Journal articles on the topic 'Recorder and piano music Analysis'
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Fyfe, Lawrence, Daniel Bedoya, and Elaine Chew. "Annotation and Analysis of Recorded Piano Performances on the Web." Journal of the Audio Engineering Society 70, no. 11 (December 12, 2022): 962–78. http://dx.doi.org/10.17743/jaes.2022.0057.
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Chang, Xunyun, and Liangqing Peng. "Intelligent Analysis and Classification of Piano Music Gestures with Multimodal Recordings." Computational Intelligence and Neuroscience 2022 (June 13, 2022): 1–12. http://dx.doi.org/10.1155/2022/8232819.
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In the traditional recording system, recording any music includes a sizeable instrumental setup and allocates space for the music players. Lighter and fewer devices are replacing larger instruments due to technological advancement and epidemic environmental conditions. This research focuses on text, but audio and video types are also considered. Multiple signal classification with a 5G-based wireless communication network algorithm is implemented to perform the automatic recording and classification of the music data. In this research, a multi-modal gesture recognition dataset is considered for analysis. The dataset was obtained using sensor networks and an intelligent system to record the musical gestures and classify the recorded gestures. The development of machine learning algorithms is not limited to similar technological concepts. Still, it extends to almost all other technical resources such as the 5G network, signal processing, networking, and all other technical resources. This would lead to additional engineering challenges that are utilized in most cases, such as the development of gestures with multi-mode recording. This research has proposed MSA with WCN algorithm to perform intelligent analysis and classification of piano music gestures and is compared with the existing K-Means algorithm and achieved an accuracy of 99.12%.
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Speer, Donald R. "An Analysis of Sequential Patterns of Instruction in Piano Lessons." Journal of Research in Music Education 42, no. 1 (April 1994): 14–26. http://dx.doi.org/10.2307/3345333.
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The purpose of this study was to investigate verbal behaviors of independent piano teachers in private lessons. Forty-seven lessons from 25 teachers were recorded on audiotape, scripted, and analyzed for time spent in teacher presentation, student participation, and teacher reinforcement. Frequencies were obtained for complete/correct, complete/incorrect, and incomplete teaching patterns observed. Results indicated significant differences due to student age in presentation of musical information, teacher talk, teacher coaching, and student participation. Students perceived as “average” by teachers received significantly more directive comments than “better” students. Significant interactions were observed for verbal reinforcement by student and teacher experience. Teachers with more than 18.5 years of experience were more disapproving to students with more than 3.5 years of playing experience. Less-experienced teachers were more specific with approvals than their more-experienced colleagues. Frequencies of complete/correct patterns of teaching were significantly lower than other patterns observed.
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Hedden, Debra Gordon, and Valerie Anne Baker. "Perceptual and Acoustical Analyses of Second Graders’ Pitch-Matching Ability in Singing A cappella or with Piano Accompaniment." Bulletin of the Council for Research in Music Education, no. 184 (April 1, 2010): 35–48. http://dx.doi.org/10.2307/27861481.
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Abstract This study was a preliminary investigation of pitch-matching accuracy under two conditions: a cappella and accompanied singing of a standard song. Two classes of second-grade children (N = 26) were taught "America" on a neutral syllable ("loo"), one class learning it a cappella and the other with piano accompaniment. They rehearsed the song during three class sessions and then were recorded singing a cappella and accompanied (taped piano music via headphones). The first nine pitches of the song were utilized for the study. The recordings were analyzed perceptually for pitch accuracy by three judges and acoustically through the Multispeech software program. Results indicated that inaccurate singing occurred 70% of the time when evaluated by the judges and 80% of the time when analyzed acoustically. There was no significant difference in accuracy among the nine pitches of the song. When singing conditions were compared, the perceptual analysis suggested a significant difference in singing accuracy under the a cappella condition; acoustical analysis did not demonstrate this difference.
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Pala, Ferhat Kadir, and Pınar Mıhcı Türker. "Developing a haptic glove for basic piano education." World Journal on Educational Technology: Current Issues 11, no. 1 (February 11, 2019): 38–47. http://dx.doi.org/10.18844/wjet.v11i1.4008.
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This study aims at developing a glove with integrated haptic interface to facilitate the learning of those who have just started playing piano and allowing them to perform without a need for a piano during daily activities. The steps of the analysis, design, development, implementation, evaluation model were used in the research. In the analysis stage, students’ needs were analysed and problems were determined. At the design stage, practices oriented to resolving these problems were analysed and it was decided that haptic gloves might be appropriate for the solution to the problems revealed. At the development stage, evaluations were made directed to development of the product and formatting. The participants used the haptic glove for a while and have expressed their opinions, which are recorded by video camera. The recordings were analysed and it was found that the second version of the haptic glove increased the participants’ recall level of the music.Keywords: Music education, haptic glove, piano education, passive haptic learning.*
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Pala, Ferhat Kadir, and Pınar Mihci Turker. "Developing a haptic glove for basic piano education." World Journal on Educational Technology: Current Issues 11, no. 1 (February 6, 2019): 38–47. http://dx.doi.org/10.18844/wjet.v11i1.3985.
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This study aims at developing a glove with integrated haptic interface to facilitate the learning of those who have just started playing piano and allowing them to perform without a need for a piano during daily activities. The steps of the analysis, design, development, implementation, evaluation model were used in the research. In the analysis stage, students’ needs were analysed and problems were determined. At the design stage, practices oriented to resolving these problems were analysed and it was decided that haptic gloves might be appropriate for the solution to the problems revealed. At the development stage, evaluations were made directed to development of the product and formatting. The participants used the haptic glove for a while and have expressed their opinions, which are recorded by video camera. The recordings were analysed and it was found that the second version of the haptic glove increased the participants’ recall level of the music.
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Song, Tian. "Composer – Artist: The role of pianist Hsu Fei Ping in the creative activity of Huang An Lun." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 43–60. http://dx.doi.org/10.34064/khnum1-50.04.
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Background. The article is dedicated to the creative communication of two outstanding Chinese musicians – a pianist Hsu Fei Ping and a composer Huang An Lun. Complete mutual understanding facilitated their communication. Practically in all his programs, the pianist included the music of Western European and Chinese composers. Critics especially noted that Hsu Fei-Ping had the musical penetration, brilliance and poetry of interpretations. Among many Chinese pianists, he was recognized as the best interpreter of piano works by Huang An Lun. This musician has a special role in the work of Huan An Lun, being not only the “addressee” and the first performer, but also the inspirer of many composer’s opuses. The context of the creative intercourse of Huang An Lun and Hsu Fei Ping is also interesting because some of the composer’s works were written on the initiative of the outstanding Chinese pianist. Objectives. The purpose of the article is to reveal the role of the outstanding pianist Hsu Fei Ping in the creativity of Huang An Lun and the features of his performing interpretation the composer’s piano works. Methods. The research methodology necessary for disclosure of the selected theme is based on an integrated scientific approach combining the principles of musical-theoretical and performing analysis. Results. Hsu Fei-Ping is rightfully regarded as one of the most brilliant Chinese pianists who made themselves known in the 20th century. In this paper the life and career of the musician is considered, a general assessment of his creative achievements is given. It is argued that the creative cooperation and friendship of Hsu Fei-Ping with his compatriot and peer Huang An-Lun was due to life circumstances. The fate of both musicians had many common “points of intersection”: both musicians were of the same age, both in their youth showed uncommon interest in learning national and western musical art. The Cultural Revolution became a tragic watershed in their lives, which, however, made it possible to get even closer to the folklore environment and to feel the pain and suffering of the Chinese people at that time. Both musicians left China in the 1970s, having received education and achieved success in developed western countries: Hsu Fei-Ping – in the USA, Huang An Lun – in Canada. It is quite natural that the communication of such bright individuals, who have gone through the difficult path of development, provided an opportunity for mutual creative enrichment. The pianist promoted Huang An-Lun’s piano music in Israel, the USA, Canada, Russia and other countries, recorded CDs with works by the composer. In 2001, in Shanghai, and then in Hong Kong, discs with a recording of the piano cycle of Huang An-Lun’s “30 Pieces in the Popular Cybei Style” were released. In the same year, he recorded in Moscow the disc with Third Dance Poem, op. 40, by Huang An Lun. Hsu Pei Fing played the piece at the Rubinstein International Piano Competition in Israel, where he became the winner. In 1990, the piece by Huang An Lun created a similar sensation at a festival dedicated to the music of contemporary composers at the Walter Concert Hall in Toronto. A few years later, Hsu Pei Fing performed the piece at Carnegie Hall in New York. The largest composition by Huang An-Lun dedicated to Hsu Pei-Fing was Concerto No. 2 in C minor op. 57 for piano and orchestra. Its premiere took place on June 12, 1999 at the stage of the Shanghai Music Hall. The Shanghai Symphony Orchestra was conducted by Huang An-Lun himself, the piano part was performed by Hsu Fei-Ping. With the Russian Philharmonic Orchestra conducted by Konstantin Krymets, the pianist performed the second edition of the Concerto. The poem for piano and orchestra “Gulangyuy” op. 66 was written in memory of Hsu Fei Ping. The composer embodied in music the image of the birthplace of the outstanding Chinese pianist, Gulangyu Island, also known as “Piano Island”. Conclusions. Hsu Fei-Ping was for Huang An-Lun a kind of “beacon” in the field of piano music. Most of the composer’s piano works were focused on the phenomenal pianism of his friend. Being an outstanding performer of the West European classical and romantic repertoire, Hsu Fei Ping remained in the memory of musicians, first of all, as the inspirer and the best interpreter of piano works by Huang An Lun. The image of this remarkable pianist is captured in “Dance Poem No. 3” op. 40, Concert No. 2 in C minor op. 57, Poem for piano and orchestra “Gulangyuy” op. 66. Hsu Fei Ping brilliantly embodied in his performance one of the main ideas of the work of Huang An-Lun – the theme of man’s collision with forces of reality hostile to him. At the core of his performing drama is the conflict between the sinister, aggressive and lyrically quivering human beginning. It is represented by the pianist through the sound realization of various types of melodies, rhythms, textures, and the richest timbre palette. Hsu Fei Ping’s deep interpretations of Huang An Lun’s music, built on maximum polarization of images and expressive means, are the best confirmation of the mutual enrichment of the artistic worlds of two musicians, whose creative ways and convictions evolved in a similar way, which allowed them to understand each other completely.
