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Academic literature on the topic 'Piano tuition'
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Journal articles on the topic "Piano tuition"
Holmgren, Carl. "The conditions for learning musical interpretation in one-to-one piano tuition in higher music education." Nordic Research in Music Education 1, no. 1 (November 17, 2020): 103–31. http://dx.doi.org/10.23865/nrme.v1.2635.
Full textMansfield, Terry A. "Oscar Victor Sayer Heath. 26 July 1903—16 June 1997." Biographical Memoirs of Fellows of the Royal Society 44 (January 1998): 219–35. http://dx.doi.org/10.1098/rsbm.1998.0015.
Full textDavidson, Jane, and Sarah Scutt. "Instrumental learning with exams in mind: a case study investigating teacher, student and parent interactions before, during and after a music examination." British Journal of Music Education 16, no. 1 (March 1999): 79–95. http://dx.doi.org/10.1017/s0265051799000169.
Full textŻurowski, Marian Al. "Ewolucja pojmowania wolności religijnej w Kościele katolickim." Prawo Kanoniczne 29, no. 3-4 (December 10, 1986): 27–38. http://dx.doi.org/10.21697/pk.1986.29.3-4.03.
Full textDissertations / Theses on the topic "Piano tuition"
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.
Full textDaniels, Delia Josianne. "Keyboard tuition for adult beginners : investigating Practical Piano Study 171 at the University of Stellenbosch." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/49730.
Full textENGLISH ABSTRACT: In 1999, two certificate courses were introduced at the Department of Music of the University of Stellenbosch, namely the BMus Foundation Programme (preparatory) and the Introductory Programme in Music. The BMus Foundation Programme aims to reach students who intend doing the BMus Programme but do not meet the required standard for the BMus Programme at the time of enrolment. On the successful completion of the BMus Foundation Programme, these students can then be promoted to the BMus Programme. The Introductory Programme in Music concentrates on students who have had little or no prior formal theoretical or practical training in music. These students aim to obtain, an understanding of the fundamentals off'music within the minimum period of one academic year. The Introductory Programme in Music is dual-functional: Students can terminate their studies on completion of the course or 11 Students who wish to continue their studies in music can enrol for the BMus Foundation Programme on completion of the Introductory Programme in Music. The Introductory Programme in Music. consists of the following modules: Music Skills 171, Choir Singing 179 and Practical Music Studies: Preparatory 17l. The Practical Music Studies: Preparatory 171 module concentrates on teaching students the basic practical skills required to play an instrument. The student decides which instrument he/she wants to study. This thesis focuses on piano and electronic keyboard instruction for Practical Music Studies: Preparatory 171. The course will be referred to as Practical Piano Study 171 throughout the thesis. At the completion of the Introductory Programme in Music, students need to have reached a Grade 3-4 (UNISA) level for Practical Piano Study 171. In this thesis, the present syllabus implemented for Practical Piano Study 171, is critically investigated. This investigation includes the following: the forms of tuition offered, that is, group and individual tuition, the curriculum material that is used and the curriculum itself Furthermore, the psychological, physiological and mental make-up of the student enrolling for this course in general will be discussed. In this instance, the umbrella term "adult" is used. Attention is also given to teaching aids that can assist in piano and electronic keyboard instruction. A demonstration video is included with the thesis in order to illustrate its potential as a teaching aid. Suggestions based on the conclusions drawn from this research are given for the improvement of Practical Piano Study 171.
AFRIKAANSE OPSOMMING: Die Departement Musiek van die Universiteit van Stellenbosch het gedurende 1999 twee sertifikaat kursusse ingewy, naamlik die BMus Basisprogram (Voorbereidend) asook die Inleidende Program in Musiek. Die BMus Basisprogram beoog om uit te reik na studente wat die BMus Program wil volg, maar wat nie tydens inskrywing aan die vereiste standaard van die BMus Program voldoen nie. Na die suksesvolle voltooiing van die BMus Basisprogram, kan hierdie studente tot die BMus Program bevorder word. Die Inleidende Program in Musiek konsentreer op studente wat min of geen teoretiese of praktiese opleiding in musiek ontvang het nie. Hierdie studente se doelwit is om 'n begrip van die grondbeginsels van musiek binne die minimale tydperk van een akademiese jaar te bekom. Die Inleidende Program in Musiek het 'n tweeledige funksie: Die student kan die kursus teen die einde van die akademiese jaar voltooi of 11 Studente wat na voltooiing van die Inleidende Program in Musiek graag met hul studies in musiek wil voortgaan, kan vir die BMus Basisprogram inskryf Die Inleidende Program III Musiek bestaan uit die volgende modules: Musiekvaardighede 171, Koorsang 179 en Praktiese Musiekstudie: Voorbereidend 171. Laasgenoemde kursus konsentreer daarop om studente die basisse praktiese vaardighede wat vir die bespeling van 'n musiekinstrument vereis word, aan te leer. Die student besluit watter instrument hy/sy wil bestudeer. Hierdie tesis fokus op klavier- en elektroniese klawerbordonderrig vir Praktiese Musiekstudie: Voorbereidend 171. In hierdie tesis sal deurgaans daarna verwys word as Praktiese Klavierstudie 171. Teen voltooiing van die Inleidende Program in Musiek behoort studente reeds 'n Graad 3 - 4 (UNISA) vlak in Praktiese Klavierstudie 171 te bereik het. Die huidige leerplan wat vir Praktiese Klavierstudie 171 geïmplimenteer is, word in hierdie tesis krities ondersoek. Dié ondersoek die volgende: die wyses waarop onderrig aangebied word, dit wil sê, groep- en individuele onderrig, die kurrikulêre inhoud wat gebruik word, sowel as die kurrikulum. Verder word die algemene psigiese, fisiese en verstandelike aspekte van die student wat vir hierdie kursus inskryf, bespreek. In hierdie instansie word die alomvattende term ''volwassene'' gebruik. Aandag word ook geskenk aan die onderrighulpmiddels wat tot klavier- en elektroniese klawerbord-onderrig kan bydra. 'n Demonstrasievideo word by hierdie tesis ingesluit om die potensiaal daarvan as 'n hulpmiddel te illustreer. Wenke ter bevordering van die Praktiese Klavierstudie 171 kursus wat op die gevolgtrekkinge van hierdie ondersoek gebaseer is, word ter afronding aan die hand gedoen.
