Piano Performance Research Articles

ARTISTIC AND AESTHETIC EDUCATION AND MUSICAL PSYCHOTHERAPY OF A SPECIALIST’S TRAINING

A special role in the development of a pianist as a musician, composer and performer, as shown by the examples of the well-known, included in the history of art, and the most ordinary pianists, their listeners and admirers, lovers of piano music and music in general, are played by moments associated with psychotherapeutic abilities and music features. The purpose of the study is to comprehend the psychotherapeutic aspects of performing activities (using pianists as an example). The research method is a theoretical analysis of the psychotherapeutic aspects of performing activities: the study of the possibilities and functions of musical psychotherapy in the life of a musician as a “(self) psychotherapist” and “patient”. For almost any person, music acts as a way of self-understanding and understanding of the world, a way of self-realization, rethinking and overcoming life's difficulties - internal and external "blockages" of development, a way of saturating life with universal meanings, including a person in the richness of his native culture and universal culture as a whole. Art and, above all, its metaphorical nature help to bring out and realize internal experiences, provide an opportunity to look at one’s own experiences, problems and injuries from another perspective, to see a different meaning in them. In essence, we are talking about art therapy, including the art of writing and performing music - musical psychotherapy. However, for a musician, music has a special meaning, special significance. Musician - produces music, and, therefore, is not only an “object”, but also the subject of musical psychotherapy. The musician’s training includes preparing him as an individual and as a professional to perform functions that can be called psychotherapeutic: in the works of the most famous performers, as well as in the work of ordinary teachers, psychotherapeutic moments sometimes become key. Piano music and performance practice sets a certain “viewing angle” of life, and, in the case of traumatic experiences, a new way of understanding a difficult, traumatic and continuing to excite a person event, changing his attitude towards him. It helps to see something that was hidden in the hustle and bustle of everyday life or in the patterns of relationships familiar to a given culture. At the same time, while playing music or learning to play music, a person teaches to see the hidden and understand the many secrets of the human soul, the relationships of people.

Историческая роль иностранных фортепианных школ в развитии китайского пианизма

Foreign influences on the Chinese pianism are diversified, which hampers integration of the acquired experience in the modern Chinese piano education. Analysing the existing periodization of the Chinese piano culture, the author systematizes the “waves” of influence, and it allows him to reveal the adopted non-integrated approaches to professional piano education and to propose a mechanism for their integration into the comprehensive pedagogical system: technical basis, analytical approach to the compositions under study, scientific and theoretical basis of teaching, studying brilliant examples of piano performance.

Research on Piano Performance Based on Big Data

With the continuous development of the Internet era, the sharing of audio and video resources for piano music is more and more obvious; you can easily find the required video and audio. The enthusiasm of the people to learn the piano more and more high, piano teaching market is becoming more and stronger. However, in the field of piano teaching, there are still some pain points: the current teacher resources cannot fully meet the needs of students for piano practice. Therefore, at present, many companies and institutions are beginning to apply computer technology to piano practice. For actual piano teaching scenario, this paper designed and implemented a proprietary hardware, closely integrated with offline teaching scene, simple and easy to use, interactive is strong piano practice system. Based on the change of sound, visual data is obtained, and piano performance is studied by combining professional knowledge, harmony, musical expression terms and other conditions.

Empirical Study of Computer Application and Piano Teaching

Computer technology has been extensively applied to various fields, and piano courses in colleges and universities are no exception. The application of computer technology has revolutionized and driven the development of the traditional model for piano teaching. This paper focuses on the application and specific practice of computer technology in piano teaching, such as the application and analysis of MIDI music technology in piano teaching, application of acoustic sequencer software for visual piano performance analysis, application of plotting software for polyphonic piano works analysis and teaching, analysis of polyphonic works by using acoustic sequencer and plotting software, application of specialized computer piano teaching software to promoting self-directed learning in students. The use of computer technology in piano education and teaching allows more people to acquire piano knowledge, skills, and techniques, expand the talents in piano education and teaching, and cultivate more popular talents who understand piano and can play piano.

