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The Diploma Thesis is a presentation of the notable Czech piano teacher Alena Fišerová, who spent all her professional life at the "Vzorová hudební škola" (Model Music School) in Voršilská Str. in the borough of Praha 1. The first part of the Thesis focuses on her family background and childhood. Her studies and professional life are also described. This information is mostly based on witness accounts and memories of her former pupils and friends. Exact data was verified using personal documents available and the chronicles of the Vzorová hudební škola. The Thesis follows in detail her method of teaching the piano as well as the contribution that she presented in her day and time. Alena Fišerová did not leave her mark in piano pedagogy as a teacher alone but also as the creator of many sheet music compilations, either alone or in collaboration with others. The best-known titles out of her publishing activities are the Album etud I. - V. (Album of Études, vol. I - V), to this day possibly the most commonly used compilations at the Základní umělecká škola (Fine Arts School) in the Czech Republic. This works is the subject of detailed analysis and description in the following chapters. All five volumes of the Album etud are introduced and selected études from vol. I and II are analysed with regard to...

Esta pesquisa teve como objetivo geral investigar o perfil de formação e atuação dos professores de piano de Porto Alegre/RS. Os objetivos específicos procuraram caracterizar a formação dos professores de piano, caracterizar a atuação dos docentes e identificar as razões e/ou motivações da escolha profissional. Para analisar os dados, este trabalho se apoiou em alguns princípios teóricos baseados na profissionalização do ensino, de acordo com Ramalho, Nuñez e Gauthier (2004). Como método de pesquisa, foi realizado um survey interseccional com professores atuantes no ensino de piano em Porto Alegre e a amostra “bola de neve” foi a estratégia utilizada para se obter as indicações desses professores. Os dados foram obtidos através de um questionário auto-administrado que foi respondido por 104 professores. Os resultados revelaram que os professores que estão atuando com o ensino do piano, em Porto Alegre, parecem aproximar-se dos modelos de professor improvisado, professor artesão e professor como profissional, segundo os modelos baseados em Ramalho, Nuñez e Gauthier (2004). / The purpose of this study is to investigate the profile of piano teachers in Porto Alegre/RS, as to their formation and performance. Other goals include the characterization of these teachers’ formation and their involvement as teachers, identifying the reasons and/or motives of this professional choice. For the analysis of the data, this research is sustained by established theoretical principles in the professionalization of education according to Ramalho, Nuñez and Gauthier (2004). As for the research method, an intersectional survey with active piano teachers in Porto Alegre was conducted; the sample “snow ball” was employed as the strategy to obtain indications from these teachers. The data was gathered through an automanaged questionnaire which was answered by 104 teachers. The results showed that the teachers who are active as piano teachers in Porto Alegre seem to approach the models for the improvised teacher, the teacher craftsman and the professional teacher, according to models based on Ramalho, Nuñez and Gauthier (2004).

Esta pesquisa teve como objetivo geral investigar o perfil de formação e atuação dos professores de piano de Porto Alegre/RS. Os objetivos específicos procuraram caracterizar a formação dos professores de piano, caracterizar a atuação dos docentes e identificar as razões e/ou motivações da escolha profissional. Para analisar os dados, este trabalho se apoiou em alguns princípios teóricos baseados na profissionalização do ensino, de acordo com Ramalho, Nuñez e Gauthier (2004). Como método de pesquisa, foi realizado um survey interseccional com professores atuantes no ensino de piano em Porto Alegre e a amostra “bola de neve” foi a estratégia utilizada para se obter as indicações desses professores. Os dados foram obtidos através de um questionário auto-administrado que foi respondido por 104 professores. Os resultados revelaram que os professores que estão atuando com o ensino do piano, em Porto Alegre, parecem aproximar-se dos modelos de professor improvisado, professor artesão e professor como profissional, segundo os modelos baseados em Ramalho, Nuñez e Gauthier (2004). / The purpose of this study is to investigate the profile of piano teachers in Porto Alegre/RS, as to their formation and performance. Other goals include the characterization of these teachers’ formation and their involvement as teachers, identifying the reasons and/or motives of this professional choice. For the analysis of the data, this research is sustained by established theoretical principles in the professionalization of education according to Ramalho, Nuñez and Gauthier (2004). As for the research method, an intersectional survey with active piano teachers in Porto Alegre was conducted; the sample “snow ball” was employed as the strategy to obtain indications from these teachers. The data was gathered through an automanaged questionnaire which was answered by 104 teachers. The results showed that the teachers who are active as piano teachers in Porto Alegre seem to approach the models for the improvised teacher, the teacher craftsman and the professional teacher, according to models based on Ramalho, Nuñez and Gauthier (2004).

