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Tunaru, Radu. "Pianele și pianinele Clujului. Pianina „Carl Bechstein”." Anuarul Muzeului Etnograif al Transilvaniei 30 (December 20, 2016): 342–51. http://dx.doi.org/10.47802/amet.2016.30.20.
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Piano restoration requires a delicate work because it is not a furniture, it is a musical instrument, complex object, requiring minimal musical knowledge to put back in use. Upright piano ”Carl Bechstein” raised multiple issues, from legs replaced with those of a table, to veneer, metalics elements, lace and felt damaged. Once complete disassembled, the hardest stage of the restoration was to consolidate the assembly with organic glue (isinglass) and fastening strap in place all elements, with clamping systems, so that piano regain functionality.
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Ma, Yao. "Feasibility Analysis of Intelligent Piano in Piano Teaching." Scientific Programming 2022 (October 10, 2022): 1–8. http://dx.doi.org/10.1155/2022/5010428.
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With the rapid development of artificial intelligence, big data, blockchain, and other technologies, the impact of intelligent environment on the development of education has become more and more profound. Other developed countries have realized that education reform is urgent in the intelligent environment. So as to seize the major strategic opportunity of artificial intelligence development, my country has optimized the teaching content, teaching methods, and teaching methods of traditional piano teaching on the basis of respecting the traditional piano teaching concept. Upgrade to achieve the innovation of the relationship between teaching and learning in piano education in normal schools, and create a new situation for piano teaching in normal schools. Based on the current situation of piano education for musicology majors in normal schools, this paper takes the intelligent piano as the research object, compares the advantages and disadvantages of the application of smart pianos and traditional pianos in the environment of normal schools, combines the intelligent technology provided by smart pianos, and explores the application of technology to pianos in normal normal schools. The path of teaching reflects the value and use value of intelligent piano in piano teaching in normal schools and explores the value of intelligent piano teaching.
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Chang, Liu, and Md Jais Ismail. "THE EFFECTIVE OF SMART PIANO TO ENHANCE PIANO SKILLS ON CHILDREN." International Journal of Education, Psychology and Counseling 8, no. 52 (December 24, 2023): 416–27. http://dx.doi.org/10.35631/ijepc.852032.
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This study aims to explore the potential benefits and effectiveness of incorporating smart pianos in the piano learning process for children. The research investigates the impact of smart piano teaching on enhancing piano skills among children. The participants of this study consist of students aged 4 to 6 years old, who are enrolled in a piano learning program that incorporates smart pianos. The research examines the students' progress over a designated period, comparing it with a control group using traditional piano instruction methods. The findings of this study contribute to the understanding of the benefits and limitations of smart piano education in piano education. The results reveal that smart pianos provide interactive learning experiences, including visual feedback, practice assistance features, progress tracking, and individualized learning options. These features positively impact students' engagement, motivation, and overall piano skill development. The implications of this research suggest that smart piano can be a valuable tool in piano education, enhancing students' learning experiences and promoting their overall musical growth. The study calls for further research with larger sample sizes and longer duration to validate and extend these initial findings.
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Baker, Valerie A. "Teachers’ Perceptions on Current Piano Use in the Elementary General Music Classroom." Update: Applications of Research in Music Education 35, no. 2 (August 1, 2016): 23–29. http://dx.doi.org/10.1177/8755123315598558.
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The purpose of this study was to identify teacher opinion of piano use, the amount of piano use, and current purposes for pianos in elementary general music classrooms. A geographically diverse sample of general music teachers ( N = 189) completed a piano use survey. The data indicated that teachers felt piano was an important part of elementary music and that the piano should be used for accompaniment more than any other purpose. Pianos were most commonly used on a weekly basis. Teachers who began piano lessons at a younger age also tended to use more piano in their classrooms. Qualitative statements made about piano use were positive and enthusiastic. This study provides direction for future research in the investigation of relationships between amount of piano use and teacher variables, and the amount of a cappella singing in the elementary classroom.
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Eroy, Ozan, Onur Zahal, and Engin Gürpınar. "The effect of polyphonization of Hüseyni maqam melodies within modal jazz harmony and dorian scale on success in piano educationHüseyni makamı içerikli ezgilerin modal caz armonisi ve doryen dizi kapsamında çokseslendirilmesinin piyano eğitiminde başarıya etkisi." Journal of Human Sciences 13, no. 3 (December 16, 2016): 5471. http://dx.doi.org/10.14687/jhs.v13i3.4096.
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This research aims to determine effects of polyphonic performance of Turkish Music melodies containing Hüseyni maqam with modal jazz harmony on undergraduate piano students. Accordingly, “one group pretest-posttest pattern”,one of the weak experimental modals, has been used in the survey. In scope of the research, a piano curriculum based upon the components such as a general information about modal jazz harmony and chord setups has been applied to the students over two studies that are composed with dorian scale and two folk songs performed polyphonically in Hüseyni maqam. The effect of the applied piano curriculum on students’ piano performance has been analysed. As Hüseyni maqam in Turkish Music resembles dorian scale, the studies used for the curriculum have been made based on dorian scale. A six-week curriculum was applied to the students in the process level of the experimental period of the research. The pretest-posttest piano performance success of the students has been analysed by using piano performance rating form prepared pursuant to learned opinion. Wilcoxon Signed Rank Test and r effect size were calculated in the analysis process. As a result of the survey, it has been determined that the piano curriculum based on dorian scale and modal jazz harmony, enhances the piano performance success of the students noteworthily. Moreover, it has also been identified that the influence quantity is in a high level. ÖzetAraştırma ile Türkiye'de lisans düzeyinde piyano eğitimi gören öğrenciler için modal caz armonisi ile çokseslendirilen Hüseyni makamı içerikli Türk müziği ezgilerinin, öğrencilerin piyano performanslarına olan etkisinin belirlenmesi amaçlanmaktadır. Bu doğrultuda, araştırmada zayıf deneysel modellerden "tek grup ön test-son test desen" kullanılmıştır. Araştırma kapsamında, öğrencilere; doryen dizi ile bestelenmiş iki etüt ve çokseslendirilmiş iki hüseyni içerikli türkü üzerinden modal caz armonisine ilişkin genel bilgiler, akor kurulumları vb. öğelere dayanan bir piyano öğretim programı uygulanmıştır. Uygulanan piyano öğretim programının öğrenci piyano performanslarına olan etkisi incelenmiştir. Türk müziğindeki Hüseyni makamı dizisi ile doryen dizi benzerlik gösterdiği için öğretim programında kullanılan etütler, doryen dizi temel alınarak oluşturulmuştur. Araştırmanın deneysel sürecinin işlem evresinde öğrencilere altı haftalık piyano öğretim programı uygulanmıştır. Öğrencilerin öntest-sontest piyano performans başarıları, uzman görüşleri çerçevesinde oluşturulan piyano performans değerlendirme formu uygulanarak incelenmiştir. Analiz işlemlerinde Wilcoxon İşaretli Sıralar testi ve r etki büyüklüğü değerleri hesaplanmıştır. Araştırma sonucunda doryen dizi ile modal caz armonisine dayanan piyano öğretim programının, öğrencilerin piyano performans başarılarını anlamlı düzeyde arttırdığı tespit edilmiştir. Etki büyüklüklerinin ise yüksek düzeyde olduğu belirlenmiştir.
