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Journal articles on the topic 'Pianists'
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1
Lin, Ma. "Individual Performance Style of the Pianist in the Context of E. Erikson's "Identity" Theory." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(56-57) (December 26, 2022): 139–52. http://dx.doi.org/10.31318/2414-052x.3-4(56-57).2022.278225.
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The individual performance style of the pianist is considered from the standpoint of both conscious and unconscious advocacy of an adequate "my own personnality" in the network of perfect standards and aesthetic performance values of other pianists. It is proposed to interpret the specified phenomenon as a pianist's way of constructing in his imagination artistic images of musical works and their unique/original sound realization, taking into account the innate psychophysiological properties and acquired artistic and aesthetic values of the artist. It was found that the pianist's individual performance style enables the realization of his creative " my own personnality - concept" with a reflection of the influence of the most clear identification of its constructs both on the expressive and technical means of interpreting a musical work, and on artistry. The expediency of considering the identity of the pianist's individual performance style from the standpoint of identifying and differentiating the characteristic features of the pianist is substantiated. It is proven that the individual performance style of a pianist should be determined by: the presence of a system of his original/exceptional features, which enables the manifestation of both innate and acquired properties of the pianist in the process of interpreting musical works while preserving their authenticity; the conscious and unconscious defense of an adequate "self" in the context of the performance styles of other pianists; the immutability of reproduction of the fundamental features of the individual performance style of the pianist under any conditions and external influences aimed at their "identification" ("inflation", "dissolution in general") and "regressive restoration" ("capitulation" of the conscious attitude to the defense of individualization); the presence of a high level of fullness, differentiation and multi-vector nature of its features; the uniqueness of his features and their ability to complement each other with features of the performance styles of other pianists. The conditions for the manifestation of a complete system of features of the pianist’s individual performance style are defined in order to recognize its uniqueness. As a conclusion, the author describes the specifics of the application of methods of imitation and patterning, which help to reproduce features capable of ensuring the recognition of the created individual performance style of the pianist without "blurring" its leading differences among the performance styles of other artists involved in concert and stage activities.
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Loehr, Janeen D., Dimitrios Kourtis, Cordula Vesper, Natalie Sebanz, and Günther Knoblich. "Monitoring Individual and Joint Action Outcomes in Duet Music Performance." Journal of Cognitive Neuroscience 25, no. 7 (July 2013): 1049–61. http://dx.doi.org/10.1162/jocn_a_00388.
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We investigated whether people monitor the outcomes of their own and their partners' individual actions as well as the outcome of their combined actions when performing joint actions together. Pairs of pianists memorized both parts of a piano duet. Each pianist then performed one part while their partner performed the other; EEG was recorded from both. Auditory outcomes (pitches) associated with keystrokes produced by the pianists were occasionally altered in a way that either did or did not affect the joint auditory outcome (i.e., the harmony of a chord produced by the two pianists' combined pitches). Altered auditory outcomes elicited a feedback-related negativity whether they occurred in the pianist's own part or the partner's part, and whether they affected individual or joint action outcomes. Altered auditory outcomes also elicited a P300 whose amplitude was larger when the alteration affected the joint outcome compared with individual outcomes and when the alteration affected the pianist's own part compared with the partner's part. Thus, musicians engaged in joint actions monitor their own and their partner's actions as well as their combined action outcomes, while at the same time maintaining a distinction between their own and others' actions and between individual and joint outcomes.
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Fu, Xi, Kateryna Cherevko, and Oksana Pysmenna. "Performing skills of Li Yundi in the context of China's leading trends in the piano art development." Revista Amazonia Investiga 10, no. 46 (October 25, 2021): 42–50. http://dx.doi.org/10.34069/ai/2021.46.10.4.
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The article examines how the performing skills of the outstanding Chinese pianist Li Yundi have been formed. Chinese piano art in a short time has reached the significant success. As Chinese performers have made a rapid rise in their skills, we can speak about the formation of special musical-performing principles, based on a strong national basis. Li Yundi's career success owed not only to a successful teaching methodology, but also to a deliberate state policy. The formation of Chinese piano pedagogy lies in the assimilation of European pianist-teachers' experience and the preservation of ancient Chinese national traditions. Chinese pedagogues-pianists often use elements of ancient art ‘Qigong’. The use of teaching methods in the two performing styles of "Wen" and "Wu" traditionally established in Chinese culture is also important. This work is intended to identify the leading developmental trends in Chinese piano performing and their role in the formation of young Chinese pianist Li Yundi's performing skills.The article reveals the peculiarities of Chinese piano performing, with its integration of European piano school performing traditions. Emphasis is placed on the performing problems of Chinese pianists' interpretation of European composers' piano works. Li Yundi, one of the finest performers of Frideric Chopin's works, is a notable example of Chinese piano pedagogy's successes in the multifaceted development of the pianist's personality.
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Altizer, Katherine. "“Is it gonna be fun?”: Lolabelle, Dog Pianists, and Musical Réussite." Society & Animals 29, no. 7 (December 23, 2021): 716–32. http://dx.doi.org/10.1163/15685306-bja10055.
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Abstract This article examines historical dog pianists and the pianistic training of Lolabelle the rat terrier to explore a musical question beyond structure and intention: what might musical encounters between human and nonhuman animals make possible? Reviewers of Laurie Anderson’s film Heart of a Dog, in which some of Lolabelle’s performances appear, rarely center either Lolabelle or her pianism and frequently distance themselves from indicating belief in the musicality of the activity. The tone of this reporting is consistent with that of other Western reporting on dog pianists in the nineteenth and twentieth centuries. While piano-playing dogs have historically strengthened the human-animal divide by reinforcing dogs’ status as never-human, the frames for anthropomorphic acts are what strengthen this divide rather than something inherent in the anthropomorphic activity itself.
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Bragge, Peter, Andrea Bialocerkowski, and Joan McMeeken. "Understanding Playing-Related Musculoskeletal Disorders in Elite Pianists: A Grounded Theory Study." Medical Problems of Performing Artists 21, no. 2 (June 1, 2006): 71–79. http://dx.doi.org/10.21091/mppa.2006.2014.
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Objectives: Playing-related musculoskeletal disorders (PRMDs) are a recognised problem in elite (college/conservatory or professional) pianists. The aim of this study was to explore the behavioural, emotional, and physical world of the elite pianist and the interaction between this world and the experience of having a PRMD. Methods: A qualitative, grounded theory methodology was used. Oneon-one interviews were conducted with 18 elite pianists, 6 health practitioners, and 6 teachers who had had or managed PRMDs. Interview questions focused on the experience of being an elite pianist, the impact of PRMDs on piano playing and other activities, and the pianists' feelings about the effects of PRMDs. Interviews were transcribed and then analysed using grounded theory. Results: Major categories were “pressure: external,” “pressure: internal,” and “culture of silence.” The central category was “playing through pain.” Elite pianists experienced many internal and external pressures but were reluctant to declare physical problems due to a culture of silence, and they played through pain. This situation led to development or worsening of PRMDs, with physical, psychological, and global effects. Worsening symptoms or an impending examination or recital led pianists to seek treatment. Poor medical awareness of musicians' needs often resulted in suboptimal management of PRMDs. Conclusion: Open discussion of PRMD issues in elite pianists and dissemination of PRMD prevention and management information are warranted to help prevent the physical, psychological, and global effects of such disorders.
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Liu, Peng. "Constructing a Versatile Virtuoso Persona." Journal of Musicology 40, no. 1 (January 1, 2023): 73–102. http://dx.doi.org/10.1525/jm.2023.40.1.73.
