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Journal articles on the topic 'Piano – Technique'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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1

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

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I am an amateur pianist enquiring into improving piano technique but feeling slightly disillusioned by the lack of attention given to technique in the field of piano teaching. And whilst, however, there are many books out there written by great pianists that seem to combine logic, empirical knowledge, and scientific knowledge in a very convincing manner, their assertions are void of being subject to strict scientific investigation and therefore, in my opinion, cannot be treated too seriously. [with Replies]

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2

Ananda-Owens, Kathryn. "Piano Technique." Medical Problems of Performing Artists 28, no. 3 (September 1, 2013): 175. http://dx.doi.org/10.21091/mppa.2013.3035.

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I am writing in response to Matthew Arthur’s letter in the June issue, and the replies thereafter from Drs. Lee, Riley, Wristen, and Professor Berenson. While I appreciated the replies, I believe they overlook a larger issue in the profession: the fundamental lack of anatomical and biomechanical knowledge among many, and perhaps even most, piano pedagogues.

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3

Adderley, Meisha, and Seymour Fink. "Mastering Piano Technique." Music Educators Journal 93, no. 2 (November 2006): 18. http://dx.doi.org/10.2307/3878456.

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4

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

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The history of the development of piano technique has been counting down since the 17th century. The most common keyboard instruments before the invention of the piano were the harpsichord, clavicord and organ. These early instruments had much lighter keys compared to modern ones. Therefore, performers could easily press the keys without feeling much resistance. With the advent of the piano, both the playing technique and the training technique for professional pianists and amateurs began to be reviewed. Musicians, summarizing their own performing experience, wrote treatises, textbooks and man

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5

Tworko, Paulina. "Physiology and Ergonomics of Piano Playing." Kwartalnik Młodych Muzykologów UJ, no. 47 (4) (2020): 229–53. http://dx.doi.org/10.4467/23537094kmmuj.20.050.13923.

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Much has been said about performance, styles, and interpretation. However, we should ask ourselves where they come from, what they depend on, and what factors influence them. The answer proves very complex. This article deals with the problem of piano technique as an element on which interpretation, sound and expression depend to a large extent. The piano is an instrument with incredible tonal possibilities, but it requires fingering skills, the ability to ‘feel’ the keys and a certain physical strength which is directly related to the technique we use. Achieving a high level in playing requi

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Sholl, R. "The Craft of Piano Playing: A New Approach to Piano Technique." Music and Letters 88, no. 1 (October 25, 2006): 190–92. http://dx.doi.org/10.1093/ml/gcl052.

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7

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

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8

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

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9

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

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10

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

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11

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

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Control of touch is the alpha and omega of beautiful piano playing. Each finger is a member of a playing apparatus that functions as a multiple lever comprising six segments, from shoulder to fingertips, each of which is controlled by its particular muscles. When a note is played inadequately, tests on the finger and wrist joints usually reveal weaknesses and the need for specific isometric gymnastic exercises to strengthen the muscles that control them. These produce a unity in the functioning of the whole limb, without which complete control is impossible. Such unity is duplicated by the kin

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12

Turan, Hamza Serdar, and Sirin Akbulut Demirci. "Usage of Ulvi Cemal Erkin’s ‘Duyuşlar’ Compositions in Music Education Departments, According to the Opinions of Piano Educators." Journal of Education and Training Studies 6, no. 11 (October 9, 2018): 186. http://dx.doi.org/10.11114/jets.v6i11.3553.

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Piano lessons which take place in music education departments involve example works of Turkish and world composers, education music examples, piano literature and learning-teaching techniques. Within this context, Ulvi Cemal Erkin, who is a member of The Turkish Five, wrote a composition called Duyuşlar, which consists of 11 pieces and is used in piano training. In this study, it was aimed to determine the usage of the composition Duyuşlar in the programs of institutions teaching music education in piano lessons in terms of technique, musical, and style characteristics. In accordance with this

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13

Bailey, Kathryn. "SCHOENBERG'S PIANO SONATA." Tempo 57, no. 224 (April 2003): 16–21. http://dx.doi.org/10.1017/s0040298203000123.

