To see the other types of publications on this topic, follow the link: Piano – Methods.
Dissertations / Theses on the topic 'Piano – Methods'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Piano – Methods.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Huang, Fang Ting. "Preschool piano methods and developmentally appropriate practice." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4721.
Full textAbstract:
Thesis (Ph. D.)--University of Missouri-Columbia, 2007.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on November 27, 2007) Vita. Includes bibliographical references.
2
HAYASE, TAKAKO. "A COMPARISON OF AKIRA MIYOSHI'S MIYOSHI PIANO METHOD WITH NANCY AND RANDALL FABER'S PIANO ADVENTURES BASED ON ROYAL AMERICAN CONSERVATORY EXAMINATION (RACE)." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1156562709.
Full text
3
Lezcano, Giménez Belén. "Piano Logistics : Concept Development and Evaluation of Methods." Thesis, KTH, Maskinkonstruktion (Inst.), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-176883.
Full textAbstract:
Transporting pianos is not an easy task, as they are as valuable and delicate as heavy and bulky. The most extended methods seem to have room for improvements, from maneuverability aspects to worker’s ergonomics. This project aimed to develop an innovative concept that satisfies the needs of both piano owners and moving companies through an organized concept development process. The methodology and tools were selected consciously to fit the problem and reviewed afterwards for learning purposes. Ideation and selection methods were systematically applied to come up with the proposed concept, which was improved further in SolidEdge ST4. Finally, some recommendations for future development of the product were suggested.Att transportera pianon är ingen en lätt uppgift. De är såväl värdefulla och känsliga som tunga och skrymmande. De främst använda metoderna kan förbättras, från manövreringsaspekter till arbetarens ergonomi. Detta projekt syftar till att utveckla ett innovativt koncept som motsvarar både pianoägarens och flyttföretagens behov, genom en organiserad konceptutvecklingsprocess. Metoder och verktyg valdes medvetet för att passa problemet, och granskades därefter i utbildningssyfte. Konceptgenerations- och selektionsmetoder tillämpades systematiskt för att komma fram till det föreslagna konceptet, vilket ytterligare förbättrades i SolidEdge ST4. Slutligen förelås några rekommendationer för framtida utveckling av produkten.
4
Lemay, Catherine. "Sight-reading for piano students: Comparing three methods of assessment." Thesis, University of Ottawa (Canada), 2008. http://hdl.handle.net/10393/27774.
Full textAbstract:
One important component of music reading research is measurement, quantification, and evaluation of accuracy in sight-reading performance. Researchers have used various methods of assessment such as the sight-reading tests and scales, quantification of errors, and evaluation by expert examiners. These three methods of assessment have been used independently in research; however, they have never been tested to determine if they provide comparable analyses. This study, therefore, adapted the Watking-Farnum Performance Scale for wind instrumentalists to be used in the context of piano performance and then compared it to the two other assessment methods, more specifically Gilman's Scoring Algorithm and Expert Examiners. Each method of assessment was used to analyze the sight-reading performances of eight piano students on five newly composed exercises. The assessment procedures and subject assessments were then compared. It was found that these methods differed greatly in their assessment procedures as well as in their assessment of subjects.
5
Wang, Siying. "Computational methods for the alignment and score-informed transcription of piano music." Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/30885.
Full textAbstract:
This thesis is concerned with computational methods for alignment and score-informed transcription of piano music. Firstly, several methods are proposed to improve the alignment robustness and accuracywhen various versions of one piece of music showcomplex differences with respect to acoustic conditions or musical interpretation. Secondly, score to performance alignment is applied to enable score-informed transcription. Although music alignment methods have considerably improved in accuracy in recent years, the task remains challenging. The research in this thesis aims to improve the robustness for some cases where there are substantial differences between versions and state-of-the-art methods may fail in identifying a correct alignment. This thesis first exploits the availability of multiple versions of the piece to be aligned. By processing these jointly, the alignment process can be stabilised by exploiting additional examples of how a section might be interpreted or which acoustic conditions may arise. Two methods are proposed, progressive alignment and profile HMM, both adapted from the multiple biological sequence alignment task. Experiments demonstrate that these methods can indeed improve the alignment accuracy and robustness over comparable pairwise methods. Secondly, this thesis presents a score to performance alignment method that can improve the robustness in cases where some musical voices, such as the melody, are played asynchronously to others - a stylistic device used in musical expression. The asynchronies between the melody and the accompaniment are handled by treating the voices as separate timelines in a multi-dimensional variant of dynamic time warping (DTW). The method measurably improves the alignment accuracy for pieces with asynchronous voices and preserves the accuracy otherwise. Once an accurate alignment between a score and an audio recording is available, the score information can be exploited as prior knowledge in automatic music transcription (AMT), for scenarios where score is available, such as music tutoring. Score-informed dictionary learning is used to learn the spectral pattern of each pitch that describes the energy distribution of the associated notes in the recording. More precisely, the dictionary learning process in non-negative matrix factorization (NMF) is constrained using the aligned score. This way, by adapting the dictionary to a given recording, the proposed method improves the accuracy over the state-of-the-art.
6
Van, Sickle Karen. "Assessing Five Piano Theory Methods Using NASM Suggested Theory Guidelines For Students." Thesis, The University of Arizona, 2011. http://hdl.handle.net/10150/217071.
Full textAbstract:
Many incoming students have studied piano prior to entering college and receive much of their theory training through music study with a piano teacher. The National Association of Schools of Music (NASM) designed a website page for potential students to answer the question, "How should I best prepare to enter a conservatory, college, university as a music major?" Theoretical concepts they suggest can be grouped into three main categories: Basic Music Theory Rudiments, Ear-Training Skills, and Form and Harmony. This research examines five piano theory method books (Alfred Premier Piano Course, Bastien Piano Basics, Faber Piano Adventures, Harris Celebrate Piano!, and Kjos Fundamentals of Piano Theory) to assess their effectiveness in presenting the theoretical concepts NASM recommends they should know. The five books used for this study provide a basic foundation for many of the concepts undergraduates will be expected to know as they enter college theory courses.
7
Dimmick, Penny Gail. "Piano instruction in music methods classes for elementary education majors : a case study." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/917840.
Full textAbstract:
This study was undertaken in an effort to determine the effects of piano instruction on attitudes and piano skills of elementary education majors enrolled in a music methods class. A class of nineteen elementary education majors at a private mid-western university served as subjects for the case study. They were given both written and oral pre and posttests, and extensive anecdotal data were recorded.As a result of the study, general conclusions and recommendations were as follows:1. Subjects' initial perceptions of their probable success in the piano laboratory were high. In addition, seventy-nine percent of the subjects accurately predicted their probable success (or failure) in the piano laboratory. It is recommended that instructors take time at the outset of the course to reassure and encouage the students in an effort to increase confidence and thereby the probability of success in the piano laboratory.2. Subjects' attitudes and skill development were negatively affected by perceived inadequacies when comparing themselves to other subjects in the class. As the more advanced students tested out of the piano laboratory, skills and attitudes of the slower subjects improved appreciably. This suggests that ability grouping in methods classes may improve students' perceptions and also performances in these lasses.3. Subjects' confidence in their ability to teach music increased, as indicated by pretest and posttest rankings. Since the sample size was adequately large, the Wilcoxin T value of 7.5 was standardized to a Z value = 2.66 (p <.01). Interpretation of a Z-value = 2.66 strongly suggests the posttest score has significantly increased over the pretest score.4. Subjects' perceptions of their ability to read and write music, their ability to sing songs with their students, and their piano playing ability significantly increased as shown by a series of paired comparisons t-test analyses on the pretest/ posttest data.It is recommended that additional case studies be conducted in the methods class in an effort to isolate and identify additional aspects of the class which influence the students' growth and/ or lack of growth in self confidence and musical skills.School of Music
8
Chan, Alton. "The Kinetic Structures of Metric Temporal Patterns in Selected Beginning Piano Method Series." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc279319/.