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Comeau, Gilles, Yuanyuan Lu, and Mikael Swirp. "On-site and distance piano teaching: An analysis of verbal and physical behaviours in a teacher, student and parent." Journal of Music, Technology and Education 12, no. 1 (August 1, 2019): 49–77. http://dx.doi.org/10.1386/jmte.12.1.49_1.
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This study was designed to examine how distance piano teaching might affect the verbal behaviours and physical actions of a teacher, a student and a parent. Weekly 30-minute piano lessons over a year-long period were taught to a 5-and-a-half-year-old on-site student and a 6-year-old distance student. All lessons were delivered by the same teacher who followed the Suzuki programme. All sessions were recorded and then analysed using Simple Computer Recording Interface Behaviour Evaluation (SCRIBE), a video analysis software that provides frequencies and durations of pre-coded events. The observation of recorded lessons showed that distance teaching did not slow down student progress. In addition, behavioural analysis revealed that in most aspects, distance and on-site delivery were remarkably similar. The most striking difference was the interaction between the teacher and the parent. During on-site teaching, most of the teacher’s instructions were directed to the student while the parent was listening and observing attentively; during distance teaching, half of the teacher’s instructions were addressed to the student and the other half to the parent. The distance student also tended to relate more to the parent than to the teacher. In the distance environment, when interacting with a young beginner student, the role of the parent becomes very central to the success of the lessons.
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Hamond, Luciana, Evangelos Himonides, and Graham Welch. "The nature of feedback in higher education studio-based piano learning and teaching with the use of digital technology1." Journal of Music Technology & Education 13, no. 1 (August 1, 2020): 33–56. http://dx.doi.org/10.1386/jmte_00015_1.
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The aim of the current research was to investigate the nature of feedback when a digital technology system was introduced in the higher education (HE) piano studio alongside three teacher and student pairs in Brazil. Data were collected by using video-recorded observations of lessons, participant interviews, and also data related to the use of a specific technology. A thematic analysis of the resultant data suggests that participants used verbal and non-verbal feedback in three areas of lesson focus: music (score), performance (e.g. dynamics, articulation), and technology (Musical Instrument Digital Interface [MIDI] parameters). The application of technology seems to allow the focus of the lesson to become clearer, making students more aware of their performances and their learning processes. Data suggest that the engagement with technology varied across the three observed cases. There seems to be a valuable use for technology-mediated feedback; this could, in turn, optimize more traditional pedagogical approaches in HE piano learning and teaching, and also enrich private practice.
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Nikolenko, R. "Soirées musicales, Op. 6 by Clara Schumann: compositional and dramaturgical principles of the cycle." Culture of Ukraine, no. 78 (December 23, 2022): 150–55. http://dx.doi.org/10.31516/2410-5325.078.19.
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The relevance of the article. Clara Wieck-Schumann is one of the most famous female composers today, an outstanding artist of the XIX century. A significant amount of musicological researches has been devoted to her performance and compositional activities, and the recognized interpreter of the music of Robert and Clara Schumann, the Belgian pianist Joseph de Benhouwer, recorded all of her piano opuses. However, some certain issues related to the specifics of C. Schumann’s compositional work still require scientific research.
The purpose of the article. Determination of the specifics of the compositional and dramaturgical solution of the program cycle of C. Schumann’s piano miniatures Soirées musicales, Op.6, which turns out to be one of the bright examples of this genre in the artist’s work and currently requires a comprehensive scientific research.
The methodology. It is based on an integrative approach, and involves the use of analytical, systematic, structural-functional, comparative and inductive methods.
The results. The cycle of piano miniatures Soirées musicales, Op. 6 is distinguished not only by its scale but also by its more pronounced programming. Unlike the other two piano cycles by C. Schumann, namely Quatre pièces characteristiques Op. 5, Quatre pièces fugitives Op. 15, which are rather a collection of diverse pieces united only by a common name, Op. 6 shows a certain dramaturgical line of development. The dramaturgy of the cycle is united with the help of a tonal arch, which is formed by a common tonality for 1 and 6 pieces. The miniatures represented in the cycle are quite diverse in their figurative structure.
Conclusions. Among the important compositional and dramaturgical principles of building a cycle are the unification of diverse material from a thematic point of view with the help of intonation relationships or certain rhythmic formulas, comparison within miniatures of the same tonality, in which the middle sections of the form are usually written, stand out.
The practical significance. The material of the article can be used in the further study of the specifics of C. Schumann’s compositional style, as well as in the study of the artist’s works in special piano classes, passing theoretical courses on the history of music and analysis of musical works.
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Kim, Sarah, Jeong Mi Park, Seungyeon Rhyu, Juhan Nam, and Kyogu Lee. "Quantitative analysis of piano performance proficiency focusing on difference between hands." PLOS ONE 16, no. 5 (May 19, 2021): e0250299. http://dx.doi.org/10.1371/journal.pone.0250299.
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Quantitative evaluation of piano performance is of interests in many fields, including music education and computational performance rendering. Previous studies utilized features extracted from audio or musical instrument digital interface (MIDI) files but did not address the difference between hands (DBH), which might be an important aspect of high-quality performance. Therefore, we investigated DBH as an important factor determining performance proficiency. To this end, 34 experts and 34 amateurs were recruited to play two excerpts on a Yamaha Disklavier. Each performance was recorded in MIDI, and handcrafted features were extracted separately for the right hand (RH) and left hand (LH). These were conventional MIDI features representing temporal and dynamic attributes of each note and computed as absolute values (e. g., MIDI velocity) or ratios between performance and corresponding scores (e. g., ratio of duration or inter-onset interval (IOI)). These note-based features were rearranged into additional features representing DBH by simple subtraction between features of both hands. Statistical analyses showed that DBH was more significant in experts than in amateurs across features. Regarding temporal features, experts pressed keys longer and faster with the RH than did amateurs. Regarding dynamic features, RH exhibited both greater values and a smoother change along melodic intonations in experts that in amateurs. Further experiments using principal component analysis (PCA) and support vector machine (SVM) verified that hand-difference features can successfully differentiate experts from amateurs according to performance proficiency. Moreover, existing note-based raw feature values (Basic features) and DBH features were tested repeatedly via 10-fold cross-validation, suggesting that adding DBH features to Basic features improved F1 scores to 93.6% (by 3.5%) over Basic features. Our results suggest that differently controlling both hands simultaneously is an important skill for pianists; therefore, DBH features should be considered in the quantitative evaluation of piano performance.