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German pianist Anna Caroline de Belleville was one of the foremost virtuoso pianists in the 1820s and 1830s, deemed the “Chamber Virtuoso of Her Royal Highness” by Princess Louise of Prussia and “Queen of the Piano” by Paganini. Although a few modern biographical accounts provide an overview of her life and career, there has been no critical examination of her virtuosity within the context of early nineteenth-century performance culture. Drawing on periodicals, magazines, correspondence, memoirs, and contemporary writings, this article reconstructs Belleville’s early career and illustrates her significance by examining her strategic programming, pianism, and reception. I argue that Belleville’s reorientation of her public concert repertory in the mid-1830s, particularly her incorporation of works considered “classical” or “serious,” enabled her to mediate the conflicting musical tastes of her critics and audiences, and to reinvent herself as a pianist renowned not for a bravura style but for a versatile, eclectic virtuosity centering on the faithful interpretation of “serious” works. This course of action marked Belleville as a significant forerunner to the interpreter-performer pianists who came to dominate the virtuoso scene from the mid-nineteenth century onward.
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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 biomechanics and performance data of primary techniques. The biomechanics of hand length and width, finger length, hand span, hand and arm weights, and ulnar deviation at the wrist were compared with tempo, articulation, and dynamic voicing (tone balance between two notes of the thirds). Pearson correlation analysis showed a positive association between ulnar deviation and tempo; the other biomechanical features showed no relationships with any of the performance criteria. Qualitative cross-sectional observation of individual profiles showed that experienced pianists perform with a higher degree of synchrony in two-note descent while pianists with organ training background play with a lesser degree of synchrony. All biomechanical features were closely related among one another with one exception: wrist ulnar deviation was not associated with any other biomechanical features; rather, data suggest possible negative associations. This study underscores the importance of wrist mobility in piano skills development. Further research using a complete set of prototype piano techniques and multiple-level pianist-subjects could provide substantive biomechanical information that may be used to develop efficient pedagogy and prevention strategies for playing-related injuries as well as rehabilitation.
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Manning, Fiona C., Anna Siminoski, and Michael Schutz. "Exploring the Effects of Effectors." Music Perception 37, no. 3 (February 1, 2020): 196–207. http://dx.doi.org/10.1525/mp.2020.37.3.196.
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We explore the effects of trained musical movements on sensorimotor interactions in order to clarify the interpretation of previously observed expertise differences. Pianists and non-pianists listened to an auditory sequence and identified whether the final event occurred in time with the sequence. In half the trials participants listened without moving, and in half they synchronized keystrokes while listening. Pianists and non-pianists were better able to identify the timing of the final tone after synchronizing keystrokes compared to listening only. Curiously, this effect of movement did not differ between pianists and non-pianists despite substantial training differences with respect to finger movements. We also found few group differences in the ability to align keystrokes with events in the auditory sequence; however, movements were less variable (lower coefficient of variation) in pianists compared to non-pianists. Consistent with the idea that the benefits of synchronization on rhythm perception are constrained by motor effector kinematics, this work helps clarify previous findings in this paradigm. We discuss these outcomes in light of training and the kinematics involved in pianist keystrokes compared to musicians synchronizing movements in other studies. We also overview how these differences across motor effector synchronization and training must be accounted for in models of perception and action.
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Lee, Sang-Hie, Kenneth B. Hanks, and Joseph Schwartz. "Pianist's Rehabilitation: Three Cases." Medical Problems of Performing Artists 20, no. 1 (March 1, 2005): 35–39. http://dx.doi.org/10.21091/mppa.2005.1006.
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Three pianists, each with academic and performing credentials, shared their experiences of physical problems, treatment, and rehabilitation. Preparing for solo performance puts an inordinate demand on mental and physical functioning and family life for the pianist in academia. Pianists, who must demonstrate technical and artistic prowess while teaching heavy loads, can easily overuse their piano-playing mechanisms by playing difficult works without proper conditioning and necessary rest. This can result in gradual or sudden bodily pain and incapacitation. Minor pains and injuries of the pianists profiled here were overcome by applying proper piano techniques. More serious injuries needed medical attention, alternative therapies, and combined management programs. With good health care and proper technical approach all three pianists resumed active performing life.
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Turner, Craig, Peter Visentin, and Gongbing Shan. "Wrist Internal Loading and Tempo-Dependent, Effort-Reducing Motor Behaviour Strategies for Two Elite Pianists." Medical Problems of Performing Artists 36, no. 3 (September 1, 2021): 141–49. http://dx.doi.org/10.21091/mppa.2021.3017.
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One of the greatest challenges in reducing high rates of performance injuries among musicians is in providing them usable tools to address playing-related musculoskeletal problems (PRMP) before they become disorders. Studies in biomechanics have the potential to provide such tools. In order to better understand the mechanisms through which PRMP manifest in pianists, especially in the distal segments of the upper limbs, the current study quantifies wrist internal loading (WIL) and wrist impact loading frequency. It does so while discussing pianists’ motor behaviours and observed effort-reduction strategies in the wrists as a function of anthropometry. This concept has great utility for performers. A VICON 3D motion capture system documented two expert pianists performing a B major scale, hands together, at 4, 6, 8, 9, and 10 notes/sec. Biomechanical modeling quantified WIL. Changes in motor behaviour were observed at 8 notes/sec. Individualized anthropometry influenced the range of motor strategies available to each pianist. The pianist with the larger hand span employed a flexion/extension wrist strategy as a compensatory means for effort reduction, while the pianist with the smaller hand span employed a radial/ ulnar deviation strategy. The current study provides a new perspective in addressing PRMP among pianists by rationalizing anthropometric potentials in terms of ergonomic parameters and documenting the availability and utility of effort-reduction strategies in the wrists during piano performance as performers consider PRMP risk and avoidance.
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KUYUMCU, Melina. "A GUIDE FOR THE PIANIST IN CLASSICAL BALLET ACCOMPANIMENT." SOCIAL SCIENCE DEVELOPMENT JOURNAL 8, no. 36 (March 15, 2023): 203–9. http://dx.doi.org/10.31567/ssd.851.
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Accompanying a classical ballet technique class contains different elements and difficulties for a pianist when compared to accompanying instruments and voice. The score is specific when accompanying instrument or voice whereas the pianist is mostly free to choose the music suitable for the movments in a ballet class. Due to this exact problem the ballet instructor and the accompanist have problems from time to time. In this case the pianist’s experience plays a big role for the class course. The professional ballet pianist has mastered the essential elements for the class, therefore the problems are solved quickly. On the other hand these problems will be challenging for the unexperienced accompanist. In this study preliminary preparation and essentials to pay attention for during the class for beginner and amateur ballet pianists are addressed in general terms. The biggest motivation for doing this research is the lack of Turkish sources on this specific subject. I hope this will not be a guide only for the pianist but will help the ballet instructor to see the problems from the accompanist’s point of view as well.
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Lisle, Rae de, Dale B. Speedy, John M. D. Thompson, and Donald G. Maurice. "Effects of Pianism Retraining on Three Pianists with Focal Dystonia." Medical Problems of Performing Artists 21, no. 3 (September 1, 2006): 105–11. http://dx.doi.org/10.21091/mppa.2006.3022.
