a logbook and video recordings. Research suggests that excessive straining of the thumb’s muscles is common among pianists, and that fingers affect each other in their movements. Literature on piano technique regularly discuss how the thumb can affect piano playing as well as the problems of involuntary tensions. The results of this study discuss my experiences of progress, what methods I used and what advantages I experienced in relation to less tension in the thumbs. The results show that I, on account of my dedicated practising, experienced an improvement in thumb technique on several levels, that different methods to reduce the amount of tension in the thumbs were found, and that there were several advantages with freer thumbs, for example reduced fatigue and more satisfying musical performances. The study discusses the results in relation to earlier literature and research and establishes connections between, among other things, applied methods and how fatigue in the muscles is manifested during piano playing.
20
Santiago, Patricia Furst. "An exploration of the potential contributions of the Alexander Technique to piano pedagogy." Thesis, University College London (University of London), 2004. http://discovery.ucl.ac.uk/10019250/.
Full textAbstract:
This study investigates to what extent a specific body-mind technique - the Alexander Technique - helps young Brazilian piano pupils to improve their approach to learning and their perforinance. The study took as its starting point a review of the literature on the Alexander Technique and on piano pedagogy, written in English and Portuguese, as well as a range of related and complementary literatures. Data was collected using several methods, including an experimental strategy with random allocation of pairs of pupils to experimental and control conditions (matched pairs), audio-visual materials, group discussions, written feedback from piano teachers and pupils, and semi -structured interviews with eight significant Brazilian piano pedagogues. A number of observers including doctors, piano teachers, general music teachers, Alexander teachers, and the researcher, studied and assessed the pupils' changes in physical, attitudinal, and performing aspects over a period of time. Qualitative and some quantitative analysis of the observational data is undertaken, and possible explanations are suggested for the changes that occurred to the pupils' piano performance. The findings suggest that the Alexander Technique had a direct positive effect on the pupils' physical and attitudinal aspects and on their process of learning, and an indirect positive effect on their performances. Finally, the study proposes potential contributions of the Alexander Technique's principles to piano pedagogy, which could provide a more holistic approach to piano teaching and learning, leading to better performance standards and learning experiences for children.
21
Oliver, Gertruida Johanna. "Brahms’s Sonata/Quintet Opus 34 : pianism as facilitating concept in establishing the link between technique and interpretation." Thesis, University of Pretoria, 2014. http://hdl.handle.net/2263/40241.
Full textAbstract:
Primarily the writer was interested in the relationship between technique and interpretation in the concept of pianism, especially in the music of Brahms, because of the technical difficulties thereof. In this study the truism that technique = interpretation is the focus point. After giving many different opinions about this, the writer brings it into context with Brahmsian pianism specifically. It is made clear how Brahms used certain techniques for certain soundworlds that he wanted to create, in order to reach a certain interpretation, and that there are recurring technical procedures in opus 34, 35, 56b and the 51 exercises. As an interface to these Brahmsian techniques, the writer selects a mixture of generic technical aspects from a wide scope of other musical minds. There is a definite inter-reaction between all these generic aspects and those of Brahms.
The background and history of opus 34 is explained, plus a short section about Brahms aesthetics/ambiguity, and some philosophical opinions about the dimension of emotions and feelings in interpretation. However, the writer explains that this dimension is outside the scope of this thesis. A summary of schools of thought on technique and theories of interpretation is given to establish the links between them. Using available literature on quintets, ensembles, pianism, idiomaticism and timbre, the piano quintet specifically was explored for the uniqueness of its features. Brahms’s individualistic approach to pianism, as exemplified by his chamber music and his unique contributions to virtuoso technical routines, is examined against the background of sonorities of the piano and underpinned by appropriate technical skills. Against a template of pianistic criteria, appropriate examples, rich in context, are analysed both technically (objectively) and interpretatively (subjectively) to educe outcomes that establish that the two approaches have a holistic relationship and are ultimately inseparable and interdependent. The score examples show how technical difficulties escalate in combinations of complex movements in the “marriage” of technique and interpretation, and how interpretation relies primarily and fundamentally on the craft of technique, which is also an art in itself.<br>Thesis (DMus)--University of Pretoria, 2014.<br>gm2014<br>Music<br>unrestricted
22
Robine, Éric. "Fondements et mécanismes rationnels de la technique pianistique pour une théorie globale du jeu de piano." Paris 4, 1986. http://www.theses.fr/1986PA040313.
Full textAbstract:
La thèse comprend cinq parties : les fondements ou généralités, les formes normales de jeu, les formes exceptionnelles de jeu, les auxiliaires de l'exécution et l'histoire de la technique du piano à travers les différentes écoles. Les fondements découlent de l'étude des lois générales qui gouvernent l'exécution. Ces lois tiennent à l'instrument lui-même, au corps et à leurs relations spécifiques. La façon rationnelle de produire le son et de le modifier est étudiée en détail. La régularité de la respiration et la direction du regard influencent aussi la qualité du jeu. Des préceptes gouvernent la nature et la hauteur du siège et sa distance au clavier. Les lois physiques conduisent de même à déterminer une position normale de jeu. Le dernier fondement est le lien qui doit exister entre technique et musique. Les formes de jeu sont les applications particulières des principes exposés. Les formes normales sont les plus usuelles. Elles comprennent l'attaque directe et l'attaque indirecte. La première est réservée aux accords. La seconde a, au contraire, un très grand nombre d'applications qui font toutes l'objet d'une analyse approfondie. Le pianiste doit non seulement connaitre les formes de jeu mais les auxiliaires de l'exécution. D'où des considérations sur les doigtes, pédalisation, la façon de travailler l'apprentissage de la discrimination musculaire et d'une bonne respiration. Enfin, l'histoire de la technique du piano à travers les différentes écoles permet de voir émerger les idées rationnelles dont il restait à faire la synthèse<br>The work includes five parts: foundations or general, the normal forms of playing, the exceptional forms of playing, the auxiliaries of touch, the history of pianoforte technique through the various schools. Foundations follow from the study of the general rules which govern touch. Such rules are in relation to the piano itself, the body and their specific relations. The rational way to make tone and to modify it is scrutinized in detail. A free breathing and proper direction of the eyes exert also an influence on the quality of piano playing. Some rules govern also the nature of the stool, the sitting-height and the distance from the piano. Physical laws determine in the same manner a normal position for the player. The last foundation relates to the connection which must be secured between music and technique. The forms of playing are specific applications of the above principles. The normal forms are the most usual ones and include direct and indirect swing-strokes. Direct swing-stroke is used for chords. Indirect swing-strokes has on the contrary a great number of applications which are thoroughly examined. The pianist should know also the auxiliaries of touch. Considerations are devoted to fingering, pedalizing, methods of practice, learning of muscular discrimination and free breathing. Finally from the story of the technique of piano playing through the various schools one can see how came into view the rational ideas of which a synthesis remained to be done
23
Farias, Eldia Carla. "CREATIVE TREATMENT OF FOLK MELODIES IN SELECTED CIRANDINHAS AND CIRANDAS OF HEITOR VILLA-LOBOS." UKnowledge, 2015. http://uknowledge.uky.edu/music_etds/48.
Full textAbstract:
This study provides a comparative analysis and performance suggestions for three Cirandinhas and three Cirandas for solo piano by Heitor Villa-Lobos in order to demonstrate their aesthetic and pedagogical value. The primary objective is to argue for the significance of the Cirandas as concert works and of the Cirandinhas as didactic ones. To better explore these two sets of pieces and their interconnections, the selected Ciranda-Cirandinhas pairs are all based on the same folksong theme. Thus, the analyses also demonstrate Villa-Lobos’s desire to represent Brazilian culture through his music and the ingenuity with which he treated the same melodic material within performative and pedagogical contexts. Heitor Villa-Lobos is recognized as the most significant creative figure in twentieth-century Brazilian art music and as one of the distinguished Latin American composers to date. His distinctive compositional style represents a thorough synthesis of influences from European art music with the African, Indo-American, and cosmopolitan urban idioms of Brazilian vernacular music. Villa-Lobos’s output comprises more than 2000 compositions in a wide variety of genres: symphonies, concertos, operas, chamber music, art songs, and solo piano music. Throughout his career, he was a devoted supporter of music education for young people and of the development of a distinctively Brazilian art-musical tradition. The Cirandinhas and Cirandas represent an intersection of these two concerns. This study will be meaningful to both performers and piano teachers, whom it will encourage to include Villa-Lobos’s works within their concert repertory or teaching curricula. The document includes an introduction, a brief contextualized biography of the composer, a comparative analysis of the selected Cirandinhas and Ciranda with performance suggestions that touches on stylistic, pedagogical, and technical features of the pieces; a conclusion; appendices that include a chronological list of Villa-Lobos’s piano works and the titles and translations of all the Cirandinhas and Cirandas; and a bibliography.
