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Xu, Ying. "Piano teaching in Hong Kong : portraits of four outstanding piano pedagogues." HKBU Institutional Repository, 2004. http://repository.hkbu.edu.hk/etd_ra/542.
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Lyman, Janet Palmberg. "Administrative aspects of intern teaching in piano pedagogy courses /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1991.
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Ueda, Toshie. "Pedagogical insights in teaching children for prospective teachers /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11227.
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Simones, Lilian Lima. "The role of gesture in piano teaching and learning." Thesis, Queen's University Belfast, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.676714.
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The experience of engaging with music through listening, teaching and learning would be impossible without a bodily interface, through which movement and music can be physically produced, experienced and understood. Physical gestures form a central part of the communication established between the teacher-student dyad in the communication of symbolic and functional musical knowledge. Factors such as gesture types (forms and meanings) and their specific outcomes in the teaching and learning processes have been consistently overlooked in the instrumental music pedagogical context. This thesis prioritises such undervalued topics, focusing its enquiry upon piano teachers' hand gestures used to communicate with students during the teaching process and incorporates theoretical frameworks from disciplines such as: music-psychology, psycholinguistics, gesture studies, gesture-led educational research, imitation and observational motor-learning. Three investigations were carried out to investigate the role of teachers' gestures in piano teaching and learning. The first two combined qualitative and quantitative approaches - the results of which were used in establishing the first known categorisation of piano teachers' gestures. Amongst the most intriguing findings were the relationship between teachers' didactic intent and the forms of gesture they employed, and 'gestural scaffolding' (when teachers adapted particular gestural communicative channels to suit specific student skill levels). In the third investigation an experimental setting was used to observe and evaluate the role of teaching gestures in one-to-one instrumental tuition. Here different gestural teaching and learning conditions yielded multiple levels of learning effectiveness, implying a need for empirical understanding and establishment of gestural performance as a concept that can be applied to enhance learning across specific pedagogical contexts. As well as building a case for future investigations in this research area, this thesis opens a debate within studies of pedagogical practice in instrumental music teaching, whilst contributing more generally to discussions of how the body impacts upon music understanding.
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Schrempel, Martha Kratz. "Teaching Expressivity at the Piano: History, Signs, and Strategies." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/86718.
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Music PerformanceD.M.A.
This monograph explores the development and variety of signs for musical expression and discusses strategies for identifying and teaching them, enabling students to communicate musical expressivity. Chapter 1 provides a background for this study, including a brief survey of how writers from ancient times to the present conceived of expression, along with findings from recent psychological research into the connection between emotion and music. Chapter 2 delves into the signs themselves and proposes how students can learn to recognize them at different levels of study. An overview of musical topics and structural features that contribute to musical expression leads to an analysis of the expressive states in the first movement exposition of Mozart's Sonata in C minor, K. 457. Chapter 3 discusses particular strategies for connecting the discovered signs with performance at the piano. To help their students communicate expressively, teachers first need to guide students to a recognition of musical signs, then help them to highlight expressive features through deviations in tempo, dynamics, and articulation. Instructors can use a variety of strategies ranging from metaphors and specific language through aural and physical modeling. Additional work with Hevner's mood wheel, supplemented by student projects in the visual arts, writing, movement, and drama, can create a connection between students and musical expression.
Temple University--Theses
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Ang, Kathryn. "Teaching Western classical piano music effectively in West Malaysia." Diss., University of Pretoria, 2013. http://hdl.handle.net/2263/41371.
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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.
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Rhoodie, Hester Sophia. "Piano tuition for the beginner : the structuring and teaching of the basic movements in piano playing." Pretoria : [s.n.], 2002. http://upetd.up.ac.za/thesis/available/etd-01282005-075823.
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Larsen, Janeen Jess. "Teaching basic jazz piano skills to classically-trained adult pianists a mastery learning approach /." Gainesville, FL, 1986. http://www.archive.org/details/teachingbasicjaz00lars.
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Michal, Elva Tice. "Teaching piano skills to handicapped persons through use of systematic instruction : a proposal." Connect to resource, 1987. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1262631645.
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Axelsson, Andreas. "Pianisters tekniska utveckling : vägen till ett eftersträvat uttryck." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1796.
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Benson, Cynthia Ann Stephens. "The effects of instructional media on group piano student performance achievement and attitude /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.
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Chyu, Yawen Eunice. "Teaching improvisation to piano students of elementary to intermediate levels." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1101867007.
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Chyu, Ya-Wen Eunice. "Teaching improvisation to piano students of elementary to intermediate levels." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1101867007.
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Thesis (D.M.A.)--Ohio State University, 2004.Title from first page of PDF file. Document formatted into pages; contains xviii, 187 p.; also includes graphics Includes bibliographical references (p. 183-187).
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Wood, Patricia Ann. "The teaching of Abby Whiteside : rhythm and form in piano playing /." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487330761218311.
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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.
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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.
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Lennon, Mary. "Teacher thinking : a qualitative approach to the study of piano teaching." Thesis, University College London (University of London), 1996. http://discovery.ucl.ac.uk/10018933/.
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This study explores the musical and pedagogical transactions involved in piano teaching. Adopting a qualitative approach, it focuses on the work of six piano teachers teaching in a variety of contexts, and employs observation and semistructured interview. It is concerned not only with teacher behaviour but with the meaning behind that behaviour and its significance in terms of the context in which it occurs. It emphasises the teacher's viewpoint, by exploring teacher thinking, consulting with teachers as they reflect upon their own practice and describe and explain the purpose behind their actions. The study is divided into four parts: Part 1 outlines the theoretical orientations of the study. Chapter 1 explores the literature on teacher thinking and teacher knowledge, identifying appropriate conceptual and methodological starting points for the study. Pedagogical content knowledge is identified as a critical unit of analysis. Chapter 2 focuses on the piano pedagogy literature, and on research on music teaching and learning, and outlines Swanwick's model of musical criticism, which provides an interpretative framework for the analysis and interpretation of the data. Part 2 focuses on methodological issues. Chapter 3 outlines the assumptions underlying the qualitative approach adopted, describing the research method and design and explicating the research process itself. Part 3 attempts to "give voice" to the teachers involved, focusing on their reflections on issues relating to music, teaching and learning. Part 4 is concerned with the interpretation and discussion of the data in the context of the literature outlined in the theoretical frames put forward in Part 1.
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Marín, Cos Estel. "L’ensenyament del piano a Barcelona: 1850-1901." Doctoral thesis, Universitat Autònoma de Barcelona, 2017. http://hdl.handle.net/10803/458701.
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Aquesta tesi doctoral té com a objecte d’estudi mostrar el desenvolupament de l’activitat docent del piano a la ciutat de Barcelona durant la segona meitat del segle XIX a través de tres grans nuclis: les entitats responsables -principalment el Conservatorio de Música y Declamación del Liceo de S.M. Doña Isabel II i La Escuela Municipal de Música-, el professorat que en va impartir docència i les obres publicades amb finalitats pedagògiques. Els textos pedagògics per a piano escrits pels professors dels conservatoris són els fonaments sobre els que intuim la pràctica pianística del moment. I els principals mitjans de difusió de la producció pianística: la premsa i l’edició musical, complementen la visió del panorama i el seu impacte sobre la societat de l’època.
