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1
Fernandes, Luciane Fernanda Rodrigues Martinho. "Analise das alterações nos padrões de preensão palmar em pianistas". [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/275219.
Testo completoAbstract (sommario):
Orientador: Ricardo Machado Leite de BarroTese doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: Este trabalho teve como objetivo a análise quantitativa dos padrões de preensão palmar de pianistas durante a realização de tarefas em função do tipo de preensão e da velocidade de execução. Vinte e cinco voluntários (11 pianistas e 14 não pianistas) realizaram 4 tipos de tarefas com a mão direta: Preensão grossa em velocidade rápida (T1); Preensão grossa em velocidade lenta (T2); Preensão em gancho em velocidade rápida (T3) e Preensão em gancho em velocidade lenta (T4). No dorso da mão foram colocados 16 marcadores nas extremidades proximais e distais dos ossos metacarpianos e falanges proximais do 2° ao 5° dedos. Para a captura das imagens foram utilizadas quatro câmeras de vídeo digital, conectadas a quatro microcomputadores. A medição das coordenadas e a reconstrução tridimensional dos marcadores foram realizadas através do sistema ¿Dvideow ¿ Digital Vídeo for Biomechanics¿, desenvolvido no Laboratório de Instrumentação para Biomecânica da Faculdade de Educação Física da UNICAMP. Os ângulos de flexão e extensão das articulações metacarpofalangeanas foram calculados a partir da medida das coordenadas dos marcadores. Foram utilizados diagramas de fase para caracterização do padrão e da regularidade das repetições. A Análise por Componentes Principais foi utilizada para quantificar o padrão e a regularidade dos ciclos de movimento e a correlação entre as curvas dos ângulos das articulações dedos foi utilizada para avaliar sinergia dos dedos durante a tarefa. A partir dos resultados, foram observados que as diferenças mais evidentes entre os grupos controle e pianista foram identificadas na regularidade da curva para tarefa T2, através da Análise por Componentes Principais e para todas as tarefas na análise da correlação entre os ângulos das articulações metacarpofalangeanas. Na comparação entre as tarefas foram encontradas diferenças significativas entre as realizadas com a preensão grossa e gancho, em todas as análises. Através da metodologia empregada e das análises foi possível caracterizar os padrões de preensão palmar de pianistas e evidenciar diferenças entre pianistas e não pianistas
Abstract: This work describes an experimental study that aimed to quantitatively analyze the palmer gripping patterns of pianists during the execution of function tasks relating to gripping and speed of execution. Twenty-five subjects (11 pianists and 14 non-pianists) carried out 4 tasks with their right hand: Gross gripping at fast speed (T1); Gross gripping at low speed (T2); Hook gripping at fast speed (T3); Hook gripping at low speed (T4). Sixteen markers were put on the dorsal surface of the hand, on the proximal and distal extremities of the metacarpian bones and proximal phalanges of the 2nd and 5th fingers. Four digital video cameras connected to two microcomputers were used to capture the images. The measurement of the coordinates and the three-dimensional reconstruction of the markers were carried out through the ¿Dvideow ¿Digital Video for Biomechanics¿ system, developed at the Instrumentation Laboratory for Biomechanics at the Physical Training College at UNICAMP. The flexion and extension angles of the metacarpophalangeal articulations were calculated from the measurement of the marker coordinates. The phase diagram movement cycles were used to analyze the alteration in the palmer gripping patterns in pianists. The Principal Components Analysis was used to quantify the movement patterns and the regularity of the the phase diagram movement cycles which were built from the position and angular speed curves; the correlation between the angle curves of finger joints was used to evaluate the finger synergy during the task. With these results as a starting point, it was possible to observe that the most evident differences between the control and pianist groups were identified in the regularity of the curve for the second task (T2) through the Principal Components Analysis, and for all the tasks, in the analysis of the correlation between the angles of the metacarpophalangeal joints. In the comparison between the tasks, a difference was observed among those carried out in gross and hook gripping in all the analysis.Through the methodology employed and the form of analysis, it was possible to estimate the alterations in the palmer gripping patterns of pianists and compare pianists with non-pianists
Doutorado
Biodinamica do Movimento Humano
Doutor em Educação Física
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Cutting, Brieley Anne. "The Chamber Music Pianist: An Exploration of the Skills Required by Pianists Working in Small Ensembles". Thesis, Griffith University, 2017. http://hdl.handle.net/10072/366439.
Testo completoAbstract (sommario):
This document is submitted in conjunction with a creative portfolio of audio recordings for the Doctorate of Musical Arts program at Griffith University. An analysis of chamber music production from a practicing pianist’s perspective is at the core of this research. From a personalised viewpoint it explores the unique set of skills that a chamber music pianist calls upon for their work, specifically those distinct from the pianist in the role of soloist or accompanist. This practice-led project combines self-reflexive writing with data drawn from semi-structured interviews with fourteen international professional pianists. Overall, this research was driven by a desire to induce appreciation of the complex and demanding occupation of the chamber music pianist and the skills required to master this role. It aims to add to the currently limited information available on the subject and demonstrate why focused, distinct study of the skills needed for the preparing, rehearsing and performing of chamber music should be seen as an indispensable part of any pianist’s education.Thesis (Professional Doctorate)
Doctor of Musical Arts (DMA)
Queensland Conservatorium
Arts, Education and Law
Full Text
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Kim, Jinie. "Physical problems prevalent among pianists /". Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/11260.
Testo completo
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Herrojo, Ruiz María del Carmen. "Electrophysiological Correlates of Motor Control and Error-Monitoring in Healthy Pianists and Pianists with Musician's Dystonia". Hannover Bibliothek der Tierärztlichen Hochschule Hannover, 2009. http://d-nb.info/1000116883/34.
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Whipple, William Perry III. "The legacy of duo-pianists Bill and Pat Medley". Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/1514.
Testo completoAbstract (sommario):
The purpose of this D.M.A. Essay is to highlight the legacy of duo-pianists, Bill and Pat Medley. To that end, this essay will explore: (a) the early biographical information of the Medleys (developing their musical talents in the Depression and World War II Era), (b) the Medleys' concert touring career, including a section on the logistics of travelling with their own concert grand pianos across the United States and Canada, (c) the Medleys' teaching career which included both secondary and pre-college levels, (d) a collection of comical stories learned through personal interviews with the Medleys that speak to their many years of concertizing, and (e) the Medleys' composing and arranging career, which includes a detailed overview of The Medley Way method book series published by The Hal Leonard Corporation and a detailed review and analysis of twenty-two of their educational solos, which were published by the Alfred Music Company, The FJH Music Company, and The Willis Music Company.
Bill Medley stated, "As I look back on our lives and the past sixty years, I see two teenagers striking out on a journey that would take them to unfathomable destinations. It would not be done alone, by any means, but with the help of many, many people..."
It is my hope that this essay will shed light on a career that has endured sixty plus years and counting. The Medleys' touring career allowed small town communities to experience the art of classical music, who otherwise would not have experienced such beauty. The Medleys' teaching career passed along a musical lineage from their teachers, including Pierre Luboshutz and Genia Nemenoff, along with a composing and arranging career that continues to serve as a pedagogical essence of quality to this day.
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Hominick, Ian G. "Sigismund Thalberg (1812-1871), forgotten piano virtuoso : his career and musical contributions". Connect to resource, 1991. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1148492325.
