I detta arbete försöker jag styrka min tes om att vi blir väldigt påverkade av det vi ser när vi lyssnar. Jag undersöker om detta är något man kan använda sig av i riktiga konsertsammanhang eller provspelningar för att påverka sin publik på olika sätt. Jag genomförde en undersökning där fem pianostudenter fick titta och lyssna på tre olika filmklipp och sedan svara på två frågor. Målet var att påvisa att deltagarna i undersökningen undermedvetet blev påverkade av vad de såg, och inte så mycket av vad de hörde. Resultatet visade på att min tes stämmer och jag kunde dra slutsatsen att det är möjligt att påverka sin publik med hjälp av sitt kroppsspråk. Förhoppningsvis kan jag använda mig av den kunskapen i mina framtida framföranden. / <p>Den klingande delen av arbetet utgörs av följande inspelningar: Film 1-3. Coronavirussituationen vt 2020 har medfört begränsningar i inspelningsmöjligheterna. Inspelningen kan komma att kompletteras. </p><p> </p>

This study proposes a detailed historic account of the life and career of Lionel Bowman as a concert pianist and teacher. The role and relevance of criticism in music have also been included and documented with specific reference to Bowman’s playing. In order to do this, a survey of the available relevant literature such as Bowman’s journal and notebook, published articles, newspaper articles and reviews on the subject were comprehensively examined. Available recorded materials such as compact discs with Bowman’s live performances have been incorporated in the study. Apart from a detailed biographical account of Bowman’s life and career, as an orientation to the historic account, attention is given to how Bowman’s teaching style initiated and its development into a unique and personal method which resulted in the publication of The Magic Touch: For pianists and teachers. A workable practical guide to piano playing by Wallace Tate (2000). The success of this method supported by commentary from several pianists, who experienced Bowman’s method first hand, has been incorporated in the study. Light is also shed on Bowman’s human side including the past and present situation of the arts in South Africa in order for artists in general to learn from it and facilitate new growth and vision of the future of the Arts and Cultural field. Bowman’s final legacy and information about his death, including commentaries from people who knew him as a pianist, teacher and friend has also been documented. The study ends with a concluding chapter summarising the whole study and sheds light on future possible studies on related topics. Copyright / Dissertation (MMus)--University of Pretoria, 2009. / Music / unrestricted

The aim of this thesis was to better understand how music performance anxiety can be dealt with to not negatively affect my playing when performing solo piano music by heart in concerts. Another aim was that I would feel a lot more secure and confident on those occasions and that I would be able to focus more on the interpretation and expressing my emotions after this project. The field of MPA has been studied quite a lot but not broadly within the framework of artistic research. This thesis addresses two research questions: How might physical exercises decrease my experience of music performance anxiety? How might mental training decrease my experience of music performance anxiety? The methods used were preparing for three concerts with discovered strategies, keeping a video diary from two days before the concert until the concert day, taking video recordings of the concerts and analyzing the performance videos and video diaries using open coding and observing instimulated recall sessions. I then reflected on how the strategies helped me with the anxiety. As a result of this project, I have found a lot of strategies that help me with MPA. Physical exercises that I have found helpful are e.g., yoga, Zen meditation, deep relaxation, progressive muscle relaxation, regular aerobic exercise, short physical warm-up before the concert, focusing on breathing and releasing muscular tension when practicing and performing. The mental strategies included mental practicing, positive self-talk, identifying and eliminating catastrophic thinking, reinforcing themeaning in performing, having precise goals for the concert, practicing memorization and focusing on musical values when practicing and performing.

No description available.