Full textAbstract:
The purpose of this study was to investigate the kinetic structures or reinforcement schedules of metric temporal patterns (metric combination of note values within a measure) in five best-selling beginning piano method series. Based upon a survey mailed to 98 music dealers, the five best-selling beginning piano method series in 1992 and 1993 were identified as: the Alfred Basic Piano Library, Bastien Piano Basics, David Carr Glover Piano Library, John. W. Schaum Piano Course, and John Thompson Modern Course for Piano. A coding system was developed for identifying the numerical appearances and occurrences of various metric temporal patterns per learning piece within each method series. Several computer programs were written to compute the kinetic structures, scope, and pacing of metric temporal patterns for each method series. The derived data were then compared to delineate relationships between the three analytical variables.
9
Engelbrecht, Petro Marietha. "Memorisation : an approach for the pianist." Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52333.
Full textAbstract:
Thesis (MMus) -- Stellenbosch University, 2001.ENGLISH ABSTRACT: Two of the most frequently reported performance problems amongst musicians are memorisation and performance anxiety. For the purposes of this study, memorisation is investigated regarding its importance in a musician's life; different faculties of memorisation are discussed; and practice methods are proposed providing the memoriser with maximum memory security and confidence. Performance anxiety, as a corollary of memory insecurity, is investigated regarding its symptoms, causes, and possible cures. It was found that memory insecurity and extreme performance anxiety result because of insufficient or inadequate practice and/or a lack of trust in the musician's own abilities. Musicians should prepare the best they can and then, during performance, they should put trust in the preparation that has been done. A healthy self-esteem, as well as good health, are requisites for success as a performer. It was also found that performers should concentrate less on the feat of technique and memory, and more on making music.
AFRIKAANSE OPSOMMING: Memorisasie en verhoogvrees is twee van die grootste probleme wat deur uitvoerende musici aangemeld word. Die belangrikheid van memorisasie word ondersoek; die verskillende faktore daarby betrokke word bespreek; en oefenmetodes word voorgestelom die memoriseerder te vergewis van maksimum geheue-sekerheid. Verhoogvrees, as 'n uitvloeisel van memorisasie, word ondersoek ten opsigte van sy simptome, oorsake en moontlike oplossings. Daar is bevind dat onsekerheid betreffende die geheue sowel as ekstreme verhoogvrees die gevolg is van onvoldoende voorbereiding en/of 'n gebrek aan selfvertroue in die musikant se eie vermoëns. Musici moet bloot na die beste van hul vermoëns oefen; tydens die optrede moet daar dan vertroue geplaas word in die voorbereiding wat getref is. 'n Gesonde selfbeeld, saam met goeie gesondheid, is vereistes vir 'n uitvoerende kunstenaar om suksesvol te kan wees. Daar is ook bevind dat uitvoerders minder op die oorwinning van tegniek en geheue moet konsentreer, maar wel meer daarop moet konsentreer om musiek te maak.
10
Brunner, Heather Nicole. "COLOR AND MUSIC: A REVIEW OF RESOURCES TO ENHANCE BEGINNING INSTRUCTION IN PIANO PEDAGOGY." OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/316.
Full textAbstract:
This paper will examine color-coded musical notation. The history of color and music will be briefly explored before a more in-depth analysis of the widely available color-coded curriculums. Traditional method book formats will be examined for the potential integration of color-coded musical notation.
11
Allsop, Li Li. "Investigating the prevalence of playing-related musculoskeletal disorders in relation to piano players' playing-techniques and practising strategies." University of Western Australia. School of Human Movement and Exercise Science, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0090.
Full textAbstract:
This study placed specific emphasis on the motor-skills and practice strategies employed by piano players when practising and performing in relation to playing-related musculoskeletal disorders (PRMDs). The survey questionnaire-instrument was designed by the researcher to investigate the prevalence of PRMDs among both professional and non-professional piano players. Five hundred and five respondents completed the self-administered survey questionnaire. Out of the total 505 participants, 42% of the players reported PRMDs. The professional players (72%) reported a significantly higher incidence (p < 0.05) of PRMDs in comparison with the non-professional group. The professional players with piano as their major instrument, using predominantly neutral wrist posture (i.e., open-kinetic chain playing technique), reported a significantly higher incidence of PRMDs. Although the present study showed a greater number of years of playing was associated with greater risk of PRMDs, the result also showed that the years of playing had no significant effect on the incidence of PRMDs (p > .05) when it was analyzed with the practice hours within seven days. Moreover, analyzing the practice hours over seven days with the piano major/non-major instrument, the various grade levels and PRMDs; the results showed that the practice hours had no significant effect on the groups with and without PRMDs (p > .05). Although women reported a significantly higher percentage of PRMDs (p < 0.05) than men, there was no significant association between the groups with and without PRMDs when analyzing practice hours over seven days by grade levels and gender. The PRMDs seem to arise when overuse is compounded by misuse and/or adverse playing conditions. The best and safest practice would be to minimize consumption of musculoskeletal force production and combine this with effective practice-breaks between sessions to achieve the optimum goal of daily practice. Keywords: hand injury, PRMDs, wrist pain, hand-span size, playing-technique, and piano player.
12
Gwatkin, Jan. "Investigating the viability of a national accreditation system for Australian piano teachers." University of Western Australia. School of Music, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0099.
Full textAbstract:
The Federal education system has 12 nationally accredited and portable qualifications issued by the Australian Qualifications Framework (AQF) which cover three sectors; Higher Education, Vocational Education and Training (VET) and Schools. A mandatory minimum bachelor qualification together with education units, state registration and ongoing professional development is imposed for all classroom music teachers. In direct contrast, however, Australian studio piano teachers and school instrumental teachers may or may not have formal qualifications, registration with professional associations, or ongoing professional development. All teachers must be registered with State registration boards for Working With Children (WWC) but no monitoring controls exist for studio teachers. Qualifications are available from public examination boards, private enterprises and state Music Teacher Associations (MTAs) but these are not recognised within the national system and consequently have no status or portability, although they are used and recommended within the industry and higher education institutions as course prerequisites. The aim of the current study was to investigate whether a National Accreditation System (NAS) for Australian studio piano teachers could be a viable system, adding unprecedented professionalism to the field and drawing upon the existing systems of government, private industry and educational institutions. In the thesis, current systems of accreditation, education and training available for classroom music teachers, school instrumental music teachers and other recognised professions such as lawyers, engineers, accountants, health professionals and sports coaches were reviewed as a comparative basis upon which to assess similar contexts for studio piano teachers. Results are combined with a survey of Australian piano teachers' perceptions, from which the study ascertained the extent to which studio piano teachers' needs were being catered for and met in available systems of accreditation and training.
13
Lee, Jihyun. "Teaching Late Intermediate-level Technical Skills Through the Study of Leschetizky, Vengerova, and Neuhaus: Exercises or Repertoire?" Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862732/.
Full textAbstract:
To be successful and be effective in teaching, one must be familiar with a variety of methods in instruction and teaching strategies. This also includes becoming aware of any challenges that student and teachers might confront at all levels. Advanced-level piano students, such as those who are at the collegiate level, study the masterpieces of the great composers. However, they may still be in need of developing certain technical and musical skills which should have been covered at the late intermediate level. This study focuses both on exercises and on late intermediate-level repertoire. This study examined the methodical approaches of Russian technical school primarily through the exercises of Theodor Leschetizky, Isabelle Vengerova, and Heinrich Neuhaus and compared these exercises with passages from appropriate great literature suitable for late intermediate-level students. This may not only in preparing for more advanced piano repertoire but also broadening general piano techniques. All together, this may further promote in prevention of musical problems that might occur at a more advanced-level of piano study.This study focuses both on exercises and on late intermediate-level repertoire. This study examined the methodical approaches of Russian technical school primarily through the exercises of Theodor Leschetizky, Isabelle Vengerova, and Heinrich Neuhaus and compared these exercises with passages from appropriate great literature suitable for late intermediate-level students. This may not only in preparing for more advanced piano repertoire but also broadening general piano techniques. All together, this may further promote in prevention of musical problems that might occur at a more advanced-level of piano study.
14
Woo, Laehyung. "Building an Effective Piano Technique while Avoiding Injury: A Comparison of the Exercises in Alfred Cortot's "Rational Principles of Pianoforte Technique" and Carl Tausig's "Daily Studies for the Pianoforte"." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984147/.