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Davidson-Kelly, Kirsteen Mary. "Mental imagery rehearsal strategies for expert pianists". Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/14215.
Testo completoAbstract (sommario):
For pianists working within the western art music tradition, the ability to perform a large and complex repertoire from memory is almost a prerequisite for a successful career. Memorising and maintaining this repertoire requires considerable practice and can lead to physical overuse syndromes. Additionally, automated motor memory developed via physical practice is not always sufficient for secure recall, often leading to performance anxiety. It is important therefore for professionals to identify optimal practice strategies, and mental rehearsal has been widely advocated as a potential means of enhancing memorisation and performance fluency while at the same time avoiding physical overuse. The results of three studies that examined mental imagery rehearsal by expert pianists, adopting a mixed methods approach, are presented in this thesis. The first was a participant observation study of a course at which eleven advanced pianists learned to use a memorisation technique incorporating deliberate imagery; the study aimed to describe the teaching and learning of specific imagery techniques and to examine the potential advantages and drawbacks of this approach. The second study was an online questionnaire survey of thirty six piano students at UK conservatoires designed to investigate the teaching and implementation of mental rehearsal techniques at advanced training levels; the survey found that despite a widespread awareness of imagery rehearsal as a potentially effective strategy, training in specific techniques was not consistently available, and recommended mental practice strategies were adopted much less consistently than strategies involving physical practice. Finally, an fMRI study of fourteen expert pianists aimed to determine the neural correlates of imagery rehearsal and simulated piano playing. Differences observed in brain activation between tasks suggested increased involvement of working memory processes during mental imagery. The thesis concludes that mental imagery rehearsal techniques are acquired skills that can be taught and improved over time and which have specific advantages over motor learning, but that more pedagogical training is needed in order for these techniques to become fully effective and widely adopted.
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MUNIZ, Franklin Roosevelt Silva. "O pianista camerista, correpetidor e colaborador: as habilidades nos diversos campos de atuação". Universidade Federal de Goiás, 2010. http://repositorio.bc.ufg.br/tede/handle/tde/2729.
Testo completoAbstract (sommario):
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Previous issue date: 2010-03-31This study presents a discussion and research on the fields of expertise and skills developed by professional ensemble pianists, evaluating their role and acquisition of the area‟s specific knowledge. It also proposes a definition to the terms correpetidor, collaborator and chamber musician. The first chapter deals with the role, importance and function of these ensemble musicians since its first performance manifestations in music history. The second chapter traces the outline of each field of activity showing the routines and skills inherent to each field. For conducting this study was submitted a semi-structured questionnaire to professional pianists in each area, which provided information about their work routines and developed skills. In the conclusion the author offers a curriculum for a graduate course addressing subjects that involve the skills discussed.
Este estudo apresenta uma discussão e investigação sobre os campos de atuação e habilidades desenvolvidas por pianistas profissionais de conjunto, avaliando suas funções e aquisição de conhecimento específico da área. Também propõe definições para utilização dos termos colaborador, correpetidor e camerista. O primeiro capítulo trata da atuação, importância e função dos músicos acompanhadores desde suas primeiras manifestações na história da música. O segundo capítulo traça o perfil de cada campo de atuação de pianistas de conjunto evidenciando as rotinas e habilidades inerentes a cada campo. Para a realização deste estudo foi encaminhado questionário semi-estruturado a pianistas atuantes das áreas, os quais forneceram informações acerca do seu trabalho e das aptidões comuns a esta classe de pianistas. Na conclusão o autor oferece uma grade curricular para um curso Lato Sensu de especialização contemplando disciplinas que envolvem as habilidades discutidas.
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Thompson, Brian. "Calixa Lavallée (1842-1891) : a critical biography /". Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk:8888/cgi-bin/hkuto%5Ftoc%5Fpdf?B22359680.
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Gregoire, Patrick J. M., e Patrick J. M. Gregoire. "Piano Music and Pianists in France 1800-1830". Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/626216.
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Herrojo, Ruiz María del Carmen [Verfasser]. "Electrophysiological Correlates of Motor Control and Error-Monitoring in Healthy Pianists and Pianists with Musician's Dystonia / María del Carmen Herrojo Ruiz". Hannover : Bibliothek der Tierärztlichen Hochschule Hannover, 2009. http://d-nb.info/1000116883/34.
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Lim, Lemy Sungyoun. "The reception of women pianists in London, 1950-60". Thesis, City University London, 2010. http://openaccess.city.ac.uk/1210/.
Testo completoAbstract (sommario):
This study investigates the reception of women pianists in London in the decade 1950-60, based on reviews published in three music journals, Music and Musicians, Musical Opinion, The Musical Times, and one national daily newspaper, The Times. In the eighteenth and nineteenth centuries, women pianists, both amateur and professional, suffered from the notion that women were innately unable to engage with a superior art form such as music: thus argue scholars including Katharine Ellis, Richard Leppert, Ruth Solie and Judith Tick. Yet, such attitudes did not prevent a strong tradition of women pianists from being formed. In Britain, in the latter part of the nineteenth century, Arabella Goddard was at the forefront of the London musical scene; she was succeeded by Fanny Davies and Adelina de Lara and, later, Dame Myra Hess and Harriet Cohen, whose career successes came in the 1920s. While the situation of women pianists in Britain between the mid-nineteenth century and the late 1920s has been assessed by scholars such as Therese Ellsworth and Dorothy de Val, an in-depth study dealing with the reception of women pianists in post-WWII Britain has yet to appear. This study does not attempt to assess the technical or musical accuracy of the reviews considered; instead, it asks, what were the musical perspectives of the reviewers and, specifically, what were their views on women pianists? First, it presents six important critics, Frank Howes, Clinton Gray-Fisk, Sir Jack Westrup, Andrew Porter, Joan Chissell and Diana McVeagh, all of whom contributed to the four sources cited above. Then it assesses the extent of the prejudice embedded in the reviews examined (written by many more than the six above), which invoke such varied issues as masculinist repertoire and female anatomy. Following this, it examines the careers of six leading women concert pianists of the time: Dame Myra Hess, Harriet Cohen, Eileen Joyce, Gina Bachauer, Margaret Kitchin and Dame Moura Lympany. Their successes reveal the extent to which women musicians of the highest status were considered exempt from the prejudices to which others were subjected. It is hoped that such a study will illuminate aspects of musical life unique to London in the 1950s, partially fill the void in the historiography of women pianists in Britain after Davies, and also alert those women who perform, as well as all who listen and assess women performers, to the complex and often covert issues ‘beyond the notes’.
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Tan, Eleanor Al Ling. "Percy Grainger and the virtuoso tradition : case studies in Grainger's pianism /". St. Lucia, Qld, 2001. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16742.pdf.
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Nassrallah, Flora G. "Breathing patterns of advanced pianists while executing four performing tasks". Thesis, University of Ottawa (Canada), 2010. http://hdl.handle.net/10393/28547.