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Focal dystonia is a debilitating movement disorder that occurs from many repetitions of a specific task. It typically manifests in involuntary muscle contractions and, in pianists, causes an incoordination between fingers, making it impossible to play at concert level. Prognosis is poor, and most sufferers are forced to abandon their careers. The aim of this research was to ascertain whether pianism retraining would enable pianists affected by focal hand dystonia to play again. Three pianists with focal hand dystonia participated in a retraining programme based on a biomechanically sound way of playing with minimal tension. Quality of scales and repertoire were assessed before and after pianism retraining by several rating systems, which included assessment by a listener blinded as to which hand was dystonic and whether the playing was pre- or post-retraining. Scale quality improved with retraining (p < 0.0001) in all three pianists, with improvement in both hands but greater improvement in the dystonic hand. Although there was no change in the blinded listener's ability to identify the nondystonic hand from pre-retraining to post-retraining, they could correctly identify the dystonic hand 79% of the time pre-retraining, but this decreased to 28% post-retraining. The test repertoire evaluation and the visual evaluation rating were shown to improve significantly by 1.0 and 1.3 points, respectively (on a five-point rating system), from pre-retraining to post-retraining (p < 0.0001). Our data show that pianism retraining can improve the symptoms of focal dystonia in pianists.
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Goebl, Werner, and Caroline Palmer. "Synchronization of Timing and Motion Among Performing Musicians." Music Perception 26, no. 5 (June 1, 2009): 427–38. http://dx.doi.org/10.1525/mp.2009.26.5.427.
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WE INVESTIGATED INFLUENCES OF AUDITORY FEEDBACK, musical role, and note ratio on synchronization in ensemble performance. Pianists performed duets on a piano keyboard; the pianist playing the upper part was designated the leader and the other pianist was the follower. They received full auditory feedback, one-way feedback (leaders heard themselves while followers heard both parts), or self-feedback only. The upper part contained more, fewer, or equal numbers of notes relative to the lower part. Temporal asynchronies increased as auditory feedback decreased: The pianist playing more notes preceded the other pianist, and this tendency increased with reduced feedback. Interonset timing suggested bidirectional adjustments during full feedback despite the leader/follower instruction, and unidirectional adjustment only during reduced feedback. Motion analyses indicated that leaders raised fingers higher and pianists' head movements became more synchronized as auditory feedback was reduced. These findings suggest that visual cues became more important when auditory information was absent.
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Miao, Xiaoyu. "Qualitative Study on Playing-related Injury of College Student Pianists." Transactions on Social Science, Education and Humanities Research 7 (May 6, 2024): 214–24. http://dx.doi.org/10.62051/eczev757.
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This study aimed to investigate student pianists' playing-related musculoskeletal disorder (PRMD) from the perspective of qualitative research. This study used a transcendental phenomenological approach to collect data through one-on-one interviews and focus group discussions. Four themes emerged in these data: experiencing memories of PRMD, pianist's self-awareness, social support, and deal with injury. The findings are highly relevant regarding self-awareness, social relationships, education, and healthcare and provide educators and healthcare personnel with an experienced way to understand the PRMD of student pianists. The results show that maintaining student pianists' playing careers and coping with PRMD requires joint efforts from multiple fields, including the pianists themselves to establish good self-awareness, social relations to provide support and help, higher education institutions to provide and strengthen health education, and health care personnel to develop tailored ways to deal with injury for pianists. The study suggests that more research in the future could focus on the experiences of musicians and the group of tertiary music students. The study also hopes that this kind of research can be paid attention to and valued by music education, health education, and medical care to develop suitable PRMD intervention and treatment strategies for different types of musicians.
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Methuen-Campbell, James, and Wilson Lyle. "Pianists." Musical Times 127, no. 1718 (April 1986): 211. http://dx.doi.org/10.2307/964715.
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Siepmann, Jeremy. "Pianists." Musical Times 128, no. 1731 (May 1987): 275. http://dx.doi.org/10.2307/965124.
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de Lisle, Rae, Dale B. Speedy, and John MD Thompson. "Pianism Retraining via Video Conferencing as a Means of Assisting Recovery from Focal Dystonia: A Case Study." Medical Problems of Performing Artists 25, no. 3 (September 1, 2010): 126–29. http://dx.doi.org/10.21091/mppa.2010.3026.
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Focal dystonia (FD) is a devastating neurological condition which causes involuntary muscle contractions and often results in the loss of a musician’s playing ability. Our study investigated whether retraining via video conferencing could be helpful in the treatment of a professional pianist with a 5-year history of FD. Although full recovery was not seen, improvement was observed at slow tempi, and his hand was visibly less cramped as training sessions progressed. We conclude that video conferencing could be an acceptable medium to assist pianism retraining in pianists with FD when location prevents on-site retraining. However, in this study it did not seem as effective as previously reported, similar, one-on-one retraining in the same location.
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BIYIKOĞLU, Kaan Muzaffer, and Eray ALTINBÜKEN. "Aesthetically Warranted Emotions in the Theme of the Final Movement of Beethoven’s Piano Sonata Op.10 No.3." Musicologist 7, no. 1 (June 30, 2023): 26–48. http://dx.doi.org/10.33906/musicologist.1185395.
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In a video commentary, pianist and conductor Daniel Barenboim (2016) discussed the dangers of verbal descriptions of music by presenting two seemingly contradictory explanations about the ‘meaning’ of the theme of the final movement of Beethoven’s Piano Sonata Op.10/3 given by pianists Edwin Fischer and Claudio Arrau. We examined the tempo and dynamic fluctuations obtained from the studio recordings of this theme by Fischer in 1948 and 1954, and by Arrau in 1964 and 1985 by using the Sonic Visualiser software (Cannam et al., 2010), and interpreted these results by using Steve Larson’s (2012) theory of musical forces, and Robert Hatten’s (2018) theory of virtual agency in western music. According to our analyses, the differences in the performances of Fischer and Arrau can be metaphorically correlated with the different meanings these pianists attributed to Beethoven’s theme. We concluded that the seemingly contradictory verbal descriptions of these pianists indicate different aesthetically warranted emotions they aimed to communicate through their performances of Beethoven’s theme.
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Chuanjie, Tu. "ACADEMIC CULTURE OF FUTURE PIANISTS: INTERPRETATION OF THE ESSENCE." Pedagogy and Education Management Review, no. 2(16) (June 30, 2024): 28–38. http://dx.doi.org/10.36690/2733-2039-2024-2-28-38.
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The academic culture of a pianist is one of the specialized forms of culture. That is due to the division of labor and the delimitation of mental and practical activity spheres. The generalization of scientific research has revealed a systematic approach to interpreting the concepts of "culture" and "academic culture." Still, no unambiguity has been found in understanding the concept of the "academic culture of the pianist." The article aims to study the essence and structure of the concept of the "academic culture of the future pianist." Research methods: theoretical analysis of scientific sources in philosophy, pedagogy, music, and piano art to identify the characteristic features in the definition of the concept of "academic culture of the future pianist," structural and logical analysis to identify the structural components of this phenomenon. It is substantiated that the academic culture of the future pianist should be understood as a socially conditioned, dynamic personal formation that is formed in the environment of a higher education institution and manifests itself in the system of formed value orientations (to musical art, to music and pedagogical activities, to the personality of students and students), a dynamic system of general (in the field of music education) and special knowledge (about the methods and methods of specific activities, including musical, performing, and piano), including musical, performing, pedagogical), skills (cognition of musical art; perception, performance, creation of music, communication with artistic samples of culture), as well as in the pursuit of creative self-realization in musical activity. It is shown that the complexity and originality of the phenomenon of the "academic culture of future pianists" determine the peculiarities of its formation simultaneously in three spaces: general cultural, general pedagogical, and musical-pedagogical, and the formation of the academic culture of future pianists takes place in an academic environment that takes into account the system of individual requests of pianists for academic education and is addressed within professional educational professional programs.
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d'Amato, Alison, and Elvia Puccinelli. "Considering Crossover and the Collaborative Pianist." Journal of Singing 80, no. 5 (May 2024): 593–99. http://dx.doi.org/10.53830/sing.00049.