L’estudi aporta les bases del desenvolupament del mestratge pianístic a Barcelona a la segona meitat del segle XIX ja que mostra la xarxa d’institucions formatives on aquest es va portar a terme amb la correlació dels professors que el desenvolupaven a través dels conservatoris i les acadèmies de música privades; un esquema que recull les diferents generacions de mestres i pianistes de la segona meitat de segle amb un perfil on encaixen tots aquests personatges biografiats; i finalment, el recull dels textos pedagògics que situen les pautes de la tècnica pianística del moment.
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Roothaan, John P. E. "Perspectives on teaching jazz piano "comping" in the college music program with sample instructional units." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1164926.
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The purpose of this study was to design and develop instructional units for teaching jazz piano comping to collegiate music students possessing basic piano skills but limited experience in jazz performance. In establishing bases and rationale for the instructional units, a number of issues were considered. These issues were (1) the need for teaching jazz piano comping, (2) a definition and explanation of the musical elements and characteristics of jazz and jazz comping, (3) an understanding of the African and European transmission traditions and musical characteristics that contributed to the development of jazz, (4) a review of literature relating to jazz piano comping, including jazz, music teaching and learning, and learning theory literature, and (5) a review of jazz piano comping practice from the swing era to the present, as reflected in the work of selected central jazz pianists. The twenty-four instructional units present basic harmonic and rhythmic materials of jazz piano comping. Harmonic materials include seven basic chord structures, harmonic extensions and alterations, upper-structure triads, II-V-I cadences, tritone substitution, chord successions, and typical chord progressions. Rhythmic materials include typical jazz rhythms. Each instructional unit is comprised of (A) presentation of a theoretical concept, (B) exercises for learning the particular concept, (C) a chord progression containing the particular concept, (D) a list of recorded examples of the chord progression for examination, and (E) suggested song titles for realization by the student. The instructional units are organized into four chapters of six units each. Instructional Units I through VI focus on individual voicings, organized into cycles of descending fifths. Units VII through XII focus on the II-V-I cadence and tritone substitution. Units XIII through XVIII focus on short chord successions. Units XIX through XXIV serves as a "summing up" of material presented in the first eighteen units. Overall, this work is designed to guide the student to technical proficiency, theoretical understanding, idiomatic fluency, and a creative approach to jazz piano comping.School of Music
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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.
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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.
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Holmberg, Pontus. "Pianoundervisning genom genren? : En intervjustudie av lärares syn på sig själva och sin undervisning inom klassiskt piano och afropiano." Thesis, Karlstads universitet, Musikhögskolan Ingesund, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-26535.
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Syftet med denna studie är att identifiera skillnader och likheter i olika pianolärares undervisningsupplägg, samt undersöka om deras synsätt och metoder går att knyta till de respektive genrer som de undervisar i. Inom forskning och litteratur har motsättningar som kan kopplas till afro och klassiskt undersökts och framställts i kontraster såsom gehör kontra noter eller improvisatoriskt kontra återgivande. Sådana motsättningar ligger till grund för föreliggande studies intresseområde. Studien utgår från ett sociokulturellt perspektiv, vilket innebär att lärande ses som en social aktivitet, där kunskap finns i kommunikation och de redskap som har växt fram i samhället. Datamaterialet består av kvalitativa intervjuer med fyra mer eller mindre aktiva musiker/pianopedagoger (två afrolärare och två klassiska lärare) med olika arbetssituationer. Resultatet visar att individanpassning och musikalisk mening samt glädjefullhet värderas högt i samtliga informanters pianoundervisning. Målet tycks vara att eleverna får uppleva glädje av att kunna musicera, snarare än att de ska bli ”stora” och kända pianister. Motivationen och det främsta ansvaret till att utvecklas anses ligga hos eleven. Fokus på teknik och övning ges efter elevens behov. Musikalitet ska alltid finnas i fokus. Omusikaliska övningar anses vara hämmande för uttrycket och motivationen. Att inkludera improvisation i undervisningen ses som viktigt. Informanterna har dock något olika arbetssätt och mål med improvisation. De klassiska lärarna arbetar efter rytmiska och tonala mallar med syfte att få eleven att utvecklas och/eller våga spela utan noter. Afrolärarna fokuserar mer på att spela till en särskild låt och att hitta personliga uttryck i improvisationen.The purpose of this study is to identify differences and similarities in various piano teachers’ teaching approach, and investigate whether their approach and methods relate to the respective genres they teach. In research and literature, contradictions that can be linked to ”afro” and ”classical” have been investigated and described in contrasts like ear for music versus sheet music or improvisation versus reproduction. Contractions like that form the basis to this study’s area of interest. The study is based on a socio-cultural perspective, which means that learning is seen as a social activity, where knowledge exists in communication and the tools that have been developed in the community. The data consists of qualitative interviews with four more or less active musicians/piano teachers (two “afro” teachers and two classical teachers) with different work situations. The result shows that personalization, musical meaning and joyfulness are highly valued in all their piano teaching. The goal seems to be the students´ experiences of joy in making music, rather than that they should become "great" and famous pianists. It is considered that the student has the primary responsibility in evolving and staying motivated. Focus on technique and training is connected to the student's needs. Musicality will always be in focus. “Unmusical” exercises are considered to be inhibiting the expression and motivation. To include improvisation in teaching is seen as important. The informants have somewhat different approaches and goals with improvisation. The classical music teachers work with rhythmic and tonal templates designed to get students to evolve and/or get courage to play without sheet music. “Afro” teachers focus more on playing a particular song and finding personal expressions in improvisation.
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Jang, Jeongwook. "An Instructional Guide to Teaching Kurtág’s Játékok Volume I to Beginning and Intermediate Piano Students." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc801950/.
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Pedagogical methods in piano instruction are constantly evolving. Traditional approaches for beginning students typically focus on teaching music theory and developing the skills necessary to read music. Some contemporary methods, however, are centered on training students to use their whole body while playing the instrument. These more recent methodologies allow students to bond with the piano in a more personal manner, as if they were playing a game with a big toy. One of the most representative works of this approach is the eight-volume collection Játékok (1973) by György Kurtág (b.1926). Volume 1 of Játékok consists of short pieces featuring a new graphic notation devised by Kurtág himself. It also incorporates the use of unusual piano techniques, such as playing with the palm, fist, and forearm. The method also explores the use of the entire range of the instrument. Though the work is over 40 years old, Játékok is only infrequently used as a teaching tool for piano instructors in Hungary, and is unknown in the United States. This probably stems from the fact that it presents students and teachers with atypical musical elements such as unusual notation, use of an unlimited register, and pieces that feature varying degrees of difficulty within the same volume. This study provides a guideline which will assist instructors in implementing Játékok’s Volume 1 effectively as a pedagogical tool by introducing instructor’s teaching content, rearranging the original order of pieces in ascending level of difficulty, and providing a methodology to creatively teach the three most significant musical skills to be developed through Volume 1.
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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/.
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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.
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Orduz, Ana Maria. "Integrating contemporary world music into our teaching: discussion on the pedagogical value and performance practice of seven commissioned pieces by four Colombian composers." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/1050.