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Arnold Schoenberg, of course, did not write a piano sonata. At any rate, none of his works for piano bears this title. As I have suggested elsewhere, however, sonata form was much in his thoughts as he wrote the piano pieces of opus 23, and one of his last two pieces for solo piano, written five years later, is a sonata movement which should stand as a model of the integration of twelve-note technique and classical form. When Pierre Boulez, in 1952, famously condemned Schoenberg for using the old forms instead of inventing new ones that were derived entirely from serialism, he might have taken

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Pavlenko, A. M. "Development of jazz accompaniment skills of future music teacher in process of piano training." Musical art in the educological discourse, no. 2 (2017): 118–22. http://dx.doi.org/10.28925/2518-766x.20172.118122.

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The article highlights the ways of development of jazz accompaniment skills of future music teacher in the process of his piano training. It examines the genre and stylistic peculiarities of solo piano jazz standards, specificity of jazz trio music playing. It suggests the methods and musical creative tasks for effective development of jazz accompaniment skills. A piano is an important musical instrument which plays a significant role in jazz development. The artaesthetic development of student, his creative abilities training and formation of music performing competence occur in the process o

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Ying, Loo Fung, and Loo Fung Chiat. "Chinese Science in Piano Pedagogy: Evaluating the Chronicles of Piano Playing Technique with Taichi." Procedia - Social and Behavioral Sciences 46 (2012): 3102–6. http://dx.doi.org/10.1016/j.sbspro.2012.06.019.

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Wristen, Brenda G. "Avoiding Piano-related Injury: A Proposed Theoretical Procedure for Biomechanical Analysis of Piano Technique." Medical Problems of Performing Artists 15, no. 2 (June 1, 2000): 55–64. http://dx.doi.org/10.21091/mppa.2000.2012.

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Several biomechanical studies have been done with regard to the fingertip, hand, wrist, and upper arm in pianists. However, these studies have generally focused either on one isolated part of the anatomy, or on one specific motion. It is notable that none of the studies conducted to date examines the execution of a technical skill at the piano, such as a scale or arpeggio, in terms of the cooperative work done by all involved parts of the anatomy. Drawing upon established quantitative data, this study took a qualitative approach in describing and analyzing the execution of selected piano techn

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17

Liang, Lyu. "Methodological Aspects of the Technical Skills Formation at the Initial Stage of Training of Pianists." Uchenye Zapiski RGSU 19, no. 3 (September 30, 2020): 112–19. http://dx.doi.org/10.17922/2071-5323-2020-19-3-112-119.

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the object of the research in the article is the process of formation of piano skills in primary school students in the piano class. The paper theoretically substantiates and reveals in pedagogical practice the methodological aspects of the formation of skills for performing musical works on small equipment in younger schoolchildren studying in the piano class. Conclusions of the study: the development of performing techniques in the piano class of primary school students is possible under the following pedagogical conditions: taking into account the psychomotor characteristics of the musician

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Gellrich, Martin, and Richard Parncutt. "Piano Technique and Fingering in the Eighteenth and Nineteenth Centuries: Bringing a Forgotten Method Back to Life." British Journal of Music Education 15, no. 1 (March 1998): 5–23. http://dx.doi.org/10.1017/s0265051700003739.

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We develop a creative method for teaching and learning piano technique which motivates students to devote more time and energy to technical exercises. First, we describe the approach to technical exercises of pianists and piano students of the eighteenth and nineteenth centuries. Second, we address a central feature of technical practice from earlier periods: fingering rules and systems. Third, we discuss whether and how older methods might be reintroduced to contemporary piano pedagogy and practice.

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19

Shaymukhametova, Liudmila N. "Oleg Polyansky: About Piano Technique and Pedagogical Work." Music Scholarship / Problemy Muzykal'noj Nauki, no. 3 (September 2018): 99–101. http://dx.doi.org/10.17674/1997-0854.2018.3.099-101.