Full textAbstract:
It is the teacher's responsibility to guide students in building an effective and injury-free piano technique. Improper technique, poor training and bad posture at the instrument all may cause problems such as lack of muscle control, weakness, or tension in the hands. Many teachers are interested in finding information about specific exercises dealing with finger strengthening, stretching, and warm-up strategies, as well as guidelines for safe practicing. It is therefore important for both teachers and students to understand how to build a technique from the earliest years of instruction. Carl Tausig (1841-1871) and Alfred Cortot (1877-1962) both contributed to the development of piano technique by writing books that include a significant number of exercises and excerpts. Their books incorporate detailed instructions on how to play each exercise effectively and without fatigue. Subsequently, Heinrich Ehrlich (1822-1899) collected and systematically arranged Tausig's notes, complementing them with detailed information on how to play Tausig's exercises without causing injury. This dissertation compares and contrasts the exercises found in Alfred Cortot's book, Rational Principles of Pianoforte Technique, and Carl Tausig's book, Daily Studies for the Pianoforte. The latter is based on the practical guidebook, How to Practise on the Piano: Reflections and Suggestions, written by Heinrich Ehrlich. Included in this study are references to the performing arts medical literature dealing with pianists' injuries. By comparing two different historical piano methods and considering their effectiveness in light of modern medical performance research, this dissertation aims to help teachers to determine which methods might be better for students to build a solid piano technique without injuring themselves.
15
Ang, Kathryn. "Teaching Western classical piano music effectively in West Malaysia." Diss., University of Pretoria, 2013. http://hdl.handle.net/2263/41371.
Full textAbstract:
The existing curriculum for piano lessons in West Malaysia is over-reliant on the syllabi of foreign examination boards resulting in a fragmentary curriculum which denies the student access to a wider range of musical experiences. The aim of the study was to identify and suggest solutions to problems by analysing the teaching approaches of piano teachers and to determine if there are elements which are lacking in the lessons. It also aimed to provide solutions by establishing a theoretical framework for effective piano teaching with optimal lesson plans. This study made use of mixed methods research design.
A cross-sectional survey was conducted and data collection was by self-structured questionnaires. In addition, interviews were conducted for the qualitative component of this study. Twenty-five piano teachers with between one to twenty years of teaching experience were randomly selected to participate in the survey. A further fifteen interviews were conducted with teachers who were selected from the participants of the survey by purposive sampling. Interpretative phenomenology analysis was used to analyse the interviews in an effort to gain a better understanding of the nature and quality of the piano teaching in West Malaysia.
The study finds that having piano examinations with regularity, usually on a yearly basis, has largely dominated the curriculum with examination requirements and has resulted in several elements being missing or absent in a typical lesson. Hence the situation is clearly not ideal as lessons are too examination oriented. Furthermore, students are generally not exposed to sufficient opportunities to display their skills and musical achievements. These findings suggest that Western classical piano music can be taught more effectively in West Malaysia if teachers re-think their approach to teaching in terms of planning for an optimal lesson. This would involve having both long-term and short–term goals in which a variety of strategies and important elements are incorporated seamlessly using the “simultaneous learning” approach advocated by Harris, Crozier and Ley.Dissertation (MMus)--University of Pretoria, 2013.
gm2014
Music
unrestricted
16
Georgievskaya, Liudmila. "A Performer's Guide to Samuil Feinberg's Sonata No. 6: A Window into Russian School Pianism." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011846/.
Full textAbstract:
Samuil Feinberg was an important performing pianist, composer, and one of the protagonists of Russian Piano School. Among his numerous piano compositions, the Sixth Sonata is one of the most complex and illustrative of his deeply personal musical ideas. The following performer's guide offers some ideas on interpreting and performing the sonata from the perspective of Russian school pianism. Having trained in Russia for nearly a decade with two of Feinberg's most eminent disciples and assistants (Tatiana Galitskaya and Liudmila Roschina) makes this author part of living chain back to his pedagogical principles. I will draw upon my knowledge and expertise to illustrate how interpretation of Feinberg's Sonata No. 6 embodies many of the particular and subtle aspects of the Russian piano school technique.
17
Goodchild, Neil John English Media & Performing Arts Faculty of Arts & Social Sciences UNSW. "Liszt's technical studies: a methodology for the attainment of pianistic virtuosity." Awarded by:University of New South Wales, 2007. http://handle.unsw.edu.au/1959.4/38153.
Full textAbstract:
In 1970, the Hungarian publishing firm Editio Musica Budapest began a long term project, ending in 2005, that endeavored to compile and publish all Liszt's works in a complete edition titled, The New Liszt Edition (NLE). Through the efforts of this firm, Liszt's Technical Studies were published in the way that he had originally intended for the first time in 1983. Yet, although the eminent Liszt-scholar Michael Saffle has stated that 'Pedagogy is one of the most thoroughly-mined veins of Liszt material ever uncovered', academic discussions on Liszt's Technical Studies (Walker, 2005), his definitive pedagogical work for piano, are scarce. What it was that Liszt set out as being fundamental to the acquisition of pianistic virtuosity in the Technical Studies and the nature of its trajectory is generally unknown. Through an examination of the didactic instruction Liszt supplied in the Preface of the autograph manuscript to the Technical Studies and specific technical commentaries written by Mme. Auguste Boissier in her Liszt pedagogue, I will argue that the Technical Studies are built on six artistic and mechanical principles, exemplified by Liszt in the exercises, written to help the pianist acquire technical virtuosity. The methodical divisions of the work into sections that deal with specific mechanical objectives are illustrated with musical examples and their technical trajectory defined.
18
Simons, Jacqueline. "Die aanwending van groepsmusiekaktiwiteite in die ontwerp en implementering van 'n klavierkurrikulum vir Suid-Afrikaanse laerskole." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/50320.
Full textAbstract:
Thesis (MMus) -- University of Stellenbosch, 2005.ENGLISH ABSTRACT: South African education is currently moving in a new direction that is aimed at representing all the cultures of the country. Music education is grouped as part of the Arts and Culture learning area of Curriculum 2005 and the implication is that instrumental music teaching is being marginalized at the expense of general music teaching. In the past these two were regarded as separate subjects that each had its own dedicated syllabus. This thesis is geared toward the preservation of instrumental music teaching (in this case piano) as part of the Arts and Culture learning area of Curriculum 2005 by means of a complementary teaching program whereby general music teaching and instrumental music teaching can be taught in conjunction with each other. This approach is based on Gane (1996) who suggests activities and approaches to music education that can support the co-operation between these two areas of music teaching. This thesis is an exploratory study to determine if co-operation between prescribed music curricula and the suggestions for music activities and approaches as proposed by Gane (1996), have the potential to bridge the gap between general music teaching and instrumental music teaching. At the onset of this study it was not to test a predetermined hypothesis, but rather to establish the possibility of a complementary teaching model for music teaching. This research project was done according to the qualitative research methodology as it was done it was done in a social setting. This research project was done over a period of six months with a group of ten learners whose progress ranged from beginner to grade 2 level. A variety of music compositions was selected and applied in the practice of the music lesson to demonstrate the application of the music activities as suggested by Gane (1996). The ultimate goal of the use of the music compositions was to indicate how prescribed and additional music can be explored to optimize the learners' knowledge from the two fields of music learning. The following syllabi were used for this thesis: the British National Curriculum (1995), as well as these South African syllabi: Curriculum for Extra-Curricular Music - piano (1993), the Interim Syllabus for Classmusic (1995), and Curriculum 2005 (1997). The reasons for the focus on these specific syllabi in this research project are as follows: firstly the British National Curriculum serves as framework for Gane's (1996) article "Instrumental performance and the National Curriculum: a possible partnership?" and this forms the foundation for this thesis; secondly the Curriculum for Extra-Curricular music (piano) deals with instrumental music teaching and the Interim Syllabus for Classmusic deals with general music teaching and these are the two aspects of music teaching in South Africa which this thesis aim to bring together; and lastly the Curriculum 2005 (1997) is the curriculum whereby education is currently being practiced in South Africa. The most important finding of this study is that the proposed teaching method is workable for music education if certain conditions as is discussed in chapter 4 are in place. It has also been found that because this is an exploratory study, there is room for more empirical research in this regard. In conclusion it can be said that since this study revealed the possibility for an exploratory teaching method for music teaching, this teaching method does have merit.
