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1
Arthur, Matthew, Sang-Hie Lee, Brenda Wristen, Gail Berenson, and Kathleen Riley. "Piano Technique." Medical Problems of Performing Artists 28, no. 2 (June 1, 2013): 115–16. http://dx.doi.org/10.21091/mppa.2013.2022.
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I am an amateur pianist enquiring into improving piano technique but feeling slightly disillusioned by the lack of attention given to technique in the field of piano teaching. And whilst, however, there are many books out there written by great pianists that seem to combine logic, empirical knowledge, and scientific knowledge in a very convincing manner, their assertions are void of being subject to strict scientific investigation and therefore, in my opinion, cannot be treated too seriously. [with Replies]
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Ananda-Owens, Kathryn. "Piano Technique." Medical Problems of Performing Artists 28, no. 3 (September 1, 2013): 175. http://dx.doi.org/10.21091/mppa.2013.3035.
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I am writing in response to Matthew Arthur’s letter in the June issue, and the replies thereafter from Drs. Lee, Riley, Wristen, and Professor Berenson. While I appreciated the replies, I believe they overlook a larger issue in the profession: the fundamental lack of anatomical and biomechanical knowledge among many, and perhaps even most, piano pedagogues.
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Adderley, Meisha, and Seymour Fink. "Mastering Piano Technique." Music Educators Journal 93, no. 2 (November 2006): 18. http://dx.doi.org/10.2307/3878456.
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Pereverzeva, Marina V., and Anna A. Davydova. "History of Piano Technique Development: Methodical Aspect." Uchenye Zapiski RGSU 20, no. 1 (March 30, 2021): 181–88. http://dx.doi.org/10.17922/2071-5323-2021-20-1-181-188.
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The history of the development of piano technique has been counting down since the 17th century. The most common keyboard instruments before the invention of the piano were the harpsichord, clavicord and organ. These early instruments had much lighter keys compared to modern ones. Therefore, performers could easily press the keys without feeling much resistance. With the advent of the piano, both the playing technique and the training technique for professional pianists and amateurs began to be reviewed. Musicians, summarizing their own performing experience, wrote treatises, textbooks and manuals, looking for the most effective method of mastering the technique of playing the keyboard instrument. In history, there are two schools of piano technique: the so-called school of “high lifting of fingers” and “playing with all the weight of the hand”. This work is devoted to the history of the development of these schools and methodological approaches to piano training. The views on piano technique that developed in the 18th–20th centuries, which were reflected in the textbooks of pianistsperformers and teachers, help to understand how to perform music of a particular period and what finger technique to use for a perfect interpretation of piano works of the past.
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Tworko, Paulina. "Physiology and Ergonomics of Piano Playing." Kwartalnik Młodych Muzykologów UJ, no. 47 (4) (2020): 229–53. http://dx.doi.org/10.4467/23537094kmmuj.20.050.13923.
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Much has been said about performance, styles, and interpretation. However, we should ask ourselves where they come from, what they depend on, and what factors influence them. The answer proves very complex. This article deals with the problem of piano technique as an element on which interpretation, sound and expression depend to a large extent. The piano is an instrument with incredible tonal possibilities, but it requires fingering skills, the ability to ‘feel’ the keys and a certain physical strength which is directly related to the technique we use. Achieving a high level in playing requires years of diligent work, perseverance, and determination. Technical proficiency, in turn, facilitates expression and appropriate interpretation, in line with the style of a given musical period and the feelings of the pianist-performer. We are thus talking about two things that inexorably influence each other: technique and its results. The latter depend largely on the former. This article explores the knowledge of piano technique which needs to be acquired so that in the end nothing comes in the way of communication between performers, listeners, and the music.
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Sholl, R. "The Craft of Piano Playing: A New Approach to Piano Technique." Music and Letters 88, no. 1 (October 25, 2006): 190–92. http://dx.doi.org/10.1093/ml/gcl052.
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Hess, Carol A. "Enrique Granados and Modern Piano Technique." Performance Practice Review 6, no. 1 (1993): 89–94. http://dx.doi.org/10.5642/perfpr.199306.01.05.
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Mansell, Thomas. "Sam's Shambles: Beckett's piano-pedalling technique." Performance Research 12, no. 1 (June 2007): 124–36. http://dx.doi.org/10.1080/13528160701398214.
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Miller, Derek. "On Piano Performance – Technology and Technique." Contemporary Theatre Review 21, no. 3 (August 2011): 261–75. http://dx.doi.org/10.1080/10486801.2011.585980.
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Ying, Loo Fung, Gabriel Isaac Evens, Mohd Nasir Hashim, and Loo Fung Chiat. "Tension Release in Piano Playing: Teaching Alexander Technique to Undergraduate Piano Majors." Procedia - Social and Behavioral Sciences 174 (February 2015): 2413–17. http://dx.doi.org/10.1016/j.sbspro.2015.01.910.
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Raikin, Bruno. "Towards a Better Understanding of Piano Technique." British Journal of Music Education 2, no. 2 (July 1985): 133–44. http://dx.doi.org/10.1017/s0265051700004733.
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Control of touch is the alpha and omega of beautiful piano playing. Each finger is a member of a playing apparatus that functions as a multiple lever comprising six segments, from shoulder to fingertips, each of which is controlled by its particular muscles. When a note is played inadequately, tests on the finger and wrist joints usually reveal weaknesses and the need for specific isometric gymnastic exercises to strengthen the muscles that control them. These produce a unity in the functioning of the whole limb, without which complete control is impossible. Such unity is duplicated by the kinaesthetic memory, and confirmed at subsequent practices.
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Turan, Hamza Serdar, and Sirin Akbulut Demirci. "Usage of Ulvi Cemal Erkin’s ‘Duyuşlar’ Compositions in Music Education Departments, According to the Opinions of Piano Educators." Journal of Education and Training Studies 6, no. 11 (October 9, 2018): 186. http://dx.doi.org/10.11114/jets.v6i11.3553.
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Piano lessons which take place in music education departments involve example works of Turkish and world composers, education music examples, piano literature and learning-teaching techniques. Within this context, Ulvi Cemal Erkin, who is a member of The Turkish Five, wrote a composition called Duyuşlar, which consists of 11 pieces and is used in piano training. In this study, it was aimed to determine the usage of the composition Duyuşlar in the programs of institutions teaching music education in piano lessons in terms of technique, musical, and style characteristics. In accordance with this purpose, interviews are carried out by asking semi-structured interview questions to piano instructors who are using this work in their education process and working in Music Education Departments. The results of the interviews are determined into themes and codes using the qualitative research analysis program NVivo11. As a result, it is observed that the usage frequency in the direction of the themes and the recommended levels to use in the students vary, but the works contribute to piano education in terms of piano techniques, aksak measures, nuances, expressions, tempo and polyphonic techniques. It has also been proposed to increase the frequency of usage of Duyuşlar. It is thought that this study will contribute to the field of piano education in terms of the limited literature about this composition.
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Bailey, Kathryn. "SCHOENBERG'S PIANO SONATA." Tempo 57, no. 224 (April 2003): 16–21. http://dx.doi.org/10.1017/s0040298203000123.