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Micelli, Ezio. "Modelli di perequazione tra piano strutturale e operativo." ARCHIVIO DI STUDI URBANI E REGIONALI, no. 96 (September 2010): 113–32. http://dx.doi.org/10.3280/asur2009-096005.
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L'obiettivo dello studio č di considerare l'effetto della nuova articolazione del piano urbanistico in piano strutturale e operativo sul metodo perequativo. Alcuni piani pongono l'enfasi sulla componente strategica del piano strutturale, delegando alla parte operativa i compiti legati allo sviluppo della principio perequativo; altri, al contrario, promuovono la centralitŕ del piano strutturale e in esso collocano le scelte rilevanti in tema di perequazione. Entrambi i modelli presentano limiti significativi. La soluzione puň essere cercata in scelte capaci di coniugare norme flessibili, capaci di adeguarsi all'evoluzione delle domande collettive, e tuttavia in grado di fissare i capisaldi del metodo perequativo.
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Loncar, Sonja, and Andrija Pavlovic. "Hybrid duo." Muzikologija, no. 24 (2018): 111–21. http://dx.doi.org/10.2298/muz1824111l.
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As members of the LP Duo, for the past 14 years we have experimented with various possibilities of playing on two pianos. Our artistic curiosity and the desire to gain new knowledge and freedom led to our involvement with the Quantum Music project and the creation of a new instrument - the hybrid piano. In this paper we elaborate on our experience with using the new hybrid pianos within the Quantum Music project, but also discuss our ensemble as an artistic embodiment of duality, entanglement and other quantum phenomena. Hybrid piano is a combination of a traditional piano and digital synthesizer with analogue controls that allows different processing of acoustic and digital signals in real time and enables the pianists to continue to use concert pianos whilst equipping them with new colours and new, hitherto unexlplored expressive possibilities.
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Huang, Huicheng. "Exploration of Tonal Stability of New Pianos." Journal of Education and Educational Research 6, no. 2 (December 10, 2023): 74–76. http://dx.doi.org/10.54097/jeer.v6i2.14963.
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Accurate intonation is the first element of piano quality. A piano with good intonation can cultivate people's emotions and give listeners a good sense of music, and it is also a symbolic symbol for performers to express their musical emotions and playing standards. This will cause all the beauty of piano music to be distorted, and in serious cases, even affect the human ear hearing organs. As the structure and string tension of new pianos are extremely unstable, the factors affecting the stability of piano intonation are also multifaceted, so it is an inevitable requirement for the pursuit of musical beauty to change the string tension and adjust the structure of the piano in a stable state through the intonation debugging in a timely manner.
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Sitorus, Eritha Rohana, Kustap Kustap, and Alief Aditya Subekti. "Penerapan Sistem Equal Temperament pada Penalaan Piano di Yogyakarta." PROMUSIKA 7, no. 2 (September 30, 2019): 93–105. http://dx.doi.org/10.24821/promusika.v7i2.3628.
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This study examines the equal temperament theory on the piano strings tuning methods and their application. The problem raised in this study is how the theory is applied in tuning the pianos in Yogyakarta? To uncover the problem, this study utilizes a theoretical method by confirming the approaches that have been used by two piano tuners in Yogyakarta to the theories about piano tuning. The purpose of this study was to obtain knowledge about the application of the equal temperament principles in piano tuning in Yogyakarta. This study concludes that although all piano tuners were based their tuning on the theory of equal temperament with varied approaches and techniques ear sensitivity has a very important role.Penelitian ini menguji teori equal temperament pada metode penalaan dawai piano dan aplikasinya. Permasalahan yang diangkat dalam penelitian ini adalah bagaimana teori tersebut diterapkan dalam penalaan piano di Yogyakarta? Untuk mengungkap masalah tersebut, penelitian ini menggunakan metode teoritikal, yaitu dengan mengkonfirmasi pendekatan yang telah digunakan oleh dua orang penala piano di Yogyakarta dengan teori-teori tentang penalaan piano. Tujuan dari penelitian ini adalah untuk memperoleh pengetahuan tentang penerapan prinsip-prinsip equal temperament dalam penalaan piano di Yogyakarta. Penelitian ini menyimpulkan bahwa meskipun semua piano tuner mendasarkan penalaan mereka pada teori temperamen yang sama dengan berbagai variasi pendekatan dan teknik, pada kenyataannya sensitivitas telinga memiliki peran yang sangat penting.
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Lawless, Patrick, and Amnon Wolman. "Concerto for Piano, Pianos and Orchestra." Computer Music Journal 15, no. 2 (1991): 72. http://dx.doi.org/10.2307/3680918.
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Kilic, Deniz Beste Cevik. "An Investigation of Music Teacher Candidates’ Performance Anxiety Levels in Piano Examinations." Journal of Education and Learning 7, no. 1 (January 19, 2018): 299. http://dx.doi.org/10.5539/jel.v7n1p299.
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Examination anxiety in piano education, one of the important courses in music education, can negatively affect both success in examinations and the education of students. This study aimed to determine the anxiety levels of students in the music education departments of universities in western Turkey regarding their piano examinations and their significance according to different variables. The study sample consisted of 174 female and 107 male students. The study found the students’ performance anxiety levels related to piano examinations to be moderate. There were no statistically significant differences in their anxiety levels by gender or age. Students with their own pianos were less likely to have performance concerns regarding piano examinations than those without. It was also found that the students’ year of study had a significant effect on their performance anxiety levels in piano examinations.
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Jaatinen, Jussi, and Jukka Pätynen. "Effect of inharmonicity on pitch perception and subjective tuning of piano tones." Journal of the Acoustical Society of America 152, no. 2 (August 2022): 1146–57. http://dx.doi.org/10.1121/10.0013572.
