Basic Piano Research Articles

Implementasi Challenge-Based Learning dalam Pembelajaran Piano Tingkat Lanjut di FKIP Untan

Purpose: This study aims to analyze the Advanced Basic Piano learning model with a Challenge-Based Learning (CBL) approach as a solution to problems in developing learning models and optimizing students' piano playing skills in the Performing Arts Education Study Program, FKIP, Tanjungpura University (Untan). Against the background of the need for understanding the impact of CBL learning models on learning outcomes, especially in piano practice, this study focuses on the initial overview of previous learning models, CBL implementation processes, and analysis of learning outcomes. Method: Using qualitative methods with case studies, data were collected through observation, unstructured interviews, and documentation. Data analysis involves data reduction, data presentation, and inference, with data validity checked through assignment values, UTS, UAS, and source triangulation. Result and Discussion: The results showed that the CBL learning model had a positive effect on piano learning outcomes, measured by 21 students achieving final grades in the good category. In conclusion, the CBL learning model can optimally improve students' piano learning outcomes, and recommendations are given to piano educators and tutors to adopt this model in lecture practice.

CARL CZERNY AND FERDINAND BEYER IN INITIAL PIANO EDUCATION REVIEWS AND RECOMMENDATIONS ON EDUCATIONAL APPROACHES

The piano is one of the few polyphonic instruments in the world that requires a high level of coordination in both hands. For this reason, besides the composers writing works for the introductory piano, the piano methods of Carl Czerny and Ferdinand Beyer, two composers who only focused on piano education, are still used today. However, the technically different approaches of both composers to piano education constituted the basic building block of this work. First of all, Ferdinand Beyer's educational perspective was formed with the information compiled from the sources obtained as a result of the researches and comments on the composer's basic piano method. Evaluation in terms of school and expectations at the beginner piano level and an observation about the achievements of the students were included in the study. In the second part, examinations on Carl Czerny's initial piano method and the composer's technical point of view are given with examples on the research and work mentioned in the previous section. Finally, the data obtained in both sections were collected and comparisons were made in the last section, and as a result of the comparisons, results were written on their suitability for students both technically and musically.

Retracted: Teaching Mode of Basic Piano Course in Colleges Based on Students' Application Ability under FC Environment.

[This retracts the article DOI: 10.1155/2022/4710520.].

Diversified Teaching Method in Basic Piano Course Instruction for Higher Education Teachers

Diversified teaching plays an important role in the sustainable development of China’s basic piano course instruction for higher education teachers. A diversified curriculum system should be designed to promote the development of each student, and efforts should be made to cultivate high-quality talents who can adapt to the various needs of the society as well as to promote the reform and development of basic piano course instruction for higher education teachers. The aim of this study was to explore the teaching of basic piano course for higher education teachers based on the diversified teaching method. The teaching methods use for basic piano course were analyzed in this study, and two research methods were used to carry out the present study so as to effectively improve the operation of the diversified teaching method. Through a survey of the current situation of piano instruction in two higher education faculties, we can see that the teaching of basic piano course in higher education is still dominated by the traditional teaching method although the majority of students preferred the diversified teaching method.

Teaching Mode of Basic Piano Course in Colleges Based on Students' Application Ability under FC Environment.

With the popularization of piano education, various schools are constantly carrying out reforms in order to cultivate piano application-oriented talents. While accelerating the creation of a perfect piano teaching model, they are also striving to adapt to the trend of the times. The basic education of piano in colleges and universities is a training activity for musicians, and this education method directly affects the professional quality of music of students. How to learn basic piano is very worthy of attention. Basic piano education is a thorough training of piano in conventional colleges, which can improve practical strength and the capacity to apply music broadly. The main purpose of teaching the fundamentals of piano is to develop students' visual acuity and help them comprehend and apply the principles of aesthetics. The teaching approach for beginning piano classes at various schools is still in its infancy and is deficient in every way. This essay examines the “flipped classroom (FC)” teaching approach used to offer beginner piano lessons in a number of schools. This study proposes the specific process of the “FC” teaching mode and explores the implementation impact of particular scenarios, specifically in light of the features of the training mode of applied abilities. Through inquiry and research, it has been determined that students who get FC instruction have greater employment rates than those who receive traditional instruction, with an average rise of 14.2 percent and a maximum increase of 17 percent. Based on the students' application skills, it demonstrates that the FC teaching technique is generally successful for the teaching method of basic piano courses in colleges and universities.