AFRIKAANSE OPSOMMING: In Suid-Afrika is opvoeding tans besig om in 'n nuwe rigting te beweeg wat daarop gemik is om verteenwoordigend van al die land se kulture te wees. Musiekopvoeding word as deel van Kurrikulum 2005 se Kuns en Kultuur leerarea gegroepeer en die implikasie is dat instrumentale musiekonderrig ten koste van algemene musiekonderrig ter syde gestel word waar dit voorheen as aparte vakke geag was wat elk volgens 'n afsonderlike sillabus onderrig was. Hierdie tesis poog vir die behoud van instrumentale musiekonderrig (in hierdie geval klavier) as deel van Kurrikulum 2005 se Kuns en Kultuur leerarea by wyse van 'n komplementêre onderrigprogram waarbyalgemene musiekonderrig en instrumentale musiekonderrig in wisselwerking met mekaar onderrig kan word. Hierdie benadering word op Gane (1996) se voorstelle vir aktiwiteite en benaderings tot musiekonderrig gebaseer aangesien hierdie skrywer ook 'n samewerking tussen die twee areas van musiekonderrig beywer. Hierdie tesis is 'n verkenningstudie om te bepaal of voorgeskrewe musiekkurrikula in samewerking met Gane (1996) se voorstelle vir aktiwiteite en benaderings tot musiekonderrig toegepas kan word om die oorbrugging tussen algemene musiekonderrig en instrumentale musiekonderrig, wat as twee aparte afdelings van musiekonderrig beskou word, te bewerkstellig. Die aanvang van hierdie tesis was nie om 'n voorafbebaalde hipotese te toets me, maar eerder om die moontlikheid van 'n komplementêre onderrigmodel vir musiekonderrig te bepaal. Die studie is volgens die kwalitatiewe navorsingsmetode gedoen aangesien dit in 'n sosiale opset plaasgevind het. Hierdie navorsingsprojek is oor 'n tydperk van ses maande en met 'n groep van tien leerders gedoen wie se vorderingstadia van beginner tot graad twee strek. Verskeie komposisies is geselekteer en in die musieklespraktyk uitgetoets wat daarop gemik is om algemene musiekonderrig by instrumentale musiekonderrig te laat aansluit, ter illustrasie van Gane (1996) se voorgestelde raamwerk vir musiekonderrig. Die uiteindelike doel met die gebruik van die gekose repertorium is om aan te dui hoe voorgeskrewe en aanvullende onderrigmateriaalontgin kan word om leerders se kennis vanuit die twee onderrigvelde bymekaar te bring en aan te vul. Die volgende sillabusse is in hierdie tesis uiteengesit: Die British National Curriculum (1995) en ook verskeie Suid-Afrikaanse kurrikula - dit wil sê die Kurrikulum vir Buitekurrikulêre musiek (klavier) (1993), die Tussentydse sillabus vir Klasmusiek (1995) en Kurrikulum 2005 (1997). Die redes waarom die voorafgenoemde sillabusse in die navorsingsprojek ingesluit is, is soos volg: eerstens dien die British National Curriculum as raamwerk vir Gane (1996) se artikel "Instrumental performance and the National Curriculum: a possible partnership?" en dit is waarvolgens hierdie tesis geformuleer is; tweedens handel die Kurrikulum vir Buitekurrikulêre musiek (klavier) oor instrumentale musiekonderrig en die Tussentydse sillabus vir Klasmusiek oor algemene musiekonderrig - hierdie twee onderrigvelde is juis die twee aspekte van Suid-Afrkaanse musiekonderrig wat hierdie tesis poog om by mekaar te laat aansluit; en laastens word Kurrikulum 2005 ingesluit omdat dit die onderrigprogram is waarvolgens opvoeding tans in Suid-Afrika gepraktiseer word. Die belangrikste bevinding van hierdie studie is dat hierdie voorgestelde onderrigmetode vir musiek werkbaar is indien daar sekere voorwaardes soos in hoofstuk 4 bespreek, in plek is. Ter afsluiting is daar ook bevind dat aangesien hierdie tesis as 'n verkenningsstudie gedoen was, daar ruimte vir meer empiriese navorsing in hierdie verband is. Die gevolgtrekking is dat aangesien hierdie studie die moontlikheid vir 'n ontginnende onderrigmetode vir instrumentale musiekonderrig aandui, hierdie metode wel meriete het.
19
Lynch, John James. "A study of the methods of composition and transcription developed in Bartok's First Rhapsody for violin and piano (1928) with regard to its recent transcription for viola and piano /." St. Lucia, Qld, 2002. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17281.pdf.
Full text
20
Dullea, Mary Josephine. "Performing extended techniques in contemporary piano repertoire : perspectives on performance practice, notation and the collaborative process in the use of the inside of the piano and non-conventional methods." Thesis, Ulster University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.569044.
Full textAbstract:
This submission is in two parts: recordings I have made of the selected repertoire, much of which I have performed throughout Ireland, the UK and mainland Europe and a written thesis. I have gathered works spanning the twentieth and into the twenty-first centuries. The originality of this study lies not only in the high level performances and deeply considered interpretations of a representative cross-section of repertoire which uses extended techniques but also by virtue of the fact that the four newly commissioned works have facilitated an investigation of the collaborative process with particular regard to the incorporation of these techniques. I have examined my practice and performance of extended techniques in a cross-referential way, focusing on these works, and paying particular attention to the demands of performing on different instruments. My performances have served to further promote this expanded use of the piano. As the performer, the rigour of my research methods has been rooted in maintaining objectivity. The research has been action-based with a particular emphasis on my approach as a reflective practitioner.' In this thesis I contextualise extended techniques in the piano repertoire, demonstrate my findings and discuss how best to practise and perform these sounds. I also discuss and demonstrate how playing with extended techniques in ensembles adds another range of demands to the pianist. In addition I examine the collaborative process and how bringing my already developed skills to the collaborations has yielded positive results in these commissioned works which are significant additions to the repertoire. I Leading researchers exam ining the value of action research which is action-based in its delivery and outputs include John Rink, currently Professor of Musical Performance Studies and a Fellow ofSt. John's College Cambridge and Director of the AHRC Research Centre for Musical Performance as Creative Practice, based at the University of Cambridge. In conclusion, I seek to promote a greater understanding of the incorporation of extended techniques in piano repertoire. By drawing from my performances of this repertoire, the significance of this study is enhanced by placing the performer's voice at the centre of the equation in the quest to get the best and the most from the piano.
21
Hansen, Mark R. (Mark Russell). "The Pedagogical Methods of Enrique Granados and Frank Marshall: an Illumination of Relevance to Performance Practice and Interpretation in Granados' Escenas Románticas, a Lecture Recital, together with Three Recitals of Selected Works of Schubert, Pofkofieff, Chopin, Poulenc, and Rachmaninoff." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc332111/.
Full textAbstract:
Enrique Granados, Frank Marshall, and Alicia de Larrocha are the chief exponents of a school of piano playing characterized by special attention to details of pedalling, voicing, and refined piano sonority. Granados and Marshall dedicated the major part of their efforts in the field to the pedagogy of these principles. Their work led to the establishment of the Granados Academy in Barcelona, a keyboard conservatory which operates today under the name of the Frank Marshall Academy. Both Granados and Marshall have left published method books detailing their pedagogy of pedalling and tone production. Granados' book, Metodo Teorico Practico para el Uso de los Pedales del Piano (Theoretical and Practical Method for the Use of the Piano Pedals) is presently out of print and available in a photostatic version from the publisher. Marshall's works, Estudio Practico sobre los Pedales del Piano (Practical Study of the Piano Pedals) and La Sonoridad del Piano (Piano Sonority) continue to be used at the Marshall Academy and are available from Spanish publishing houses. This study brings information contained in these three method books to the forefront and demonstrates its relevance to the performance of the music of Granados, specifically the Escenas Romanticas. Alicia de Larrocha, Marshall's best known pupil, currently holds the directorship of the Marshall Academy, and as such, is perhaps the best living authority on this entire line of pianistic and pedagogical thought. An interview conducted with Madame de Larrocha in April of 1983 adds detail and provides valuable perspective about the present use and relevance of these materials and concepts.