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The consensus in piano tuning philosophy explains the stretched tuning scale by the inharmonicity of piano strings. This study aimed to examine how variable inharmonicity influences the result of the piano tuning process, compare the tuning curves of aurally tuned pianos with the curves derived from subjective octave enlargement experiments, and evaluate whether the pitches of inharmonic or harmonic versions of the same tone are perceived differently. In addition, the influence of strings of other piano keys on the measured inharmonicity of a single piano string was investigated. The inharmonicity of all individual strings was measured on a Steinway D grand piano. Variable inharmonicity was implemented by additive synthesis with frequency-adjusted sinusoidal partials. Fifteen piano tuners and 18 orchestra musicians participated in the experiments. The results indicate that the inharmonic piano tones produced a keyboard tuning curve similar to the Railsback curve and differed significantly from the harmonic counterpart. The inharmonic tuning curve was reminiscent of the subjective octave enlargement curve. Inharmonic tone pitches were perceived to be higher than harmonic tones up to [Formula: see text]. The covibrating strings of the other keys did not exhibit any meaningful effect on the measured inharmonicity of a single string of the played key.
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Deja, Jordan Aiko, Sven Mayer, Klen Čopič Pucihar, and Matjaž Kljun. "A survey of augmented piano prototypes: has augmentation improved learning experiences?" Proceedings of the ACM on Human-Computer Interaction 6, ISS (November 14, 2022): 226–53. http://dx.doi.org/10.1145/3567719.
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Humans have been developing and playing musical instruments for millennia. With technological advancements, instruments were becoming ever more sophisticated. In recent decades computer-supported innovations have also been introduced in hardware design, usability, and aesthetics. One of the most commonly digitally augmented instruments is the piano. Besides electronic keyboards, several prototypes augmenting pianos with different projections providing various levels of interactivity on and around the keyboard have been implemented in order to support piano players. However, it is still unclear whether these solutions support the learning process. In this paper, we present a systematic review of augmented piano prototypes focusing on instrument learning based on the four themes derived from interviews with piano experts to understand better the problems of teaching the piano. These themes are (i) synchronised movement and body posture, (ii) sight-reading, (iii) ensuring motivation, and (iv) encouraging improvisation. We found that prototypes are saturated on the synchronisation themes, and there are opportunities for sight-reading, motivation, and improvisation themes. We conclude by presenting recommendations on augmenting piano systems towards enriching the piano learning experience as well as on possible directions to expand knowledge in the area.
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Văidean, Vlad. "George Enescu – Piano Works by Raluca Știrbăț." Musicology Today: Journal of the National University of Music Bucharest XIV, no. 53 (June 14, 2024): 57–67. http://dx.doi.org/10.69608/mt.53.05.
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Liu, Ying. "Evaluation of Interactive College Piano Teaching's Effect Based on Artificial Intelligence Technology." International Journal of Web-Based Learning and Teaching Technologies 19, no. 1 (December 18, 2023): 1–16. http://dx.doi.org/10.4018/ijwltt.335079.
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In recent years, with the economic development of various countries, education has also made great leaps, and piano teaching has been popularized and promoted in various universities. Pianos are also put into use in universities through normal channels. According to the survey, there are certain drawbacks in the teaching process of piano, which hinder the teaching effect to a great extent. In order to better adapt to the interactive teaching mode, this paper takes the flipped classroom in piano teaching as an example to conduct a systematic study based on the method of artificial intelligence. This paper introduces three typical artificial intelligence technologies and analyzes the three evaluative indicators corresponding to the effect of piano interactive teaching. The analysis results show that the prediction effect based on fuzzy neural inference system is the best. In addition, the three-dimensional display of the prediction data shows that the prediction effect obtained by artificial intelligence shows a strong consistency with the actual evaluation effect.
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Dumlavwalla, Diana T. "The piano pedagogy scenes in India and the Philippines: An introductory cross-cultural comparison." International Journal of Music Education 37, no. 3 (April 17, 2019): 390–406. http://dx.doi.org/10.1177/0255761419839169.
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Categorized as developing nations, India and the Philippines are not generally known as centers for piano study. There has been little research investigating the traditions of piano education in these nations. In this study, I examined a number of issues related to piano pedagogy in each country. Data were collected from teachers in India ( n = 45) and the Philippines ( n = 28), who completed a 29-item questionnaire. Additionally, three instructors from India and one instructor from the Philippines were interviewed to gain further insight. A summary and comparison of the availability of piano instruction for pre-college students were outlined and opportunities for teacher support and professional development were explored. I looked at the current professional practices, the types of pedagogical methodologies and materials used in each country, the quality and types of pianos and keyboard instruments available, as well as the practice expectations and environments of students. How each country’s system of piano education adopts Western influence and observes their respective traditions is also presented. It is hoped that this research will lead to more in-depth investigation about these countries’ teaching practices and provide additional perspectives for pedagogues around the world.
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Tomassoni, Valentina, Angelo Gigliotti, Fabrizio Bramerini, Gianluca Carbone, Francesco Fazzio, and Cora Fontana. "Metodologie di rilevamento dati e analisi per la valutazione del Piano di Protezione Civile comunale." TERRITORIO, no. 101 (March 2023): 140–54. http://dx.doi.org/10.3280/tr2022-101017.
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L'importanza del Piano di Protezione Civile, come strumento utile alla mitigazione dei rischi e al miglioramento dell'efficacia degli interventi in emergenza, è questione consolidata in letteratura. Le attività di preparazione, che definiscono in anticipo scenari di rischio attesi, attori coinvolti, procedure di intervento, risorse necessarie e disponibili, sono un presupposto indispensabile per garantire una tempestiva risposta in emergenza. L'articolo descrive una scheda di rilevamento dati proposta dagli autori e finalizzata all'analisi del Piano. Applicata in questa fase su un campione di 10 Piani, la scheda fornisce uno strumento di analisi utile a valutare quelle componenti dei Piani che richiedono un miglioramento e ad orientarne la revisione in vista di una maggiore incisività.
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Merusi, Fabio. "Il coordinamento della pianificazione sul territorio nell’ordinamento italiano." Revista Andaluza de Administración Pública, no. 63 (September 30, 2006): 47–53. http://dx.doi.org/10.46735/raap.n63.397.
