Academic literature on the topic 'Piano – Physiologie'
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Journal articles on the topic "Piano – Physiologie"
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Sutulova, Nataliia. "Piano sound phenomenon in English-language scientific discourse." Aspects of Historical Musicology 27, no. 27 (December 27, 2022): 24–39. http://dx.doi.org/10.34064/khnum2-27.02.
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Statement of the problem. The process of achieving an aesthetically appealing and artistically true piano sound has long been a subject of research for musicians. In recent decades, domestic performance practice has relied on this issue mostly on the professional literature created back in the Soviet period. But the process of integrating Ukrainian musical education and performance into the European and world cultural space requires the study of alternative sources, primarily English-language ones, that reflect the experience of performers in different countries of the world, as well as correlations and the introduction of relevant terminology into scientific and practical circulation. Analyzing recent publications, we established that the phenomenon of the piano in general and piano sound in particular is considered from different points in the works of J. Parakilas (2000), E. Hiebert (2013), V. Raad (1977), G. Fitch (2016a,b; 2022), Shen Li and R. Timmers (2021), M. Keane (2013), Chuan C. Chang (2009), I. Masters (2021), and others. The purpose of this article was to study the approaches to the phenomenon of piano sound available in the English-language scientific literature. For the first time, a number of Englishlanguage sources dedicated to the phenomenon of piano sound have been included in domestic scientific circulation. Systematic and comparative methods, as well as terminological analysis used in the study, made it possible to distinguish different contexts, in which the phenomenon of piano sound is presented in scientific discourse: performance-practical, psychological, historical, organological (due to the structural features of the instruments). Research results. One of the approaches to the study of the piano sound phenomenon is the study of the history of the piano, its place in European culture and its social functions, as in the work of J. Parakilas (2000), where the author describes the history of the functioning of the piano during the 18th–20th centuries. The sound of the piano in the historical, stylistic and organological contexts is considered by I. Masters (2021), who investigated the structural and sound features of the London and Viennese pianos (second half of the 18th century) and their influence on the specifics of the piano texture, structure of themes, articulation and stroke palette of the works of pianists and composers of the London and Vienna schools. A purely performance and practical perspective is found in Chuan C. Chang’s book (2009), which covers most aspects of piano playing. Another example of a purely practical approach to the study of piano sound is the articles by G. Fitch (2016a,b; 2022), where he considers the process of creating an aesthetically pleasing sound. Another perspective on piano sound and playing is interdisciplinary, where musicology interacts with acoustics, psychology, and physiology (Keane, 2013; Li, & Timmers, 2021). Conclusions. A review of professional sources shows that the piano sound in the modern English-language scientific discourse is considered as a complex multifaceted phenomenon. The main and special concepts describing the sound of the piano are “tone”, “voicing”, “layering”. The first two terms have an ambiguous interpretation: some authors understand the quality of the instrument’s sound as the result of the performer’s actions, others as a certain manner of playing, and others as, first of all, the character of the sound determined by the design and technical condition of the instrument.
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Tworko, Paulina. "Fizjologia i ergonomia gry na fortepianie." Kwartalnik Młodych Muzykologów UJ, no. 47 (4) (2020): 229–54. http://dx.doi.org/10.4467/23537094kmmuj.20.025.13211.
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Ergonomics and Physiology of Piano Playing Much has been said about performance, styles and interpretation. However, we should ask ourselves where they come from, what they depend on, and what factors influence them. The answer is much more complex. This article deals with the problem of piano technique as an element on which interpretation, sound and expression depend to a large extent. The piano is an instrument with incredible tonal possibilities, but it requires fingering skills, the ability to “feel” the key and certain physical strength which is directly related to the technique we use. Achieving a high level in playing requires years of diligent work, perseverance and determination. Technical proficiency, in turn, facilitates the expression and appropriate interpretation, in line with the style of a given musical period and the feelings of the pianist-performer. So we are talking about two things that inexorably influence each other – the workshop and its result, the hape of latter depends largely on the first. This article deepens the knowledge of piano workshop so that in the end nothing comes in the way between performers, listeners and music.
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Probst, Stephanie. "From Machine to Musical Instrument." Journal of Musicology 38, no. 3 (2021): 329–63. http://dx.doi.org/10.1525/jm.2021.38.3.329.
