As epidemiologic research demonstrates health concerns for hand problems among pianists, scientists are measuring historic piano keyboards and realizing that much of the piano literature was composed for and played on pianos with smaller keys compared to what is used on the modern piano. Having to play this literature on a larger keyboard is especially difficult for small-handed piano students and professionals. Fortunately, smaller keyboards are now available for use with standard pianos - and research shows that this ergonomic adjustment does reduce piano-related hand pain for small-handed musicians. Major universities are now offering this option to students, but only a few music schools possess these keyboards and not many people know about them. There are no known research studies to address people's awareness and attitude toward ergonomically scaled piano keyboards (ESPKs). The purpose of this study was to assess perception and attitude toward ESPKs and help to raise its awareness. To examine pianists' perception, two surveys was composed. First one was conducted on UNT campus in which ESPKs are available for their students, and the second survey was carried out on schools of music in the United States. The results reveal that substantial number of people already know about the existence of ESPKs, but they are not totally aware specific information about ESPKs. Subjects who are aware of ESPKs report significantly higher positive attitude compared to those have not known about ESPKs. Results from this study may have implications for health education initiatives within NASM schools of music.

For musicians of all kinds, practice is an essential component in establishing and refining their skills. How a musician learns the art of practicing, and at what point in their musical and cognitive development can vary drastically. The purpose of this research is to understand how two groups of musicians, undergraduate vocal performance majors and undergraduate piano performance majors, developed (or consequently failed to develop) their respective knowledge pertaining to effective practice prior to entering the university setting, and how their practice habits changed (or consequently failed to change) after beginning study with a university instructor. This is accomplished by comparing the practice habits of the two groups prior to entering the university setting, and, after gaining admission into the degree program. Findings are supplemented with recent research pertaining to the study of learning and various types of practice.

Enrique Granados, Frank Marshall, and Alicia de Larrocha are the chief exponents of a school of piano playing characterized by special attention to details of pedalling, voicing, and refined piano sonority. Granados and Marshall dedicated the major part of their efforts in the field to the pedagogy of these principles. Their work led to the establishment of the Granados Academy in Barcelona, a keyboard conservatory which operates today under the name of the Frank Marshall Academy. Both Granados and Marshall have left published method books detailing their pedagogy of pedalling and tone production. Granados' book, Metodo Teorico Practico para el Uso de los Pedales del Piano (Theoretical and Practical Method for the Use of the Piano Pedals) is presently out of print and available in a photostatic version from the publisher. Marshall's works, Estudio Practico sobre los Pedales del Piano (Practical Study of the Piano Pedals) and La Sonoridad del Piano (Piano Sonority) continue to be used at the Marshall Academy and are available from Spanish publishing houses. This study brings information contained in these three method books to the forefront and demonstrates its relevance to the performance of the music of Granados, specifically the Escenas Romanticas. Alicia de Larrocha, Marshall's best known pupil, currently holds the directorship of the Marshall Academy, and as such, is perhaps the best living authority on this entire line of pianistic and pedagogical thought. An interview conducted with Madame de Larrocha in April of 1983 adds detail and provides valuable perspective about the present use and relevance of these materials and concepts.

Neste trabalho, investigo as potencialidades no emprego dos guias de execução (GEs) propostos por Chaffin et al (2002), buscando entender os processos de resgate da memória de músicos que executam obras sem a utilização da partitura. Trata-se de um estudo de três casos, com pianistas próximos do estágio de profissionalização. Os três escolheram rememorizar e reapresentar obras do compositor Cláudio Santoro (1919-1989), em um período de 20 meses, durante os quais pude acompanhar e verificar a eficácia do uso desses procedimentos bem como o entendimento de cada um dos participantes com relação ao emprego das estratégias propostas. Após a coleta dos dados, analiso, apresento e discuto os resultados da aplicação dos GEs. Os dados coletados, provenientes das anotações das partituras, questionários e relatos nos diários de estudo obtidos após as execuções memorizadas e coletadas em intervalos distintos, formam a base da discussão apresentada neste trabalho. Com base nesses dados, pude traçar um perfil para cada um dos participantes por meio das categorias predominantes nos GEs utilizados bem como na evolução na aplicação desses guias durante o tempo de duração da pesquisa. O exame dos registros dos resgates de memória pelas tentativas de reescrita das partituras também contribuiu significativamente para a identificação dos GEs empregados e assimilados durante a rememorização do repertório escolhido. / This is an investigation of the possibilities afforded by the use of Chaffin‟s performance cues (PCs, 2002) in order to understand retrieval processes of musicians that choose to perform by memory. This study was conducted with three pianists on their way to becoming professional musicians. All three chose to recover and to present previously learned works by Brazilian composer Cláudio Santoro (1919-1989). During a twenty month period, I was able to monitor the efficacy of these procedures and I could also verify not only the application of PCs sets of learning strategies but also the resulting level of understanding with each one of the participants. After each of the memorized presentations data was obtained from score annotations, questionnaires, study journals and attempts at rewriting the score. These activities proceeded at scheduled intervals and the reports provide the basis for the analyses and discussions. Based on the data, it was possible to show how each participant employed diverse categories of PC sets and how each one evolved during the time of this research. An examination of the materials utilized as tools for memory retrieval contributed to reveal each individual profile and the distinct collections of PCs each one of them employed during the relearning and retrieval of the chosen repertoire.