Brief Discussion on the Development of Basic Piano Courses in Preschool Education

Brief Discussion on the Development of Basic Piano Courses in Preschool Education

The Use of Artificial Intelligence Combined with Wireless Network in Piano Music Teaching

Artificial intelligence (AI) development gives a new development direction to the traditional education model. The education reform in the intelligent environment is urgent. Under this background, the theory, methods, and characteristics of intelligent music education are expounded based on traditional piano music education. AI and Internet-based smart piano education is introduced. The characteristics of smart piano and its methods of assisting music teaching are analyzed. Moreover, literature review and questionnaire are adopted based on intelligent music education and smart piano theory. With two universities A and B in Nanjing as the research object, the questionnaire is designed to investigate and analyze the related problems of smart piano-assisted piano basic teaching in detail. The results show that smart piano positively improves skill training and psychological training in piano teaching. Piano major learners believe that smart piano can obviously help beginners and people with low piano levels. However, smart piano is not as good as traditional piano for high-level learners. In actual teaching, teachers should use different strategies for different levels of learners. Regarding curriculum quality, teachers have not fully played the role of the smart piano, and the curriculum of smart piano-assisted basic piano teaching still needs improvement. Finally, corresponding countermeasures and suggestions for the development direction of smart piano in piano music education are put forward according to the current situation of the smart piano. The results can reflect the current situation of smart piano-assisted basic piano teaching, provide a reference for researchers in related industries, and promote the related development of smart piano.

Research on the Flipped Classroom of Online Open Courses Driving Piano Foundation Courses in Colleges and Universities: A Case Study of Piano MOOC

In recent years, with the rapid development of Internet and new media technology, the undergraduate teaching mode has shown new characteristics such as networking, interactivity, generative and fragmentation. Due to the continuous heating up of "piano fever" in China in recent years, the expansion of the music departments of major music colleges and normal colleges, and the strong demand for piano performance and teaching staff in the society, the traditional one-to-one piano teaching mode can no longer meet the needs of piano teaching in various music colleges, and the basic piano courses came into being. At present, most of the piano courses in colleges are large class teaching, the form of online "MOOC" in the teaching of piano basic courses can not only promote students' independent learning, greatly alleviate the shortage of teachers, but also make an important supplement and expansion of traditional classroom learning.

Preservice and In-Service Music Educators’ Perceptions of Functional Piano Skills

Abstract Class piano instruction is a mainstay of music higher education. At many institutions, curricula are guided by accreditation organization standards, which bifurcate aspiring music teachers’ piano requirements by specialization. The purpose of this survey study was to document preservice and in-service music educators’ perceptions related to acquisition and use of specific functional piano skills across specializations. To create a survey instrument, we reviewed piano class outcomes from eight schools of music accredited by the National Association of Schools of Music. This review yielded 32 skills that we organized into five categories: technique, repertoire, accompanying and functional piano skills, sight-reading, and generative creativity. Using a Likert-type scale for each skill, we asked preservice participants (n = 316) to rate their level of agreement with “learned” and “anticipate using” for each skill; in-service participants (n = 295) rated “learned” and “using” for each skill. In-service teachers reported using all skills less than preservice teachers’ responses indicated using them. Both sets of participants learned basic piano technique, but anticipated need for more advanced and functional skills for teaching. Participants’ responses related to sight-reading skills did not have a clear pattern; we suspect this may relate to participants’ licensure track(s) and current teaching responsibilities. Statistically significant differences existed between choral and nonchoral in-service teachers’ use of skills within all five categories. Based on these findings, we conclude a need for several interrelated conversations among stakeholder groups and recommend further research to clarify our profession’s currently murky definition of functional piano skills.

Chord-Interval, Direct-Familiarization, Musical Instrument Digital Interface, Circle of Fifths, and Functions as Basic Piano Accompaniment Transposition Techniques

This research article aimed to examine and describe different research-based practical and transmedia transposition techniques as basic transposition methods for piano accompaniment. The need for transposition in music, particularly in piano accompaniment, whether in a single line melody, a scale, or an entire composition, is to provide the constituents in the music industry like musicians, pianists, singers, composers, and arrangers with ease and comfortable playing or singing performance using both traditional and/or technological (transmedia) transposition techniques. The most practical way of reading a music sheet is the combination of a lead sheet which composed of the melody and its respective chord/s for each measure or within the measures. Sometimes, song compositions such as folk songs and other traditional songs are just written in a single staff with its defined lyrics. The concern in this matter is the chord that would be used in accompanying the song. In making an accompaniment for this type of music, we could use the three basic types of harmonic progressions in a downward or upward manner by seconds, thirds, and fourths. After learning the basics of chord progressions, the five identified research-based techniques might be used for the process of transposition by church clavinovist and piano enthusiast namely Chord and Interval Transposition Technique, Familiarization and Direct Transposition Technique, Musical Instrument Digital Interface Transposition Technique, Circle of Fifths Transposition Technique, and Functions Transposition Technique.