André Mathieu (1929-1968), a Canadian composer and performer, received acclaim in Europe, Canada and United States from his earliest years. He revealed brilliant pianistic skill, and critics hailed him as the "young Canadian Mozart". Mathieu's early solo piano works, written mostly in ternary form, reveal an abundance of compositional ideas based on the influences of Romantic and Impressionist styles. However, when he began composing Piano Concerto No. 3, a much larger work, his lack of compositional training became evident. Formal weakness resulted in a disconnection between themes and lack of thematic and motivic development. Not until Mathieu studied with Swiss composer Arthur Honegger did he develop and clearly display a concept of formal structure. In this study, I will demonstrate that, through compositional studies with Arthur Honegger, André Mathieu assimilated a new approach to form, resulting in the discovery of his mature compositional voice found for the first time in the Piano Concerto No. 4. The synthesis of Romantic and Impressionistic styles in this concerto further contributes to the unique nature of this mature voice.This document is organized in six chapters. Chapter I reviews current literature on André Mathieu and his music and points out both the values and the limitations of this literature. Chapter II relates Mathieu's biography. Chapter III provides background information on Mathieu's solo piano works and four concerti, as well as the difficult pianistic techniques composed into those works. Chapter IV discusses the influences of Romantic and Impressionist styles in Piano Concerto No. 4 and how Mathieu synthesized both styles. Chapter V analyzes the form, motivic and thematic material, and rhythmic design of all three movements of Piano Concerto No. 4 and compares them with that of Piano Concerto No. 3. Honegger's influence also is discussed in Chapter V. Chapter VI is the conclusion. Musical examples throughout will illustrate points made.

abstract: The purpose of this research paper is to discuss John Carter's Cantata, the musical development of this composition, and provide a brief history of this African American musician and composer. Presently, there exists very little research regarding Carter's life and compositions. From a musician's perspective, this paper discusses the challenges of singing and performing the Cantata for future performers and provides a reference for their preparation. This project also examines John Carter's musical style and analyzes the structure of the Cantata. African-American folk songs were an inspiration to Carter's compositions, especially this particular work. As an African-American, his life and background played a role in his inspiration of composition. With borrowed music, he reveals a basic truth about this period of American history; how the lives of slaves influenced in the development of this particular genre. Additionally, John Carter's style of composition is examined, including the application of jazz and modal scales in his Cantata. Performance practice is examined for both the singer and pianist in a way that best represents the composer's original and unique intent. From vocal safety to breath control, a singer may find several challenges when performing this eclectic piece. This paper provides a guide for singers. A brief overview of the pianist's role in the Cantata is also included. Characteristic words of the African-American vernacular found in Carter's Cantata are briefly discussed and identified (i.e. "them" vs. "dem"). It is essential that any performer, both beginning and advanced, should have a proper understanding of the concepts that Carter had so carefully crafted. This paper endeavors to provide a deeper sense of understanding to what Carter had intended for both the performer and the listener. / Dissertation/Thesis / D.M.A. Music 2012

O presente trabalho teve como objetivo investigar perspectivas e impasses de mobilização de conhecimentos musicais em graduandos nas situações de colaboração pianística. Três bacharelandos em piano foram investigados em três diferentes modalidades de colaboração: instrumental, coral e vocal solo. A metodologia qualitativa se valeu do estudo de caso para a descrição dos dados, coletados através de entrevistas, registro de ensaios, aulas, exames institucionais e performances públicas. Os conceitos de Charlot (2000) sobre mobilização de conhecimentos e o modelo de Santos (2007) foram os fundamentos que nortearam a pesquisa. O modelo de Santos (2007) revelou-se passível de ser empregado no estudo, principalmente no que se refere às diferenças apontadas acerca do ciclo de investigação e de autorregulação, que se revelou distinto entre os participantes investigados. As perspectivas e impasses de mobilização de conhecimentos revelaram-se nas diferentes maneiras de perceber e abordar a atividade de colaboração com as quais os participantes estavam envolvidos, imbuídos tanto de suas crenças como de valores demonstrados. O estudo colocou em evidência dois fatores: (i) a influência que experiências prévias sistematizadas (ou seja, já aprendidas) e formas de interesse pessoal exercem nesta vertente de prática musical e (ii) a importância de se investigar o que já existe em termos de conhecimentos vivenciados (e sistematizados) nas experiências dos estudantes de graduação a fim de se buscar relacionar formas de conhecimento com maneiras de aprender. / The present work aimed to investigate perspectives and deadlocks of musical knowledge mobilization in undergraduate at pianistic collaboration situations. Three piano bachelors were investigated in three different types of collaboration: instrumental, choral and vocal solo. Qualitative methodology relied on case study for the data description, collected through interviews, rehearses registration, classes, institutional exams and performances. Charlot’s (2000) concepts about knowledge mobilization and Santos’ (2007) model were guide references of this research. Santos’ (2007) model proved to be capable of being employed in this study, mainly for the differences pointed out about research and self-regulation cycle, which proved to be distinct among the investigated participants. The knowledge mobilization perspectives and impasses was revealed at the different ways to understand and address the collaboration activity to which the participants were involved, imbued of their beliefs and stated values. The study showed two factors: (i) the influence exercised by former experiences (already learned) and personal interest in this aspect of musical practice and (ii) the importance of investigating what is already known in terms of experienced knowledge (systematized) of undergraduate students in order to relate forms of knowledge and ways of learning.