Made available in DSpace on 2016-12-08T17:06:50Z (GMT). No. of bitstreams: 1 vania.pdf: 7718940 bytes, checksum: 9e8288a31342611478f04cd0b8319dff (MD5) Previous issue date: 2010-04-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation looks at the results of an investigation of piano performance (the author's, who is also the research subject) under the light of a dialogue between performance and Ergonomics, applied to the practice of pieces asking for extended techniques. In order to optimize musical and instrumental performance, the dissertation intends to investigate the applicability of ergonomical axioms to the performer's postural behavior in three specific situations during extended techniquepractice. The piano repertoire chosen for study was: Twin Suns, from the set Makrokosmos II, by George Crumb (b. 1929); Aeolian Harp by Henry Cowell (1987- 1965); and Profiles to A, from Vox Victimae, by Didier Guigue (b. 1954), and the practice procedure utilized by the author for these pieces was described. From the same repertoire, three specific situations of instrumental performance containing extended technique were chosen, more specifically string piano technique, in order to discuss them from an ergonomical perspective. Different possibilities for technical and postural situations, as found during practice in two pianos of different models and brands, were investigated. Ergonomics is an interdisciplinary area which deals with the relationship between work and man; it cherishes, first of all, his health and comfort, in order to optimize a given activity and diminish its damaging effects. This research is the result of theoretical reflections which were originated by practice, and the main focus was on physical Ergonomics, which deals with anatomical and postural aspects. In the discussion of the technical-instrumental procedures, a subjective method for the optimization of work was used. Having applied ergonomical concepts to the practice and performance of extended technique pieces, this research and its results may guide similar piano performance situations and eventually be applied or adapted by other pianists in search of optimal solution to their problems, according to their individual physical particularities / Esta dissertação reflete os resultados de uma investigação sobre a prática pianística, neste caso da autora e sujeito da pesquisa, realizada sob a perspectiva de pressupostos da técnica pianística em diálogo com abordagens da ergonomia aplicadas ao estudo de obras com técnicas expandidas. Visando a otimização do desempenho músico-instrumental, objetiva investigar sobre a aplicabilidade de pressupostos ergonômicos a partir do comportamento postural em três situações específicas de estudo envolvendo técnicas expandidas. As peças do repertório pianístico selecionadas para o estudo foram: Twin Suns do caderno Makrokosmos II de George Crumb (1929), Aeolian Harp de Henry Cowell (1897- 1965) e Profiles to A de Vox Victimae- de Didier Guigue (1954), sobre a quais foi realizada uma descrição dos processos de estudo utilizados pela autora. Do mesmo repertório foram selecionadas três situações específicas de execução instrumental contendo técnicas expandidas, mais especificamente string piano, para serem discutidas sob o ponto de vista da ergonomia. Foram investigadas possíveis variedades de situações técnicas e posturais encontradas durante a prática pianística quando da utilização de dois pianos de marca e modelos diferentes. A ergonomia é uma área interdisciplinar que trata da relação entre o trabalho e o homem; preza, em primeiro lugar, pela sua saúde e conforto, visando a diminuição de efeitos nocivos e a otimização da atividade realizada. Esta pesquisa é fruto de indagações surgidas em decorrência de uma prática e a ênfase foi pelo domínio da ergonomia que trata, sobretudo, de aspectos anatômico-posturais. Para a discussão de procedimentos técnicopianísticos foi utilizado o método subjetivo de otimização do trabalho. Tendo sido elencadas contribuições da ergonomia ao estudo e desempenho de peças que contêm tais técnicas, os resultados desta pesquisa poderão servir de orientação para a prática de situações de execução pianística equivalentes àquelas apresentadas e, oportunamente, poderão ser aproveitados, ou adaptados, por pianistas, sempre de acordo com suas características físicas individuais, em busca de solução ótima a problemas