Esta pesquisa teve como objetivo geral investigar o perfil de formação e atuação dos professores de piano de Porto Alegre/RS. Os objetivos específicos procuraram caracterizar a formação dos professores de piano, caracterizar a atuação dos docentes e identificar as razões e/ou motivações da escolha profissional. Para analisar os dados, este trabalho se apoiou em alguns princípios teóricos baseados na profissionalização do ensino, de acordo com Ramalho, Nuñez e Gauthier (2004). Como método de pesquisa, foi realizado um survey interseccional com professores atuantes no ensino de piano em Porto Alegre e a amostra “bola de neve” foi a estratégia utilizada para se obter as indicações desses professores. Os dados foram obtidos através de um questionário auto-administrado que foi respondido por 104 professores. Os resultados revelaram que os professores que estão atuando com o ensino do piano, em Porto Alegre, parecem aproximar-se dos modelos de professor improvisado, professor artesão e professor como profissional, segundo os modelos baseados em Ramalho, Nuñez e Gauthier (2004). / The purpose of this study is to investigate the profile of piano teachers in Porto Alegre/RS, as to their formation and performance. Other goals include the characterization of these teachers’ formation and their involvement as teachers, identifying the reasons and/or motives of this professional choice. For the analysis of the data, this research is sustained by established theoretical principles in the professionalization of education according to Ramalho, Nuñez and Gauthier (2004). As for the research method, an intersectional survey with active piano teachers in Porto Alegre was conducted; the sample “snow ball” was employed as the strategy to obtain indications from these teachers. The data was gathered through an automanaged questionnaire which was answered by 104 teachers. The results showed that the teachers who are active as piano teachers in Porto Alegre seem to approach the models for the improvised teacher, the teacher craftsman and the professional teacher, according to models based on Ramalho, Nuñez and Gauthier (2004).

鋼情教師的背景是設在音樂被所有人視為是最崇高、重要的維也納， 艾瑞卡從小也被母親期待要成為世界聞名的鋼琴家；母親的目標使得她必須活在永無止盡的練習、競爭比賽的壓力下。本論文主要在探討書中的女性為了要在父權的菁英文化中取得一席之地、為了求更高的社經地位及物質生活而抹滅情感上的需求所產生之病態。性一向被艾瑞卡的母親視為是罪大惡極的禁忌，但壓抑身體慾望的結果使得艾瑞卡有自殘刀割下體的習慣、背著母親去看色情表演、偷窺男女在野地做愛並在性慾被撩起時有拉尿的強迫症。第一章在說明本書的研究價值、摘要小說、回顧評論、和闡述為何以資本主義社會、現代人的精神官能症、自虐症為以下兩章的主題。第二章會從佛洛依德的性壓抑而造成心理疾病的心理學角度去說明艾瑞卡所受精神官能症的病徵及原因。第三章則是研究艾瑞卡的自虐、偷窺、性虐待幻想等的變態行為的起因及心理需求。最後於第四章我用佛洛依德在文明及其不滿中的觀點，來說明個人在被過度要求、否認自我慾望的過程中，精神不但無法超脫還會導致行為、心理的脫序。女性在男性資本主義社會中容易受到經濟、性別弱勢的雙重迫害，而導致極度的不快樂。艾瑞卡就是一位盲目服膺其價值觀而受害的中產階級女性之一。 / Jelinek was often commended for her frequent critiques of consumerism and the subjugation of women in the patriarchal society. In her avowedly autobiographical novel The Piano Teacher, she again uses the life of a pathological piano teacher to reflect the cruelties and the subjugating powers inherent in the capitalistic and patriarchal society. By adopting a psychological approach, this thesis will show that Jelinek’s fiction is an account of a larger analysis of female masochism than it initially seems to be. The protagonist’s regular practice of self-mutilation is more than an individual pathology, but an allegory of the result of the violence and deprivation inflicted on the individual by the capitalist society. The thesis consists of four chapters. Chapter I is an introduction, including the overview of the novel and its critical backgrounds. In Chapter II, textual analyses as well as psychoanalysis will be made to explore the psychological depths of the protagonist’s compulsive behaviors and voyeurism. Erika’s relationships with men, especially with one of her musical students, Walter Klemmer, failed tragically and resulted in her final self-destruction. This chapter will study Erika’s neurotic personality and will investigate the factors which contribute to the protagonist’s neuroses and her consequent sufferings. In Chapter III, I will focus on studying Erika’s sadomasochistic fantasies and voyeurism; not only is she made to hurt herself in her tormenting relationship with her mother, she also repeats the sadomasochistic pattern in her relationship with Kelmmer. By researching into the causes and psychodynamics of sadomasochism, Iwill discuss why her non-erotic impulses would be transformed into perverse erotic desires and behaviors. My topics for discussion include: What caused her to develop her “perverse mechanism”? What forces propel her to live out her perversions? The answers lie in the childhood traumas inflicted by her mother and the cultural conditions which lend weight and color to the individual experiences and determine their particular forms. In order to excel and become an elite of Austrian’s high culture, Erika was made to deny her drive needs until later she can only experience a libidinal deadness. Forceful repression of her natural desires lead to her pathologies. The chapter also shows the danger of conforming too completely to the capitalistic ideology and exposes the ideology’s oppressing and alienating effects. Finally, the last chapter concludes that by presenting a cruelty revolting in its extremity, Jelinek is denouncing the Austria’s idolization of high music culture, and mourning the sacrifice of a pianist’s id under its system. Erika can be seen as the victim of society’s fetishization of petty-bourgeois values and her upbringing according to its norms. By exposing the superstructure that immobilizes her characters, Jelinek’s biting irony is directed at the capitalist superstructure and its restraining and deadening effect on the individual.