O presente trabalho teve como objetivo investigar perspectivas e impasses de mobilização de conhecimentos musicais em graduandos nas situações de colaboração pianística. Três bacharelandos em piano foram investigados em três diferentes modalidades de colaboração: instrumental, coral e vocal solo. A metodologia qualitativa se valeu do estudo de caso para a descrição dos dados, coletados através de entrevistas, registro de ensaios, aulas, exames institucionais e performances públicas. Os conceitos de Charlot (2000) sobre mobilização de conhecimentos e o modelo de Santos (2007) foram os fundamentos que nortearam a pesquisa. O modelo de Santos (2007) revelou-se passível de ser empregado no estudo, principalmente no que se refere às diferenças apontadas acerca do ciclo de investigação e de autorregulação, que se revelou distinto entre os participantes investigados. As perspectivas e impasses de mobilização de conhecimentos revelaram-se nas diferentes maneiras de perceber e abordar a atividade de colaboração com as quais os participantes estavam envolvidos, imbuídos tanto de suas crenças como de valores demonstrados. O estudo colocou em evidência dois fatores: (i) a influência que experiências prévias sistematizadas (ou seja, já aprendidas) e formas de interesse pessoal exercem nesta vertente de prática musical e (ii) a importância de se investigar o que já existe em termos de conhecimentos vivenciados (e sistematizados) nas experiências dos estudantes de graduação a fim de se buscar relacionar formas de conhecimento com maneiras de aprender. / The present work aimed to investigate perspectives and deadlocks of musical knowledge mobilization in undergraduate at pianistic collaboration situations. Three piano bachelors were investigated in three different types of collaboration: instrumental, choral and vocal solo. Qualitative methodology relied on case study for the data description, collected through interviews, rehearses registration, classes, institutional exams and performances. Charlot’s (2000) concepts about knowledge mobilization and Santos’ (2007) model were guide references of this research. Santos’ (2007) model proved to be capable of being employed in this study, mainly for the differences pointed out about research and self-regulation cycle, which proved to be distinct among the investigated participants. The knowledge mobilization perspectives and impasses was revealed at the different ways to understand and address the collaboration activity to which the participants were involved, imbued of their beliefs and stated values. The study showed two factors: (i) the influence exercised by former experiences (already learned) and personal interest in this aspect of musical practice and (ii) the importance of investigating what is already known in terms of experienced knowledge (systematized) of undergraduate students in order to relate forms of knowledge and ways of learning.

O presente trabalho teve como objetivo investigar perspectivas e impasses de mobilização de conhecimentos musicais em graduandos nas situações de colaboração pianística. Três bacharelandos em piano foram investigados em três diferentes modalidades de colaboração: instrumental, coral e vocal solo. A metodologia qualitativa se valeu do estudo de caso para a descrição dos dados, coletados através de entrevistas, registro de ensaios, aulas, exames institucionais e performances públicas. Os conceitos de Charlot (2000) sobre mobilização de conhecimentos e o modelo de Santos (2007) foram os fundamentos que nortearam a pesquisa. O modelo de Santos (2007) revelou-se passível de ser empregado no estudo, principalmente no que se refere às diferenças apontadas acerca do ciclo de investigação e de autorregulação, que se revelou distinto entre os participantes investigados. As perspectivas e impasses de mobilização de conhecimentos revelaram-se nas diferentes maneiras de perceber e abordar a atividade de colaboração com as quais os participantes estavam envolvidos, imbuídos tanto de suas crenças como de valores demonstrados. O estudo colocou em evidência dois fatores: (i) a influência que experiências prévias sistematizadas (ou seja, já aprendidas) e formas de interesse pessoal exercem nesta vertente de prática musical e (ii) a importância de se investigar o que já existe em termos de conhecimentos vivenciados (e sistematizados) nas experiências dos estudantes de graduação a fim de se buscar relacionar formas de conhecimento com maneiras de aprender. / The present work aimed to investigate perspectives and deadlocks of musical knowledge mobilization in undergraduate at pianistic collaboration situations. Three piano bachelors were investigated in three different types of collaboration: instrumental, choral and vocal solo. Qualitative methodology relied on case study for the data description, collected through interviews, rehearses registration, classes, institutional exams and performances. Charlot’s (2000) concepts about knowledge mobilization and Santos’ (2007) model were guide references of this research. Santos’ (2007) model proved to be capable of being employed in this study, mainly for the differences pointed out about research and self-regulation cycle, which proved to be distinct among the investigated participants. The knowledge mobilization perspectives and impasses was revealed at the different ways to understand and address the collaboration activity to which the participants were involved, imbued of their beliefs and stated values. The study showed two factors: (i) the influence exercised by former experiences (already learned) and personal interest in this aspect of musical practice and (ii) the importance of investigating what is already known in terms of experienced knowledge (systematized) of undergraduate students in order to relate forms of knowledge and ways of learning.

Submitted by Cláudia Bueno (claudiamoura18@gmail.com) on 2015-10-22T19:00:12Z No. of bitstreams: 2 Dissertação - Simone de Miranda - 2015.pdf: 1737597 bytes, checksum: dae2d4d11fbafef9d823be9e0dee78c4 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-10-23T11:02:44Z (GMT) No. of bitstreams: 2 Dissertação - Simone de Miranda - 2015.pdf: 1737597 bytes, checksum: dae2d4d11fbafef9d823be9e0dee78c4 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-10-23T11:02:44Z (GMT). No. of bitstreams: 2 Dissertação - Simone de Miranda - 2015.pdf: 1737597 bytes, checksum: dae2d4d11fbafef9d823be9e0dee78c4 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-03-28 / This dissertation aims to verify how does the formation of the pianist in the course of Bachelor of Music Qualification in Instrument - Piano, the School of Music and Performing Arts at the Federal University of Goiás (EMAC/UFG), keeping in view the demands of the current job market. For this, some issues that permeate the main theme have been described, including: the contemporary musician labor market, the various Pianist possibilities of action and competencies/skills, the objectives of higher education in music and some specific information about course in question, such as: history of the institution, physical space, Political Pedagogical Project, faculty evaluation to enter the course and graduate's profile. In addition to the literature was carried out field research, with questionnaires and observation of some subjects in order to see how the musical education of these students happens in practice throughout the course. This step included the participation of teachers and students of Bachelor of Music Qualification in Instrument - Piano EMAC/UFG. It was found that the labor market for the pianist is increasingly expanded, since these professionals can come to work in different ways and many different contexts to be in as a performer and/or as a teacher. In addition, it was observed that the course in question is also aware of demand in this market, however some changes in the performance of the student and the teacher will be necessary for the proposal of the Pedagogical Project politico does occur. / Esta dissertação de mestrado tem por objetivo verificar como ocorre a formação do pianista no curso de Bacharelado em Música Habilitação em Instrumento – Piano, da Escola de Música e Artes Cênicas da Universidade Federal de Goiás (EMAC/UFG), tendo em vista as demandas do mercado de trabalho atual. Para isso, alguns assuntos que permeiam o tema principal foram explanados, entre eles: o mercado de trabalho do músico contemporâneo, as diversas possibilidades de atuação do pianista e suas competências/habilidades, os objetivos do ensino superior em música e algumas informações específicas sobre o curso em questão, tais como: história da instituição, espaço físico, Projeto Político Pedagógico, corpo docente, avaliação para ingressar no curso e perfil do egresso. Além do levantamento bibliográfico foi realizada uma pesquisa de campo, com a aplicação de questionários e a observação de algumas disciplinas, com o intuito de verificar como a formação musical destes alunos acontece na prática ao longo do curso. Tal etapa contou com a participação de professores e alunos do curso de Bacharelado em Música Habilitação em Instrumento - Piano da EMAC/UFG. Foi possível constatar que o mercado de trabalho para o pianista está cada vez mais expandido, já que este profissional pode vir a atuar de diversas maneiras e nos mais diversos contextos, seja como performer e/ou como professor. Além disso, observou-se que o curso em questão também está atento a demanda deste mercado, entretanto, algumas mudanças na atuação do aluno e do professor serão necessárias para que a proposta do Projeto Político Pedagógico ocorra de fato.