Visualization of piano performance and the Piano Pedagogy - A Brief Review of Research since Late 20th Century

Visualization of piano performance and the Piano Pedagogy - A Brief Review of Research since Late 20th Century

Конкурс как средство музыкального просвещения и образования

The article focuses on piano performance among amateur pianists and their further creative development. Special attention is paid to amateur musical creativity, which contributes to increasing the importance of the system of music schools and additional musical education in Russia.

Piano Performance Style and Piano Music Teaching

Piano Performance Style and Piano Music Teaching

Toccata and toccata style in Yurii Reshetar’s piano works

Toccata and toccata style in Yurii Reshetar’s piano works

Richard Kogan, M.D., to Put Words to Music at Menninger Convocation Lecture

Back to table of contents Previous article Next article APA & MeetingsFull AccessRichard Kogan, M.D., to Put Words to Music at Menninger Convocation LectureNick ZagorskiNick ZagorskiSearch for more papers by this authorPublished Online:13 Feb 2020https://doi.org/10.1176/appi.pn.2020.1b2AbstractPsychiatrist and award-winning pianist Richard Kogan, M.D., will discuss Tchaikovsky’s music and melancholy.Annual Meeting favorite Richard Kogan, M.D., will discuss how the stigma of homosexuality contributed heavily to Tchaikovsky’s depression.Many people are likely familiar with the music of Pyotr Ilyich Tchaikovsky, especially around the holidays when selections of “The Nutcracker” fill the airwaves. Yet few know of the turbulent emotional life of the composer behind iconic songs like the “Waltz of the Flowers” or the bombastic “1812 Overture,” said Richard Kogan, M.D., a clinical professor of psychiatry at Weill Cornell Medical College, artistic director of the Weill Cornell Music and Medicine Program, and co-director of the Weill Cornell Human Sexuality Program.Attendees at APA’s 2020 Annual Meeting in Philadelphia can learn more about one of the 19th century’s greatest composers and hear samples of his music at the Convocation of Distinguished Fellows, where Kogan will deliver the 2020 William C. Menninger Memorial Convocation Lecture.His lecture, titled “Tchaikovsky: Music and Melancholy,” is part of a long series of lectures that Kogan has presented at APA’s Annual Meeting on the connections between musical artistry and mental illness. The lectures are accompanied by piano performances by Kogan, who is an award-winning pianist.“Tchaikovsky’s music is the indelible outgrowth of his mental state,” Kogan told Psychiatric News. “His glorious ballets, for example, reflect an idealized fantasy world where he could escape his real-world despondency.”According to Kogan, juxtaposing Tchaikovsky’s glorious music with an exploration of his struggles helps illustrate the need to destigmatize mental illness. “It seems perverse to stigmatize a group that includes individuals like Tchaikovsky who have made such an immense contribution to civilization,” he said.In Tchaikovsky’s case, stigma also applied to his sexual orientation. “He was a gay man living in Russia at a time when such behavior was punished by banishment to Siberia. He was terrified of the implications and did everything to hide the truth. He even had a brief and ultimately disastrous marriage, which compounded his personal strife.”Those emotional troubles might have even led to Tchaikovsky’s death in 1893. Though his death was attributed to cholera, many historians suspect it might have been suicide.His only escape was music. Tchaikovsky once wrote in a letter that “without music, I would go insane.” That letter was one of thousands written by Tchaikovsky, who also kept extensive diaries. His most extensive correspondence was with wealthy widow Nadezhda von Meck, who offered to be his patron on the condition they never meet in person, a condition Kogan said is unique in the annals of artistic patronage. The pair, however, did exchange more than 1,200 letters over 14 years, which provided tremendous insight into Tchaikovsky’s psyche.“For years, I had heard that Dr. Kogan’s session should not be missed,” said APA CEO and Medical Director Saul Levin, M.D., M.P.A., “but I would miss it due to a ‘lecture I had to hear.’ After becoming the CEO and medical director, I bumped into him and told him I wish I could hear his lecture and recital. Alas, my duties always kept me away. I finally had the chance to hear his presentation on Shubert at another organization’s meeting, and I now make it a priority to attend these remarkable sessions. This year is a special year as Dr. Kogan rarely performs Tchaikovsky, so it is fortunate it will be the Convocation presentation.”Though unplanned on Kogan’s part, the location of Philadelphia is also symbolic in Tchaikovsky’s life. In spring 1891, Tchaikovsky traveled to the United States for a brief tour of several East Coast cities. The tour may be most remembered for Tchaikovsky’s providing the first-ever performance at the just-opened Carnegie Hall in New York; it concluded on May 18 at the Philadelphia Academy of Arts—the last time Tchaikovsky performed in the United States. ■The Convocation will be held on Monday, April 27, in Hall B, 200 Level, Pennsylvania Convention Center from 4:30 p.m. to 6:45 p.m. ISSUES NewArchived