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20

Mits, Oksana. "Pedagogical system of piano technique evolution in the works of M. Moszkowski." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 119–31. http://dx.doi.org/10.34064/khnum1-52.08.

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Statement of the problem. The paper is devoted to the analysis of the pedagogical system of piano technique evolution which developed in the works of an outstanding Polish composer, pianist, teacher and conductor M. Moszkowski. Under consideration are pedagogical principles of the musician, his extensive editing work. Under analysis is the instructive pedagogical repertoire of Moszkowski: “School of double notes” op. 64, “A Book of Scales”, which outlines the fingering principles of the musician, etudes op. 72, 78, 91, 92, a collection of compositions “The Master and His Pupil” op. 96 and “Tec

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Jifeng, Jia. "The specifics of the influence of the russian method of teaching piano on the professional training of pianists in China." LAPLAGE EM REVISTA 7, Extra-D (July 22, 2021): 499–505. http://dx.doi.org/10.24115/s2446-622020217extra-d1130p.499-505.

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The object of the research is the process of the formation of the piano performing school and the methods of teaching pianists in colleges and conservatories in China during the 20th century in the context of the influence of the Russian method of music education. The study reveals the reasons that led to the spread of the high finger technique and the corresponding teaching methodology, which determine the specifics of the formation of piano technique among piano students in China, as well as the obstacles that prevent the more active implementation of the technique of playing using the arm w

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22

Jutras, Peter J. "The Benefits of Adult Piano Study as Self-Reported by Selected Adult Piano Students." Journal of Research in Music Education 54, no. 2 (July 2006): 97–110. http://dx.doi.org/10.1177/002242940605400202.

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Adult piano students (N = 711) from 24 states across the U.S. rated the existence and importance of 31 potential benefits of adult piano study. Benefits selected from existing adult music and leisure-benefit research were organized into three categories: Personal, Skill, and Social/Cultural. The category of Skill Benefits was the most-agreed-upon and highest-rated category. Personal Benefits were also rated highly, particularly benefits related to Self-Actualization and Fun/Enjoyment. Social/Cul tural Benefits were the least-agreed-upon and rated as the least important benefits. The most-ag-re

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23

Cherniavska, Marianna. "I. B. KRAMER’S PIANO WORK IN THE ASPECT OF INTERRELATION OF PERFORMANCE AND COMPOSITION." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (March 10, 2021): 96–112. http://dx.doi.org/10.34064/khnum1-58.06.

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Background. The article is devoted to the piano work of the famous English pianist, teacher and composer Johann Baptist Kramer (1771–1858), whose 250th anniversary is celebrated in 2021. I. B. Kramer, like other pianists of the late XVIII – early XIX centuries, tried to solve a significant problem – mastering the basics of composition, its laws, principles, techniques, their combination with the game nature and capabilities of the piano. Objectives. The purpose of the article is to reveal the relationship between performing and compositional means in I. B. Kramer’s piano works. Methods. The ba

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Juszyńska, Krystyna. "Didactic qualities of piano pieces for children by Miłosz Magin (1929-1999)." Konteksty Kształcenia Muzycznego 6, no. 1 (10) (June 30, 2020): 27–44. http://dx.doi.org/10.5604/01.3001.0014.2314.

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Miłosz Magin was a renowned Polish pianist and composer. He was born in Łódź, studied in Warsaw, was a prizewinner of several international piano competitions, successfully concerted all over the world and in 1960 he finally settled down in Paris. His compositional output covers numerous piano pieces, orchestral, chamber and vocal works, as well as a ballet. Pieces for children constitute an important and relatively large part of his oeuvre. The article discusses five cycles of miniatures (38 pieces in total), dedicated to pupils at the elementary level of piano learning: Obrazki z Polski (198

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Orgel, Paul, and Seymour Fink. "Mastering Piano Technique: A Guide for Students, Teachers, and Performers." Notes 50, no. 2 (December 1993): 628. http://dx.doi.org/10.2307/898494.

