Romantic Melancholy in Modern Piano Performance

10.34690/203 ◽  
2021 ◽  
pp. 72-79
Author(s):  
Владимир Петрович Чинаев
Keyword(s):  
Piano Performance

Creativity and variability in skilled piano performance: A case study

2001 ◽  
Author(s):  
Roger Chaffin ◽  
Anthony Lemieux ◽  
Emilee Yurgeles ◽  
Gabriela Imreh
Keyword(s):  
Piano Performance

Piano Performance Technical Analysis of The People United Will Never Be Defeated by Rzewski

2018 ◽  
Vol 5 (3) ◽  
pp. 161-171
Author(s):  
Liang Deng
Keyword(s):  
Technical Analysis ◽  
Piano Performance ◽  
The People ◽  
Performance Techniques

Abstract The piano variations The People United will Never be Defeated by Rzewski contains many modern piano performance techniques and skills. The difficulties of these techniques and skills in these enormous variations are far beyond the boundaries of traditional piano performance techniques and skills. This analysis will give a specific classification for these modern piano performance techniques and skills in order to provide a more comprehensive guide for the piano performers.

scholarly journals Exhausting repetitive piano tasks lead to local forearm manifestation of muscle fatigue and negatively affect musical parameters

2021 ◽  
Vol 11 (1) ◽  
Author(s):  
Etienne Goubault ◽  
Felipe Verdugo ◽  
Justine Pelletier ◽  
Caroline Traube ◽  
Mickaël Begon ◽  
...  
Keyword(s):  
Muscle Fatigue ◽  
Sound Intensity ◽  
Musical Performance ◽  
Fundamental Aspect ◽  
Central Feature ◽  
Median Frequency ◽  
Piano Performance ◽  
Bipolar Electrodes ◽  
Right Hand ◽  
Extensor Muscles

AbstractMuscle fatigue is considered as a risk factor for developing playing-related muscular disorders among professional pianists and could affect musical performance. This study investigated in 50 pianists the effect of fatiguing repetitive piano sequences on the development of forearm muscle fatigue and on piano performance parameters. Results showed signs of myoelectric manifestation of fatigue in the 42-electromyographic bipolar electrodes positioned on the forearm to record finger and wrist flexor and extensor muscles, through a significant non-constant decrease of instantaneous median frequency during two repetitive Digital (right-hand 16-tones sequence) and Chord (right-hand chords sequence) excerpts, with extensor muscles showing greater signs of fatigue than flexor muscles. In addition, muscle fatigue negatively affected key velocity, a central feature of piano sound intensity, in both Digital and Chord excerpts, and note-events, a fundamental aspect of musicians’ performance parameter, in the Chord excerpt only. This result highlights that muscle fatigue may alter differently pianists’ musical performance according to the characteristics of the piece played.

PIANO PERFORMANCE MEMORY

1966 ◽  
Vol 6 (2) ◽  
pp. 172-192
Author(s):  
Ervin Laszlo
Keyword(s):  
Piano Performance

The Use of Multimodal Feedback in Retraining Complex Technical Skills of Piano Performance

2005 ◽  
Vol 20 (2) ◽  
pp. 82-88
Author(s):  
Kathleen Riley ◽  
Edgar E Coons ◽  
David Marcarian
Keyword(s):  
Video Recording ◽  
Physical Injury ◽  
Multimodal Approach ◽  
Piano Performance ◽  
Improve Technique ◽  
Multimodal Feedback ◽  
Piano Students ◽  
Muscle Balance ◽  
Accuracy Increase ◽  
Muscle Actions

Piano students working to improve technique often practice the same passage over and over to achieve accuracy, increase speed, or perfect interpretive nuance. However, without proper skeletal alignment of hands, arms, and shoulders and balance between the muscles involved, such repetition may lead to difficulties with, rather than mastery of, technique and stylistic interpretation and even physical injury. A variety of technologies have been developed to monitor skeletal alignment and muscle balance that serve to help students and teachers make needed corrections during performance by providing immediate biofeedback. This paper describes and illustrates a multimodal use of these biofeedback technologies and the powerful advantages of such a multimodal approach in making the student and teacher not only aware of improper alignments and balances in real time (or for later review) but also aware of approaches to correct them and improve musical outcome. The modalities consist of hearing playback through a Disklavier piano; simultaneous visual feedback displayed as a piano roll screen of what was played; video recording synchronized with the Disklavier and piano roll feedback; motion analysis of the arms, hands, and fingers; and electromyographic recordings of the muscle actions involved.

Interosseous Muscle Pain in the Pianist's Hand: A Description of 27 Cases of Musician's Hand

2007 ◽  
Vol 22 (1) ◽  
pp. 24-25
Author(s):  
Naotaka Sakai
Keyword(s):  
Muscle Weakness ◽  
Muscle Pain ◽  
Deep Part ◽  
Piano Performance ◽  
Medical Problems ◽  
Main Symptom ◽  
Left Hand ◽  
Dorsal Hand ◽  
Right Hand ◽  
The Right

Among 703 professional pianists with medical problems in their hands seen by the author between 1981 and 2000, there were 27 patients who had interosseous muscle pain (23 women, 4 men; mean age, 30 yrs). The main symptom was dorsal hand pain during piano performance, especially when striking the keys with each finger rounded, mainly in the scale technique. Tenderness was noted in the deep part of the dorsal hand in the interosseous muscles, but not along or around the finger extensors. Patients sometimes complained of muscle weakness on abduction of the index, ring, and/or little fingers when performing octaves or chords on the piano keyboard. Resisted abduction and adduction testing of the fingers reproduced the pain which they experienced during or after performance. Pain occurred in the right hand in 10, left hand in 5, and bilaterally in 12. The pain was localized in the 4th and 5th interossei in 15 patients, in the 3rd and 4th in 14 patients; in the 2nd and 3rd in 11 patients; and in the 1st and 2nd in 1 patient.

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