Testo completoAbstract (sommario):
Over the last fifty years, researchers have taken an interest in the breathing of different musicians. Little is known on the breathing patterns of pianists, however. Two main studies on the subject determined that a variation in meter affects breathing rhythms and that breathing rate might be linked to tempo and musical gestures, but we do not know whether a relationship exists between pianists' respiratory cycles and the movements they make when playing, or between breathing and specific musical elements such as rhythm, meter, tempo or phrasing. Eight pianists played the C major scale, the C major arpeggio, a Hanon five-finger exercise, the Minuet in G major by Petzold, and Fur Elise by Beethoven on a Yamaha Disklavier. During their performances, respiration was monitored by an inductive plethysmography system (RIPmate Respiratory Effort System). Although the results were not consistent across participants, it was clear that for some pianists breathing and performing were related.
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Andersson, Klara. "Att påverka sin publik : Hur en pianists kroppsspråk påverkar lyssnaren". Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3619.
Testo completoAbstract (sommario):
I detta arbete försöker jag styrka min tes om att vi blir väldigt påverkade av det vi ser när vi lyssnar. Jag undersöker om detta är något man kan använda sig av i riktiga konsertsammanhang eller provspelningar för att påverka sin publik på olika sätt. Jag genomförde en undersökning där fem pianostudenter fick titta och lyssna på tre olika filmklipp och sedan svara på två frågor. Målet var att påvisa att deltagarna i undersökningen undermedvetet blev påverkade av vad de såg, och inte så mycket av vad de hörde. Resultatet visade på att min tes stämmer och jag kunde dra slutsatsen att det är möjligt att påverka sin publik med hjälp av sitt kroppsspråk. Förhoppningsvis kan jag använda mig av den kunskapen i mina framtida framföranden.Den klingande delen av arbetet utgörs av följande inspelningar: Film 1-3. Coronavirussituationen vt 2020 har medfört begränsningar i inspelningsmöjligheterna. Inspelningen kan komma att kompletteras.
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Welch, Sarah. "Effects of Bench Height Variation on Muscle Activation in Pianists". Ohio University Honors Tutorial College / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1429837251.
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Tsangari, Victoria. "An interactive software program to develop pianists' sight-reading ability". Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/3393.
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Kim, Grace Jisoo. "Functional Orchestral Collaboration Skills for Wind Band Pianists: A Study Guide". Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862795/.
Testo completoAbstract (sommario):
As opportunities to perform as a soloist diminish, more pianists consider chamber and orchestral playing as an alternative solution. By so doing, ample performance opportunities are introduced. Although most university music programs offer ensemble courses for pianists and have begun to offer degrees with an emphasis in accompaniment, their curriculum lacks instructions specifically designed to train and prepare pianists for playing in large ensembles, especially wind bands. This dissertation addresses the difficulties, which one might encounter in large ensemble collaboration, and recommends useful suggestions for acquiring functional skills to solve these difficulties. Pianists can attain professional status by acquiring the functional skills presented in each chapter. The goal of this study is to provide pedagogical support and direction for novice pianists in the larger ensemble collaboration.
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Sorley, Rebecca McKinney. "Dorothy Munger : pianist and pedagogue". Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1026703.
Testo completoAbstract (sommario):
Since 1939, Dorothy Munger's career has encompassed many roles-piano teacher, accompanist, soloist and ensemble performer. Munger's early piano training included study with Karin Dayas, Rosina and Josef Lhevinne, and Guy Maier. Munger's professional performing career has included work with the Indianapolis Symphony Orchestra, solo concerto performances with orchestras around the Midwest, and accompanying for members of the Metropolitan Opera in solo recitals. Honors bestowed upon Dorothy Munger include an endowed chair with the Indianapolis Symphony Orchestra, being named a Steinway Artist, and having a performance hall named for her at Meridian Music Company in Indianapolis.Munger has served on the faculties of Jordan College of Fine Arts (now part of Butler University) and Indiana Central College (currently University of Indianapolis). Her teaching career became internationally recognized when she spoke at two European Piano Teachers Association annual conventions. At these events Munger gave workshops discussing her technique of playing with relaxed wrists and forearms.Munger students learn to keep their wrists relaxed by using motions which relate to the rhythm of the music. These motions allow the fingers to work without interference from tension in the shoulders, forearms, or wrists. Forte passages are performed by using the weight of the body to its full capacity without "pushing" the keys. The use of the diminished seventh chord helps teach the student how to create a full chordal tone while strengthening every finger. Diminished seventh exercises include chord jumps, inversions, and arpeggiated patterns. Using wrist motions during scale practice keeps the passage steady along with keeping the arm relaxed.Munger students have excelled as performers and teachers using these relaxed wrist and arm techniques. Many pianists have come to Munger with physical problems due to tensions while practicing and performing. Dorothy Munger works with all students individually to teach them the basics for performing to their capacity without injury. This information may provide a resource for others studying the methods of successful teachers.School of Music
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Guster, Kirsty. "Talking the Intangible: Contemporary Classical Pianists on Elusive Aspects of Music-Making". Thesis, Griffith University, 2013. http://hdl.handle.net/10072/365230.
Testo completoAbstract (sommario):
Placing the perceptions of ten contemporary professional pianists at its centre, this study explores how ‘intangibles’ in contemporary piano performance can be approached, understood, communicated and operationalised. Through a methodological approach of in-depth interviews recorded on video, coded and placed in the context of relevant literature and the experiences of other musicians, this study aims to locate the spaces in which intangibles play a role in classical piano performance, and determine the factors that influence how performers access and engage with intangible aspects of their music-making. In this way, it seeks to complement a vast body of literature on more tangible aspects of the instrument and its music, and contribute to a broader, more inclusive and balanced understanding of the constructs underlying piano performance as a process rather than product. It brings to the fore the actual voices of those who perform, yet have been downplayed or forgotten in much academic literature to date.
Organised in three parts, Part One outlines the research questions and methodological approach, considers multiple perspectives on the intangible from a range of (sub) disciplines, and introduces the ten pianists interviewed for this study (Chapters One-Three). Part Two presents views on locating and understanding the intangibles, organised by emerging topics and themes, and prominently presenting the voices of the pianists themselves on each issue (Chapters Four-Six). This is also the key feature of Part Three, with the next two chapters on accessing and communicating intangibles respectively, gradually bringing each pianist to life through their values and attitudes (Chapters Seven-Eight). The final Chapter (Nine) brings together the main strands of the discourse, the overall perceptions to emerge, and discusses their implications for intangibles in music-making.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
Full Text
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Morijiri, Yuki. "The construction of musical criteria by professional pianists : acting as performers and audiences". Thesis, University College London (University of London), 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.706534.
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Hao, Chen. "The influence of musical styles on the use of performance cues by pianists". Thesis, Royal College of Music, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.668173.
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Garner, Erin E. "Not just black and white : an investigation of overuse injuries among university pianists /". Lynchburg, VA : Liberty University, 2007. http://digitalcommons.liberty.edu.
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Morgan, Elizabeth Natalie. "The virtuous virtuosa women at the pianoforte in England, 1780-1820 /". Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1835614361&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Killian-O'Callaghan, Danaë. "Unveiling the melodic interval : a phenomenology of the musical element in human consciousness /". Connect to thesis, 2005. http://repository.unimelb.edu.au/10187/1670.
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Donegan, Kathleen Elizabeth. "The concert pianist in the United States during World War II, Pearl Harbor to victory". Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2002. http://wwwlib.umi.com/cr/utexas/fullcit?p3075613.