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Arnold Schoenberg, of course, did not write a piano sonata. At any rate, none of his works for piano bears this title. As I have suggested elsewhere, however, sonata form was much in his thoughts as he wrote the piano pieces of opus 23, and one of his last two pieces for solo piano, written five years later, is a sonata movement which should stand as a model of the integration of twelve-note technique and classical form. When Pierre Boulez, in 1952, famously condemned Schoenberg for using the old forms instead of inventing new ones that were derived entirely from serialism, he might have taken just a moment to consider the ways in which the old form is articulated in opus 33a and been ever so slightly more charitable, for in this sonata movement, as in certain pieces of op. 23, themes and sections are defined and distinguished from each other in ways that have meaning only in relation to the twelve-note technique: though the form is an old one, the several parts are defined by reference to possibilities offered by the new method.
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Pavlenko, A. M. "Development of jazz accompaniment skills of future music teacher in process of piano training." Musical art in the educological discourse, no. 2 (2017): 118–22. http://dx.doi.org/10.28925/2518-766x.20172.118122.
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The article highlights the ways of development of jazz accompaniment skills of future music teacher in the process of his piano training. It examines the genre and stylistic peculiarities of solo piano jazz standards, specificity of jazz trio music playing. It suggests the methods and musical creative tasks for effective development of jazz accompaniment skills. A piano is an important musical instrument which plays a significant role in jazz development. The artaesthetic development of student, his creative abilities training and formation of music performing competence occur in the process of such education. An important aspect of development of jazz accompaniment skills is mastering the stride-piano technique. This style requires a perfect performing technique and ability to play with the left hand as fluently as with the right one. Considering the individual peculiarities of a future music teacher, his technical level and a step-by-step methodology will provide for effective stride-piano technique mastering in the process of his piano training. The use of the jazz accompaniment creation method will provide for the broadening of a performing capability of a future music teacher while accompanying a solo singer or a music band. In the following article the musical creative tasks and practical exercises aimed at the development of the left-hand playing technique and coordination on a piano keyboard and mastering the basic jazz accompaniment elements, its rythmic patterns have been suggested.
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Ying, Loo Fung, and Loo Fung Chiat. "Chinese Science in Piano Pedagogy: Evaluating the Chronicles of Piano Playing Technique with Taichi." Procedia - Social and Behavioral Sciences 46 (2012): 3102–6. http://dx.doi.org/10.1016/j.sbspro.2012.06.019.
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Wristen, Brenda G. "Avoiding Piano-related Injury: A Proposed Theoretical Procedure for Biomechanical Analysis of Piano Technique." Medical Problems of Performing Artists 15, no. 2 (June 1, 2000): 55–64. http://dx.doi.org/10.21091/mppa.2000.2012.
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Several biomechanical studies have been done with regard to the fingertip, hand, wrist, and upper arm in pianists. However, these studies have generally focused either on one isolated part of the anatomy, or on one specific motion. It is notable that none of the studies conducted to date examines the execution of a technical skill at the piano, such as a scale or arpeggio, in terms of the cooperative work done by all involved parts of the anatomy. Drawing upon established quantitative data, this study took a qualitative approach in describing and analyzing the execution of selected piano technical tasks. The procedure developed for conducting a biomechanical analysis can be readily applied in both medical and pedagogical venues with the goal of preventing injury.
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Liang, Lyu. "Methodological Aspects of the Technical Skills Formation at the Initial Stage of Training of Pianists." Uchenye Zapiski RGSU 19, no. 3 (September 30, 2020): 112–19. http://dx.doi.org/10.17922/2071-5323-2020-19-3-112-119.
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the object of the research in the article is the process of formation of piano skills in primary school students in the piano class. The paper theoretically substantiates and reveals in pedagogical practice the methodological aspects of the formation of skills for performing musical works on small equipment in younger schoolchildren studying in the piano class. Conclusions of the study: the development of performing techniques in the piano class of primary school students is possible under the following pedagogical conditions: taking into account the psychomotor characteristics of the musician’s performing process; the correct selection of repertoire and instructional material that corresponds to the tasks of the lesson, the artistic requirements of the aesthetic development of the musician and the age interests of the child; expanding the forms and methods of working on the technique in the piano class with primary school students on the basis of existing modern approaches to this problem.
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Gellrich, Martin, and Richard Parncutt. "Piano Technique and Fingering in the Eighteenth and Nineteenth Centuries: Bringing a Forgotten Method Back to Life." British Journal of Music Education 15, no. 1 (March 1998): 5–23. http://dx.doi.org/10.1017/s0265051700003739.
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We develop a creative method for teaching and learning piano technique which motivates students to devote more time and energy to technical exercises. First, we describe the approach to technical exercises of pianists and piano students of the eighteenth and nineteenth centuries. Second, we address a central feature of technical practice from earlier periods: fingering rules and systems. Third, we discuss whether and how older methods might be reintroduced to contemporary piano pedagogy and practice.
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Shaymukhametova, Liudmila N. "Oleg Polyansky: About Piano Technique and Pedagogical Work." Music Scholarship / Problemy Muzykal'noj Nauki, no. 3 (September 2018): 99–101. http://dx.doi.org/10.17674/1997-0854.2018.3.099-101.
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Mits, Oksana. "Pedagogical system of piano technique evolution in the works of M. Moszkowski." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 119–31. http://dx.doi.org/10.34064/khnum1-52.08.