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Media histories of music often frame technological innovation in the early twentieth century within a general zeal for automated musical reproduction. The engineering efforts of the Aeolian Company and its Pianola counter such narratives by fostering active music-making rather than passive listening. As a pneumatically powered attachment to a piano, the Pianola was initially limited to reproducing strictly mechanical renditions of music from perforated paper rolls. But the invention of the Metrostyle in 1903, a hand lever to achieve tempo-specific effects, significantly refined the musical capacities of the instrument. It allowed for inscribing onto the music rolls authoritative performance instructions that could be enacted by the player. Revisiting the various places that the Metrostyle Pianola inhabited, from the manufacturing site to the concert hall and the bourgeois living room, I illuminate the different sociocultural relationships and musical experiences that it mediates. By relegating certain tasks of conventional piano-playing to the mechanical workings inside the instrument, the Pianola was marketed as facilitating simplified music-making in ever wider parts of society. The Metrostyle annotations served as a pedagogical device for instructing novice players in principles of nuanced and tasteful interpretation. My analysis exposes the reciprocal relationships between the instrument and its human players, from attempts to adapt the physical interface to human physiologies, to the ways in which the instrument, in turn, imposes certain mechanistic affordances on its players.
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Pascual-Leone, A., D. Nguyet, L. G. Cohen, J. P. Brasil-Neto, A. Cammarota, and M. Hallett. "Modulation of muscle responses evoked by transcranial magnetic stimulation during the acquisition of new fine motor skills." Journal of Neurophysiology 74, no. 3 (September 1, 1995): 1037–45. http://dx.doi.org/10.1152/jn.1995.74.3.1037.
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1. We used transcranial magnetic stimulation (TMS) to study the role of plastic changes of the human motor system in the acquisition of new fine motor skills. We mapped the cortical motor areas targeting the contralateral long finger flexor and extensor muscles in subjects learning a one-handed, five-finger exercise on the piano. In a second experiment, we studied the different effects of mental and physical practice of the same five-finger exercise on the modulation of the cortical motor areas targeting muscles involved in the task. 2. Over the course of 5 days, as subjects learned the one-handed, five-finger exercise through daily 2-h manual practice sessions, the cortical motor areas targeting the long finger flexor and extensor muscles enlarged, and their activation threshold decreased. Such changes were limited to the cortical representation of the hand used in the exercise. No changes of cortical motor outputs occurred in control subjects who underwent daily TMS mapping but did not practice on the piano at all (control group 1). 3. We studied the effect of increased hand use without specific skill learning in subjects who played the piano at will for 2 h each day using only the right hand but who were not taught the five-finger exercise (control group 2) and who did not practice any specific task. In these control subjects, the changes in cortical motor outputs were similar but significantly less prominent than in those occurring in the test subjects, who learned the new skill.(ABSTRACT TRUNCATED AT 250 WORDS)
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Ferrario, Virgilio F., Chiara Macrì, Emilia Biffi, Paolo Pollice, and Chiarella Sforza. "Three-Dimensional Analysis of Hand and Finger Movements during Piano Playing." Medical Problems of Performing Artists 22, no. 1 (March 1, 2007): 18–23. http://dx.doi.org/10.21091/mppa.2007.1004.
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The movements required for piano playing usually involve low impact loads that do not exceed physiologic limits of human body, but their repetition may provoke microtrauma leading to overuse injuries. Experience may allow a pianist to modify the motor patterns used for a performance, allowing the highest accuracy with minimum effort. In the present study, hand and finger movement patterns were analyzed in 19 pianists (8 concert players, 11 students and teachers) while they played 16 measures of a minuet. The threedimensional coordinates of their right hand and fingers were obtained by a motion analyzer. Three-dimensional finger velocity was determined, unitary kinetic energy was computed, and movements were divided into useful (for sound production) and erratic (extraneous movements not used for sound production). The number of key presses for each pianist was counted, and singlefinger unitary kinetic energy computed. On average, the concert players used more total unitary kinetic energy than the students and teachers (p < 0.05, Wilcoxon test), while the useful unitary kinetic energy was similar. The number of key presses for each finger did not differ (p > 0.05, chi-squared test). The useful unitary kinetic energy per single key press differed between groups (p = 0.035, with concert players greater than students and teachers, analysis of variance) and among the five fingers (p = 0.008, with second and first fingers larger). In conclusion, the same piano exercise was performed with different movement patterns depending on the pianist’s experience. The patterns of extraneous hand and finger movements during playing could be investigated to assess their relationship to overuse injuries.