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Malykhina, Irina V. "Integration of Hybrid Musical Instruments into Russian Piano School." Integration of Education, no. 1 (March 29, 2019): 137–49. http://dx.doi.org/10.15507/1991-9468.094.023.201901.137-149.
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Introduction. The article presents the introduction of the hybrid musical instrument (disklavier) into the system of Russian music education. This new instrument has appeared relatively recently. It is relevant to study the world experience of using the hybrid piano and to analyze the prospects for applying it in the field of Russian piano performance. The purpose of the article is to analyze the specifics of using the hybrid musical instrument with additional equipment among students of higher educational institutions of Moscow. Materials and Methods. In the experimental part of the study, the American method of K. Riley was used. The additional techniques of working with disklavier and additional equipment based on Riley’s method were developed and applied. An activity criterion was chosen to assess the professional ski lls of students. Results. Based on pedagogical observation and interviewing, it was established that the use of a hybrid musical instrument and additional equipment improves the intellectual, research and creative abilities of students. The disklavier allows students to hear themselves in acoustic format from the position of a teacher. The instrument provides auditory and visual analysis of performance. The students can compare their feelings from the game with the exact data recorded by the disklavier and make changes to the record without losing its quality. Discussion and Conclusion. The study demonstrates the effectiveness of the use of specially developed methods of working with the disklavier and additional equipment. More work will need to be done to determine the influence of new technologies in the class of a special piano and chamber ensemble at various levels of education. This study may be of interest both for students and teachers of the piano department at secondary special and higher educational institutions.
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Févotte, Cédric, Nancy Bertin, and Jean-Louis Durrieu. "Nonnegative Matrix Factorization with the Itakura-Saito Divergence: With Application to Music Analysis." Neural Computation 21, no. 3 (March 2009): 793–830. http://dx.doi.org/10.1162/neco.2008.04-08-771.
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This letter presents theoretical, algorithmic, and experimental results about nonnegative matrix factorization (NMF) with the Itakura-Saito (IS) divergence. We describe how IS-NMF is underlaid by a well-defined statistical model of superimposed gaussian components and is equivalent to maximum likelihood estimation of variance parameters. This setting can accommodate regularization constraints on the factors through Bayesian priors. In particular, inverse-gamma and gamma Markov chain priors are considered in this work. Estimation can be carried out using a space-alternating generalized expectation-maximization (SAGE) algorithm; this leads to a novel type of NMF algorithm, whose convergence to a stationary point of the IS cost function is guaranteed. We also discuss the links between the IS divergence and other cost functions used in NMF, in particular, the Euclidean distance and the generalized Kullback-Leibler (KL) divergence. As such, we describe how IS-NMF can also be performed using a gradient multiplicative algorithm (a standard algorithm structure in NMF) whose convergence is observed in practice, though not proven. Finally, we report a furnished experimental comparative study of Euclidean-NMF, KL-NMF, and IS-NMF algorithms applied to the power spectrogram of a short piano sequence recorded in real conditions, with various initializations and model orders. Then we show how IS-NMF can successfully be employed for denoising and upmix (mono to stereo conversion) of an original piece of early jazz music. These experiments indicate that IS-NMF correctly captures the semantics of audio and is better suited to the representation of music signals than NMF with the usual Euclidean and KL costs.
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Pousson, Jachin Edward, Aleksandras Voicikas, Valdis Bernhofs, Evaldas Pipinis, Lana Burmistrova, Yuan-Pin Lin, and Inga Griškova-Bulanova. "Spectral Characteristics of EEG during Active Emotional Musical Performance." Sensors 21, no. 22 (November 10, 2021): 7466. http://dx.doi.org/10.3390/s21227466.
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The research on neural correlates of intentional emotion communication by the music performer is still limited. In this study, we attempted to evaluate EEG patterns recorded from musicians who were instructed to perform a simple piano score while manipulating their manner of play to express specific contrasting emotions and self-rate the emotion they reflected on the scales of arousal and valence. In the emotional playing task, participants were instructed to improvise variations in a manner by which the targeted emotion is communicated. In contrast, in the neutral playing task, participants were asked to play the same piece precisely as written to obtain data for control over general patterns of motor and sensory activation during playing. The spectral analysis of the signal was applied as an initial step to be able to connect findings to the wider field of music-emotion research. The experimental contrast of emotional playing vs. neutral playing was employed to probe brain activity patterns differentially involved in distinct emotional states. The tasks of emotional and neutral playing differed considerably with respect to the state of intended-to-transfer emotion arousal and valence levels. The EEG activity differences were observed between distressed/excited and neutral/depressed/relaxed playing.
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Kala, Veeda, and Jaan Ross. "Õpimustritest muusikateose omandamisel klaveri algõppes." Mäetagused 81 (December 2021): 121–50. http://dx.doi.org/10.7592/mt2021.81.kala_ross.
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This article was inspired by the first author’s observations in the teaching process, which refer to different learning patterns in studying a piece of music. I have noticed that although I teach all the students by using quite the same methods, part of them remember the pieces rather quickly and they prefer to play and practise them from memory. Some others, on the other hand, prefer to play from notes, and they continue doing it during the whole learning process. The aim of this article is to find, by an evidence-based method, the occurrence of the abovementioned learning patterns and describe their characteristic features. In case peculiarities occur, which can be projected against the typology of different learning patterns, it is possible to study connections with the earlier learning styles and learning and information processing theories. It also enables us to offer applications for a more person-centred approach in piano pedagogy to enhance both the learning process, student-teacher collaboration, and the student’s development as well as make them subjectively more pleasant for both parties. To investigate the learning patterns in basic piano studies, I video-recorded the classes with students of possibly similar backgrounds, giving them tasks testing their memory and note-reading skills. Based on the analysis of the collected information, I made conclusions about the existence and nature of hypothetical intuitive learning patterns. The interesting observations made by formal and non-formal examination add material for future in-depth studies, as the described phenomenon should be approached, above all, as a continuum, which enables us to estimate students’ inclination towards one or the other side to a greater or lesser extent, and consequently, the application of a better adapted teaching strategies.
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Brooks, Richard, Paul Carr, James Collorafi, Trygve Madsen, Nigel Osborne, Malcolm Arnold, Leslie Bassett, Dominic Muldowney, Buxton Orr, and Aulis Sallinen. "Concertino; For Descant Recorder or Flute or Oboe, and Strings. Piano Reduction." Notes 45, no. 1 (September 1988): 153. http://dx.doi.org/10.2307/941409.
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Li, Chan. "A Deep Learning-Based Piano Music Notation Recognition Method." Computational Intelligence and Neuroscience 2022 (June 2, 2022): 1–9. http://dx.doi.org/10.1155/2022/2278683.
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In the era of rapid development of computer technology, piano music notation and electronic synthesis system can be established using computer technology, and the basic laws of music score can be analyzed from the perspective of image processing, which is of a great significance in promoting piano improvement and research and development, etc. In this paper, the Beaulieu analysis method is used to analyze the piano music notation and electronic synthesis system module. For piano sheet music, sheet music recognition is the main problem in the whole system. Through the digital recognition method, the piano sheet music feature matrix is extracted to get the piano sheet music multiplication frequency points and the envelope function needs to be extracted for better electronic synthesis of piano sheet music. The envelope function can represent the relationship between piano sound intensity and time change and finally achieve the recognition of the piano score. We extract the music information from the digital score, thus converting the music information into MIDI files, reconstructing the score, and providing an audio carrier for the score transmission. The experimental results show that the system has a correct rate of 94.4% in extracting music information from piano scores, which can meet the needs of practical applications and provide a new way for music digital libraries, music education, and music theory analysis.
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Zhang, Yuanyuan. "Design of the Piano Score Recommendation Image Analysis System Based on the Big Data and Convolutional Neural Network." Computational Intelligence and Neuroscience 2021 (November 26, 2021): 1–9. http://dx.doi.org/10.1155/2021/4953288.
