Piano Students Research Articles

What makes practice perfect? How tertiary piano students self-regulate play and non-play strategies for performance success

Self-regulated practice is critical to musicians’ development, but it is unclear what components of practice contribute to performance quality. This study aimed to explore tertiary music students’ practice using performance evaluations as indicators of practice efficacy. Five tertiary piano students prepared a quick study task of two pieces for a mock performance, in 2 hours over 2 days. An expert panel evaluated the mock performances and performers were ranked accordingly. Practice session recordings and interview transcripts were analysed according to the three phases of Self-Regulated Learning (forethought, performance, self-reflection) and linked to the pianists’ final performance evaluations. Successful pianists planned their practice and set interpretative goals, while their less successful peers practiced reactively without planning. The highest-ranked pianist’s self-regulation was facilitated by non-play practice which involved taking long pauses and using strategies such as score study, mark score, and listen to own recording. The lowest-ranked pianist failed to identify problems or self-evaluate effectively. Future studies should explore the use and content of non-play practice strategies, especially self-recording, to empower music students to develop and self-regulate their practice. The quick study task provided an effective practice assessment tool and could be used to diagnose and track practice approaches.

The effects of sensory deprivations during the initial practice of short piano pieces: An experiment with four students at different academic levels

This article discusses the effects of sensory deprivations during the initial practice of four short piano compositions in both deprivation and postdeprivation situations. Four different experimental conditions were employed: (A) deprivation of the piano, with visual decoding of the score; (B) deprivation of the piano and score, with auditory decoding of a commercial recording of the practiced composition; (C) deprivation of the sound response, with the score being decoded in a turned-off digital piano; and (D) deprivation of the score, with the recording being decoded on an acoustic piano. Four participants, all piano students, were part of the research sample: one who was taking piano classes in the university’s extension program; two undergraduate participants, a sophomore and a senior; and a student in the graduate program. Three participants managed to recreate the auditory information they did not have as a function of the condition of deprivation based on their own manipulations and aural skills. The effects of the deprivations on the four participants while practicing raised their awareness of how to use their personal skills to extract information from their practice sessions and affected their aims regarding the pieces they practiced.

Pursuing Artful Movement Science in Music Performance: Single Subject Motor Analysis With Two Elite Pianists.

Piano performance motor learning research requires more “artful” methodologies if it is to meaningfully address music performance as a corporeal art. To date, research has been sparse and it has typically constrained multiple performance variables in order to isolate specific phenomena. This approach has denied the fundamental ethos of music performance which, for elite performers, is an act of interpretation, not mere reproduction. Piano performances are intentionally manipulated for artistic expression. We documented motor movements in the complex task of performance of the first six measures of Chopin’s “Revolutionary” Etude by two anthropometrically different elite pianists. We then discussed their motor strategy selections as influenced by anthropometry and the composer’s musical directives. To quantify the joint angles of the trunk, shoulders, elbows, and wrists, we used a VICON 3 D motion capture system and biomechanical modeling. A Kistler force plate (1 N, Swiss) quantified center of gravity (COG) shifts. Changes in COG and trunk angles had considerable influence on the distal segments of the upper limbs. The shorter pianist used an anticipatory strategy, employing larger shifts in COG and trunk angles to produce dynamic stability as compensation for a smaller stature. Both pianists took advantage of low inertial left shoulder internal rotation and adduction to accommodate large leaps in the music. For the right arm, motor strategizing was confounded by rests in the music. These two cases illustrated, in principle, that expert pianists’ individualized motor behaviors can be explained as compensatory efforts to accommodate both musical goals and anthropometric constraints. Motor learning among piano students can benefit from systematic attention to motor strategies that consider both of these factors.

How does music performance anxiety relate to other anxiety disorders?

Music performance anxiety (MPA) is considered a social anxiety disorder (SAD). Recent conceptualizations, however, challenge existing MPA definitions, distinguishing MPA from SAD. In this study, we aim to provide a systematic analysis of MPA interdependencies to other anxiety disorders through graphical modeling and cluster analysis. Participants were 82 music students ( Mage = 23.5 years, SD = 3.4 years; 69.5% women) with the majority being vocal (30.5%), string (24.4%), or piano (19.5%) students. MPA was measured using the German version of the Kenny Music Performance Anxiety Inventory (K-MPAI). All participants were tested for anxiety-related symptoms using the disorder-specific anxiety measures of the Diagnostic and Statistical Manual of Mental Disorders (5th ed., DSM-5), including agoraphobia (AG), generalized anxiety disorder (GAD), panic disorder (PD), separation anxiety disorder (SEP), specific phobia (SP), SAD, and illness anxiety disorder (ILL). We found no evidence of MPA being primarily connected to SAD, finding GAD acted as a full mediator between MPA and any other anxiety type. Our graphical model remained unchanged considering severe cases of MPA only (K-MPAI ⩾ 105). By means of cluster analysis, we identified two participant sub-groups of differing anxiety profiles. Participants with pathological anxiety consistently showed more severe MPA. Our findings suggest that GAD is the strongest predictor for MPA among all major DSM-5 anxiety types.