24
Costa, Viviane de Mendonça Fiaia. "Potencialidade interpretativa do piano digital Clavinova CVP 401: um estudo de caso." Universidade Federal de Goiás, 2013. http://repositorio.bc.ufg.br/tede/handle/tede/4001.
Full textAbstract:
Submitted by Erika Demachki (erikademachki@gmail.com) on 2015-01-29T17:22:50Z
No. of bitstreams: 2
license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)
Dissertação - Viviane de Mendonça Fiaia Costa - 2013.pdf: 2823749 bytes, checksum: ecfd680ce08bcf98dfe51f08f6e6d2d2 (MD5)<br>Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2015-01-29T17:44:58Z (GMT) No. of bitstreams: 2
license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)
Dissertação - Viviane de Mendonça Fiaia Costa - 2013.pdf: 2823749 bytes, checksum: ecfd680ce08bcf98dfe51f08f6e6d2d2 (MD5)<br>Made available in DSpace on 2015-01-29T17:44:58Z (GMT). No. of bitstreams: 2
license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)
Dissertação - Viviane de Mendonça Fiaia Costa - 2013.pdf: 2823749 bytes, checksum: ecfd680ce08bcf98dfe51f08f6e6d2d2 (MD5)
Previous issue date: 2013-04-27<br>The digital piano is an instrument that has been increasingly used in the musicalization
process, instrument practice, and performance. As every instrument has a peculiar technique,
the digital piano also offers possibilities in musical interpretation. In the context of teaching
piano in group, we investigated the possibilities that the digital clavinova piano CVP 401,
instrument used in the piano laboratory at UFG, offers to the musical interpretation.
Therefore, the aim of this research is to study the possibilities that the digital piano offers for
musical interpretation in this context. For this purpose, three musical pieces of three different
music styles were taught: classic, romantic, and Brazilian dance (samba), for piano students in
groups, presenting technical tools for distinction in articulation and phrasing for each style in
order to evaluate the end result sound. The results are discussed based on the concept of
interpretation and musical style of Thurston Dart (2000), Nikolaus Harnoncourt (1998 ),
Muniz Sodré (1998) and Carlos Sandroni (2008) technical knowledge of the mechanism of
the digital piano used, assessment of four renowned pianists, and the researcher’s experience
and knowledge in using the acustic piano and the digital piano. As a result of this work, the
digital clavinova CVP 401 offers a potential for different interpretation styles, but with
limitations regarding the level of repertoire and the reverberation of harmonics.<br>O piano digital é um instrumento que vem sendo cada vez mais utilizado no processo de
musicalização, prática do instrumento, e performance. Como todo instrumento possui uma
técnica peculiar, o piano digital também oferece possibilidades na interpretação musical.
Dentro do contexto do ensino de piano em grupo, investigamos as possibilidades que o piano
digital clavinova CVP 401, instrumento utilizado no laboratório de piano em grupo da UFG,
oferece para a interpretação musical. Para isso ensinamos três peças de três estilos musicais,
clássico, romântico e dança brasileira (samba), para alunos de piano em grupo, apresentando
ferramentas técnicas para distinção de articulação e fraseado referentes a cada estilo com o
intuito de avaliarmos os resultados sonoros. Discutimos tais resultados tendo como
fundamentação o conceito de interpretação e estilo musical conforme Thurston Dart (2000),
Nikolaus Harnoncourt (1998), Muniz Sodré (1998) e Carlos Sandroni (2008), o conhecimento
técnico sobre o mecanismo do piano digital utilizado, a avaliação de quatro pianistas
renomados e as experiências e conhecimentos da utilização do piano acústico e piano digital
desta pesquisadora. Como resultado desse trabalho, o piano digital clavinova CVP 401
oferece uma potencialidade para interpretação de estilos diferenciados, mas com limitações no
que concerne ao nível do repertório e a reverberação de harmônicos.
25
Allsop, Li Li. "Investigating the prevalence of playing-related musculoskeletal disorders in relation to piano players' playing-techniques and practising strategies." University of Western Australia. School of Human Movement and Exercise Science, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0090.
Full textAbstract:
This study placed specific emphasis on the motor-skills and practice strategies employed by piano players when practising and performing in relation to playing-related musculoskeletal disorders (PRMDs). The survey questionnaire-instrument was designed by the researcher to investigate the prevalence of PRMDs among both professional and non-professional piano players. Five hundred and five respondents completed the self-administered survey questionnaire. Out of the total 505 participants, 42% of the players reported PRMDs. The professional players (72%) reported a significantly higher incidence (p < 0.05) of PRMDs in comparison with the non-professional group. The professional players with piano as their major instrument, using predominantly neutral wrist posture (i.e., open-kinetic chain playing technique), reported a significantly higher incidence of PRMDs. Although the present study showed a greater number of years of playing was associated with greater risk of PRMDs, the result also showed that the years of playing had no significant effect on the incidence of PRMDs (p > .05) when it was analyzed with the practice hours within seven days. Moreover, analyzing the practice hours over seven days with the piano major/non-major instrument, the various grade levels and PRMDs; the results showed that the practice hours had no significant effect on the groups with and without PRMDs (p > .05). Although women reported a significantly higher percentage of PRMDs (p < 0.05) than men, there was no significant association between the groups with and without PRMDs when analyzing practice hours over seven days by grade levels and gender. The PRMDs seem to arise when overuse is compounded by misuse and/or adverse playing conditions. The best and safest practice would be to minimize consumption of musculoskeletal force production and combine this with effective practice-breaks between sessions to achieve the optimum goal of daily practice. Keywords: hand injury, PRMDs, wrist pain, hand-span size, playing-technique, and piano player.
26
Corvisier, Fátima Graça Monteiro. "Antônio de Sá Pereira e o ensino moderno de piano: pioneirismo na pedagogia pianística brasileira." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-19112010-090043/.
Full textAbstract:
Antônio de Sá Pereira é um dos pioneiros da Pedagogia do Piano no Brasil. Seu tratado Ensino Moderno de Piano (1933) aborda a técnica pianística cientificamente e abrange questões diversas como a leitura à primeira vista e o desenvolvimento da audição crítica do aluno. Esta obra refere-se pela primeira vez no Brasil à fisiologia dos movimentos pianísticos, sistematiza o emprego da técnica de peso do braço na execução, aplica estratégias racionais de estudo e visa ensinar o aluno a pensar e a ouvir por conta própria. A pesquisa analisa o tratado relacionando-o com as principais teorias que o fundamentaram. Ao mesmo tempo aponta seu pioneirismo em relação ao meio musical brasileiro da época, o grau de originalidade de seu conteúdo e a atualidade das ideias que defende. A obra é circunstanciada por dados biográficos de Sá Pereira, material documental e bibliográfico. Sá Pereira consegue através de um trabalho de síntese e objetividade, tornar acessível e compreensível uma visão da técnica até então praticamente desconhecida no Brasil. Embora haja grande afinidade entre suas ideias e as dos principais teóricos da época, a adesão de Sá Pereira aos princípios que norteiam a moderna técnica pianística não é dogmática, pois Sá Pereira encontra o equilíbrio entre a abordagem técnica que utiliza o peso do braço e a técnica de dedos. Ao considerar que ambas se completam, demonstra uma visão atual da técnica pianística. Mais do que um tratado de técnica pianística, o Ensino Moderno de Piano buscou transformar e modernizar o ensino pianístico praticado no Brasil.<br>Antônio de Sá Pereira was a renowned scholar and a pioneer of Piano Pedagogy in Brazil. His treatise on piano teaching and technique, Ensino Moderno de Piano (Modern Piano Teaching -1933), encompasses several related subjects such as sight reading and critical listening. This is the first time a Brazilian work describes the physiology of piano playing movements and systematizes the use of the arm-weight technique. The work also applies rational strategies toward practice in order to teach the students to think and listen by themselves. This thesis analyzes Ensino Moderno de Piano relating it to the theories on which it was based and pointing out its originality in the context of related Brazilian works on piano technique. This thesis also verifies the modernity of its ideas. Biographical, documental and bibliographical data on Sá Pereira contextualize the treatise. Sá Pereiras work synthesizes the modern piano technique theory using an accessible and objective language. At that time, arm-weight technique was a barely known subject in Brazil. On the other hand, Sá Pereira does not follow the principles of Modern Piano Technique in a dogmatic way. Although there is great affinity with his ideas and those of the great theorists of the period, Sá Pereira still finds a balance between the two different types of piano technique approach the arm-weight and the finger technique. He considers them complementary to each other, a contemporary perspective on piano technique. More than a treatise on piano technique, the work Modern Piano Teaching aims to transform and to modernize piano teaching methods employed in Brazil.
27
Lee, Ji Sun. "Revolutionary etudes: The expansion of piano technique exploited in the Twelve New Etudes of William Bolcom." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/280375.