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Abstract: The term "crossover" in classical vocal music has generally been used to refer to a classically-oriented artist's forays into non-classical styles or genres. In the singers' world, crossover not only exists, but is increasingly accepted as an important part of the twenty-first century singer's training and preparation. But what of the singer's partner, the pianist and/or coach who will work with them side-by-side? How are pianists and voice coaches affected by the new trends in vocal repertoire? The authors talked with coach-conductors Kathleen Kelly and Stephanie Rhodes Russell about navigating crossover trends as pianists and coaches.
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Ellis, Katharine. "Female Pianists and Their Male Critics in Nineteenth-Century Paris." Journal of the American Musicological Society 50, no. 2-3 (1997): 353–85. http://dx.doi.org/10.2307/831838.
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The sudden appearance of several female concert pianists in Paris in the mid 1840s forced male journalists to develop new critical rhetorics. Criticism of the period became saturated with problematic notions of gender, the use of the body, and levels of acting in performance. Because they were interpreters rather than composers, women pianists challenged traditional ideas about the meaning of pianistic virtuosity and were central to the enlargement of the concert repertory. In comparison with male colleagues, however, they were disadvantaged, caught in a web of conflicting ideas concerning the relative value of particular keyboard repertories that were themselves gendered.
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Wristen, B. G., M. C. Jung, A. K. G. Wismer, and M. S. Hallbeck. "Assessment of Muscle Activity and Joint Angles in Small-Handed Pianists: A Pilot Study on the 7/8-Sized Keyboard versus the Full-Sized Keyboard." Medical Problems of Performing Artists 21, no. 1 (March 1, 2006): 3–9. http://dx.doi.org/10.21091/mppa.2006.1002.
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This pilot study examined whether the use of a 7/8 keyboard contributed to the physical ease of small-handed pianists as compared with the conventional piano keyboard. A secondary research question focused on the progression of physical ease in pianists making the transition from one keyboard to the other. For the purposes of this study, a hand span of 8 inches or less was used to define a “small-handed” pianist. The goal was to measure muscle loading and hand span during performance of a specified musical excerpt. For data collection, each of the two participants was connected to an 8-channel electromyography system via surface electrodes, which were attached to the upper back/shoulder, parts of the hand and arm, and masseter muscle of the jaw. Subjects also were fitted with electrogoniometers to capture how the span from the first metacarpophalangeal (MCP) joint to the fifth MCP joint moves according to performance demands, as well as wrist flexion and extension and radial and ulnar deviation. We found that small-handed pianists preferred the smaller keyboard and were able to transition between it and the conventional keyboard. The maximal angle of hand span while playing a difficult piece was about 5º smaller radially and 10º smaller ulnarly for the 7/8 keyboard, leading to perceived ease and better performance as rated by the pianists.
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Răducanu, Cristina. "A Subjective Approach of the Performance of Edvard Grieg’s Piano Concerto in A minor, Op. 16." Artes. Journal of Musicology 23, no. 1 (April 1, 2021): 207–23. http://dx.doi.org/10.2478/ajm-2021-0012.
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Abstract Starting from a stylistic analysis based on musical language elements, this study offers a personal standpoint with respect to the interpretation and performance of Edvard Grieg’s Piano Concerto in A minor, op. 16. The author accounts for all the technical and interpretive observations starting from a structural analysis of the opus. The reflections on various melodic, harmonic, rhythmic, dynamic or agogic characteristics come to reinforce the rationale for the subjective choices of how to perform this piece. The article is not by far an exhaustive study on the topic; it merely offers a personal viewpoint and understanding of this Concerto based on several musical excerpts that have been deemed particularly relevant by the author, who is a pianist as well as a piano teacher. Given that the literature on the stylistic and performative analysis of major piano repertoire is sadly scarce, the author wishes to provide pianists and researchers alike with a paper that may serve them in their artistic or academic enquiries. As this Concerto is very well-known and enthusiastically approached by most pianists due to its beautiful, impressive themes and brilliant virtuosic passages, the author has considered it opportune to present her own point of view as a performing pianist for other pianists who may be strictly interested in various versions to resolve technical-performative issues or, perhaps, who may wish to merely contemplate this opus from a different angle.
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Wong, Grace K., Gilles Comeau, Donald Russell, and Veronika Huta. "Postural Variability in Piano Performance." Music & Science 5 (January 2022): 205920432211378. http://dx.doi.org/10.1177/20592043221137887.
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Variability is inevitable in human movement and posture, including piano performance, although little research has been conducted in this area. The purpose of this study was to determine if, when comparing individuals to themselves, pianists demonstrate consistent postural angles within a task across multiple measurements and to ascertain if, between various tasks, there are discernible task-related postural patterns. Fifteen pianists participated in this study. Each pianist returned for a total of three measurement sessions. The tasks they were required to perform at each session were quiet sitting, raising their hands on and off the keyboard, playing an ascending and descending scale, sight reading, and playing a piece in three expressive conditions (i.e., deadpan, projected, exaggerated). The following postural angles were calculated based on motion capture data collected during the performance of these tasks: craniovertebral angle, head tilt, head-neck-trunk angle, trunk angle, thoracic angle, thoracolumbar angle, and lumbar angle. The within-person variability ratio across the three measurements was calculated for each angle and across all tasks. Task-related patterns in angles were examined by comparing the same postural angle across different tasks. Results showed that there is a considerable amount of within-person variability, but not enough to be inconsistent over time. Task-related patterns indicate that reading a musical score or playing at the extreme ends of the keyboard tend to involve leaning closer to the instrument. Implications for future studies, intervention studies in particular, include taking more than a single baseline measurement to provide a more accurate picture of an individual pianist's typical posture.
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Duke, Robert A., Amy L. Simmons, and Carla Davis Cash. "It's Not How Much; It's How." Journal of Research in Music Education 56, no. 4 (January 2009): 310–21. http://dx.doi.org/10.1177/0022429408328851.
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We observed 17 graduate and advanced-undergraduate piano majors practicing a difficult, three-measure keyboard passage from a Shostakovich concerto. Participants' instructions were to practice until they were confident they could play the passage accurately at a prescribed tempo in a retention test session the following day. We analyzed the practice behaviors of each pianist in terms of numeric and nonnumeric descriptors and ranked the pianists according to the overall performance quality of their retention tests. Results indicated no significant relationship between the rankings of pianists' retention test performances and any of the following variables: practice time, number of total practice trials, and number of complete practice trials. There were significant relationships between retention test rankings and the percentage of all performance trials that were performed correctly, r = —.51, the percentage of complete performance trials that were performed correctly, r = —.71, and the number of trials performed incorrectly during practice, r = .48. The results showed that the strategies employed during practice were more determinative of performance quality at retention than was how much or how long the pianists practiced, a finding consistent with the results of related research.
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Horak, Yakym. "Volodymyra Bozhejko’s & her family letters Stanislav Liudkevych." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 11(27) (2019): 271–311. http://dx.doi.org/10.37222/2524-0315-2019-11(27)-15.