Performance Preparation, Anxiety, and the Teacher. Experiences of Adolescent Pianists

The purpose of this study was to examine the experiences of adolescent pianists in their private lessons and solo performances in regard to concert preparation and music performance anxiety (mpa). A particular focus was placed on the student-teacher relationship and the potential role of teachers in students’ preparation, experience, and anxiety in performance situations. 62 piano students completed questionnaires pertaining to their private lessons, teacher, and performance experiences, as well as two inventories—one pertaining to self-esteem and the other on music performance anxiety. Results indicate that self-esteem and practice are significant predictors of mpa, with self-esteem having the most notable effect. Almost half of the participants reported feeling nervous in their lessons at least some of the time. Most students noted that their teachers encourage them to perform; however, only half reported that their teachers address performance preparation issues. Less than half were reported to discuss memorization strategies or management of mpa with students, or to hold practice-performance classes. Implications for music educators and future research directions are discussed.

Developing Models of Evaluation Through Performance Task Instrument: Its Implementation and Usefulness

Developing Models of Evaluation Through Performance Task Instrument: Its Implementation and Usefulness

Upper-Body Posture in Adolescent Pianists: A Cross-Sectional Study.

Although the significance of upper-body posture in relation to piano performance has often been highlighted, the role of experience remains unclear. The aim of this study was to examine selected upper body posture parameters in adolescent piano students of different performance level (beginners vs advanced). Thirteen (13) adolescent piano students (14.7±0.5 yrs; 7 beginners and 6 advanced) volunteered. They all performed two specific major scales (G-major and E-major) in five octaves in two predetermined different tempi (slow and fast). An upper body biomechanical model consisting of 27 reflective markers was applied on specific bony landmarks. A 10-T camera Vicon system running Nexus 2 was employed to capture upper body motion--a) sway of the trunk in relation to the instrument, b) finger/hand sway over the keyboard, c) overall hand movement, and d) spinal angles--at selected moments of four different performances. Beginners demonstrated more trunk sway than their advanced counterparts (p<0.05), more finger/hand sway (p<0.05), more overall hand movement (p<0.05), and more flexed spinal angles at the start of their performance (p<0.05). Most of these differences appeared in the G-fast performances, whereas the G-slow equivalents revealed no differences. Less-experienced piano players are characterized by more movement in their trunk posture and more upper limb activity than their more advanced colleagues. Future research should examine whether interventional programs designed to alter upper-body posture would have beneficial effects in piano performance.

The conditions for learning musical interpretation in one-to-one piano tuition in higher music education

Research has indicated that one-to-one teaching in higher music education in Western classical music typically favours technical over interpretive aspects of musicianship, and imitation of the teacher’s rather than the student’s explorative interpretation. The aim of the present study is to investigate students’ and teachers’ understandings of how musical interpretation of Western classical music is learned in this context. Semi-structured qualitative interviews with six piano students and four teachers in Sweden were conducted and hermeneutically analysed using haiku poems and poetical condensations. The analysis found that the conditions for learning musical interpretation centred upon students achieving a high level of autonomy, as affected by three key aspects of teaching and learning: (1) the student’s and the teacher’s understandings of what musical interpretation is, (2) the student’s experience of freedom of interpretation as acknowledged by the teacher, and (3) (expectations of) the student’s explorative approach. As none of these aspects were reported as being explicitly addressed during lessons, there might be a need for both teachers and students to verbalise them more clearly to support piano students’ development.

Exploring pianists’ embodied concepts of piano timbre: An interview study

Whether piano touch can influence piano timbre or not is a highly contested topic between acousticians and musicians. To gain insight into the ways in which pianists understand and use timbre, eight piano students were interviewed about their conceptualisation of timbre and ways of producing different timbres on the piano. Results indicate that pianists interpret timbre holistically as the overall sonic outcome and use embodied conceptualisations to produce timbre: expected/intended timbral effects are associated with corporeal experiences and the body and mind are strongly coupled in perception and production.