George Gershwin’s jazz transcriptions in piano performance of academic tradition

George Gershwin’s jazz transcriptions in piano performance of academic tradition

Педагогическая деятельность В. К. Мержанова в Тамбове

The article considers the Tambov period of pedagogical activity of the People’s Artist of the USSR, Professor Victor Karpovich Merzhanov. In the year of the outstanding pianist’s centenary, the paper describes his work in Tambov as an artistic director of Rachmaninov Piano Courses, as a Professor at Tambov State Musical Pedagogical Institute named after S. V. Rachmaninov. Original features of his pedagogical style, which manifested themselves during his long-time work at the mentioned higher education establishment, are identified. V. K. Merzhanov’s contribution to the development of piano pedagogy and piano performance in Tambov region is revealed.

A Comparison between Suzuki Method and Traditional Piano Method on Children with Autism Spectrum Disorder: Case Study

Autism Spectrum Disorder is a neurological disorder that has a growing diagnostic rate among children. Children with ASD first show signs during infancy or childhood, and the progression varies greatly between individuals. An increasing number of parents decide to engage their children in artistic development, with piano being a popular choice. Though observational studies have noted the heightened sensitivity to sound and enhanced recall abilities of children with autism when learning instruments, there is little consensus on which piano teaching method is the most effective in developing musical skills. The goal of this study is to assess the effects of two piano-instruction methods on an autistic child’s music performance, which is assessed by categories, including tone quality, technique, interpretation and artistry. This paper presents the case of a 9-year-old child diagnosed with autistic disorder living in New Jersey. The Suzuki method and the traditional method are utilized to improve the piano abilities of this child. The different results in piano performance following the application of the two teaching methods in a three-year-period (2017/1-2019/12) may suggest the modality of different teaching methods on this child. This study may lay the groundwork for future research on selective piano teaching techniques for children with autistic disorder.

Ukrainian music performance schools: regional aspect

The analysis of the definition of “music performance school” in musicological and music-pedagogical studies of modern domestic scientists demonstrates different methodological approaches to its interpretation. This phenomenon is considered in terms of historical and stylistic approach (N. Kashkadamova) and is included in the broader cultural and music-pedagogical context (N. Guralnyk, V. Shulgina). It deals with the problems of professional training of the teacher of art disciplines and art pedagogy (O. Rudnytska, G. Padalka, O. Oleksiuk, O. Mykhailychenko and others). As a socio-cultural and personal-value phenomenon of the music-performing and pedagogical tradition, or the factor of its preservation, transaction and transformation in the scientific discourse, the music performance school can be interpreted in a single, collective and universal dimension. In this context, the problem of studying the regionalism of music performance schools as a dynamic historical and cultural phenomenon is actualised. A thorough exploration of the history of regional piano schools has become the topic of a number of musicological studies. Thus, the works of N. Kashkadamova, T. Starukh, L. Mazepa and others are devoted to the piano art of Lviv. The educational and pedagogical traditions of this school found continuation in the activity of the pianists, pedagogues and performers of Ukraine and abroad, mostly Western Ukraine The purpose of the publication is to analyse the historical and cultural backgrounds and main aspects of the formation of professional piano performance in Ternopil at the end of the 19th — the first half of the 20th century. Based on historical, comparative and individual approaches, the figures of famous piano performers and teachers associated with Ternopil are highlighted. The initial stage of the formation of piano performance in the region during the end of the 19th — the first third of the 20th century is traced as a transition from an amateur period to academic performance and professional music education. The attention is focused on the beginning of the piano class at the branch of Lysenko Higher Music Institute (VMIL) in Ternopil. The article highlights the role of representatives of Lviv piano school, the activity of some performers, composers and pedagogues as founders of piano performance in the region. The creative figures of the performers and piano pedagogues of S. Krushelnytska TMK, V. Hnatiuk TNPU as a follower of the Lviv piano school tradition are briefly presented.