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Statement of the problem. The paper is devoted to the analysis of the pedagogical system of piano technique evolution which developed in the works of an outstanding Polish composer, pianist, teacher and conductor M. Moszkowski. Under consideration are pedagogical principles of the musician, his extensive editing work. Under analysis is the instructive pedagogical repertoire of Moszkowski: “School of double notes” op. 64, “A Book of Scales”, which outlines the fingering principles of the musician, etudes op. 72, 78, 91, 92, a collection of compositions “The Master and His Pupil” op. 96 and “Technical sketches” op. 97. The arsenal of techniques used in these works is rich and diverse, which emphasizes the artistic advantages of these compositions. The value of M. Moszkowski’s pedagogical system in the evolution of piano technique and development of a young pianist is defined, since the pedagogical works of the composer can still serve as a good help for middle and high school students of music schools and colleges. The purpose of the article is to reveal the value of M. Moszkowski’s pedagogical system in the evolution of piano technique and development of a young pianist. Methods. The methodological basis of the study is the unity of scientific approaches, among which the most important is a functional one, associated with the analysis of the genre as a typical structure. Results. The study of M. M. Moszkowski’s piano etudes became a significant contribution to the development of West-European art of the second half of the 19th and early 20th centuries. The analysis of etudes allowed highlighting a free choice of figurative and stylistic priorities, tendency towards small size, focus on a certain type of technique, expressiveness of technically virtuoso tasks, use of simple forms, artistic diversity, prevelance of light mood and moving pace. These piano exercises are clearly presented as an integral part of Moszkowski’s pedagogical method, as well as the specifics of the author’s performance style. Moszkowski’s etudes are a kind of bridge between virtuosity skills and bright images, they help not only improve the technique but also develop student’s musicality. Undoubtedly, this approach provides a solid foundation in all areas of piano performance. Moszkowski’s etudes are less difficult to study, they have technical value that can be quickly acquired, but at the same time they are sustainable and program. Sometimes Moszkowski treats the etude genre very freely: as a substitute for another genre (Two miniatures op 67) as part of the dilogy cycle (Caprice-etude and Improvisation op. 70) and others. These works are little used in modern performing practice. At the same time, they represent a very interesting material that clearly reflects the distinctiveness of musical language of late romantic pianists, to which Moszkowski belonged. Conclusions. Special attention should be paid to the composter’s great contribution to the enrichment of the instructive piano repertoire. Unfortunately, pedagogically orientated works are not so often performed in today’s educational practice. Only 15 virtuoso etudes from op. 72. are widely used. It would be very useful for young musicians to get acquainted with numerous etudes of the composer, since they are of unquestionable interest from the viewpoint of the development of both technical skills and figurative thinking of students. This publication is intended to attract the attention of teachers and performers to wider mastering of piano etudes by M. Moszkowski, which would greatly enrich modern piano repertoire. Unfortunately, many piano compositions of the composer, which were created with a pedagogical purpose, are not used widely enough in educational practice today. Many of them are aimed at the development of elementary piano skills necessary for the development of a young performer: five-finger position, scale sequences, and chords. They are very important, that is why they are described in easy etudes, systematizing the basic forms of virtuosity. Such compositions of Moszkowski take the performer from the basics to the tasks of the highest virtuoso difficulty. His pedagogical system allows us to gradually and systematically improve pianism. The piece must be learnt in a certain sequence: mastering the musical text; playing in the tempo specified by the composer; analysis of the content of the work. Indeed, the performer should be able to divide the work into certain stages, especially if it concerns etudes – to strive for the maximum clear statement of the technical task, excluding anything that could hinder its accomplishment.
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Jifeng, Jia. "The specifics of the influence of the russian method of teaching piano on the professional training of pianists in China." LAPLAGE EM REVISTA 7, Extra-D (July 22, 2021): 499–505. http://dx.doi.org/10.24115/s2446-622020217extra-d1130p.499-505.
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The object of the research is the process of the formation of the piano performing school and the methods of teaching pianists in colleges and conservatories in China during the 20th century in the context of the influence of the Russian method of music education. The study reveals the reasons that led to the spread of the high finger technique and the corresponding teaching methodology, which determine the specifics of the formation of piano technique among piano students in China, as well as the obstacles that prevent the more active implementation of the technique of playing using the arm weight for more expressive interpretation of the compositions. The results of the study can be applied in assessing the prospects for the development of music education in China and finding ways to further improve it.
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Jutras, Peter J. "The Benefits of Adult Piano Study as Self-Reported by Selected Adult Piano Students." Journal of Research in Music Education 54, no. 2 (July 2006): 97–110. http://dx.doi.org/10.1177/002242940605400202.
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Adult piano students (N = 711) from 24 states across the U.S. rated the existence and importance of 31 potential benefits of adult piano study. Benefits selected from existing adult music and leisure-benefit research were organized into three categories: Personal, Skill, and Social/Cultural. The category of Skill Benefits was the most-agreed-upon and highest-rated category. Personal Benefits were also rated highly, particularly benefits related to Self-Actualization and Fun/Enjoyment. Social/Cul tural Benefits were the least-agreed-upon and rated as the least important benefits. The most-ag-reed-upon benefits were Skill Improvement, Musical Knowledge, Musicianship, Accomplishment, Skill Refinement, Technique, and Play/Fun. The highest-rated benefits, in order of importance, were Dream Fulfilled, Technique, Accomplishment, Escape from Routine, Skill Improvement, Musicianship, Musical Knowledge, Play/Fun, Skill Refinement, and Personal Growth. Findings suggest that students are interested in technical improvement, but they also place high value on the enjoyment and self grozuth that piano study provides.
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Cherniavska, Marianna. "I. B. KRAMER’S PIANO WORK IN THE ASPECT OF INTERRELATION OF PERFORMANCE AND COMPOSITION." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (March 10, 2021): 96–112. http://dx.doi.org/10.34064/khnum1-58.06.
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Background. The article is devoted to the piano work of the famous English pianist, teacher and composer Johann Baptist Kramer (1771–1858), whose 250th anniversary is celebrated in 2021. I. B. Kramer, like other pianists of the late XVIII – early XIX centuries, tried to solve a significant problem – mastering the basics of composition, its laws, principles, techniques, their combination with the game nature and capabilities of the piano. Objectives. The purpose of the article is to reveal the relationship between performing and compositional means in I. B. Kramer’s piano works. Methods. The basis of the methodology is a systematic approach, through which musicological research methods are combined with historical ones. The main document of the era in the field of musicological research is the musical text, so the analysis of musical works is carried out from the standpoint of performance at the levels of performing technical means, musical thinking of the composer and performer. Other components of the texture, the development of its individual layers in the whole system, as well as the coverage of one or another feature of the playing nature of the piano are also taken into account. Conclusions. I. B. Kramer’s pedagogical system is considered, which is a system of technical means of performance, which contributed to the embodiment of the game nature of the instrument. In works of art, the composer used these techniques as needed to create a certain figurative sphere. Analyzed “Pathetic Fantasy” op. 87 (1837), four notebooks Suite – arrangements for piano chamber works of classical composers, where the composer embodied ensemble thinking on the piano, introduced the principles of dialogicity and comparison of registers as a method of artistic development of musical material. Results. Continuing the work of his teacher M. Clementi, I. B. Kramer contributed to the development of concert activities in Europe, the differentiation of pedagogy, performance and composition into independent musical activities. His methodical works and opuses of etudes were the basis of pedagogy for the next generations of pianists, defined the foundations of piano pedagogy as a scientific discipline. The piano instructional material created by I. B. Kramer allowed to master the techniques of piano playing in a short time. Along with L. V. Beethoven, I. B. Kramer made an important contribution to deepening the content of musical works by means of composer’s writing. The perfection of the presentation of piano technique had a positive effect on the development of compositional techniques in the works of the musician – the development of contrasting themes, the principles of development of musical material, the improvement of musical forms. The sphere of dramatic pathos and heroism defined the image of pathos in music, which corresponded to the possibilities of the instrument and at the same time contributed to the formation of a romantic style in piano art.
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Juszyńska, Krystyna. "Didactic qualities of piano pieces for children by Miłosz Magin (1929-1999)." Konteksty Kształcenia Muzycznego 6, no. 1 (10) (June 30, 2020): 27–44. http://dx.doi.org/10.5604/01.3001.0014.2314.
