Nineteen mothers of elementary-aged (5--12 years old) piano students were videotaped once a week supervising their children's piano practice at home for three consecutive weeks. Children were assigned a new piece to work on one week prior to the commencement of the study. A 12-minute segment from the 57 practice sessions (19 parent-child pairs, across 3 practice sessions) was viewed three times by the investigator and by two expert piano pedagogues: one time to record parent behaviors, a second time to record child behaviors, and a third time to note the parent and child's practice approach and to rate the effectiveness of the practice sessions. Three piano pedagogues also rated the quality of each child's uninterrupted performance. Mothers recorded in a practice log the amount of time they spent assisting their children. At the conclusion of the treatment period, the investigator interviewed mothers and children individually. / The main results of the study were as follows: (1) mothers were more likely not to show any observable behavior during their children's practice session than they were to show any specific behavior; (2) the majority of time in practice sessions was spent playing the instrument without any verbal or physical interruption; (3) children frequently practiced without any specific structure in their practice procedure, nor with any specific directives from their mothers; (4) mothers with little or no musical training practiced more efficiently with their children than did mothers who had a moderate to high level of musical training; (5) the children of mothers who had little or no musical training received higher performance ratings than the children of mothers who had a moderate to high level of musical training; (6) high performance quality ratings were associated with high ratings for practice effectiveness; (7) longer practice times resulted in higher performance quality ratings; (8) longer practice times were associated with more efficient practice sessions; and (9) 85% of children said that they enjoyed practicing with their mothers.

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Orientador: Mauricy Matos Martin / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-19T14:57:39Z (GMT). No. of bitstreams: 1 AraujoFilho_AlfeuRodriguesde_D.pdf: 22030067 bytes, checksum: 1bf7c053f691cc3b238e16e66e0a3ff8 (MD5) Previous issue date: 2011 / Resumo: A pesquisa descreve, inicialmente, o conceito do compositor Edmundo Villani- Côrtes. O foco principal está em apresentar um estudo analítico dos Timbres e Ritmatas do compositor em questão, sob o ponto de vista da prática interpretativa. Constam, nos anexos, os manuscritos (documento Histórico); as partituras digitalizadas; a musicografia e a discografia do compositor em ordem cronológica / Abstract: This research initially describes the concept of the composer Edmundo Villani- Côrtes. The main focus is to present an analytical approach from the composer's Timbres and Ritmatas, taking the performance into consideration. Manuscripts (historical document), digitized music scores and a compilation of the composer's musical pieces and records, were included in this work annex in chronological order / Doutorado / Praticas Interpretativas / Doutor em Música

Giuseppe Concone's piano études number over a hundred, and are collected in seven various sets. They consist of pieces for elementary, intermediate, and advanced level pianists. A few of them have been printed in anthologies but most of them remain unknown. The present research consists of two parts: an overview of Concone's complete sets of piano études, and a detailed analysis of Op. 30, with a detailed focus on articulation, balancing, voicing, and interpretation. First is a brief overview of the Études Opp. 37, 46, 24, 25, 31 and 34. Then in the analysis of Op. 30, after explaining the salient features of this set of études, there is an illustration of the method by giving an analysis of each étude. Concone's Vingt Études Chantantes Op. 30 are a fine supplement of teaching repertoire for the intermediate piano students. The Op. 30 incorporates a diversity of technical requirements and musical merits that can help students transition from intermediate level to early-advanced level. They may also contribute to being aware of binary and ternary forms, and prepares students for learning other genres of the 19th century piano literature.