Ross, Valerie, and kimg@deakin edu au. "EXTERNAL PUBLIC PIANO EXAMINATIONS IN MALAYSIA: SOCIAL AND SYMBOLIC SIGNIFICANCE." Deakin University, 2002. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20031028.140256.
Full textRoss, Valerie, and mikewood@deakin edu au. "External public piano examinations in Malaysia: Social and symbolic significance." Deakin University, 2002. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050808.135747.
Full textPersson, Annie. "Kreativt skapande i pianoundervisning : En kvalitativ undersökning av hur pianolärare på kulturskolan använder kreativt skapande i sin undervisning." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-47539.
Full textThe purpose of this study is to explore what creativity means to piano teachers at schools of culture and music, and how they consider themselves working creatively when teaching. This is performed by the following research questions: How do piano teachers see creativity in piano teaching? In what ways do they describe how they work with creativity in their teaching? What conditions do they consider is necessary to be able to work with creativity in piano teaching? This study is qualitative and a sociocultural perspective is used as a theoretical perspective. Qualitative interviews are used as research method, and four piano teachers have been interviewed. The interviews has been transcribed and analysed through thematic analyse. In the result, the four teachers approach and working are being presented and divided into three main subjects: Piano teachers view of creativity, to work creatively in piano teaching, and conditions for a creative environment. The final chapter discusses the result, the theoretical perspective, the literature and the previous research.
Rhoodie, Hester Sophia. "Piano tuition for the beginner: The structuring and teaching of the basic movements in piano playing." Thesis, 2005. http://hdl.handle.net/2263/25533.
Full textThesis (DMus (Performing Arts))--University of Pretoria, 2006.
Music
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Myburgh, Ilse. "Investigating the value of a computer game as introduction to piano learning for developing sight-reading skills in beginner piano students." Thesis, 2013. http://hdl.handle.net/10539/12690.
Full textThis exploratory research project investigated the multifarious effects of incorporating computer music software in the form of a computer game into beginner piano lessons. The design and implementation of an animated computer game, designed by the researcher for the purpose of the study was used to assist young beginner pianists master the layout of the piano keyboard in relation to a score with basic music notation. A detailed description of the game is included. Contributing elements central to knowing, understanding and applying the layout of the piano keyboard when sight-reading were also investigated. A pilot study which formed the basis and point of departure for the study is discussed in detail; the findings of which conclude the report. The results of a case study conducted on two control and experiment groups aged three to six, which involved the use of the specially designed computer game to teach beginner piano students the keyboard layout and introductory notation in the form of an interactive story, is recorded. Through narrative enquiry, a series of interviews with world renowned pianists and piano teachers on the value and importance of sight-reading is expounded. The researcher’s personal reflections on the entire project as well as her own personal philosophy with regard to basic piano tuition, the continued enculturation and propagation of new beginners and sight-teaching are included
Van, Niekerk Theresa. "Toepasbare aspekte uit breinnavorsingsliteratuur op klavieronderrig vir beginners met spesifieke verwysing na die heelbreinmodel van Ned Herrmann (Afrikaans)." Thesis, 2008. http://hdl.handle.net/2263/27142.
Full text- Die benutting van die jong brein se vermoë tot plastiese verandering as gevolg van stimulasie
- Die belangrikheid van vroeë aanvangsouderdom vir klavieronderrig
- Die bestaan van 'n geleentheidsvensterperiode vir die ontwikkeling van optimale Prestasie
- Die ontwikkeling van absolute toonhoogtesin as gevolg van vroeë aanvangsklavieronderrig
- Die ontwikkeling van verbeterde tegniese vaardighede as gevolg van vroeë Aanvangsklavieronderrig
- Die belangrikheid van genoegsame herhaling vir die vaslegging van tegniese vaardigheid en informasie in die langtermyngeheuestore van die brein
- Interaksie tussen die invloed van omgewingsfaktore en die bydrae van genetiese potensiaal van die individu vir optimale musikale prestasie
- Die rol en invloed van emosie, chemiese oordragstowwe en hormone op musicale prestasie
- Groepsmusiekonderrig vir jong kinders
- Die onderlinge verhouding tussen onderwyser en leerder.
Thesis (DMus)--University of Pretoria, 2008.
Music
unrestricted