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In the era of big data, the problem of information overload is becoming more and more obvious. A piano music image analysis and recommendation system based on the CNN classifier and user preference is designed by using the convolutional neural network (CNN), which can realize accurate piano music recommendation for users in the big data environment. The piano music recommendation system based on the CNN is mainly composed of user modeling, music feature extraction, recommendation algorithm, and so on. In the recommendation algorithm module, the potential characteristics of music are predicted by the regression model, and the matching degree between users and music is calculated according to user preferences. Then, music that users may be interested in is generated and sorted in order to recommend new piano music to relevant users. The image analysis model contains four “convolution + pooling” layers. The classification accuracy and gradient change law of the CNN under RMSProp and Adam optimal controllers are compared. The image analysis results show that the Adam optimal controller can quickly find the direction, and the gradient decreases greatly. In addition, the accuracy of the recommendation system is 55.84%. Compared with the traditional CNN algorithm, this paper uses the convolutional neural network (CNN) to analyze and recommend piano music images according to users’ preferences, which can realize more accurate piano music recommendation for users in the big data environment. Therefore, the piano music recommendation system based on the CNN has strong feature learning ability and good prediction and recommendation ability.
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Zhang, Yuyu. "An Empirical Analysis of Piano Performance Skill Evaluation Based on Big Data." Mobile Information Systems 2022 (August 27, 2022): 1–9. http://dx.doi.org/10.1155/2022/8566721.
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Teachers often guide the rhythm and coherence of piano performance in the teaching process. It is of great significance to use computer technology to automatically evaluate piano performance skills. In this paper, computer technology is used to automatically evaluate the accuracy of piano music classification based on the high-dimensional data collaborative filtering recommendation algorithm, and the K-means model algorithm is used for comparative testing. By comparing the classification results of the high-dimensional data collaborative filtering recommendation algorithm with the piano music classification results of the K-means algorithm, the piano learning burden can be reduced and the piano learning effect can be improved. The research results of this paper show that the accuracy rate of the automatic piano performance evaluation system based on the high-dimensional data collaborative filtering recommendation algorithm reaches 95%, which has a good evaluation effect.
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Zhu, Ying. "Multimedia Recognition of Piano Music Based on the Hidden Markov Model." Advances in Multimedia 2021 (December 30, 2021): 1–8. http://dx.doi.org/10.1155/2021/2981531.
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Piano performance is an art with rich artistic elements and unpredictable performance skills. It is an important carrier for playing beautiful piano sounds. The generation of musical tension and expression of piano performance is a vivid display of piano performance skills. In piano performance, we should pay attention to the cultivation and flexible application of performance skills. In order to ensure the richness and artistry of piano performance, it is fully based on the artistic characteristics of piano performance. Through in-depth analysis of the principle of the hidden Markov model, it is applied to the multimedia recognition process of piano playing music. In the process of obtaining the template, the fundamental frequency of the piano playing music differs greatly, and the piano playing music appears during the performance process. For the problem of low recognition rate, this paper proposes a multimedia recognition method for piano music. Finally, the analysis of experimental results shows that the method proposed in this paper has a 16% higher recognition rate than the traditional method, and it has a certain value in the multimedia recognition of piano music.
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Meng, Xianzheng. "Analysis of CHOPPIN’s ETUDE Op.25，No.2." Learning & Education 10, no. 7 (June 7, 2022): 141. http://dx.doi.org/10.18282/l-e.v10i7.2981.
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Choppin is one of the most influential and popular piano composers in history. He was a representative of Europe in
romantic music. He composed 27 piano etudes, which took the piano art to a higher level. Op. 25, No. 2 is the second etude in
Choppin’s Etude Op. 25, which is an etude in F minor.
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Akgul, Alper. "An analysis on piano education in ınstitutions training music teachers in the context of application, teaching experience and pre-school period." Cypriot Journal of Educational Sciences 17, no. 2 (February 28, 2022): 323–42. http://dx.doi.org/10.18844/cjes.v17i2.6801.
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Music education for the preschool age group and piano teaching in this context is generally of great interest and in demand. In Turkey, music teacher candidates take piano lessons during their undergraduate education, two of which are compulsory and six are elective. In this process, however, a course on how to teach the piano is not included in the curriculum of the music teaching department. Therefore, except specific elective courses delivered in certain universities in the previous academic years, there is not a course that includes information on how to teach the piano, which is in such high demand in general and is an introductory course in many educational institutions, to both preschool period and different age groups, and whose methods are employed during piano education on what to do about the technical teaching of the instrument. The researcher has discussed the importance of the subject by giving examples from the literature in his article and has made various suggestions regarding the issue. Therefore, in terms of its structure, this study is a comprehensive literature review that examines the studies related to music education and makes various suggestions.
Keywords: Pre-school Education, Music Education, Piano Education
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Gularnupong, Karn, and Ampai Buranaprapuk. "Influences of Béla Bartók’s Piano Compositions on Alberto Ginastera’s Piano Music." MANUSYA: Journal of Humanities 25, no. 1 (June 9, 2022): 41–62. http://dx.doi.org/10.1163/26659077-25010003.
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Abstract This study seeks to reveal the musical relationship between Bartók’s and Ginastera’s piano compositions, showing stylistic conceptualizations of twentieth-century Western art music which held many interesting musical aspects, specifically in the classical piano repertoire. This musicological research employs stylistic analysis and theoretical analysis to shed some light on Bartók’s and Ginastera’s piano music vocabulary. Following this methodology, it is revealed that Ginastera’s compositional language was very much influenced by the highly unique characteristics of Bartók’s. Such characteristics include the axial system, Bulgarian peasant rhythmic dance, bi-modality, intervallic cell (Z-cell, 0167), hexachordal sets of octatonic collections, the symmetrical old Hungarian pentatonic scale, polychord, quartal chords, hammering-percussive piano style, secundal chords based on ostinato, and many others. In light of this, one may propose that Ginastera’s compositional strategies in piano music were heavily influenced by Bartók’s rhythmic and harmonic idioms, which contributed to the creation of an innovative musical craft.
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Chen, Ruoxu. "Memorization of Piano Music: A Challenge for Chinese Piano Students." Asian Social Science 12, no. 3 (February 23, 2016): 112. http://dx.doi.org/10.5539/ass.v12n3p112.
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<p class="a">As many Chinese piano students have encountered various kinds of problem to memorize the music, which negatively influences their musical development, this paper reports a comprehensive study on the memorization of piano music and introduces the efficient ways to accomplish the memorization. Correlative analysis demonstrate that 1) like any other ability, the ability to memorize piano music needs a lot of practice; 2) for pianists who are making great efforts to fulfill their inevitable memorization task, it is important to persistently have a positive attitude towards the goal through the entire memorizing process; 3) rather than regarding memorization as a time-consuming and must-do tradition that has been handed down from the piano predecessors, it is more reasonable to regard the memorization process as an opportunity to wholly free the performers from the written page and to truly own the piece. Hopefully, this study can provide some assistance to both Chinese piano teachers and students to conquer the issue.</p>
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Perry, Jeffrey. "Cage'sSonatas and Interludesfor Prepared Piano: Performance, Hearing and Analysis." Music Theory Spectrum 27, no. 1 (April 2005): 35–66. http://dx.doi.org/10.1525/mts.2005.27.1.35.
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Bellman, Jonathan, and David Witten. "Nineteenth-Century Piano Music: Essays in Performance and Analysis." Notes 55, no. 2 (December 1998): 393. http://dx.doi.org/10.2307/900195.
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Toda, Yukiko, Yosuke Nakayama, Takuya Okura, Naoto Yasuda, and Shigeki Okawa. "An analysis of note deviation manner in piano music." Journal of the Acoustical Society of America 120, no. 5 (November 2006): 3005. http://dx.doi.org/10.1121/1.4787012.
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Tsybikova-Danzyn, Inessa Aleksandrovna. "Realization of ethnic traditions in piano music of the Buryat composer Y. I. Irdyneev." Человек и культура, no. 4 (April 2020): 151–61. http://dx.doi.org/10.25136/2409-8744.2020.4.33027.