Made available in DSpace on 2016-12-08T17:06:41Z (GMT). No. of bitstreams: 1 mauren.pdf: 2739945 bytes, checksum: a1b114f34eaacf7bc4070dc8a2c1937b (MD5) Previous issue date: 2012-03-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research presents a pianistic-technical approach on For Studies for Solo piano from Jose Vieira Brandao (1911-2002): Estudo n.1 (dedicated to Arthur Rubinstein); Estudo n.2 (dedicated to Ernesto Nazareth); Estudo n.3 (Chorinho); Tocata 1 (Estudo n.4). Brandao was a distinguished pianist who also worked as a composer, conductor and musical educator alongside Villa-Lobos in the project Canto Orfeonico, debuting several works from Villa-Lobos as Choros n. 11 in the piano. The Work of Vieira for piano is not ample, yet there are interesting plays to all levels of pianistic development and a particular musical language. The purpose of this work was to perform a research on Four Studies for piano-solo in an interpretative-technical perspective. Regarding the methodology bibliographical research and conducted interviews were employed (BAUER e GASKELL, 2002); musical material analysis, considering aspects such as texture (BERRY, 1987; SIMMS, 1996), form, phraseological elements (SCHOENBERG, 1991), characteristics of the genres referred by the author in the subheadings of the studies under a pianistic-technical perspective (ALMEIDA, 1999; TINHORAO, 1978). Some of these elements are stressed based on the ideas the composer expressed about nationalism, in his Habilitation Thesis (BRANDAO, 1949). The elements highlighted by him are supported by the traditional pianistic repertoire, confirming his knowledge on pianistic repertoire. It is noted that some aspects of the pianistic technique are common among the Studies. These aspects were highlighted, comments and suggestions on the work of the pianist were devised (POVOAS, 1999; FINK, 1992; MARUN, 2010). In Chapter 1, it is presented an overview of the career of Vieira Brandao as a pianist, with whom he worked and studied, the releases of Villa-Lobos work, besides addressing his piano compositions. In Chapter 2 there is an analytic-technical approach of the studies, in which structural and musical features of each study are separately presented. In Chapter 3 melodic and rhythmic aspects are emphasized, some common to the Four Studies, with an interest in the pianistic-technical work. As a result, some aspects were observed showing that Vieira Brandao wrote plays that portray Brazil, confirming the preference of the composer to the nationalist aesthetic in which the elements of several recurring genres of Brazilian music are stylized / Nesta pesquisa e apresentada uma abordagem tecnico-pianistica sobre Quatro Estudos para piano Solo de Jose Vieira Brandao (1911-2002): Estudo n.1 (dedicado a Arthur Rubinstein); Estudo n.2 (dedicado a Ernesto Nazareth); Estudo n.3 (Chorinho); Tocata 1 (Estudo n.4). Brandao foi um eximio pianista que trabalhou tambem como compositor, regente e educador musical ao lado de Villa-Lobos no projeto de Canto Orfeonico e estreando muitas obras de Villa-Lobos ao piano como os Choros n.11. A Obra de Vieira Brandao para piano nao e numerosa, mas encontram-se pecas de grande interesse para todos os niveis de desenvolvimento pianistico e uma linguagem musical particular. A proposta com este trabalho foi realizar uma pesquisa sobre Quatro Estudos para piano solo dentro de uma perspectiva tecnico-interpretativa. Para a metodologia foram adotados levantamento bibliografico e entrevistas (BAUER e GASKELL, 2002); analise do material musical considerando aspectos como a textura (BERRY, 1987; SIMMS, 1996), forma, elementos fraseologicos (SCHOENBERG, 1991), caracteristicas dos generos referidos pelo compositor nos subtitulos dos estudos sob o ponto de vista tecnico-pianistico (ALMEIDA, 1999; TINHORAO, 1978). Alguns desses elementos encontram-se destacados com base nas ideias que o proprio compositor manifestava sobre o nacionalismo, atraves da sua Tese de Livre Docência (BRANDAO, 1949. Os elementos por ele destacados encontram respaldo no repertorio pianistico tradicional, confirmando seu conhecimento sobre o repertorio pianistico. Observa-se que alguns dos aspectos da tecnica pianistica sao comuns entre os Estudos. Estes aspectos foram destacados e sobre eles elaborados comentarios e sugestoes para o trabalho do pianista (POVOAS,1999; FINK,1992; MARUN, 2010). No Capitulo 1 e apresentado um panorama sobre a carreira de Vieira Brandao como pianista, com quem estudou e trabalhou, estreias que fez de obras de Villa- Lobos, alem de abordar suas composicoes para piano. No Capitulo 2 ha uma abordagem tecnicoanalitica dos estudos, onde sao apresentadas caracteristicas estruturais e musicais de cada um dos estudos separadamente. No Capitulo 3 sao destacados aspectos melodicos e ritmicos, alguns comuns aos Quatro Estudos, com um interesse em funcao do trabalho tecnico-pianistico. Como resultados, foram observados alguns aspectos que demonstram que Vieira Brandao escreveu pecas que retratassem o Brasil, confirmando a preferencia do compositor pela estética nacionalista onde os elementos de diversos generos recorrentes da musica brasileira encontram-se estilizados