Full textAbstract:
The first etudes, written in the seventeenth century, were study pieces created for the development of a particular aspect of performing technique. Chopin and Liszt are acknowledged to be the major figures in the later development of the concert etude. These contain not only the expected studies of various matters of technique but also deal with musicianship, including cantabile playing and the projection of the composer's poetic intentions. William Bolcom's Twelve New Etudes, like those of Chopin, are studies in style synthesis as well as in pianism. The uniqueness of these two composers' etudes consist in combining the technical innovations of their contemporaries and mixing their "classical" style with lighter elements, including programmatic ideas and bel canto style. This document will consist of a discussion of twentieth-century piano techniques utilized in each of Bolcom's Twelve New Etudes and also a discussion of how these techniques and compositional styles enhance the poetic quality of these works. This will be preceded by a brief history of the development of the concert etude, a discussion of the Chopin Etudes and the poetic elements of Debussy's Preludes , and other important influences on Bolcom's works. In addition, some parallels and contrasts will be drawn between the Bolcom etudes and those of Chopin.
28
Wessels, Rachelle. "'n Ondersoek na die tegniese aspekte van A. Scriabin se Prelude vir die linkerhand, Op. 9, no. 1 / R. Wessels." Thesis, North-West University, 2009. http://hdl.handle.net/10394/5108.
Full textAbstract:
The left hand has always been perceived as the weaker of the two hands and since about 1840, a substantial amount of piano repertoire for the left hand has seen the light. Composers continue to show an interest in composing works in this genre and the reasons are mainly because of injuries to the right hand, to aid in the pianist's technical development, because of the challenge it poses to the composer and finally to delight audiences with an unique technical display. The technical challenges that are present in these works, differ greatly from the difficulties found in piano music for both hands. In order to give a commanding performance, the pianist is required to make certain adjustments. In music for the left hand alone, this hand is suddenly solely responsible for both the melodic lines and accompanying textures simultaneously. By addressing the technical difficulties of a composition, the interpretation of the work is invariably influenced. One of the most well-known works in this genre, A. Scriabin's Prelude for the left hand, Op. 9, no. 1, has been used to identify the technical aspects in piano music for the left hand.
The question that arises, is: which specific technical aspects can be identified in A. Scriabin's Prelude for the left hand, Op. 9, no. 1? The following questions are subsequently raised: firstly, how will the pianist approach these technical aspects, and secondly, how will certain technical adjustments benefit the performance and interpretation of the work?
The hypothesis holds that the pianist will have to identify and address the unique technical aspects of piano works for the left hand alone, in order to perform these works successfully. Four specific areas have been identified that could be considered the main factors contributing to the technical challenges idiomatic of music for the left hand: fingering, pedalling, balance and voicing and physical flexibility.<br>Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2010.
29
Ekroth, Marcus. "Ta det piano : En observationsstudie i en gitarrists övande av pianoteknik." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-63790.
Full textAbstract:
Syftet med detta arbete är att undersöka på vilket sätt det är möjligt att designa en övningsprocess för att uppnå spelteknisk utveckling på instrumentet piano och om denna process kan gynna en utveckling inom området improvisation. För att undersöka detta har jag under en tioveckorsperiod övat på två specifika övningar, ca. fem övningspass i veckan á 20-30 minuter per tillfälle. Dokumentation av övandet har skett via videofilmning och loggboksskrivande. Jag har i analysen utgått från ett designteoretiskt perspektiv. I resultatdelen av arbetet beskrivs vilka resurser jag använt för att öva, hur övningen designats samt hur mitt pianospel, med inriktning på improvisation, påverkats av detta övande. Det har i resultatet framgått att många olika typer av resurser använts och att mycket av det jag valt att fokusera på har gett positiva resultat. I diskussionsdelen diskuteras resultatet utifrån det designteoretiska perspektivet samt den litteratur och tidigare forskning som jag presenterat.<br>The purpose of this study is to observe and examine my own learning process when practicing technique on the piano. The purpose is also to observe how this affects my piano playing. In order to examine this I have, during a ten week period, practiced two specific exercises, five times a week 20-30 minutes per session. I documented the sessions via video and a logbook. I have chosen a design theoretical perspective as my theoretical basis. In the result section, I describe which resources I have used in my practice, how I choose to design my practice as well as how it has affected my piano playing. It turns out that I have used many different resources and that many of them has produced positive results. Lastly, I discuss the results in relation to relevant literature and research.
30
Clarke, Simon. "A critical study of Ravel's orchestral technique with a transcription of his sonata for violin and piano." Thesis, University of Manchester, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.548668.
Full text
31
Sabo, Jeffrey. "Qualitative Content Analysis Examining the Biomechanical Implications of Curling and Keybedding in the Taubman Approach." Thesis, Université d'Ottawa / University of Ottawa, 2021. http://hdl.handle.net/10393/41612.
Full textAbstract:
Many pianists are impacted by playing-related pain and injury, but a great deal is still
unknown about the development and prevention of these problems. Several approaches to piano technique have been developed to provide technical recommendations based on scientific ideas. The anecdotal success of some approaches suggests that understanding the biomechanical concepts underlying them may be beneficial. However, these approaches are rarely discussed in the literature, in part due to linguistic inconsistencies among pedagogical and scientific disciplines. This has created obstacles to scientific evaluation of the claims made by pedagogues,
and it has limited the degree to which knowledge transfer can occur among different fields. One approach that has been anecdotally successful in alleviating and preventing playing-related problems is the Taubman Approach, which aims in part to identify certain “sources of tension” that may increase the likelihood of developing physical problems.
This study used Qualitative Content Analysis (QCA) to examine sources on the Taubman Approach in order to identify claims about biomechanics underlying two different “Sources of tension:” “Curling” and “Keybedding.” The results from each QCA were then used to propose a biomechanical explanation of these concepts in language that is consistent with current scientific literature. The results of the analysis on “Curling” suggest that actively flexing the DIP/PIP joints requires activating multiarticular muscles, which can lead to increased muscle contraction,
forces, and stiffness across multiple degrees of freedom when playing. Motions and positions proposed by the Taubman Approach as alternatives to “Curling” were also examined. The results of the analysis on “Keybedding” indicated that using excess fingertip force once the key is depressed may be problematic. Relevant aspects of the piano mechanism were identified, as well as recommendations for the proper setup at the keyboard that may impact muscle contraction, forces, and stiffness once playing begins. Subjective terms were analyzed to differentiate biomechanical aspects of the recommended way to keep the key depressed from other ways that may be problematic. The hand and forearm were said to have an important role in generating the necessary fingertip force to keep the key depressed without using excessive muscle contraction across the finger joints. Both analyses also identified technical and physical problems that may be relevant to each concept. The findings in this study yielded insights into important issues related to the terminology used to describe piano technique in different contexts. These insights included the need for clear differentiation between subjective and objective language, as well as the need for understanding pedagogical language in context before knowledge transfer can occur.
32
Pontes, Vânia Eger. "Técnicas expandidas - um estudo de relações entre comportamento postural e desempenho pianístico sob o ponto de vista da ergonomia." Universidade do Estado de Santa Catarina, 2010. http://tede.udesc.br/handle/handle/1578.