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Miłosz Magin was a renowned Polish pianist and composer. He was born in Łódź, studied in Warsaw, was a prizewinner of several international piano competitions, successfully concerted all over the world and in 1960 he finally settled down in Paris. His compositional output covers numerous piano pieces, orchestral, chamber and vocal works, as well as a ballet. Pieces for children constitute an important and relatively large part of his oeuvre. The article discusses five cycles of miniatures (38 pieces in total), dedicated to pupils at the elementary level of piano learning: Obrazki z Polski (1982), Miniatury polskie (1982), Kółko graniaste (1987), Karnawał lalek for four hands (1990) and Zaczarowane zabawki (1996). The pieces have didactic qualities and play the two roles: they gradually introduce a pupil into the world of music and they help to master the piano technique. They develop, in particular, fingers’ dexterity, chordal and arpeggio technique, precision while realization various rhythmic structures, mastery of large leaps on the keyboard. Performing Magin’s music sensitizes to the timbre of pitches in different registers, to changeable dynamics, original harmony, bitonality, phrasing, articulation, agogic and proper interpretation. His compositions develop children’s imagination and familiarize them with diverse timbres of the piano. They are little masterpieces, put into a terse form of a miniature.
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Orgel, Paul, and Seymour Fink. "Mastering Piano Technique: A Guide for Students, Teachers, and Performers." Notes 50, no. 2 (December 1993): 628. http://dx.doi.org/10.2307/898494.
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Zhekova-Stoynova, Rumyana Stoyanova. "Methodological Principles of Piano Technique in the Stages of Development." International Journal of Literature and Arts 2, no. 5 (2014): 42. http://dx.doi.org/10.11648/j.ijla.s.2014020501.17.
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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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Riley, Kathleen, Edgar E. Coons, and David Marcarian. "The Use of Multimodal Feedback in Retraining Complex Technical Skills of Piano Performance." Medical Problems of Performing Artists 20, no. 2 (June 1, 2005): 82–88. http://dx.doi.org/10.21091/mppa.2005.2016.
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Piano students working to improve technique often practice the same passage over and over to achieve accuracy, increase speed, or perfect interpretive nuance. However, without proper skeletal alignment of hands, arms, and shoulders and balance between the muscles involved, such repetition may lead to difficulties with, rather than mastery of, technique and stylistic interpretation and even physical injury. A variety of technologies have been developed to monitor skeletal alignment and muscle balance that serve to help students and teachers make needed corrections during performance by providing immediate biofeedback. This paper describes and illustrates a multimodal use of these biofeedback technologies and the powerful advantages of such a multimodal approach in making the student and teacher not only aware of improper alignments and balances in real time (or for later review) but also aware of approaches to correct them and improve musical outcome. The modalities consist of hearing playback through a Disklavier piano; simultaneous visual feedback displayed as a piano roll screen of what was played; video recording synchronized with the Disklavier and piano roll feedback; motion analysis of the arms, hands, and fingers; and electromyographic recordings of the muscle actions involved.
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Stetsiuk, Bohdan. "The origins and major trends in development of jazz piano stylistics." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 411–28. http://dx.doi.org/10.34064/khnum2-19.24.
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This article characterizes development trends in jazz piano from its origins in the “third-layer” (Konen, V., 1984) of music (ragtime and other “pre-jazz” forms) to the present time (avant-garde and retro styles of the late 20th – early 21st centuries). Main attention was devoted to the stylistic sphere, which represents an entirety of techniques and methods of jazz piano improvisation and combines genre and style parameters. In this context, the currently available information about jazz pianism and its sources (Kinus,Y., 2008; Stoliar, R., 2017) was reviewed, and sociocultural determinants, which contributed to the advent and changes of jazz piano styles were highlighted. Standing out among them at the first (traditional) stage are the schools and individual creative techniques known under generic name “stride piano” and based on the ragtime technique. At the second (contemporary) stage beginning from bebop, jazz piano stylistics gradually diverge from standardized textural formulas of homophonicharmonic type and attain fundamental diversity depending on creative attitudes of leading jazz pianists. The question of jazz piano stylistics is one of the least studied in jazz theory. The existing works devoted to this subject address mostly the sequence of the advent and changes of jazz piano styles along with the general characteristics of their representatives. Beginning from approximately the 1920s, jazz piano styles appeared and changed so fast that they left no time for their comprehension and perception (Kinus, Y., 2008). Only in the newest stylistics of the period after bebop, which divided the art of jazz into traditional and contemporary stages, did these styles attain a certain shape in new modifications and become the components of a phenomenon defined by the generic notion “jazz pianism”. It was stated that the genesis of this phenomenon is usually seen in the art of ragtime, carried in the United States of the late 19th – early 20th centuries by itinerant pianists. This variety of “third-layer” piano music playing produced a significant impact on the art of jazz in general, which is proved by its reproduction in the Dixieland and New Orleans styles as some of the first examples of jazz improvisation. The stylistics of ragtime influenced the entire first stage of jazz piano, which traces its origins back to approximately the 1910s. It combined mental features and esthetics of two traditions: European and Afro-American, which in the entirety produced the following picture: 1) popular and concert area of music playing; 2) gravitation toward demonstration of virtuosic play; 3) domination of comic esthetics; 4) objectivity of expression; 5) tendency toward the completeness of form; 6) inclination toward stage representation. In technological (texturalpianistic) aspect, ragtime, reproduced in the jazz stylistics of stride piano, demonstrated the tendency toward universalization of piano, which combined in the person of one performer the functions of solo and accompaniment, derived from the practice of minstrel banjoists related to the percussion-accented rhythmics of dance accompaniment (Konen, V., 1984). It was stated that ragtime as the transitional bridge to jazz piano existed simultaneously with other forms of “third-layer” music playing found in the Afro-American environment (unlike ragtime itself, which was an art of white musicians). These were semi-folklore styles known as “barrel house” and “honky-tonk(y) piano” cultivated in Wild West saloons. The subsequent development of jazz piano stylistic went along the lines of more vocal and specific directions related mostly to peculiarities of playing technique. Among the more global origins equal in significance to ragtime and stride pianists derivative, blues piano stylistics is worth noting. It represents an instrumental adaptation of vocal blues, which had the decisive influence over the melodics and rhythmics of the right hand party of jazz pianists (ragtime and stride piano highlighted and consolidated the typical texture of accompaniment, i.e., the left hand party). Blues piano style is a multicomponent phenomenon that shaped up as a result of efforts taken by a whole number of jazz pianists. It was developed, and continues to exist until presently, in two variants: a) as a solo piano variant, b) as a duet variant (piano and vocal). Along with blues piano, a style known as “boogie-woogie” was cultivated in jazz piano stylistics of the period before bebop as the new reminiscence of the pre-jazz era (with rock-n-roll becoming a consequence of its actualization in the 1950–1960s). A stylistic genre known as “Harlem piano style” (its prominent representatives include Luckey Roberts, James P. Johnson, Willie “the Lion” Smith, and Thomas “Fats” Waller) became a sort of compendium that combined genetic components of traditional jazz piano. This school has finally defined jazz piano as a form of solo concert music playing, which also determined the subsequent stylistic varieties of this art, the most noteworthy of which are “trumpet piano style”, “swing piano style” and “locked hands style”. Their general feature was interpretation of the instrument as a “small orchestra”, which meant rebirth at the new volute of a historical-stylistic spiral of the “image” of universal piano capable of reproducing the “sounds” of other instruments, voices and their ensembles. Outstanding pianists of various generations have been, and are, the carriers (and often “inventors”) of jazz piano styles. It should suffice to mention the names of such “legends” of jazz as Art Tatum, Oscar Peterson, Thelonious Monk, Bud Powell, Bill Evans, and also Herbie Hancock, Chick Corea, Keith Jarrett (older generation), Gonzalo Rubalcaba, Brad Mehldau, Vadim Neselovskyi, Robert Glasper (middle generation), Eldar Djangirov, Tigran Hamasyan, Cory Henry (younger generation). Conclusions. The description of the stages of development of jazz piano pianism made in this article proves that its polystylistic nature is preserved, and the main representative of certain stylistic inclinations were and remain the texture. Textured formulas serve as the main objects of stylistic interpretations for jazz pianists of different generations. These readings are represented by two vectors – retrospective (revival of jazz traditions) and exploratory, experimental (rapprochement with the academic avant-garde). Of great importance are the styles of personalities, in which polystylistic tendencies are combined with the individual playing manners and improvisation, which, in general, is the most characteristic feature of the current stage of development of jazz piano art.