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SUMARIO:
1. LA PROGRAMMAZIONE GERARCHICA DEL 1942. I PIANI TERRITORIALI DI COORDINAMENTO. NON FURONO MAI REALIZZATI, TRANNE CHE IN QUALCHE ZONA INDUSTRIALE. 2. LE PROGRAMMAZIONI REGIONALI. 3. LA RIFORMA DEGLI ANNI ‘90 DEL SECOLO SCORSO. NUOVE AUTONOMIE AI COMUNI. IL PIANO TERRITORIALE DI COORDINAMENTO DEI PIANI COMUNALI VIENE AFFIDATO ALLA PROVINCIA. 4. RIFORMA DEL TITOLO V DELLA COSTITUZIONE NEL 2001: TUTTI GLI ENTI TERRITORIALI, STATO, REGIONI, CITTÀ METROPOLITANE, PROVINCE E COMUNI SONO SULLO STESSO PIANO, DI CONSEGUENZA TUTTI DEBBONO PARTECIPARE AL PROCEDIMENTO DI ELABORAZIONE DEI PIANI. COORDINAMENTO NEI PROCEDIMENTI DI PIANIFICAZIONE DI TUTTE LE PIANIFICAZIONI SETTORIALI CHE INTERESSANO IL TERRITORIO. LA NUOVA COMPETENZA LEGISLATIVA ATTRIBUITA ALLE REGIONI SUL GOVERNO DEL TERRITORIO DETERMINA LA POSSIBILITÀ DI DISCIPLINE DIVERSE IN OGNI SINGOLA REGIONE ANCHE SULLE PIANIFICAZIONI DI AREA VASTA ATTRIBUITE ALLE PROVINCE. 5. CONCLUSIONI RIASSUNTIVE SULLA DISCIPLINA ATTUALE DELLA PIANIFICAZIONE DI AREA VASTA.
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Wald Lasowski, Aliocha. "Piano nomade et piano écosophique." Chimères 76, no. 1 (2012): 153. http://dx.doi.org/10.3917/chime.076.0153.
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Spaulding, Christian. "Piano, piano, ma non troppo…" Journal Européen des Urgences 21, no. 1 (October 2008): 1. http://dx.doi.org/10.1016/s0993-9857(08)73837-8.
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Maunder, Richard. "J. C. Bach and the Early Piano in London." Journal of the Royal Musical Association 116, no. 2 (1991): 201–10. http://dx.doi.org/10.1093/jrma/116.2.201.
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A study of Johann Christian Bach's keyboard music prompts the obvious and important question: which of his sonatas and concertos were composed for harpsichord, and which for the piano? (Indeed, did he think of them as two distinct instruments at all?) And what sort of pianos did he have available on the occasions when he played them in public? Did he really play his ‘Solo on the Piano Forte’ at the Thatched House on 2 June 1768 (in a concert that consisted mainly of orchestral music) on a little Zumpe square, or was he already using a prototype English grand? When were these various models of piano first made in London, and what musical use did other composers and performers, as well as J. C. Bach, make of them?
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Blumenstein, Tobias, Varvara Turova, Ana Alves-Pinto, and Renée Lampe. "Sensorimotor Piano System for People with Disabilities." Journal of Sensors 2016 (2016): 1–7. http://dx.doi.org/10.1155/2016/9825905.
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A sensorimotor training system that facilitates learning to play piano was developed and tested. The system consists of three communicating units. The first unit comprises two pianos: an E-piano with a MIDI output for the teacher and an acoustic or an E-piano for the pupil. The pupil’s piano is supplied with an LED bar that illuminates the key to be struck. The second unit is a controller providing the interface between the teacher’s piano and the LED bar. The third unit consists of two pairs of gloves: one for the teacher and one for the pupil. The teacher gloves have integrated pressure sensors at every fingertip. The pupil’s gloves have vibration motors and LEDs at every finger. The pressure sensed on the teacher’s glove is transmitted to the corresponding finger on the pupil’s glove via the vibration motors and LEDs, such that the pupil knows which finger should strike which key. Additionally, two OLED displays showing the notation of the note played by the teacher can be attached to the left and right pupil’s gloves. Initially developed for people with cerebral palsy the sensorimotor system can support the learning also to all those with sensory, cognitive, and space perception impairments.
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Medić, Ivana. "Parenting the piano: Miroslav Miša Savić's 'St. Lazarus Waltz'." New Sound, no. 49 (2017): 123–38. http://dx.doi.org/10.5937/newso1749123m.
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This article deals with a work by a contemporary Serbian composer Miroslav Miša Savić (b. 1954): St. Lazarus Waltz for one or two grand pianos, with or without children's toy pianos. Since St. Lazarus is a children's holiday, the composer's idea was to depict children by toy pianos, while the grand pianos are 'parents'. The waltz exists in several versions: from the first one, where the children pianos are quite small and their musical parts very restricted, to the version for two 'adult' pianos, which describes the moment in life when children have grown up and left their parental home. Aside from exploring these musical 'family ties', Savić implements a simple yet ingenious constructive principle in all versions of this waltz. The structure of the piece is based on the exploitation of the system of equal temperament and on the Fibonacci row, and this frame is filled with several layers of musical references, including: Johann Sebastian Bach and other composers who wrote 'well-tempered' piano music; repetitive/processual minimalism, a style that Savić and his peers brought into Serbian music, but have since evolved in different directions; the Serbian tradition of romantic salon piano pieces; finally, the Orthodox tradition, but referenced in a way very different from the 'NEO-Orthodox' trend that has been present in Serbian art music since the late 1980s.
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Sakai, Naotaka. "Keyboard Span in Old Musical Instruments: Concerning Hand Span and Overuse Problems in Pianists." Medical Problems of Performing Artists 23, no. 4 (December 1, 2008): 169–71. http://dx.doi.org/10.21091/mppa.2008.4034.
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The keyboard spans (i.e., octave spans) of old keyboard instruments was compared with those of modern pianos to explore whether the relationship between keyboard span and hand span is a contributory factor in overuse problems among pianists. The distance on the keyboard between the left side of the C4 key and the right side of the C5 key was measured in 120 old keyboard instruments, including 26 harpsichords, 8 clavichords, 7 spinets, 4 virginals, 75 pianofortes, and 20 square pianos, manufactured from 1559 through 1929. The oldest harpsichords and pianoforte showed a keyboard span equal to that of the modern piano. In late 18th and early 19th centuries, the span diminished by 3 to 6 mm on average. In the later 19th century, the keyboard span returned to the 188-mm modern size. Unfortunately, almost all famous piano pieces composed in that 100-year period use a small keyboard, and this fact is compatible with the paradoxical situation that many modern pianists struggle with difficult piano techniques on a modern keyboard, which is broader than the old type that the 18th and 19th-century composers used.
