Piano

This article aims to extend the hearing and comprehension of "Maracatu", Egberto Gismonti`s composition premiered on the album "Nó Caipira", 1978. In the search for relationships between musical characteristics of the work in question and the homonymous cultural manifestation, mainly collected from the book "Maracatus de Recife", by Cesar GuerraPeixe, formulations about the processes used by Egberto for recreating that essencially percussive
universe at the piano were created.

Cette étude visait à s’informer de quelle manière des professeurs de piano enseignant au pré-collégial décrivent des attitudes posturales qu’ils jugent saines d’enseigner à leurs élèves afin d’éviter qu’ils se blessent en jouant. Les réponses reçues ont été classifiées en fonction de leur possibilité à mener aux postures et aux positions saines expliquées dans la littérature scientifique. L’analyse qualitative effectuée à partir des données récoltées à l’aide d’un questionnaire (38 professeurs) a révélé que seulement 24 % des réponses obtenues avaient une forte probabilité de mener aux postures et aux positions jugées adéquates. Ces résultats sèment donc un doute réel sur l’aptitude des professeurs de piano à travailler efficacement, sur le plan postural, à la prévention de troubles musculosquelettiques liés à l’exécution musicale auprès de leurs élèves. D’autres recherches devront être menées afin d’infirmer ou de confirmer les résultats préliminaires obtenus par cette étude.

O presente trabalho tem por intenção fazer uma breve análise da Sonata para piano de Edvard Grieg, Op. 7, em mi menor, composta no ano de 1865 e revisada posteriormente em 1887. Tentar-se-á possibilitar comparações entre a estrutura da sonata dita “clássica” e da presente sonata – uma vez que esta, ao mesmo tempo que possui elementos vários que a enquadram dentro de tal forma clássica, possui outros que desta a afastam. A análise será focada nos aspectos formais e motívicos de 3 dos 4 movimentos totais.

C. Czerny Op. 718 etudes which were composed for left hand have been examined in this study. This study aims to examine the Op. 718 etudes which C. Czerny composed for left hand in terms of their importance of using the left hand in the piano training and the technical skills. The study is a descriptive one which employs qualitative research method. The data in the study was collected with the document analysis method. A total of 16 etudes in the first and second C. Czerny Op. 718 books were examined in the study. The content analysis method was employed to analyze the study data. The collected data was analyzed by making the frequency (f) and percentage (%) calculations; and evaluated by presenting them as tables. It was detected that the techniques of legato, arpeggio, scale, repetition and octave had been frequently employed when the left hand etudes in the C. Czerny Op. 718 first and second books are analyzed in terms of technical skills. The etude no. 1 in the first C. Czerny Op. 718 book was selected as the sample etude analysis. The examined data showed that legato, staccato and repetition techniques had been frequently used. It was observed that the melody had less expression in the right hand and the concentration was on the left completely even though the left hand accompanies. The fact that more than one technique is employed in an etude demonstrates that they reinforce the balance and strength of the left hand. In line with these results; It is suggested to use the etudes or works in which both hands are used but focus on the left hand more in the music departments, to examine the methods, etudes or works regarding the usage of left hand only, to make the students play works which were composed on the left hand only in the music departments and to enrich their repertoire. Structured Abstract: Introduction Piano training involves all of the cognitive, kinesthetic (psychomotor) and auditory (affective) learnings. The first step in piano training is to establish the stance/sitting (posture). The position of the hands on the touch the distance between the arms and elbows and positioning them in a comfortable way are the main aspects. In fact, the usage of the whole body and a mental activity in cooperation with it are at the background although some certain organs attract the attention at first when playing or practicing piano. Etudes are effectively employed in the piano training since they largely contribute to the development of technical skills. Through the historical background of piano training, exercises/etudes which

Performance: https://www.youtube.com/watch?v=Gt-7n6z9lQ8

The doctrine you desire,
absolute, perfect,
dogma that alone provides wisdom,
does not exist.

Nor should you long
for a perfect doctrine....

Rather, you should long
for the perfection
of yourself.

Truth reveals itself
in enigma;
let us approach it
with wonder and awe
as diviners of its mystery.

(text adapted in part from Hermann Hesse's "Glass Bead Game" and Gene Roddenberry)

Artículo incluido en el libro "Interpretación pianística: Estudios para la formación integral del pianista" publicado por el Cuerpo Académico de Interpretación y Ciencias de la Música, Universidad de Guanajuato / Itaca, ISBN 978-607-441-390-8

The purpose of work. The article is devoted to the study of stylistic laws in the work of A. Karamanov 1960s.The modernist period is based on an original compositional technique, in which elements of a musical language of traditional origin are synthesized with non-serial dodecaphony and techniques of second and rhythmic modifications. The methodology of the work is based on the provisions of the system analysis in the study of language means and the principle of historicity in assessing the evolution of the composer’s stylistics. The scientific novelty consists in analyzing a work that has not yet found its illumination in literature, but is a significant artistic phenomenon in domestic music. Conclusions. In one of the most significant works of Karamanov of the early period, despite the uniqueness of the language and conceptual system applied by the author, saved all properties of the European opus — structuredness and, as a result, completeness, exhaustion of form, the scale of t...

The purpose of this capstone project was to incorporate composition and improvisation activities into a pre-existing piano curriculum for adolescent piano beginners. Most piano method books are designed either for children or adults, but few piano method books are designed for adolescents. The goal in designing creative activities to be used in conjunction with a method book was to allow adolescent beginner piano students the opportunity to assert their musical identity while also reinforcing musical concepts they are learning in the method book. The Understanding by Design framework was used to guide  the creation of the units and individual lessons.

This study examines the ways in which a relationship is created between the piano and electronic sound in order to clarify the prismatic structure of the piece. The analysis will both isolate the acousmatic material and consider it together with the piano part, using the listening experience, rather than analysis software, as its basis. The features of the piece will be defined employing the concepts and terminology of Denis Smalley's spectromorphology, cross referencing his definition of electroacoustic score. The analysis will explore, on the one hand, the relationship between the piano part and the notation employed for the acousmatic material, and on the other hand the piano-specific writing.
The dialectic interaction between the two sound spectra will lead to observations on how various declensions of the concept of mimesis, as expressed by Simon Emmerson, are realised. The concept of mimesis in this case also informs the syntactic aspect of the piece, in terms of both its writing and its micro-structure, which is largely contrapuntal, as well as presenting canonical-imitative situations.
Taking into account that the use of typo-morphological aspects would be more appropriate, particularly when considering the intertextual nature of the context, the study will define the functions of the segments of the piece in the light of their antecedent-consequent relationships and their function within the macroform, and will go on to propose further levels of formal synthesis. This methodology will identify a relationship with the figure of Messiaen and demonstrate the necessity for semantic listening.
The study will conclude by demonstrating how, in a mixed context with an objective bonding linked to concrete data, electroacoustic material might form part of the formal definition of the piece, re-contextualizing concepts of archetypically acoustic form.

This method is a way of knowing the young artist with his musical instrument and his growing confidence in playing it. You can also use it for students who write cursory notes and are desperate.In this method I created had to be as simple as possible in order to get the student playing the piano immediately.This book is method of playing the piano that does not require music theory. You only need to know the color of each key on the piano.
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ISBN-13: 978-1799128557
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www.hamrahmusic.ir/myfirstpiano
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Dmitri Shostakovich's Viola Sonata op. 147 (1975) is a significant work of the viola repertoire and one of the composer’s masterpieces. It is Dimitri Shostakovich's last completed composition, often referred to as his swans-song. Due to the many references and symbols that can be found in the piece, it is often considered autobiographical.