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The article bears witness to the history of relationship between composer and pianist. The extant letters (31 in all) are published with the scientific commentary for the first time, as well as letters of her father Ivan Bozhejko (2 in all), and a letter of her brother Yuliy Bozhejko to Stanislav Liudkevych. The pianists’ letters span the years from 1919 to 1947 — the time of her piano studies in Vienna, and later her employment as a piano teacher in Peremyshl subsidiary school of Higher Music Institute. The letters reveal the methodology of Liudkevuch professional tutoring of his student: he were the first music journalist, who met with great eclait the bright talent of a young pianist in a Peremyschl girls’ Liceum, extant in two articles of acclaim in 1911 and 1912. After the graduation from the Austrian Academy of Arts & Letters in a piano masterclass of E. Lialevytch , S. Liudkevych sent the letter of support on behalf of V. Bozhejko to prominent Austrian pianists Paul Weingartner and Emil Sauer, recommending the young pianist to enter Meisterschule in Vienna. Due to Liudkevuch support continued her studies in Meisterschule, and at a later date, in a Neuer Vienna Conservatoire, in the class of pianist Andjelo Cessisoglu of Greece. The letters bear witness to Viennies Promenade Concert Series, as a vibrant milieu the young Ukrainian pianist crafted her musicianship of a rich connoiseur’s appreciation of the artists of brilliance. The letters bear witness to her warm and sincere relationship with Stanislav Liudkevych, where she conveys her impressions of Vienna Concert Series, accounts of her teachers and studies, personal and family matters. During her studies in 1923 the pianist played the Recital Concert in Lviv, which met the great eclait of Stanislav Liudkevich, where he called it the Klavierabend of a premiere eclait in his acclaim article in a press, as a success were a unique resonance as a Ukrainian Concert Series. The letters of pianist's employment in a Peremyschl Subsidiary School of Higher Music Institute bear V. Bojeyko’s witness of Stanislav Liudkevych signifacance as a tutor to her arstistic endeavour, performance of his compositions, the musicianship’s intricacies and craft, revealed in her dialogs with the composer. This dialog were coninued througout their lives, as a piano teacher in Peremyschlyany Subsidiary School, and in calamities of war. Keywords: Volodymyra Bozheyko, Ivan Bozheyko, Yuliy Bozheyko, letters, concerts, Vienna, Paul Wiengartner, Emil Zauer, Angelo Cessisoglu, Meisterschule, Neue Vienna Musichochschule, Peremyschl, the Higher Music Insti¬tute subsidiary school, Stanislaw Liudkevych.
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Demchenko, Alexander Ivanovich. "Four masters of the Saratov piano school." Culture. Art. Education, no. 2 (January 23, 2023): 48–65. http://dx.doi.org/10.37816/2949-1762-2023-1-1-48-65.
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The Saratov Piano School is one of the most outstanding music schools in Russia, owing to its rich history and deep-rooted traditions. The Saratov Conservatory, founded as the third conservatory in the country and the first in the province, has played a pivotal role in shaping the school's identity. The school's lineage can be traced back to renowned pianists such as K. Igumnov and G. Neuhaus, among others. The school takes pride in its contemporary pianist pleiad, which includes several notable names such as Albert Tarakanov, Anatoly Katz, Anatoly Skripai, and Lev Shugom. Each of these pianists possesses a distinctive artistic personality and has their own preferences in terms of repertoire selection. However, due to its location on the periphery, the school has struggled to gain wider recognition.
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Harvey, Adam, Lewis Hou, Kirsteen Davidson-Kelly, Rebecca S. Schaefer, Sujin Hong, Jean-François Mangin, Katie Overy, and Neil Roberts. "Increased representation of the non-dominant hand in pianists demonstrated by measurement of 3D morphology of the central sulcus." Psychoradiology 1, no. 2 (May 28, 2021): 66–72. http://dx.doi.org/10.1093/psyrad/kkab004.
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Abstract Background Post-mortem and magnetic resonance imaging (MRI) studies of the central sulcus, as an indicator of motor cortex, have shown that in the general population there is greater representation of the dominant compared to the non-dominant hand. Studies of musicians, who are highly skilled in performing complex finger movements, have suggested this dominance is affected by musical training, but methods and findings have been mixed. Objective In the present study, an automated image analysis pipeline using a 3D mesh approach was applied to measure central sulcus (CS) asymmetry on MR images obtained for a cohort of right-handed pianists and matched controls. Methods The depth, length, and surface area (SA) of the CS and thickness of the cortical mantle adjacent to the CS were measured in each cerebral hemisphere by applying the BrainVISA Morphologist 2012 software pipeline to 3D T1-weighted MR images of the brain obtained for 15 right-handed pianists and 14 controls, matched with respect to age, sex, and handedness. Asymmetry indices (AIs) were calculated for each parameter and multivariate analysis of covariance (MANCOVA), and post hoc tests were performed to compare differences between the pianist and control groups. Results A one-way MANCOVA across the four AIs, controlling for age and sex, revealed a significant main effect of group (P = 0.04), and post hoc analysis revealed that while SA was significantly greater in the left than the right cerebral hemisphere in controls (P < 0.001), there was no significant difference between left and right SA in the pianists (P = 0.634). Independent samples t-tests revealed that the SA of right CS was significantly larger in pianists compared to controls (P = 0.015), with no between-group differences in left CS. Conclusions Application of an image analysis pipeline to 3D MR images has provided robust evidence of significantly increased representation of the non-dominant hand in the brain of pianists compared to age-, sex-, and handedness-matched controls. This finding supports prior research showing structural differences in the central sulcus in musicians and is interpreted to reflect the long-term motor training and high skill level of right-handed pianists in using their left hand.
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Lysenko, Yanina, Dariia Korotenko, Tetyana Martynyuk, Olena Tkachenko, and Eleonora Vlasenko. "Interdisciplinary communication in pianists’ education: experience from M. Hlinka Dnipropetrovsk academy of music." Linguistics and Culture Review 5, S2 (August 1, 2021): 514–21. http://dx.doi.org/10.21744/lingcure.v5ns2.1387.
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In modern social conditions, the demand of formation of a new generation of teachers is raising. The problem of interdisciplinary communication in the field of musical-pedagogical preparation of specialists is of particular interest since new organizational and methodological forms, theoretical and practical research are not used enough in the educational process. The authors conducted a study on the issues of professional and conceptual foundations of pianists’ education on the example of M. Hlinka Dnipropetrovsk Academy of Music. The concept of interdisciplinary communication was defined. Vocational and pedagogical skills and pianist skills that are formed due to the interconnection of the disciplines of the historical-pedagogical cycle were characterized. The tasks that contribute to ensuring the effectiveness of the results of pianists’ educational process in M. Hlinka Dnipropetrovsk Academy of Music were identified and main pedagogical principles were outlined.
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Lipke-Perry, Tracy, Morris Levy, and Darren J. Dutto. "Probing Focus of Attention: Multiple Case-Study Analysis of Pianists’ Pedaling Under Different Foci Conditions in Performance of Bartók’s Romanian Folk Dance Sz. 56, No. 2." Music & Science 5 (January 2022): 205920432211232. http://dx.doi.org/10.1177/20592043221123225.
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A differential benefit of external focus of attention (FOA) relative to internal focus has been demonstrated across a wide variety of athletic and rehabilitative pursuits; however, very little research has been undertaken in the performing arts. Given the unique aesthetic context of the arts and obvious transdisciplinary parallels, particular attention is warranted. This study examines nine pianists’ pedaling while performing Bartók’s Romanian Folk Dance Sz. 56, No. 2, and directing attention to three different focus conditions relative to a baseline condition. Differences in global pedal use and technique emerged and appeared to be modulated by level of expertise and the length of time spent preparing the piece. The two most experienced pianists and the least experienced pianist demonstrated greatest consistency in pedaling, as measured by Z scores calculated across eight performance parameters. Results corroborate previous FOA research demonstrating performance variability when adopting different focus strategies. Implications include the need to deliberately align focus strategies in music training and performance. To the authors’ knowledge, this is the first study to examine performance effects of external against internal FOA on pianists’ pedaling. The critical conceptual aspect of the work is beginning to illuminate the relationships between a performer’s attention and motor output, and perceived artistic or musical effects.
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Smirnova, Marina V., and Han Qing. "REFLECTING ON S. M. KHENTOVA’S BOOK “LEV OBORIN”." Arts education and science 4, no. 37 (2023): 107–16. http://dx.doi.org/10.36871/hon.202304107.