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Beltman, Susan. "Motivation of high-achieving athletes and musicians: a person-context perspective". Thesis, Beltman, Susan (2005) Motivation of high-achieving athletes and musicians: a person-context perspective. PhD thesis, Murdoch University, 2005. https://researchrepository.murdoch.edu.au/id/eprint/302/.
Testo completoAbstract (sommario):
This research explores how motivation is shaped at the interface of person and context, with a focus on motivation in sport and music. From a social cognitive perspective, motivation research traditionally focuses on factors within the individual, whereas a more situated conceptualisation requires that motivation be studied within a person in context perspective. This study combines elements of both perspectives. It is proposed that motivation is shaped at the interface of person and context, where individuals make appraisals of social (other people) and structural (physical or organisational) aspects of their environments. A holistic view of motivation is adopted that incorporates initial engagement, ongoing involvement and persistence.
One challenge in current motivation research is to develop appropriate methods to capture such a dynamic, complex construct. In this study, semi-structured interviews and innovative tasks are used to gather biographical and longitudinal data about high-achieving athletes and musicians from diverse settings.
The findings reveal that complex personal and contextual factors operate reciprocally and dynamically as individuals make ongoing appraisals of their current situations. For example, personal factors such as aptitude, and contextual factors such as the existence of community programs, operate in a reciprocal way to shape participants' initial engagement in sport or music. Complexity is highlighted when examining the role of a unique group of others in sport and music - onlookers (spectators or audience). A powerful effect on continuing involvement occurs when communities overlap and family members take on roles associated with onlookers. Participants face a range of potential problems in their lives and there are variations in the way these are perceived, in strategies and resources used, and in their impact on persistence. An important finding is the dynamic nature of motivation as the nature and extent of participants' involvement in sport or music changes over time.
In addition to deepening our understanding of how motivation is shaped at the interface of person and context, the study offers a unique methodological contribution and the findings have implications for enhancing motivation in applied settings.
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Beltman, Susan. "Motivation of high-achieving athletes and musicians : a person-context perspective /". Beltman, Susan (2005) Motivation of high-achieving athletes and musicians: a person-context perspective. PhD thesis, Murdoch University, 2005. http://researchrepository.murdoch.edu.au/302/.
Testo completoAbstract (sommario):
This research explores how motivation is shaped at the interface of person and context, with a focus on motivation in sport and music. From a social cognitive perspective, motivation research traditionally focuses on factors within the individual, whereas a more situated conceptualisation requires that motivation be studied within a person in context perspective. This study combines elements of both perspectives. It is proposed that motivation is shaped at the interface of person and context, where individuals make appraisals of social (other people) and structural (physical or organisational) aspects of their environments. A holistic view of motivation is adopted that incorporates initial engagement, ongoing involvement and persistence.
One challenge in current motivation research is to develop appropriate methods to capture such a dynamic, complex construct. In this study, semi-structured interviews and innovative tasks are used to gather biographical and longitudinal data about high-achieving athletes and musicians from diverse settings.
The findings reveal that complex personal and contextual factors operate reciprocally and dynamically as individuals make ongoing appraisals of their current situations. For example, personal factors such as aptitude, and contextual factors such as the existence of community programs, operate in a reciprocal way to shape participants' initial engagement in sport or music. Complexity is highlighted when examining the role of a unique group of others in sport and music - onlookers (spectators or audience). A powerful effect on continuing involvement occurs when communities overlap and family members take on roles associated with onlookers. Participants face a range of potential problems in their lives and there are variations in the way these are perceived, in strategies and resources used, and in their impact on persistence. An important finding is the dynamic nature of motivation as the nature and extent of participants' involvement in sport or music changes over time.
In addition to deepening our understanding of how motivation is shaped at the interface of person and context, the study offers a unique methodological contribution and the findings have implications for enhancing motivation in applied settings.
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Larsen, Janeen Jess. "Teaching basic jazz piano skills to classically-trained adult pianists a mastery learning approach /". Gainesville, FL, 1986. http://www.archive.org/details/teachingbasicjaz00lars.
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Lockett, Mark Peter Wyatt. "Improvising pianists : aspects of keyboard technique and musical structure in free jazz, 1955-1980". Thesis, City University London, 1988. http://openaccess.city.ac.uk/8259/.
Testo completoAbstract (sommario):
The jazz avant-garde of the 60s and 70s has often been depicted as a movement that signalled the end of jazz as we had come to know it, a movement of unbridled musical energy and passion without the essential restraining influences of formal guidelines and reverence for - traditions. With the benefit of hindsight, from observing the almost neoclassical stance of jazz in the 80s, the notion that this music signified the genre's Armaggedon was patently a misconception. This thesis argues that free jazz was as much a style, concerned with finding its own voice and technical vocabulary, as any other period of jazz history. As an analytical and critical study of pianists and their use of the piano in free jazz and improvised music, this survey is designed to fill a gap in musicological research of this important artistic movement, which hitherto has been primarily concerned with biography and with related sociological issues. The study traces the piano through the turbulent years of radical experirnentalism in jazz and the subsequent refinement in free improvisation in Europe and the U.S. through the work of pianists central to the movement. Rather than adopting the chronological approach, this study considers the music under broad headings specifically related to technique; the instrument's position within the group, and the generation of form, motivic structure and 'language'. Chapter 1, by way of introduction, outlines the argument of what constitutes the 'freedom' in free jazz and looks at the early development of the avant garde as it arose in opposition to the prevailing traditions of bebop and contemporary notated music with special reference to three influential pianists: Herbie Nichols, Lennie Tristano and Thelonius Monk. Chapter 2 is concerned with new concepts in overall form, while Chapter 3 takes a closer look at the smaller components, or motifs, of modular improvisatory structure. Chapter 4 examines the physical nature of piano tones, their unique qualities of sustain and resonance and their changing patterns of distribution in this music; looking at 'space' firstly in the sense of the piano's natural resonance and the pianists whose work has explored this particular characteristic, and secondly, the physical space involved in the act of playing, the sense of movement or kinaesthesis. Chapter 5 will concentrate on the dynamic and percussive approach to free jazz piano. Chapter 6 turns from the physiological to the psychological processes of improvisation; how the opposing forces of habit and originality assert themselves in the improviser's art. Chapter 7 will form a brief conclusion.
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Sangsta, Jens. "Kan du läsa? : En observationsstudie i en pianists metoder för att spela noterade stycken". Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-71665.
Testo completoAbstract (sommario):
Med utgångspunkt i min bristande notläsningsförmåga är syftet med föreliggande studie att undersöka vilka resurser utöver själva noterna som jag använder vid inlärningen av ett noterat musikstycke. Detta sker via videoobservation, dikterad loggbok, samt insamling av tidigare data. Tre olika övningspass á 20 minuter ligger till grund för resultatet. Dessa analyserades och bearbetades utifrån ett designteoretiskt perspektiv. I resultatet beskrivs vilka resurser jag använde, hur de användes, samt varför de användes. I diskussionsdelen belyses resultatet utifrån ett designteoretiskt perspektiv, jag resonerar kring behovet av att använda dessa resurser, samt diskuterar orsaken till min problematik och vägen framåt.Based on my lacking ability to read sheet music, the purpose of this study is to examine what resources beyond the music notation I use in the process of learning a piano piece from sheet music. This is done through video observation, a dictated journal, and collection of previously available data. Three separate practice sessions of 20 minutes each is the basis for the result. These were analyzed and processed based on a design theoretical perspective. The result describes which resources I used, how they were used, as well as why they were used. In the concluding discussion section, I illuminate the result from the perspective of design theory, I argue regarding the need to use these resources, as well as discuss the cause of my problems and a possible way forward.