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Zhekova-Stoynova, Rumyana Stoyanova. "Methodological Principles of Piano Technique in the Stages of Development." International Journal of Literature and Arts 2, no. 5 (2014): 42. http://dx.doi.org/10.11648/j.ijla.s.2014020501.17.

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27

Tworko, Paulina. "Fizjologia i ergonomia gry na fortepianie." Kwartalnik Młodych Muzykologów UJ, no. 47 (4) (2020): 229–54. http://dx.doi.org/10.4467/23537094kmmuj.20.025.13211.

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Ergonomics and Physiology of Piano Playing Much has been said about performance, styles and interpretation. However, we should ask ourselves where they come from, what they depend on, and what factors influence them. The answer is much more complex. This article deals with the problem of piano technique as an element on which interpretation, sound and expression depend to a large extent. The piano is an instrument with incredible tonal possibilities, but it requires fingering skills, the ability to “feel” the key and certain physical strength which is directly related to the technique we use.

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28

Riley, Kathleen, Edgar E. Coons, and David Marcarian. "The Use of Multimodal Feedback in Retraining Complex Technical Skills of Piano Performance." Medical Problems of Performing Artists 20, no. 2 (June 1, 2005): 82–88. http://dx.doi.org/10.21091/mppa.2005.2016.

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Piano students working to improve technique often practice the same passage over and over to achieve accuracy, increase speed, or perfect interpretive nuance. However, without proper skeletal alignment of hands, arms, and shoulders and balance between the muscles involved, such repetition may lead to difficulties with, rather than mastery of, technique and stylistic interpretation and even physical injury. A variety of technologies have been developed to monitor skeletal alignment and muscle balance that serve to help students and teachers make needed corrections during performance by providin

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Stetsiuk, Bohdan. "The origins and major trends in development of jazz piano stylistics." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 411–28. http://dx.doi.org/10.34064/khnum2-19.24.

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This article characterizes development trends in jazz piano from its origins in the “third-layer” (Konen, V., 1984) of music (ragtime and other “pre-jazz” forms) to the present time (avant-garde and retro styles of the late 20th – early 21st centuries). Main attention was devoted to the stylistic sphere, which represents an entirety of techniques and methods of jazz piano improvisation and combines genre and style parameters. In this context, the currently available information about jazz pianism and its sources (Kinus,Y., 2008; Stoliar, R., 2017) was reviewed, and sociocultural determinants,

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BARBAN, PRISCILA FOLLMANN, and MARISTELLA PINHEIRO CAVINI. "Clarisse Leite: perfil biográfico e listagem temática das obras para piano * Clarisse Leite: biographical profile and listing of piano works." História e Cultura 3, no. 1 (May 7, 2014): 329. http://dx.doi.org/10.18223/hiscult.v3i1.1017.

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<p><strong>Resumo:</strong> O objetivo deste artigo é construir um perfil biográfico da compositora, pianista e professora de piano Clarisse Leite (1917-2003) e elaborar uma listagem de sua obra para piano, de forma a redigir um registro formal e sistematizado de seu legado, já que sua atuação foi de notada relevância no cenário musical da época e região em que viveu. Como compositora, escreveu para diversos instrumentos e formações, com destaque para o piano. Como pianista, se apresentou em diferentes cidades e estados brasileiros, além de concertos internacionais na Áustria

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Катунян, М. И. "Sonata for Violin and Piano by Vladimir Martynov." Музыкальная академия, no. 4(768) (December 20, 2019): 6–21. http://dx.doi.org/10.34690/18.