Full textAbstract:
Made available in DSpace on 2016-12-08T17:06:50Z (GMT). No. of bitstreams: 1
vania.pdf: 7718940 bytes, checksum: 9e8288a31342611478f04cd0b8319dff (MD5)
Previous issue date: 2010-04-26<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>This dissertation looks at the results of an investigation of piano performance (the author's, who is also the research subject) under the light of a dialogue between
performance and Ergonomics, applied to the practice of pieces asking for extended techniques. In order to optimize musical and instrumental performance, the dissertation intends to investigate the applicability of ergonomical axioms to the performer's postural behavior in three specific situations during extended techniquepractice. The piano repertoire chosen for study was: Twin Suns, from the set Makrokosmos II, by George Crumb (b. 1929); Aeolian Harp by Henry Cowell (1987- 1965); and Profiles to A, from Vox Victimae, by Didier Guigue (b. 1954), and the practice procedure utilized by the author for these pieces was described. From the same repertoire, three specific situations of instrumental performance containing
extended technique were chosen, more specifically string piano technique, in order to discuss them from an ergonomical perspective. Different possibilities for technical and postural situations, as found during practice in two pianos of different models and brands, were investigated. Ergonomics is an interdisciplinary area which deals with the relationship between work and man; it cherishes, first of all, his health and comfort, in order to optimize a given activity and diminish its damaging effects. This research is the result of theoretical reflections which were originated by practice, and
the main focus was on physical Ergonomics, which deals with anatomical and postural aspects. In the discussion of the technical-instrumental procedures, a subjective method for the optimization of work was used. Having applied ergonomical concepts to the practice and performance of extended technique pieces, this research and its results may guide similar piano performance situations and
eventually be applied or adapted by other pianists in search of optimal solution to their problems, according to their individual physical particularities<br>Esta dissertação reflete os resultados de uma investigação sobre a prática pianística, neste caso da autora e sujeito da pesquisa, realizada sob a perspectiva de pressupostos da técnica pianística em diálogo com abordagens da ergonomia
aplicadas ao estudo de obras com técnicas expandidas. Visando a otimização do desempenho músico-instrumental, objetiva investigar sobre a aplicabilidade de pressupostos ergonômicos a partir do comportamento postural em três situações específicas de estudo envolvendo técnicas expandidas. As peças do repertório pianístico selecionadas para o estudo foram: Twin Suns do caderno Makrokosmos
II de George Crumb (1929), Aeolian Harp de Henry Cowell (1897- 1965) e Profiles to A de Vox Victimae- de Didier Guigue (1954), sobre a quais foi realizada uma descrição dos processos de estudo utilizados pela autora. Do mesmo repertório foram selecionadas três situações específicas de execução instrumental contendo técnicas expandidas, mais especificamente string piano, para serem discutidas sob o
ponto de vista da ergonomia. Foram investigadas possíveis variedades de situações técnicas e posturais encontradas durante a prática pianística quando da utilização de
dois pianos de marca e modelos diferentes. A ergonomia é uma área interdisciplinar que trata da relação entre o trabalho e o homem; preza, em primeiro lugar, pela sua saúde e conforto, visando a diminuição de efeitos nocivos e a otimização da atividade realizada. Esta pesquisa é fruto de indagações surgidas em decorrência de uma prática e a ênfase foi pelo domínio da ergonomia que trata, sobretudo, de
aspectos anatômico-posturais. Para a discussão de procedimentos técnicopianísticos foi utilizado o método subjetivo de otimização do trabalho. Tendo sido elencadas contribuições da ergonomia ao estudo e desempenho de peças que contêm tais técnicas, os resultados desta pesquisa poderão servir de orientação para a prática de situações de execução pianística equivalentes àquelas apresentadas e, oportunamente, poderão ser aproveitados, ou adaptados, por pianistas, sempre de acordo com suas características físicas individuais, em busca de solução ótima a problemas
33
Lister-Sink, Barbara Ann. "A study of students' perceptions of the effectiveness of an interdisciplinary method for teaching injury-preventive piano technique." Thesis, Teachers College, Columbia University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3707098.
Full textAbstract:
<p> The rate of playing-related neuromusculoskeletal disorders (PRNDs) in advanced pianists remains consistently high worldwide, often limiting or ending study and playing careers. Injured pianists—desperate for solutions—seek out allegedly scientifically-informed approaches to developing injury-preventive technique but none of these approaches have been seriously investigated. This mixed-methods study investigated one interdisciplinary, non-traditional approach (the “Method”) that had received considerable anecdotal support but had not been studied systematically to ascertain its efficacy in recovering from and preventing recurrence of PRNDs, as well as its effects on technique, musicality, and extra-musical factors. Participants included undergraduate and graduate students, independent piano teachers, college teachers, and professional pianists and organists who had studied the Method for at least two academic semesters between 1990 and 2015. An anonymous survey was administered to 103 pianists and organists aged 22 to 82, with 74 (<i>N</i>=74) pianists responding (71.8%), and 26 pianists and organists were interviewed in-depth. Survey and interview results established that participants perceived the Method as significantly helpful in facilitating recovery from PRNDs. Significance of relationships among codes included correlations of .70 between the code “it works” and “playing without injury,” and .66 between “it works” and “playing again.” Interviewees also perceived the Method as helpful in preventing recurrence of PRNDs, as shown by the high correlation between the codes “will help prevent injuries” and “learned a lot from studying the Method” (.67). A one-sample t-test performed on the survey data also showed a positive perception (p < .001) of the Method in helping recovery from and prevention of recurrence of PRNDs. Additionally, both the survey and interview participants reported improvement of technique and musicality with many also reporting enhancement of their extra-musical lives. A one-sample t-test on the survey data showed these improvements to be significant at a 5% level or better. Research also yielded data on psychological, emotional, and professional challenges to learning the Method, as well as reactions to specific aspects of the Method. It is hoped that the data might serve as a baseline and become a useful model for the investigation of other approaches for teaching injury-preventive piano technique.</p>
34
Nelson, Anne Marie. "Ignacy Jan Paderewski's Piano sonata in E-flat major, opus 21 insights into his compositional technique and performance style /." connect to online resource. Access restricted to the University of North Texas campus, 2003. http://www.library.unt.edu/theses/open/20031/nelson%5Fanne%5Fmarie/index.htm.
Full textAbstract:
Thesis (D.M.A.)--University of North Texas, 2003.<br>Accompanied by 4 recitals, recorded Apr. 25, 1994, July 31, 1995, Nov. 17, 1997, and Nov. 18, 2002. Includes bibliographical references (p. 183-192).
35
Méndez-Flanigan, Maria Gisela. "Peter Lieberson's First Piano Concerto: A Buddhist-inspired poetic vision realized through twelve-tone language, other contemporary compositional techniques, together with three recitals of works by Bach, Chopin, Mozart, Albéniz, Grieg, Ginastera and Paderecki." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3175/.
Full textAbstract:
The main objective of this document is to explore the life and spiritual convictions of composer Peter Lieberson, and the creation of his Piano Concerto. Lieberson is a sought after composer who has won many awards and commissions. His works have been premiered and performed by some of the best musical artists of the late twentieth- and early twenty-first-century, such as Peter Serkin, Emmanuel Ax, Yo-Yo Ma, and Pierre Boulez. This study is divided into six chapters. After the Introduction, a biographical summary of Peter Lieberson's life, his spiritual beliefs and compositional style is presented. Chapter II contains background information on the Piano Concerto, along with biographical sketches of Peter Serkin, for whom the work was written, and Seiji Ozawa, music director of the Boston Symphony Orchestra and conductor of both the premier performance and Serkin's recording of the piece. Chapter III is a selective survey of the compositional techniques used in Lieberson's Concerto, in terms of the application of twelve-tone theory and the resulting octatonic, pentatonic, and whole-tone scales. Chapter IV introduces a general overview of the influence of Buddhism as a source of inspiration in the Piano Concerto. Chapter V examines aspects of performance practice issues. Chapter VI provides conclusions. The aim of this study is to further establish Peter Lieberson's stature as an important modern American composer. It is hoped that this study will encourage further research and interest in his works.
36
Fernandes, Felipe Cabreira. "Estudos para piano de Cláudio Santoro: movimentos gerais e uma abordagem técnico-interpretativa." Universidade do Estado de Santa Catarina, 2011. http://tede.udesc.br/handle/handle/1591.
Full textAbstract:
Made available in DSpace on 2016-12-08T17:06:53Z (GMT). No. of bitstreams: 1
Felipe.pdf: 5898572 bytes, checksum: f292aa657a643cea7cfacd20edb8c1bc (MD5)
Previous issue date: 2011-05-09<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>This dissertation presents a study on the Estudos Nº. 1 (1959) e Nº. 2 (1960) for piano solo composed by Cláudio Santoro (Manaus, 1919 Brasília, 1989). Based on research on approaches to piano technique and aspects of analysis, this study aims to gather information about the most recurring Movements used in the two pieces providing a source for orientation to be applied during the preparation of the Estudos. For the development of this proposal, research about the life and work of the composer Cláudio Santoro as well as about the Studies genre was made. After that, technical-interpretative situations contained in the pieces were identified, selected and studied, seen that the Estudo Nº1 and the Estudo Nº2 are pieces which scores present musical material that during the instrumental interpretation result in the production of contrasting sound effects and require the use of body movements, which, once worked through in a reflective manner, can contribute to the technicalinterpretative development of the pianist. These actions were made with the use of the printed score of the Estudos. Alongside this work, references about different ways of approaching piano technique were consulted, especially those related to adequating technique to a sound-related objective. These researches propose the integration of technique to study strategies, aiming at improving interpretation and use of movement and of the factors which influence development. Information found in this study may interest those who want to know and interpret the referred pieces and other piano works composed by Santoro which contain the same characteristics<br>Esta dissertação apresenta uma investigação sobre os Estudos Nº. 1 (1959) e Nº. 2 (1960) para piano solo do compositor Cláudio Santoro (Manaus, 1919 Brasília, 1989). Com base na pesquisa de abordagens da técnica pianística e de aspectos de análise tem o objetivo de levantar os Movimentos mais recorrentes nos dois Estudos como fonte de orientação a ser aplicada durante a preparação das mencionadas obras. Para o desenvolvimento desta proposta foi inicialmente realizada uma pesquisa bibliográfica referente à vida e obra do compositor Cláudio Santoro e sobre o gênero Estudo. Em seguida foi feito um levantamento, seleção e estudo de situações técnico-interpretativas contidos nas peças, visto que o Estudo Nº. 1, e o Estudo Nº. 2 são peças que têm em sua escrita, materiais musicais que durante a sua realização instrumental resultam na produção de efeitos sonoros contrastantes entre si e que requerem a utilização de movimentos corporais, os quais uma vez trabalhados refletidamente podem contribuir para o desenvolvimento técnicointerpretativo do pianista. Estas ações foram efetuadas com utilização de partitura impressa dos Estudos. Paralelamente foram consultadas bibliografias e pesquisas que tratam das diferentes maneiras de abordar a técnica pianística, principalmente aquelas que relacionam a adequação da técnica aos objetivos sonoros. Estas pesquisas propõem a integração da técnica às estratégias de estudo com o intuito de melhorar a interpretação e o aproveitamento do movimento e dos fatores que influenciam o seu desempenho. Informações constantes neste trabalho poderão interessar àqueles que queiram conhecer e interpretar as referidas peças e de outras obras de Santoro que contenham as mesmas características
37
Snyman, de Klerk Mart-Marie. "An analysis of stylistic elements and challenges of technique and improvisation in three late piano works by Surendran Reddy (1962–2010)." Diss., University of Pretoria, 2020. http://hdl.handle.net/2263/78568.