Piano training enhances Stroop performance and musical self-efficacy in older adults with Parkinson’s disease

Parkinson’s disease (PD) is commonly associated with motor symptoms; however, many patients with PD exhibit decline in executive functions. Executive functions refer to a broad array of generalized cognitive abilities such as cognitive control and working memory. The purpose of this research was to evaluate the impact of a novel intense group piano training program on executive functions in patients with PD. Forty-five patients with PD were assigned to an intense group piano training program or a waitlist control group. Group intensive piano training consisted of basic piano technique, finger dexterity exercises, basic piano repertoire, and music theory, presented over a 10-day period (30 hrs of training). Participants completed a battery of standardized cognitive measures of processing speed, cognitive control, and verbal fluency, pre- and post-training. Results of an independent samples Mann–Whitney test on composite cognitive and psychosocial variables revealed significantly enhanced Stroop performance and musical self-efficacy. Intensive piano training may serve as an effective cognitive and psychosocial intervention for those with PD.

A feature exaggeration system for basic piano performance with extracted performance parameters

A feature exaggeration system for basic piano performance with extracted performance parameters

Music Fundamentals

[1] Late one Friday afternoon, as I watched members of my ear-training class write the results of a rhythmic dictation on the board, I realized that one student was staring at the permanent staff lines, as though transfixed. As I approached him, he looked at me and earnestly asked, "Professor, what are we doing here?"[2] This anecdote provides just one example of the kind of teaching situation about which one does not learn a great deal in graduate school. Socioeconomic circumstances often find the least experienced teachers in the most complex classroom environments. Because disability inextricably threads its way through the intricate social fabric of gender, class, and race, it's not surprising that many-though certainly not all-students with disabilities choose accessible, affordable, urban colleges. Hunter College, part of the CUNY system, is one such institution. At least partially because of its proximity to bus and subway transportation, low tuition, and flexible class schedule, disabled students have become a fixture of classes at Hunter. In addition, Hunter is on a direct subway line from Roosevelt Island, where many disabled New Yorkers have found community and accessible apartments for decades (Hughes 2007). Thus, while many distinguished and experienced faculty teach at Hunter and the CUNY colleges, a significant number of new adjunct professors and graduate student fellows take charge of classes, particularly those at the introductory level.[3] Because I have chosen to present this paper as a case study, the collective "identity" of the institution is essential to my methodology. This paper finds its basis not in traditional research, but rather in the details of my experience teaching one multiply-disabled student. This pupil took three music classes with me when I was a graduate teaching fellow at Hunter College between 2003 and 2006.[4] I met Daniel Trush when he began attending Hunter as a non-matriculated student. Having learned some basic piano skills with his music therapist as part of his physical and cognitive rehabilitation, Daniel enrolled in my Music Fundamentals class. He subsequently took Ear Training I and a general voice performance class with me, and also took an elementary piano class and Music Appreciation with other instructors. Each of these courses presented different challenges for Daniel, his note-taker, his family-who attended each class with him-and for me. Although I had taught students with visual impairments and other physical disabilities in previous classes at Hunter, I had never yet encountered a student with a significant cognitive disadvantage. Daniel's presence in my classes inspired me to strive for greater clarity in my own teaching, and provided the opportunity for me to reevaluate my methods of assessment and mentoring.[5] As a rule, I ask students to fill out a questionnaire on the first day of class with basic information about their lives as students, but I also ask them to detail their musical lives and add some significant details about themselves that they think I ought to know. Being the academic packrat that I am, I managed to unearth Daniel's questionnaire from the first day of Music Fundamentals. He writes:I have a great interest in music and plan to take a number of music classes. I had a brain aneurism when I was 12 and was in a coma for many days. I never lost my love of music. Before my brain injury, I played the guitar for two years, and the trumpet for two years. Since my injury, I have played the keyboard with my right hand for the last three years.I learned later from his father, Ken Trush, that Daniel is a survivor of five brain aneurisms, one of which burst when he was twelve, leaving him hospitalized for a year. He used a wheelchair for two years following his injury, but Daniel has since learned to walk again using leg braces and he now has the full use of his right hand. When playing keyboard music, he can use the index finger of his left hand to deliver the bass line. …

Musical Genre and Schenkerian Analysis

As Scott Burnham has recently noted, it is a common practice for musical analysts to ignore various facts about a piece, its origin, its reception history, and so forth, and instead focus on music itself (Burnham 1996). And in many respects and contexts this is all well and good, for as Burnham has also noted, this practice is predicated on the fact that there are musical grammars which are manifest through palpable, internalized prototypes (13). On the other hand, there are cases when contextual information about a piece is needed in order to make sense of our analytical efforts. To put it another way, while we may not need such information in our gathering of various facts from the music itself, we may well need to take things such as genre, performance practice, and historical context into account when interpreting those facts. And since the processes of gathering and interpreting analytical data are tightly intertwined and mutually influential, the need to take such contextual information into account may be all the more pressing in those instances where we do not find what we expect. In this paper we present such a case: Chopin's familiar Prelude in E minor, op. 28, no. 4. Though a staple of basic piano and theory peda-

Basic Piano Skills for the General Music Teacher

Basic Piano Skills for the General Music Teacher