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The article is based on a review of a book by the remarkable and in the second half of the twentieth century exceptionally popular musicologist S. M. Khentova, who, as a student of L. N. Oborin, was a representative of the school of the legendary pianist K. N. Igumnov. Oborin continued the traditions of his teacher both as a performer and as a teacher. Not only great pianists, but also wonderful teachers and concertmasters came out of his class. Oborin’s students were such well-known Russian musicologists as V. Delson and G. Tsypin, who have made a considerable contribution to the formation of Russian performing musicology. Khentova is currently the only biographer of her teacher, who contributed greatly to the formation of Russian pianism. Oborin gained widespread recognition after his triumphant victory at the First International Chopin Competition. In the thirties, it had not only artistic, but also political resonance. Khentova’s book analyses a number of fundamental moments for the formation of Oborin’s performing style. The process of the pianist’s creative formation is explored in the context of the socio-cultural attitudes of the epoch. The problem of the evolution of aesthetic perception of the audience is touched upon. The influence that Igumnov’s school had on the formation of Oborin’s creative attitudes as an interpreter of piano music by L. van Beethoven, P. Tchaikovsky, F. Chopin, S. Prokofiev, etc., as well as the musician’s pedagogical principles, is considered. In this article, all these points are evaluated in terms of modern scientific vision and assessment.
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Imai-Matsumura, Kyoko, and Megumi Mutou. "Gaze Analysis of Pianists’ Sight-reading: Comparison Between Expert Pianists and Students Training to Be Pianists." Music & Science 4 (January 2021): 205920432110611. http://dx.doi.org/10.1177/20592043211061106.
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One of the most important skills for a pianist is sight-reading, which is the ability to read an unknown music score and play it. In recent years, research has analysed eye movement during sight-reading. However, the definition of sight-reading has varied. In addition, the participants enlisted as experts in most studies have been music college students. The present study aimed to compare eye movements during sight-reading between experts, teachers at a music college and pianists, and non-experts, music college students studying to become pianists, using an eye tracker. Using easy and difficult music scores for two-handed playing, we investigated whether there were differences in the number of eye fixations, fixation duration, and eye-hand span. The definition of sight-reading in this study is to read a novel music score once without playing the piano, and then to play it while looking at the music score. The results showed that the higher the piano performance rating, the longer the eye-hand span. Areas of interest (AOIs) were defined every two rows, including a treble and bass staff in each music score. We conducted a two-factor repeated measures ANOVA (group × AOI) for each dependent variable to analyse fixation count and fixation duration per eye fixation. There was a significant interaction for the fixation count between groups and AOIs both without and with performance in the difficult score. In experts, the number of eye fixations on the difficult part of difficult score increased compared with other part both without and with performances. By contrast, there was a significant interaction for the duration per eye fixation between groups and AOIs in easy score with performance. The duration per eye fixation in experts was shorter than that in non-experts in the easy score with performance. These results suggest that experts get information through short gaze fixations.
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Repp, Bruno H. "The Art of Inaccuracy: Why Pianists' Errors Are Difficult to Hear." Music Perception 14, no. 2 (1996): 161–83. http://dx.doi.org/10.2307/40285716.
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Pianists' pitch errors were identified in a MIDI data base comprising more than 90,000 notes. Ten graduate student pianists had played four pieces (Schumann's Träumerei, Debussy's La fille aux cheveux de lin, Chopin's Prelude in D-flat Major, and Grieg's Erotik) three times from the score, after only a brief rehearsal. Pitch errors were classified exhaustively as substitutions, omissions, or intrusions. (A frequent form of intrusion was the "untying" of tied notes.) Nearly all errors occurred in nonmelody voices, often inside chords. The majority of the intrusions and nearly all substitutions seemed contextually appropriate. The repeated performances made it possible to distinguish consistent from unique errors. Consistent errors were more often omissions than intrusions, and consistent intrusions were more contextually appropriate than unique intrusions. Most errors seemed likely to be perceptually inconspicuous. This was confirmed in an error-detection experiment, in which eight pianists, some of whom had recently studied the test piece (the Chopin prelude), collectively detected only 38% of all objectively registered errors. Pitch errors, rather than being a categorical phenomenon (as a scorebased analysis might suggest), vary in the degree to which they violate the music, and their perceptibility is context-, listener-, and situation dependent. Members of a typical concert audience are likely to notice only a small fraction of a pianist's inaccuracies, which is in part due to the contextual appropriateness of most errors.
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Bye, Antony. "Young Pianists: 1." Musical Times 133, no. 1794 (August 1992): 398. http://dx.doi.org/10.2307/1002665.
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Bye, Antony, Sibelius, and Karg-Elert. "Young Pianists: 2." Musical Times 133, no. 1794 (August 1992): 398. http://dx.doi.org/10.2307/1002666.
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Wristen, Brenda, Sharon Evans, and Nicholas Stergiou. "Sight-Reading Versus Repertoire Performance on the Piano: A Case Study Using High-Speed Motion Analysis." Medical Problems of Performing Artists 21, no. 1 (March 1, 2006): 10–16. http://dx.doi.org/10.21091/mppa.2006.1003.
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This study was intended to examine whether differences exist in the motions employed by pianists when they are sight-reading versus performing repertoire and to determine whether these differences can be quantified using high-speed motion capture technology. A secondary question of interest was whether or not an improvement in the efficiency of motion could be observed between two sight-reading trials of the same musical excerpt. This case study employed one subject and a six-camera digital infrared camera system to capture the motion of the pianist playing two trials of a repertoire piece and two trials of a sight-reading excerpt. Angular displacements and velocities were calculated for bilateral shoulder, elbow, wrist, and index finger joints. The findings demonstrate the usefulness of high-speed motion capture technology for analyzing motions of pianists during performance, showing that the subject's motions were less efficient in sight-reading tasks than is repertoire tasks.
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Keshuang, Liu. "“Children’s Album” by P. I. Tchaikovsky and Its Musical Context." Университетский научный журнал, no. 76 (September 24, 2023): 110–16. http://dx.doi.org/10.25807/22225064_2023_76_110.
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The “Children’s Album” by P. I. Tchaikovsky remains the most popular and beloved cycle in the repertoire of young musicians to this day. It is also performed by adult pianists, because the music of the pieces in the “Children’s Album” refl ects the unique style of the great Russian composer. Among the famous masters of piano art who performed the “Children’s Album” are outstanding Russian pianists Alexander Goldenweiser, Yakov Flier, Arkady Sevidov, Mikhail Pletnev, as well as American pianist of German origin Michael Ponti. In Russian, many works, popular and scientifi c, have been devoted to the analysis of the “Children’s Album”. Researchers refl ect on the internal structure of the collection, describe the history of its creation, and explain the content of the pieces in the “Children’s Album”. The article presents analytical notes about the editions of the collection and the context in which the composer himself immersed the pieces of the “Children’s Album”.
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Shaymukhametova, Liudmila N. "The Pianist-Producer. Interpretation and Transcription in the Work with Beginning Pianists." ICONI, no. 3 (2019): 77–89. http://dx.doi.org/10.33779/2658-4824.2019.3.077-089.