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In this essay I discuss a collection of seven piano pieces that I commissioned by four emerging young Colombian composers. It contains two parts: the first explains the importance of involving contemporary and world music in piano education and includes a brief history of music in Colombia. The second part discusses in detail each of the piano pieces and the contemporary and folkloric references that each one uses. It also illustrates the technical challenges that each piece presents and provides suggestions on how to practice each work. The two pieces by Castaño include taped electronic sound as part of them. The two files are attached with the paper.
I have always believed in the responsibility and importance that teachers have in the creation of new music and discuss the importance of educators working with composers. I also explore the importance of teaching and learning world music and contemporary music from the beginning of a piano education. The commissions are the first step towards the creation of a piano pedagogical anthology of Colombian contemporary music for the late intermediate and early advanced level for which there is very little Colombian repertoire.
Colombia's rich rhythms, dances and musical traditions are not reflected in the formal music education in the country. Heightened security and the resulting economic growth have brought significant changes over the last ten years to the country providing a moment of possibility to advance an agenda in musical education as well. If the piano teachers take charge of the education of the new generation, beyond simply teaching them how to play the piano, the classical music tradition in Colombia will grow at the same time that high quality music will be provided around the world to play.
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Pingel, Kathy. "The intermediate and advanced piano music of Dmitry Kabalevsky: pedagogical implications." University of Southern Queensland, Faculty of Arts, 1997. http://eprints.usq.edu.au/archive/00003837/.
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This study investigates the intermediate and advanced piano repertoire of 20th Century Russian composer, Dmitry Borisovich Kabalevsky, with the main focus being on the artistic and pedagogical relevance of these works.Background details of the composer's life, as they pertain to these works and to his style of composition, were gathered through a review of the literature found in books, doctoral theses, encyclopedias, journal articles and programme notes accompanying compact disc recordings and editions of his music.A selection of Kabalevsky's intermediate and advanced piano compositions was chosen for an in-depth analysis of their artistic, technical and pedagogical aspects. A broad examination of their structure is also made. The works selected for analysis include Concerto No. 2 in G minor Op. 23, Numbers 1,2,3,4,6 and 24 from Twenty-Four Preludes Op. 38 and Sonata No. 2 in E flat major Op. 45. In order to gauge both the level of awareness and usage of Kabalevsky's piano repertoire, two written surveys were formulated and issued to teachers and performers within Australia. The first of these (Survey A) was distributed to private studio teachers, most of whom were teaching at an elementary and intermediate level, whilst the second one (Survey B) was sent to teachers who were likely to have had experience in teaching and/or performing more advanced works. In order to determine the frequency with which Kabalevksy's piano works are set for examinations, a review of various syllabuses, including the Australian Music Examination Board (AMEB), Trinity College of London and Austrlaina and New Zealand Cultural Arts Limited (ANZCA), was undertaken. These findings, together with the results of the surveys (which include comments made by a number of teachers/performers within Australia about a selection of these pieces) and the researcher's in-depth analyses, were all considered in ascertaining the usage and level of awareness of Kabalevsky's intermediate and advanced piano repertoire within Australia and the artistic and pedagogical contribution of these works. The in-depth analyses of a selection of Kabalevsky's intermediate and advanced piano works revealed that Kabalevsky made a worthy contribution to the piano literature of this standard, and that these works are also of considerable pedagogical value. The feedback from the surveys revealed that whilst most of the respondents had a high repect and regard for Kabalevsky's elementary piano compositions, the usage and familiarity with his intermediate and advanced works was significantly less. Many of the factors suggested for the lack of awareness of this repertoire were extraneous to the merits of the pieces themselves and, hence, it is hoped that a greater awareness of its existence and an appreciation of the artistic and pedagogical contribution of this literature, will bring it to the attention of students, teachers and performers alike.
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Nieriker, Magdalena. ""Du ska känna det i hela kroppen!" : En studie av pianoundervisning på kulturskolan ur ett ergonomiskt perspektiv." Thesis, Karlstads universitet, Musikhögskolan Ingesund, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-12230.
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Arbetet har syftet att studera ergonomiska aspekter av pianoundervisning på kulturskolan. Vilka semiotiska resurser använder pianolärare när de undervisar utifrån ett ergonomiskt perspektiv, och hur används resurserna? Vilka förutsättningar skapar undervisningen vad gäller att förebygga kroppsliga och mentala spänningar i pianospelet hos elever? Ergonomi behandlar förhållandet mellan människa och arbetsmiljö i samband med redskap, i detta fall pianoinstrumentet i relation till hur musikern hanterar det. Undersökningen är ur ett multimodalt designteoretiskt perspektiv: läraren blir en designer av undervisningen som använder olika resurser för att forma förutsättningar för lärande. Den valda metoden är filmad observation i lektionssammanhang av pianolärare på Kulturskolan. Resultatet visar att lärarna genom de resurser de använder tar de fram ergonomiska aspekter relaterade till axlar och armar, fingrar och händer samt sittställning. Eleverna får en motsägelsefull förebild i sittställningen på grund av tvetydig förebildning. Däremot får de förutsättningar att bygga upp en kinestetisk kompetens och förutsättningar för god rörelsekvalitet. När eleverna får kunskaper genom en ensemble av resurser innehållande alla aspekter av ergonomi ger det förutsättningar för ett mångsidigt lärande: från fysiskt-motoriskt till mentalt-musikaliskt. Resultatet tyder på att det finns pianolärare som arbetar med ergonomiska aspekter inom kulturskolans ramar.This paper has the purpose of visualising the ergonomic aspects of piano teaching. What semiotic resources are used by piano teachers when teaching ergonomic aspects and how are those resources used? How does this help prevent mental and physical tensions in the students’ piano performance? Ergonomics deal with the relationship between man, the work environment and tools, in this case the piano and how the musician handles it. This research is from a perspective of multimodal design theory; the teacher becomes a designer of the teachings using various resources as tools. The research method is recorded observations of piano teaching at public music schools. Using these resources, the teachers focus on ergonomic aspects relating to shoulders, arms, fingers, hands and seating position. Teachers typically present a contradictory example in regards to seating positions due to the need to quickly show or play examples to students. The students do however receive the necessary prerequisites to establish a kinaesthetic competence and also a foundation for sound movements. When the students acquire knowledge through a combination of several types of tutoring resources which cover all aspects of ergonomics, it gives them the prerequisites for a multi-faceted knowledge; from physical (motoric) to mental (musical). The findings from the research show that it is feasible to address ergonomic aspects within the framework of the public music school.
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Xie, Wei. "Improving Piano Teaching at International Schools in a Suburban District of Beijing." ScholarWorks, 2019. https://scholarworks.waldenu.edu/dissertations/6708.