D. Shostakovich composed the Sonata right before his death, and unfortunately, he has not heard it performed nor did he have a chance to work at it with performers, as he was used to do. The Viola Sonata was dedicated to Fyodor Druzhinin, violist of the Beethoven quartet and a close colleague and friend of the composer. He performed it two months after the composer's death, together with the pianist Mikhayl Muntyan on the 4th of October 1975 in a fully - packed hall. F. Druzhinin writes in his Memoirs:
"The Premiere of the Sonata was fixed for the 1st of October 1975, according to the tradition, in the Glinka Hall of the Leningrad Philharmonic. . . . [T]hey had to open the doors to the concert hall because the audience filled both the adjoining foyers. The Sonata was so powerful that it had an almost hypnotic effect on the
listeners. There was only one unoccupied seat in the hall, overflowing with flowers: Shostakovitch’s. Evgeny Aleksandrovich Mravinsky sat near it with my wife at his side. She tells me that he cried without stopping, like a child, and at the end of the sonata he was literally shaking with sobs. To speak of the sonata being a success would simply have been improper. What happened on the platform and in the hearts of the audience that night was something greater than music.
When we finished playing I held the score high over my head, directing all the applause towards the music."

I always found the relationships between composer, performer and audience in music production interesting
and important to understand. I found it extremely enriching to look at the Viola Sonata not only from the composer’s point of view but also through the eyes of Fyodor Druzhinin, its first interpreter, to form a picture of this work and the time it was written in.

Among the many musical emigrés to be trained in Prague in the nineteenth century was Bernhard Rie. He was one of ten children to be born to David Israel Rie (himself born Dec. 3, 1805) and his wife Lotti (Charlotte, Carolina) Sobotka, b. 1806. David Rie was from a Jewish family that had been in Prague for at least five prior generations; his father, Israel Rie, and grandfather, Michael Rie, had been butchers. David went into the leather business, as did his younger brother, Abraham Rie (b. 1809).  At least two nineteenth-century reference sources provide a birthdate for Bernhard, Oct. 25, 1839; he is actually entered in the birth registry as Aron Beer, born on October 25, 1838, with the two witnesses being Naftali Osers and Joseph J. Lieben. Six other siblings survived to adulthood (three others presumably perished in childhood) and were listed with Bernard among the children surviving David upon his passing in 1875. Isidor, b. 1832, became a gem merchant, and his son Oskar Rie (b. 1863) was a close friend of Sigmund Freud in Vienna. Sara Cäcilie, b. 1835, married Leopold Pick; their son Emil Pick changed his name to the more Czech-sounding Břetislav Lvovsky, and left Prague to study bass with the famous Simandl. He made a career as a composer and librettist for opera in Vienna. Bernhard was the next to youngest of the surviving children.

Alexander Scriabin (1871/2-1915) fue el compositor ruso más oscuro del período de transición entre el fin de una era (el colapso del romanticismo exacerbado a finales del siglo XIX) y el inicio de otra (el nacimiento de corrientes vanguardistas y contemporáneas a principios del XX) en la historia de la música. Pianista, compositor, poeta y filósofo son categorías que lo definen con un muestrario reflexivo y discordante que provocó cuantiosos comentarios discordantes por parte de sus estudiosos. Creador de su propio lenguaje musical a partir de su visión cosmogónica, exaltó una estética que intentó reunir en un todo el significado del arte en función de la salvación humana. Su obra se direccionó al progreso estético más avanzado de su tiempo; no obstante, por su temprana muerte, no alcanzó a representar su creación cumbre: el proyecto Mysterium.

Le XIXe siècle passe comme une époque où l'Empire Ottoman subit des changements administratifs et sociaux. Outre le changement structurel de l'État, de nombreux changements sont observés dans le domaine social. La musique est l'un des changements sociaux. Avec l'acceptation de la musique occidentale dans les terres ottomanes, le piano, qui est (l'instrument) le plus important de ce genre musical, s'est répandu dans le palais ottoman et parmi les «citoyens ottomans» comme symbole de l'apparence européenne et de l'esthétique musicale. Ces vents de changement incluent également la femme ottomane. Les femmes sultanes, les filles des hommes d'État et les familles aisées commenceront à recevoir des formations en piano par des professeurs privés. Le retour à la musique facilitera l'insertion des femmes dans la vie sociale. La femme ottomane talentueuse montrera son habileté a pouvoirjouer au piano.On decouvrerades pianistes et compositrices exceptionnelles au palais et au sein de la communauté. Cette étude vise à expliquer le retour de la musique ottomane avec l'utilisation du piano et ses bienfaits au niveau social par les femmes ottomanes, jouant du piano.

This essay foremost compares the functional (or ‘inner’) design aspects of Viennese grand and English grand pianofortes. Also discussed is the decorative (or ‘outer’) design details of two excellent examples, and lastly perhaps a case is made for the elegant Viennese piano to make a comeback. Important to note, during the significant piano design period, makers collaborated with local cabinetmakers and furniture designers to create unique works of art. Square pianofortes were popular smaller versions of the increasingly important grand pianoforte. The smaller pianos became commonplace in upper- and middle-class homes during this period. They were highly decorative due to their social function and the design possibilities of a symmetrical, rectangular shape.  The piano case became a focus of marquetry, inlay, veneer, gilt, and engraving, and legs took furniture leg styles of the day. While today’s pianos are more uniform and practical, pianos at the time widely functioned like and were advertised alongside furniture (as owners often did not actually play).

L'analyse des listes de vélocités fournies par le fichier-Midi de l'enregistrement numérique d'une interprétation de 'La Cathédrale Engloutie' réalisé en situation de concert, permet de mettre à jour très précisément certains aspects de la stratégie de lâinterprète face au problème de la sonorité debussyenne, et plus particulièrement des rapports timbre/intensité. Elle apporte en outre des données sur les corrélations entre les prescriptions écrites et leur réalisation effective.

Resumo: A pesquisa aqui apresentada busca demonstrar alguns dos elementos caracteristicamente brasileiros utilizados por César Guerra-Peixe em suas obras. O trabalho buscou aspectos típicos da música nordestina e considerou estes em posterior análise das Três Peças para viola e piano. Foi possível encontrar modos, ritmos característicos, sistemas de afinação e analogias a música de rituais religiosos da região. Palavras-chave: Guerra-Peixe. Nacionalismo. Análise. Viola. Piano. Abstract: The research presented here demonstrates some of the typically Brazilian elements used by César Guerra-Peixe in his works. The study aimed to typical aspects of northeastern brazilian music and considered them in further analysis of the Três Peças (Three Pieces) for viola and piano. It was possible to find scales, typical rithms, tuning sistems and analogies to religious rituals from this region.

ÖNSÖZ
Gelişen toplumlardan biri olmak, o toplumun kendi kültürel özelliklerini ve
varlıklarını koruyabilmesine bağlıdır. Türk müziğine dayalı bir müzik eğitimi de bu nedenle önemsenmektedir.
Bu kitap, literatürde bulgulanan kaynak ihtiyacını sağlamak amacıyla, Türk
müziği makamlarından oluşan çeşitli teknik becerileri geliştirebilecek etütleri içermektedir. Etütler genellikle eser çalmaya ön hazırlık nitel!ğ! taşımakla birlikte, daha
büyük boyutta, konserlerde çalınabilecek özelliklerde de bestelenmektedir. P!yano
eğitimini alan kişilerin bu amaçlarla, kendi kültürümüzden yola çıkarak makamsal
yapıda oluşturulmuş melodik etütlerden zevkle faydalanabilecekleri düşünülmektedir.
Kitapta her melodik etüdün kendine özgü teknik anlayışı ve çalıştırdığı teknik
beceriler vardır. Yine her etüt, kendine ait kimliği olduğu düsünülerek isimlendirilmiştir. Makamsal özgün melodik etütler olarak nitelendirilen çalışmanın, Türk
Müzik Eğitimine, piyano eğitimcilerine ve öğrencilerine yeni görüşler ve anlayışlar getirmesini dilerim.
Mehmet Serkan UMUZDAŞ
Ocak 2013

This project aims at establishing an improvisational practice for pianists based on the piano music of the Japanese composer Toru Takemitsu.
Through musical analysis of Takemitsu’s music we seek to point at different compositional practices that can be converted into concrete, pedagogical exercises to be used for teaching in improvisation. Some of the improvisational guidelines are then combined into a complete piece of music, which is subsequently evaluated and used as a basis for a discussion of the further perspectives of the project.
The practical experience so far suggests that this method can be used for:

encouraging an improvisational approach to interpreting music,
countering the fear of improvisation among the performers of classical music,
strengthening the understanding of contemporary music,
disseminating the knowledge of traditional Japanese music
— and last but not least the project implies the possibilities of creating an artistic musical product in itself.

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Music is a powerful cultural medium. The volume explores the varied roles that music plays in human culture and society, and its unique symbolic and communicative properties. Contributors discuss Richard Wagner, Bob Dylan, John Cage, Eric Burdon, and Igor Stravinsky. From electronic and inner-city DIY to world music and rock concerts, the book looks at music’s part in creating the human sense of place, space, transcendence and identity. Philosophers, cultural thinkers, and sociologists collaborate to explain the exhilaration and fascination that human beings experience when they listen to music.

Table of Contents

Volume Foreword vii
Chapter One Introduction: Philosophical and Cultural Theories
of Music
Eduardo De La Fuente and Peter Murphy

Chapter Two Modern Hermeneutics and the Presentation
of Opera
Agnes Heller

Chapter Three Algo-Rhythm and Mello-dy: A Consideration of
the Relationship Between Technology and the Embodied
Performance of Music
Daniel Black

Chapter Four Bob Dylan Ain’t Talking: One Man’s Vast Comic
Adventure in American Music, Dramaturgy, and Mysticism
Peter Murphy

Chapter Five Music and Religion: Reflections on Cultural
Secularization
David Roberts

Chapter Six Prophet and Priest, Ascetic and Mystic: Towards
a Cultural Sociology of the Twentieth Century Composer
Eduardo De La Fuente

Chapter Seven Collective Effervescence, Numinous Experience or
Proto-Religious Phenomena? Moshing with Durkheim,
Schleiermacher and Otto
Mark Jennings

Chapter Eight Music as a Space of Possibilities 129
John Rundell

Chapter Nine Some Suggestions for a Phenomenology
of Rhythm
Stuart Grant

Chapter Ten The Paradox of “Do-it-Yourself” in
Unpopular Music
Joseph Borlagdan

Chapter Eleven Musical Culturespeak and Cosmopolitan
Identities in Australian Multiculturalism
Graeme Smith

Chapter Twelve The Piano and Cultural Modernity in
East Asia
Alison Tokita

Chapter Thirteen Popular Music, Cultural Memory and
Everyday Aesthetics
Andy Bennett

Chapter Fourteen Everything is Dirt: Reevaluating the Place
of Cultural Status in Producing Aesthetic Attachment
Claudio E. Benzecry

Chapter Fifteen Musical Listening and Boundary-Work
Michael Walsh

Teaching the beginner piano student can be an exciting yet daunting process.  A teacher must decide what skills and techniques the student should develop and how these will be taught.  There are countless method books available for teaching the beginner student, yet despite this abundance, there is little written that encourages or provides for a holistic learning program. Most method books focus on one aspect of the learning (e.g. technique or aural skills) or require the teacher to supplement the learning with additional activities.  In order to investigate the design and implementation of beginner piano student learning programs, a sample of thirteen piano teachers in a regional city was interviewed.  Each teacher was asked to describe a typical lesson for their beginner students, the musical skills they found important, and whether they used a method book to assist the learning.  The results demonstrate that all of the teachers use a method book for their beginner students, and while many attempt to provide a holistic program of learning, it is often tokenistic in nature.  The skills that teachers believe a beginner student should learn and the structure of their lessons predominantly revolves around the development of technique and note reading skills.