Made available in DSpace on 2016-12-08T17:06:46Z (GMT). No. of bitstreams: 1 122560.pdf: 10375402 bytes, checksum: 802c1a2fbbec7cad660684dd232c757c (MD5) Previous issue date: 2015-03-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research has as its main object the study of collaborative pianists and their musical skills, especially sight-reading. The purpose of this dissertation is to discuss how collaborative practice is conceived and carried out in the context of the University of the State of Santa Catarina UDESC. Therefore, the text is divided into three chapters. The first chapter presents a definition for collaborative pianists and their musical skills, with an emphasis on sight-reading. In the second chapter, we will briefly review the process of formation of piano students at UDESC. And the third chapter is the report of a workshop held with piano students of this university, in order to assess to what extent the collaborative activity is compatible with the professional and artistic expectations of these piano bachelor degree students. / A presente pesquisa tem como principal objeto de estudo o pianista colaborador e suas habilidades musicais, em especial a prática da leitura à primeira vista. O objetivo principal é discutir como a prática colaborativa é concebida e realizada no contexto da UDESC. Para tanto, o texto está dividido em três capítulos. O primeiro capítulo apresenta uma definição do pianista colaborador e das habilidades que o caracterizam, com ênfase na leitura à primeira vista. No segundo capítulo, faremos uma breve análise do processo de formação dos alunos de piano na UDESC. E o terceiro capítulo é o relato de uma oficina realizada com os alunos de piano dessa instituição, a partir da qual procuramos verificar em que medida a atividade colaborativa é compatível com as expectativas profissionais e artísticas de seus alunos de bacharelado em piano.

Made available in DSpace on 2014-07-29T16:25:16Z (GMT). No. of bitstreams: 1 FranklinMuniz_ARTIGO.pdf: 667746 bytes, checksum: 0d276b168b6089a3a1ee04c82f831da3 (MD5) Previous issue date: 2010-03-31 / This study presents a discussion and research on the fields of expertise and skills developed by professional ensemble pianists, evaluating their role and acquisition of the area‟s specific knowledge. It also proposes a definition to the terms correpetidor, collaborator and chamber musician. The first chapter deals with the role, importance and function of these ensemble musicians since its first performance manifestations in music history. The second chapter traces the outline of each field of activity showing the routines and skills inherent to each field. For conducting this study was submitted a semi-structured questionnaire to professional pianists in each area, which provided information about their work routines and developed skills. In the conclusion the author offers a curriculum for a graduate course addressing subjects that involve the skills discussed. / Este estudo apresenta uma discussão e investigação sobre os campos de atuação e habilidades desenvolvidas por pianistas profissionais de conjunto, avaliando suas funções e aquisição de conhecimento específico da área. Também propõe definições para utilização dos termos colaborador, correpetidor e camerista. O primeiro capítulo trata da atuação, importância e função dos músicos acompanhadores desde suas primeiras manifestações na história da música. O segundo capítulo traça o perfil de cada campo de atuação de pianistas de conjunto evidenciando as rotinas e habilidades inerentes a cada campo. Para a realização deste estudo foi encaminhado questionário semi-estruturado a pianistas atuantes das áreas, os quais forneceram informações acerca do seu trabalho e das aptidões comuns a esta classe de pianistas. Na conclusão o autor oferece uma grade curricular para um curso Lato Sensu de especialização contemplando disciplinas que envolvem as habilidades discutidas.

Americana Suite is a seven movement musical composition inspired by nineteenth and early twentieth century American master paintings. Representative artists from each of the major schools of American painting include Frederic Church, Winslow Homer, Mary Cassatt, Childe Hassam, George Bellows, Edward Hopper and Georgia O'Keeffe. Essentially pluralist in style, the suite is written for ensembles of varying size and genre, spanning from full orchestra and contemporary big band to intimate jazz chamber ensembles and electro-acoustic hybrids. Four of the seven movements are written for jazz ensembles and incorporate improvisation, while the other three orchestral movements explore romantic, impressionist and cinematic idioms. Historical summaries of each school, artist and painting are followed by detailed aesthetic and theoretical analyses of the respective movements. Harmonica virtuoso Howard Levy performs as a special guest artist.