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The quality of piano education in international schools in China has been affected by an increasing number of piano students and piano teachers experiencing heavy teaching loads. The research questions in this qualitative case study included both teachers' and parents' perceptions of the quality of teaching and learning in piano classes at multicultural international schools in a suburban district of Beijing. The 4 principles of the Suzuki method provided the conceptual framework for the study. Data were collected through interviews with 10 experienced piano teachers, 10 selected parents of K-12 piano students, and observations of 3 group piano classes, 8 individual lessons, and 3 student recitals. All data were coded and analyzed using the Suzuki principles of character, use of the mother tongue, parental involvement, and positive environment. Findings indicated that school leaders, teachers, parents, and students need to understand each party's expectations to build and maintain a healthy relationship and positive learning environment as promoted by the principles of the Suzuki method. A professional development program, Piano Teaching in a Beijing Suburb: 21st Century Effective Piano Teaching, was created to engage and support local piano teachers' needs and to improve their understanding of various eastern and western teaching approaches, traditional and functional piano teaching, and effective teaching strategies to better prepare them for teaching in diverse classrooms. Implementation of the project might affect social change and benefit the local international community by providing a professional development model for all piano teachers to help international piano students during their transitional years in China.
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Autry, Philip Earl. "The published solo piano music of Howard Hanson : an analysis for teaching and performing /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1996.
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Hung, Sophie (Shuo-Hui). "An Instructional Guide to Teaching Dan Beaty's Woodsprite and Waterbug Collection for Intermediate Piano Students and Instructors." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404626/.
Full textAbstract:
The purpose of this dissertation is to offer a pedagogical guide to Woodsprite and Waterbug Collection (1977) by Dan Beaty (1937-2002) through an analysis of its pedagogical values and teaching applications. This set consists of twelve short, intermediate-level pieces, featuring various contemporary idioms. Each piece is also pedagogically written to help intermediate students to refine specific pianistic techniques beyond the elementary level. In addition, Beaty's collection expands students' musical vision and musicianship for more advanced studies via the incorporation of contemporary music theory and techniques. These qualities make Woodsprite and Waterbug Collection a valuable tool for intermediate piano students. It is also useful for instructors searching for repertoire to introduce contemporary idioms. The author hopes that this study will encourage performers, teachers and scholars to consider this work and Beaty's other piano compositions. By studying Woodsprite and Waterbug Collection, students will be more appreciative of contemporary repertoire and will welcome learning similar pieces in the future.
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Shen, Dan Shen. "A Survey of Parent, Student, and Teacher Attitudes about Perceived Parental Involvement in Chinese and American Private Piano Lessons." University of Toledo / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1470413687.
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Lopes, Maria João Guerra. "Report of the supervised teaching practice held at the Conservatório Regional de Évora - Eborae Música: attitudes and motivation in learning the piano." Master's thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/29947.
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This is a report of the modules of Supervised Teaching Practice 1 and 2, part of the
Master of Music Teaching´s syllabus of the Universidade de Évora; followed by an
investigation section, deliberating on the theme of Attitudes and Motivation in Learning the
Piano. The responsibility of the Master´s student was to analyse and comprehend the
educational context of the students, their learning objectives and the teacher´s assessment
criteria and instructive prospect throughout a whole school year, from September 2019 to
July 2020. In this context, it is asked of the Master´s student to attend and teach six student´s
instrumental lessons, and assist in other pertinent activities in a Music school. To gather as
much input and data possible from the lessons, the Master´s student utilized a diary of
personal observations. The focus is on the correlation between attitudes and motivation. To
better understand the connection between these two elements, a thorough expound is made
on the significance of each element. As a conclusive bind, motivation and attitudes, of the
observed students, are intertwined to answer the following research question: Through the
analysis of attitudes, how does motivation fluctuate during a piano lesson; Resumo:
Título: Relatório de Prática de Ensino Supervisionada realizada no Conservatório
Regional de Évora – Eborae Música: Atitudes e Motivação na Aprendizagem do
Piano
Este relatório é referente às disciplinas de Prática de Ensino Supervisionada 1 e 2,
integradas no programa do Mestrado em Ensino de Música da Universidade de Évora; seguido
de uma secção de investigação sobre o tema de Atitudes e Motivação na Aprendizagem do
Piano. A responsabilidade da Mestranda era analisar e compreender o contexto educacional
de alunos, os objetivos de aprendizagem, os critérios de avaliação e o planeamento do
professor cooperante, ao longo de todo um ano letivo, de setembro de 2019 a julho de 2020.
Neste contexto, era requerido que a Mestranda atendesse e lecionasse aulas instrumentais
de seis alunos, e assistisse a outras atividades pertinentes numa escola de Música. Para obter
o máximo de dados possíveis das aulas, a Mestranda utilizou um diário de observações
pessoais. O foco está na ligação entre atitudes e motivação. Para entender melhor a conexão
entre estes dois conceitos, uma exposição é feita sobre o significado de cada um. Para atingir
conclusões, a motivação e atitudes, dos alunos observados, interligam-se para responder à
seguinte questão de pesquisa: Por meio da análise das atitudes, como é que oscila a
motivação durante uma aula de piano
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Nygren, Ylva. "Vad döljer sig mellan pärmarna? : En läromedelsanalys av två nybörjarskolor för piano." Thesis, Karlstads universitet, Musikhögskolan Ingesund, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-13438.
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Denna studies syfte har varit att undersöka pedagogiska och didaktiska aspekter i pianoskolor för nybörjare. Detta har gjorts genom en läromedelsgranskning av pianoskolorna Vi spelar piano 1 av Carl-Bertil Agnestig samt Pianoresan 1 av Galina Sjevtjenko och Natalia Kazimirovskaja. Resultaten av denna granskning har relaterats till olika pianotraditioner, pedagogiska teorier samt forskningsarbeten. Det slutgiltiga resultatet visar vilka undervisningsmetoder som används i de båda böckerna samt hur böckerna är uppbyggda. Pianoskolorna har undersökts utifrån deras innehåll vad gäller låtval, musikalisk progression och musikaliskt uttryck. Undersökningen visar bland annat att uppbyggnaden av Vi spelar piano 1 påminner om Rostvall och Wests schemateori för att hjälpa eleverna att uppnå kunskap. Syftet med Pianoresan 1 är att ge eleven en god grundteknik i pianospel, vilket görs genom övning i harmoni- och gehörslära samt eget skapande.The aim of this study was to examine pedagogical and didactic aspects in piano books for beginners. This was done through a close observation of the textbooks Vi spelar piano 1 by Carl-Bertil Agnestig and Pianoresan 1 by Galina Sjevtjenko and Natalia Kazimirovskaja. The results of this observation were then compared to literature, mainly pedagogical books and research studies. The final result demonstrates which teaching methods have been used as well as the contents of the books. This has been subdivided into three categories: the songs, the musical progression and the musical expression. The study shows that Vi spelar piano 1 is based on Rostvall and West's schema theory to help the students gain knowledge. Furthermore, the aim of Pianoresan 1 is to provide students with good basic skills in piano playing. This is done through practicing harmony and aural skills, and also through the students' own creativity.
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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/.
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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.
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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.
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Yansen, Carlos Alberto Silva. "Almeida Prado : estudos para piano, aspectos tecnico-interpretativos." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284749.
