scholarly journals Affective and musical understanding in piano chamber music pedagogy at the fundamental level

2021 ◽  
Author(s):  
◽  
Zhong Gui
Keyword(s):  
Chamber Music ◽  
Peer Interaction ◽  
Music Pedagogy ◽  
Fundamental Level ◽  
Music Program ◽  
Piano Lessons ◽  
Musical Embodiment ◽  
Set Up ◽  
Musical Understanding ◽  
Suitable Environment

<p>Individual piano lessons have limitations for peer interaction and cooperation, which leads to insufficient stimulation for children to achieve affective and musical understanding. This paper attempts to set up a piano chamber music program at the fundamental level in the first four years of learning piano, corresponding to children around five to nine years old) to close this gap. The program is a supplementary measure to solve problems deriving from a model of only individual lessons. It assists children in strengthening their existing knowledge as well as developing their abilities. The program is based on Piaget’s theory regarding cognitive development, and it combines theories of musical embodiment and music pedagogy. It promotes a rich musical environment and multiple opportunities for peer interaction so that children can make up for deficiencies arising from a single lesson model, using moderate stimulation from a suitable environment.</p>

scholarly journals Affective and musical understanding in piano chamber music pedagogy at the fundamental level

2021 ◽  
Author(s):  
◽  
Zhong Gui
Keyword(s):  
Chamber Music ◽  
Peer Interaction ◽  
Music Pedagogy ◽  
Fundamental Level ◽  
Music Program ◽  
Piano Lessons ◽  
Musical Embodiment ◽  
Set Up ◽  
Musical Understanding ◽  
Suitable Environment

<p>Individual piano lessons have limitations for peer interaction and cooperation, which leads to insufficient stimulation for children to achieve affective and musical understanding. This paper attempts to set up a piano chamber music program at the fundamental level in the first four years of learning piano, corresponding to children around five to nine years old) to close this gap. The program is a supplementary measure to solve problems deriving from a model of only individual lessons. It assists children in strengthening their existing knowledge as well as developing their abilities. The program is based on Piaget’s theory regarding cognitive development, and it combines theories of musical embodiment and music pedagogy. It promotes a rich musical environment and multiple opportunities for peer interaction so that children can make up for deficiencies arising from a single lesson model, using moderate stimulation from a suitable environment.</p>

Illustrating a Supports-Based Approach Toward Friendship With Autistic Students

2018 ◽  
Vol 27 (2) ◽  
pp. 592-601 ◽  
Author(s):  
Verónica Vidal ◽  
Scott Robertson ◽  
Laura DeThorne
Keyword(s):  
Social Interaction ◽  
Peer Interaction ◽  
Social Supports ◽  
Viable Alternative ◽  
Children And Youth ◽  
Autistic Children ◽  
Music Program ◽  
Shared Activity

Purpose The present clinical focus article describes and illustrates 3 key elements of a supports-based approach to enhancing friendship with autistic students. Method In comparison to the predominant skills-based approach, we highlight 3 key elements of a supports-based approach to social interaction for autistic children and youth. We then offer descriptive details of the activity-based music program as an illustrative example of a program that integrated all 3 elements of a supports-based approach. Specifically, we designed an activity-based music program to enhance social interaction among a 7-year-old autistic student and 4 of his nonautistic peers. Results We focused on 3 key elements of a supports-based approach for enhancing peer interaction: (a) focusing on participation in a shared activity, (b) encouraging flexible use of multiple communicative resources, and (c) supporting egalitarian interaction. Conclusion A supports-based approach presents a theoretically distinct and viable alternative to a skills-based approach in the design of social supports for autistic students and their peers.

Whatever Happened to Chamber Music?

Tempo ◽  
1977 ◽  
pp. 7-9
Author(s):  
Susan Bradshaw
Keyword(s):  
Chamber Music ◽  
20Th Century ◽  
Ad Hoc ◽  
Set Up

Taking part in a hastily-prepared performance of a contemporary piece for five players, I found myself wondering yet again: whatever happened to chambermusic? While the piece we played is by now ‘old’ enough to be considered part of the standard 20th-century repertoire, the ad hoc nature of this performance necessarily involved the aid of a conductor—not only because the time at our disposal was inadequate, but also because four of the players didn't know the piece at all, not to mention the fact that two of them had never even met previously, let alone played together. Now while this particular set-up was admittedly an extreme instance, it was unusual only in degree; for it's by no means unique as an example of the sort of circumstances that have come to be accepted by players and audiences alike over the last 50 years or so.

scholarly journals Development of Concentration Future Musician-Teacher in the Class of Solo Musical and Instrumental Performance

