Academic literature on the topic 'Piano tuition'

Research has indicated that one-to-one teaching in higher music education in Western classical music typically favours technical over interpretive aspects of musicianship, and imitation of the teacher’s rather than the student’s explorative interpretation. The aim of the present study is to investigate students’ and teachers’ understandings of how musical interpretation of Western classical music is learned in this context. Semi-structured qualitative interviews with six piano students and four teachers in Sweden were conducted and hermeneutically analysed using haiku poems and poetical condensations. The analysis found that the conditions for learning musical interpretation centred upon students achieving a high level of autonomy, as affected by three key aspects of teaching and learning: (1) the student’s and the teacher’s understandings of what musical interpretation is, (2) the student’s experience of freedom of interpretation as acknowledged by the teacher, and (3) (expectations of) the student’s explorative approach. As none of these aspects were reported as being explicitly addressed during lessons, there might be a need for both teachers and students to verbalise them more clearly to support piano students’ development.

O.V.S. ‘Peter’ Heath was born in London on 26 July 1903. In childhood, he encountered many problems, for he was often ill and he found learning difficult. At the time he may well have been regarded as ‘backward’. Now, with hindsight, we would say that his was a case of remarkable late development. His biographical notes (over 130 pages in his precise handwriting, with a note of apology at the front: ‘The notes are intended to assist the unfortunate Fellow who has to write me up‘) describe his early schooling and the subsequent private tuition which became necessary because of undiagnosed illness. He learned to read at the age of seven, but his reading remained slow throughout his life because he frequently needed to re-read passages. However, he did then have accurate recall of much of the subject matter. His father (Sir Frank Heath, 1863–1946, Secretary of the Department of Scientific and Industrial Research (DSIR), 1916–27) had been a professor of English literature at Bedford College, and Peter had access to a vast collection of books, of which he took much advantage. He also took music lessons and learned to appreciate great music from his mother's piano playing, particularly the Beethoven piano sonatas.

Teaching and learning dynamics in musical instrument tuition, especially in one-to-one teacher–student contexts, have not been studied in a truly systematic manner. The research described in this paper attempts to bring some insights to this area, for teachers and students were studied over a period of six months. More specifically, in the fourth month of the study, all the learners took a practical instrumental examination of the Associated Board of the Royal Schools of Music (either violin or piano, ranging from Grades 1 to 8). It thus became possible to explore how the teachers aided, developed and structured the students' preparation up to, during and after the examination, and also how the students worked and responded to the examinations within the context of their families. Furthermore, parents were observed and interviewed about their interactions with their children – the students – and the teachers. Looking at four teachers and eighteen students, the results revealed a number of complex and interconnected themes which both aided and hindered learning. The current paper highlights these.

I concetti e le concezioni — che sembravano essersi stabilizzate alla fine del 19 e 20 secolo erano lesi dal ravvivarsi di intelletti che cercavano mezzi prevemtivi contro le violazikmi dei diritti dell’uomo che avevano luogo duranite la secanda guerra mondiale. Risultato di questo movimemto intellettuale era la Dichiarazione dei Diritti dell’Uomo (ONU 1948, 12. 10). Nella Chiesa Cattolica problerni simili erano smossi da Giovanni XXIII nell’enciclica „Mater et Magistra” e nell’enciclica „Pacem in Terris”. I pastulati preconciliard e le analisi del Concilio portavano a concrete soluzioni che si sono venute a trovare nei documenti conciliari. Non tutto nondimeno era in teoria risolto sino alla fine, particolarmente per quanto riguarda la materia del problema che c’interessa. In Concilio vuole chiaramente richiamare l’attenzione sul fatto ehe il problema è molto più complesso di quanto possa sembrare ad un primo squardo. Per esempio dalla Dichiarazione della libertà religiosa risulta chiaramente che la verità e la libertà non si escludono reciprocamente, ma sono valori strettamente connessi fra loro. Da questa Dichiarazione e dal Decreto sull’Ecumenismo risulta ehe un giusto modo di comprendere l’ecumenismo non puó ammettere compiti troppo catagorici. Si devorao rispettare le convinzioni apprese in buona fede. Del resto si rileva giustamente ehe al rispetto delle opinioni altrui non significa che le si approve. Dopo una tappa indiretta nella quale il documento „Matrimonii sacramentum” della Congregaaione della Dottrina della Fede attenuava le esigenze per la parte non cattolica, si aveva il passo successivo, preparato dal sinodo dei vescovi del 1967. Si tratta qui del Motu Proprio „Matrimonia Mixta”. Per quanto riguarda le esigenze poste alla parte cattolica, si è usufruito di concetti risalenti al periodo della formazione delle „cautiones aequipollentes” e al periodo conciliare, asserendo che il cattolico fa tutto „secondo le sue forze”, „pro viribus” perché tutti i figli vengano educati nella religione cattolica. Invece alla parte non cattolica si richiede soltanto che prenda conoscenza dell’obbligazione assunta dalla parte cattolica e ciò, per natura di cose, si porta dietro il postulato della tolleranza naturale. Un simile atteggiamento è un modo di rispettare la conscienza in realtà non sempre concorde con i principi cattolici, ma formatosi in buona fede. Una migliore comprensione della legge positiva divina, e prima di tuitto naturale, permette di sperare che pian piano si giunga ad una più completa soluzione dell’apparente contraddizione fra la legge naturale, che richiede di agire concordamente alla coscienza conformata in buona fede, e le canseguanze che derivano dalla legge divina positiva. Non vi può essere infatti un reale contraddizione.