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BARBAN, PRISCILA FOLLMANN, and MARISTELLA PINHEIRO CAVINI. "Clarisse Leite: perfil biográfico e listagem temática das obras para piano * Clarisse Leite: biographical profile and listing of piano works." História e Cultura 3, no. 1 (May 7, 2014): 329. http://dx.doi.org/10.18223/hiscult.v3i1.1017.
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<p><strong>Resumo:</strong> O objetivo deste artigo é construir um perfil biográfico da compositora, pianista e professora de piano Clarisse Leite (1917-2003) e elaborar uma listagem de sua obra para piano, de forma a redigir um registro formal e sistematizado de seu legado, já que sua atuação foi de notada relevância no cenário musical da época e região em que viveu. Como compositora, escreveu para diversos instrumentos e formações, com destaque para o piano. Como pianista, se apresentou em diferentes cidades e estados brasileiros, além de concertos internacionais na Áustria e Hungria. Como professora de piano, criou o método da ginástica anatômica. Os concursos de piano Clarisse Leite, realizados anualmente, e por ela organizados, revelaram diversos talentos da música do nosso país.</p><p><strong>Palavras-chave:</strong> Clarisse Leite – Música Brasileira – Piano.</p><p> </p><p><strong>Abstract:</strong> The aim of this article is to write a short biography of the Brazilian composer, pianist and piano teacher Clarisse Leite (1917-2003), as well as to make a list of her piano works and writing a formal register of her work, since her professional work was of relevance to the time and area she lived. As a composer, she wrote to various instruments and formations, but especially for the piano. As a pianist, she performed in many different cities and states of Brazil and also in Austria and Hungary. As a piano teacher, she developed her own technique, which she called “ginástica anatômica” (anatomic gym). The Clarisse Leite piano contests she organized happened every year and revealed many talents of Brazilian piano music.</p><p><strong>Keywords:</strong> Clarisse Leite – Brazilian Music – Piano.</p>
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Катунян, М. И. "Sonata for Violin and Piano by Vladimir Martynov." Музыкальная академия, no. 4(768) (December 20, 2019): 6–21. http://dx.doi.org/10.34690/18.
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Скрипичная соната Владимира Мартынова (1973) парадоксальна во многих отношениях. Сам композитор характеризует ее как парадокс: «Это додекафония плюс минимализм. Еще в музыкальном училище я был очарован гокетом Машо, его минимализмом. Я имею в виду, что там что-то происходит и в то же время ничего не происходит». Симптоматично, что к названным направлениям ХХ века прибавился гокет XIV века. Парадоксальна серийная техника: Мартынов трактует ее настолько индивидуально, что она то вызывает ассоциацию со средневековым контрапунктом на cantus firmus, то сближается с 12-тоновыми техниками Хауэра и Рославца. И при этом остается строжайшей додекафонией: «В ней ни одной свободной ноты». В работе с серийной техникой сформировались особенности композиторского облика Мартынова, сложилась его творческая позиция, отразился круг музыкальных приоритетов, познаний, интеллектуальных и гуманитарных интересов. The Violin sonata of Vladimir Martynov (1973) is paradoxical in many ways. The composer himself characterizes it as a paradox: This is dodecaphony plus minimalism. When I was still in musical college, I was fascinated by the Machauts hoquet, its minimalism, I mean that something happens there and nothing happens at the same time. It is symptomatic that the 14th century hoquet was added to the named directions of the 20th century. The serial technique is paradoxical: Martynov interprets it so individually that it either associates with the medieval counterpoint to the Cantus firmus, or approaches the 12-tone techniques of Hauer and Roslavets. And at the same time it remains the strictest dodecaphony: There is not a single free note in it. On the serial technique, the features of Martynovs composer image were formed, his creative position developed, the circle of his musical priorities, knowledge, intellectual, and humanitarian interests was reflected.
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Lee, Sang-Hie. "Hand biomechanics in skilled pianists playing a scale in thirds." Medical Problems of Performing Artists 25, no. 4 (December 1, 2010): 167–74. http://dx.doi.org/10.21091/mppa.2010.4034.
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Pianists, who attend to the integral relationship of their particular musculoskeletal characteristics to the piano technique at hand, discover an efficient path to technical advancement and, consequently, to injury prevention. Thus, a study of pianist's hand biomechanics in relation to different piano techniques is highly relevant, as hand features may influence various techniques in different ways. This study addressed relationships between pianists' hand biomechanics and the performance of a scale in thirds, as a part of an ongoing series of studies examining relationships between hand biomechanics and performance data of primary techniques. The biomechanics of hand length and width, finger length, hand span, hand and arm weights, and ulnar deviation at the wrist were compared with tempo, articulation, and dynamic voicing (tone balance between two notes of the thirds). Pearson correlation analysis showed a positive association between ulnar deviation and tempo; the other biomechanical features showed no relationships with any of the performance criteria. Qualitative cross-sectional observation of individual profiles showed that experienced pianists perform with a higher degree of synchrony in two-note descent while pianists with organ training background play with a lesser degree of synchrony. All biomechanical features were closely related among one another with one exception: wrist ulnar deviation was not associated with any other biomechanical features; rather, data suggest possible negative associations. This study underscores the importance of wrist mobility in piano skills development. Further research using a complete set of prototype piano techniques and multiple-level pianist-subjects could provide substantive biomechanical information that may be used to develop efficient pedagogy and prevention strategies for playing-related injuries as well as rehabilitation.
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Gedi, A. "The evolution of B. Bartok’s piano style." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 45–60. http://dx.doi.org/10.34064/khnum1-57.03.