22
Sundell, Kimberley. "Comprehensive Musicianship and Beginner Piano Method Books: A Content Analysis." Thesis, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/23570.
Full textAbstract:
Comprehensive Musicianship (CM) is a philosophy that developed in the 1960s to encourage the study of contemporary music and student creativity. It expanded in the 1970s to describe the interdisciplinary study of music. Its goal was to encourage teachers to go beyond technical and performance aspects of music and start integrating theory, history, composition, improvisation and aural skills instruction to their curriculums. However, while CM has had a strong influence on many music programs, it is not clear whether this trend has influenced the field of private piano instruction, and whether CM elements have been included and integrated in beginner piano method books.
To address this question, categories that constitute the core elements of CM were selected to conduct a content analysis of 12 piano method series. Analysis showed that the focus tends to be on aural skills (as teacher duets), and theory, with a noticeable lack of the more creative activities of improvisation and composition.
23
Mayer, Germano Gastal. "A translation of João Domingos Bomtempo's piano method: a Portuguese contribution to piano pedagogy." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5810.
Full textAbstract:
This essay offers an English translation of Elementos de Musica e Methodo de Tocar Piano Forte (Elements of Music and Method of Playing the Piano-Forte), op. 19, by the Portuguese composer-pianist João Domingos Bomtempo (1775-1842). His method, the first of its kind written by a Portuguese national, was published in 1816 by Clementi & Co. in London. Bomtempo later rewrote his book, expanding its scope, but the second version survives only as an unfinished manuscript. My translation presents both versions of this instructional work in a single text, distinguishing the contents according to the two sources, with the aim of providing a comprehensive view of Bomtempo’s piano pedagogy. This is the first English translation of Bomtempo’s method. A short biography and critical notes regarding philological and musicological matters clarify ambiguities and contextualize this work within its historical period.
24
Madved, Loretta M. "The development of piano student learning style profiles and recommendations for adaptation to selected piano method books /." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487585645575551.
Full text
25
Sung, Meir Mei Wah. "A Survey of Technique Elements in Piano Method Books and Technique Books for Young Piano Beginners." Thesis, Université d'Ottawa / University of Ottawa, 2017. http://hdl.handle.net/10393/36485.
Full textAbstract:
Piano teachers agree that acquiring piano technique knowledge and skills is beneficial for musical interpretation as lacking a good technique may impact on the musicality of a performance and poor technique may lead to muscular pain or injury. Many piano teachers use a series of piano method books as major teaching materials in the lesson. It is essential for teachers to understand the technical elements included in the piano method books and to investigate whether any piano technical element is missing so that they may consider using supplementary technique teaching materials. Besides, to understand how the technical elements are presented and how soon each technique element is introduced would help teachers to teach more efficiently. The purpose of this study was to review how expert pedagogues teach piano technique to establish a framework of technique elements that should be taught to young piano beginners. Based on this framework, we undertook an analysis of the technical elements found in thirteen series of piano method lesson books together with their accompanying technical books. A calculation of the proportion of each piano technique element in each series, an evaluation of the pace at which new technique elements are introduced and an analysis of how each one is presented forms the objective of this study. The results will provide piano teachers with thorough information on the technique elements found in different method books and will help piano teachers to select the most appropriate method books for their students.
26
Hosaka, Yoshinori. "Sumiko Mikimoto's piano method a modern physiological approach to piano technique in historical context /." College Park, Md.: University of Maryland, 2009. http://hdl.handle.net/1903/9176.
Full textAbstract:
Thesis (D.M.A.) -- University of Maryland, College Park, 2009.Thesis research directed by: Dept. of Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
27
Santos, Rogério Lourenço dos. "Uma proposta de método para ensino de piano em grupo destinado ao curso de piano complementar nas universidades brasileiras." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-22082013-141410/.
Full textAbstract:
A presente tese teve como motivação inicial a confecção de um método de ensino de piano em grupo para utilização nos cursos de piano complementar das universidades brasileiras. Neste trabalho, relatam-se as etapas e processos reflexivos percorridos por este autor durante esta empreitada. Primeiramente, foi feita uma pesquisa histórica a respeito do surgimento do piano em grupo na Europa e nos Estados Unidos, chegando-se até às tecnologias utilizadas atualmente, assim como uma análise do cenário relativo ao ensino do piano em grupo e da disciplina de piano complementar nas universidades brasileiras. No segundo capítulo, apresenta-se uma análise crítica e comparativa dos mais importantes métodos de ensino em grupo existentes atualmente. O capítulo final descreve a organização do método considerada ideal para uma proposta de método de ensino de piano em grupo nas universidades brasileiras e apresenta parte dos exercícios confeccionados para o desenvolver cada uma das habilidades funcionais que são trabalhadas nos diversos capítulos do método elaborado ao longo desta pesquisa, assim como o porquê das escolhas envolvidas em sua confecção.This thesis had as its impetus the development of a group piano method designed for college level piano classes in the universities of Brazil. The purpose of this work is to reflect upon the process used in this endeavor. The first chapter presents a historical background from the beginnings of group piano instruction in Europe and the United States until its culmination in the technological era. It also examines group piano teaching in the secondary piano courses among Brazilian universities. The second chapter is a comparative analysis of the most important group piano methods currently in use. The final chapter describes the format and function considered ideal as a basis for the method of group piano teaching in Brazilian universities. Furthermore, it presents a sample of the exercises composed to develop each of the piano skills that are presented throughout the chapters of the method produced alongside with this research, as well as the rationale involved in its creation.
28
Kelly, Campbell Alexander Kingswood. "The Feldenkrais Method in Practice and Performance at the Piano." Thesis, Griffith University, 2019. http://hdl.handle.net/10072/384936.
Full textAbstract:
This dissertation explores the process of applying principles from the Feldenkrais Method, a form of somatic practice focused on developing physical awareness, to the author’s practice as a pianist performing Western Art Music. The study examines the author’s experience with the Feldenkrais Method over an 18-month period and its influence on his approach to practising, teaching, and performing at the piano which culminated in the presentation of three recitals. The research is grounded on a flexible research design which gathered data from multiple sources including literature, video recordings, reflective journaling, and interviews. Through the analysis of this data a multifaceted perspective is obtained that expresses the unique experiences, insights, and changes which occurred throughout the study.
The Feldenkrais Method promotes a holistic approach to learning, one that views the mind and body as equals in the act of music-making. The enquiry uncovered deep rooted physical habits that were inhibiting the author’s ability to perform with freedom and ease. These habits were linked to broader psychological perspectives concerning anxiety and instability. The investigation drew several conclusions from the findings, these are: the importance of an inclusive physical mindset while practising, the influence of physical awareness on interpretation, developing technique on the basis of dynamic equilibrium, and the importance of cultivating physical awareness within the domain of artistic research. Furthermore, findings are also drawn concerning the elements that would characterise a piano pedagogy influenced by somatic practices through the analysis of five semi-structured interviews. These elements are firstly, an understanding of the importance of viewing the student from the border perspective of the mind and body, an aspect that is reminiscent of the Feldenkrais concept of the self-image, and secondly, the cultivation of an explorative mindset in the practice room.Thesis (Masters)
Master of Music Research (MMusRes)
Queensland Conservatorium
Arts, Education and Law
Full Text
29
Geronymo, Jairo Correa. "A method of sight reading for piano ensemble : with commentary and preparatory exercises /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11310.
Full text
30
Masko, Jonas. "A method for automatic sampling of a MIDI-controlled grand piano." Thesis, KTH, Skolan för informations- och kommunikationsteknik (ICT), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-175822.