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Скрипичная соната Владимира Мартынова (1973) парадоксальна во многих отношениях. Сам композитор характеризует ее как парадокс: «Это додекафония плюс минимализм. Еще в музыкальном училище я был очарован гокетом Машо, его минимализмом. Я имею в виду, что там что-то происходит и в то же время ничего не происходит». Симптоматично, что к названным направлениям ХХ века прибавился гокет XIV века. Парадоксальна серийная техника: Мартынов трактует ее настолько индивидуально, что она то вызывает ассоциацию со средневековым контрапунктом на cantus firmus, то сближается с 12-тоновыми техниками Хауэра и Ро

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Lee, Sang-Hie. "Hand biomechanics in skilled pianists playing a scale in thirds." Medical Problems of Performing Artists 25, no. 4 (December 1, 2010): 167–74. http://dx.doi.org/10.21091/mppa.2010.4034.

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Pianists, who attend to the integral relationship of their particular musculoskeletal characteristics to the piano technique at hand, discover an efficient path to technical advancement and, consequently, to injury prevention. Thus, a study of pianist's hand biomechanics in relation to different piano techniques is highly relevant, as hand features may influence various techniques in different ways. This study addressed relationships between pianists' hand biomechanics and the performance of a scale in thirds, as a part of an ongoing series of studies examining relationships between hand biome

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Gedi, A. "The evolution of B. Bartok’s piano style." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 45–60. http://dx.doi.org/10.34064/khnum1-57.03.

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Subject actuality. The article highlights the evolution of the compositional style of the Hungarian composer, taking into account the performance component of Bartok as a pianist. Based on existing musicological sources (works by A. Alekseev, B. Sabolcha, S. Sigitov, J. Uyfalushi, I. Martynov, I. Nestev, A. Malinkovskaya) the historical periodization of the general interest in Bartok’s work is indicated. Despite the study of many aspects of his creative activity, the performance of B. Bartok still remains without special analysis. Therefore, the process of studying the work of B. Bartok today

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Akmal, Rudi, Ani Yanti Ginanjar, and Euis Shintawati. "EFFECTIVENESS OF PIANO VIRTUAL MEDIA ON THE PGSD STUDENTS RETENTION IN BASIC PIANO THEORY." PrimaryEdu - Journal of Primary Education 4, no. 2 (September 30, 2020): 124. http://dx.doi.org/10.22460/pej.v4i2.1891.

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This study was conducted to determine the effectiveness of virtual piano media on PGSD students' memory on scale material. This study used a quasi-experimental one-group pretest-posttest design method. This study did not use a comparison class but already used a preliminary test so that the effectiveness of virtual piano media can be ascertained with certainty. In this study, the research subjects were first given a pretest to determine the extent of students' understanding before being given treatment using virtual piano media. The subjects in this study were 35 students. This research uses t

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Malaieva, Tetiana. "The method of double repetition action in the art of piano playing as an artistic and expressive technique." Bulletin of Mariupol State University. Series: Philosophy, culture studies, sociology 9, no. 18 (2019): 57–62. http://dx.doi.org/10.34079/2226-2849-2019-9-18-57-62.

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This article is a deep study of the technical possibilities of the modern piano and the use of this knowledge in the musical and pianistic development of the personality. The history of the modern piano begins in the XIX century. In 1823, Sebastien Erar in Paris invented the mechanism of double rehearsal. It was a double rehearsal that marked the beginning of a new history of the modern piano. Its main task is to achieve the sensation of closing a fingertip with a string. Similarly, as the ligaments of the vocalist close or the bow with the string of the violinist. Double rehearsal is a thin s

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Day, Sarah Katherine, and Barbara Lister-Sink. "Freeing the Caged Bird: Developing Well-Coordinated, Injury-Preventive Piano Technique." Notes 53, no. 4 (June 1997): 1227. http://dx.doi.org/10.2307/899492.

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Loshkov, Artем. "The «Chateau of the Loire Valley» piano fresco as a representation of the artistic thinking of Lesia Dychko." Музикознавча думка Дніпропетровщини, no. 18 (November 12, 2020): 50–64. http://dx.doi.org/10.33287/222017.

