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A discourse concerning the importance followed by a study of piano pedagogy; of piano teaching method, its history and general aspects of piano technique; a fully comprehensive method of piano teaching from the very earliest stages to the advanced; a discussion of various important selected concepts incorporated in the method which require particular emphasis; the application of certain concepts in the various style periods, such as dynamics, tempo, tempo rubato, pedalling, ornamentation, to the teaching of a piece; a discussion of the psychology of piano teaching and practising. All of these various branches of study are imperative in the training of the prospective piano teacher. (Preface)

The purpose of this study was to investigate the reasons children identify for initially enrolling and for continuing to enroll in piano lessons. Several factors were examined to assess their effect on the reasons for enrollment; these factors were gender, age, who initiated enrollment, and length of enrollment in piano lessons. Study participants included 71 children currently enrolled in private piano lessons in Northern Indiana and Northern Ohio. While previous research has focused on the reasons adults enroll in piano lessons, this study focused on children under the age of 18. The participants each completed the Reasons for Enrollment in Piano Lessons Survey. The survey listed various reasons for enrollment, for which the children rated their level of agreement based on a five-point Likert scale. Results indicated that the most agreed upon reason children initially enrolled in piano lessons was they thought it would be fun, and they continue enrollment in piano lessons because it is fun. In addition, the children also stayed enrolled in piano lessons because they wanted to become better pianists, they wanted to become better musicians, and they enjoy learning new music. An important implication for piano teachers is to consider the interests of students when selecting repertoire and provide ample playing opportunities during the lesson time in an effort to increase the amount of enjoyment for the students. In addition, teachers could take advantage of the increasing desire for improvement by challenging older students with more difficult and diverse repertoire, higher overall lesson preparation expectations, and new activities that address the student’s weaknesses. Suggestions for future research include utilizing a larger population, examining the effect of socio-economic status on children’s reasons for enrollment, surveying children in group lessons, and investigating what children think makes a lesson fun. / School of Music

The piano first came into existence about 1709, but until the 1770's it was probably used most successfully as an accompanying instrument because of the small volume of tone it could produce. In its earlier stages the piano was not capable of producing even as big a tone as a large. sized harpsichord, During these seventy years piano builders experimented a great deal with the piano and its mechanisms, As with any instrument, some ideas were kept and improved, and others were tried and then discarded.

Typescript (photocopy). / Digitized by Kansas Correctional Industries

Not available / text

No description available.

Each country develops its educational system according to its national heritage, its national peculiarities and needs. Because of evolution, levels of education are flexible enough to be adjusted continuously for improvement. As we all know, there are constant changes preparing the students for their future careers and for living with society's advancements.Music, like other artistic areas, has different fields of specializations, each with its own peculiarities and problems. In this dissertation, attention is given to differences and similarities between curriculum requirements for piano performers at the university and conservatory levels in some selected schools on the American Continent.The subject for this study was chosen because the writer, a piano major, lived in two different countries when engaged in university studies. In Cordoba, Argentina she obtained degrees in Piano and in Music Education, and later in the United States, she earned the Master of Music and the Doctor of Arts in Music at Ball State University, in Muncie, Indiana, Because she had the experience of both educational systems, she wished to make a fuller investigation of educational requirements for piano students in various schools of the American Continent.The research for this study was done from 1976 until 1980. The writer gathered most of the information while she was in Cordoba, Argentina, by writing letters to the embassies of different countries, requesting addresses of music schools, and then by writing directly to these institutions.The selected conservatories and universities for this dissertation include 18 universities and conservatories in the United States, five universities in Canada, four conservatories and four universities in Argentina, one conservatory in Ecuador, one university in Chile, one in Brazil, and one in Mexico. The selection of these schools was not made by a specific plan, but according to the addresses and materials available.The information was taken from the catalogs, student handbooks, and other supplementary materials sent by the schools.The chapters are organized as follows: Chapter 1 deals with undergraduate and graduate degrees awarded by conservatories and universities in the United States. Chapter 2 refers similarly to Canadian universities, and Chapter 3, to Latin American conservatories and universities.Each part of the dissertation contains tables organized by university and degree, with the course distribution and the required credits or weekly hours per class meeting. This information was arranged by the writer in an attempt to unify the presentation of the material. Some general music course descriptions have been included when their contents have been found to be different from the typical ones, and piano requirements, when they were available.The next section (Curriculum Description) is arranged by degrees with information about entrance requirements, basic music courses (grouped by areas and individual courses), and general observations about the program. Table 22 and similar ones show information by separate areas and courses, grouping the universities to compare their requirements for each degree.Following the presentation of each group of schools, some general comments about them are made. At the end of the study, a general comparison between the selected schools, and some recommendations for improvement are presented.Attention should be called to the fact that this study is the reflection of one person's experiences, observations the same data would reach new or different conclusions. The central consideration is that both similarities rind differences exist in the programs of the various institutions selected for this study. Furthermore, a study of this type is open, not conclusive, for it could be continued giving attention to different points of emphasis.