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Tseng, Yu-Ting, Chia-Liang Tsai, and Fu-Chen Chen. "Wrist proprioceptive acuity is linked to fine motor function in children undergoing piano training." Journal of Neurophysiology 124, no. 6 (December 1, 2020): 2052–59. http://dx.doi.org/10.1152/jn.00282.2020.
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We document that improved proprioceptive acuity is a common feature in young pianists. This proprioceptive improvement is associated with both proprioceptive processing and proprioceptive-motor integration. Higher wrist proprioceptive acuity in young pianists is linked to enhanced manual dexterity, which suggests that intensive piano training may improve untrained fine motor skills.
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Nakahara, Hidehiro, Shinichi Furuya, Peter R. Francis, and Hiroshi Kinoshita. "Psycho-physiological responses to expressive piano performance." International Journal of Psychophysiology 75, no. 3 (March 2010): 268–76. http://dx.doi.org/10.1016/j.ijpsycho.2009.12.008.
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Winges, Sara A., Shinichi Furuya, Nathaniel J. Faber, and Martha Flanders. "Patterns of muscle activity for digital coarticulation." Journal of Neurophysiology 110, no. 1 (July 1, 2013): 230–42. http://dx.doi.org/10.1152/jn.00973.2012.
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Although piano playing is a highly skilled task, basic features of motor pattern generation may be shared across tasks involving fine movements, such as handling coins, fingering food, or using a touch screen. The scripted and sequential nature of piano playing offered the opportunity to quantify the neuromuscular basis of coarticulation, i.e., the manner in which the muscle activation for one sequential element is altered to facilitate production of the preceding and subsequent elements. Ten pianists were asked to play selected pieces with the right hand at a uniform tempo. Key-press times were recorded along with the electromyographic (EMG) activity from seven channels: thumb flexor and abductor muscles, a flexor for each finger, and the four-finger extensor muscle. For the thumb and index finger, principal components of EMG waveforms revealed highly consistent variations in the shape of the flexor bursts, depending on the type of sequence in which a particular central key press was embedded. For all digits, the duration of the central EMG burst scaled, along with slight variations across subjects in the duration of the interkeystroke intervals. Even within a narrow time frame (about 100 ms) centered on the central EMG burst, the exact balance of EMG amplitudes across multiple muscles depended on the nature of the preceding and subsequent key presses. This fails to support the idea of fixed burst patterns executed in sequential phases and instead provides evidence for neuromuscular coarticulation throughout the time course of a hand movement sequence.
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Draucker, Shannon. "Music Physiology, Erotic Encounters, and Queer Reading Practices in Teleny." Victorian Literature and Culture 50, no. 1 (October 18, 2021): 141–72. http://dx.doi.org/10.1017/s1060150320000145.
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While music often appears as a “code” for sexual desire in Victorian literature, this article explores music's presence in a text for which no veiled language was needed: the anonymously published pornographic novella Teleny (1893). The authors of Teleny invoke emerging scientific discourses about music physiology to draw explicit parallels between musical and sexual encounters—as when the protagonist Camille orgasms in response to the vibrations of his lover's piano music. In such moments, Teleny offers an insistent defense of queer desire as a natural process rooted in the organic and often involuntary actions of the muscles and nerves—a particularly powerful intervention at a time when sexual “inversion” was most often denigrated as unnatural. In its use of biological science in the service of sexual representation—science that many twenty-first-century queer theorists might deem “essentialist”—Teleny presents a compelling challenge to scholars grappling with conversations about normativity, resistance, utopian desires, and idealized cultural objects.
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Kostyuk, Aleksei A., and Galina V. Alekseeva. "Emotions as a Phenomenon of Vocal and Opera Music." Problemy muzykal'noi nauki / Music Scholarship, no. 1 (2023): 168–77. http://dx.doi.org/10.56620/2782-3598.2023.1.168-177.