Full textAbstract:
När man skapar musik digitalt så kan det vara önskvärt att kunna använda exakta återgivanden av riktiga instrument, och inte bara digitala simuleringar. För att kunna nyttja dessa återgivnigar av instrument så måste äkta ljud spelas in från instrumentet i fråga. Detta tar väldigt lång tid och kan vara svårt att genomföra noggrant. Denna rapport visar en Java lösning som automatisk kan spela in äkta ljud från ett instrument som kan ta emot och hantera digitala signaler från standarden för kommunikation mellan musikinstrument (MIDI) och presenterar ett exempel på hur Java kan användas som platform för MIDI och ljud. För att kunna skapa denna lösning så samlades information från olika forum samt dokumentationer online och en lösning provades fram. Resultatet är en demonstration av ett program som kan samla ljud från vilket instrument som helst som stödjer MIDI-inmatning, men är specifikt designat för att fungera med pianot. Programmet kan utvecklas vidare för att fungera med andra instrument med högre variation, exempelvis violiner, som skulle kunna ta emot mer MIDI-signaler än ett piano.When producing digital music it might be desirable to be able to use accurate representations of actual instruments and not just digital simulations. To acquire these accurate representations, real audio must be recorded from the instrument. These tasks can be very time consuming and difficult to properly control. This report presents a solution to automate the recording of instruments which can receive and process the signals from the digital standard for musical instrument communication (MIDI) and provides an example of using Java as a platform when it comes to MIDI and audio. To create the solution, information was gathered from various forums and message boards online along with official and unofficial documentations and put into use in an trial-and-error approach. The outcome is information on how to use Java with MIDI and audio, a demonstration application which can collect samples from any instrument that supports MIDI, but is designed to work with the grand piano. This application can be developed further to support more advanced instruments, such as violins, which have a lot more variation than the grand piano and can use additional MIDI signals.
31
Szopinski, Sarah. "Beyond the method book: integrating movement, exploration, and improvisation into the elementary piano lesson." Kansas State University, 2016. http://hdl.handle.net/2097/32865.
Full textAbstract:
Master of MusicDepartment of Music, Theatre, and Dance
Frederick Burrack
Prominent elementary music methods like Orff-Schulwerk, Kodaly, Suzuki, Music Learning Theory, and Dalcroze Eurhythmics share a belief in a sound-before-symbol approach: delaying notation instruction in order to first develop audiation, musical vocabularies, and concrete musical experiences. Unfortunately, piano pedagogy has not taken the same journey, with method books continuing to center on reading from the earliest. While piano pedagogy has made great strides as a professional music community, now it must adopt the same sound-before symbol approach of its general music colleagues, making room for experiential and creative activities as a core component of instruction. Through the integration of movement, exploration, and improvisation activities like the included examples, teachers can move beyond strict adherence to the method book, and change their focus from notational literacy to authentic musicianship.
32
O'Neill, Alice Ann M. "Parent as home teacher of Suzuki cello, violin, and piano students observation and analysis of Suzuki method practice cessions /." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1070376603.
Full textAbstract:
Thesis (D.M.A.)--Ohio State University, 2003.Title from first page of PDF file. Document formatted into pages; contains x, 99 p.; also includes graphics (some col.) Includes bibliographical references (p. 96-99). Available online via OhioLINK's ETD Center
33
Lu, Yuanyuan. "Survey of Eighteen North-American Piano Method Books: Repertoire Selection and Categories." Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/23178.
Full textAbstract:
Many piano teachers agree that suitable repertoire motivates their students to learn and practice their instrument. Asking students to learn different categories of repertoire might be a good approach for piano teachers to motivate and maintain their students’ musical interests. However, how do teachers evaluate what kinds of repertoire is presented in the teaching material that is available to them? The purpose of this study is to review the pieces found in North-American piano method books in order to provide an inventory of the different categories of repertoire found in each series and to calculate the proportion of piano repertoire belonging in each category. Consequently, this research will allow piano teachers to see more clearly which kinds of repertoire are in a method book and help select the most appropriate method books for their students.
34
Ferenc, Anna. "The post-tonal compositional method of Nikolay Andreyevich Roslavets : an analysis of his five preludes for piano." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61975.
Full text
35
DiCienzo, Alessandra. "A Comparison of the Middle C and the Mixed Intervallic Reading Approaches on Music Reading Among Beginner Piano Students." Thesis, Université d'Ottawa / University of Ottawa, 2019. http://hdl.handle.net/10393/39944.
Full textAbstract:
For many piano teachers, developing proficient reading skills in their young beginner students is one of the important aspects of weekly lessons yet it can also be one of the most frustrating tasks to undertake. To assist in this process, teachers look to method books to provide structure and an approach to music reading. Two reading approaches are prevalent in the current marketplace and widely used by teachers; the mixed intervallic approach and the middle C approach. The mixed intervallic approach, which stresses reading by interval, pattern and direction, is favoured and endorsed by current pedagogy and is adopted by many method books. This study compared the reading skills of young beginner piano students (ages 7-11) using either the mixed intervallic approach or the middle C approach to see which approach produced more reliable reading skills. Participants performed several music reading tasks to test keyboard identification (verbal), note identification in treble and bass clef (verbal), single note identification in C and G position (playing), broken and solid intervals in C and G position (playing), 3 note patterns and non-patterns in C and G position (playing), and sight reading. I hypothesized that the middle C students would perform better at single note identification while the mixed intervallic students would perform better in interval recognition, pattern recognition and sight reading. The results showed that the middle C students outperformed the mixed intervallic students in all tests except for keyboard identification and 3 note patterns in G position. These findings are surprising as they may indicate that the middle C approach, which is often criticized, is generating reliable reading skills among beginner piano students.
36
Hayase, Takako. "A comparison of Akira Miyoshi's Miyoshi Piano Method with Nancy and Randall Faber's Piano adventures based on Royal American Conservatory Examination (Race)." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1156562709.
Full textAbstract:
Thesis (Dr. of Musical Arts)--University of Cincinnati, 2006.Title from electronic thesis title page (viewed Jan. 26, 2007). Includes abstract. Keywords: Piano; Piano Pedagogy; Piano Methods. Includes bibliographical references.
37
Arder, Debora. "The piano teaching of Earl Wild : an introduction to his method and style." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1232546711.
Full text
38
Wang, Yanjie. "How to Apply the Schenkerian Method to the Performance and Teaching of Chopin's and Mozart's Piano Music." Thesis, University of Oregon, 2019. http://hdl.handle.net/1794/24199.
Full textAbstract:
This thesis focuses on the relationship between piano performance and Schenkerian analysis. Schenkerian analysis was designed initially as a practical guide for performers. In the different levels of a Schenkerian graph, we can see “musical forces” which lead the performer to deeply understand music itself. Using Schenkerian notation to highlight certain notes helps us to recognize lines behind the surface of the music that give certain passages coherence. This study concentrates on Chopin’s mastery of counterpoint and voice leading which leads me into the relationship of analysis and performance, typically by using the Schenkerian method. My examples will include a variety of pieces by both Chopin and Mozart, to show in what ways the Schenkerian analysis both highlights similarities and makes distinctions between composers and genres.
39
Fini, Luca. "Analisi Numerica di Strutture ad Arco Sollecitate nel Piano da Forzanti Dinamiche." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2007. http://amslaurea.unibo.it/38/.
Full text
40
Serrin, Bret. "The Legacy of Theodore Leschetizky as Seen through His Pedagogical Repertoire and Teaching Style." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28474/.
Full textAbstract:
Theodore Leschetizky's singular pianistic legacy survives to this day because of his revolutionary pedagogical methods and his compositions for the piano repertory. The amalgamation of these two aspects formed his distinctive contributions to the fields of piano and piano pedagogy and left an indelible mark on the history of the instrument. His students lead an impressive list of the greatest artists of the previous century, each influencing the evolution of pianism with their own remarkable style and personality. While Leschetizky was arguably without peer as a pedagogue, many pianists today are unaware of the vast number of compositions that he wrote. These pieces were intended not only for the concert stage, but also as a very specific pedagogical repertoire that he used within his own teaching studio. This repertoire comprises a vital component of the Leschetizky legacy, albeit one which is often slighted in comparison. It is imperative that the pianists of our current generation understand the dual aspects of his contribution to our art form, in order to fully grasp the way in which he has changed the face of pianism. The purpose of this dissertation and lecture recital is to enumerate the various aspects that constitute the dual components of Leschetizky's pianistic legacy. For pedagogues of the current generation, it is of vital importance that we understand not only our own personal pedagogical lineage, but the various other individuals that, through their contributions, have led us to where we are in our understanding of the instrument. What is needed in the current research on this subject is one individual source that not only documents the characteristics of a pedagogical genius, but explores the legacy he left for future generations through documented accounts of his students and the examination of his own unfamiliar, pedagogical repertoire for the piano.