Full textAbstract:
This study focuses on the analyses of the stylistic elements and challenges of technique and improvisation in three late piano works by the South African composer Surendran Reddy. Reddy’s personal identity as a crossover artist is apparent in his stylistic approach. The fusion of Western art music, jazz, contemporary and indigenous music from various parts of the world ensued in a distinctive compositional style, which he termed clazz.
Three of his shorter late piano compositions, namely African Funk for Felix (2005), Ballad for Thomas (2005) and Toccata for John Roos (2007), contain key characteristics of Reddy’s clazz style. It also represents the composer’s own pianistic virtuosity that renders them challenging to performers.
The technical, stylistic and improvisational difficulties in these three works are investigated through a practice-led approach. The methodologies used to study and perform these works were researched by means of two interviews conducted with two professional South African pianists who have performed these works. The technical difficulties in these compositions are delineated and potential solutions to overcome virtuoso passages through fingering suggestions or recommendations for alternative practising methods are examined. The diverse stylistic influences on these works, such as gospel, rock, funk, soul, pop, jazz and various elements of Western art music, are identified, discussed and explored, with emphasis on the influence of South African jazz on Reddy’s conceptualisation of clazz. Prescribed improvisation sections are examined in-depth, and potential performance strategies are devised in the form of notated exercises that would hopefully serve as an accessible methodological approach.<br>Mini Dissertation (MMus (Performance))--Universtity of Pretoria, 2020.<br>Music<br>MMus (Performance)<br>Unrestricted
38
Rodrigues, Mauren Liebich Frey. "Quatro estudos para piano solo de Vieira Brandão: uma abordagem técnico-interpretativa." Universidade do Estado de Santa Catarina, 2012. http://tede.udesc.br/handle/handle/1519.
Full textAbstract:
Made available in DSpace on 2016-12-08T17:06:41Z (GMT). No. of bitstreams: 1
mauren.pdf: 2739945 bytes, checksum: a1b114f34eaacf7bc4070dc8a2c1937b (MD5)
Previous issue date: 2012-03-08<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>This research presents a pianistic-technical approach on For Studies for Solo piano from Jose Vieira Brandao (1911-2002): Estudo n.1 (dedicated to Arthur Rubinstein); Estudo n.2 (dedicated to Ernesto Nazareth); Estudo n.3 (Chorinho); Tocata 1 (Estudo n.4). Brandao was a distinguished pianist who also worked as a composer, conductor and musical educator alongside Villa-Lobos in the project Canto Orfeonico, debuting several works from Villa-Lobos as Choros n. 11 in the piano. The Work of Vieira for piano is not ample, yet there are interesting plays to all levels of pianistic development and a particular musical language. The purpose of this work was to perform a research on Four Studies for piano-solo in an interpretative-technical perspective. Regarding the methodology bibliographical research and conducted interviews were employed (BAUER e GASKELL, 2002); musical material analysis, considering aspects such as texture (BERRY, 1987; SIMMS, 1996), form, phraseological elements (SCHOENBERG, 1991), characteristics of the genres referred by the author in the subheadings of the studies under a pianistic-technical perspective (ALMEIDA, 1999; TINHORAO, 1978). Some of these elements are stressed based on the ideas the composer expressed about nationalism, in his Habilitation Thesis (BRANDAO, 1949). The elements highlighted by him are supported by the traditional pianistic repertoire, confirming his knowledge on pianistic repertoire. It is noted that some aspects of the pianistic technique are common among the Studies. These aspects were highlighted, comments and suggestions on the work of the pianist were devised (POVOAS, 1999; FINK, 1992; MARUN, 2010). In Chapter 1, it is presented an overview of the career of Vieira Brandao as a pianist, with whom he worked and studied, the releases of Villa-Lobos work, besides addressing his piano compositions. In Chapter 2 there is an analytic-technical approach of the studies, in which structural and musical features of each study are separately presented. In Chapter 3 melodic and rhythmic aspects are emphasized, some common to the Four Studies, with an interest in the pianistic-technical work. As a result, some aspects were observed showing that Vieira Brandao wrote plays that portray Brazil, confirming the preference of the composer to the nationalist aesthetic in which the elements of several recurring genres of Brazilian music are stylized<br>Nesta pesquisa e apresentada uma abordagem tecnico-pianistica sobre Quatro Estudos para piano Solo de Jose Vieira Brandao (1911-2002): Estudo n.1 (dedicado a Arthur Rubinstein); Estudo n.2 (dedicado a Ernesto Nazareth); Estudo n.3 (Chorinho); Tocata 1 (Estudo n.4). Brandao foi um eximio pianista que trabalhou tambem como compositor, regente e educador musical ao lado de Villa-Lobos no projeto de Canto Orfeonico e estreando muitas obras de Villa-Lobos ao piano como os Choros n.11. A Obra de Vieira Brandao para piano nao e numerosa, mas encontram-se pecas de grande interesse para todos os niveis de desenvolvimento pianistico e uma linguagem musical particular. A proposta com este trabalho foi realizar uma pesquisa sobre Quatro Estudos para piano solo dentro de uma perspectiva tecnico-interpretativa. Para a metodologia foram adotados levantamento bibliografico e entrevistas (BAUER e GASKELL, 2002); analise do material musical considerando aspectos como a textura (BERRY, 1987; SIMMS, 1996), forma, elementos fraseologicos (SCHOENBERG, 1991), caracteristicas dos generos referidos pelo compositor nos subtitulos dos estudos sob o ponto de vista tecnico-pianistico (ALMEIDA, 1999; TINHORAO, 1978). Alguns desses elementos encontram-se destacados com base nas ideias que o proprio compositor manifestava sobre o nacionalismo, atraves da sua Tese de Livre Docência (BRANDAO, 1949. Os elementos por ele destacados encontram respaldo no repertorio pianistico tradicional, confirmando seu conhecimento sobre o repertorio pianistico. Observa-se que alguns dos aspectos da tecnica pianistica sao comuns entre os Estudos. Estes aspectos foram destacados e sobre eles elaborados comentarios e sugestoes para o trabalho do pianista (POVOAS,1999; FINK,1992; MARUN, 2010). No Capitulo 1 e apresentado um panorama sobre a carreira de Vieira Brandao como pianista, com quem estudou e trabalhou, estreias que fez de obras de Villa- Lobos, alem de abordar suas composicoes para piano. No Capitulo 2 ha uma abordagem tecnicoanalitica dos estudos, onde sao apresentadas caracteristicas estruturais e musicais de cada um dos estudos separadamente. No Capitulo 3 sao destacados aspectos melodicos e ritmicos, alguns comuns aos Quatro Estudos, com um interesse em funcao do trabalho tecnico-pianistico. Como resultados, foram observados alguns aspectos que demonstram que Vieira Brandao escreveu pecas que retratassem o Brasil, confirmando a preferencia do compositor pela estética nacionalista onde os elementos de diversos generos recorrentes da musica brasileira encontram-se estilizados
39
Milani, Margareth Maria. "Percepções e concepções sobre corpo, gesto, técnica pianística e suas relações nas vivências de alunos de piano de dois cursos de graduação em música." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/150828.