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Subject actuality. The article highlights the evolution of the compositional style of the Hungarian composer, taking into account the performance component of Bartok as a pianist. Based on existing musicological sources (works by A. Alekseev, B. Sabolcha, S. Sigitov, J. Uyfalushi, I. Martynov, I. Nestev, A. Malinkovskaya) the historical periodization of the general interest in Bartok’s work is indicated. Despite the study of many aspects of his creative activity, the performance of B. Bartok still remains without special analysis. Therefore, the process of studying the work of B. Bartok today can not be considered completed. The issues of interaction between the compositional and performance style of B. Bartok, modern interpretations of his works remain opened. The Ukrainian listener is familiar with a limited range of B. Bartok’s works, so the emphasis on the artist’s performance serves as an additional stimulus for the actualization of his art in our time. The main presentation of the material. The evolution of B. Bartok’s piano style was identified as a problem by L. Gakkel through the constituent parameters of the piano style: 1) the “realistic-non-pedal” sound image of the piano; 2) coloristic shock-noise method of sound construction; 3) textured accentuated tone as a tonal-harmonic ground. Indeed, many works of the composer testify to this interpretation of the piano: “Two elegies op. 8 / b, Burlesque three pieces op. 8c, Suite op. 14, Etudes op. 18, Sonata; three concertos for piano and orchestra. However, there are a number of works written quite traditionally, in the classical key. In these works B. Bartok uses the coloristic possibilities of the piano quite avariciously (wide range of registers, pedal effects), a striking example is the “Romanian folk dances” op. 8-a). Milestones of the piano evolution of the artist’s style are marked: Rhapsody, cycles “Romanian folk dances”. Etudes op. 18 – a sample of expressionist aesthetics, extremely complex in pianistic terms. They use extreme technical difficulties that require maximum arm stretching and great physical strength.Most of Bartok’s piano works were written in the first two creation periods – early and experimental. The composer’s attention was focused on three genre areas: folklore, pedagogics, innovation. The communicative semantics of these spheres, of course, influenced the composer’s decisions in the formative field, texture, piano technique, the level of virtuosity. The regularities are traced: B. Bartok’s “commitment” to primary (song and dance) and romantic genres (elegy, rhapsody, rich people), program cyclicity; constant interest in creating a repertoire for children, which solves two tasks at once: the promotion of folk music and the children involvement into a new musical language. Note as a contradiction the fact that the analysis of the works of B. Bartok, created in the first and second period, does not fully confirm the version of L. Gakkel, about a radicalistic change in the sound image of the piano. Probably, in B. Bartok’s work the new did not exclude the old one. The basic quality of B. Bartok’s piano style is its national characteristic, which is shrouded in the resources of the latest technique of musical composition. Conclusions. B. Bartok-pianist by genotype belongs to the Liszt’s branch of European pianism. The Liszt’s tradition is a combination of classical-romantic performing principles, which is especially evident in the works of disciples and followers of F. Busoni, K. Martinsen, K. Arrau, and G. Gould. In general, the evolution of B. Bartok’s piano style can be seen as a movement from the romantic – through folklore – to the neoclassical tradition, which is manifested in the change of musical-linguistic resources (rhythm, harmony, features of musical form, texture, melody). As a result, also the sound image of the piano was being changed. Auditory analysis of B. Bartok’s performing style allowed us to conclude that, unlike many pianists of the romantic tradition, B. Bartok uses pedal effects very avariciously, preferring clear and precise pronunciation (utterance) of all elements of the texture. We state the «imposition» of the classical tradition, which originates from harpsichordists, and new trends associated with the percussive understanding of the piano. From the point of view of the temporal organization of the musical form, his works are distinguished by metrical variability and polyrhythm; rhythmic discrepancy of textured layers; extensive use of repetition techniques and ostinato techniques. The foundations of Bartok’s mode-harmonic mentality (reliance on ancient modes of folk music; mode variability in the conditions of chromatic tonality) determine the difficulties of mastering the «intonation dictionary» of his piano works, and in general the technical equipment of the texture. Thus, Bela Bartok’s piano writing style is an expression of the artist’s innovative thinking, in which the performing component of his own abilities played a key role.
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Akmal, Rudi, Ani Yanti Ginanjar, and Euis Shintawati. "EFFECTIVENESS OF PIANO VIRTUAL MEDIA ON THE PGSD STUDENTS RETENTION IN BASIC PIANO THEORY." PrimaryEdu - Journal of Primary Education 4, no. 2 (September 30, 2020): 124. http://dx.doi.org/10.22460/pej.v4i2.1891.
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This study was conducted to determine the effectiveness of virtual piano media on PGSD students' memory on scale material. This study used a quasi-experimental one-group pretest-posttest design method. This study did not use a comparison class but already used a preliminary test so that the effectiveness of virtual piano media can be ascertained with certainty. In this study, the research subjects were first given a pretest to determine the extent of students' understanding before being given treatment using virtual piano media. The subjects in this study were 35 students. This research uses to test and non-test instruments. The non-test form includes distributing questionnaires. The data analysis technique used a parametric test for N-gain improvement and Paired Samples Test SPSS Version 25. The results proved that there was a significant difference between the pretest score and the posttest score after treatment with a 2-tailed sign value of 0.000 ≤ 0.05. Then there is a significant increase in the memory of students who use learning with virtual piano media rather than direct learning. It can be seen that learning with Virtual Piano Media provides a significant increase with an average N-gain of 0.72 and is included in the high category.
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Malaieva, Tetiana. "The method of double repetition action in the art of piano playing as an artistic and expressive technique." Bulletin of Mariupol State University. Series: Philosophy, culture studies, sociology 9, no. 18 (2019): 57–62. http://dx.doi.org/10.34079/2226-2849-2019-9-18-57-62.
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This article is a deep study of the technical possibilities of the modern piano and the use of this knowledge in the musical and pianistic development of the personality. The history of the modern piano begins in the XIX century. In 1823, Sebastien Erar in Paris invented the mechanism of double rehearsal. It was a double rehearsal that marked the beginning of a new history of the modern piano. Its main task is to achieve the sensation of closing a fingertip with a string. Similarly, as the ligaments of the vocalist close or the bow with the string of the violinist. Double rehearsal is a thin spring mechanism that allows you to repeatedly press a key from half or a quarter of a key's stroke without lifting your finger from the key.This mechanism drives the hammer, and the damper remains motionless. This creates a pedal sound effect. Possession of a double rehearsal allows the pianist to understand that any touch to the keyboard affects the quality and color of the sound. Touching the keyboard is called Touche - unfortunately a forgotten professional concept. Frederic Chopin owned an excellent touche, for which he was called the "Singer of the piano." Famous musician, conductor, pianist, composer, music theorist, philosopher, human rights activist, Honored Artist of Russia Mikhail Arkadyev is considered a modern researcher of double rehearsal. Mastering a double rehearsal is achieved by repeating a single sound or akorda of three, four sounds on a legato without using the right pedal. Therefore, it is necessary to learn from the very beginning and the first touch. There are many examples of the use of double rehearsal in music literature. It can be any repetition of the same sounds. She creates a variety of musical images. Possession of a double rehearsal contributes to the technical freedom of the pianist, aesthetic and physical support when playing the piano. The research of the ordered topic revealed that the sophisticated mechanism of the double rehearsal is the first and true "soul of the piano" (pedal - "friend") She (double rehearsal) contributes to the technical maintenance of the perfect performance of the musical work and requires a painstaking work as a music teacher, and his students. And this must be done from the beginning of education and education of music school students. As a conclusion of the study, it should be emphasized that today in education the personal-oriented pedagogy comes to the fore. Therefore, the upbringing, development, formation of individual and personal qualities in pupils with the means of music should occupy the current place in the work of musical schools. And this only confirms the relevance of the topic of research and requires its further development.