Piano performance and concert genres in the works of Uzbek composers

Piano performance and concert genres in the works of Uzbek composers

ЗВУКОЗАПИСЬ, СРЕДСТВА АУДИОКОММУНИКАЦИИ И ФОРТЕПИАННОЕ ИСПОЛНИТЕЛЬСТВО: ЭВОЛЮЦИЯ ВЗГЛЯДОВ

Sound recording and related audio communication tools are complex and ambiguous phenomena, the potential of which was revealed and implemented gradually, as technology improves and new performing practices are consolidated. Sound recording has become a determining factor in the development of musical culture in the XXth century, creating new forms of musical being, changing the principles of musical communication and distribution of roles in the musical hierarchy. In the field of piano art, recording led to the emergence of "virtual" forms of piano performance and post-production practices, gave a new aesthetic quality to piano art, revived the figure of composer-performer, and raised the value of a pianist-interpreter to a new level. The tradition to consider the evolution of art in the context of scientific and technological progress appeared in the 1970s. Nowadays in musicology, the aesthetic significance of recording for piano art remains undefined, there are no large generalizing studies on this issue. Recording has caused fundamental changes in the social life of music and musical performance, the transformation of the traditional musical communication system — these processes are currently most studied. The issues of musical communication are covered in the works of E. Dukov, E. Nazaikinsky, I. Orlova, A. Sokhor, A. Yakupov. Books by N. Lebrecht, Yu. Strakovich, A. Karabanova, T. Kuzub, Yu. Streglov are devoted to the problems of functioning of musical art and their historical origin. A considerable part of G. Gould's journalism is focused on prospects of sound recording. According to Gould, the participation of the performer-interpreter in the process of sound engineering brings his work closer to the composer, allowing "to establish a contact with a work, which is very similar to the composer's own attitude to it". Sound recording becomes the reason for transformation of the traditional system of "composer — performer — listener" musical communication, historically associated with the functioning of concert halls and the composer's priority role. Researchers note the complication of the communicative chain due to the inclusion of the figure of the sound engineer (Yu. Kapustin, I. Orlova). Feedback of listeners and the performer becomes mediated, it is carried out through other channels — public opinion, press (Yu. Kapustin), the figure of a musicologist critic (A. Yakupov, Yu. Streglov). The authors begin to consider sound recording as a new form of musical existence, different from concert practice, which develops its own means of expression, forms its own listener, creates its own performing personnel. In modern research, recording as a component of innovative progress achievements is included in the periodization of information technologies. Sound recording, being a means of documentary communication, creates a new quality of fixation of a work of art in the actual form of performing interpretation, post-production practices expand the aesthetic experience of the performer and listeners. In the modern musical landscape, sound recording becomes a product of joint work of a performer and sound engineer, art manager, music producer, while the role of the performer is "virtualized".

AI based research on exploration and innovation of development direction of piano performance teaching in university

This paper investigates the cognition status of information piano education for teachers and students in a university, which mainly includes a summary of the piano teaching status in a university and make an analysis and summary of the investigation results. In addition, this paper puts forward the direction of the network information reform and construction for piano majors in Colleges and universities, mainly including three aspects, that is, taking piano “micro class” teaching to arm traditional classroom teaching, using the new media to build a networked piano learning environment, and building the piano teaching “MOOC” platform.