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Pike, Pamela D. "Improving music teaching and learning through online service: A case study of a synchronous online teaching internship." International Journal of Music Education 35, no. 1 (June 23, 2016): 107–17. http://dx.doi.org/10.1177/0255761415613534.
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This case study explored the potential for using a synchronous online piano teaching internship as a service-learning project for graduate pedagogy interns. In partnership with the university, a local music retailer, and a local middle school, three pedagogy interns taught beginning piano to underprivileged teenaged students for 8 weeks. All instruction took place in the synchronous online environment using acoustic Disklavier pianos, Internet MIDI, Facetime, and traditional method books. As a result of the experience, the students demonstrated musical understanding and the pedagogy interns developed teaching techniques, displayed improved comprehension of course content, learned about current distance teaching technology, and considered the role of music education in society. Based on these results, it might be feasible to provide piano lessons to underserved populations in remote locations while offering meaningful internship experiences to pedagogy students through distance service-learning projects.
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SKOWRONECK, TILMAN. "FORTE/PIANO: A FESTIVAL CELEBRATING PIANOS IN HISTORY." Eighteenth Century Music 13, no. 1 (February 11, 2016): 151–54. http://dx.doi.org/10.1017/s1478570615000627.
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Keeling, Geraldine. "Liszt at the Piano: Two American Pianos and Two American Artists." Studia Musicologica 55, no. 1-2 (June 2014): 145–56. http://dx.doi.org/10.1556/6.2014.55.1-2.10.
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The image of Liszt at the piano has been a favorite with artists. This article examines two paintings: an 1868 painting of Liszt at a Chickering piano by G. P. A. Healy and a 1919 painting of Liszt at a Steinway piano by John C. Johansen. Due to recent publications, the Chickering painting and its story are fairly well-known. In contrast, the Steinway painting is almost unknown. Healy’s portrait (1868) was done in his studio in Rome as Liszt sat playing for him. While Healy had seen Liszt’s Chickering piano, the instrument in his studio was not that piano and, despite the name “Chickering” on the fallboard, the painting does not faithfully convey the details of Liszt’s Chickering. Johansen’s portrait (1919) was done by an artist who had never met Liszt and almost certainly had never seen his Steinway piano. Because of the Chicago connection, this article proposes that Johansen took his inspiration from Healy.
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Napitupulu, Rachel Yohana Adriana, and Andre Indrawan. "Pembelajaran Online Piano di Concertino Music School Medan: Kajian Kualitatif Pendidikan Non-Formal pada Masa Pandemik." PROMUSIKA 10, no. 1 (April 30, 2022): 13–23. http://dx.doi.org/10.24821/promusika.v10i1.6839.
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Sejak awal munculnya pandemi Covid 19 di Indonesia, produktivitas kegiatan pembelajaran musik khususnya piano di lembaga nonformal menurun drastis. Penelitian ini bertujuan untuk mengkaji strategi mengajar guru piano dalam menjalankan profesinya di lembaga tersebut agar siswa dapat bertahan belajar. Penelitian ini menggunakan metode kualitatif. Populasi sampel penelitian ini adalah praktisi pendidikan dan partisipannya, khususnya guru dan siswa di Concertino Music School. Penelitian ini mengumpulkan data melalui observasi partisipatif terbatas dengan pendekatan partisipan sebagai observer. Namun, dalam pengamatan ini, seorang guru yang dipilih dan siswanya akan mewakili populasi. Prosedur penelitian meliputi penetapan data, observasi data sebagai pengamat, analisis data, dan penarikan kesimpulan. Hasil penelitian menunjukkan bahwa pembelajaran piano online bergantung pada ketersediaan dan kesiapan teknologi informasi dan komunikasi baik guru maupun siswa. Selain jaringan yang tidak stabil, kelemahan pendidikan online dalam proses belajar piano terkendala oleh petunjuk teknis akurasi bermain piano, terutama keterbatasan layar. Kesimpulannya, untuk mengatasi target kurikulum yang tidak dapat terpenuhi seluruhnya pada siswa karena keterbatasan fasilitas teknologi, guru mengintensifkan pengarahan dan pemberian motivasi untuk meningkatkan kemandirian siswa dalam belajar. Proses pembelajaran piano online ini akan berkontribusi pada pengembangan metode pengajaran musik online di lembaga non-formal dan meningkatkan studi pendidikan musik jarak jauh.AbstractOnline Piano Learning at Concertino Music School Medan: A Qualitative Study of Non-Formal Education During the Pandemic. Since the initial rise of the Covid 19 pandemic in Indonesia, the productivity of music learning activities, especially pianos, in non-formal institutions has drastically decreased. This research aims to examine the piano teacher teaching strategies in carrying out their profession in the institution so that students can survive learning. This study utilizes qualitative methods. The sample population of this research encompasses educational practitioners and their participants, especially teachers and students at Concertino Music School. This study collects data through limited participatory observation with the participant's approach as an observer. However, in this observation, a selected teacher and her student will represent the population. The research procedure includes establishing data, observing data as an observer, analyzing data, and drawing conclusions. The results showed that online piano learning relies on information and communication technology availability and readiness in teachers and students. In addition to unstable networks, the weakness of online education in the piano learning process is hindered by technical instructions on piano playing accuracy, especially by screen limitations. In conclusion, to overcome curriculum targets that Canada is fulfilled entirely by the student due to the limitations of technology facilities, teachers increase direction with motivation to improve students' self-independence in learning. This online piano learning process will contribute to the development of online music teaching methods in non-formal institutions and improve distance music education studies.Keywords: non-formal education; qualitative studies; online learning; piano
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Bettelini, Davide. "La pianificazione forestale in Ticino: stato attuale e prospettive." Schweizerische Zeitschrift fur Forstwesen 174, no. 6 (November 1, 2023): 350–54. http://dx.doi.org/10.3188/szf.2023.0350.
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Riassunto L'attuale sistema di pianificazione forestale in Ticino è stato sviluppato a partire dagli anni 2000. Esso si articola su una pianificazione strategica a livello cantonale, su piani di gestione a diversi livelli e, per gli aspetti operativi, sulla realizzazione di progetti per l'attuazione dei lavori sussidiati. Il Cantone si è dotato nel 2007 di un piano forestale cantonale. Gli intenti principali di tale piano erano: aumentare la superficie del bosco gestito (in particolare quello di protezione) e quella da destinare a riserva forestale. Il bilancio dell'attuazione del piano cantonale può essere ritenuto soddisfacente. Al livello operazionale, il sistema di pianificazione qui illustrato deve essere ancora in buona parte implementato. Solo una minoranza di comuni e proprietari (circa il 10%), infatti, dispone di piani di gestione comunali (la cui realizzazione è facoltativa) o di piani di gestione per le loro proprietà. In futuro, sia la pianificazione comunale sia quella a livello aziendale dovrebbero essere ulteriormente promosse e sviluppate. Una più estesa pianificazione forestale a questi livelli consentirebbe una maggiore partecipazione dei proprietari alle decisioni strategiche sulla gestione dei loro boschi. Le autorità locali avrebbero a disposizione uno strumento per meglio focalizzare l'attenzione sugli aspetti di interesse pubblico della gestione forestale. Non da ultimo, un approccio globale crea la possibilità di determinare meglio le priorità nel sostegno finanziario pubblico, aspetto che potrebbe diventare particolarmente importante qualora i finanziamenti al settore forestale dovessero diminuire.
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Cuervo Calvo, Laura. "El avance hacia la idiomatización del lenguaje pianístico a través de la edición de Clementi de las sonatas de D. Scarlatti (1791)." Anuario Musical, no. 72 (January 22, 2018): 123. http://dx.doi.org/10.3989/anuariomusical.2017.72.04.
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Muzio Clementi es el editor de la primera publicación hasta ahora conocida para piano de las sonatas de Domenico Scarlatti: Scarlatti’s Chefs d’Oeuvre, for the Harpsichord or Piano forte [1791]. Esta obra contiene diez sonatas impresas del músico napolitano escogidas por Clementi de manuscritos del siglo XVIII a los que tuvo acceso. También contiene una sonata de Antonio Soler y otra sonata anónima. La importancia de esta fuente radica en que posibilitó la difusión de una selección de sonatas de Scarlatti que antes solo eran accesibles a una minoría: Kk 378, 380, 490, 400, 475, 381, 206, 531, 462, 463; y además, que debido a numerosas revisiones editoriales específicas llevadas a cabo por Clementi para ser interpretadas al piano, presenta cambios significativos en el texto musical respecto a los manuscritos equivalentes. A través del estudio de estas revisiones editoriales, se pretende aportar información sobre la práctica interpretativa de los instrumentos de tecla de finales del siglo XVIII, sobre las características de los pianos ingleses para los que Clementi realizó dicha revisión y sobre el avance del lenguaje idiomático específico del piano en esa época.
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Ehrlich, Cyril. "Piano." Musical Times 126, no. 1709 (July 1985): 414. http://dx.doi.org/10.2307/964364.
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Rochester, Marc. "Piano." Musical Times 126, no. 1709 (July 1985): 415. http://dx.doi.org/10.2307/964366.
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Rochester, Marc. "Piano." Musical Times 127, no. 1716 (February 1986): 95. http://dx.doi.org/10.2307/964571.
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Wainwright, David, and David Crombie. "Piano." Galpin Society Journal 50 (March 1997): 295. http://dx.doi.org/10.2307/842605.
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Hodges, Nicholas, Berio, Stevenson, Crumb, and Stevens. "Piano." Musical Times 133, no. 1797 (November 1992): 582. http://dx.doi.org/10.2307/1002594.
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Caught, Anthony G. "Piano." Journal of the Acoustical Society of America 92, no. 5 (November 1992): 3029. http://dx.doi.org/10.1121/1.404312.
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Boruch, Marianne. "Piano." Women's Review of Books 9, no. 5 (February 1992): 9. http://dx.doi.org/10.2307/4021222.
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Sutulova, Nataliia. "Piano sound phenomenon in English-language scientific discourse." Aspects of Historical Musicology 27, no. 27 (December 27, 2022): 24–39. http://dx.doi.org/10.34064/khnum2-27.02.
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Statement of the problem. The process of achieving an aesthetically appealing and artistically true piano sound has long been a subject of research for musicians. In recent decades, domestic performance practice has relied on this issue mostly on the professional literature created back in the Soviet period. But the process of integrating Ukrainian musical education and performance into the European and world cultural space requires the study of alternative sources, primarily English-language ones, that reflect the experience of performers in different countries of the world, as well as correlations and the introduction of relevant terminology into scientific and practical circulation. Analyzing recent publications, we established that the phenomenon of the piano in general and piano sound in particular is considered from different points in the works of J. Parakilas (2000), E. Hiebert (2013), V. Raad (1977), G. Fitch (2016a,b; 2022), Shen Li and R. Timmers (2021), M. Keane (2013), Chuan C. Chang (2009), I. Masters (2021), and others. The purpose of this article was to study the approaches to the phenomenon of piano sound available in the English-language scientific literature. For the first time, a number of Englishlanguage sources dedicated to the phenomenon of piano sound have been included in domestic scientific circulation. Systematic and comparative methods, as well as terminological analysis used in the study, made it possible to distinguish different contexts, in which the phenomenon of piano sound is presented in scientific discourse: performance-practical, psychological, historical, organological (due to the structural features of the instruments). Research results. One of the approaches to the study of the piano sound phenomenon is the study of the history of the piano, its place in European culture and its social functions, as in the work of J. Parakilas (2000), where the author describes the history of the functioning of the piano during the 18th–20th centuries. The sound of the piano in the historical, stylistic and organological contexts is considered by I. Masters (2021), who investigated the structural and sound features of the London and Viennese pianos (second half of the 18th century) and their influence on the specifics of the piano texture, structure of themes, articulation and stroke palette of the works of pianists and composers of the London and Vienna schools. A purely performance and practical perspective is found in Chuan C. Chang’s book (2009), which covers most aspects of piano playing. Another example of a purely practical approach to the study of piano sound is the articles by G. Fitch (2016a,b; 2022), where he considers the process of creating an aesthetically pleasing sound. Another perspective on piano sound and playing is interdisciplinary, where musicology interacts with acoustics, psychology, and physiology (Keane, 2013; Li, & Timmers, 2021). Conclusions. A review of professional sources shows that the piano sound in the modern English-language scientific discourse is considered as a complex multifaceted phenomenon. The main and special concepts describing the sound of the piano are “tone”, “voicing”, “layering”. The first two terms have an ambiguous interpretation: some authors understand the quality of the instrument’s sound as the result of the performer’s actions, others as a certain manner of playing, and others as, first of all, the character of the sound determined by the design and technical condition of the instrument.
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Dai, Lei. "Analysis of Two-Piano Teaching Assistant Training Based on Neural Network Model Sound Sequence Recognition." Computational Intelligence and Neuroscience 2022 (June 2, 2022): 1–13. http://dx.doi.org/10.1155/2022/5768291.