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Leyva, Dragomir Octavian. "Cinq Poèmes de Baudelaire : En undersökning av Claude Debussys sångcykel genom en pianists ögon". Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4230.
Testo completoAbstract (sommario):
Detta arbete handlar om Debussys sångsamling Cinq poèmes de Baudelaire; musik skriven i en omtumlande period då Debussy anammar det bohemiska pariserlivet. Han ville med detta verk glänsa med sin kompositionsteknik. Arbetet inkluderar en reflektion över sångernas uppbyggnad samt vad som inspirerat dessa; det utforskar även samtiden gällande kompositionen av sångerna. I studien användes François Lesures biografi Claude Debussy: A Critical Biography (2003) samt annan relevant litteratur. Under arbetets gång var syftet att leda fascinationen av verket till en förståelse och klarhet över dess plats i musikhistorien. Cinq poèmes de Baudelaire är sånger som kräver flera genomlyssningar för att begripa. Av denna anledning finns det en problematik i framförandet av sångerna som har varit värdefull att utforska. Framtida utövare av Debussys romansmusik kan få nytta av denna studie. Genom att följa processen, kan såväl pianister som sångare, finna inspiration till sin egen interpretation.Repertoar, inspelning finns bifogat:
Claude Debussy - Cinq Poèmes de Charles Baudelaire:
I. Le Balcon, II. Harmonie du Soir, III. Le Jet d’Eau, IV. Recueillement, V. La Mort des Amants
Eleonora Poignant - sopran
Mathilda Sidén Silvfer - mezzo-sopran
Astrid Banck Linderoth - sopran
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Sigler, Shitong Zhan. "A Survey of Literature on Entrepreneurial Experiences for Classical Musicians: Implications for Training Pianists". The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1619146165528988.
Testo completo
34
Hinners, Sunghee Lee. "Fauré's piano quartet in C minor, op. 15: analysis and performance guide for pianists". Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/2518.
Testo completo
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Ritterman, Janet Elizabeth. "Concert life in Paris, 1808-1838 : influences on the performance and repertoire of professional pianists". Thesis, Goldsmiths College (University of London), 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363052.
Testo completo
36
Chen, Baolu. "Tan Dun’s Eight Memories in Watercolor, Op.1: Strategies for Pianists and a Version Comparison". The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1468502200.
Testo completo
37
Wong, Grace. "The Immediate Effects of Somatic Approach Workshops on the Body Usage and Musical Quality of Pianists". Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32166.
Testo completoAbstract (sommario):
There is a growing popularity among musicians to turn to somatic approaches such as the Alexander Technique, Body Mapping and Feldenkrais Method to improve posture and movement at the instrument and to produce better tone quality. There is little scientific and objective data to support the changes that are apparently seen and heard after such training. This study examines if a single somatic session has an immediate, perceivable effect on pianists’ body usage and musical quality. In the first mode of evaluation, judges rated specific aspects of body usage and musical quality. In the second mode of evaluation, judges were asked to identify post-somatic performances. Results indicated that there are perceivable changes in body usage and musical quality although those differences are not as apparent or easily detectable as is often believed. The findings also suggest that it is easier to identify post-somatic performances through body usage than musical quality.
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Cotton, André. "Virtuosité des pianistes de jazz américains, de Jelly Roll Morton à Brad Mehldau : histoire parallèle et héritage du Romantisme européen". Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE2071/document.
Testo completoAbstract (sommario):
L’objectif de cette thèse est de s’interroger sur la prégnance éventuelle de paradigmes romantiques chez les pianistes improvisateurs solistes issus du jazz. Du modèle de la virtuosité soliste au style et plus généralement à l’esprit romantique,est-il possible de déceler, chez eux, une part d’héritage assumée ou non ? Concernant des pianistes aussi différents que les virtuoses de la musique savante romantique du XIXe siècle en Europe et les pianistes de jazz américains du siècle suivant, le terme d’héritage pourrait sembler inadapté voire abusif. Or il ne faut pas sous-estimer l’apport de la musique savante écrite aux musiques improvisées, en particulier dans le domaine pianistique. Tous les pianistes improvisateurs se sont plus ou moins trouvés confrontés à des pages extraites des répertoires classique, romantique ou contemporain, tout au moins pendant leurs études pianistiques qui pour certains, ont été extrêmement approfondies. Peut-on discerner dans le jeu de certains virtuoses les influences des deux grands génies romantiques au caractère si différent que furent Chopin l’intimiste et Liszt l’extraverti au travers de cette virtus latine reliant habileté et transcendance, apanage du héros prométhéen qui vole le feu pour l’offrir à l’humanité ? La musique improvisée est fréquemment une entité de partage, le récital de soliste restant l’exception. C’est à l’occasion de ce moment privilégié que les rares élus, dont la relation à l’instrument sur lequel ils jouent est à chaque fois nouvelle, accèdent au statut de héros en valorisant énergie, action et savoir humain. De Jelly Roll Morton, autoproclamé « inventeur » du jazz à l’improvisation totale de l’ère post-bop, en passant par les pianistes de stride et Art Tatum, la représentation du romantisme revêt des aspects protéiformes allant de l’émancipation des aspects fonctionnels liés à la danse aux préoccupations programmatiques d’un Brad Mehldau se remémorant SchumannThe aim of this thesis is to question the possible impact of romantic paradigms for soloist improviser pianists coming from the jazz scene. From the soloist virtuosity to the style and more generally to the romantic spirit, is it possible to find in their work a certain heritage, whether it is overtly admitted or not? However, 19th century classical music virtuosi and jazz pianists from the following century are so different that it seems natural to wonder whether the word ‘heritage’ is the proper one to use. Yet, the contribution of written classical music to improvised music pieces shouldn’t be overlooked, especially when examining thepianistic domain. Every improviser pianists have been faced with pieces from the classical, romantic or contemporary repertoire to some extent, at the very least during their piano studies which, for some of them, were extremely advanced. Through the Latin virtus connecting dexterity and transcendence – the prerogative of the Promethean hero stealing fire as a present for humanity - could it be possible to find in the playing of certain virtuosi the influence of the two great romantic geniuses, Chopin the intimist and Liszt the extrovert, whose characters were so different? Improvised music is frequently a moment of sharing (soloists’ recitals being the exception) and it is the moment when a few chosen ones can reach the status of heroes, emphasizing energy, action and human knowledge. From Jelly Roll Morton, self-proclaimed “inventor” of jazz music, the stride pianists and Art Tatum,to the complete improvisation of the post-bop era, romanticism is represented through many different protean aspects such as the emancipation of functional aspects connected to dance or again the programmatic concerns of a certain Brad Mehldau, reminiscing about Schumann
39
Ragni, Frances. "A phenomenological enquiry of perceived mental representations in thematic musical improvisation : case studies of two professional pianists". Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/283485.