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Orientadores: Aci Taveira Meyer, Maria Lucia Senna Machado PascoalDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de artes
Made available in DSpace on 2018-08-05T17:48:34Z (GMT). No. of bitstreams: 1 Yansen_CarlosAlbertoSilva_M.pdf: 19464206 bytes, checksum: c9c1c83edbe363e514cbc6f9bc841039 (MD5) Previous issue date: 2005
Résumé: Le but de ce travail est Ia proposition d'un ensemble de procedés et de méthodes pour l'éxecution des " 14 Etudes pour Piano d' ALMEIDA PRADO" d'apres l'étude et l'analyse dês oeuvres parce qu'il n'y avait pas de bibliographie sur ce sujet ; par consequence viendra Ia difusion de Ia musique brésilienne . La médothologie a été celle de l'analyse et de l'éxecution des pieces. La recherche est composée par une proposition de l'évolution de l'Etude dans le temps; l'identification des 14 Etudes de l'auteur dans les périodes de son oeuvre ; l'opinion de l'auteur de son oeuvre ; l'analyse et les sugestions d'interpetation des Etudes au piano. L'analyse et lês principes de Ia technique du piano constituaient Ia bibliographie choisie à côté des publications d'autres étudiants de l'oeuvre d' Almeida Prado. La conclusion de ce travail est fondée sur I' analyse , les donnés de I' auteur à propos de son oeuvre en question , I' experimentation acquise pendant I' étude des 14 Etudes emmenant en direction de propositions possibles pour I' éxecution de ces Etudes. Ce travail presente aussi l'impression des originaux par le software éditeur de partitions musicales
Resumo: Este trabalho tem como objetivo principal propor soluções Técnico-Interpretativas para a execução dos" 14 Estudos para Piano de Almeida Prado". Visa o estudo, a análise e a divulgação da música contemporânea brasileira, contribuindo para a bibliografia sobre o assunto. A metodologia abrange o estudo do material utilizado, através da análise e a execução das peças. A pesquisa tem como base um breve histórico sobre o gênero Estudo, a localização do conjunto das peças de Almeida Prado dentro de sua obra, a visão do mesmo sobre os Estudos, a análise e as sugestões para interpretação. A bibliografia trata de assuntos relacionados à análise e aos princípios da técnica pianística, além das Dissertações e Teses que apresentam referências à obra do compositor Almeida Prado. A conclusão da dissertação utiliza a análise, os dados pessoais do compositor relacionados às peças e as experiências adquiridas durante o estudo da obra, resultando em possíveis soluções para uma interpretação segura e fiel dos Estudos. O trabalho possui como complemento a digitalização dos originais, realizadas em software de editoração de partituras musicais
Mestrado
Mestre em Música
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Lemoine, Nicole Jeanette. "Closing the book: including improvisation in the private piano lesson." Kansas State University, 2015. http://hdl.handle.net/2097/19026.
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Master of MusicSchool of Music, Theatre, and Dance
Virginia Houser
This Lecture Recital, given in lieu of a Master’s Report, was on the use of improvisation as a teaching aid in the private piano lesson. The lecture and supplemental handout included an historical overview of the role of improvisation, research on its educational benefits in regards to student learning, and a review and demonstration of current piano method books designed to teach the concept of improvisation. A bibliography of sources used in the presentation, as well as reviewed articles, books, and websites were included in the handout. The piano method books reviewed are Scott McBride Smith’s American Popular Piano, and Pattern Play, by Forrest Kinney. This graduate lecture recital was given in partial fulfillment of the requirements for the Master of Music degree in piano pedagogy on February 25, 2015 in Kirmser Hall at Kansas State University. It featured demonstrations with the aid of Leah Harmon on piano.
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Yeh, Yi-Lien. "An investigation of Taiwanese teachers' experience, beliefs and practice in piano teaching : exploring the scope for creativity." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/16572.
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This study aimed to explore Taiwanese piano teachersâ beliefs about good teaching, and their practice, particularly teachers who teach beginners or young children; and to gain understanding of how Taiwanese piano teachers perceive creativity in their teaching. The perceptions of piano teaching of seven Taiwanese teachers were explored through using a qualitative methodology, which included an open questionnaire, two interviews separated by observation of classroom practice, and a reflective diary prepared by the participants which was facilitated by video-stimulated recall. The principal areas and findings of my research were that Taiwanese piano teachersâ beliefs about what constituted good lessons are diverse. These were explored from three perspectives, namely, the characteristics of effective teachers, the components of effective lessons, and effective teaching strategies. The participant teachersâ attitudes towards creativity in teaching were also different, and can be categorised as ranging from fixed and rigid, to flexible and open. They identified several teaching strategies as creative teaching, such as using metaphor, storytelling, and Internet resources. Additionally, their various purposes in using creative teaching were observed to be to develop learnersâ musical abilities; for enjoyment; and to impart a specific teaching point. Although the teachersâ own experiences were found to have a positive effect on their teaching beliefs, the influence of these benefits was not always evident in their actual practice. Pupilsâ low motivation to learn and insufficient practice were considered as the common challenges and, when reflecting on their own teaching in the second interview and in the diaries, most of the participants focused mainly on analysis of pupilsâ playing errors, and tended to believe that repeated practice by the learners was the best approach to improving performance. In contrast, two teachers believed their expertise in both music and teaching could help their learners to deal with learning difficulties. Based on these research results, I conclude that creativity in piano lessons can be understood from two perspectives. The first relates to how teachers perceive their own teaching and whether they are content with what they do or seek to develop their teaching competence; the other is associated with teachersâ own philosophy of the function of education, which affects how teachers develop their teaching.
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Almeida, Maria Berenice Simões de. "Processos criativos no ensino de piano." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-22092015-103615/.
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Da longa experiência em sala de aula fazendo música com crianças, surgiu a questão: por que o espaço para a criação não faz parte da maioria dos métodos e das práticas dos professores de piano? Esse questionamento levou a outros sobre como ensinar piano criativamente e como guiar a construção do pensamento musical das crianças. Sem rejeitar os aspectos técnicos, a notação tradicional e a prática de música erudita na formação pianística, a busca por novas possibilidades de ensino vinha da consideração de que não se deveria restringi-lo a um repertório limitado, a um só tipo de notação e à interpretação como única forma de expressão musical. O constante desafio oferecido por alunos curiosos, indagadores, vibrantes e musicais também me impulsionou a olhar mais atentamente para suas produções musicais e a ouvir suas ideias sobre seu fazer musical. A partir dessas considerações, esta dissertação propõe uma reflexão pedagógico-musical disparada por relatos de experiência com meus alunos de piano da Escola Municipal de Iniciação Artística (EMIA). Apresento quatro composições, uma livre improvisação e duas entrevistas livres. Uma breve história do ensino de piano no Brasil e uma revisão concisa de métodos adotados na pedagogia pianística brasileira fundamentam historicamente esta pesquisa. Também analiso alguns que apresentam propostas de criação. Como referencial teórico, exponho as ideias de Hans-Joachim Koellreutter (1915- 2005) e de Violeta Hemsy de Gainza (1930-) sobre um fazer musical criativo e a necessária transformação da relação professor-aluno para que se desenvolva uma educação musical mais aberta. Discorro também sobre as ideias da pianista Moema Craveiro Campos e das educadoras musicais Maria Teresa Alencar de Brito e Viviane Beineke, profundamente ligadas ao pensamento de Koellreutter e Gainza. Contribuem, ainda, com esse corpus, conceitos sobre criatividade defendidos por pesquisadores ingleses das últimas décadas - Pamela Burnard, Anna Craft, Teresa Cremin e Bob Jeffrey -, como aprendizagem criativa, possibility thinking e voz do aluno. As reflexões aqui apresentadas visam contribuir com a educação musical através do piano, para que seja agenciadora de encontros criativos entre crianças e músicas.After many years teaching music to children a concern appeared: why is there no room for creativity in the majority of the methods and practices of piano teachers? This question brought up others such as how to teach piano in a creative matter and how to guide children towards thinking in a musical mind set. Without ignoring the technical aspects, traditional notation and classical music training, the search for new possible teaching methods must not restrict the ability to establish full repertoire, the capacity to utilize multiple notation methods and the understanding that interpretation is not the only form of musical expression. The constant challenge offered by students who were curious, musical and vibrant spurred me to look more closely at their musical production and to listen to their ideas about making music. With these considerations in mind, this dissertation offers a reflection that is both musical and pedagogical based on my experiences with piano students from Escola Municipal de Iniciação Artística (EMIA). This research is supported by a concise review of methods used historically in the piano pedagogy of Brazil. I present four compositions, a free improvisation and two free interviews. My sciencitific resources are based on Hans-Joachim Koellreutter (1915- 2005) and Violeta Hemsy de Gainza\'s (1930-) ideas about making creative music and the necessity of a bond between teacher and student in order to develop a more open musical education. Moreover, I discuss the ideas of pianist Moema Craveiro Campos and the musical educators Maria Teresa Alencar de Brito and Viviane Beineke, while also showing interest in Koellereutter and Gainza\'s concepts. Contributing further to this corpus are the concepts of creativity (creative learning, possibility thinking and student voice) presented by English researchers of the last decades such as Pamela Burnard, Anna Craft, Teresa Cremin and Bob Jeffrey. The ideas presented here are intended to contribute to musical education through the use of the piano. In turn, this education will facilitate creative encounters between music and children.