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One of the relevant tasks of the modern science of music is the examination of ethnic cultures. The object of this research is the piano music of the Buryat composer Yuri Irineevich Irdyneev. The subject is the peculiarities of realization of ethnic traditions in his piano compositions. The article analyzes opuses for the piano created during the composer's study at the conservatory, attributed to his early period. Based on the analysis of piano compositions, which became a so-called “creative laboratory” of Y. I. Irdyneev, the author traces the evolution of his style: since the first experiments of working with folk material in the piano cycle "Six Children Musical Compositions", through the reference to a romantic genre in the cycle "Three Improvisations", to a monumental conclusion of his creative pursuits – “The Piano Sonata” (1971). For understanding the uniqueness of composer's style, the carried out a comprehensive analysis of piano compositions, which includes examination of each piece from the perspective intonation, tonal and harmonious development, peculiarities of imagery sphere and dramaturgy. Emphasis is made on the specifics of performing interpretation of the ethnic piano compositions. The novelty lies in determination of systemic correlations of Y. I. Irdyneev's piano music with the national and European music traditions. It is concluded that the uniqueness of his piano heritage consists in the profound and multifaceted realization of ethnic traditions in the piano compositions. The author underlines the defining role of Buryat folklore, traditional festivities, songs, dances, imitation of the sound of folk instruments, philosophical and worldview constants in the formation of composer's style. The piano music of Y. I. Irdyneev is known for the original palette of artistic images, which evokes rich emotions and associations. The composer employs the traditional genres along with modern compositional techniques, bringing individuality by means of intonation-thematic material, Buryat ethnic origins and modality, as well as ways of working with thematic material. Yuri Irdyneev has enriched Buryat music with a number of new techniques of musical expression (sonorous consonances, clusters, dodecaphony), and significantly contributed to the piano educational and pedagogical repertoire for the music educational institutions of Buryatia.
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Chen, Xu, and Jun Tang. "Research on Piano Music Signal Recognition Based on Short-Time Fourier Analysis." Advanced Materials Research 853 (December 2013): 680–85. http://dx.doi.org/10.4028/www.scientific.net/amr.853.680.
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This paper starts with the basic process of music recognition to complete the study on extraction and realization of seven musical characteristics of the music features characterization, at the same time, the paper in-depth studies the pitch value duration, tonality characteristic extraction unit. Fourier analysis method based on short-time uses the computer programming for audio signal automatic analysis and processing, implements the characteristics recognition of the piano music playing, Experimental data show that the average recognition rate of algorithm is above 95% with the strong recognition ability, which provides the core technology support for developing the evaluation system of piano performance.
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Demirci, Sirin A., and Eda Nergiz. "The Elements of Contemporary Turkish Composers’ Solo Piano Works Used in Piano Education." International Education Studies 14, no. 3 (February 24, 2021): 105. http://dx.doi.org/10.5539/ies.v14n3p105.
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It is thought that to be successful in piano education it is important to understand how composers composed their solo piano works. In order to understand contemporary music, it is considered that the definition of today’s changing music understanding is possible with a closer examination of the ideas of contemporary composers about their artistic productions. For this reason, the qualitative research method was adopted in this study and the data obtained from the semi-structured interviews with 7 Turkish contemporary composers were analyzed by creating codes and themes with “Nvivo11 Qualitative Data Analysis Program”. The results obtained are musical elements of currents, styles, techniques, composers and genres that are influenced by contemporary Turkish composers’ solo piano works used in piano education. In total, 9 currents like Fluxus and New Complexity, 3 styles like Claudio Monteverdi, 5 techniques like Spectral Music and Polymodality, 5 composers like Karlheinz Stockhausen and Guillaume de Machaut and 9 genres like Turkish Folk Music and Traditional Greek are reached. It is thought that the results will contribute to the field because it will cause a better understanding in the artistic viewpoints of contemporary composers, as well as being a step for the piano and music educators and the students who have studied academic piano education in order for them to be able to understand the contemporary music.
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Janosy, Zoltan. "Computer Analysis of Player Piano Rolls." Computer Music Journal 18, no. 3 (1994): 9. http://dx.doi.org/10.2307/3681176.
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Castellano, Ginevra, Marcello Mortillaro, Antonio Camurri, Gualtiero Volpe, and Klaus Scherer. "Automated Analysis of Body Movement in Emotionally Expressive Piano Performances." Music Perception 26, no. 2 (December 1, 2008): 103–19. http://dx.doi.org/10.1525/mp.2008.26.2.103.
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EMOTIONAL EXPRESSION IN MUSIC PERFORMANCE includes important cues arising from the body movement of the musician. This movement is related to both the musical score execution and the emotional intention conveyed. In this experiment, a pianist was asked to play the same excerpt with different emotionally expressive intentions. The aim was to verify whether different expressions could be distinguished based on movement by trying to determine which motion cues were most emotion-sensitive. Analyses were performed via an automated system capable of detecting the temporal profiles of two motion cues: the quantity of motion of the upper body and the velocity of head movements. Results showed that both were sensitive to emotional expression, especially the velocity of head movements. Further, some features conveying information about movement temporal dynamics varied among expressive conditions allowing emotion discrimination. These results are in line with recent theories that underlie the dynamic nature of emotional expression.
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Jelen, Birsen. "The Relationships Between Music Performance Anxiety and the Mindfulness Levels of Music Teacher Candidates." International Education Studies 14, no. 10 (September 26, 2021): 116. http://dx.doi.org/10.5539/ies.v14n10p116.
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In this study the relationships between the Music Performance Anxiety (MPA) levels and mindfulness levels of Music Teacher Candidates (MTC) were investigated. A large sample of undergraduate students (N = 524) from seven different universities from around Turkey took place in the study. The data was collected with both Kenny’s MPA inventory and the Five Facets Mindfulness Questionnaire. The Pearson Moments Correlation Coefficient was used in determining the relationships between the MPA and mindfulness levels of the MTC. To determine whether the MPA of students and mindfulness differ in terms of piano lesson achievement and daily piano practice time (DPPT) variables, a variance analysis (ANOVA) and a Kruskal Wallis H test analyses were used. Students’ mindfulness levels were negatively correlated with their MPA levels. Their piano lesson achievement levels had positive relationship with mindfulness and a negative relationship with their MPA. Similarly, their DPPT had a positive relationship with mindfulness and a negative relationship with MPA.
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Setiawan, Erick, and Erfan Erfan. "METODE PEMBELAJARAN PIANO DI PURWACARAKA MUSIK STUDIO PADANG." Jurnal Sendratasik 9, no. 4 (December 5, 2020): 89. http://dx.doi.org/10.24036/jsu.v9i1.109555.
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This study aims to describe how the piano learning methodsare used in Purwacara Music Studio Padang. It is seen in terms of objective, material, method, and evaluation. This research used a Qualitative approach which produced descriptive data about Piano Instruction in Purwacara Music Studio Padang.T he data were collected through observation, interview, documentation, and interactive data analysis consisting of data reduction, data presentation, and conclusion drawing. The results show that the piano learning process in Purwacara Music Studio is in accordance with the determined curriculum whose learning objective is students are able to play piano in right fingeringand sitting attitude. In the learning process, the methods implemented are lecture method, questions and answers, demonstration, drill, and assignment. Meanwhile, thelearning materialsare divided into two materials: music theory and music practice. In addition, evaluation is always held in every course meeting, and final evaluation as well as a test for improvement levelis held every 6 months. To get more tangible and use fulbenefits, based onthe results of research and discussion about piano instruction in Purwacara Music Studio, forming a special team for designing piano learning materials in an guidebook is a suggestion the writer gives. This is due to the fact that available materials are not neatly arranged in a guidebook. Thus, the existence of the arranged materials in a guidebook can further enhance the process of learning.Keywords: method, learning, piano
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A.R., Sharipova, and Sidikova A.M. "Creating Space For The Piano (Barriers And Permeability Of Social Space)." American Journal of Social Science and Education Innovations 2, no. 09 (September 26, 2020): 264–72. http://dx.doi.org/10.37547/tajssei/volume02issue09-41.
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The article is devoted to the issue of the formation and development of piano art in Uzbekistan. The material characterizes the interaction between composers, interpreters and listeners of piano music. Using such methods as comparative-historical, theoretical-analytical, musical-critical, performing, the analysis of the state of the piano art of Uzbekistan is carried out. The topic under consideration will be of interest to specialists working in the field of music education. The issue of the state of the piano art in Uzbekistan requires further study.