The literature on psychological well-being indicates that high levels of psychological well-being encourage a psychological loop that reinforces itself, lifting an individual on an 'upward spiral' of continued psychological flourishing, which may contribute to positive human functioning. In addition, the literature suggests that effective intervention can raise the levels of psychological well-being. There are features inherent in the training of student pianists that can contribute to their psychological vulnerability, especially with regard to self-concept and anxiety. Therefore, they can benefit from an intervention that may raise their level of psychological well-being, thus contributing to their resilience in coping with the challenges presented by their training as well as their piano performance. Clinical observations as well as research indicate that the Tomatis Method can enhance psychological well-being and improve academic functioning. Furthermore, Tomatis' theories and observations suggest that this programme can also enhance music performance, especially with regard to self-listening skills. However, although Tomatis indicates that he observed the same results with instrumentalists as with singers, his writings mostly refer to singers. Except for a single case study by Madaule in 1976, there seems to be no other scientific evidence that the Tomatis Method has benefited student pianists. Therefore, the purpose of this exploratory study was to investigate the effect of the Tomatis Method on student pianists' psychological well-being and piano performance. The empirical study consisted of a two-group pre-post assessment mixed-method design, involving thirteen 2nd year to postgraduate student pianists from the School of Music and Conservatory, of the North-West University (Potchefstroom Campus). These students were randomly assigned to an experimental group (n = 7) which was exposed to the Tomatis Listening Programme, and a non-intervention control group (n = 6). Quantitative data were obtained by means of a battery of tests, which included self-report inventories regarding psychological well-being and music performance anxiety, as well as scales regarding piano performance. The levels of the participants' psychological well-being were measured with the Scales of Psychological Well-Being (Ryff, 1989), the Affectometer 2 (Kammann & Flett, 1983), and the Profile of Mood States (Mc Nair et al., 1992). Participants' levels of music performance anxiety were measured with the Music Performance Anxiety Inventory for Adolescents (Osborne & Kenny, 2005), and the Kenny Music Performance Anxiety Inventory (Kenny et al., 2004). The quality of the students' piano performances was assessed by means of a general impression expressed as a percentage, Mills' constructs (1987) for the assessment of music performance, and Piano Performance Rating Scale (PPRS) which was developed for this study. Qualitative data were acquired by means of interviews, group discussions, projective drawings, written reports, personal observations and the Tomatis Listening Test Results indicated improvement regarding some aspects related to student pianists' psychological well-being and piano performance. Further research with regard to these aspects is required. / Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2010.

The literature on psychological well-being indicates that high levels of psychological well-being encourage a psychological loop that reinforces itself, lifting an individual on an 'upward spiral' of continued psychological flourishing, which may contribute to positive human functioning. In addition, the literature suggests that effective intervention can raise the levels of psychological well-being. There are features inherent in the training of student pianists that can contribute to their psychological vulnerability, especially with regard to self-concept and anxiety. Therefore, they can benefit from an intervention that may raise their level of psychological well-being, thus contributing to their resilience in coping with the challenges presented by their training as well as their piano performance. Clinical observations as well as research indicate that the Tomatis Method can enhance psychological well-being and improve academic functioning. Furthermore, Tomatis' theories and observations suggest that this programme can also enhance music performance, especially with regard to self-listening skills. However, although Tomatis indicates that he observed the same results with instrumentalists as with singers, his writings mostly refer to singers. Except for a single case study by Madaule in 1976, there seems to be no other scientific evidence that the Tomatis Method has benefited student pianists. Therefore, the purpose of this exploratory study was to investigate the effect of the Tomatis Method on student pianists' psychological well-being and piano performance. The empirical study consisted of a two-group pre-post assessment mixed-method design, involving thirteen 2nd year to postgraduate student pianists from the School of Music and Conservatory, of the North-West University (Potchefstroom Campus). These students were randomly assigned to an experimental group (n = 7) which was exposed to the Tomatis Listening Programme, and a non-intervention control group (n = 6). Quantitative data were obtained by means of a battery of tests, which included self-report inventories regarding psychological well-being and music performance anxiety, as well as scales regarding piano performance. The levels of the participants' psychological well-being were measured with the Scales of Psychological Well-Being (Ryff, 1989), the Affectometer 2 (Kammann & Flett, 1983), and the Profile of Mood States (Mc Nair et al., 1992). Participants' levels of music performance anxiety were measured with the Music Performance Anxiety Inventory for Adolescents (Osborne & Kenny, 2005), and the Kenny Music Performance Anxiety Inventory (Kenny et al., 2004). The quality of the students' piano performances was assessed by means of a general impression expressed as a percentage, Mills' constructs (1987) for the assessment of music performance, and Piano Performance Rating Scale (PPRS) which was developed for this study. Qualitative data were acquired by means of interviews, group discussions, projective drawings, written reports, personal observations and the Tomatis Listening Test Results indicated improvement regarding some aspects related to student pianists' psychological well-being and piano performance. Further research with regard to these aspects is required. / Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2010.