2019 ◽  
Vol 7 (1) ◽  
pp. 132-152 ◽  
Author(s):  
Elena P. Krasovskaya
Keyword(s):  
Special Focus ◽  
Music Pedagogy ◽  
Instrumental Performance ◽  
General Psychology ◽  
Piano Performance ◽  
Starting Point ◽  
Piano Lessons ◽  
Psychology Pedagogy ◽  
Basic Characteristics ◽  
Performing Art

The article examines the basic characteristics of concentration as most important property of attention of future teachers-musicians and the methods which help its effective formation during piano lessons. Studying of scientific approaches to this concept of a context of physiology, the general psychology, pedagogy showed that concentration acts as the most important psychological condition of deeper understanding of objects and the phenomena, optimum course of cognitive and practical activities of the person, especially in the course of the learning and creativity. A person activity, enthusiasm and continuing interest in a concentration subject help increase of attention concentration. The success of development of this property of attention in many respects depends on application by the teacher of special receptions for the organization of activity with an object, allocations in new aspects, their analysis and comparison, search for new properties of an object, ways and opportunities of its application or improvement. Special focus is placed on characteristics of the conceptual ideas of music pedagogy for development of attention concentration of students. The carried-out analysis of positions of authoritative representatives of performing art and music pedagogy showed that concentration is a starting point of musical and performing creativity and an important condition of efficiency of pianist work. Summarize experience of outstanding representatives of piano performance and theatrical pedagogy allowed to suggest the effective approaches to development of concentration as the significant quality in no small measure influencing disclosure of creative potential of future musician-teacher and defining a possibility of his productive self-realization in an instrumental and performing activity. The author comes to a conclusion that the ability to concentrate can be developed under the leadership of the teacher during training in a class, on rehearsals and also in homework when performing specially organized exercises. The persistence in mastering the concentration equipment by performance of specially organized exercises will allow the musician to operate consciously process of attention, it is essential to increase concentration time on the solution of a creative task.

scholarly journals ACUICULTURA DE PARGO LA MANCHA LUTJANUS GUTTATUS (STEINDACHNER, 1869) EN COSTA RICA DENTRO DE UN ENFOQUE ECOSISTÉMICO

2009 ◽  
Vol 1 ◽  
pp. 197 ◽  
Author(s):  
Angel Herrera-Ulloa ◽  
Jonathan Chacón-Guzmán ◽  
Gerando Zúñiga-Calero ◽  
Oscar Fajardo ◽  
Ricardo Jiménez-Montealegre
Keyword(s):  
Marine Fish ◽  
Pilot Project ◽  
Ecosystem Approach ◽  
Research Strategy ◽  
Laboratory Research ◽  
Larval Rearing ◽  
Parallel Processes ◽  
La Mancha ◽  
Set Up ◽  
Suitable Environment

La sobreexplotación pesquera y la búsqueda de alternativas ante la pobreza crónica han llevado a explorar el campo de la maricultura por medio de un enfoque ecosistémico se abrieron dos procesos paralelos: una estrategia e; investigación en laboratorio para el levantamiento larval de peces marinos tropicales y una estrategia de comanejo para desarrollar el cultivo de peces marinos tropicales. El pargo la mancha muestra gran potencial de producción de larvas y posterior cultivo en el mar. No mostró respuestas positivas a la inducción por medio de hormonas, el desarrollo de un ambiente adecuado para su reproducción espontánea, permitió tener desoves frecuentes y de calidad. La fase de levantamiento larval mostró contratiempos por el tamaño reducido de las larvas de pargo la mancha el manejo en tanques apropiados y el uso de enriquecedores permitieran mejorar los procesos y llegar a incrementar la producción de alevines. El enfoque ecosistémico permitió abrir los espacios necesarios que permitieron la operación de un proyecto piloto. La granja se creó con un enfoque productivo, pero también para turismo rural.Overfishing and the search for alternatives to it, led us to the explore mariculture as an option using an ecosystem-based approach through two parallel processes: an in-laboratory research strategy for larval rearing of tropical marine fish, and a strategy of co-management to develop tropical marine fish aquaculture. The spotted rose snapper shows great potential for larvae production and cage culture. This species showed no responses to hormone induction; however, the set up of a suitable environment allowed frequent, high-quality spontaneous spawnings. The larval rearing phase presented problems due to the small size of the larvae; although, management in appropriate tanks and the use of enrichments improved the processes, increasing the production of juveniles. This ecosystem approach allowed the operation of a profitable farm pilot project with a productive approach, but with rural tourism in mind as well.