Neste trabalho, investigo as potencialidades no emprego dos guias de execução (GEs) propostos por Chaffin et al (2002), buscando entender os processos de resgate da memória de músicos que executam obras sem a utilização da partitura. Trata-se de um estudo de três casos, com pianistas próximos do estágio de profissionalização. Os três escolheram rememorizar e reapresentar obras do compositor Cláudio Santoro (1919-1989), em um período de 20 meses, durante os quais pude acompanhar e verificar a eficácia do uso desses procedimentos bem como o entendimento de cada um dos participantes com relação ao emprego das estratégias propostas. Após a coleta dos dados, analiso, apresento e discuto os resultados da aplicação dos GEs. Os dados coletados, provenientes das anotações das partituras, questionários e relatos nos diários de estudo obtidos após as execuções memorizadas e coletadas em intervalos distintos, formam a base da discussão apresentada neste trabalho. Com base nesses dados, pude traçar um perfil para cada um dos participantes por meio das categorias predominantes nos GEs utilizados bem como na evolução na aplicação desses guias durante o tempo de duração da pesquisa. O exame dos registros dos resgates de memória pelas tentativas de reescrita das partituras também contribuiu significativamente para a identificação dos GEs empregados e assimilados durante a rememorização do repertório escolhido. / This is an investigation of the possibilities afforded by the use of Chaffin‟s performance cues (PCs, 2002) in order to understand retrieval processes of musicians that choose to perform by memory. This study was conducted with three pianists on their way to becoming professional musicians. All three chose to recover and to present previously learned works by Brazilian composer Cláudio Santoro (1919-1989). During a twenty month period, I was able to monitor the efficacy of these procedures and I could also verify not only the application of PCs sets of learning strategies but also the resulting level of understanding with each one of the participants. After each of the memorized presentations data was obtained from score annotations, questionnaires, study journals and attempts at rewriting the score. These activities proceeded at scheduled intervals and the reports provide the basis for the analyses and discussions. Based on the data, it was possible to show how each participant employed diverse categories of PC sets and how each one evolved during the time of this research. An examination of the materials utilized as tools for memory retrieval contributed to reveal each individual profile and the distinct collections of PCs each one of them employed during the relearning and retrieval of the chosen repertoire.

Neste trabalho, investigo as potencialidades no emprego dos guias de execução (GEs) propostos por Chaffin et al (2002), buscando entender os processos de resgate da memória de músicos que executam obras sem a utilização da partitura. Trata-se de um estudo de três casos, com pianistas próximos do estágio de profissionalização. Os três escolheram rememorizar e reapresentar obras do compositor Cláudio Santoro (1919-1989), em um período de 20 meses, durante os quais pude acompanhar e verificar a eficácia do uso desses procedimentos bem como o entendimento de cada um dos participantes com relação ao emprego das estratégias propostas. Após a coleta dos dados, analiso, apresento e discuto os resultados da aplicação dos GEs. Os dados coletados, provenientes das anotações das partituras, questionários e relatos nos diários de estudo obtidos após as execuções memorizadas e coletadas em intervalos distintos, formam a base da discussão apresentada neste trabalho. Com base nesses dados, pude traçar um perfil para cada um dos participantes por meio das categorias predominantes nos GEs utilizados bem como na evolução na aplicação desses guias durante o tempo de duração da pesquisa. O exame dos registros dos resgates de memória pelas tentativas de reescrita das partituras também contribuiu significativamente para a identificação dos GEs empregados e assimilados durante a rememorização do repertório escolhido. / This is an investigation of the possibilities afforded by the use of Chaffin‟s performance cues (PCs, 2002) in order to understand retrieval processes of musicians that choose to perform by memory. This study was conducted with three pianists on their way to becoming professional musicians. All three chose to recover and to present previously learned works by Brazilian composer Cláudio Santoro (1919-1989). During a twenty month period, I was able to monitor the efficacy of these procedures and I could also verify not only the application of PCs sets of learning strategies but also the resulting level of understanding with each one of the participants. After each of the memorized presentations data was obtained from score annotations, questionnaires, study journals and attempts at rewriting the score. These activities proceeded at scheduled intervals and the reports provide the basis for the analyses and discussions. Based on the data, it was possible to show how each participant employed diverse categories of PC sets and how each one evolved during the time of this research. An examination of the materials utilized as tools for memory retrieval contributed to reveal each individual profile and the distinct collections of PCs each one of them employed during the relearning and retrieval of the chosen repertoire.

Playing‐related pain is a common and serious problem among pianists. Information on cause and prevention is extremely limited due to a lack of scientific research. The purpose of this study was to (1) review and describe risk factors for piano‐related pain among college students and piano teachers that were reported in my previous two research studies, (2) justify the use of an ergonomically modified keyboard as a potential solution for reducing playing‐related pain, and (3) test and evaluate the effectiveness of an ergonomically modified keyboard for alleviating pianists' pain. Both study populations reported high prevalence rates for playing‐related pain: 86 % for college students (n = 35), 91 % for piano teachers (n = 47). For both populations, statistical analyses confirmed that pianists with small physical size (hand size) were more prone to pain. This finding helped rationalize the use of an ergonomically modified keyboard (the key width is 1/16 narrower than the standard) for small‐handed pianists as an ergonomic intervention. To test the effectiveness of an ergonomically modified keyboard, 35 college students played identical music on both the reduced-sized keyboard and the standard keyboard. Observations of video‐recorded performances revealed that small-handed pianists can avoid extreme stretching of their hands when playing on the modified keyboard. Statistical analysis of questionnaire data confirmed that the modified keyboard helped small‐handed pianists to play with less pain and tension. These results warrant the serious consideration of adopting ergonomic principals into the world of piano.

No description available.

Note: