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>

“Memories” by Sergey Lyapunov: “Light Pages Read in Life”

Представленные в статье материалы посвящены детским годам С. М. Ляпунова (1859-1924) - яркого композитора, пианиста, музыковеда, профессора Петербургской консерватории, собирателя народных песен, соратника М. А. Балакирева. Впервые публикуются «Воспоминания» Ляпунова, рукопись которых хранится в Российской национальной библиотеке. Память композитора обращается к «светлым страницам» жизни - детским впечатлениям, среди которых: уроки фортепиано, которые давала матушка, талантливая пианистка; красота среднерусской природы; радости деревенской жизни. Большое значение для формирования его характера имели теплая, творческая атмосфера родительского дома в Ярославле, внимание и любовь многочисленных родственников в Симбирской губернии. Обладая незаурядным литературным даром, композитор создает зримые портреты династий Ляпуновых, Сеченовых и Шипиловых. Основы мировосприятия, заложенные в детские годы, впоследствии отзовутся в музыкальных произведениях разных жанров. Способность к тонкой наблюдательности и интерес к народной культуре предопределят разностороннюю деятельность Ляпунова в качестве члена-сотрудника Песенной комиссии Императорского Русского географического общества. Публикуемый документ имеет научную и художественную ценность, которая заключается в запечатлении мира обитателей дворянских усадеб последней трети Х!Х века, в возможности убедиться в особом значении окружения талантливого ребенка для развития его музыкального дарования и формирования жизненного пути. The presented materiaLs are devoted to the chiLdhood of S. M. Lyapunov (1859-1924), a taLented composer, pianist, musicoLogist, professor of the St. Petersburg Conservatory, coLLector of foLk songs, associate of M. A. BaLakirev. For the first time Lyapunov's “Memoirs” is being pubLished, the manuscript of which is kept in the Russian NationaL Library. The musician's memory turns to “bright pages” of life - his early impressions: piano Lessons given by his mother, a taLented pianist, the beauty of CentraL Russian nature, the joys of village life. The warm, creative atmosphere of the parentaL home in YarosLavL, the attention and love of numerous reLatives in the Simbirsk province were of great importance for the formation of his character. Possessing an extraordinary Literary gift, the composer creates visibLe portraits of the Lyapunov, Sechenov and ShipiLov family dynasties. The foundations of the worLdview Laid in the early years wiLL Later be reflected in musicaL works of different genres. Lyapunov's keen observation abiLity and attention to foLk cuLture wiLL predetermine versatile activities as a member - employee of the Song Commission of the ImperiaL Russian GeographicaL Society. The pubLished document has obvious scientific and artistic vaLue, which consists in a vivid impression of the worLd of the inhabitants of nobLe estates of the Last third of the 19 century, in the opportunity to make sure of the special importance of the environment of a taLented chiLd for the deveLopment of his musical gift and the formation of a life path.

An Examination of Conservatory Students’ Piano Lesson Self-Efficiency and Computer Literacy: The Case of Trabzon University State Conservatory

In this study, the self-efficacy of conservatory students was determined in piano lessons. The piano lesson self-efficacy scale developed by Kurtuldu (2017) was used. The scale was applied to 55 students studying at the Musicology and Music Theory departments at Trabzon University State Conservatory in the academic year of 2020-2021. The result of this research revealed that significant differences were found only at the grade level between the piano lesson self-efficacy of the conservatory students. There was no significant difference in variables such as gender, the program attended at the conservatory, the type of high school graduated, the status of receiving piano education before undergraduate education, and the presence of a piano at the students’ houses. As a result, several suggestions were put forward by evaluating the emerging differences in the context of computer literacy and distance education.

Robot-Led Piano Lessons May Improve Cognitive Function: AFeasibility Study in a Sample with Mild Cognitive Impairment

Cognitive training has been shown to increase neural plasticity and cognitive reserve, potentially reducing the risk of developing dementia. Music learning, specifically piano playing, has been shown to be an effective form of multimodal cognitive training. This pilot study explored the feasibility and efficacy of using a socially assistive robot to provide a piano learning cognitive training intervention to older adults with mild cognitive impairment. Participants (N=11) engaged in a four-week feasibility study, which included a one-hour piano lesson per week led by a remotely controlled robot. Participants experienced improved cognitive function in the verbal memory ( p=0.04), executive function ( p=0.01), reaction time ( p=0.04), and cognitive flexibility ( p=0.003) domains, as well as in the calculated neurocognitive index score ( p=0.03). Socially assistive robots may have the potential to provide cognitive training in the form of piano lessons for older adults with mild cognitive impairment, especially adults who cannot access traditional services.

COVID-19 and Digital Literacy: Assessing Pre-service Music Teachers’ Views on Piano Lessons Provided in Emergency Remote Teaching

This research aims to examine pre-service music teachers’ views on piano lessons provided in the emergency remote education process during Covid-19 lockdown. The population of the research comprises 82 students studying at the Departments of Music Education at Kastamonu University and Gazi University. The survey model, which is one of the quantitative research methods, was used in the research. Research data were collected through a “pre-service teacher feedback form” comprising 19 questions prepared by the researchers and finalized through expert opinions; the data obtained are compiled under relevant tables. The results of the research indicate that majority of the pre-service teachers follow piano courses through their computers, that more than half of the students have the opportunity to play the piano and/or keyboard at home, that they have problems with sound and image synchronization, and that they evaluate the infrastructure of the courses as inadequate. The opinions of the pre-service candidates expressing that they want to pursue their piano education face-to-face after the pandemic ends and that the instrument education they received during emergency remote teaching is not acceptable, which also due to the insufficient level of digital literacy, are also among the results of the research. Pre-service music teachers suggested that piano courses should be held one-on-one and face-to-face, the synchronization problem should be resolved, and the hours for piano courses should be increased. The results of the research presented suggestions regarding the instrument education process and future studies to be conducted on this subject.

Teaching and Learning of Piano Timbre Through Teacher–Student Interactions in Lessons

The ability to play the piano with a variety of timbres requires a performer to have advanced pianistic skills. Little is known about how these skills are acquired and developed in piano lessons and what the role is of elements such as concepts, technique, sonic outcomes, and bodily movements. To investigate the teaching and learning of piano timbre, the lessons of three pairs of university-level teachers and students (two teachers and three students) were observed, during which they behaved as usual in the first two lessons and were asked to use a dialogic teaching approach in the third lesson. Verbal communications of teachers and students about timbre were coded and analyzed, aiming to gain insight into the teaching/learning process of piano timbre and the roles of embodiment and teacher–student interaction in the context of higher music education. The results suggest that piano timbre is not learned through imitation or as “fixed” and objective knowledge, but as a co-constructed conception between the teachers and the students. The meaning of timbre goals in piano lessons is enacted through “in-the-moment” bodily experience and embodied through performance actions. This study contributes to the understanding of piano timbre as a multifaceted phenomenon and illustrates the teacher's role in developing the student's mind–body integration involved in tone production.

Reconstruction of College Piano Teaching Model from the Perspective of "Internet+"

As an important course for music majors in colleges and universities, piano lessons need to enable students to master the theoretical knowledge of piano and form certain playing skills.Relying on the Internet+, reconstructing the piano teaching mode will help improve teaching efficiency and quality.This article first discusses the connotation characteristics and teaching functions of internet+, and then examines the current deficiencies in piano teaching from the perspective of internet+. Finally, it proposes strategies for restructuring the piano teaching model, hoping to provide reference for college piano teachers.