41
Keith, Laura Helene. "A Pedagogical and Educational Examination of The First Month At The Piano by Mana-Zucca." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/318.
Full textAbstract:
The First Month at the Piano by Mana-Zucca, published in 1935, is a pioneering piano method to be taught by rote, supporting sound before sight learning theories, to the pre-school student. It differs from the Suzuki method in that The First Month at the Piano uses short, repetitive patterns, intrinsic to the Edwin Gordon Music Learning Theory. The First Month at the Piano has been compared to educational theories and has been found to follow Lev Vygotsky's theory of scaffolding and Jerome Bruner's principles of structure, readiness for learning, and motivation. The First Month at the Piano has been shown to provide a wide variety of sensory experiences for the pupil and establish a comfort and familiarity with the instrument. After completing the method, the pupil will have a solid aural foundation at the piano and will be fully prepared for primer level notation. It is a highly adaptable method and modified versions were made from the originals which would be of interest to today's teachers of pre-school piano students. Incorporation of interactive MIDI with electronic keyboards would enhance the students' learning experiences and be a direction to follow for future use of this method.
42
Homer, Scott Daniel. "Evoking the Mystery: A Pedagogical Method to Enable an Advanced Violinist to Master George Crumb’s Four Nocturnes (Night Music II)." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc801940/.
Full textAbstract:
For more than three centuries, violin pedagogical practices have been extensively developed towards music covering the common practice period. However, a problem arises when a violin student performing avant-garde music needs to find realistic solutions to problems that are not addressed in the standard repertoire. This critical essay offers a pedagogical approach to a work that fits well within this paradigm: Four Nocturnes (Night Music II), George Crumb’s only published work for violin and piano duo. The multi-dimensional aspect of this avant-garde work requires an equally multi-faceted approach to overcoming the inherent technical hurdles. Through practical illustrations and concise explanations, musical examples indicate how the score may be re-notated and simplified to create a preliminary step towards advancing to the original notation. Borrowing from the methodology of Otakar Ševčík and other leading twentieth-century violin pedagogues, the author shows how students can modify their approach to fit contextually in the realm of avant-garde music. Students who approach the work with this methodology will find it helpful in eliminating many of the potential pitfalls that they are likely to encounter.
43
Lister-Sink, Barbara Ann. "A study of students' perceptions of the effectiveness of an interdisciplinary method for teaching injury-preventive piano technique." Thesis, Teachers College, Columbia University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3707098.
Full textAbstract:
The rate of playing-related neuromusculoskeletal disorders (PRNDs) in advanced pianists remains consistently high worldwide, often limiting or ending study and playing careers. Injured pianists—desperate for solutions—seek out allegedly scientifically-informed approaches to developing injury-preventive technique but none of these approaches have been seriously investigated. This mixed-methods study investigated one interdisciplinary, non-traditional approach (the “Method”) that had received considerable anecdotal support but had not been studied systematically to ascertain its efficacy in recovering from and preventing recurrence of PRNDs, as well as its effects on technique, musicality, and extra-musical factors. Participants included undergraduate and graduate students, independent piano teachers, college teachers, and professional pianists and organists who had studied the Method for at least two academic semesters between 1990 and 2015. An anonymous survey was administered to 103 pianists and organists aged 22 to 82, with 74 (N=74) pianists responding (71.8%), and 26 pianists and organists were interviewed in-depth. Survey and interview results established that participants perceived the Method as significantly helpful in facilitating recovery from PRNDs. Significance of relationships among codes included correlations of .70 between the code “it works” and “playing without injury,” and .66 between “it works” and “playing again.” Interviewees also perceived the Method as helpful in preventing recurrence of PRNDs, as shown by the high correlation between the codes “will help prevent injuries” and “learned a lot from studying the Method” (.67). A one-sample t-test performed on the survey data also showed a positive perception (p < .001) of the Method in helping recovery from and prevention of recurrence of PRNDs. Additionally, both the survey and interview participants reported improvement of technique and musicality with many also reporting enhancement of their extra-musical lives. A one-sample t-test on the survey data showed these improvements to be significant at a 5% level or better. Research also yielded data on psychological, emotional, and professional challenges to learning the Method, as well as reactions to specific aspects of the Method. It is hoped that the data might serve as a baseline and become a useful model for the investigation of other approaches for teaching injury-preventive piano technique.
44
Egge, Mark N. "Toward a Method for Performance Analysis of Twentieth-Century Music." Bowling Green State University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1130784707.
Full text
45
Vercueil, Anna Catharina. "The effect of the Tomatis method on the psychological well-being and piano performance of student pianists / A.C. Vercueil." Thesis, North-West University, 2010. http://hdl.handle.net/10394/5000.
Full textAbstract:
The literature on psychological well-being indicates that high levels of psychological well-being encourage a psychological loop that reinforces itself, lifting an individual on an 'upward spiral' of continued psychological flourishing, which may contribute to positive human functioning. In addition, the literature suggests that effective intervention can raise the levels of psychological well-being.
There are features inherent in the training of student pianists that can contribute to their psychological vulnerability, especially with regard to self-concept and anxiety. Therefore, they can benefit from an intervention that may raise their level of psychological well-being, thus contributing to their resilience in coping with the challenges presented by their training as well as their piano performance.
Clinical observations as well as research indicate that the Tomatis Method can enhance psychological well-being and improve academic functioning. Furthermore, Tomatis' theories and observations suggest that this programme can also enhance music performance, especially with regard to self-listening skills. However, although Tomatis indicates that he observed the same results with instrumentalists as with singers, his writings mostly refer to singers. Except for a single case study by Madaule in 1976, there seems to be no other scientific evidence that the Tomatis Method has benefited student pianists. Therefore, the purpose of this exploratory study was to investigate the effect of the Tomatis Method on student pianists' psychological well-being and piano performance.
The empirical study consisted of a two-group pre-post assessment mixed-method design,
involving thirteen 2nd year to postgraduate student pianists from the School of Music and Conservatory, of the North-West University (Potchefstroom Campus). These students were randomly assigned to an experimental group (n = 7) which was exposed to the Tomatis Listening Programme, and a non-intervention control group (n = 6). Quantitative data were obtained by means of a battery of tests, which included self-report inventories regarding psychological well-being and music performance anxiety, as well as scales regarding piano performance. The levels of the participants' psychological well-being were measured with the Scales of Psychological Well-Being (Ryff, 1989), the Affectometer 2 (Kammann & Flett, 1983), and the Profile of Mood States (Mc Nair et al., 1992). Participants' levels of music performance anxiety were measured with the Music Performance Anxiety Inventory for Adolescents (Osborne & Kenny, 2005), and the Kenny Music Performance Anxiety Inventory (Kenny et al., 2004). The quality of the students' piano performances was assessed by means of a general impression expressed as a percentage, Mills' constructs (1987) for the assessment of music performance, and Piano Performance Rating Scale (PPRS) which was developed for this study. Qualitative data were acquired by means of interviews, group discussions, projective drawings, written reports, personal observations and the Tomatis Listening Test
Results indicated improvement regarding some aspects related to student pianists' psychological well-being and piano performance. Further research with regard to these aspects is required.Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2010.
46
O'Neill, Alice Ann Mary. "Parent as home teacher of Suzuki cello, violin, and piano students: observation and analysis of Suzuki method practice cessions." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1070376603.
Full text
47
Ueda, Yasushi. "Pierre-Joseph-Guillaume Zimmerman (1785-1853) : l’homme, le pédagogue, le musicien." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040204.