Thesis (MMus) -- Stellenbosch University, 2002.
ENGLISH 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.

The thesis investigated the social and symbolic significance of acquiring a 'music education' through the taking of piano tuition and external public music examinations. It aimed to discover why the learning of the piano and the certification of musical attainment are so prevalent and revered among Malaysian music students. Its purpose was to unravel the socio-cultural raison d'etre of this approach to music education through the creation of a metatheoretical schema, which is premised upon the theories of symbolic interactionist, George Herbert Mead, music analyst, Heinrich Schenker and social theorist, George Ritzer. Central to the argument in this instance is the symbolic significance associated with the act of playing the piano. The investigation attempted to determine if this 'act' conveyed a symbolic meaning that is peculiar to a specific cultural vista. It further examined the degree to which this practice represented both a validation and a sense of conformity to social norms in the continuity and stability of an expanding middle class society in Malaysia. The Associated Board of the Royal Schools of Music (ABRSM) is the largest of the five main external public music examination boards that operate in Malaysia. Since 1948, over one million candidates have enrolled for ABRSM examinations in Malaysia and a team of approximately thirty ABRSM examiners visit Malaysia for three months every year. The majority of the candidates are pianists. Given such large numbers of piano candidates, one might expect a healthy development of musical talent in the country with aspiring pianists eager to demonstrate their musical prowess. However, this does not seem to be the case. On the contrary, there appears to be a curious lacuna between the growing number of students who enrol for external public music examinations and the seemingly lack of interest in public music making and the honing of general musicianship skills. The thesis hence examined the symbolic meaning of this socio-rausicological phenomena.

The thesis investigated the social and symbolic significance of acquiring a 'music education' through the taking of piano tuition and external public music examinations. It aimed to discover why the learning of the piano and the certification of musical attainment are so prevalent and revered among Malaysian music students. Its purpose was to unravel the socio-cultural raison d'etre of this approach to music education through the creation of a metatheoretical schema, which is premised upon the theories of symbolic interactionist, George Herbert Mead, music analyst, Heinrich Schenker and social theorist, George Ritzer. Central to the argument in this instance is the symbolic significance associated with the act of playing the piano. The investigation attempted to determine if this 'act' conveyed a symbolic meaning that is peculiar to a specific cultural vista. It further examined the degree to which this practice represented both a validation and a sense of conformity to social norms in the continuity and stability of an expanding middle class society in Malaysia. The Associated Board of the Royal Schools of Music (ABRSM) is the largest of the five main external public music examination boards that operate in Malaysia. Since 1948, over one million candidates have enrolled for ABRSM examinations in Malaysia and a team of approximately thirty ABRSM examiners visit Malaysia for three months every year. The majority of the candidates are pianists. Given such large numbers of piano candidates, one might expect a healthy development of musical talent in the country with aspiring pianists eager to demonstrate their musical prowess. However, this does not seem to be the case. On the contrary, there appears to be a curious lacuna between the growing number of students who enrol for external public music examinations and the seemingly lack of interest in public music making and the honing of general musicianship skills. The thesis hence examined the symbolic meaning of this socio-musicological phenomena.

