scholarly journals The Cultivation of Students' Musical Expressiveness in Piano Performance Teaching

2021 ◽  
Vol 2 (2) ◽  
Author(s):  
Xiao Han

This article believes that in piano performance teaching in colleges and universities, the significance of cultivating students' musical expressiveness is mainly reflected in three aspects: the future development of students, the development of piano art and the reform of education and teaching. In the specific training path, it is necessary to scientifically grasp the relationship between performance technology and music performance, enhance students' awareness of music analysis, and effectively improve students' theoretical accomplishment and create a display platform to exercise students' performance ability.

2004 ◽  
Vol 19 (3) ◽  
pp. 140-145
Author(s):  
Rajko Črnivec

This study consisted of medical examination and comparison of results obtained in 70 musicians from the Slovene Philharmonic Orchestra, Ljubljana. The main goals of the study were to identify performance-related musculoskeletal disorders, to assess the health status and working capacity of the musicians, and to propose measures for improved protection of their health. The results were compared with results obtained in a control group of 28 marketing workers at Philip Morris Enterprise, Ljubljana. Musculoskeletal problems of the studied group of Slovene musicians were compared with problems of 109 musicians of the Berlin Opera Orchestra examined at the Institute of Occupational Health, Berlin, Germany. We identified performance-related diseases (inflammatory and degenerative skeletal disorders and minor occupational hearing impairments) that were most frequent. A significant proportion of performing musicians had overuse syndrome, caused by excessive use of the extremities and characterized by cumulative microtrauma exceeding human physiologic limits, and dermatologic problems, such as finger calluses and “fiddler’s neck.” The most frequent musculoskeletal problems were due to repetitive motion, unphysiologic postures (isometric strain on the affected muscles), and prolonged sitting position during performances. The highest level of musculoskeletal disorders was noted in the double bass and cello sections, followed by violin, viola, woodwind, and brass players. The severity of physical impairments and restricted ability to perform music were correlated with age, duration of classical music performance, and total length of service. In the group of Slovenian musicians, the incidence of health problems in general was twice as high as in the control group, whereas the incidence of musculoskeletal disorders was six times as high as that in the control group. Health status of the musicians in terms of moderate and severe physical impairments was worse than in the control group. Measures for improved health protection and better performance ability were proposed.


2021 ◽  
Author(s):  
Nadiia Vientseva ◽  
◽  
Oleva Karapetrova

The article reports the results of the empirical study of the impact of volitional qualities development on the level of academic achievements of higher education institution students. The article gives a theoretical analysis of the main types of volitional qualities that affect the assimilation of educational material by students. There was established the level of their development and the relationship with academic achievements. The article also identifies the main psycho-pedagogical and organizational peculiarities that affect the success of mastering the knowledge by university students. The psychological and pedagogical recommendations for forming, developing and supporting the volitional sphere of students are developed.


2013 ◽  
Vol 8 (2) ◽  
pp. 92 ◽  
Author(s):  
Bryony Buck ◽  
Jennifer MacRitchie ◽  
Nicholas J. Bailey

Research has indicated that the magnitude of physical expressive movements during a performance helps to communicate a musician's affective intent. However, the underlying function of these performance gestures remains unclear. Nine highly skilled solo pianists are examined here to investigate the effect of structural interpretation on performance motion patterns. Following previous findings that these performers generate repeated patterns of motion through overall upper-body movements corresponding to phrasing structure, this study now investigates the particular shapes traced by these movements. Through this we identify universal and idiosyncratic features within the shapes of motion patterns generated by these performers. Gestural shapes are examined for performances of Chopin’s explicitly structured A major Prelude (Op. 28, No. 7) and are related to individual interpretations of the more complex phrasing structure of Chopin’s B minor Prelude (Op. 28, No. 6). Findings reveal a universal general embodiment of phrasing structure and other higher-level structural features of the music. The physical makeup of this embodiment, however, is particular to both the performer and the piece being performed. Examining the link between performers' movements and interpreted structure strengthens understanding of the connection between body and instrument, furthering awareness of the relations between cognitive interpretation and physical expression of structure within music performance.


Revista Foco ◽  
2017 ◽  
Vol 10 (2) ◽  
pp. 208
Author(s):  
Ana Cristina De Albuquerque Lima Rodrigues ◽  
Beatriz Quiroz Villardi