The Mediation Effects of Value Perceptions in the Relationships between Undergraduate Piano Students’Ability-Related Expectancy Beliefs and Playing Practice

The Mediation Effects of Value Perceptions in the Relationships between Undergraduate Piano Students’Ability-Related Expectancy Beliefs and Playing Practice

Study of Spanish Folk Music Idiom and Pedagogical Advice in Granados' 《Danza Españolas》

Enrique Granados is a composer who represents late-19th century Spain along with Albeniz. Heavily influenced by his mentor Pedrel, Granados drew his inspiration from Spanish folk music, the rhythm of its dance, its Islamic influence, and the unique characteristics of Gypsy music. His signature piano compilation Danzas Espanolas exhibits these nationalistic elements to a great degree. With this compilation, Granados contributed to 19-century Spanish music s breaking from Western European influence and forming its own unique musical characteristics. This study analyzes three numbers that can apply to intermediate piano students and includes a pedagogical interpretation. The second number Oriental shows the mysticism of the East and the characteristics of Cante Hondo sung with emotion by the singer; the fifth number Andaluza teaches the rhythms and guitar expressions of Fandango; and the sixth number Rondalla aragonesa is reminiscent of a group of people doing a Spanish traditional dance to various folk instruments coming together in jota rhythms. These scores will prove to be a great repertoire that allows late intermediate piano students to experience folk and romantic idiom in piano music.

Parting Ways With Piano Lessons: Comparing Motivation Between Continuing and Dropout Piano Students

Abstract Piano teachers believe that dropping out of piano lessons before reaching a moderate mastery of the instrument is a common problem among students. We used self-determination theory (Deci &amp; Ryan, 1985) to measure the motivation of dropout students and to discover if amotivation and controlled motivation are related to attrition from private piano lessons. Using the Survey of Musical Interests, 55 former piano students who had quit lessons completed a questionnaire with Likert scale, multiple choice, and open-ended questions, and their parents filled out a complementary questionnaire. The dropout students took lessons for approximately 5 years and stopped lessons in the preteen years, which supports a common experience of studio teachers. These participants were compared to 260 students who were still involved with piano lessons. Beyond the predicted findings that dropout students would demonstrate less autonomous motivation and stronger amotivation, other interesting, exploratory findings arose. There were significant differences between the two groups’ types of motivation, and also differences regarding the age at which lessons began, ethnicity, practice amounts, parental involvement, and rewards for achievement. Recommendations are made for future research and for student retention strategies.

Faber Method Classical Piano Learning In Purwacaraka Music School Purwokerto

Purwacaraka Purwokerto Music School is able to give birth to talented classical piano students so they can win various championships. From the observations, this is influenced by the use of the faber method in learning. This study aims to describe learning methods faber at Purwacaraka Purwokerto Music School. The research approach applied in this study is descriptive qualitative. Data collection techniques are carried out by observation, interview and document study. The results of this study indicate that the use of the faber method in classical piano learning in Purwacaraka Purwokerto Music School is only used at the beginner level (Grade Preparatory) and is an excellent method for learning at the beginner level because it uses books specifically designed for beginners with many bring up colorful images that make students imagine, so students understand learning material in their own way. The advantages of the faber method are that students get a strong foundation in reading beam notation, dynamics games and articulation in a score of songs played and this method is a very good method used as a basis for learning piano because it has material and theory that is emphasized to provide basic reference piano playing with piano playing techniques.

Music Performance Anxiety: Can Expressive Writing Intervention Help?

Performance is an essential part of music education; however, many music professionals and students suffer from music performance anxiety (MPA). The purpose of this study was to investigate whether a 10-min expressive writing intervention (EWI) can effectively reduce performance anxiety and improve overall performance outcomes in college-level piano students. Two groups of music students (16 piano major students and 19 group/secondary piano students) participated in the study. Piano major students performed a solo work from memory, while group/secondary piano students took a sight-reading exam of an eight-measure piano musical selection. All students performed twice, at baseline and post-EWI, with 2 or 3 days between performances. During the EWI phase, students were randomly divided into two groups: an expressive writing group and a control group. Students in the expressive writing group wrote down feelings and thoughts about their upcoming performances, while students in the control group wrote about a topic unrelated to performing. Each student’s pulse was recorded immediately before performing, and each performance was videotaped. Three independent judges evaluated the recordings using a modified version of the Observational Scale for Piano Practicing (OSPP) by Gruson (1988). The results revealed that, by simply writing out their thoughts and feelings right before performing, students who had high MPA improved their performance quality significantly and reduced their MPA significantly. Our findings suggest that EWI may be a viable tool to alleviate music performance anxiety.

Exploring music performance anxiety, self-efficacy, performance quality, and behavioural anxiety within a self-modelling intervention for young musicians

ABSTRACT The purpose of this study was to investigate the relational changes between music performance anxiety (MPA), self-efficacy, performance quality, and behavioural anxiety in five adolescent piano students over a six-week intervention. Additionally, the study explored the effects of a positive self-review self-modelling intervention on adolescent musicians. Self-report measures, performance evaluations, and behavioural anxiety ratings were used to collect data. Results indicate that the relational changes between MPA, self-efficacy, and performance quality are complex. There were no observed relationships between MPA and self-efficacy or performance, suggesting that MPA can have both debilitative and facilitate effects on these variables. Additionally, there was no relationship between MPA and behavioural anxiety, suggesting that students may appear less anxious than they feel. Finally, the results suggest that self-modelling has individual effects on musicians, meaning that self-modelling can provide teachers with a versatile strategy for reducing MPA, improving performance quality, and/or increasing performance confidence.

Effects of Rehearsal Time and Repertoire Speed on Extensor Carpi Radialis EMG in Conservatory Piano Students.

Repetitive actions while playing piano may overload forearm muscles and tendons, leading to playing-related musculoskeletal disorders (PRMDs), including lateral epicondylitis. In this pilot study, surface electromyography (sEMG) activity of the extensor carpi radialis (ECR) was captured in 10 conservatory piano students while playing a fast and a slow music score selected from the individual's repertoire, each 3 minutes long. Measurements were made at baseline and again after 2 hrs and 4 hrs of rehearsal time of the piano études. The amplitude of the sEMG signal was processed by a smoothing algorithm, and the frequency component with a non-orthogonal wavelets procedure. Amplitude of the sEMG was expressed in percent of maximal voluntary contraction (%MVC) at baseline. Statistical analysis encompassed 2-way repeated measures ANOVAs for the amplitude and frequency components of the sEMG signal (a set at 5%). The students also rated the intensity of rehearsals using a VAS. The ECR presented with a mean amplitude of 23%MVC for the slow scores, which increased significantly to 36%MVC for the fast scores. The sEMG signal presented a significant though small decrease of 1.9%MVC in amplitude between baseline and 4 hrs of rehearsal time and no shift in frequency, which may indicate that the rehearsals were held at a physiological steady-state and suggesting optimization or complementary muscle loading. These data accentuated that the loading of the ECR (as reflected in the amplitude component) was higher than that seen for computer keyboard workers. The augmented loading of the ECR and reduced blood flow to forearm muscles may be a factor in the development of PRMDs in pianists.

Features of Teaching the «Piano» Course at the Higher Educational Institutions of Culture

The aim of the paper is to determine the specific features of piano training for each education program at the higher educational institutions of culture. Forming technical skills and related methodological repertoire nuances in piano students of the higher educational music institutions is an important factor in the process of becoming a young professional.Research methodology. The author uses systematic, psychological, peda-gogical and artistic methods of analysis.Results. Higher education musicians need to be aware that without the ability to perform different piano pieces professionally, they will never become skilled performers. Mastering the sonata and polyphonic genre under the wise guidance of the teachers of the piano department is the basis of education of a musician-specialist. Getting acquainted with the repertoire, written specifically for playing the piano, aims not only to master the playing skills of this instrument, but also an in-depth study of many instrumental styles and genres.Novelty. An attempt is made to identify the leading guidelines of functioning and the ways of improving the skills of the students of the class of the piano on the basis of the analysis of the Piano department activities.The practical significance. The article proposes the variants of improvement of educational activity of the recipients of education in different educational programs, which will be expedient to use in the practical activity of the departments of piano at the higher educational institutions of culture.

Sonatinas for Piano in the Context of Mao-Shuen Chen’s Composer and Pedagogical Activities

Sonatinas for Piano in the Context of Mao-Shuen Chen’s Composer and Pedagogical Activities

Integration of Arts as a Method of Pedagogy of Musical Performance

The article considers the possibility of integrating music and visual arts as a method of musical and performing training of Chinese piano students. Based on the common ideological and artistic attitudes of the &amp;quot;Mighty bunch&amp;quot; and the &amp;quot;Association of traveling art exhibitions&amp;quot;, it is proposed to use the paintings of the Wanderers for a deeper penetration of Chinese piano students into the world of artistic images that reflect the peculiarities of Russian culture.

Intrapersonal skills and music performance in elementary piano students in Spanish conservatories: Three case studies

This study is based on the premise that emotional skills—comprised of an intrapersonal dimension and an interpersonal dimension—help to achieve personal balance, which in turn can enhance performance. Following from this premise, the improvement of music students’ emotional skills might have a positive effect on their musical performance. The recognized relationship between music and emotion therefore suggests that music education is a suitable context for developing emotional skills. The article examines the relationship between intrapersonal skills and the musical performance of elementary students studying the piano in a Spanish conservatory. The research was developed as an action research process and involved the study of three 10-year-old students. A set of activities were designed specifically for students attending the third course of piano studies; these activities were intended to develop students’ intrapersonal skills throughout the school year and were implemented in the subjects of piano and ensemble playing in parallel with the musical tasks. The relationship between intrapersonal skills and musical performance is investigated and discussed for each of the three cases.