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Velho, Simone. "Compreendendo os procedimentos da atividade "tocar de ouvido"." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/34144.
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A presente pesquisa tem como objetivo analisar os procedimentos empregados pelo sujeito na atividade tocar de ouvido, procurando compreender de que modo organiza suas ações para encontrar as notas da melodia no piano. Os três sujeitos que participaram deste estudo tinham idade entre 7 e 14 anos. A atividade de reprodução de uma melodia conhecida por audição representou recortes das aulas particulares de piano ministradas no município de Taquara/RS. Os dados foram coletados no segundo semestre de 2010 através dos seguintes instrumentos de registro: gravação em vídeo, diário de campo e anotações musicais feitas pelo próprio sujeito. Após as degravações dos vídeos, foram acrescentadas as anotações do diário de campo e as digitalizações dos materiais correspondentes às anotações dos alunos, constituindo os protocolos dos sujeitos. A partir dos protocolos, foi feita a decupagem das sequências de ações pertinentes para cada sujeito, tendo em vista o estudo pretendido. A coleta de dados teve como princípio a análise microgenética proposta por Inhelder e Cellérier (1996) associada à estratégia do estudo de caso (Yin, 2002). A interpretação dos dados foi realizada a partir da Epistemologia Genética de Jean Piaget, que possibilitou a compreensão da trajetória percorrida pelos sujeitos ao realizarem a atividade. Os resultados desta pesquisa poderão contribuir para a compreensão das significações feitas pelos alunos durante o processo de aprendizagem, bem como possibilitar novos olhares sobre a prática dos professores de instrumento.The present research has the objective of analyzing the procedures used by the subject in the activity of playing a musical instrument by ear, trying to comprehend the way he/she organizes his/her actions in order to find melody notes on the piano. The three subjects that took part of this study were at the age between 7 and 14 years old. The activity of reproducing a familiar melody by ear represented excerpts in the schedule in private piano classes that are carried on in the city of Taquara/RS. The data was collected in the second semester of 2010, through out the following registration instruments: video records, field diary and musical notations made by the subject him/herself. After the transcription of the videos, the notations from the field diary and the digitalization of the material corresponding to the notations made by the students were added, constituting the protocol of the subjects. From the protocols the decoupage of the sequence of actions pertinent to each subject was made considering the intended study. The collection of the data had as its principle the microgenetic analysis proposed by Inhelder and Cellérier (1996) associated with the strategy of case study (Yin, 2002). The interpretation of the data was based on the Genetic Epistemology of Jean Piaget, which made it possible to comprehend the path the subjects explored while performing the suggested activity. The results of the present work may be a contribution for understanding the significations made by the students during the learning process as well as an opportunity for new sights upon the practice of musical instruments teachers.
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Tu, Chia-Fang. "Observation and Evaluation of Two Composer-Teachers of Pre-College Piano." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1214246893.
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Kim, Kiryang. "A Teaching Guide for Debussy and Ravel: Technical and Stylistic Applications for Korean Piano Teachers." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822737/.
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Most Korean students study very little French music during their pre-college years. A survey of ten Korean piano professors as well as an investigation into the annual set repertoire from universities, music high schools, middle schools and national competitions in Korea show that French repertoire appears very seldom on the list of required repertoire. Therefore, it is easy for Korean students to neglect French piano music. By the time students reach undergraduate or graduate school and are required to play the music of Debussy and Ravel for the first time, they find themselves at a serious disadvantage. The purpose of this paper is to provide a pedagogical guide for Korean teachers who wish to offer their beginning, middle school and high school students a good foundation in the style of French piano music. This syllabus will introduce a series of French piano pieces, from Couperin and Rameau as well as Chaminade and Fauré to the easier pieces of Debussy and Ravel, which will lead to the ultimate goal of interpreting aspects of French tone, style, technique, and cultural context involved in the eventual successful performance of the more advanced pieces of Debussy and Ravel, which are the bedrock of French piano music. One of the most significant advantages of this syllabus is that it does not skip any steps in the repertoire.
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Conduto, Inês Abreu. "Relatório da prática de ensino supervisionada na Escola de Música de Nossa Senhora do Cabo: o papel da música para piano a quatro mãos na aprendizagem do instrumento." Master's thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/29676.
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O presente relatório de estágio surge no seguimento da Prática de Ensino Supervisionada, realizada na Escola de Música de Nossa Senhora do Cabo no ano letivo 2017/18, sob a supervisão da Professora Doutora Ana Telles Béreau (orientadora interna) e da Professora Madalena Reis (orientadora cooperante).
A primeira secção oferece uma contextualização da história, organização administrativa e oferta pedagógica da escola supracitada. Caracterizam-se também os alunos, as aulas assistidas e lecionadas, concluindo-se com a análise crítica das mesmas, fundada nas observações da orientadora interna e no meu processo de autoanálise.
A segunda secção desenvolve o objeto de investigação, estruturando-se em duas partes. Na primeira parte efetua-se a revisão da literatura respetiva à abordagem a quatro mãos, e na segunda parte procura-se conhecer as representações de uma amostra de professores de piano sobre este tema, usando entrevistas semiestruturadas. Averigua-se ainda em que medida os dados recolhidos confirmam, confrontam ou enriquecem as conclusões e hipóteses auferidas pela revisão de literatura e pelas minhas próprias reflexões, nunca esquecendo a dimensão abstrativa desta investigação qualitativa; Abstract: Supervised teaching report held at Escola de Música Nossa Senhora do Cabo: The role of piano four-hands on the young pianist’s learning process
This report follows the Supervised Teaching Practice held at Escola de Música de Nossa Senhora do Cabo during the school year 2017/2018, under the inner guidance of PhD Professor Ana Telles Béreau and the cooperating advisor Madalena Reis.