Ce travail de thèse cherche à s’interroger sur la pratique du pianiste soliste, interprète de la musique dite « pure » ou absolue. Nous nous appuyons pour cela sur plusieurs réflexions psychanalytiques à propos de la musique. En psychanalyse, la musique vocale ou instrumentale est abordée à partir de l’objet de la « pulsion invocante » qu’est la voix. Nous concevons la « voix instrumentale » produite par le pianiste et son instrument comme étant une prothèse de la voix chantée humaine. Nous nous appuyons également sur la notion d’« humain augmenté », apparue dans les années 1990, pour faire l’hypothèse que la musique pour piano est une voix augmentée. L’objectif du pianiste est de pouvoir s’exprimer à travers ce que nous avons nommé la « voix prothétique augmentée ». Pour s’exprimer à travers cette « voix prothétique augmentée », le pianiste doit d’abord faire transcender son propre corps, car le support de cette voix est ses gestes corporels. / This thesis seeks to question the practice of a piano soloist – the interpreter of so-called “pure” or absolute music – drawing on several psychoanalytical reflections about music. In psychoanalysis, vocal or instrumental music is approached from the object of the “invocative impulse” – the voice. We perceive the “instrumental voice”, produced by the pianist and his or her instrument, as being a prosthesis of the singing human voice. We also draw on the notion of the “augmented human”, which first appeared in the 1990s, to form the hypothesis that music for piano is itself an augmented voice. The objective of the pianist is to be able to express him or herself through what we have termed the “prosthetic augmented voice”. To express him or herself through this “prosthetic augmented voice”, the pianist has to, first of all, transcend his or her own body. This is because the support of this voice is in fact his or her own body gestures.

As opportunities to perform as a soloist diminish, more pianists consider chamber and orchestral playing as an alternative solution. By so doing, ample performance opportunities are introduced. Although most university music programs offer ensemble courses for pianists and have begun to offer degrees with an emphasis in accompaniment, their curriculum lacks instructions specifically designed to train and prepare pianists for playing in large ensembles, especially wind bands. This dissertation addresses the difficulties, which one might encounter in large ensemble collaboration, and recommends useful suggestions for acquiring functional skills to solve these difficulties. Pianists can attain professional status by acquiring the functional skills presented in each chapter. The goal of this study is to provide pedagogical support and direction for novice pianists in the larger ensemble collaboration.

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In his Art of Piano Playing, the renowned Russian pianist and teacher Heinrich Neuhaus asserts that the concept of an "artistic image" can give musical meaning to the score, help pianists to understand the musical content of a composition, and help students to find pianistic expression in the details. The concept of artistic image can be applied in pedagogy, guiding young pianists to learn content and organize their practice. The artistic image is the picture of a musical idea and the musical language, which comes from melody, phrasing, musical structure, and the emotional and poetic content. Twelve Children's Pieces of Medium Difficulty, Op. 31, is one of the important works for young pianists by Reinhold Glière (1875–1956). The set has emotional characteristics that allow intermediate young pianists to grasp its rich content and then develop technically. His piano works have been little studied by scholars as part of a pedagogical approach. This pedagogical guide uses the concept of artistic image in Glière's work to help young pianists, or their teachers, prepare this work thoroughly and perform it successfully on the stage.

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