Full textAbstract:
Fils d’un facteur de piano, Pierre Joseph Guillaume Zimmerman (1785-1853), virtuose, pédagogue, compositeur et homme du monde, trouve sa place au sein d’une pléiade de promoteurs du piano et de la littérature pianistique. Son originalité réside dans la dualité que l’on distingue entre, d’une part, sa conscience de compositeur académique héritée de Cherubini et, d’autre part, cet esprit novateur que lui inspira la modernisation de la facture instrumentale dont il suivit et entérina l’évolution. Cette thèse se veut la première monographie qui envisage les activités nombreuses et variées dans lesquelles le musicien s’illustra aux différentes époques de sa vie. La première partie traite de ses origines et de l’époque d’avant 1831. Nous nous intéressons à ses études au Conservatoire, à sa première carrière pédagogique, à ses mariages, à ses œuvres classiques pianistiques (la Sonate op. 5 et les deux concertos) et à ses deux opéras. La deuxième partie porte sur la période de 1831 à 1845. Nous parlons des lauréats sortis de sa classe qui se multiplient à l’époque, de sa méthode Encyclopédie du pianiste compositeur qui favorise le genre des études, ainsi que des soirées musicales qu’il organise dans son appartement du Square d’Orléans. La troisième partie étudie la période post-Cherubini, de 1842 à 1853. Nous y abordons sa contribution à l’organisation de l’Association des artistes musiciens, ses deux messes, ses dernières années comme professeur au Conservatoire, ainsi que l’époque postérieure à sa retraite en 1848. Le second volume d’annexes complète cette étude en présentant un arbre généalogique, les portraits et les états civils des Zimmerman, ses lettres et d’autres documentsBorn as the eldest son of a piano manufacturer, Pierre Joseph Guillaume Zimmerman (1785-1853) was one of the piano promoters in the first half of the nineteenth century, this can clearly be seen from his activities as a piano virtuoso, educator, composer and socialite. His unique role consisted of his dual occupation as a successor to Cherubini in academic composition, and also his role as a passionate supporter of the modernization of the piano. This thesis is a monographic study of Zimmermann, and explores the multiple aspects of the activities in which the musician became famous for in different periods of his life. In the first part, I discuss his origins and his life before 1831. I discuss his studies at the Conservatoire, his first pedagogical contributions, his marriages, his classical piano works (Sonata op.5 and two concertos) and two operas. The second part covers the period from 1831 to 1842. I consider the increase in the number of students from his class who became winners of the annual piano competition, his method Encyclopédie du pianiste compositeur – which favours the études as a genre – and the salon concerts that he organized at his apartment in the Square d’Orléans. The third and final part relates to the post-Cherubini period from 1842 to 1853 in which I focus on his contribution to the organization of the Association des artistes musiciens, his two masses, his last years as a professor of Conservatoire, and the life after his retirement in 1848. The information provided in the second volume of annexes also highly complement this study by presenting a family tree, his portraits, civil registers of the Zimmermans, his letters and the other documents
48
Beacon, Jillian. "Assessing 2D and 3D Motion Tracking Technologies for Measuring the Immediate Impact of Feldenkrais Training on the Playing Postures of Pianists." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/33125.
Full textAbstract:
The Feldenkrais Method of somatic education has become popular with pianists for improving ease of motion and musculoskeletal health. This thesis contains three studies investigating motion-tracking technologies as means to objectively assess the impact of Feldenkrais training on pianist posture. The first study investigates the accuracy and reliability of Dartfish 2D motion tracking software. Results indicate that Dartfish tracking error is within +/- 0.25 centimeters. The second study uses Dartfish to track head, shoulder, and spine positions of 15 pianists during performance before and after receiving a Feldenkrais Functional Integration Lesson. Comparisons of pre- and post-test measurements indicate no group trends in posture change. However, intriguing changes to movement quality in the head and torso were observable for two participants. The third study compares tracking quality of Dartfish and the Microsoft Kinect for the head, shoulders, and arms of four pianists attending a weeklong Feldenkrais workshop. Results reveal frequent tracking errors with the Kinect sensor, making it unsuitable to measure the impact of somatic training on pianist posture.
49
Kudlinskienė, Ieva. "Ekstruduoto baltyminio priedo virškinamumas, jo poveikis karvių produktyvumui ir pieno sudėčiai." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140519_092438-45301.
Full textAbstract:
UAB „Naujasis Nevėžis“ 2012 metais buvo sukurta ekstruduoto baltyminio priedo LAKTOMIL-1 receptūra, šis produktas skirtas melžiamoms karvėms skirtingais produktyvumo tarpsniais. Baltyminio priedo LAKTOMIL – 1 poveikio, karvių produktyvumui ir pieno kokybei, įvertinimui Lukšių žemės ūkio bendrovėje (Lauciškių komplekse) buvo atliktas 90 dienų trukmės bandymas.
Bandymui analogų principu atrinkta 30 Lietuvos juodmargių karvių, jos suskirstytos į dvi grupes (kontrolinę ir bandomąją), po 15 gyvulių kiekvienoje. Kontrolinės grupės karvės buvo šeriamos įprastiniu racionu, sudarytu iš kukurūzų siloso, žolių šienainio, kukurūzų grūdainio, rapsų išspaudų, sojų išspaudų ir mineralų. Bandomosios grupės karvės šertos analogišku racionu, tačiau sojų išspaudos pakeistos baltyminiu priedu LAKTOMIL-1. Siekiant nustatyti LAKTOMIL-1 baltymų virškinamumo laipsnį didžiajame prieskrandyje ir plonosiose žarnose, bendradarbiavome su valstybiniu Estijos „Gyvybės Mokslų Universitetu“, Mitybos ir gyvūnų produktų kokybės katedra (Tartu).
Baltymų ir sausosios medžiagos virškinamumas didžiajame prieskrandyje buvo nustatytas in sacco metodu. Tyrimui atrinktos trys karvės, kurioms į didįjį prieskrandį įvestos fistulos.
Pašarų mėginiai buvo inkubuojami prieskrandyje 2, 4, 8, 16, 24, 48 ir 72 valandas.
Darbo tikslas – nustatyti ekstruduoto baltyminio priedo LAKTOMIL-1 virškinamumą in sacco metodu ir įvertinti skirtingo šėrimo poveikį karvių produktyvumui ir pieno sudėčiai.
Darbo uždaviniai: 1. in sacco metodu... [toliau žr. visą tekstą]Object and tasks of work: Investigate extruded protein additive LAKTOMIL-1 ruminal digestibility, determine influence on cow productivity and milk composition. 1. Explore extruded protein additive ruminal digestibility using in sacco method; 2. Set extruded protein additive impact on dairy cows milk production and composition. Research methodology: In 2012 JSC „Naujasis Nevėžis“ specialists developed new extruded protein additive LAKTOMIL-1, for dairy cows in different stages of productivity. To investigate influence of extruded protein additive to cow’s productivity and milk composition, 90 days experiment was carried out in Lukšiai agricultural company (Lauciškiai farm). Analogues of the principle selected thirty Lithuanian Black/white breed cows, they were divided into 2 groups (control and experimental), each group containing 15 animals. The control group was fed a normal cow ration consisting of corn silage, grass silage, maize, rapeseed meal, soybean cake, and minerals. Experimental cows fed a similar diet, but soybean cake was replaced to extruded protein additive LAKTOMIL-1. During the investigation milk yield was determined by the control milking. Milk quality indices have been analyzed in PE “Milk Analysis” (“Pieno tyrimai”). Been studied milk protein, fat, lactose and urea concentration in milk content. Effective degradability of protein and dry matter was determined by the in sacco method using three fistulated cows. The cows were fed the same basal ration... [to full text]
50
CECCHINI, Silvia. "PRINCIPI E METODI PER L'ELABORAZIONE DI PIANI DI AUTOCONTROLLO NELL'INDUSTRIA ALIMENTARE [PRINCIPLES AND METHODS FOR FOOD SAFETY PLAN PROCESSING IN FOOD INDUSTRY]." Doctoral thesis, Università degli Studi di Camerino, 2007. http://hdl.handle.net/11581/401900.
Full text