The Life of Béla Bartók

Tempo ◽  
1949 ◽  
pp. 3-7 ◽  
Author(s):  
Béla Bartók ◽  
Denijs Dille
Keyword(s):  
Chamber Music ◽  
Strong Influence ◽  
Piano Music ◽  
Bela Bartok ◽  
Dance Music ◽  
Musical Life ◽  
Piano Lessons

I was born on March 25th, 1881, in a small place, called Nagyszentmiklós, which now, together with the whole county of Torontál, belongs to Roumania. My mother gave me my first piano lessons when I was 6 years old. My father, who was the head of an agricultural school, was gifted musically and active in many directions. He played the piano, organized an amateur orchestra, learned the 'cello in order to play that instrument in his orchestra, and composed some dance music. I was 8 years old when I lost him. After his death my mother had to work as a school mistress and struggle hard for our daily bread. We first went to live at Nagyszöllös (at present Czechoslovak territory), then to Beszterce in Transylvania (at present Roumanian territory) and in 1893 to Pozsony (Bratislava, at present Czechoslovak territory). I began writing piano music when I was nine years old and made my first public appearance as a “composer” and pianist at Nagyszöllös in 1891; it was therefore a matter of some importance for us to settle at last in a biggish town. Among Hungarian country towns at that time it was Pozsony that had the most vigorous musical life, and by moving there I was given the possibility of having lessons in piano and composition with László Erkel (Ferenc Erkel's son) and also of hearing a few operas, more or less well performed, and orchestral concerts. I had the opportunity, too, of playing chamber-music, and before I was eighteen I had acquired a fairly thorough knowledge of music from Bach to Brahms (though in Wagner's work I did not get further than Tannhäuser). All this time I was also busy composing and was under the strong influence of Brahms and Dohnányi (who was 4 years my senior). Especially Dohnányi's youthful Opus No. 1 influenced me deeply.

Henri Temianka's Eightieth–Reminiscences with Diana Steiner

1986 ◽  
Vol 36 (4) ◽  
pp. 32-35
Keyword(s):  
Los Angeles ◽  
Chamber Music ◽  
Life Style ◽  
Teaching Career ◽  
Eightieth Birthday ◽  
Half Century ◽  
Music Program ◽  
Chamber Symphony ◽  
Cultural Life ◽  
John Perry

Violin Forum editor Diana Steiner recently took time from her own performing and teaching career to spend some time with Henri Temianka, who is celebrating his eightieth birthday October 14th with a gala benefit for the California Chamber Symphony Society, which Mr. Temianka founded in 1961. At the gala, his friends Isaac Stern, Dudley Moore, Antoinette Perry, John Perry, Janos Starker, Nathaniel Rosen, The Romeros, and Roger Wagner plus many other music and entertainment celebrities will serenade Temianka with a unique chamber music program. The celebration committee, with members ranging from Victor Borge to Efrem Zimbalist, have planned the evening as a tribute to Mr. Temianka's invaluable contributions to the cultural life of Los Angeles and Southern California as well as to his international accomplishments for more than a half century. Diana Steiner found in violinist/conductor Temianka's life style traits and philosophies that should prove inspirational to string teachers and to students alike.

‘When the music ends it stays in the brain’: Agency and embodiment in young children’s engagements with recorded music in preschool

2020 ◽  
Vol 15 (1) ◽  
pp. 75-93 ◽  
Author(s):  
Claudia Gluschankof
Keyword(s):  
Young Children ◽  
Background Music ◽  
Preschool Teacher ◽  
Directed Movement ◽  
Recorded Music ◽  
Whole Process ◽  
Musical Characteristics ◽  
Set Up ◽  
Musical Understanding ◽  
The Brain

Listening to recorded music is ubiquitous both for adults and young children. In early educational settings, it is mainly used as background music to set up a certain atmosphere, and to design specific festivity environments and celebrations. Recorded musical pieces ‐ specifically instrumental ones, as the focus of the educational activities, because of their musical characteristics ‐ are seldom used. When they are used, musical pieces are considered isolated musical objects that children have to be taught to contemplate, understand and appreciate. This study presents a less-documented and reported type of young children’s engagement with music: self-initiated and self-directed movement representations of recorded musical pieces documented by Sarit, a preschool teacher, for her educational purposes. The documents include videos of children’s choreographies, Sarit’s accounts, children’s drawings and their explanations of them. These engagements give us opportunities to study agency in listening experiences and children’s multimodal exploring, and ultimately embodied and visual representation of their musical understanding of the pieces. Children exercise agency in their engagement with the music, as they choose the music and what to do, with whom, with what and when, and in these doings, they change their preschool. In their choreographies, they embody their understanding of the music; and in their drawings, they share with us the whole process. Educators are invited to open their eyes and their ears, discovering children’s multimodal engagements with recorded music.

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