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In today’s society, with the gradual improve5ment of material living standards, people are also more in pursuit of their own spiritual enjoyment. The study of piano has gradually become a way for people to enrich their spiritual life, and more and more people attach importance to it. In the field of piano teaching, the two-piano method is a unique form of playing the piano. In order to solve the problem that the recognition accuracy of the sequence of two pianos is seriously reduced in the environment of noise and reverberation, this paper proposes an auxiliary training analysis system based on the neural network model. Firstly, in order to learn the nonlinear relationship between the sound order and the target task label from the massive data, a multitask preprocessing method combining speech enhancement and detection is used to supervise the deep neural network training. Then, convolutional neural network is used to construct the end-to-end recognition system, and the initial recognition results are checked and corrected by the phonological sequence model. Finally, the sequence recognition is carried out under the condition of noise, and the articulation is improved by speech enhancement front-end module, and then the sequence recognition model is used for recognition. Compared with traditional training methods, it is proved that our method is effective in improving the training efficiency and performance quality of players. At the same time, this method breaks through the limitation of traditional training method of double piano, creates a more scientific training means, and realizes the practice and application of artificial intelligence technology in the teaching of double piano.
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Huang, K., and R. N. Slonimskaya. "Фортепианные сочинения Слонимского: методика обучения игре на фортепиано." Modern Humanities Success, no. 3 (March 29, 2024): 210–16. http://dx.doi.org/10.58224/2618-7175-2024-3-210-216.
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the article is devoted to the analysis of children's piano music by S.M. Slonimsky. The relevance of the topic is explained by the increasing interest in the composer's work and the universality of his works, which open up wide prospects for their use in teaching children with a wide variety of abilities and capabilities. The object of the study is the composer's piano work. The subject of the study is the methodological principles that allow the systematic use of his works in the process of learning to play the piano. The composer did not leave a methodical teaching system, but his piano cycles are built according to certain principles that allow us to identify and formulate this system as a result of analysis. The purpose of this study is to identify in these works the characteristic features of the methodological system of S.M. Slonimsky based on the material of the piano cycle "Merry Intervals". The article analyzes the main directions in learning to play the piano adopted in modern music pedagogy; identifies general and special piano tasks and techniques for solving them in Slonimsky's piano cycle "Merry Intervals"; attempts to determine the place of the composer's works in the modern system of piano education. The results obtained allow us to assert that Sergei Slonimsky's piano works for children, in addition to their undoubted artistic value, have great pedagogical potential, were conceived by the composer as an integral methodology and can be integrated into the modern system of additional education to solve a number of multi-level pedagogical tasks, such as: teaching children with disabilities, learning in a general piano class, learning additional the pre-professional program "Piano". статья посвящена анализу детской фортепианной музыки С.М. Слонимского. Актуальность темы объясняется возрастающим интересом к творчеству композитора и универсальностью его произведений, открывающих широкие перспективы их использования в обучении детей, обладающих самыми разными способностями и возможностями. Объектом исследования является фортепианное творчество композитора. Предметом исследования являются методические принципы, позволяющие системно использовать его произведения в процессе обучения игре на фортепиано. Композитор не оставил методической системы обучения, однако его фортепианные циклы построены по определенным принципам, позволяющим выявить и сформулировать эту систему в результате анализа. Цель данного исследования состоит в выявлении в указанных произведениях характерных черт методической системы С.М. Слонимского на материале фортепианного цикла «Веселые интервалики». В статье проанализированы основные направления в обучении игре на фортепиано, принятые в современной музыкальной педагогике; выявлены общеразвивающие и специальные пианистические задачи и приемы их решения в фортепианном цикле Слонимского «Веселые интервалики»; предпринята попытка определить место произведений композитора в современной системе фортепианного образования. Полученные результаты позволяют утверждать, что фортепианные произведения Сергей Слонимского для детей помимо несомненной художественной ценности обладают большим педагогическим потенциалом, задуманы композитором как целостная методика и могут быть интегрированы в современную систему дополнительного образования для решения ряда разноуровневых педагогических задач, таких, как: обучение детей с ОВЗ, обучение в классе общего фортепиано, обучение по дополнительной предпрофессиональной программе «Фортепиано».
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Gunawan, Sailendra Bedantara. "Analyzing micro-level changes and minimalist techniques in Steve Reich’s "Piano Phase’"." Interlude: Indonesian Journal of Music Research, Development, and Technology 2, no. 1 (November 25, 2022): 26–37. http://dx.doi.org/10.17509/interlude.v2i1.68195.
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In the historical development of Western music in the 20th century, a related interesting phenomenon of the minimalist music genre developed in America. Minimalist music is a style of music based on limited materials and micro changes in those materials. Among the composers who fall into this musical genre category iscomposer Steve Reich, who wrote a work for two pianos entitled "Piano Phase." This writing aims to reveal the limitations of musical material and changes at a micro level that occur in the work "Piano Phase" throughmusical analysis. The method used is content analysis based on two documents: sheet music and examplesof audio recording. From the analysis results, there are short melodic sentences with micro changes throughrhythm shifts using the accelerando technique. The changes made occur in three parts that have a pleasanttexture difference. The work "Piano Phase" has a unique composition technique, namely through Accelerandotempo changes can cause changes in the melody texture indirectly expected.
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Renzoni, Cristina. "Il piano implicito: il territorio nazionale nella programmazione economica italiana 1946-'73." STORIA URBANA, no. 126 (September 2010): 139–68. http://dx.doi.org/10.3280/su2010-126007.
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A partire dal secondo dopoguerra l'Italia elabora un numero considerevole di piani nazionali a lungo termine a carattere per lo piů settoriale. Piani infrastrutturali, agricoli, energetici, piani pluriennali per l'edilizia economica e popolare e per l'edilizia scolastica, piani di sviluppo economico rendono conto di uno sforzo consistente di pianificazione teso ad affrontare la stagione di grandi cambiamenti economici e culturali in cui il paese si trova immerso. In totale assenza di un piano territoriale alla scala nazionale, la maggior parte dei programmi pluriennali prodotti in quegli anni si occupa, in maniera piů o meno esplicita, di cittŕ e territorio e ne mette in campo letture e ipotesi di trasformazione. Il presente saggio focalizza l'attenzione sui documenti della programmazione economica italiana elaborati tra il 1946 e il 1973, in cui vengono riconosciute quattro figure prevalenti che hanno informato le scelte di piano sia a livello teorico che operativo. Il territorio italiano viene a fasi alterne letto come risorsa, come supporto, come veicolo di progresso, o, infine, come sfera quotidiana: quattro immagini che costituiscono un possibile strumento di interpretazione per analizzare le forme e i modi in cui il discorso urbanistico entra nella politica nazionale tra anni Cinquanta e Sessanta.