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The article examines the phenomenon of emotions as one of the leading patterns of creation of the vocal score of the singer-actor, the communicative intermediary between the composer, the librettist, the singer-actor and the listener-viewer. Opera as a synthetic art unites together music, poetry, production, scenography, the art of face-paint and costumes. By means of melody, its rhythmical and intonational texture builds up and ciphers those emotions which the singer must arouse from the listener-viewer. Frequently composers in the piano-vocal scores of their operas have provided descriptions of the stage settings, as well as nuances of stage motion and plastic, in order to bring out emotional colors to a greater degree by means of pantomime. In such situations it is important to research the means of operatic expression not merely from the point of view of musicology or theater studies. The phenomenon of opera requires study in a direct connection with psychology, physiology and sociology of culture. The authors of the article update the concept of the emotional score of the vocal parts of the operatic composition presenting a completed form from the positions of psycho-physiology of emotions and emphasizing the importance of its examination. The vocal part of Herman from Tchaikovsky’s The Queen of Spades is chosen as the object of studies.
Dissertations / Theses on the topic "Piano – Physiologie"
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Gentet, Maroussia. "Au cœur de l’expérience du sens dans l’interprétation pianistique. Construire la temporalité par la présence au mouvement." Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUL111.
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Ma recherche se base sur une question essentielle pour le musicien : comment construire un jeu vivant qui lui semble signifiant ? Certains artistes décrivent une expérience de l'être joué qui associe la compréhension du texte musical à son incarnation dans le jeu : les éléments musicaux sont connectés et délimités de façon sensible à travers les différentes échelles de temps par un geste qui fait sens. Premièrement, l’étude de problématiques pratiques de l’expérience pianistique amène à remettre en cause un modèle du corps objet ainsi qu’une façon d'utiliser les imaginaires pour motiver le geste qui sous-tendent l'analyse musicologique et la pédagogie traditionnelles. La segmentation du texte musical en éléments articulés dans un espace quantifié et à la succession de mouvements destinés à produire des segments sonores apparaissent insuffisants pour faire l’expérience du sens et de la continuité de l’expérience musicale. Deuxièmement, l’anthropologie théâtrale, la danse, la psychomotricité, la phénoménologie et l'expérience pratique apportent des pistes pour étudier l’émergence du sens à travers la notion de corporéité. Les notions de prémouvement et de présence ouvrent à la quête d'une qualité d'attention visant à percevoir les variations de tonicité du corps en interaction avec son environnement afin de modeler la qualité du geste. Les pratiques abordées explorent la relation à l’altérité, la construction de la spatialité et la connexion des différentes parties du corps en investissant l’imaginaire. Appliquées à l’interprétation d’une œuvre musicale, elles permettent d'articuler les éléments musicaux en s'articulant soi-même au monde et de déployer une temporalité incarnéeMy research is grounded in an essential question for the musician: how do you construct a lively performance that seems meaningful to him ? Some artists describe an experience of being played that combines understanding of the musical text with its embodiment in the playing: musical elements are sensitively connected and delimited across different time scales by a gesture that makes sense. Firstly, the study of practical issues of pianistic experience brings into question a model of the body as object, and a way of using imaginaries to motivate gesture, that underlie traditional musicological analysis and pedagogy. The segmentation of musical text into articulated elements in a quantified space, and the succession of movements aimed at producing sound segments, appear insufficient for experiencing the meaning and continuity of musical experience. Secondly, theatrical anthropology, dance, psychomotricity, phenomenology and practical experience provide insights into the emergence of meaning through the notion of corporeity. The notions of premovement and presence open up the quest for a quality of attention aimed at perceiving variations in body tonicity in interaction with its environment, in order to shape the quality of gesture. These practices explore the relationship to alterity, the construction of spatiality and the connection between different parts of the body by engaging the imaginary. Applied to the performance of a musical work, they enable us to articulate musical elements in our own relation to the world, and to develop an embodied temporality
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Lipke-Perry, Tracy Donna. "Integrating Piano Technique, Physiology, and Motor Learning: Strategies for Performing the Chopin Etudes." Diss., The University of Arizona, 2008. http://hdl.handle.net/10150/193854.