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Day, Sarah Katherine, and Barbara Lister-Sink. "Freeing the Caged Bird: Developing Well-Coordinated, Injury-Preventive Piano Technique." Notes 53, no. 4 (June 1997): 1227. http://dx.doi.org/10.2307/899492.
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Loshkov, Artем. "The «Chateau of the Loire Valley» piano fresco as a representation of the artistic thinking of Lesia Dychko." Музикознавча думка Дніпропетровщини, no. 18 (November 12, 2020): 50–64. http://dx.doi.org/10.33287/222017.
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The purpose of this represented scientific article is to reveal the specificity of piano thinking of L. Dychko as exemplified in the «Chateau of the Loire Valley» piano fresco. Methods. The methodological background of the study includes the integration of general scientific (historical, system-related, dialectic, culturological, comparative) and special artistic, in particular, music study methods and approaches of the scientific study. The application of the series of special methods of the music study research, characteristic to the historical, theoretical and performance musicology promoted the solution of the problems brought up in the article. Scintific novelty. The scintific novelty of the undertaken study is the revealing of the conceptual bases and intonational-stylistic specificity of the «Chаteau of the Loire Valley» piano fresco as the representation of the universality of L. Dychko’s creative thinking. Conclusion. The article reveals the form-forming and textural principles of the music mirroring of the masterpieces of French architecture in the text of the «Chаteau of the Loire Valley» piano cycle. The performed analysis enabled the distinguishing of L. Dychko’s piano piece as a model of the interspecific artistic communication and a manifestation of the artistic dialogue within «music - architecture» system, which is revealed on the graphically-associational, intonational and semantic, structural, texture and stylistic levels. The article proves that the «Chаteau of the Loire Valley» fresco of Lesia Dychko is distinguished by the immensity of the artist's intention, concert performance and stylistic direction and the high level of the pianistic technique, which is evidenced by the diversity of the piano texture, wide register coverage of the fingerboard, the predominance of the elements of octaval-chordal technique, the diversity of masterly performed passages and figured approaches, which are indued with formal and meaningful properties and acquire the value of the stylistic and graphically-semantic factors. There has been proved in the work the composer’s appeal to the music thesaurus of contemporary pianism, the established in the piano practice texture and expressive means and general types of movements, as well as the individualized performance approaches, endued in the context of the cycle with different functionally-semantic loads (coloristic background, representation of the sonic flow dynamics, graphical and emotional tension, disconcentrated figurative thematic invention, concert-virtuous style).
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Nanou, Chrysi, and Rob Hamilton. "Historical Virtualization: Analog and Digital Concerns in the Recreation, Modeling and Preservation of Contemporary Piano Repertoire." Leonardo Music Journal 27 (December 2017): 27–31. http://dx.doi.org/10.1162/lmj_a_01004.
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Modern efforts to preserve and reinterpret canonic musical works in the contemporary piano repertoire often take advantage of new technologies, fundamentally changing core aspects of the works themselves. By approaching preservation as a form of virtualization—in this case the creation of a functional interpretative model of each musical work—artists and researchers can create robust and performable digital versions of important musical systems. This paper introduces the idea of virtualization as a compositional modeling technique and offers three case studies in which digital versions of contemporary piano repertoire were designed and developed.
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Maszczyńska, Dominika. "Nannette and Johann Andreas Streicher - their role in shaping musical life in Vienna in the early 19th century." Notes Muzyczny 1, no. 13 (June 9, 2020): 49–80. http://dx.doi.org/10.5604/01.3001.0014.1937.
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Nannette and Andreas Streicher were important figures in the musical life of Vienna in the early 19th century. The article introduces their profiles, describes the history of their company, their social, cultural and teaching activity as well as different types of artistic activity. It also explains how keyboard instruments shaped sound and aesthetics-related piano ideals at the turn of the 19th century. The versatile activity of the Streichers, which first of all included instrument building, piano play- ing, composition, teaching and organisation of musical life, made a great contribution to Europe’s cultural heritage. We can notice their numerous connections with outstanding figures of musical life of that time, one that deserves particular attention is their acquaintance with Beethoven. Nannette Streicher was an extremely talented builder who not only coped with the typically masculine craft at that time, but she was also significantly successful in that field. Her instruments were popular, earning general recognition, and the innovative solutions introduced by her also influenced the work of other builders and further development of the piano. Their marriage became the basis for a very fruitful cooperation. Andreas’s numerous connections and his familiarity with the community became an important part of the activity of the company and contributed to its development. Nannette and Andreas shared their passion and passed it on to their son Johann Baptist, who successfully continued their piano making tradition and introduced further improvements, earning a great reputation as well. Social, cultural and teaching activities of the Streichers also played an important role in the musical life of Vienna. Andreas Streicher taught his students the secrets of piano technique and apart from that he shaped their musical and aesthetical awareness. His Kurze Bemerkungen are a valuable source of knowledge also for modern-time performers who can – thanks to this text – learn more about the piano playing aesthetics at the turn of the 19th century as well as a number of universal music and performance topics, which remain accurate to this day. Concerts organised in their house had an educational function too, on the one hand they shaped the tastes of music lovers and supported composers, allowing them to present their latest pieces, and on the other hand they contributed to the promotion of young performers for whom concerts there were often the first step leading towards Vienna’s professional musical stage. The development of the topic of the article in this issue of “Notes Muzyczny” is the trans- lation of the text by Andreas Streicher entitled: Some observations on the playing, tuning and maintenance of pianos built in Vienna by Nannette Streicher nee Stein.
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Wristen, Brenda, and Chiarella Sforza. "Three-dimensional Analysis of Movements during Piano Playing." Medical Problems of Performing Artists 22, no. 3 (September 1, 2007): 130–31. http://dx.doi.org/10.21091/mppa.2007.3028.
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I read with great interest the article by Ferrario et al., reporting their findings from a study of pianists' hand and finger movements using three-dimensional motion capture in the March 2007 issue of this journal. The authors noted that most previous investigations of musicians technique investigated only limited parts of the playing apparatus "without considering global movements."
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Florea, Augustina. "7. Echoes of Romanticism in Violin and Piano Sonata No. 2, Op. 45 by Marcel Mihalovici - Analytical Landmarks for an Upscale Interpretation." Review of Artistic Education 19, no. 1 (April 1, 2020): 46–57. http://dx.doi.org/10.2478/rae-2020-0007.
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AbstractThe evolution of the genre of violin and piano sonata in the Romanian composition creation in the first half of the 20th century, marked by the tendency towards getting close to the European musical phenomenon by assimilating stylistic influences of Romanticism, especially, of Enescian Romanticism, distinctly manifesting in Violin and Piano Sonata no. 2, op. 45, by Marcel Mihalovici, one of the most renowned Romanian composers settled in Paris, appreciated by the famous contemporaries, such as M.Ravel, V.d’Indy, F. Poulenc etc. Sonata (1941), preceded by a motto in the sonnet of Romantic poet Gérard de Nerval Myrtho: „Je sais pourquoi lá bas lé volcan s’est rouvert…”, impresses through the high emotional tension, metaphorically expressed by the image of the “woken” volcano, figurative suggestiveness of the musical language, architectonic innovativeness, spectacular capitalization of the violin technique in the formula of a violin-piano choir.