Performance style as category in jazz piano performance

Performance style as category in jazz piano performance

ФОРТЕПИАННЫЕ ТРАДИЦИИ Т. ЛЕШЕТИЦКОГО И ИХ ПРЕЛОМЛЕНИЕ В ДЕЯТЕЛЬНОСТИ ПЕДАГОГОВ САРАТОВСКОЙ КОНСЕРВАТОРИИ

The article is devoted to the problem of continuity of performing traditions in musical art. The relevance of the article is determined by the need for a detailed study of the Saratov piano school, especially in the initial period of its existence. The purpose of the article is to show the development of the piano school of T. Leschetizky, its influence on the musical culture of Saratov and the formation of education in the region using the example of the famous Saratov pianists I. Slivinsky, V. Adamovsky, A. Satanovsky and A. Katz. The main qualities of Leschetizky’s performing style, his contribution to the development of piano performance and the results of his pedagogical work are revealed. Special attention is paid to the activity of the famous Saratov pianist A. Satanovsky, his pedagogical attitudes and teaching methods. The novelty of the research is determined by the use of previously unknown archival materials, as well as information from the periodicals of the early XXth century, interviews of the authors with the teachers of the Saratov Conservatory.

On the basis of the balance of Yin and Yang on the harmony of piano performance

piano performance; balance of Yin and Yang; style

Chopin's Piano: In Search of the Instrument That Transformed Music by Paul Kildea

Reviewed by: Chopin's Piano: In Search of the Instrument That Transformed Music by Paul Kildea Sharon L. Fairchild Kildea, Paul. Chopin's Piano: In Search of the Instrument That Transformed Music. Norton, 2018. ISBN 978-0-393-65222-2. Pp. 353. While Kildea writes from a musician's sensibility, with deep knowledge of nineteenth-century European music, evident in his analyses of musical scores, music history, piano construction, and musical performance, this book is interspersed with a great deal of supporting background related to Romanticism, literature, art, history, and civilization. Kildea's project of tracking down the piano that Frédéric Chopin used while staying in Majorca with George Sand is the connecting thread that leads him from mid-nineteenth-century France to the end of World War II, immersing the reader in fascinating accounts of how changes in society and culture impacted musicianship through these decades. The first part of this work focuses on the period during which Chopin created several of his twenty-four Préludes on a humble instrument, a pianino built by local craftsman Juan Bauza. It is around the destiny of this piano that Kildea centers his study of Chopin's influence on music and the transformation of piano performance. While he delves into historical events, politics, literature, art, and societal change, Kildea studies Chopin's compositions, which were innovative and enigmatic, but not always appreciated by critics. The reader will perhaps listen to the Préludes differently after reading Kildea's exacting explications of them. After Chopin's death in 1849, major historical events brought about changes in culture and society. At the same time, innovations in piano construction made by Henry Steinway Jr. created a revolution in piano sound and performance. Because Chopin's music had been traditionally characterized as delicate in style, supposedly reflecting the composer's frailty and feminine sensibility, the modern piano with its powerful resonances posed a dilemma on how to perform his works. Pianists had to choose between exploiting the potential of the new pianos or honoring the characteristics of the older instruments used in composing the pieces. Kildea examines how performers such as Anton Rubenstein, Carl Tausig, and Hans von Bülow interpreted the composer differently. The extraordinary career and mission of the harpsichordist and music scholar Wanda Landowska constitutes the second half of Kildea's book. The link between Landowska and Chopin is the Bauza piano, which she acquired in 1913. During her career Landowska built a valuable collection of harpsichords, pianos, manuscripts, and research library. Kildea details this career and traces the tragic loss of this collection to the Nazis during World War II. He conducted extensive research of Nazi records and other accounts in order to discover the fate of Landowska's instruments, evoking treachery among art dealers and musicians alike while providing [End Page 269] an account of the broad-reaching plunder that occurred. The extent of Kildea's research is impressive as he gives intimate details of the lives of musicians and others during these two periods. His work is complemented by a great number of precious historical images and photos of famous individuals, their living quarters, instruments (including the Bauza piano), musical scores, and other documents. With an engaging writing style, Kildea's book contains a compelling story to be enjoyed by music lovers, be they music specialists or not. Sharon L. Fairchild Texas Christian University, emerita Copyright © 2020 American Association of Teachers of French