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Rut Gudmundsdottir, Helga. "Pitch error analysis of young piano students’ music reading performances." International Journal of Music Education 28, no. 1 (February 2010): 61–70. http://dx.doi.org/10.1177/0255761409351342.
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Adamyan, Anna. "Music Education Issues for Adult Beginners in Armenia: Specifically the Analysis of the Difficulties of Piano Playing." British Journal of Music Education 35, no. 2 (February 12, 2018): 191–202. http://dx.doi.org/10.1017/s0265051717000249.
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This paper reveals contemporary issues of music education in post-soviet Armenia. The author analyses the state of music education and draws special attention to the music education of adult beginners, which is a new challenge for the educational system of Armenia. In particular, the author reveals new problems in the performing arts, especially piano playing by adults, which brings with it many questions about new methodical approaches.The author details ideas with respect to the psychological aspects of adults who wish to play piano and presents results of her tests on students from the chair of Music Education, Armenian State Pedagogical University after Khachatur Abovyan. She also provides observations and a number of recommendations for even more productive work.
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Turan, Hamza Serdar, and Sirin Akbulut Demirci. "Usage of Ulvi Cemal Erkin’s ‘Duyuşlar’ Compositions in Music Education Departments, According to the Opinions of Piano Educators." Journal of Education and Training Studies 6, no. 11 (October 9, 2018): 186. http://dx.doi.org/10.11114/jets.v6i11.3553.
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Piano lessons which take place in music education departments involve example works of Turkish and world composers, education music examples, piano literature and learning-teaching techniques. Within this context, Ulvi Cemal Erkin, who is a member of The Turkish Five, wrote a composition called Duyuşlar, which consists of 11 pieces and is used in piano training. In this study, it was aimed to determine the usage of the composition Duyuşlar in the programs of institutions teaching music education in piano lessons in terms of technique, musical, and style characteristics. In accordance with this purpose, interviews are carried out by asking semi-structured interview questions to piano instructors who are using this work in their education process and working in Music Education Departments. The results of the interviews are determined into themes and codes using the qualitative research analysis program NVivo11. As a result, it is observed that the usage frequency in the direction of the themes and the recommended levels to use in the students vary, but the works contribute to piano education in terms of piano techniques, aksak measures, nuances, expressions, tempo and polyphonic techniques. It has also been proposed to increase the frequency of usage of Duyuşlar. It is thought that this study will contribute to the field of piano education in terms of the limited literature about this composition.
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Lavengood, Megan. "What Makes It Sound ’80s?" Journal of Popular Music Studies 31, no. 3 (September 2019): 73–94. http://dx.doi.org/10.1525/jpms.2019.313009.
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Popular music of the 1980s is remembered today as having a “sound” that is somehow unified and generalizable. The ’80s sound is tied to the electric piano preset of the Yamaha DX7 synthesizer. Not only was this preset (E. PIANO 1) astonishingly prevalent—heard in up to 61% of #1 hits on the pop, country, and R&B Billboard charts in 1986—but the timbre of E. PIANO 1 also encapsulates two crucial aspects of a distinctly ’80s sound in microcosm: one, technological associations with digital FM synthesis and the Yamaha DX7 as a groundbreaking ’80s synthesizer; and two, cultural positioning in a greater lineage of popular music history. This article analyzes the timbre of E. PIANO 1 by combining ethnographic study of musician language with visual analysis of spectrograms, a novel combination of techniques that links acoustic specificity with social context. The web of connections created by the use and re-use of DX7 presets like E. PIANO 1, among hundreds or maybe thousands of different tracks and across genres, is something that allows modern listeners to abstract a unified notion of the “’80s sound” from a diverse and eclectic repertoire of songs produced in the 1980s.
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Zhang, Nan. "Piano Teaching Improvement Based on Machine Learning and Artificial Intelligence." Security and Communication Networks 2022 (August 24, 2022): 1–11. http://dx.doi.org/10.1155/2022/9672068.
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With the development of modern piano and the increasing demand of people for music hobbies, the traditional piano teaching mode had exposed more and more problems. Artificial intelligence accelerated the development of music education to a certain extent and effectively improved the teaching effect of teachers to piano lovers. If artificial intelligence and machine learning were organically integrated, the application of intelligent piano can be more wide. Therefore, this paper proposed a piano teaching model based on machine learning and artificial intelligence, which aimed to provide support for improving the quality of piano teaching. Firstly, based on the analysis of machine learning-related theories, this paper expounded the characteristics of neural network in data processing and gave the process of the integration of machine learning and artificial intelligence and its application advantages in music teaching. Secondly, according to the interactive needs between intelligent piano and learners, this paper put forward intelligent piano teaching assistance methods and constructed an intelligent piano teaching service management system by improving the teaching information resource base. Finally, it analyzed the influence of artificial intelligence on piano teaching from different angles. In order to test the effectiveness of the piano teaching mode proposed in this paper, the piano learners under different teaching modes were investigated and counted. From the piano teaching effect and the evaluation results of the piano practitioners on the teaching mode, it was known that compared with the traditional piano teaching mode, the piano teaching mode proposed in this paper had achieved remarkable results in both theoretical teaching and practical operation. It can significantly improve the quality of piano teaching and promote the enthusiasm of learners.
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XANKIŞIYEVA, İlhame. "A LOOK AT AZER DADASHOV’S PIANO WORK." IEDSR Association 6, no. 15 (September 20, 2021): 1–10. http://dx.doi.org/10.46872/pj.302.
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The article we presented is devoted to the analysis of A.Dadashov's piano music. Although some of the composer's piano works have been examined in various studies, this heritage has not been examined in its entirety. The images created by A.Dadashov include the relationship between man and the universe, the desire for the creation of the individual world, as well as aspects related to the inner world of man. Piano music, which is an important part of A.Dadashov's work, is represented by various genres, large and small. Here you can find all kinds of genres, from piano and orchestral concerts to small preludes. Thus, the composer's piano music offers a wide choice for pianists of different ages. Azer Dadashov's piano works include three concerts written for piano and camera orchestra, as well as a series of small miniatures and independent plays. The composer composed three concerts for piano and orchestra. The first concert took place in 2004, the second in 2009 and the third in 2010. Miniature genres dominate Azer Dadashov's piano music. The series for young pianists is particularly noteworthy here. A.Dadashov’s “Six Preludes”, “Six Miniatures”, “For the Flower” consisting of seven dances, as well as four sonatinas, pastoral, etc. There are piano works. Taking into account the technical abilities of the young pianist, who has mastered the art of performance, the composer tried to portray the children's colorful dance power, the world of bright images and create interesting musical panels. The composer's piano series “Six Preludes” (1966), “Six miniatures” (1968), “Six melancholy miniatures” (1985), “For Flowers” (1986), and “Atmacalar” (2001) are included in the children's music teaching repertoire. These miniatures are widely included in the concert program of school and young pianists. As the name suggests, most of these sequences are programmed. In sequences of a particular genre, each instance has its own image-emotional content and is ordered within the sequence according to a certain linking principle. Azer Dadashov's piano music is also characteristic of independent plays of different volume and content. These include “Poema” (2012), “Space song” (2015), “Bagatel” (2010), “Praise”, “Funny dance” (2009), four sonatas, “Three almonds and a walnut” for piano and chamber orchestra. ”, “Sacrifice of God”, “My Flag”, “Trial”, “Grace” and others. Although the use of modern means of expression and the writing techniques of the composer are observed in A.Dadashov's piano music, the composer prefers classical traditions to embody the form. In the composer's music, each motif serves to embody the main idea down to the smallest detail, depending on its general content.
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Csüllög, Judit, and Krisztina Várady. "Contemporary Voices from Eger. A Cross-section from the Piano Works of László Kátai." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (December 21, 2020): 143–72. http://dx.doi.org/10.24193/subbmusica.2020.2.11.
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"The main purpose of the article is introducing the Hungarian contemporary composer, László Kátai. He is a retired associate professor who worked for almost 30 years at the Music Department of Eszterházy Károly College (Eger, Hungary). His compositions are strongly connected to Hungarian folk music and his musical language is based on Béla Bartók’s style amongst some other influences. The analysis of four piano compositions is the essence of the study. Keywords: László Kátai, Bartók’s style, piano pieces, musical analysis, Hungarian folk music"
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Yang, Fan, and Yu Shi. "Brief Analysis on the Present Situation and Future Development of Piano Education in China." Lifelong Education 9, no. 6 (September 28, 2020): 81. http://dx.doi.org/10.18282/le.v9i6.1305.