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The purpose of this represented scientific article is to reveal the specificity of piano thinking of L. Dychko as exemplified in the «Chateau of the Loire Valley» piano fresco. Methods. The methodological background of the study includes the integration of general scientific (historical, system-related, dialectic, culturological, comparative) and special artistic, in particular, music study methods and approaches of the scientific study. The application of the series of special methods of the music study research, characteristic to the historical, theoretical and performance musicology promote

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Nanou, Chrysi, and Rob Hamilton. "Historical Virtualization: Analog and Digital Concerns in the Recreation, Modeling and Preservation of Contemporary Piano Repertoire." Leonardo Music Journal 27 (December 2017): 27–31. http://dx.doi.org/10.1162/lmj_a_01004.

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Modern efforts to preserve and reinterpret canonic musical works in the contemporary piano repertoire often take advantage of new technologies, fundamentally changing core aspects of the works themselves. By approaching preservation as a form of virtualization—in this case the creation of a functional interpretative model of each musical work—artists and researchers can create robust and performable digital versions of important musical systems. This paper introduces the idea of virtualization as a compositional modeling technique and offers three case studies in which digital versions of cont

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Maszczyńska, Dominika. "Nannette and Johann Andreas Streicher - their role in shaping musical life in Vienna in the early 19th century." Notes Muzyczny 1, no. 13 (June 9, 2020): 49–80. http://dx.doi.org/10.5604/01.3001.0014.1937.

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Nannette and Andreas Streicher were important figures in the musical life of Vienna in the early 19th century. The article introduces their profiles, describes the history of their company, their social, cultural and teaching activity as well as different types of artistic activity. It also explains how keyboard instruments shaped sound and aesthetics-related piano ideals at the turn of the 19th century. The versatile activity of the Streichers, which first of all included instrument building, piano play- ing, composition, teaching and organisation of musical life, made a great contribution to

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Wristen, Brenda, and Chiarella Sforza. "Three-dimensional Analysis of Movements during Piano Playing." Medical Problems of Performing Artists 22, no. 3 (September 1, 2007): 130–31. http://dx.doi.org/10.21091/mppa.2007.3028.

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I read with great interest the article by Ferrario et al., reporting their findings from a study of pianists' hand and finger movements using three-dimensional motion capture in the March 2007 issue of this journal. The authors noted that most previous investigations of musicians technique investigated only limited parts of the playing apparatus "without considering global movements."

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Florea, Augustina. "7. Echoes of Romanticism in Violin and Piano Sonata No. 2, Op. 45 by Marcel Mihalovici - Analytical Landmarks for an Upscale Interpretation." Review of Artistic Education 19, no. 1 (April 1, 2020): 46–57. http://dx.doi.org/10.2478/rae-2020-0007.

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AbstractThe evolution of the genre of violin and piano sonata in the Romanian composition creation in the first half of the 20th century, marked by the tendency towards getting close to the European musical phenomenon by assimilating stylistic influences of Romanticism, especially, of Enescian Romanticism, distinctly manifesting in Violin and Piano Sonata no. 2, op. 45, by Marcel Mihalovici, one of the most renowned Romanian composers settled in Paris, appreciated by the famous contemporaries, such as M.Ravel, V.d’Indy, F. Poulenc etc. Sonata (1941), preceded by a motto in the sonnet of Romant

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Latcham, M. "The check in some early pianos and the development of piano technique around the turn of the 18th century." Early Music XXI, no. 1 (February 1, 1993): 28–43. http://dx.doi.org/10.1093/em/xxi.1.28.

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Sun, Sibing. "Evaluation of Potential Correlation of Piano Teaching Using Edge-Enabled Data and Machine Learning." Mobile Information Systems 2021 (April 14, 2021): 1–11. http://dx.doi.org/10.1155/2021/6616284.

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Data science has expanded at an exponential growth with the advancement of big data technology. The data analysis techniques need to delve deeper to find valuable information (Sarac 2017). The notion of edge computing is broadly acknowledged. Edge-enabled solutions provide computing, analysis, storage, and control nearer to the edge of the network, which support the efficient processing and decision-making. Machine learning has also attained significant attention in this context due to its flexibility and its ability to provide a variety of supervised, unsupervised, and semisupervised techniqu

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Lee, Young-hee. "An Evolution of New Piano Technique: Henry Cowell, John Cage George Crumb." Yonsei Music Research 2 (May 30, 1992): 183–201. http://dx.doi.org/10.16940/ymr.1992.2.183.