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One of the main criteria of professional performance by the musician of compositions established in the repertoire is considered to be a concise interpretation of the musical text with rendering all the markings made by the editor and the composer. A steadfast tradition has been created of application in pedagogical practice of interpretation by other musicians and an authoritarian approach to learning. However, if such demands are to be considered to be admissible, they cannot be applied to all the styles and genres. The pianist’s interaction with the musical text has been historically determined by two forms which have evolved in the practice of music-making itself. For example, in Baroque music the ensemble form of music-making, which predominated in it, presumed a variant-type unfolding of the keyboard musical text in various performance versions and ensembles. The Baroque tradition is distinct for its active transformation of the musical material and its improvisatory manner in the work with the primary musical source, and it presumes an active incorporation of transcriptions, adaptations, elaborations, arrangements and variations on the original musical text. The second form, which is the soloist variety, regulated by the composer’s precise notation, is designed for interpretation of the music and its performance in concerts. It is particularly the second type, characteristic for the later Classical-Romantic tradition, which is used in teaching, hence the rules of interaction with the musical text are transferred by pedagogues to the other type of musical text, namely, the Baroque variety, as well. The primary musical source contains numerous possibilities for the variant-type replication and creation of performance scenarios both in the ensemble and solo forms. By applying both forms of performing music, transcription and interpretation, the pedagogue would enhance the revival of the traditions of a creative attitude towards the musical text. The article shows examples of work with beginning pianists in a problem-based situation which may be called the role game of “Pianist- Producer.”
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Rosalem-Signorelli, André. "HISTORY OF PIANO AND PIANISTS." RCMOS - Revista Científica Multidisciplinar O Saber 1, no. 11 (January 22, 2024): 345–66. http://dx.doi.org/10.51473/rcmos.v1i1.2020.190.
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As we have already asked in another scientific article: does tradition have something to teach us about how to interpret a Musical Work? Like Signorelli (2019), this work aims to demystify the concept of tradition as something old and outdated. In this scope, we use the theoretical framework embodied in the Literature Review; as well as the wealth of knowledge experienced in the author's own life. Thus, the proper alignment of technical-musical ideas with the great piano masters may have the power to form pianists engaged in technical excellence, mastery of the pianistic apparatus and faithfulness to the musical content expressed in the text written by the composer in his score.
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Park, So-Hyun, Sun-Young Ihm, Aziz Nasridinov, and Young-Ho Park. "A Feasibility Test on Preventing PRMDs Based on Deep Learning." Proceedings of the AAAI Conference on Artificial Intelligence 33 (July 17, 2019): 10005–6. http://dx.doi.org/10.1609/aaai.v33i01.330110005.
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This study proposes a method to reduce the playing-related musculoskeletal disorders (PRMDs) that often occur among pianists. Specifically, we propose a feasibility test that evaluates several state-of-the-art deep learning algorithms to prevent injuries of pianist. For this, we propose (1) a C3P dataset including various piano playing postures and show (2) the application of four learning algorithms, which demonstrated their superiority in video classification, to the proposed C3P datasets. To our knowledge, this is the first study that attempted to apply the deep learning paradigm to reduce the PRMDs in pianist. The experimental results demonstrated that the classification accuracy is 80% on average, indicating that the proposed hypothesis about the effectiveness of the deep learning algorithms to prevent injuries of pianist is true.
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Repp, Bruno H. "Quantitative Effects of Global Tempo on Expressive Timing in Music Performance: Some Perceptual Evidence." Music Perception 13, no. 1 (1995): 39–57. http://dx.doi.org/10.2307/40285684.
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This study examines whether global tempo and expressive timing microstructure are independent in the aesthetic judgment of music performance. Measurements of tone interonset intervals in pianists' performances of pieces by Schumann ("Traumerei") and Debussy ("La fille aux cheveux de lin") at three different tempi show a tendency toward reduced relative variation in expressive timing at both faster and slower tempi, relative to the pianist's original tempo. However, this could reflect merely the pianists' discomfort when playing at an unfamiliar tempo. Therefore, a perceptual approach was taken here. Experimental stimuli were created artificially by independently manipulating global tempo (three levels) and "relative modulation depth" of expressive timing (RMD, five levels) in MIDI-recorded complete performances of the Schumann and Debussy pieces. Skilled pianists rated the quality of the resulting two sets of 15 performances on a 10-point scale. The question was whether the same RMD would receive the highest rating at all three tempi, or whether an interaction would emerge, such that different RMDs are preferred at different tempi. A small but significant interaction was obtained for both pieces, indicating that the listeners preferred a reduced RMD when the tempo was increased, but the same or a larger RMD when the tempo was decreased. Thus, they associated an increase in tempo with a decrease in (relative) expressive timing variation, which, in general agreement with the performance data, suggests that the two temporal dimensions are not independent.
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Arthur, Matthew, Sang-Hie Lee, Brenda Wristen, Gail Berenson, and Kathleen Riley. "Piano Technique." Medical Problems of Performing Artists 28, no. 2 (June 1, 2013): 115–16. http://dx.doi.org/10.21091/mppa.2013.2022.
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I am an amateur pianist enquiring into improving piano technique but feeling slightly disillusioned by the lack of attention given to technique in the field of piano teaching. And whilst, however, there are many books out there written by great pianists that seem to combine logic, empirical knowledge, and scientific knowledge in a very convincing manner, their assertions are void of being subject to strict scientific investigation and therefore, in my opinion, cannot be treated too seriously. [with Replies]
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Widyatama Putra, Zakarias Aria, and Mastri Dihita Sagala. "Kajian Musikologis: Program Super SightReading Secrets Howard Richman Dalam Pengembangan Keterampilan Primavista Pianis." Jurnal TACET 1, no. 2 (October 6, 2022): 65. http://dx.doi.org/10.26418/tacet.v1i2.60550.
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This musicological study discusses Howard Richman's super sight-reading secrets program on the development of primavista pianist skills. Looking at the two elements of musicology, the research method used examines qualitatively with a musicological approach (theoretical and analytical). The process of collecting data using observation techniques, interviews, literacy studies, and documentation. The data that has been taken is then carried out by the process of selection, adaptation or processing, and delivery. Data validity uses source triangulation. The results of the study obtained theoretically, Howard Richman conveyed three basic things as the development of primavista pianist skills, namely: 1) pitch accuracy; 2) rhythmic; and 3) fingering. Analystically, Howard Richman's reasons for wanting to spread sight reading development alternatives for pianists are based on personal experience and sight reading processes, which consist of: 1) visual; 2) electro/chemical; 3) kinetic; and 4) aural. The process involves the eyes to see the notes, electro/chemical which involves the mind to control the nerves and instruct the muscles to play the notes which are then heard by the ears. The results of discussions with both novice and advanced pianists were in accordance with this study and found a real implementation of the program from Howard Richman, namely that it can be used easily and the implementation of exercises is effective and efficient..
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Fernandes, Luciane Fernanda Rodrigues Martinho, and Ricardo Machado Leite de Barros. "Grip pattern and finger coordination differences between pianists and non-pianists." Journal of Electromyography and Kinesiology 22, no. 3 (June 2012): 412–18. http://dx.doi.org/10.1016/j.jelekin.2012.02.007.
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Pencheva Mincheva, Penka. "PIANO TRAINING - AN INCENTIVE FOR ACCELERATED INTELLECTUAL DEVELOPMENT." KNOWLEDGE INTERNATIONAL JOURNAL 31, no. 6 (June 5, 2019): 1827–30. http://dx.doi.org/10.35120/kij31061827p.
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Individual upward development of personality is directly related to its intellectual improvement. The ascending spiral of the development of human intellect is directed from the sensory culture a result of the impressions of reality to the brain centers, where it is processed, understood, evaluated, links, correlations, interdependencies are detected, this is a stimulus for reaction to action, after which the result is again reversed in a nervous way to assess the achievement. In this aspect, in the pianist's work is observed: Reading the musical text (unlike the notation for other instruments, in the musical score for piano are provided for simultaneously reading two staves on which text appears on two different clefs); Deciding on the application of the relevant technical skills in each hand individually, as their tasks are usually different; Synchronizing parties of the two hands until an adequate instrumental realization of the text is achieved; Making corrections where and if needed. In contrast to the performance of other musical instruments pianists perform multi voiced musical texture, which is subject to multiple rules of construction and development over time. However, this complicates many times the evaluation and realization actions of the pianist performer.