Full textAbstract:
O presente trabalho investiga as percepções e concepções sobre corpo, gesto, técnica pianística e suas relações nas vivências de alunos de piano de dois cursos de Graduação em Música. Fundamentada no conceito de corporalidade, utilizo os conceitos de gesto musical e técnica pianística para examinar as relações que emergem entre o indivíduo, o piano e a música, expressas nas experiências externadas pelos participantes. O conceito de corporalidade (MERLEAU-PONTY [1999], VAZ [2004], CHAUÍ [2011]) compreende o indivíduo como uno, ímpar e indissociável, uma unidade portadora de simbolismos, de memória cultural e social, e repleta de nuances pelas bagagens constituídas ao longo da vida nas relações estabelecidas culturalmente e socialmente, considerando que o modo como construímos nossa visão de mundo passa pelo nosso corpo. O conceito de gesto musical (JENSENIUS et al. [2010], LEMAN; GODØY [2010]) implica em um movimento que carrega intenção e significado, unindo aspectos técnicos e interpretativos, possibilitando pensar a relação entre o texto musical, pianista e piano a partir da individualidade de cada sujeito expressa na organização de movimentos ímpares. Os conceitos de técnica pianística (CHIANTORE [2001]; SANDOR [1981]; KAEMPER [1967]; WHITESIDE [1955]; JAËLL [1904]) elencados neste trabalho são convergentes em proposições fundamentadas no movimento. Participaram deste estudo oito estudantes de duas instituições de Ensino Superior: Universidade Federal do Rio Grande do Sul – UFRGS – Curso Bacharelado em Música/Piano e Escola de Música e Belas Artes do Paraná – EMBAP/UNESPAR – Universidade Estadual do Paraná – Campus I de Curitiba – Curso Superior de Instrumento/Piano. O enfoque metodológico foi de Estudo Qualitativo, tendo como instrumento de coleta de dados a filmagem de vídeos, uma entrevista semiestruturada que abordou o sentir-se na performance e o ver-se na performance (momento em que os participantes apreciaram suas próprias performances gravadas), e uma Entrevista Fenomenológica que abordou os três grandes eixos temáticos do trabalho: técnica pianística, corpo e gesto musical. O instrumento de análise e interpretação de dados foi fundamentado nos três passos do Método Fenomenológico: descrição fenomenológica, redução fenomenológica e interpretação fenomenológica.<br>This study investigates perceptions and conceptions of the body, gesture and piano technique and the relationship between them in the experiences of piano students on two undergraduate music courses. Drawing on the idea of corporeality, I use the concepts of musical gesture and piano technique to examine the relationships that emerge between the individual, the piano and music and are expressed in the experiences manifested by the participants. According to the notion of corporeality (MERLEAU-PONTY [1999], VAZ [2004], CHAUÍ [2011]), the individual is singular, unique and indissociable, a unity that carries symbolism and cultural and social memory and is full of nuances resulting from the cultural and social relationships established during an individual’s life, as the way we build our view of the world is linked to our body. The concept of musical gesture (JENSENIUS et al. [2010], LEMAN; GODØY [2010]) implies movement charged with intention and meaning, combining technical and interpretative aspects and allowing one to consider the relationship between musical score, pianist and piano in terms of the individuality of each subject expressed in the organization of unique movements. The concepts of piano technique (CHIANTORE [2001]; SANDOR [1981]; KAEMPER [1967]; WHITESIDE [1955]; JAËLL [1904]) mentioned in this work all share ideas based on movement. Eight students from the following two music programs at two higher-education institutions took part in this study: the Bachelor’s Degree Program in Music/Piano, Federal University of Rio Grande do Sul, UFRGS, and the Degree Program in Instrumental Music/Piano, School of Music and Fine Arts, EMBAP/UNESPAR, Paraná State University, Campus I, Curitiba. The study was a qualitative one, and data were collected in videos filmed during the study, in a semi-structured interview that addressed self-feeling in the performance and self-seeing in the performance (when participants appreciated their own recorded performances) and in a phenomenological interview covering the three main themes in the study: piano technique, body and musical gesture. The data analysis and interpretation was based on the three steps of the phenomenological method: phenomenological description, phenomenological reduction and phenomenological interpretation.
40
Grinover, Marina Mange. "Laboratório de projeto e construção: prática da arquitetura na obra de Renzo Piano e João Filgueiras Lima." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-09062015-120201/.
Full textAbstract:
Esta investigação desenvolveu-se a partir do questionamento da prática da arquitetura em relação a elaboração do projeto arquitetônico e a construção da obra. A escolha do estudo de caso da obra de Renzo Piano (1937 -), arquiteto italiano e João Filgueiras Lima, (1934 - 2014) arquiteto brasileiro, o Lelé, definiu-se por apresentarem, ambos, soluções de interesse estético e técnico que pareciam ter se extinguido. A documentação motivou um esforço teórico e histórico para ampliar os conceitos usados na analise da arquitetura. A partir da escolha de um recorte histórico, qual seja as décadas de 1960 a 90, período de debates sobre a validade dos preceitos modernos na arquitetura e de uma produção plural ligada à economia pós-industrial e à cultura de massa, analisou-se um conjunto selecionado de obras e seu diálogo, pela prática, com este debate. Sem a pretensão de fazer um trabalho comparativo, deu-se ênfase à análise de cada arquiteto em seu contexto sociotécnico particular, consolidando um modo de análise de obra que se desprende dos fatos documentados e se debruça sobre as motivações mais profundas do fabricar arquitetura. Ao compreender a poética que nasce deste processo orgânico entre pensar e fazer, definem-se valores técnicos e sociais fundamentais para o entendimento da dimensão cultural do trabalho do arquiteto. Nesta edição, a primeira parte do texto, assim, aborda os conceitos de arte, técnica e trabalho prático frente a cultura arquitetônica destes anos entre 1960 e 1990. E a segunda parte é a análise de obra, propriamente dita, com um capítulo destinado a cada arquiteto. O exame da inter-relação de processos criativos e técnicos da arquitetura teve o propósito de definir o conceito de Laboratório de Projeto e Construção.<br>This investigation was developed from architecture practice questioning in relation to the elaboration of architectural design and work construction. The case study choice of the work from Renzo Piano (1937 -), Italian architect, and João Filgueiras Lima, (1934 - 2014) Brazilian architect, also known as Lelé, was defined due to the fact that both feature solutions of aesthetic and technical interest which seemed to have been extinguished. The documentation motivated a theoretical and historical effort to broaden concepts used in architecture analysis. Taking as a reference the historical view from the 1960s to the 1990s, period of debates about the validity of modern precepts in architecture and of an intense production linked to post-industrial economy and mass culture, a selection of works and their dialogue, through practice, with this very debate, was analyzed. With no pretension of preparing a comparative thesis, the analysis of each architect in their own social technical context was emphasized, consolidating a work analysis mode which detaches itself from documented facts, rather leaning over deeper motivations to produce architecture. Through the understanding of the poetry which is born from this organic process between thinking and doing, fundamental technical and social values are defined for the understanding of the social dimension of the architects work. In this edition, the first part of the text addresses the art concepts, technique and practical work in comparison to the architectural culture during these years between 1960 and 1990. The second part is the work analysis itself, with a chapter dedicated to each architect. The study of the interrelation between architecture creative and technical processes had the goal of defining the concept of Project and Construction Lab.
41
Mirensky, Shaul. "L'approche spatio-polyphonique dans les interprétations des pianistes de la deuxième moitié du XIXe siècle et la première moitié du XXe siècle." Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3061/document.
Full textAbstract:
Le but de ce travail est d'étudier l'art d'interpréter de plusieurs générations de pianistes dont la formation remonte au XIXe siècle, mais dont l'activité s'est étendue jusqu'à la 1re moitié du XXe siècle. L'essor de l'interprétation qui marqua cette époque a prodigué des artistes qui - à la suite de leurs grands maîtres (Chopin, Liszt, A. Rubinstein) - ont déjà laissé un nombre considérable d'enregistrements permettant de saisir à travers leur jeu une image authentique de l’œuvre romantique. En nous référant à l'idée que l'essor du pianisme à la charnière des XIXe - XXe siècles provient de l'expansion remarquable de l'art d'interpréter au XIXe siècle, nous avançons l'hypothèse selon laquelle c'est précisément dans les positions esthétiques et dans la vision du monde propre à cette époque qu'il faut chercher les sources d'un tel essor. Parmi les caractéristiques importantes de la manière d'interpréter des pianistes de la 2e moitié du XIXe siècle, entrent d'abord en jeu la faculté de penser imagée, la liberté et une manière d'improviser en modifiant les textes des œuvres exécutées. Ces données se combinent d'ailleurs avec d'autres, comme l'intellectualisme. Les analyses de certaines particularités de style, des manières de jouer, typiques du XIXe siècle (comme le rubato, le « pointillisme etc.), nous révèlent ainsi ce que fut la réelle pensée polyphonique du Romantisme. Il ne s'agit pas de la seule écriture polyphonique, mais d'un principe polyphonique au sens plus large, s'exprimant à travers le style d'interpréter qui, à son tour, définit la perception spatio-temporelle spécifique de ces quelques décennies<br>The aim of this work is to study the performing art of several generations of pianists who were trained in the 19th Century but who extended their artistic activity throught the 1st half of the 20th Century. The rise of the art of interpretation which marked this period gave the artistes who - following their great masters - have left a considerable number of records where their plaiyng conjures up an image of the romantic composition that may be more authentic, though it is quite different from that of today.Based on the idea that the rise of the pianism at the turn of the 20th Century comes largely from the remarkable expansion of the 19th Century performing arts, we hypothesize that it is precisely in the aesthetic positions and the vision of the world inherent in the Romantic era that we should look for the sources of such a rise. Chief among the important features of the style of interpretation of the pianists of the 2nd half of the 19th Century, was their creative thinking, but also the surprising freedom they enjoyed to improvise and modify compositions. Other features include the intellectualism of their approach to the performed composition. Analyses of certain peculiarities of style, of the ways of playing typical of the 19th Century (such as rubato, the « pointillism » etc.) reveal the real polyphonic thougth of the Romantic era. This is not only the polyphonic writing itself, but a polyphonic principle in a broader sense, manifesting itself through the style of interpretation which, in turn, defines the specific spatio-temporal perception of these several decades
42
Boe, Dennis Leonard. "The Evolutionary Development of Compositional Technique and Style in the Piano Sonatas of George Walker: A Study of the Sonata No. 4 and Analytical Comparison of the Four Sonatas, Together With Three Recitals of Selected Works of f.j. Haydn, l.V. Beethoven, F. Schubert, F. Chopin, F. Liszt, J. Brahms, C Debussy, Z. KodáLy and F. Poulenc." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc332806/.