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Chopin's twenty-seven études are both unique and standard within the genre of advanced piano literature. Having been composed as the instrument itself was standardized and on the heels of the didactic studies of the classical period, Chopin's études are widely heralded as exemplary pedagogical material for their uniform quality and comprehensiveness. Nevertheless, despite the vast number of resources devoted to the topic of how one might approach the études and the innumerable endorsements which tout their incomparable worth, relatively cursory mention is made of their musical value. From a physiological perspective, what makes Chopin's études exceptional amongst vast pedagogical repertory, and how does their musical value impact what pianists learn from their study?From a modern perspective, a musical image is both the model and the yardstick for the measure of technical achievement as one compares performance with his or her musical image. The Chopin études are therefore unique in two ways. First, a pianist's musical image of each of the Chopin études initiates an individual process of motor learning. The musical images, and therefore the goals and the processes, are inherently different from the vast majority of purely didactic studies and exercises. Secondly, the genius of Chopin permeates the overall conception of the études as he intuitively employed the human ability to develop motor skills in natural ways which continue to be understood and supported by ongoing research.This paper explores the Chopin études from a largely physiological and psychological perspective such that modern studies of mental imagery, skill acquisition, and human motor abilities converge and highlight what is readily available in the music itself.
Books on the topic "Piano – Physiologie"
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translator, Chen Yunru, ed. Ren ti xue xi shi dian: Ji rou gu ge yun dong jie pou pian. Xinbei Shi Banqiao Qu: Feng ye she wen hua shi ye you xian gong si, 2016.
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Roberta, Gary, Miles Thom, and Conable Barbara, eds. What every pianist needs to know about the body: A manual for players of keyboard instruments : piano, organ, digital keyboard, harpsichord, clavichord. Chicago: GIA Publications, 2003.
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Sandor, Gyorgy. On Piano Playing: Motion, Sound, and Expression. Schirmer, 1995.
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Sandor, Gyorgy. On Piano Playing: Motion, Sound, and Expression. Schirmer, 1995.
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DeVan, William, Norman Rosen, Gail Berenson, Jacqueline Csurgai-Schmitt, Mitchell Elkiss, Phyllis Alpert Lehrer, Barbara Lister-Sink, Robert Mayerovitch, Dylan Savage, and Seymour Fink. A Symposium for Pianists and Teachers: Strategies to Develop the Mind and Body for Optimal Performance. Heritage Music Press, 2002.
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Mark, Thomas, Roberta Gary, and Thom Miles. What Every Pianist Needs to Know about the Body. G I A Publications, Incorporated, 2021.
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Mark, Thomas, Roberta Gary, and Thom Miles. What Every Pianist Needs to Know About the Body. Gia Publications, 2004.
Find full textBook chapters on the topic "Piano – Physiologie"
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Tarchynska, Yulia. "WAYS OF FORMING THE TECHNIQUE OF SOUND PRODUCTION IN THE INTERPRETATION OF MULTI-STYLE PIANO MUSIC." In Integration of traditional and innovative scientific researches: global trends and regional as. Publishing House “Baltija Publishing”, 2020. http://dx.doi.org/10.30525/978-9934-26-001-8-1-9.