Os professores gestores dos Programas de Pós-Graduação da Universidade Federal Rural do Rio de Janeiro são oriundos de áreas diversas à Administração. A ausência de formação específica orientada para o desempenho das funções da gestão levou ao objetivo desta pesquisa: descrever como o professor gestor de Programa de Pós-Graduação em Instituição Federal de Ensino Superior – IFES aprende e desenvolve suas competências gerenciais, mesmo sem capacitação específica para a gestão. Para alcançá-lo na pesquisa, adotou-se metodologia qualitativa indutiva de análise de dados, nos termos de Thomas, pela qual os resultados emergem dos dados pesquisados. Da análise resultaram formas, fontes e conteúdo da aprendizagem gerencial destes docentes, e o que desejam aprender, que permitiram identificar assuntos para capacitação na gestão. Neste artigo especificamente, que tem por objetivo evidenciar a ausência de formação do docente para a função de gestor, considerou-se a capacitação para o desenvolvimento de competências e consequente desempenho das funções no serviço público federal, assim como a transição do docente para função de gestor.  As recomendações finais envolvem processos de aprendizagem na prática da gestão, necessidade de reflexão para desenvolver competências considerando a relação entre contexto social, indivíduo e suas experiências vividas. The management professors of the Post-Graduation Programs of the Federal Rural University of Rio de Janeiro come from different areas to the Administration. The lack of specific training oriented to the performance of the management functions led to the objective of this research: To describe how the professor of postgraduate program in Federal Institution of Higher Education – IFES Learns and develops their managerial skills, even without specific training for management. To reach it in the research, it was adopted a qualitative inductive methodology of data analysis, according to Thomas, by which the results emerge from the data surveyed. From the analysis resulted the forms, sources and content of managerial learning of these teachers, and what they want to learn, which made it possible to identify subjects for training in management. In this article specifically, which aims to evidence the absence of teacher training for the role of manager, it was considered the qualification for the development of competences and consequent performance of the functions in the federal public service, as well as the transition from teacher to manager. The final recommendations involve learning processes in the management practice, need for reflection to develop competencies considering the relationship between social context, individual and their lived experiences.


2019 ◽  
pp. 030573561988722 ◽  
Author(s):  
Eun Cho

A small music ensemble represents a unique form of human social activity, involving a highly complex set of interpersonal communicative skills. To achieve a joint musical goal, ensemble performers actively strive to reach out to the “other,” by sensitively attending to, and aligning their emotions with, those of their co-performers. This suggests that engagement in small music ensembles may be a fruitful domain to cultivate the habit of empathizing. The current study explored the relationship between college music students’ small ensemble experiences and their empathy skills. Undergraduate music performance majors in their senior year ( N = 165) voluntarily completed an online survey that included questions about their background and participation in and attitudes toward small ensembles. They also completed a self-assessment questionnaire that measured their dispositional empathy levels. Hierarchical multiple regression analysis indicated that students’ levels of participation in various small ensemble activities significantly predicted their empathy skills, even after controlling for the effect of personal factors. Personality also appeared to play a significant role in predicting music students’ empathy skills.


2011 ◽  
Vol 29 (2) ◽  
pp. 203-213 ◽  
Author(s):  
Jennifer Haimson ◽  
Deanna Swain ◽  
Ellen Winner

accompanying the view that music training leads to improved mathematical performance is the view that that there is an overlap between the kinds of skills needed for music and mathematics. We examined the popular conception that mathematicians have better music abilities than nonmathematicians. We administered a self-report questionnaire via the internet to assess musicality (music perception and music memory) and musicianship (music performance and music creation). Respondents were doctoral-level members of the American Mathematical Association or the Modern Language Association (i.e., literature and language scholars). The mathematics group did not exhibit higher levels of either musicality or musicianship. Among those reporting high music-performance ability (facility in playing an instrument and/or sight-reading ability), mathematicians did not report significantly greater musicality than did the literature/language scholars. These findings do not lend support to the hypothesis that mathematicians are more musical than people with nonquantitative backgrounds.


2005 ◽  
Vol 100 (3) ◽  
pp. 607-614 ◽  
Author(s):  
Athanasios Kasabalis ◽  
Helen Douda ◽  
Savvas P. Tokmakidis

The aim of the present study was to evaluate the anaerobic power of elite male volleyball players, using the Wingate Anaerobic Test to examine the relationship between anaerobic power and jumping performance. Athletes ( n = 56) and Nonathletes ( n = 53) were divided into three age groups: Adults (18–25 yr.), Juniors (15–16 yr.), and Youth (10–11 yr.). Measurements of height, body mass, vertical jump and Wingate scores indicated higher values for athletes. The specific training effects of anaerobic power were more pronounced at the age of 10–11 years than for Nonathletes. A significant correlation coefficient between peak power and vertical jump was found for Athletes ( r = .86) and for the total group ( r = .82). These results indicated that vertical jump may predict the maximal anaerobic power and could be used by coaches as a practical and easy-to-apply field screening test for evaluation in volleyball training.


1998 ◽  
Vol 2 (1) ◽  
pp. 67-94 ◽  
Author(s):  
Andreas C. Lehmann ◽  
K. Anders Ericsson

This study investigated an expert pianist's nine-month preparation for a public music performance (recital) through the collection of practice diaries and MIDI recordings of the eight scheduled pieces. Recordings were made under the experimentally varied conditions of solitary performance and public performance. The practice diaries revealed that the expert (an advanced student performer) allocated practice time consistently across the entire preparation period and tended to use mornings to practice the pieces perceived as being more difficult. Total preparation time for each of the pieces could be predicted on the basis of the pianist's subjective ratings of complexity and independent ratings of complexity given by other experts. An analysis of the performance data showed that, near the time of the recital, variability in performance tempo was large between pieces but very small for multiple renditions of the same piece, even under the different experimental conditions. Thus, to attain a highly reproducible public performance, the expert allocated practice time in response to task demands and engaged in specific preparations that would safeguard the performance against unexpected problems.


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