The first section is intended to contextualize the aforementioned school, giving a comprehensive view upon its history, administration and educational offer. Thereafter, it also characterizes the students, methodologies and practices held both by the cooperating advisor and the Masters student, as well as a critical analysis of those elements.
The second section is intended to address the history and pedagogy of piano duets and, later on, collect open-ended data from key informants about the feelings, concepts and beliefs on this particular topic using semi-structured interviews, measuring in which way they either confirm, confront or deepen the previously reviewed literature and the Masters student’s own reflections, without neglecting the abstraction which characterizes the qualitative research method.
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Bergström, Sebastian. "Improvisation i tidig instrumentalundervisning." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1322.
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Uppsatsen handlar om förekomst av improvisation i tidig instrumentalundervisning på kultur- och musikskolor. Jag avsåg undersöka hur instrumentallärare beskriver sin undervisning, i vilken utsträckning de använder improvisation på lektionerna, genom att låta ett urval av lärare svara på frågor i en enkät. En annan del av arbetet bestod av att studera 25 pianoböcker som riktar sig till unga nybörjare. I dessa läromedel letade jag efter hur vanligt förekommande improvisationsmoment var. Det framgår av min enkät att användande av improvisation under lektionen varierar bland respondenterna. I min läromedelstudie visar det sig improvisationsmaterial vara relativt ovanligt och förekommer endast sporadiskt. Jag talar i uppsatsen också om hur improvisation kan integreras i instrumentalundervisningen med syfte att ge eleven rum för kreativitet och personlighet. Jag önskar att mitt arbete kan motivera lärare att låta sina elever improvisera på sina instrument för att öka spelglädjen och nå de positiva effekter improvisation kan ge.This study aims to elucidate the presence of improvisation in early instrumental teaching in culture- and music schools. Two issues will be explored within this context. Firstly I intended to examine how instrumental teachers describe their teaching and the extent to which they use improvisation in class, by inviting a selection of teachers to answer a questionnaire. The second aspect of the work consisted of the study of 25 piano books for young beginners. In these teaching materials the presence and frequency of improvisational moments were examined. The results suggested that the use of improvisation during lessons varies between respondents. Furthermore, the findings from the study of piano books for young beginners demonstrate that improvising material is relatively rare and occurs only sporadically. Suggestions are made for how improvisation can be integrated into instrumental teaching to encourage students to develop creativity and personality in their music. It is hoped that this study can encourage teachers to support their students to improvise on their instruments. This would likely increase students’ creativity and achieve positive effects associated with improvisation.
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Brook, Julia. "An on-line digital video library of piano teaching: A case study with five teachers." Thesis, University of Ottawa (Canada), 2007. http://hdl.handle.net/10393/27572.
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Professional development is an integral part of one's career, providing opportunities for growth, reflection, and improving practices. In the field of piano pedagogy, most teachers work independently, often providing instruction from their home, therefore finding appropriate professional development opportunities may be limited by proximity (both in terms of time and physical distance) as well as financial constraints. To meet this need, an on-line digital video library of piano teaching (DVL) was developed and a multiple-case-study methodology was employed to examine the experiences of five piano teachers as they interacted with this tool for four weeks. Findings from this study indicated that viewing the DVL was a beneficial professional development activity, which facilitated teacher learning that could be immediately carried over into their teaching situation resulting in increased student success.
Keywords. professional development, piano pedagogy, digital video library, asynchronous distance education
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Mortyakova, Julia Vladimirovna. "Existential Piano Teacher: The Application of Jean-Paul Sartre's Philosophy to Piano Instruction In a Higher Educational Setting." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/230.
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This essay uses existential ideas of Jean-Paul Sartre to provide a philosophy of college piano performance teaching which includes awareness of freedom, abandonment and responsibility as a prerequisite for student-teacher interaction. To set the stage for the interaction the study uses Sartre's philosophy, illustrated with concrete examples from the world of piano teaching and performing, to describe what it means to be human. The author applies Sartre's writings about literature to support the idea of an engaged performance, relating it to existential psychoanalysis, making the performer and audience member realize freedom through choice, while addressing ideas of abandonment and performance anxiety. Sartre's philosophy is used to identify the roles both teachers and students play in the college environment as people and as performers. The study with the help of existentialism, describes the interaction between the different elements: teacher, student, performer, and human being, and provides a better understanding of the complexity of the pupil/professor relationship in the college piano performance program.
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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.
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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.
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Kim, Myung Shin. "An investigation of the young adult beginner learning piano in comparison with the child beginner." Thesis, Online version, 1996. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.243836.
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Forsgren, Sanna. "Pianoundervisning - grupp eller enskilt? : Hur pianopedagoger förändrar sina didaktiska val beroende på undervisningsform." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2942.
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Denna studie bygger på en jämförelse mellan hur pianopedagoger förändrar sina didaktiska val beroende på undervisningsform, i detta fall enskild undervisning eller gruppundervisning. Tre pianopedagoger har intervjuats och sex observationer har genomförts. En då vardera pedagog undervisade i grupp och en då pedagogerna undervisade enskilda elever. Undersökningen har genomförts med hermeneutik och det sociokulturella perspektivet som teori med inslag från Lev. S. Vygotskijs tankar kring kamratlärande och den proximala utvecklingszonen. De visuella, auditiva och kinestetiska lärstilarna valdes ut som särskilt viktiga för undersökningen samt sången och rytmikmetoden som redskap i undervisningen. Dessa redskap valdes ut med grund i dess positiva påverkan på inlärning och kontinuerliga närvaro under min utbildning på Kungl. Musikhögskolan i Stockholm. En koncentration har funnits kring de redskap, enligt den sociokulturella teorin, som pedagogerna använt i sin undervisning och hur faktorer som samspel och kamratlärande har använts och speglats i undervisningen. Resultatet presenteras i två delar. Tre intervjuer med pianopedagoger visar att de inte anser sig göra någon skillnad i sina didaktiska val beroende på undervisningsform. Däremot motsäger resultatet från observationerna detta till viss del. Störst är skillnaden mellan hur informanterna ser på sångens roll i undervisningen och hur de använder den. Undersökningen visar att pedagogernas didaktiska val till större del beror på deras egna preferenser i kombination med individanpassad undervisning än beroende på undervisningsform. I resultatet kan man utläsa att fler moment och redskap användes under gruppundervisningen än under de enskilda lektionerna. Detta kan bero på att pedagogerna behöver anpassa materialet efter fler individers preferenser och möjligheter för inlärning i gruppundervisningen, under de enskilda lektionerna har pedagogerna större möjlighet att individanpassa efter den aktuella eleven.This study is based on a comparison between how piano teachers change their didactics depending on the teaching method, particularly individual teaching or group teaching. Three piano teachers have been interviewed and six observations have been conducted. One where the teacher taught an individual student and one where the teacher taught a group. The study has been conducted with the sociocultural perspective as overarching theory with elements of Lev. S. Vygotsky’s thoughts about cooperative learning and the Zone of Proximal Development, and with hermeneutics as a method of analysis. Focus was maintained on the tools the teachers use during the lessons and how the cooperative learning is visual during the lessons. Some tools and methods were selected as particularly relevant. These where the three learning styles as tools. That is, visual, auditory and kinesthetic learning. In addition, singing as a tool were chosen as well as the Dalcroze-method. These were chosen because of their continuous presence during my education at the Royal College of Music in Stockholm and their recognition withing the particular scientific field. The results are presented in two parts. The interviews show that the teachers claims to not change their didactics depending on the teaching method, that is individual or group lessons. This is partly contradicted by the result from the observations. The most significant and striking differences is between the teacher’s thoughts about using singing as a tool and how they actually uses it. The study shows that the teacher’s didactic choices largely depend on their own preferences in combinations with the particular needs and abilities of the student. The number of methods and tools used during the group lessons are greater than the ones used during the individual lessons. This could be caused by the fact that the teachers need considerate every students preferences in learning during a group lesson whereas the teacher can concentrate on just one student during a individual lesson.
