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

<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>

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

<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>

Different media, same relationships: What the Iris Piano Trio learned from the COVID-19 pandemic

The Iris Music Project is a non-profit dedicated to reimagining residential and healthcare communities as spaces of creative exchange. By February 2020, our chamber music group, the Iris Piano Trio, had developed a model for music programming at Charles E. Smith Life Communities (CESLC) in Rockville, Maryland (United States), that emphasized collaborative relationships between professional musicians and community members. The COVID-19 pandemic severely disrupted the Trio’s work and tested its model. In this article, we describe how the Trio remained connected and relevant to CESLC residents by experimenting with virtual programmes that adapted our model to a digital setting. We argue that our prior relationships with residents and staff enabled us to impact their lives throughout the pandemic despite the isolation created by COVID-19 closures. The pandemic strained, but did not fundamentally change, the Trio’s ensemble-in-residence model, suggesting its potential as a generalized model in the field of music and health.

Borys Liatoshynsky’s 1910s–1920s Instrumental Chamber Music: Evolution from Salon Style to Symphonic Drama

This paper examines the evolution of the signature traits of Borys Liatoshynsky’s instrumental chamber music during the 1910s and 1920s in the context of the overall evolution of the composer’s expressive means. Also presented is the complex analysis of Liatoshynsky’s creative personality in his early (the 1910s) and modernist (1920s) periods in order to outline the impact of the cultural and historical environment the artist lived in during the late 1910s, as well as the influence of the troubled sociocultural situation of the time on his imagery. It was found that in the 1910s Liatoshynsky turned to modifying expressive means of late Romanticism; however, during the 1920s the palette of his instrumental chamber music shifted to symphonic experiments. For Liatoshynsky, instrumental chamber music becomes a testing ground for his creed as a symphonic composer with the respective imagery and existential drama behind his design

The Livre d'Airs et de Simphonies Meslés de Quelques Fragmens d’Opéra 1697 of Pierre Gillier: An Edition and Study

<p>The Livre d’Airs et de Simphonies meslés de quelques fragmens d’Opéra de la Composition de P. Gillier (Book of Airs and Instrumental Pieces mixed with some operatic fragments composed by Pierre Gillier) was published in Paris in 1697. Its contents are dedicated to the twenty-three year-old Philippe duc de Chartres (son of Philippe I duc d’Orléans, only brother of Louis XIV). Of the life of Pierre Gillier (1665- died after 1713), we know only that he possessed an haute-contre voice, and was employed as a chamber musician in the households of Philippe I duc d’Orléans and of his son, Philippe II. The Parisian courts of the Dauphin, and of Philippe I supported the secular arts that Louis XIV (self-exiled at Versailles), had rejected. There was an insatiable appetite for amateur music making in late seventeenthcentury France, notably in the broader societal context of airs: the salons. Composers generally wrote individual airs (of the serious and drinking types), complete operas, or theatre works. In such a context, Gillier’s publication is unique: his declared aim was to assemble a collection of serious songs linked together tonally in suites with instrumental pieces by means of their keys, for chamber music performance. As a precursor to the arrival in France of the multi-movement sonata and cantata, Gillier’s grouping together of instrumental and vocal movements to make larger musical entities has exceptional interest. His procedure has close links with theatrical practice. The thesis includes a critical edition of Gillier's complete collection made from the copy preserved in the Bibliothèque Nationale de France as F-Pn/ Rés. Vm7 305. The edition is prefaced by a study of performance practices in vocal and instrumental music in late seventeenth-century France.</p>

The Livre d'Airs et de Simphonies Meslés de Quelques Fragmens d’Opéra 1697 of Pierre Gillier: An Edition and Study

<p>The Livre d’Airs et de Simphonies meslés de quelques fragmens d’Opéra de la Composition de P. Gillier (Book of Airs and Instrumental Pieces mixed with some operatic fragments composed by Pierre Gillier) was published in Paris in 1697. Its contents are dedicated to the twenty-three year-old Philippe duc de Chartres (son of Philippe I duc d’Orléans, only brother of Louis XIV). Of the life of Pierre Gillier (1665- died after 1713), we know only that he possessed an haute-contre voice, and was employed as a chamber musician in the households of Philippe I duc d’Orléans and of his son, Philippe II. The Parisian courts of the Dauphin, and of Philippe I supported the secular arts that Louis XIV (self-exiled at Versailles), had rejected. There was an insatiable appetite for amateur music making in late seventeenthcentury France, notably in the broader societal context of airs: the salons. Composers generally wrote individual airs (of the serious and drinking types), complete operas, or theatre works. In such a context, Gillier’s publication is unique: his declared aim was to assemble a collection of serious songs linked together tonally in suites with instrumental pieces by means of their keys, for chamber music performance. As a precursor to the arrival in France of the multi-movement sonata and cantata, Gillier’s grouping together of instrumental and vocal movements to make larger musical entities has exceptional interest. His procedure has close links with theatrical practice. The thesis includes a critical edition of Gillier's complete collection made from the copy preserved in the Bibliothèque Nationale de France as F-Pn/ Rés. Vm7 305. The edition is prefaced by a study of performance practices in vocal and instrumental music in late seventeenth-century France.</p>

The impact of group identity on the social dynamics and sustainability of chamber music ensembles

Group identity is viewed as a way to distinguish one group from another. In a competitive, ever-changing environment, group identity is considered increasingly important for a musical ensemble in terms of developing a niche, gaining audience attention, and creating a successful performing team. Thirty professional chamber musicians from “unconventional” or “non-traditional” ensembles were individually interviewed about their personal experiences working within this environment. Results show that group identity emerges in two main ways: members sharing similar characteristics, goals, and objectives, often based on repertoire choice and programming; and the sound or musical aesthetic developed through an interpretation of repertoire, instrumental combination, and the collective skills and knowledge of the musicians. This case study highlights the need for a constant vision and aesthetic concept throughout the lifetime of the ensemble in order for it to be sustainable, yet having to evolve and adapt to changing environmental factors and external influences.

Aspects of the treatment of the technical-expressive and interpretative means of the trumpet in the Concert Study by Alexandr Sochireanschii and Oleandra by Vladimir Slivinskii

The instrumental chamber music works by composers from the Republic of Moldova are rich and diverse, both in terms of the musical genres addressed and the instruments required, either for the ensemble or solo parts. The trumpet, an instrument with wide technicalinterpretative and expressive possibilities, offers composers an ample opportunity for harnessing its potential. The two works, which we will analyze from an interpretive point of view – “The Concert Study” for trumpet and piano (in B) by Alexandr Sokireanski (1977) and “Oleandra” for trumpet and piano (in B) by Vladimir Slivinski (1979), are part of the active repertoire of trumpeters and are of interest to researchers. They require certain execution skills and a certain level of handling the instrument, as they contain elements with a high degree of difficulty; we refer here to the rhythmic structure, the complexity of dynamic nuances, technical elements, the change of tempo during the proceeding of the musical discourse, the exploitation of the acute register of the trumpet.