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Piano originated in Europe. It is a keyboard instrument invented by Italian Bartolomeo Cristofori in 1709, known as the king of musical instruments. It is often used in solo, accompaniment, ensemble and other performances. The piano came into China at the end of the 19th century and the beginning of the 20th century. At first, the appreciation and acceptance of the piano by Chinese people was not high. Later, foreign missionaries often used the piano in the church. As time went by, people’s acceptance of piano increased day by day. After the founding of new China, China’s pianists won many awards in international piano competitions. After the reform and opening up, China’s economy has developed rapidly, and it has also absorbed the culture from all over the world. More and more Chinese people begin to appreciate piano music and learn to play. Piano education has also entered the public’s vision. In higher education, many art colleges and universities have set up piano learning related courses. Piano is no longer a rare thing hundreds of years ago, but gradually integrated into Chinese culture. At present, China’s piano education has been orderly popularized, occupying a place in art education, but at the same time there are also some aspects worth thinking about the piano education in the cultivation of aesthetic and artistic accomplishment. From the current situation and development of China’s piano education this paper gives the corresponding countermeasures.
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Siebenaler, Dennis J. "Analysis of Teacher-Student Interactions in the Piano Lessons of Adults and Children." Journal of Research in Music Education 45, no. 1 (April 1997): 6–20. http://dx.doi.org/10.2307/3345462.
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The purpose of this investigation was to identify and describe the characteristics of effective teaching in the piano studio. Thirteen piano teachers were videotaped with one adult student and one child student during three consecutive lessons each. An 8- to 12-minute segment showing work on a piece in progress was excerpted from each of the 78 lessons. Computerized observation procedures, designed specifically for this and related research, were used to record and analyze teacher behavior, student behavior, and lesson progress. Ten representative excerpts were evaluated by five expert piano pedagogues, who rated the teaching effectiveness observed in each. The expert pedagogues were generally reliable in identifying ineffective teaching, but were less reliable in assessing effective teaching. Correlational analyses were used to identify the lesson characteristics associated with effective and ineffective ratings. Relatively active teachers were ranked higher than were inactive teachers. Active teachers provided more modeling and gave more feedback. Student performance episodes generally were shorter among the more active teachers, and students of the more active teachers tended to perform mare successfully. The duration and pace of behavior episodes were important variables in discriminating among levels of instructional quality, with shorter episodes and, thus, faster pace associated with more effective teaching.
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Qian, Jie. "Analysis of the Similarities between the Third Movement of Beethoven: Piano Sonata "Passion"(OP.57) and the Third Movement of the Piano Concerto NO 5 "Emperors" (OP.73)." Highlights in Art and Design 1, no. 3 (November 13, 2022): 15–18. http://dx.doi.org/10.54097/hiaad.v1i3.2706.
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Ludwig van Beethoven (1770-1827) was a representative composer in the European classical period. His Piano Sonata "Passion" (OP.57) and Piano Concerto NO.5 "Emperor" (OP.73) are masterpieces in Beethoven's piano music literature. This article will explore the commonness of these two works, which were created in Beethoven's mature period, in terms of creative techniques, musical style, historical status, etc., and strive to deepen the understanding of Beethoven's piano works in his mature period.
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Zhornikova, Mariia. "EMBODIMENT OF THE PRINCIPLES OF SONOR WRITING IN THE CREATIVE WORKS OF E. VILLA-LOBOS (on the example of the piano suite “Dolls”)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (March 10, 2021): 158–81. http://dx.doi.org/10.34064/khnum1-58.10.
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Introduction. E. Villa Lobos (1887–1957) is a classic the 20th century music. For Ukrainian musicology, the piano legacy of E. Villa-Lobos is relevant in terms of substantiating the innovation of the composer’s thinking in world creative practice at the beginning of the 20th century. In particular, the performers of the piano suite “Dolls” are faced with the problem of understanding the content of sonor-textural music. Оbjectives. To identify the distinctive features of E. Villa-Lobos’ use of elements of the sonority,which are based on the synthesis with Brazilian folk melos (on the example of the analysis of the piano suite “Dolls”). The subject. The piano suite (“Dolls”) (1918) as an example of the composer’s early creative style, which embodies the principles of sonorism typical for impressionist aesthetics. Theoretical Background. The novelty of the artistic tasks set by E. Villa-Lobos to the performers of his music in the early period of his creative activity required the study of the fundamental works of Yu. Kholopov, V. Tsenova, V. Kholopova, in which the meaning of the concepts “sonority”, “harmonic colouristics” and “texture”. Analysis of recent publications on the topic. The master’s work by A. Sotnikova (2010) raises questions on the formation of professional Brazilian music, the author focuses on the analysis of the piano composition of the composer. In her article V. Fedotova (2016) in the article examined the distinctive principles of the work of the Brazilian composer, in particular the specifics of his piano compositions. Results and Discussion. Music of the 20th century became a reflection of new artistic tasks that required adequate means of expression, and one of such means was sonoristics. It was this type of writing that E. Villa-Lobos addressed when writing the piano suite “Dolls” (1918). In the composer’s writing of E. Villa-Lobos there is sonoristics, harmonic colouristics, developed texture, due to which nationally coloured sound images are created. This confirms not only the stylistic, but also the comparative-interpretative analysis of the suite. Conclusions. The piano suite “Dolls” embodies the innovative interpretation of the instrument in the early 20th century. The theoretical ideas about the colouristics functions of the chord in its interconnections with the piano texture, timbre, and metro rhythm are systematized. A functional analysis of the piano pieces by Villa-Lobos from the early “Dolls” suite combined the new European style and writing techniques (such as colouring, sonoristics) with the national Brazilian melos reflecting the true spirit and worldview of Brazilians.
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Huang, Nansong, and Xiangxiang Ding. "Piano Music Teaching under the Background of Artificial Intelligence." Wireless Communications and Mobile Computing 2022 (January 24, 2022): 1–13. http://dx.doi.org/10.1155/2022/5816453.
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The work is aimed at solving the problems of easy trapping into local extremes and slow convergence speed of the traditional music teaching evaluation system on Backpropagation Neural Network (BPNN). The traditional note recognition methods are susceptible to high noise complexity. Firstly, the Levenberg Marquardt (LM) algorithm is used to optimize the BPNN; secondly, an improved endpoint detection algorithm is proposed by short-term energy difference, which can accurately identify the time value of each note in the piano playing audio. By the traditional frequency domain analysis method, a radical frequency extraction algorithm is proposed by the improved standard harmonic method, which can accurately identify the note’s pitch. Finally, a piano performance evaluation model by BPNN is implemented, and the model is implemented by the Musical Instrument Digital Interface (MIDI) system. This evaluation model can be used to correct the errors of students’ performances in the piano music teaching process and to perform overall evaluation, rhythm evaluation, and expressive evaluation. Teachers and students play minuet to collect experimental samples to train BPNN and test the performance of the evaluation model. The practical result shows that (1) after 3000 times of training, the neural network error is less than 0.01, and the network converges; (2) the evaluation results of the piano performance evaluation model designed are basically in line with the actual level of the performer and have specific feasibility; and (3) the optimized BPNN is used to correct errors during performances with an accuracy rate of 94.3%, which is 5.25% higher than the traditional method. The error correction accuracy rate for pitch is 92.9%, which is 5.21% higher than the traditional method. The optimized BPNN has significantly improved the error correction accuracy of the notes and pitches played by the player. The model can effectively help piano beginners correct errors and improve the accuracy and efficiency of the practice. The purpose of this study is to alleviate the scarcity of piano teachers, reduce the work intensity of piano teachers, realize automatic error correction and objective evaluation of playing, and provide necessary technical support for improving the efficiency of piano music teaching.
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Zheng, YunDan, Tian Tian, and Ai Zhang. "Training Strategy of Music Expression in Piano Teaching and Performance by Intelligent Multimedia Technology." International Transactions on Electrical Energy Systems 2022 (August 29, 2022): 1–14. http://dx.doi.org/10.1155/2022/7266492.
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Teaching using a multimedia technology in the 21 s t century affords the possibility of developing novel instructional strategies and paves the way for the all-around extension of musical educational functions. The importance of multimedia teaching technology in piano instruction has started to emerge in our country and society due to the ongoing development of this kind of technology in music educational institutions here. The conventional method of teaching piano has several drawbacks that may be mitigated by using one of the several alternative methods of instruction for the instrument, especially in light of the ongoing advancements in science and technology. A pianist’s methods of expression are the tools they use to convey their thoughts and emotions about a piece of music to the audience. Teachers may demonstrate their musical skills to students and they must immediately focus on a musical expression which is vital for performers. In this paper, the Multimedia-based Piano Teaching Model (MPTM) has been proposed to improve the piano teaching quality. Traditional piano instruction is improved and developed using multimedia technology in this article. The Internet education model is used for teacher assessment, and the systematic way representing piano teaching combines different music educational materials. It begins building a sufficiently broad music network infrastructure resource sharing framework and benefits society’s amateur music literacy. The use of machine learning in students’ concrete piano instruction has the potential to thoroughly promote contemporary piano instruction and enhance the overall quality of instruction. To begin, an explanation of the intelligent piano’s features and capabilities is provided. The neural network is used to suggest a technique for detecting a piano note on a set. The network can assess the input piano music signal’s time frequency by translating the original time-domain waveform into the time-varying frequency distribution. Intelligent piano instruction analysis can effectively achieve the overall optimization of piano performance. The test results show that MPTM has a significant role in boosting the desire to learn to play the instrument. The experimental results show that the proposed MPTM achieves a learning skills ratio of 97.6%, a learning activity ratio of 98.5%, a student performance ratio of 93.8%, a teaching evaluation ratio of 90.3%, and a learning behavior ratio of 94.2% when compared to other methods.
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Yan, Haosyuan. "Genre Liederabend in creative practice by J. Kauffmann." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (November 20, 2019): 183–97. http://dx.doi.org/10.34064/khnum1-55.13.
Full textAbstract:
Statement of the problem. Within the frameworks of interpretology, the performing style appears as the relation of two subjects (the performer and the subject of the music itself, recorded in the text), a meeting of the composing and performing thinking. It is every performance by Jonas Kaufmann, a prominent singer of the present, that becomes this meeting. According to the singer’s words, the «chamber form» invented by him and called Liederabend is the favourite form of his expression. Liederabend always demonstrates the singer’s outstanding acting skills, stage presence, strong voice and impeccable technique. Among the outstanding events there are the performances of G. Mahler’s chamber opuses (romances, «Song of the Earth», «Songs of the Dead Children», R. Strauss; Liederabends in Bamberg, Munich and the Metropolitan Opera with F. Liszt’s songs «Three Sonnets of Petrarch», G. Mahler, A. Dupark (including on Heine’s and Goethe’s verses), R. Wagner (Five Songs on Matilda Wesendonk’s verses), B. Britten (Seven Sonnets by Michelangelo). The singer’s attention to the AustrianGerman repertoire is the special trait of such chamber evenings. Analysis of recent publications on the topic. The main material on J. Kaufmann’s creative work is contained in numerous interviews, official site materials, Thomas Voigt’s book called «Meinen die wirklich mich», nonfiction articles and reviews on the performance of, in particular, Liederabends (T. Belova, T. Yelagin, E. Shapinska, Tim Ashley, and Christie Franke). From the studies of chamber and vocal performance (I. Gersamiya, T. Madysheva, T. Lymareva), the classification of dialogue quality (E. Stepanidina) in chamber music is involved. The systematic approach allows (based on G. Tsypin’s research) to identify the phenomenon of J. Kaufmann’s creativity. The purpose of the study is the formulation of the basic parameters of his performing style based on the analysis of J. Kaufmann’s Liederabends. Presentation of the main research material. In «The Winter Way» the singer resorts to such expressive means as a little exaggerated, chanted diction of the initial phrases («Sleep quietly»), radically contrasting dynamics of opera ff and subtle pp («Flood»), extremely slow tempo and filigree breathing («Inn»), «performance on the verge» of sound and silence («Loneliness», «Grey Hair», «Crow», and «Last Hope»). The centre of the performance concept is «Loneliness» (according to the singer himself). K. Frank sees the performance by Kaufmann as a rich spectrum of emotions; many listeners note the introversion of his expression. Concerning the conceptual dimension of J. Kaufmann’s interpretation of “The Winter Way”, the following facts were noted: the integrity and the construction of the performance form; the conscious avoidance of unnecessary expressiveness, monologue quality (the master connects the songs, creating an extended monologue), and artistry. Conclusions of the study. The analysis of Liederabends made it possible to find the components of J. Kaufmann’s performing style that characterize his individuality. 1. Intellectualism, conceptual design and «cyclicality» of the embodiment. For Liederabends the singer always chooses sophisticated programs, dominated by song cycles, or even the evenings devoted to the creative work of one composer. From the point of view of dramaturgy, the singer combines several songs into a kind of a micro-cycle, which enhances the monologue of the expression (dialogue «I-I»); the performance by the singer of any composition or cycle is always integral and intends for the catharsis. 2. The system of vocal expressive means that allow the singer to simulate different facets of images. Liederabends reflect the main features of J. Kaufmann’s style, which can also be noted in terms of opera interpretations: the economy of the performer, the singer’s commitment to conducting the cantilena, the role of the rhythmic component in the vocal score, the ability to tune his voice in different vocal ensembles, brilliant piano and mezzo voce, the brightness of forte, the filigree diminuendo and more. Kaufmann’s outwardly restrained manner of performance allows conveying the shades of poetic and musical text, reaching the heights peculiar to him as the performer of the tragic roles of the opera repertoire. In the chamber performance, some things sound even more pronounced. This applies to timbre (the singer can choose the desired colour of the voice, in particular, a matte or «steel» hue), the dynamic hue of ppp (sometimes a barely audible sound of the voice in the vocal cycle by F. Schubert gave a sense of boundary between the worlds, which is as if crossed by the lyric hero), diction (the singer speaks words clearly, and sometimes even sings in a recitative manner, in particular F. Schubert’s «Warrant»), and rhythm (he has a specific «acuteness» with certain disturbances of a uniform course, which has a powerful influence on the audience). Analysing the method of J. Kaufmann’s work with the author’s musical material, it is noted that he respectfully treats the text of the performed compositions, never exaggerates with “liberties” (agogic deviations, text notes, and fioritures). In terms of behavioural characteristics, J. Kaufmann’s performance always prevails in masculinity; from the point of view of the dialogue of the vocal and piano parties in J. Kaufmann’s Liederabends, the monologue quality is of great importance. All of the above allows us to identify another feature of Kaufmann’s performing style – his artistry. Due to his unstoppable artistic energy, which is felt by the listeners and visitors of Liederabends, the singer creates vivid, conceptual song evenings that are generally distinguished by the thoughtfulness of interpretations and which will surely be included in the collection of the world chamber performance. The prospect of further study of the topic is related to the study of J. Kaufmann’s performing style from the standpoint of interpretology.
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Bragagnolo, Bibiana, and Didier Guigue. "Analysis of sonority in piano pieces." Revista Música 20, no. 1 (July 6, 2020): 219–48. http://dx.doi.org/10.11606/rm.v20i1.168644.
Full textAbstract:
This paper presents an analysis of sonority in selected parts of two performances of a piano piece by the Brazilian composer Almeida Prado, extracted from the first volume of his cycle Cartas Celestes I (1974), and of this piece as a whole. The main goal of this analysis is to present a methodology where the performative decisions are understood as main sources of information, with specific attention to the sonic aspects of the piece. In this context, the musical work is understood as a process, since the score is only one of the elements that will influence the final result (Costa, 2016). The methodology consists of three main steps, and was based on the methodology of analysis of the sonority by Guigue (2009): (1) the first step is the artistic process, which gets up to the construction of two performances of the piece by the same pianist (the first author of this paper), with different and contrasting performative decisions, and their recordings; (2) then, the piece is divided into homogeneous sonic units, always having the performative decisions as guides; and (3) at last, these units are analyzed using the software Spear and Sonic Visualiser for audio files and Open Music for MIDI files. The methodology intends to include the performance in the scope of musical analysis, as performative decisions may lead to dramatic differences in the final perceived sonic layout of a musical work.