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The article discusses the ways of the optimal formation of sound production techniques in the interpretation of multi-style piano music. The research methodology is based on the use of the historical method to highlight the evolution of methodological approaches to the formation of piano performing technique; analytical - to study the problem in scientific research in psychology, psychophysiology, musical pedagogy, piano performance; musicological method of analysis of piano styles; method of generalizing the piano performing experience of leading artists to substantiate the peculiarities of performing intonation of multi-style piano music. The purpose of this study is to identify the integral direction of improving the process of the formation of instrumental and performing technique, to concretize the sound forms of the embodiment of key pianistic skills, and to outline their typical motor characteristics. For the purpose of the study, methodological approaches to the formation of performing technique in the history of piano pedagogy are analyzed. The evolution of views on the technical development of the performer in different piano schools appears as a transition from empirical methods to scientifically grounded ones, as a change in the subject of the direction of the pianist's consciousness: identification of the most advanced forms of playing techniques, maximum attention to the sound result with the intuitive establishment of auditory-motor connection, conscious processing of auditory-motor coordination. The conditions for the optimal development of piano playing technique are considered, taking into account scientific achievements in the field of physiology, psychophysiology, and musical pedagogy. The circle of those skills of the pianist is determined, the acquisition of which optimizes the technical development of the performer: the skills of style-like sound production and sound science, which make up the technique of style-like sound formation. The content of the process of conscious mastering of interdependent and mutually conditioned components of such playing techniques is specified: generalized understanding of the common factors of the musical and linguistic environment of a certain piano style; creation of vivid sound-like performances based on emotional and intellectual comprehension of musical compositions, coordination of auditory-motor representations of such "mobile" expressive means as articulation, dynamics, agogics and timbre; improvement of motor skills from the point of view of physical convenience with the help of associations with previously acquired relevant performance experience, as well as life motor experience of economical expedient use of motor activity. The main stylistic features of sound production techniques in the interpretation of the piano heritage of Ludwig van Beethoven, Fryderyk Chopin, Serhiy Prokofiev are characterized on the basis of an analysis of their aesthetic ideals, "stable" and "mobile" expressive means of the composers' music, and the performing styles of the artists themselves. The examples of effective mastering by specific ways of combining tones that are appropriate in the style of composers are given. The described playing techniques are primarily a reference point in the art of sound production, a generalization of the rich scale of the pianistic initial touch. In practice, certain changes, combinations of techniques and movements can and do occur. In order to render the specific content of a piece of music, it is often necessary to deviate from the "textbook" way of playing with "exemplary" movements. At the same time, mastering the relationship and interdependence of stylistically conditioned sound tasks and expedient motor skills will make it possible to variably apply the playing techniques mastered in the embodiment of many nuances of the soundest images of highly artistic pieces of piano music.
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Allchin, Douglas. "Monsters and the Tyranny of Normality." In Sacred Bovines. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190490362.003.0025.
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In the sixteenth and seventeenth centuries, monsters were wonders (essay 1). Anomalous forms—like conjoined twins, hermaphrodites (essay 16), hydrocephalic babies, or the extraordinarily hairy Petrus Gonsalus and his equally hairy children—amazed people. They evoked a spirit of inquiry that helped fuel the emergence of modern science. Today, however, such bodies tend to strike us as freakish or grotesque—possibly even “against nature.” How did our cultural perspective, and with it, our values and emotional responses, change so radically? The shift in cultural views, ironically, paralleled deepening scientific understanding. Exceptions and anomalies can be powerful investigative tools. In this case, human monsters eventually prompted a new science, teratology, which compared normal and abnormal development. The scientific explanations and categories seemed to support value judgments. The history of monsters helps reveal the roots of a common belief (another sacred bovine): that the “normal” course of events reflects nature’s fundamental order. Well construed, monsters can help us rethink the meanings of normality and of the concept of laws of nature. Monsters are fascinating, of course, because they do not fit customary expectations. Such exceptions can be valuable opportunities for interpreting the unexceptional. One can begin to look for the relevant differences that reflect the underlying cause in both cases. It is a classic research strategy, especially in biology. Loss or modification of a structure can highlight its function. So, for example, vitamins were discovered through vitamin deficiency diseases, such as scurvy and beriberi. Likewise, the role of proteins in gene expression emerged from studying heritable enzyme deficiencies, such as alkaptonuria and phenylketonuria. Sickle cell anemia has become a classic example for learning in part because it was important historically in understanding hemoglobin and protein structure as well as the evolutionary consequences of the multiple effects of a single gene. Similarly, diabetes provides insight into the physiology of regulating blood glucose and the hormone insulin. Slips of the tongue are clues to how the brain processes language (missed notes in playing piano, too!).
Conference papers on the topic "Piano – Physiologie"
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Popov, Vladimir. "PIANO TOUCH PARADOX FROM THE POINT OF VIEW OF TUNER AND PHYSIOLOGIST." In XV International interdisciplinary congress "Neuroscience for Medicine and Psychology". LLC MAKS Press, 2019. http://dx.doi.org/10.29003/m517.sudak.ns2019-15/334.
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