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Chuanjie, Tu. "ACADEMIC CULTURE OF FUTURE PIANISTS: CRITERIA, INDICATORS, AND LEVELS OF ITS FORMATION." Education. Innovation. Practice 12, no. 4 (April 30, 2024): 42–47. http://dx.doi.org/10.31110/2616-650x-vol12i4-007.
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To solve the problem of forming the academic culture of pianists, it is important to develop a diagnostic apparatus to identify the levels of formation of the academic culture of future pianists. This requires the selection of criteria and indicators that should perform diagnostic and evaluation functions. The purpose of the study is to substantiate the criteria, indicators, and levels of academic culture of pianists. Methods used: structural and logical analysis of the concept of "academic culture of future pianists", comparison and contrast to develop criteria and indicators, and comparison and contrast to characterize the levels of formation of the academic culture of pianists. The components of the academic culture of pianists are described: the value-oriented component (to musical art, to musical and pedagogical activity, to the personality of students and pupils), the professional and theoretical component (general and special about the ways and methods of specific activities, including musical, performing, pedagogical), professional and practical component (knowledge of musical art; perception, performance, creation of music, communication with artistic samples of culture), personal and creative component (conscious aspirations for creative self-realization in musical activity). The criteria for the formation of the academic culture of pianists (behavioral, knowledge, communication and activity, personal) and their corresponding indicators (value orientations, academic knowledge, ability to communicate effectively, need for achievement) are substantiated. Four levels of academic culture formation of future pianists are characterized (low (critical), intermediate (basic), above average (sufficient), and high (optimal)).
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Aiba, Eriko, Koji Kazai, Takayuki Shimotomai, Toshie Matsui, Minoru Tsuzaki, and Noriko Nagata. "Accuracy of Synchrony Judgment and its Relation to the Auditory Brainstem Response: the Difference Between Pianists and Non-Pianists." Journal of Advanced Computational Intelligence and Intelligent Informatics 15, no. 8 (October 20, 2011): 962–71. http://dx.doi.org/10.20965/jaciii.2011.p0962.
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Synchrony judgment is one of the most important abilities for musicians. Only a few milliseconds of onset asynchrony result in a significant difference in musical expression. Using behavioural responses and Auditory Brainstem Responses (ABR), this study investigates whether synchrony judgment accuracy improves with training and, if so, whether physiological responses are also changed through training. Psychoacoustic experiments showed that accuracy of synchrony judgment of pianists was higher than that of non-pianists, implying that pianists’ ability to perceive tones increased through training. ABRmeasurements also showed differences between pianists and non-pianists. However, cochlear delay, an asymmetric aspect of temporal processing in the human auditory system, did not change with training. It is possible that training improved ability related to temporal tone perception and that training may increase synchrony in auditory nerve firing.
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Fry, H. J. H., M. Hallett, T. Mastroianni, N. Dang, and J. Dambrosia. "Incoordination in pianists with overuse syndrome." Neurology 51, no. 2 (August 1998): 512–19. http://dx.doi.org/10.1212/wnl.51.2.512.
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To investigate claims that painful musculoligamentous overuse in the arms and hands of pianists is accompanied by loss of motor control, we studied 18 pianists with overuse syndrome of one or both arms and hands and 22 skill-matched pianists with no history of overuse. All of the pianists performed continuous repetitions of a five-finger exercise on a piano keyboard at metronome-paced tempos. The main outcome measures were quantitative analysis of four measurements of performance (duration of key presses, interval between key presses, velocity of key presses [loudness], and time off the metronome beat [difference between actual and expected time of key press)]; comparison of the errors in the two groups; and comparison of the performances by a listening panel. The two groups had significant differences in performance, and a classification tree had a sensitivity of 0.886 and a specificity of 0.862 in identifying the affected hands. The pianists with overuse syndrome made more skill-based errors. The listening panel could distinguish between the affected and unaffected hands. We conclude that pianists with overuse syndrome have a coordination disturbance.
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Till, Sophie. "The Taubman/Golandsky Approach to the Violin." Public Voices 12, no. 2 (November 23, 2016): 7. http://dx.doi.org/10.22140/pv.81.
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Three years ago Sophie Till started working with pianist Edna Golandsky, the leading exponent of the Taubman Piano Technique, an internationally acclaimed approach that is well known to pianists, on the one hand, for allowing pianists to attain a phenomenal level of virtuosity and on the other, for solving very serious piano-related injuries. Till, a violinist, quickly realized that here was a unique technical approach that could not only identify and itemize the minute movements that underlie a virtuoso technique but could show how these movements interact and go into music making at the highest level. Furthermore, through the work of the Golandsky Institute, she saw a pedagogical approach that had been developed to a remarkable depth and level of clarity. It was an approach that had the power to communicate in a way she had never seen before, despite her own first class violin training from the earliest age. While the geography and “look” on the violin are different from the piano, the laws governing coordinate motion specifically in playing the instrument are the same for pianists and violinists. As a result of Till’s work translating the technique for violin, a new pedagogical approach for violinists of all ages is emerging; the Taubman/Golandsky Approach to the Violin. In reflecting on these new developments, Edna Golandsky wrote, “I have been working with the Taubman Approach for more than 30 years and have worked regularly with other instrumentalists. However, Sophie Till was the first violinist who asked me to teach her with the same depth that I do with pianists. With her conceptual and intellectual agility as well as complete dedication to helping others, she has been the perfect partner to translate this body of knowledge for violinists. Through this collaboration, Sophie is helping develop a new ‘language’ for violinist that will prevent future problems, solve present ones and start beginners on the right road to becoming the best they can be. The implications of this new work for violinists are enormous.”
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LIN, MA. "Psychological and Physiological Determinants of the Formation and Manifestation of a Pianist's Individual Performance Style." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 2(59) (June 30, 2023): 99–118. http://dx.doi.org/10.31318/2414-052x.2(59).2023.295422.
Full textAbstract:
The author examines the essence of the concept "personal temperament" taking into account the context of the scientific theories developed by Hippocrates - Galen, A. Haller, H. Vrisberg, S. Sigaud, E. Krechmer, B. Merlin, V. Nebylitsyn, I. Pavlov, and U. Sheldon. The internal processes of every individual depend on the innate features of the given phenomenon, which are reflected in his external behavior. The specificity of the impact of innate psychological and physiological determinants of a pianist's temperament is a significant factor in the process that causes the formation and manifesting his individual performance style. There are provisions that testify to the expediency of studying the individual performance style of each pianist both from the standpoint of genesis and from the standpoint of genetics, because it depends, first of all, on the innate, and not on the acquired, psychological and physiological properties of the artist of concert and stage activity, which determine formation and manifestation of this phenomenon. The author describes the main features of the individual performance style of a pianist of each type of temperament, the formation and manifestation of which is "based" on their innate psychological and physiological properties and therefore takes place with minimal expenditure of energy and time resources, namely: virtuosity, emotional resistance to stress, balanced, but "brightly expressed" artistry (provided it is subordinated to the emotional sphere, not the intellectual) - in a sanguine pianist; virtuosity and "brightly expressed" artistry - in a choleric pianist; emotional resistance to the effects of stress and inert and balanced artistry without effective and expressive communicative stage movements, even if they are subordinated to the emotional sphere, not the intellectual one - in a phlegmatic pianist. Pianists who have a phlegmatic and melancholic type of temperament produce a "crumbly" performance of virtuoso works and passages, which is explained by the complicated slow course of both cognitive and anatomical-physiological processes in them. For the purpose of further investigations, the article offers promising directions for continuing the study of the individual performance style of a pianist of any type of temperament.