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Timmermans, Sébastien, Bruno Dehez, and Paul Fisette. "Multibody-Based Piano Action: Validation of a Haptic Key." Machines 8, no. 4 (November 17, 2020): 76. http://dx.doi.org/10.3390/machines8040076.
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A piano key prototype actuated by a custom-made linear actuator is proposed to enhance the touch of digital pianos by reproducing the force feedback of an acoustic piano action. This paper presents the design and the validation of the haptic device. The approach exploits a multibody model to compute the action dynamics and the corresponding force on the key in real time. More specifically, a grand piano model that includes the five action bodies, its geometry and the specific force laws, is computed in the haptic device. A presizing step along with Finite Element Method (FEM) analysis produced an especially made actuator satisfying the design requirements, in particular the highly dynamic nature of the force to be transmitted. Force peaks, up to 50 (N) in less than 20 (ms), are reachable with low power consumption. Compared to previous solutions: (i) the key physical characteristics are preserved; (ii) the feedback is based on a real-time multibody model that is easily configurable and interchangeable; (iii) an experimental validation of the actuator within the prototype is developed and demonstrates its feasibility. The results confirm that the voice coil can produce suitable haptic feedback. In particular, rendering a grand piano action within the device shows promising haptic force profiles.
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Dietrich, Alexandre, and Maria Bernardete Castelan Póvoas. "Motivação e colaboração no âmbito da composição a dois pianos de Francisco Mignone e a valsa “Eponina” de Ernesto Nazareth." Revista Brasileira de Música 33, no. 2 (July 22, 2021): 723–47. http://dx.doi.org/10.47146/rbm.v33i2.39324.
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Artigo sobre episódio e circunstâncias que motivaram Francisco Mignone a compor 56 de suas 74 peças para formação instrumental a dois pianos, iniciando pela valsa Eponina de Ernesto Nazareth. Consequentes desdobramentos implicaram a criação de uma versão para dois pianos, com a composição de partitura para o segundo piano em justaposição à referida valsa. A relevância e o significativo número de peças para tal formação instrumental denotam que esse gênero camerístico tomou novo impulso criativo quando Mignone se uniu à pianista Maria Josephina Guimarães da Silva. O protagonismo e a colaboração da pianista são associados ao contexto da relação arte-vida, considerando-se ações artísticas envolvidas no panorama criativo por ocasião da composição daquela obra, conforme admitida por autores da psicologia e da música. Anexos às informações, são trazidos dados de registros documentais históricos. Atribui-se à partitura do segundo piano da valsa Eponina o papel de elemento motivador da permanente colaboração entre o Duo Mignone.
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Yu, Linna, and Zhifan Luo. "The Use of Artificial Intelligence Combined with Wireless Network in Piano Music Teaching." Wireless Communications and Mobile Computing 2022 (April 4, 2022): 1–18. http://dx.doi.org/10.1155/2022/7989620.
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Artificial intelligence (AI) development gives a new development direction to the traditional education model. The education reform in the intelligent environment is urgent. Under this background, the theory, methods, and characteristics of intelligent music education are expounded based on traditional piano music education. AI and Internet-based smart piano education is introduced. The characteristics of smart piano and its methods of assisting music teaching are analyzed. Moreover, literature review and questionnaire are adopted based on intelligent music education and smart piano theory. With two universities A and B in Nanjing as the research object, the questionnaire is designed to investigate and analyze the related problems of smart piano-assisted piano basic teaching in detail. The results show that smart piano positively improves skill training and psychological training in piano teaching. Piano major learners believe that smart piano can obviously help beginners and people with low piano levels. However, smart piano is not as good as traditional piano for high-level learners. In actual teaching, teachers should use different strategies for different levels of learners. Regarding curriculum quality, teachers have not fully played the role of the smart piano, and the curriculum of smart piano-assisted basic piano teaching still needs improvement. Finally, corresponding countermeasures and suggestions for the development direction of smart piano in piano music education are put forward according to the current situation of the smart piano. The results can reflect the current situation of smart piano-assisted basic piano teaching, provide a reference for researchers in related industries, and promote the related development of smart piano.
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Adkins, Mary Rose. "Internet Resources in Piano and Piano Pedagogy." Music Reference Services Quarterly 8, no. 4 (April 6, 2005): 77–89. http://dx.doi.org/10.1300/j116v08n04_04.
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Simeone, Nigel. "Claude Debussy: Piano Works, Roy Howat (piano)." Nineteenth-Century Music Review 2, no. 2 (November 2005): 196–201. http://dx.doi.org/10.1017/s1479409800002342.
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French, Lisa. "Review: Piano Lessons: Approaches to ‘The Piano’." Media International Australia 97, no. 1 (November 2000): 155–56. http://dx.doi.org/10.1177/1329878x0009700119.
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Siu‐Dschu Fan, Christina, and Hans Günter Dosch. "Warum klingt ein Piano wie ein Piano?" Physik in unserer Zeit 51, no. 6 (November 2020): 296–301. http://dx.doi.org/10.1002/piuz.202001581.
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Costa, Antonio, Giuseppe Dammacco, Daniela Preite, and Alessandra Tafuro. "Il recupero delle liste d'attesa durante il Covid-19: risorse straordinarie per soluzioni improbabili." MECOSAN, no. 119 (November 2021): 7–32. http://dx.doi.org/10.3280/mesa2021-119002.
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In seguito all'esplosione della pandemia Covid-19, molte prestazioni sanitarie sono state sospese determinando, inevitabilmente, un allungamento dei tempi e delle liste di attesa. È stato pensato un Piano nazionale di "rientro" delle liste, con il quale lo Stato ha stanziato risorse straordinarie per soddisfare il fabbisogno finanziario legato alle prestazioni non erogate mentre alle regioni è stato chiesto di redigere un piano operativo in cui illustrare le modalità organizzative da adottare per il recupero delle liste. Come hanno risposto le regioni? Da una prima indagine conoscitiva, ciò che ha reso sterile l'iniziativa è stato soprattutto il tempo ristretto dato alle regioni per la presentazione dei piani operativi e alle aziende sanitarie per l'impiego delle risorse straordinarie stanziate.