Full textAbstract:
George Walker, pianist, composer and pedagogue, composed piano sonatas in 1953, 1957, 1975, and 1984. The Sonata No. 4 demonstrates the composer's continued fascination with a relaxation of traditional forms, coloristic effects of persistent interval combinations, incorporation of folk elements into his thematic material, and harmonic and rhythmic underpinnings as structural bases to his work.
43
Nelson, Anne Marie. "Ignacy Jan Paderewski's Sonata in E-Flat Minor, Op. 21: Insights into his compositional technique and performance style." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4150/.
Full textAbstract:
The recordings of the legendary pianist Ignacy Jan Paderewski are a valuable documentation of his piano performance style. Knowledge of late-Romantic performance practices gleaned from Paderewski's recordings suggest ways of approaching the performance of his Sonata in E-Flat Minor, Op. 21. This Sonata, composed in 1903 near the end of his compositional career, is a work of the highest caliber, deserving a permanent place in the concert pianist's repertoire. The purpose of this paper is to provide performance suggestions based on Paderewski's performance style which will produce a performance closer to the spirit of the times in which it was written. This study provides an overview of the project in Chapter 1, and a background of Paderewski's life as pianist, composer, and statesman in Chapter 2. A time-line chart of his complete works is included for reference. Chapter 3 analyzes Sonata, Op. 21 in regards to form, sound, melody, harmony, and rhythm. Following the analysis, the Sonata is compared compositionally to sonatas that appear alongside Sonata, Op. 21 on Paderewski's programs, including those by Chopin, Beethoven, and Liszt. Graphs summarize the form and dynamic density of the Sonata, and examples illustrate Paderewski's craft at thematic transformation. Chapter 4 examines Paderewski's performance style documented in recordings of his own compositions and of works by Chopin, Schumann, Liszt, and Beethoven. Consideration is given to various aspects of interpretation, including counterpoint, asynchrony, tempo rubato, rhythmic variance, and pedaling. Each of these aspects of Paderewski's performance style is illustrated with transcriptions of excerpts from Paderewski's recordings. The author proposes examples of application of these aspects to Paderewski's Sonata, Op. 21. Chapter 5 provides a summary of the project. Appendix A contains an analysis of the rhythmic grouping that performers may find useful, and Appendix B contains the recital programs required for the degree program.
44
Ribeiro, Rodrigo Tiago. "Um estudo sobre opções interpretativas para elementos folclóricos na performance pianística atual." Universidade Federal de Goiás, 2011. http://repositorio.bc.ufg.br/tede/handle/tede/4244.
Full textAbstract:
Submitted by Erika Demachki (erikademachki@gmail.com) on 2015-03-05T16:49:11Z
No. of bitstreams: 6
Dissertação - Rodrigo Tiago Ribeiro - 2011.pdf: 1666204 bytes, checksum: f6c380f64a562ce755efecf91b7d0635 (MD5)
Cururú 1.jpg: 1686666 bytes, checksum: c8fc9d97a984f97fbad60b7a20d497c7 (MD5)
Cururú 2.jpg: 1435796 bytes, checksum: 28fc5de728e0962726576751c1dbbf4c (MD5)
Quadrilha 1.jpg: 1714855 bytes, checksum: 0cb940e62cd3424c89e9b778ee685078 (MD5)
Quadrilha 2.jpg: 1596601 bytes, checksum: bad3a75ec85aeb8cb1fb2d1290c8e5c7 (MD5)
license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)<br>Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2015-03-05T16:49:26Z (GMT) No. of bitstreams: 6
Dissertação - Rodrigo Tiago Ribeiro - 2011.pdf: 1666204 bytes, checksum: f6c380f64a562ce755efecf91b7d0635 (MD5)
Cururú 1.jpg: 1686666 bytes, checksum: c8fc9d97a984f97fbad60b7a20d497c7 (MD5)
Cururú 2.jpg: 1435796 bytes, checksum: 28fc5de728e0962726576751c1dbbf4c (MD5)
Quadrilha 1.jpg: 1714855 bytes, checksum: 0cb940e62cd3424c89e9b778ee685078 (MD5)
Quadrilha 2.jpg: 1596601 bytes, checksum: bad3a75ec85aeb8cb1fb2d1290c8e5c7 (MD5)
license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)<br>Made available in DSpace on 2015-03-05T16:49:26Z (GMT). No. of bitstreams: 6
Dissertação - Rodrigo Tiago Ribeiro - 2011.pdf: 1666204 bytes, checksum: f6c380f64a562ce755efecf91b7d0635 (MD5)
Cururú 1.jpg: 1686666 bytes, checksum: c8fc9d97a984f97fbad60b7a20d497c7 (MD5)
Cururú 2.jpg: 1435796 bytes, checksum: 28fc5de728e0962726576751c1dbbf4c (MD5)
Quadrilha 1.jpg: 1714855 bytes, checksum: 0cb940e62cd3424c89e9b778ee685078 (MD5)
Quadrilha 2.jpg: 1596601 bytes, checksum: bad3a75ec85aeb8cb1fb2d1290c8e5c7 (MD5)
license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)
Previous issue date: 2011-03-28<br>The current work addresses the pianistic adaptations of the folkloric elements used in
“Brasiliana nº3” for the piano by composer Osvaldo Lacerda. Through the theoretical
reference used, firstly approaching the pianistic technique by the prism of authors Keith
Swanvick, Claudio Richerme and Jose Alberto Kaplan, and secondly the study on “musical
gestures” by Robert. S. Hatten and Bernadete Zagonel, we propose sonorously adequacy
suitable for the piano, of the folkloric elements contained in the respective primary
instrumentations of the dances Cururú and Quadrilha. The discussion about performance
possibilities presented in this study aims to contribute with a new approach and analytical
perspective of the nacionalistic works for piano. In addition, it offers contributions for the
universe of piano’s students and interpreters as well. Among the conclusions after the
comparative analysis of the works, both in an “authentic” folkloric version and on the written
author’s version, there is the relevance of the understanding of the technical aspects allied to
the human physiology, and the importance of musical gestures in the moment of the
performance as well.<br>O presente trabalho diz respeito às adaptações sonoro pianísticas dos elementos folclóricos
empregados na Brasiliana nº 3 para piano do compositor Osvaldo Lacerda (1927). Por meio
de fundamentação teórica sobre técnica pianística, pelo prisma dos autores Keith Swanvick
(1994), Claudio Richerme (1997) e Jose Alberto Kaplan (1979), e sobre “gestos musicais”,
discutidos por Robert. S. Hatten (2004) e Bernadete Zagonel (1992) propomos uma
adequação de execução pianística para os elementos folclóricos contidos nas respectivas
instrumentações originais das danças Cururú, e Quadrilha, movimentos da Brasiliana nº 3. A
discussão sobre possibilidades performáticas apresentadas neste estudo tem como objetivo
contribuir com uma nova abordagem e perspectiva analítica das obras nacionalistas para
piano, além de oferecer para o universo dos estudantes de piano e intérpretes, material
científico para pesquisa. Entre as conclusões obtidas após as análises comparativas das obras,
tanto na versão “autêntica” folclórica como na escrita pelo compositor, está a relevância do
entendimento dos aspectos técnicos aliados à fisiologia humana e a importância dos gestos
musicais no momento da execução musical.
45
Kim, YeonJin. "THE MUSICAL STYLE AND COMPOSITIONAL TECHNIQUE OF YOUNG-JO LEE, AS REFLECTED IN HIS VIOLIN COMPOSITIONS “HONZA NORI” FOR SOLO VIOLIN AND “DOORI NORI” FOR VIOLIN AND PIANO." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/193679.