Testo completoAbstract (sommario):
This study presents a phenomenological enquiry of two professional music improvisers' perceived mental representations. The notion of perceived 'mental representations' are recognized as having a pedagogical importance in increasing the quality of a musical performance, yet its nature and roles in music learning remain poorly understood. Although they are generally seen as conscious and quasi-perceptual experiential phenomena involving the imagination of events, objects, and settings, music scholars have found 'mental representations' difficult to conceptualize due to the coexistence of its different names and definitions in the literature. Synonymous terms of 'mental representations' also feature in several phenomenological and psychological models of referent-based musical improvisation. These include the concepts of 'tonal imagery' (Pike, 1974), 'representational structures' (Clarke, 1988), and 'analytical representations' (Pressing, 1988). To address this gap, the present study seeks to conceptualize the nature, formation, and roles of mental representations in the context of the musical improvisation process. An overarching research question guided the study: What characterises the nature of improvisers' embodied perceived mental representations before, during, and after a thematic musical improvisation? The study's qualitative methodology is positioned in constructivism and draws on the theoretical thinking of Andreas C. Lehmann and Marc Leman. In particular, this study adopts Lehmann's (1997) theory of three necessary types of mental representations in an expert musical performance (1. the desired performance goal, 2. the production aspects, and 3. the actual performance) as a theoretical lens to understand how the improvisers' mental representations are used. In addition, Leman's (2010) framework of embodied approach to musical semantics is used to access and understand how the improvisers' mental representations are formed. The research design comprised two phenomenologically informed descriptive case studies of two professional improvisers. A central feature of this study's design was having the improvisers learn a given musical stimulus in order to trace the formation and development of their perceived mental representations before, during, and after their improvisations. In addition, a group of four methods was employed: semi-structured interviews, live musical performance, graphic elicitation, and observation. Data comprising interview quotes, thick descriptions, the improvisers' performances, and their drawings were first analysed separately, and then were brought together and interpreted using a framework informed by the theoretical works of Lehmann and Leman. The findings of the study are presented in a narrative across two descriptive case studies, showing how the mental representations from Lehmann's model, and Leman's six types of semantics are evidenced throughout the two improvisers' learning, ideation, improvisation, and reflection phases. In particular, the key findings presented four ways of meaning constructions during the improvisers' formation of their mental representations, and identified twelve types of goal, production, and reflection-based mental representations. Bringing the two cases together, the study concludes that the two professional improvisers' mental representations: (1) are multi-various in nature, (2) undergo progressive and distributive formations, and (3) take on multiple types of roles. In addition to pedagogical recommendations to music education, the study's methodological contribution lies in providing a reference point and common ground for locating and describing the different phenomena taking place during improvisation - 'mental representations' being just one of them.
40
Gough, Daniel Anthony. "In Your Own Sweet Way: A study of tertiary jazz pianists’ individualised approaches to practice and performance". Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/20876.
Testo completoAbstract (sommario):
Set out in three volumes (Vol. 1 Thesis, Vol. 2 Transcriptions, Vol. 3 Appendices) and engaging the history of jazz transmission, this study investigates the ways aspiring jazz pianists practise in order to develop their own personal voice or musical identity, which is the supreme goal of the jazz musician. To date, this process has not been well served by research. It is commonly held that because it is an improvisational art form, jazz cannot be taught, at least not in a conventional way, and that jazz musicians search out for themselves what they wish to learn and who they wish to learn it from. In order to understand how the emerging professional (as distinct from the seasoned expert) works towards establishing an individual voice, the study observed, analysed and compared the practice and performance of eight pianists enrolled in the well-established jazz performance program at the Sydney Conservatorium of Music in Australia. It employed a “fly-on-the-wall” approach whereby over the course of a single week the participants recorded themselves practising the standards, “In Your Own Sweet Way” and “Oleo”. The researcher then recorded each participant performing the pieces and interviewed them about their background, influences, and how they set about achieving their musical goals. The data were transcribed and coded according to what the study terms Modes of Jazz Practice, Jazz Practising Concepts, and Practising Strategies. From analysis it began to emerge that the participants’ approaches to practising ranged from the spontaneous and intuitive to the more structured and systematic. In short, the pianists addressed a set of “Modes” familiar to jazz musicians and dedicated themselves to the exploration of particular “Concepts” while implementing various “Strategies”. Throughout, they engaged with ideas and exercises derived from an eclectic range of sources, such as method books, recordings, smart phone apps, and websites. The study concludes that while approaches to practising have to an extent become standardised, they are at the same time highly individualised. That is, they are developed according to the preferences and vision of each musician, in her or his “own sweet way”.
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Landowski, Natalie Katherine. "Practical Hummel: a guide for pianists and piano teachers on how to use Johann Nepomuk Hummel's treatise today". Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6169.
Testo completo
42
Gasser, Mark. "Ronald Stevenson, composer-pianist : an exegetical critique from a pianistic perspective". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/694.
Testo completoAbstract (sommario):
This exegetical critique makes a conceptual summation of Ronald Stevenson’s life’s work for the piano and his contributions as a composer‐pianist. Chapters one and two provide a profile of Stevenson as a pianist, examining the aesthetic and musical concerns that defined his long career, as well as precedents and antecedents of his pianism. Of particular interest are the ways that Stevenson coalesces aspects of the ‘grand manner’ and his obsession with a pianistic bel canto style. Chapter three examines Stevenson’s remarkable output in terms of piano transcriptions. His conceptualization of this as ‘capturing the essence’ of the original composer is used to mount a defense of this erstwhile unfashionable genre, examining the ways that Stevenson’s output blurs the line between transcription and composition. Chapter four offers a detailed examination of the art of pedalling in Stevenson’s own work, particularly the use of the sostenuto pedal, and the ways that he exploited more complex forms of combination pedalling in his compositions and transcriptions.
Chapter five examines the ways that Stevenson’s works abound with socio‐political referencing and historical allusions, with particular attention to the Passacaglia on DSCH—a work that constituted such a political provocative act that it resulted in a police raid. Chapter six further interrogates aspects of the Passacaglia, its embodiment of the miniature and the monumental, and the ways that it personifies the culmination and summation of Stevenson as both a pianist and composer.
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Zelvyte, Giusiano Indre Eugenija. "Les tendances pianistiques des années 1985-2010 à travers trois concours internationaux : Chopin de Varsovie, Long-Thibaud de Paris et Tchaïkovski de Moscou". Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040003.
Testo completoAbstract (sommario):
Cette thèse permet de mettre en lumière divers aspects de l’interprétation pianistique contemporaine. Pour cela, trois concours internationaux ont été choisis – Chopin de Varsovie, Long-Thibaud de Paris et Tchaïkovski de Moscou – de façon à exposer au mieux, à travers des épreuves de ce genre, la situation de l’art pianistique à une échelle mondiale sous des rapports divers : social et historique en relation avec chacune de ces compétitions, technique dans la chaîne compositeur-interprète-auditeur, et artistique sur la base de l’étude des interprétations des finalistes durant la période 1985-2010, sans oublier les enjeux de l’évaluation dans ce cadre.L’analyse générale de la situation actuelle a mis en évidence l’utilité de ces concours dans la vie musicale contemporaine. Si les valeurs esthétiques du monde actuel ne stimulent pas réellement la formation de personnalités d’une grande force et d’une réelle profondeur, un certain nombre de signes positifs semblent toutefois se dégager de ces manifestationsThe scientific work reveals various aspects of contemporary piano performance. Three international piano competitions were chosen – Chopin in Warsaw, Long-Thibaud in Paris and Tchaikovsky in Moscow – because it is through events like these ones that is exposed to its best the situation of pianistic art on a global scale. Given the complexity of our questions, we have shared our research in several areas: social and historical related to each analyzed musical competition, technical according to the chain composer-performer-listener, and artistic based on the study of interpretations of the finalists during the period 1985-2010, preceded by issues evaluation in this context.The general analysis of the current situation has highlighted the need of these competitions in contemporary musical life. If the aesthetic values of the modern world do not actually stimulate the formation of deep and strong personalities, a number of positive signs, however, seem to emerge from these events
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McGillen, Geoffrey E. "The teaching and artistic legacy of Olga Samaroff Stokowski". Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/558364.
Testo completoAbstract (sommario):
The purpose of this research is to investigate the life and piano teaching of Olga Samaroff in order to determine her contribution to American music.The sub-problems were to survey the important influences upon her life; examine her association with wealthy patrons, concert managers, and conductors; scrutinize her personal relationship with Leopold Stokowski; define and discuss her piano teaching method; assess her application of it with a cross section of students; and reveal the problems that her method encountered.Olga Samaroff (San Antonio, Texas, 8 August 1882-New York, 17 May 1948), christened Lucie Mary Olga Agnes Hickenlooper, first studied piano with her grandmother, Mrs. Lucie Loening Grunewald. Grunewald emphasized the importance of recreating accurately the composer's text. Much of Samaroffs teaching method evolved from her early training with Grunewald.Samaroff, the first American female to win a scholarship at the Paris Conservatoire, entered it in 1896. Studies in Berlin (1898-1900) followed with Ernst Jedlickza and Ernest Hutcheson. In Paris and Berlin, Samaroff personally expE!rienced a slavish attitude towards musicaltradition, and later eschewed such adherence to any single school or style.Her first marriage (1900) to a Russian named Boris Loutzky subsequently caused her to settle in St. Petersburg (now Leningrad). After leaving Loutzky in 1904, Samaroff returned to the US and began her concert career. The vicissitudes of her career presented her with first hand experience. Samaroff withdrew several times from the concert stage, retiring officially in 1926 due to an arm injury. In the meantime, she married and later divorced conductor Leopold Stokowski_(1911-23), whose rehearsal technique she cited as an important influence on her teaching.She began teaching at the newly established Juilliard Graduate School in 1924. She also taught at the Philadelphia Conservatory (1924-48).Samaroff s two-part approach of artistic independence and human development contrasted with the artist-coach method of other prominent teachers of the day. Her students were surveyed about the efficacy of her teaching. In addition Samaroffs own files and personal correspondence, hitherto unavailable, are included as evidence in support of this author's findings.School of Music
45
Phillips, Peter. "Piano Rolls and Contemporary Player Pianos: The Catalogues, Technologies, Archiving and Accessibility". Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/16939.
Testo completoAbstract (sommario):
Reproducing piano rolls have been of great interest to me for nearly 40 years, yet despite their significant potential in a number of research areas, they remain largely untapped. In my thesis I seek to discover why this vast historical library of music and interpretations is not more widely acknowledged and utilised. Reproducing piano rolls provide a valuable evidence of nineteenth-century performing practices, as well as offering unique pathways to other forms of research. The substantive catalogues of art music alone prove the musical worth of these rolls. Numerous commentators have chosen either to ignore or to consciously dismiss reproducing piano roll recordings as a valid representation of the art of the pianist. Clearly, in the majority of cases, their opinions have been formed through hearing rolls replayed on poorly adjusted instruments; the piano rolls themselves are not the problem. To dispel the myths that have taken hold as a result, I examine how three major piano roll companies made their recordings, and test the common criticism that these recordings were subjected to invasive editorial change. Accessing faithful piano roll recordings is an acknowledged problem. My viewpoint is that if piano roll recordings are made as accessible as early sound recordings, many rich research opportunities will present themselves. Archiving piano rolls remains an area desperately in need of further research. In this thesis I present the philosophy underpinning my methodology for developing the means to record piano rolls as raw MIDI files. Making the raw files compatible with contemporary MIDI instruments provides the sought-after accessibility, a topic that has so far attracted minimal academic interest.
46
Vercueil, Anna Catharina. "The effect of the Tomatis method on the psychological well-being and piano performance of student pianists / A.C. Vercueil". Thesis, North-West University, 2010. http://hdl.handle.net/10394/5000.
Testo completoAbstract (sommario):
The literature on psychological well-being indicates that high levels of psychological well-being encourage a psychological loop that reinforces itself, lifting an individual on an 'upward spiral' of continued psychological flourishing, which may contribute to positive human functioning. In addition, the literature suggests that effective intervention can raise the levels of psychological well-being.
There are features inherent in the training of student pianists that can contribute to their psychological vulnerability, especially with regard to self-concept and anxiety. Therefore, they can benefit from an intervention that may raise their level of psychological well-being, thus contributing to their resilience in coping with the challenges presented by their training as well as their piano performance.
Clinical observations as well as research indicate that the Tomatis Method can enhance psychological well-being and improve academic functioning. Furthermore, Tomatis' theories and observations suggest that this programme can also enhance music performance, especially with regard to self-listening skills. However, although Tomatis indicates that he observed the same results with instrumentalists as with singers, his writings mostly refer to singers. Except for a single case study by Madaule in 1976, there seems to be no other scientific evidence that the Tomatis Method has benefited student pianists. Therefore, the purpose of this exploratory study was to investigate the effect of the Tomatis Method on student pianists' psychological well-being and piano performance.
The empirical study consisted of a two-group pre-post assessment mixed-method design,
involving thirteen 2nd year to postgraduate student pianists from the School of Music and Conservatory, of the North-West University (Potchefstroom Campus). These students were randomly assigned to an experimental group (n = 7) which was exposed to the Tomatis Listening Programme, and a non-intervention control group (n = 6). Quantitative data were obtained by means of a battery of tests, which included self-report inventories regarding psychological well-being and music performance anxiety, as well as scales regarding piano performance. The levels of the participants' psychological well-being were measured with the Scales of Psychological Well-Being (Ryff, 1989), the Affectometer 2 (Kammann & Flett, 1983), and the Profile of Mood States (Mc Nair et al., 1992). Participants' levels of music performance anxiety were measured with the Music Performance Anxiety Inventory for Adolescents (Osborne & Kenny, 2005), and the Kenny Music Performance Anxiety Inventory (Kenny et al., 2004). The quality of the students' piano performances was assessed by means of a general impression expressed as a percentage, Mills' constructs (1987) for the assessment of music performance, and Piano Performance Rating Scale (PPRS) which was developed for this study. Qualitative data were acquired by means of interviews, group discussions, projective drawings, written reports, personal observations and the Tomatis Listening Test
Results indicated improvement regarding some aspects related to student pianists' psychological well-being and piano performance. Further research with regard to these aspects is required.Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2010.
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Sandoval, Campillo Iñaki. "In Your Own Sweet Way: A Study of Effective Habits of Practice for Jazz Pianists with Application to All Musicians". Doctoral thesis, Universitat Autònoma de Barcelona, 2013. http://hdl.handle.net/10803/129393.