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Ota, Mineo. "Bartók’s wrists and 19th-century performance practice: An essay on the historicity of piano technique." Studia Musicologica 53, no. 1-3 (September 1, 2012): 161–70. http://dx.doi.org/10.1556/smus.53.2012.1-3.12.

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Mária Comensoli, who studied under Bartók in the mid-1920s, reports that her teacher used “peculiar fingerings and peculiar wrist and arm technique.” Examining such comments and the recordings of the composer-pianist, it becomes clear that Bartók played the piano partly according to the 19th-century performance practice. He frequently played chords in arpeggio, even when there were no markings of arpeggio in the score, and he respected the tone color of each finger by relying on the technique of leaping. Contemporary documents suggest that one of Bartók’s technical advantages was the flexibili

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Haddon, Elizabeth. "Piano performance: Group classes for the lifelong learner." Research Studies in Music Education 39, no. 1 (April 3, 2017): 57–71. http://dx.doi.org/10.1177/1321103x17702972.

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This qualitative research presents data relating to eight amateur pianists who completed a 10-week Piano Performance course for lifelong learners at the University of York, UK. This article discusses the development of learning through the impact of group participation, challenges faced by learners and pedagogical strategies used by the leader to create a positive and productive learning environment. The findings suggest that learning in a non-assessed semi-formal group not only informs individual practice, technique, musicianship, analytical and performance skills but also has a positive impa

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Pereira, Eliton Perpetuo Rosa, and Otoniel Pereira Gomes. "A iniciação à improvisação no piano popular: análise de métodos e elaboração de proposta didática." Cadernos de Educação Tecnologia e Sociedade 14, no. 1 (March 12, 2021): 38. http://dx.doi.org/10.14571/brajets.v14.n1.38-55.

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The theme of this research focuses on the initiation of improvisation on the popular piano, as a musical educational action to introduce students to this instrument in the universe of improvisation, as a music teaching activity, but mainly as a musical experience activity related to popular music. The study aimed to carry out a comparative analysis of the publications most used by Brazilian popular musicians on harmony and improvisation, in printed editions in Portuguese or translations printed in Brazil. Nine publications with this profile were found and the analysis took place through five m

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Manchester, Ralph A. "An Inquiry from an Amateur Pianist." Medical Problems of Performing Artists 28, no. 2 (June 1, 2013): 63–64. http://dx.doi.org/10.21091/mppa.2013.2011.

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The Letter to the Editor from Matthew Arthur in this issue of Medical Problems of Performing Artists asks an important question for performing arts medicine professionals: why haven’t we used the scientific method to determine optimal piano technique? More broadly framed, why is technique in most of the performing arts based much more on tradition and expert opinion than on the results of carefully designed scientific studies?

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Varlamova, A. V. "THE SOUND PALETTE OF NIKOLAY BERESTOV'S PIANO WORK." Arts education and science 1, no. 2 (2021): 129–35. http://dx.doi.org/10.36871/hon.202102016.

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The article is devoted to the piano works of Nikolay Savelyevich Berestov, one of the most famous composers of Yakutia, Honoured Artist of the Russian Federation and Yakutia, whose compositional heritage is performed outside of Yakutia and Russia. He is the author of numerous works in different genres of vocal and instrumental music, innovatively implementing in his compositions the traditions of national folklore. The article reveals characteristic features of the composer's style — the interaction of intonation vocabulary of national folklore and European writing technique, the adherence to

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Lochhead, Judy. "A Question of Technique: The Second and Third Piano Sonatas of Roger Sessions." Journal of Musicology 14, no. 4 (1996): 544–78. http://dx.doi.org/10.2307/764072.

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