Full textAbstract:
The purpose of this study is to create a performance guide for Young-Jo Lee's violin works, Honza Nori for solo violin and Doori Nori for violin and piano, and to introduce his work to a wider audience. This study contains a biography of the composer and a compositional analysis that shows how Lee includes the concepts and techniques of Korean traditional music in his violin pieces. In this analysis, I will identify the composer's characteristic style, inspired by Korean compositional techniques, traditional Korean instruments and their characteristics. Additionally, the incorporation of Asian philosophy, and Taoism in particular, into Lee's music will be examined and cited throughout, demonstrating how Lee employs these ideas to create compositional techniques that differ from other twentieth century Asian composers. Lee is one of the most significant Korean composers living today and is known for combining Eastern and Western musical styles. He utilizes the core of Korean traditional music and performance practice and applies this to his compositions in a distinctive style that amalgamates both Western and Eastern (particularly Korean) musical traditions. Lee creates a balance between his native heritage and his knowledge of Western traditions, and he extracts his distinctive compositional ideas from various genres of Korean music, such as court royal music, traditional folk music, harvest music, Pansori, Samul nori, and Korean zither music. Lee is also interested in Western compositional techniques such as twelve-tone technique and chromaticism, which he combines with his knowledge of Korean traditional music and its techniques to create various works in a unique and distinctive fashion.
46
Amaral, Guilherme Ferreira. "Relações entre elementos composicionais e meios de execução técnico-interpretativa em obras com características pós-minimalistas Brasil 2000, Amanduá e meio bossa para piano solo de Dimitri Cervo." Universidade do Estado de Santa Catarina, 2009. http://tede.udesc.br/handle/handle/1570.
Full textAbstract:
Made available in DSpace on 2016-12-08T17:06:49Z (GMT). No. of bitstreams: 1
GuilhermeAmaral.pdf: 1069383 bytes, checksum: 90737d6eb4d20ddb945386e0043ee085 (MD5)
Previous issue date: 2009-03-31<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>This dissertation presents a study of the works Brasil 2000 Op.12, Amanduá and Meio Bossa for piano solo, of the composer Dimitri Cervo (Santa Maria, 1968). The focus of the research was to realize an analytical study of compositional procedures and, based on this study, to present technique-interpretive criteria and suggestions to be applied during the preparation of the mentioned work. Both the criteria and the
suggestions of instrumental realization were prepared considering elements of musical construction and the sound result expected by the interpreter. Having in mind that, in the chosen work, there are compositional resources of minimalist and postminimalism nature, like the huge amount of ostinatos and repetitive musical patterns, those, if studied in the wrong way, can favor the appearance of muscle damage and
other discomforts that prejudice, the interpreter s health and still more the sound result. Based on these observations, strategies were organized to optimize the process of study in specific situations of execution. In order to reach this objective, recent bibliographies and research about pianistic technique that have the adaptation of the body movement to the resolution of musical questions were consulted, like the
Movement Cycles (PÓVOAS, 1999), a resource of flexibilization of the movement and discussed concepts related to it that were applied to the execution of Brasil
2000, Amanduá and Meio Bossa. Contributions about the application of the study and analytical research in the musical-instrumental practice were also related to this work. In the beginning biographical data about the composer and general aspects about his journey and his compositional esthetics are presented. In the sequence the compositional procedures that are more used in the present works are identified and
analyzed and the criteria with technique-interpretive suggestions that can be used as an orientation during the preparation and execution of them are proposed. It is
expected that this piece of research can contribute to the literature related to musical analysis as a tool for the interpretive practice. This research can integrate the list of
more recent research in the sub-area of interpretive practice, utilizing concepts that relate the analysis of compositional elements to the pianistic technique, aiming at the interpretation of national composers cotemporaneous work. The interpretive decisions and criteria presented here can be adopted in the pedagogical practice of these and other works that present similar characteristics to the ones studied here<br>Esta dissertação apresenta um estudo das obras Brasil 2000 Op.12, Amanduá e Meio Bossa para piano solo, do compositor Dimitri Cervo (Santa Maria, 1968). O foco da pesquisa foi realizar um estudo analítico de procedimentos composicionais
e, com base neste estudo, apresentar critérios técnico-interpretativos e sugestões a serem aplicadas durante a preparação das mencionadas obras. Tanto os critérios
quanto as sugestões de realização instrumental foram feitas considerando-se elementos de construção musical e o resultado sonoro pretendido pelo intérprete. Tendo em vista que, nas obras selecionadas, encontram-se recursos composicionais de natureza minimalista e pós-minimalista, tais como a grande quantidade de ostinatos e padrões musicais repetitivos, estes, se estudados de maneira incorreta,
podem favorecer ao aparecimento de lesões musculares e outros desconfortos que prejudicam, além da saúde do intérprete, sobretudo o resultado sonoro. A partir desta observação foram organizadas estratégias com vistas à otimização do processo de estudo em situações específicas de execução. Para este fim, foram consultadas bibliografias e pesquisas mais recentes sobre técnica pianística que têm
como foco a adequação do movimento corporal à resolução de questões musicais, tais como os Ciclos de Movimentos (PÓVOAS, 1999), um recurso de flexibilização do movimento e discutidos preceitos relacionados que foram aplicados à realização de Brasil 2000, Amanduá e Meio Bossa. Também foram relacionadas contribuições sobre o emprego do estudo e pesquisa analítica na prática músico-instrumental.
Inicialmente são apresentados dados biográficos sobre o compositor e aspectos gerais sobre sua trajetória e sua estética composicional. Na seqüência encontram-se
identificados e analisados procedimentos composicionais mais utilizados nas obras em destaque e os critérios com sugestões técnico-interpretativas que poderão servir de orientação durante a sua preparação e execução são propostos. Com esta pesquisa pretende-se contribuir para a literatura relacionada à análise musical como ferramenta para a prática interpretativa. Esta pesquisa poderá integrar o rol de
pesquisas mais recentes na subárea das práticas interpretativas, utilizando-se de conceitos que relacionam a análise de elementos composicionais à técnica pianística objetivando a interpretação de obras contemporâneas de compositores nacionais. As decisões interpretativas e critérios aqui apresentados poderão ser adotados na prática pedagógica destas e demais obras que apresentem características semelhantes àquelas aqui estudadas
47
Yang, Chia-shan. "Exploring new techniques in contemporary piano music : a guide for the intermediate-grade student /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/11399.
Full text
48
Keil, Andrea Marie. "The Dawn of Modern Piano Pedaling: Early Twentieth-Century Piano Pedaling Literature and Techniques." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1428503747.
Full text
49
Harper, Nancy Lee. "The Piano Sonatas of Rodolfo Halffter: Transformation or New Techniques?" Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc331911/.
Full textAbstract:
The Piano Sonatas of Rodolfo Halffter (b. 1900, Madrid, Spain) represent an important body of literature not widely known nor understood for their historical importance and Spanish heritage. The entire development of Halffter's compositional style, which embraces three periods of composition, may be traced through these sonatas. The modes of composition may be seen not to be separate and distinct but as having inter—relationships which therefore affect the outcome of Halffter's final dodecaphonic technique. The culmination of his serial method is found in the Tercera Sonata, op. 30. At first glance, this work appears to be a radical departure from the former styles. However, a more in-depth study reveals this sonata to be the logical outgrowth of earlier compositional techniques, thereby blending diverse, eclectic elements into a unique and homogenous application, all Halffter's own. Forced to flee his native country in 1939, Halffter became the first composer in Mexico to use twelve-tone techniques. Together with Carlos Chavez, he exerted great influence on the present generation's group of Mexican composers. Halffter today remains a crucial link in the continuation of the Spanish tradition as exemplified by his former mentor, Manuel de Falla. A brief explanation of Falla s theory of resonance including sketches in Falla's handwriting as well as portions of the unpublished analysis of Halffter's Tercera Sonata are presented, perhaps for the first time. This study reveals how Halffter manipulates many Spanish elements which are found in the ancient cante iondo and the string tunings of the guitar in addition to the use of acciacaturas and the internal rhythm of Domenico Scarlatti into a personalized idiom which remains apparent throughout all his compositional styles. An analysis of Halffter s Tercera Sonata shows that the final period is characterized by a unique blending of Falla's "apparent poly-tonality" with the twelve-tone system of Arnold Schoenberg.
50
Zhu, Di. "Prokofiev's piano transcriptions a comparative study of his transcribing techniques /." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1153173318.
Full textAbstract:
Thesis (Dr. of Musical Arts)--University of Cincinnati, 2006.<br>Title from electronic thesis title page (viewed Nov. 28, 2006). Includes abstract. Keywords: Prokofiev; Piano; Transcription; Arrangement; Piano transcription; Keyboard transcription; Transcribing techniques; Prokofiev's piano music; Prokofiev's compositional habits; Prokofiev's musical styles. Includes bibliographical references.