Testo completoAbstract (sommario):
Con el objetivo de mejorar la interpretación musical y la creatividad, el propósito de este trabajo de investigación ha sido reunir información sobre hábitos de estudio y recursos dirigidos a desarrollar un sistema de estudio personal para el pianista de jazz contemporáneo. Este trabajo está dirigido a pianistas de jazz de todos los niveles y ofrece material concreto para elaborar métodos de estudio personalizados que permitan un eficaz desarrollo artístico. La información presentada se fundamenta en el análisis de literatura del área de interpretación del jazz, experiencias personales de reconocidos músicos de jazz, estudiantes y pedagogos, y la comparación de métodos y prácticas docentes (música clásica y jazz), entrenamiento deportivo y otras disciplinas.
La investigación se divide en tres grandes áreas. La primera, dedicada al piano como instrumento, explora la técnica pianística, su mecánica y características acústicas. La segunda, centrada en la teoría musical aplicada al pianista de jazz, agrupa los diferentes elementos musicales en cinco categorías, referidas en este trabajo como Los cinco elementos (técnica, armonía, lenguaje, improvisación y repertorio). Y la tercera investiga diferentes enfoques de estudio, tanto en la pedagogía de la música clásica como la metodología del jazz. Esta última sección constituye la parte más importante del presente trabajo de investigación: una síntesis de métodos publicados, técnicas de interpretación y estilos, repertorio de referencia y otros recursos para el pianista de jazz.
Los resultados obtenidos proponen plantillas de estudio ideadas por el presente investigador para pianistas de jazz de todos los niveles, listas seleccionadas de repertorio (incluyendo unas 1000 canciones para pianistas de jazz de todos los niveles –del principiante al profesional) y otros recursos, como una selección de transcripciones, bibliografía y discografía. Sobre la base de esta investigación puede concluirse que el pianista de jazz (de todos los niveles) puede obtener grandes beneficios mediante el establecimiento de objetivos concretos y definidos, la autoevaluación crítica y la aplicación de recursos apropiados para evaluar el contenido, progreso y resultados.With the intent of improving performance and creativity, the purpose of this research was to gain information about practice methods and techniques directed to develop a personal practice routine for the contemporary jazz pianist. This research is offered to provide jazz pianists (of all levels) with tools that allow them to develop individual practice routines that foster healthy and sustainable habits and advance artistry. The original information presented is based on the review of related literature published in the area of jazz performance; the experiences of respected jazz performers, students and pedagogues; and the synthesis of methods and approaches used in deliberate musical practice (classical and jazz styles), sports training, and selected other disciplines. The investigation was categorized in three sections. First, devoted to the piano as an instrument, exploring its technical, mechanical, and acoustical characteristics. Second, focused on theory and music with application for jazz pianists, by selecting and organizing music topics in five categories –referred to in the present study as The Five Elements (i.e.,Technique, Harmony, Language, Improvisation, and Repertoire). Third, investigation of different approaches to practice, both from the classical music tradition and the jazz methodology, in order to develop a personal practice routine for jazz pianists. This last section consists of the most essential contribution of the present research –a synthesis of published jazz methods, jazz performance practices and historical traditions, exemplary repertoire, and resources for the jazz pianist. Findings from this research include researcher-designed practice routine templates (PRT) for jazz pianists of all levels, researcher-designed extensive repertoire lists for jazz pianists (including approximately 1000 songs for pianists across ability levels –beginner to professionals), and researcher-generated tools such as solo transcriptions, bibliographies and discographies. On the basis of this research, it may be concluded that jazz pianists (of all levels) benefit from purposeful practice with clear goals, honest self-evaluation, and focus –organized by thoughtful tools that map content, progress, and performance.
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Beacon, Jillian. "Assessing 2D and 3D Motion Tracking Technologies for Measuring the Immediate Impact of Feldenkrais Training on the Playing Postures of Pianists". Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/33125.
Testo completoAbstract (sommario):
The Feldenkrais Method of somatic education has become popular with pianists for improving ease of motion and musculoskeletal health. This thesis contains three studies investigating motion-tracking technologies as means to objectively assess the impact of Feldenkrais training on pianist posture. The first study investigates the accuracy and reliability of Dartfish 2D motion tracking software. Results indicate that Dartfish tracking error is within +/- 0.25 centimeters. The second study uses Dartfish to track head, shoulder, and spine positions of 15 pianists during performance before and after receiving a Feldenkrais Functional Integration Lesson. Comparisons of pre- and post-test measurements indicate no group trends in posture change. However, intriguing changes to movement quality in the head and torso were observable for two participants. The third study compares tracking quality of Dartfish and the Microsoft Kinect for the head, shoulders, and arms of four pianists attending a weeklong Feldenkrais workshop. Results reveal frequent tracking errors with the Kinect sensor, making it unsuitable to measure the impact of somatic training on pianist posture.
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Nguyen, Minh Thanh School of English Media & Performing Arts UNSW. "The effects of Russian piano pedagogy on Vietnamese pianists, with comparisons of effects of Vietnamese piano pedagogy and UK piano pedagogy". Awarded by:University of New South Wales. School of English, Media and Performing Arts, 2007. http://handle.unsw.edu.au/1959.4/30558.
Testo completoAbstract (sommario):
Cultures in contact over a considerable period influence intellectual traditions, practices and habits relating to musical expression and the manner of teaching it. This study investigates the effects of different cultural contacts on Vietnamese student pianists, especially from Russian-style piano pedagogy and associated educational ideas and methods in music conservatoires. The purpose of this study was to compare various teaching approaches and learning styles, and the reactions of Vietnamese students to three different sources of training of piano teachers: Russia, Vietnam and England. Different sources of training affected piano pedagogy, and different musical traditions affected expression in piano performance, especially where students are from a cultural background different from that of their teacher. Observations of actual piano lessons were undertaken, and data were also obtained from interviews and questionnaires and analysed statistically. Results are reported and discussed in relation to four prominent features of the Russian piano school: achieving a powerful and substantial sound; the requirement for ???singing??? quality on the piano; the solid technical training which requires an enormous amount of practice time; and the necessity to play from memory. These are four prominent features of the Russian piano schooling. In addition, Vietnamese students??? problems regarding rhythmic accuracy highlight an inherent difference between the Vietnamese and Russian piano school. Major differences and similarities in teaching styles between Russian teachers and those from the UK and Vietnam were described and commented on under the following headings: use of mental practice; the role of listening; teacher demonstration; freedom for students in learning and making decisions (choice of repertoire; performance opportunities for students; students??? emotional reactions); the more liberal approach of the UK teachers; and the piano teaching styles at the Hanoi Conservatory that have been strongly influenced by the Russian piano school through Russian graduates??? teaching in Vietnam. These findings have important pedagogical implications. The more teachers control there was in lessons, the less a student would contribute to lessons actively. More liberal or less authoritarian approaches to teaching do not necessarily inculcate the discipline required for high achievement technically and expressively. There needs to be a balance between liberal approaches and encouraging the student to become autonomous in their efforts, and ensuring that they realize the importance of being disciplined in their practice habits.
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Patcheva, Ralitza. "Dedicated to a friend : a survey of piano pieces dedicated to great pianists of the late 19th and early 20th century". College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3131.
Testo completo