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Araujo, Filho Alfeu Rodrigues de. "Timbres e ritmatas para piano solo de E. Villani-Côrtes = conceito, análise e interpretação pianística." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284441.
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Orientador: Mauricy Matos MartinTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-19T14:57:39Z (GMT). No. of bitstreams: 1 AraujoFilho_AlfeuRodriguesde_D.pdf: 22030067 bytes, checksum: 1bf7c053f691cc3b238e16e66e0a3ff8 (MD5) Previous issue date: 2011
Resumo: A pesquisa descreve, inicialmente, o conceito do compositor Edmundo Villani- Côrtes. O foco principal está em apresentar um estudo analítico dos Timbres e Ritmatas do compositor em questão, sob o ponto de vista da prática interpretativa. Constam, nos anexos, os manuscritos (documento Histórico); as partituras digitalizadas; a musicografia e a discografia do compositor em ordem cronológica
Abstract: This research initially describes the concept of the composer Edmundo Villani- Côrtes. The main focus is to present an analytical approach from the composer's Timbres and Ritmatas, taking the performance into consideration. Manuscripts (historical document), digitized music scores and a compilation of the composer's musical pieces and records, were included in this work annex in chronological order
Doutorado
Praticas Interpretativas
Doutor em Música
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Fu, Hui-Ju Camille. "A status and vision investigation of US university piano pedagogy programs." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3671/.
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The two major research questions were: “What is the current status of 20 prominent piano pedagogy programs?” and “what is the vision of an ideal future piano pedagogy program from the perspective of 20 piano pedagogy leaders?” Subjects were the leaders of the top 20 US university piano pedagogy programs. A survey study with interview questions was used as the instrument for the study. The results showed that faculty, curriculum, and teacher training were three top factors that contributed to the quality of the programs. Most interviewed subjects held a doctoral degree in music. The curricular content and degree options were diverse across the selected programs. The content of teacher training included private and group teaching. The perceived best qualifications of a piano pedagogy instructor were to have a balanced education. Most programs had small or little to no budget, however, the preparatory program was perceived to be an enhancement to teacher training program finances. The greatest challenges were faculty acquisition and financial limitations. Gaining more money was the most common improvement priority for programs. To envision an ideal future piano pedagogy program, most leaders stated that an ideal program should contain encourage: (1) collaborating with other divisions' faculty members for developing a diverse curriculum, (2) providing multiple types of teacher training, (3) offering knowledge that is highly pertinent to students' future careers, (4) continually adjusting topics in the curriculum, and (5) utilizing all the possible resources to establish up-to-date facilities. The chief obstacle was a lack of money. However, finding a major donor, and developing a preparatory program to generate money may help to overcome the obstacles. Having administrators with positive attitudes toward pedagogy could help programs to gain more resources. Encouraging students to participate in workshops and conferences could enrich the training. Several recommendations may help emerging pedagogy programs, such as : (1) raising faculty's visibility in public, (2) developing a diverse curriculum and collaborating with other faculty from different divisions, (3) establishing a preparatory program, (4) offering diverse degree options, (5) developing a general pedagogy degree, and (6) educating administrators on the importance of piano pedagogy.
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Corvisier, Fátima Graça Monteiro. "Antônio de Sá Pereira e o ensino moderno de piano: pioneirismo na pedagogia pianística brasileira." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-19112010-090043/.
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Antônio de Sá Pereira é um dos pioneiros da Pedagogia do Piano no Brasil. Seu tratado Ensino Moderno de Piano (1933) aborda a técnica pianística cientificamente e abrange questões diversas como a leitura à primeira vista e o desenvolvimento da audição crítica do aluno. Esta obra refere-se pela primeira vez no Brasil à fisiologia dos movimentos pianísticos, sistematiza o emprego da técnica de peso do braço na execução, aplica estratégias racionais de estudo e visa ensinar o aluno a pensar e a ouvir por conta própria. A pesquisa analisa o tratado relacionando-o com as principais teorias que o fundamentaram. Ao mesmo tempo aponta seu pioneirismo em relação ao meio musical brasileiro da época, o grau de originalidade de seu conteúdo e a atualidade das ideias que defende. A obra é circunstanciada por dados biográficos de Sá Pereira, material documental e bibliográfico. Sá Pereira consegue através de um trabalho de síntese e objetividade, tornar acessível e compreensível uma visão da técnica até então praticamente desconhecida no Brasil. Embora haja grande afinidade entre suas ideias e as dos principais teóricos da época, a adesão de Sá Pereira aos princípios que norteiam a moderna técnica pianística não é dogmática, pois Sá Pereira encontra o equilíbrio entre a abordagem técnica que utiliza o peso do braço e a técnica de dedos. Ao considerar que ambas se completam, demonstra uma visão atual da técnica pianística. Mais do que um tratado de técnica pianística, o Ensino Moderno de Piano buscou transformar e modernizar o ensino pianístico praticado no Brasil.Antônio de Sá Pereira was a renowned scholar and a pioneer of Piano Pedagogy in Brazil. His treatise on piano teaching and technique, Ensino Moderno de Piano (Modern Piano Teaching -1933), encompasses several related subjects such as sight reading and critical listening. This is the first time a Brazilian work describes the physiology of piano playing movements and systematizes the use of the arm-weight technique. The work also applies rational strategies toward practice in order to teach the students to think and listen by themselves. This thesis analyzes Ensino Moderno de Piano relating it to the theories on which it was based and pointing out its originality in the context of related Brazilian works on piano technique. This thesis also verifies the modernity of its ideas. Biographical, documental and bibliographical data on Sá Pereira contextualize the treatise. Sá Pereiras work synthesizes the modern piano technique theory using an accessible and objective language. At that time, arm-weight technique was a barely known subject in Brazil. On the other hand, Sá Pereira does not follow the principles of Modern Piano Technique in a dogmatic way. Although there is great affinity with his ideas and those of the great theorists of the period, Sá Pereira still finds a balance between the two different types of piano technique approach the arm-weight and the finger technique. He considers them complementary to each other, a contemporary perspective on piano technique. More than a treatise on piano technique, the work Modern Piano Teaching aims to transform and to modernize piano teaching methods employed in Brazil.