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Latcham, M. "The check in some early pianos and the development of piano technique around the turn of the 18th century." Early Music XXI, no. 1 (February 1, 1993): 28–43. http://dx.doi.org/10.1093/em/xxi.1.28.
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Sun, Sibing. "Evaluation of Potential Correlation of Piano Teaching Using Edge-Enabled Data and Machine Learning." Mobile Information Systems 2021 (April 14, 2021): 1–11. http://dx.doi.org/10.1155/2021/6616284.
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Data science has expanded at an exponential growth with the advancement of big data technology. The data analysis techniques need to delve deeper to find valuable information (Sarac 2017). The notion of edge computing is broadly acknowledged. Edge-enabled solutions provide computing, analysis, storage, and control nearer to the edge of the network, which support the efficient processing and decision-making. Machine learning has also attained significant attention in this context due to its flexibility and its ability to provide a variety of supervised, unsupervised, and semisupervised techniques. This research presents a specific model to evaluate the potential correlation of piano teaching using machine learning. The data analysis is performed at the edges of network for efficient results (Tan et al. 2017). The association rule mining technique of machine learning is utilized with the integration of improved T-test method. The improved T-test is performed for the measurement of association rules and proposed a new measure and influence degree of association rules. It is evident from the results that the use of the degree of influence as a measure of association rules to find the potential relevance of multimedia-assistant piano teaching evaluation data is extremely feasible. It overcomes shortcomings of existing measurement standards and reduces the generation of redundant rules. The existing literature highlights the concepts of evaluation of potential correlation and evaluates the advantages. However, there is a lack of an effective strategy for piano teaching. The proposed model performs efficient calculation and storage. The feasibility and effectiveness of the proposed framework are verified using the analysis of the actual dataset. The verification results show that it is feasible and valuable to find the potential relevance of multimedia-assisted piano teaching evaluation.
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Lee, Young-hee. "An Evolution of New Piano Technique: Henry Cowell, John Cage George Crumb." Yonsei Music Research 2 (May 30, 1992): 183–201. http://dx.doi.org/10.16940/ymr.1992.2.183.
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Ota, Mineo. "Bartók’s wrists and 19th-century performance practice: An essay on the historicity of piano technique." Studia Musicologica 53, no. 1-3 (September 1, 2012): 161–70. http://dx.doi.org/10.1556/smus.53.2012.1-3.12.
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Mária Comensoli, who studied under Bartók in the mid-1920s, reports that her teacher used “peculiar fingerings and peculiar wrist and arm technique.” Examining such comments and the recordings of the composer-pianist, it becomes clear that Bartók played the piano partly according to the 19th-century performance practice. He frequently played chords in arpeggio, even when there were no markings of arpeggio in the score, and he respected the tone color of each finger by relying on the technique of leaping. Contemporary documents suggest that one of Bartók’s technical advantages was the flexibility of his wrists. In Bartók’s case it may have been a fruit of a conscious training by István Thomán. The writings of the Liszt-pupil Thomán suggest that, like his master, he valued the “active” use of wrists, even though he basically supported the modern, “synthetic” piano technique propagated by Breithaupt, who consistently recommended the “passive” use of the wrists. It is likely that, through Thomán, Bartók learned many things from the 19th-century performance practice.
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Haddon, Elizabeth. "Piano performance: Group classes for the lifelong learner." Research Studies in Music Education 39, no. 1 (April 3, 2017): 57–71. http://dx.doi.org/10.1177/1321103x17702972.
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This qualitative research presents data relating to eight amateur pianists who completed a 10-week Piano Performance course for lifelong learners at the University of York, UK. This article discusses the development of learning through the impact of group participation, challenges faced by learners and pedagogical strategies used by the leader to create a positive and productive learning environment. The findings suggest that learning in a non-assessed semi-formal group not only informs individual practice, technique, musicianship, analytical and performance skills but also has a positive impact on other areas of the participants’ lives.
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Pereira, Eliton Perpetuo Rosa, and Otoniel Pereira Gomes. "A iniciação à improvisação no piano popular: análise de métodos e elaboração de proposta didática." Cadernos de Educação Tecnologia e Sociedade 14, no. 1 (March 12, 2021): 38. http://dx.doi.org/10.14571/brajets.v14.n1.38-55.
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The theme of this research focuses on the initiation of improvisation on the popular piano, as a musical educational action to introduce students to this instrument in the universe of improvisation, as a music teaching activity, but mainly as a musical experience activity related to popular music. The study aimed to carry out a comparative analysis of the publications most used by Brazilian popular musicians on harmony and improvisation, in printed editions in Portuguese or translations printed in Brazil. Nine publications with this profile were found and the analysis took place through five main categories: 1) musical initiation; 2) concepts of improvisation; 3) rhythmic, melodic and harmonic aspects; 4) practical exercises (technique and repertoire); and 5) didactic aspects. The results show regularities, specificities, and gaps in these publications most widely circulated in Brazil among popular piano teachers and improvisers. Concerning the process of initiation to improvisation on the popular piano, we highlight aspects related to planning, the sequence of contents, and practical activities.
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Manchester, Ralph A. "An Inquiry from an Amateur Pianist." Medical Problems of Performing Artists 28, no. 2 (June 1, 2013): 63–64. http://dx.doi.org/10.21091/mppa.2013.2011.
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The Letter to the Editor from Matthew Arthur in this issue of Medical Problems of Performing Artists asks an important question for performing arts medicine professionals: why haven’t we used the scientific method to determine optimal piano technique? More broadly framed, why is technique in most of the performing arts based much more on tradition and expert opinion than on the results of carefully designed scientific studies?
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Varlamova, A. V. "THE SOUND PALETTE OF NIKOLAY BERESTOV'S PIANO WORK." Arts education and science 1, no. 2 (2021): 129–35. http://dx.doi.org/10.36871/hon.202102016.
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The article is devoted to the piano works of Nikolay Savelyevich Berestov, one of the most famous composers of Yakutia, Honoured Artist of the Russian Federation and Yakutia, whose compositional heritage is performed outside of Yakutia and Russia. He is the author of numerous works in different genres of vocal and instrumental music, innovatively implementing in his compositions the traditions of national folklore. The article reveals characteristic features of the composer's style — the interaction of intonation vocabulary of national folklore and European writing technique, the adherence to the program, the consistent definition of technical and figurative- emotional tasks of plots and dramaturgy. The most striking works from various cycles — pieces, fugues as well as the "Northern Landscapes" triptych — are examined in more detail.
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Lochhead, Judy. "A Question of Technique: The Second and Third Piano Sonatas of Roger Sessions." Journal of Musicology 14, no. 4 (1996): 544–78. http://dx.doi.org/10.2307/764072.
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