Syftet i denna studie är att utifrån ett sociokulturellt perspektiv utforska pianolärares syn på kreativt skapande inom pianoundervisning. Detta görs med forskningsfrågorna: Hur ser pianolärare på kreativt skapande i pianoundervisning? Hur beskriver de att de arbetar med kreativt skapande i sin undervisning? Vilka förutsättningar anser de behövs för att kunna arbeta med kreativt skapande i pianoundervisning? Studien är kvalitativ och ett sociokulturellt perspektiv används som teoretisk utgångspunkt. Den forskningsmetod som använts är kvalitativa intervjuer där fyra pianolärare har intervjuats. Intervjuerna har transkriberats och analyserats genom tematisk analys. I resultatet framgår de olika lärarnas synsätt och arbetssätt, uppdelat i tre huvudteman: Pianolärares syn på kreativt skapande, att arbeta kreativt i pianoundervisning, samt förutsättningar för en kreativ miljö. I studiens avslutande kapitel diskuteras resultatets teman med studiens teoretiska perspektiv samt tidigare litteratur och forskning.
The 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.

Literature study on piano technique, which consists mainly of piano pedagogues' empirical considerations, indicates the existence of common strategies/theories regarding the development of a piano technique. A meaningful and scientifically grounded piano-technical orientation is one of the major factors during the first few months of piano tuition and provides a basis for the development of an advanced piano technique. The majority of beginner piano courses use the adjacent, legato five finger method. The researcher identified six beginner courses, which were analysed in order to measure their presentation of a well-structured piano-technical development against the recommendations of well-known piano pedagogues/author~ in this field. During this process, demerits in the sequence, structure and presentation of the basic movements in piano playing were found. In most instances the use of the bigger levers are not addressed at all. All the levers and their specific movements should be addressed from the very first lesson. A logical motoric and educational process is to concentrate on the bigger levers (giving the support), which perform slower and easier movements, and then move on to the smaller levers, which perform faster and more complicated movements. All theoretical information in the beginner books studied is properly explained and presented in a very structured manner. The researcher is, however, concerned about the fact that there is not enough structure in the sequence of teaching and developing the basic technical movements in the beginner piano courses using the adjacent, legato five finger method. The connection between sound and movement is not made. Authors in the field of piano technique emphasize the fact that the movements the beginner is taught during the first lessons provide the technical foundation for the rest of his/her life. To address demerits in the structure, presentation and discrepancy in the sequence of learning the basic movements, the researcher compiles exercises for the beginner. These exercises concentrate on specific movements and results in sound recommended by well-known authors in the field of piano technique. In addition the researcher strives to explain the movements as clearly as possible and illustrates them with photographs and pictures.
Thesis (DMus (Performing Arts))--University of Pretoria, 2006.
Music
unrestricted

Thesis (M.Mus.)--University of the Witwatersrand, Faculty of Humanities, School of Music, 2012
This 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

'n Omvattende literatuurstudie oor die funksionering en ontwikkeling van die brein is onderneem ten einde toepasbare aspekte te identifiseer vir die verbetering van aanvangsonderrig vir pianiste. Die oorsig behels die volgende:

• 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.

Die leerstylmodel van Ned Herrmann vir heelbreinontwikkeling is gebruik om die karaktereienskappe en leerbehoeftes van individue met betrekking tot hul kognitiewe leervoorkeure te bepaal. Vier verskillende benaderings tot aanvangsklavieronderrig is geïdentifiseer. Die geskiktheid van die onderskeie aanvangsbenaderings word teenoor mekaar opgeweeg ten einde te bepaal of 'n spesifieke benadering beter sou pas by leerders met spesifieke leervoorkeure. Wenke word voorsien aan klavieronderwysers oor hoe om onderrig aan leerders met uiteenlopende kognitiewe leerstyle aan te bied. Twee-en-twintig beginnersboeke is evalueer ten opsigte van hul geskiktheid vir gebruik vir leerders met verskillende kognitiewe leervoorkeure. Aanbevelings word gemaak vir die samestelling van 'n ideale beginnersboek wat met sukses vir alle klavierleerders gebruik sal kan word. Die toegevoegde waarde van prelees, duetpartye, nabootsspel, improvisasie en illustrasies vir beginnersboeke is ondersoek. Aspekte soos geordende aanbieding van konsepte en die noodsaak vir uitgebreide herhaling vir die vaslegging van die informasie en tegniese vaardighede in die langtermyngeheuestore van die brein word beklemtoon.
Thesis (DMus)--University of Pretoria, 2008.
Music
unrestricted