The modern music educator is constantly working to improve his methods of teaching in the public schools. Whatever his principal interest may be or wherever his principal ability may lie he desires to remain cognizant of the activities of those who are working alongside him in the system of public education. This same teacher is as much interested in the choral program if he is an instrumentalist as would the choral teacher be in the band or orchestra program of the school in which he is teaching. / Typescript. / "August, 1955." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Music Education." / Advisor: Robert L. Briggs, Professor Directing Paper. / Includes bibliographical references (leaves 28-29).

At most universities internationally, secondary piano instruction is compulsory for all music students regardless of their field of specialisation. Vocal art students studying at the Tshwane University of Technology (TUT) are also expected to complete three years of basic piano tuition. Since the researcher teaches secondary piano at the Department of Performing Arts: Vocal Art (TUT), the aim of this study was to determine the objectives of the tuition, and appropriate methods through which they can be best achieved. The research is based on an investigation of relevant literature on secondary piano instruction for music majors at universities in South Africa and abroad. Since the researcher was primarily trained to teach basic piano to very young beginners, it was thought necessary to firstly investigate the field of adult education and basic piano instruction for adults and college-age students. The results of the literature search confirmed that basic piano tuition for children differs greatly from that for older beginners. It became clear that the success of basic piano instruction for adults greatly depends on the teacher’s understanding of these fundamental differences as well as knowledge of appropriate approaches and methods with which to accommodate adults’ unique characteristics. Subsequently, the purpose of teaching piano playing skills to non-piano music majors was investigated. Results indicated that there is a broad spectrum of skills which can aid the musician in his future career. These include technique, sight-reading, accompanying, harmonisation, transposing, repertory study, vocal score-reading and reduction, instrumental score reduction, improvisation, playing by ear, playing of folk songs, developing musicianship skills, critical listening, performance skills, chord playing, ensemble playing, realisation of figured bass, modulation, memorisation, music analysis, playing two or more parts from multiple staves, playing warm-up exercises, singing a vocal part while playing other parts, and jazz piano playing. The most important piano playing skills for non-piano music majors to acquire were identified as technique, sight-reading, accompanying, repertory study and improvisation. Controversies exist about the importance of each of these skills, but most teachers agree that they should all be present in the secondary piano curriculum. The most common method used to teach these skills to instrumentalists and singers was identified as group tuition. This method of teaching is not used merely because it is more economical but also for various musical and sociological reasons. Musical advantages include the acquisition of a broad spectrum of skills such as critical faculties, listening skills, ensemble activities, self-assessment skills, improved practice habits and progress, rhythmic stability, improved intonation, memory training and notational reading. Social advantages include interaction, peer-learning, motivation, encouragement, discovery-learning, enjoyment, involvement and the development of individuality and self-esteem. At the end of each chapter, specific guidelines for teaching basic piano to vocal art students at TUT are given. The study culminates in conclusions and recommendations drawn from the results of the literature investigation Copyright / Dissertation (Music)--University of Pretoria, 2009. / Music / unrestricted