While many music educators learn how to teach through teacher training programs, the standard mode of transmission in which piano teachers learn to teach applied piano is through proficiency of the instrument under the guidance of a master teacher. This tacit development of pedagogical knowledge occurs through the master-apprentice model of pedagogy. The purposes of this study were (a) to explore how piano teachers learn how to teach from, and independent of, piano pedagogy coursework, overcome challenges, and continue to add to their pedagogy knowledge, and (b) to explore topics that would be most useful in a piano pedagogy course or program. This exploratory research design consisted of a series of semi-structured interviews. Piano teachers of varying ages, educational levels, and years of teaching experience (N = 12) were interviewed as to their experiences as students, autonomous transition into the teaching role, and the informal or formal learning opportunities which contributed to their development as piano teachers. Upon reflecting on their experiences in higher education compared to their professional lives as piano teachers, interviewees were asked to make suggestions for the future of piano pedagogy and the piano curriculum in general. In analyzing the data, 11 major themes emerged in the interview transcripts which revealed aspects of the interviewees' transition into the teaching role and development as piano teachers: (1) piano teachers were autonomously resourceful when transitioning into the teaching role, (2) experiential learning (i.e., learning by doing, gaining experience, and trial-and-error), (3) piano teachers evoke memories (of former teachers, materials played, and experiences as students) in transitioning into the teaching role, (4) piano teachers emulate former teachers + a mix of elements in developing their teaching style, (5) overcoming challenges and seeking out resources, (6) formal learning experiences (including piano pedagogy coursework), (7) partnership of learning and teaching (apprenticeship and cognitive apprenticeship), (8) support in the field (including the role of professional activities), (9) teaching confidence, (10) reflective practice, and (11) reflections and suggestions for the future. The pianists interviewed experienced an autonomous transition into the teaching role as they received no formal teacher-training and very little guidance when beginning to teach. Although the master-apprentice model is often attributed as the primary means in which piano teaching is disseminated, experiential learning (e.g., learning by doing, gaining experience, and trial-and-error) factored just as prominently into the pianists' transition into the teaching role and early development as piano teachers. Additionally, apprenticeship (i.e., guided teaching) and cognitive apprenticeship (i.e., formal learning combined with authentic hands-on teaching experiences) were two facilitative modes of learning to teach experienced by some of the interviewees. The pianists interviewed demonstrated incredible personal initiative in navigating their autonomous transition into the teaching role and development as piano teachers (e.g., teaching style, teaching confidence, teaching identity, and reflective practice) by deriving meaning through the process of overcoming challenges, seeking out resources and support in the field, monitoring and correcting their own performance, and finding measures to continually refine their teaching. The importance of pedagogical coursework and increased teacher-training experiences in the higher education setting were emphasized by all piano teachers interviewed, especially when combined with opportunities to observe expert piano teaching and gain authentic hands-on teaching experiences. Similarly, some piano teachers described teaching while pursuing their degree(s) as a means of learning from an academic and career standpoint, as they could immediately apply what they were learning to their own teaching. Piano teachers emphasized the need for business skills for running a successful studio, performance skills beyond the traditional classical repertoire, functional skills to make a viable living (e.g., accompanying, improvisation, harmonizing melodies, and playing for church services), as well as techniques, materials, and special considerations for teaching across the entire lifespan (i.e., "cradle to grave") for a wider variety of learners (e.g., beginning, intermediate, advanced, pre-school age through mature adult, and those with special needs). This exploratory study provided a detailed perspective as to the induction experiences of the piano teacher. It is proposed that further exploration into the pianist's transition into the teaching role could inform the development and restructuring of pedagogical coursework and a wealth of pedagogical materials for practitioners in the field as well as the framework for piano teacher training.

The beginnings of piano playing of children play an important role in laying quality pianistic groundings, which are crucial for their further pianistic development as well as for building their relationship with the instrument and music itself. This thesis is devoted to the study of elementary piano teaching of children aged 5-7 years. The aim of the thesis is to map the current state of piano pedagogy in Czech Republic and to propose optimal methodological procedures and solutions in the initial piano lessons based on modern pedagogical approaches and the needs of contemporary piano pedagogy. In five chapters of the work, this goal will be achieved by examining the historical background of piano schools in Bohemia over the centuries to this day, by setting up theoretical and practical bases for the researched issue and finally by research itself. Within the framework of practical bases, which served as a basis for subsequent research, an optimal methodological approach to teaching in the early stage of piano playing was proposed for children aged 5-7 years, which corresponds to the most modern requirements of the field. The optimal selection and arrangement of sheet music for the given area of pedagogy was also designed with a focus on Czech and foreign piano schools and instructive piano...