scholarly journals Alexina Louie's Pedagogical Piano Repertoire Inspired by Oriental Elements

2019 ◽  
Vol null (40) ◽  
pp. 113-141
Author(s):  
Ji Yang
Keyword(s):  
Piano Repertoire

scholarly journals Methodical Expediency of Enrichment of Repertoire of the Beginning Pianist in Educational Institutions of the People’s Republic of China

2019 ◽  
Vol 7 (3) ◽  
pp. 126-137
Author(s):  
Kang Yunyu
Keyword(s):  
Educational Institutions ◽  
Compositional Techniques ◽  
Musical Work ◽  
Republic Of China ◽  
Piano Repertoire ◽  
Musical Works ◽  
Effective Performance ◽  
Personal Qualities ◽  
Russian Composers ◽  
Selection Of

The article deals with the activity of the teacher-musician on the choice of educational piano repertoire. Currently, in China, this practice is based almost exclusively on the empirical experience of teachers and is largely random, does not have sufficient methodical support. They use rather standard, so-called basic musical repertoire, especially at the initial level of piano training in the genre of a program play. At the same time, the individuality of the student, his personal qualities, promising musical development, genre and style diversity of works, certain methodological indications for study, motivational readiness are not adequately taken into account. There is an urgent need to expand the children’s piano repertoire in China, primarily through the musical works of composers from other countries, for example, the easy plays of Russian composers of the Soviet and post-Soviet periods. The article shows a specific example of the educational repertoire in children’s educational programs with effective performance of young musicians at concerts. Actions of the teacher-musician at the choice of this or that musical work inevitably actualize personal-creative and reflexive qualities, skills of the methodological analysis. The introduction of young musicians to the performance of music from other eras and national schools, familiarity with different compositional techniques and directions, painstaking individual selection of each play has a pronounced methodological, educational and motivational effect.

Praxis and poiesis in piano repertoire preparation

2011 ◽  
Vol 13 (3) ◽  
pp. 273-292 ◽  
Author(s):  
Regina Antunes Teixeira Dos Santos ◽  
Liane Hentschke
Keyword(s):  
Piano Repertoire

Piano Repertoire: A Guide to Interpretation and Performance

Notes ◽  
1982 ◽  
Vol 38 (3) ◽  
pp. 605
Author(s):  
Dale L. Hudson ◽  
Bela Siki
Keyword(s):  
Piano Repertoire ◽  
And Performance

Manchester, Bridgewater Hall: Yoshiro Kanno

Tempo ◽  
2013 ◽  
Vol 67 (263) ◽  
pp. 85-86
Author(s):  
Tim Mottershead
Keyword(s):  
Concert Hall ◽  
Piano Works ◽  
Piano Repertoire

Between April and June 2012, pianist Noriko Ogawa presented four recitals titled Reflections on Debussy, in the Mirror of the East, which presented his major piano works, with compositions by Japanese composers Takemitsu, Yoshimatsu, and two commissions from Yoshihiro Kanno (b.1953). The first of the Kanno works presented, on 25 May, was Sky Maze (2011) for piano and organ (featuring Jonathan Scott), oddly placed in a concert otherwise devoted to two-piano repertoire (with Martin Roscoe). The programme note revealed the work was originally to have been premièred in August 2011 at the MUZA Kawasaki concert hall – which was badly damaged by the earthquake and tsunami of the previous March – but offered no clue as to the work's intriguing title.

Historical Virtualization: Analog and Digital Concerns in the Recreation, Modeling and Preservation of Contemporary Piano Repertoire

2017 ◽  
Vol 27 ◽  
pp. 27-31
Author(s):  
Chrysi Nanou ◽  
Rob Hamilton
Keyword(s):  
Case Studies ◽  
New Technologies ◽  
Modeling Technique ◽  
Musical Work ◽  
Compositional Modeling ◽  
Piano Repertoire ◽  
Musical Works ◽  
The Creation ◽  
Musical Systems ◽  
Interpretative Model

Modern efforts to preserve and reinterpret canonic musical works in the contemporary piano repertoire often take advantage of new technologies, fundamentally changing core aspects of the works themselves. By approaching preservation as a form of virtualization—in this case the creation of a functional interpretative model of each musical work—artists and researchers can create robust and performable digital versions of important musical systems. This paper introduces the idea of virtualization as a compositional modeling technique and offers three case studies in which digital versions of contemporary piano repertoire were designed and developed.

scholarly journals Features of teaching piano in pop-jazz style

2020 ◽  
pp. 135-138
Author(s):  
T. V. Sachkova ◽  
Keyword(s):  
Music Education ◽  
Approaches To Teaching ◽  
Traditional Methods ◽  
Music School ◽  
Music Schools ◽  
Russian Music ◽  
The Past ◽  
Piano Repertoire ◽  
Jazz Style ◽  
And Training

Russian music school has undergone major changes over the past 20–30 years. The emergence of mass musical styles and genres and their huge popularity, the opening of pop and jazz faculties and training areas, as well as private music schools and studios – all this aff ects the approaches to teaching piano in modern preprofessional music education. The approaches to the development of performing piano skills described in this article include not only traditional methods of studying the academic piano repertoire, but also methods of development in pop and jazz stylistics, using which one can achieve both improved fluency and the development of new sound skills.

scholarly journals The instructive repertoire in the programs of students of the Department of Special Piano of the Kharkiv I. P. Kotlyarevsky National University of Arts

2020 ◽  
Vol 57 (57) ◽  
pp. 297-308
Author(s):  
M.S. Chernyavska
Keyword(s):  
Technical Problem ◽  
Correct Choice ◽  
Educational Process ◽  
Teaching Staff ◽  
Piano Etudes ◽  
Piano Repertoire ◽  
National University ◽  
Practice Methods ◽  
High Degree ◽  
Auditory Skills

Background. The article discusses the experience of the teaching staff of the Department of Special Piano of the Kharkiv I. P. Kotlyarevsky National University of Arts. One of the innovations of the department was the use of instructive piano repertoire in the educational process for better development of piano skills among students. It has been proved that the acquisition of a technical base as a necessary basis for piano mastery is impossible without the systematic use of instructive etudes – relatively small instrumental pieces with a specific technical purpose. The correct choice of the complexity of the lessons, their compliance with the student’s level of development is a determining factor in the successful development of a pianist. Thus, an instructive piano repertoire is very useful not only at the initial stage of the pedagogical process, but is also extremely necessary at the subsequent stages of the professional pianistic education of a young musician. Objectives. The purpose of the article is to justify the need to use a number of instructive etudes for piano in junior undergraduate musical challenges, to draw the attention of students and teachers to their wider development and use in educational and concert practice. Methods. The methodology of the article is based on the totality of scientific approaches necessary to uncover problem, combining the principle of musical-theoretical, performing analysis as well as methodical and pedagogical observations. Conclusions. Statement of the main material. For the formation of the pianistic apparatus, the pupil, and then the student, needs etudes, thanks to which you need to develop strength, evenness, independence and fluency of the fingers. But the process must be complicated gradually: it is impossible to move on to mastering a more complex task, if it is simpler, it remains unresolved. It should be noted that the division of etudes into instructive and characteristic, as well as characteristic – concert and artistic is very conditional and, first of all, is determined by the level of composer skill of their authors. For the performer, any, even the simplest musical construction, should be played expressively, understood intonationally, and built dramatically. Therefore, even in the simplest and easiest etudes, novice pianists need to be tuned to the fact that this composition is highly artistic and attitude to its should be appropriate. In the subsequent educational process of mastering pianism, an accurate algorithm should be built up that allows using the huge arsenal of piano etudes to properly develop the student, to give him the opportunity to form the perfect pianistic apparatus, while instilling not only appropriate motion, but also auditory professional skills. For the formation of the piano apparatus and many auditory skills, not only schoolchildren but also students need to develop strength, equality, independence and speed of the fingers. This role should be performed by instructive and characteristic sketches. It is noted that one of the substantive dominants of the etude genre is the formularity of the musical language, the game moment, the implementation of which allows one to overcome a technical problem, which forms the basis of pianism both in motor skills and intonation. Results. The importance of the correct choice of etudes during the entire process of training a pianist is proved. Unfortunately, we often observe how the unhealthy ambitions of a teacher negatively affect students. It is necessary to adequately assess the level of capabilities of the young performer, and most importantly, with the help of correctly selected sketches, step by step, professionally develop his motor and auditory skills. In no case should students be given complex artistic etudes if their pianistic apparatus is not yet fully formed! For this purpose, the decision was made at the special piano department of the Kharkiv I. P. Kotlyarevsky National University of Arts: to pass instructive etudes of a high degree of complexity in junior undergraduate courses without fail.

scholarly journals POLYPHONIC GENRES IN PIANO CREATIVITY OF CHINESE COMPOSERS

2021 ◽  
Vol 24 (24) ◽  
pp. 148-165
Author(s):  
Mengzhe Zhang
Keyword(s):  
Folk Music ◽  
Evolutionary Development ◽  
Mathematical Research ◽  
Creative Development ◽  
Theoretical Concepts ◽  
Research Outcomes ◽  
Piano Repertoire ◽  
The World ◽  
Small Cycle

Statement of the problem. The twentieth century marked an increased interest in polyphonic music. The geography of polyphonic works for piano expanded significantly and a creative development of many Chinese composers, writing polyphonic piano pieces, took place. Today, polyphonic pieces make up a significant part of the piano repertoire in China, but they are little studied by musicologists and performers. The objective of this study – to reveal the contribution of Chinese composers to the creation of polyphonic piano repertoire of the XX – early XXI century. Analysis of the research and publications on the theme. А large number of modern authors study polyphony from the point of physical and mathematical research methods (Igarashi, Yu. & Ito, Masashi & Ito, Akinori, 2013; Weiwei, Zhang & Zhe, Chen, & Fuliang, Yin, 2016; Li, Xiaoquan et al. others, 2018). This approach does not reveal the factual musical component of polyphonic genres. In the 20th century, musicologists explored polyphony in musical folklore (Wiant, 1936; Fan Zuyin, 2004; Li Hong, 2015) and in professional Chinese composing (Sun Wei-bo, 2006, Winzenburg, 2018). The scientific novelty. This article studies the role of Chinese composers in the development of the world polyphonic piano repertoire of the XX – early XXI century. The methodological basis for the analysis of polyphonic works was the theoretical concepts of P. Hindemith, Peng Cheng, Fang Zuin, Li Hong, Sun Wei-bo. The results of the study. The research outcomes demonstrate the evolutionary development of the genre diversity of Chinese piano polyphony as well as those composers who created magnificent musical pieces. Conclusions. Chinese composers have fully mastered the art of modern counterpoint, represented by the genres of polyphonic program pieces (He Lu Ting), invention (Xiao Shu Xian, Du Qian, Sun Yun Yin, Chen Chen Quang), polyphonic suite (Ma Gui), large polyphonic cycle ( He Shao, Chen Hua Do, Xiao Shu Xian), fugue (Li Jun Yong, Yu Su Yan, Chen Gang, Tian Lei Lei, Duan Ping Tai, Zheng Zhong, Xiao Shu Xian) and small cycle “Prelude and Fugue” (Ding Shan Te, Chen Zhi Ming, Wang Li Shan). Creatively assimilating and rethinking the experience of Western polyphonists, Chinese composers have filled their polyphonic works with national features, firmly linking them with the origins of Chinese traditional and folk music. The polyphonic way of transmitting musical material becomes the most expressive at the moments of profound creativity and musical dramatization.

Beyond the Candelabra: The Liberace Show and the Remediation of Beethoven

2019 ◽  
Vol 13 (1) ◽  
pp. 27-53
Author(s):  
EDGARDO SALINAS
Keyword(s):  
New Media ◽  
Classical Music ◽  
Pop Culture ◽  
Musical Work ◽  
Piano Sonata ◽  
Audiovisual Media ◽  
Piano Repertoire ◽  
Archaeological Analysis ◽  
Tv Show

AbstractLiberace entered the sprawling scene of US pop culture in 1952 emceeing a TV show that initially garnered higher ratings than I Love Lucy. The Liberace Show presented staples of the classical piano repertoire in abridged versions that cut the “dull parts” and liberally added orchestrations. Liberace's heterodox practices outraged prominent music critics, who soon deemed him the very incarnation of kitsch. Turning from aesthetic criticism to an archaeological analysis of media, I discuss the show's presentation of classical music, taking as its main case study Liberace's iconoclastic rendition of Beethoven's “Tempest” sonata, and examine it through the theory of remediation advanced by Jay David Bolter and Richard Grusin. Analyzing archival videos, I show how the alterations exerted on the musical text were inextricably tied to the telegenic mise-en-scènes staged for each episode while situating them in the new media landscape that emerged in the 1950s. The show remediated not only the pieces Liberace performed but also his own TV persona to nurture an intimate bond with home viewers who became captivated by the host's enchanting presence. I contend that Liberace's remediations drastically collapsed the specificity of performance medium that modern critics construed to be immanent to the musical work. This collapse entailed a proliferation of musical and audiovisual media that afforded Liberace's devoted viewers an alluring experience of immediacy and ultimately retrieved the domestic intimacy that had been integral to the genealogy of the piano sonata.

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