Föreliggande studies syfte är att undersöka hur kulturskolelärare ser på gemensamhetsskapande aktiviteter i sin pianoundervisning samt hur dessa påverkar elevers sammanhållning och lärande. I bakgrundskapitlet presenteras litteratur som behandlar positiva effekter av användning av gemensamhetsskapande aktiviteter. Litteratur som behandlar motsatta effekter saknas. Studiens teoretiska utgångspunkter utgörs av det sociokulturella perspektivet med dess fokus på appropriering, mediering, situerade aktiviteter, den proximala utvecklingszonen och scaffolding. En kvalitativ forskningsansats används med fokus på hur lärare tolkar, förstår och konstruerar gemensamhetsskapande aktiviteter. Som datainsamlingsmetod används semistrukturerade intervjuer och som analysmetod används tematisk analys. I resultatet framkommer att användning av gemensamhetsskapande aktiviteter i pianoundervisningen medför både fördelar och svårigheter. Några fördelar med gemensamhetsskapande aktiviteter är att elever lär sig att lyssna på varandra, utvecklar rytm-, puls och tempokänsla, vågar spela upp inför andra samt provar olika musikaliska roller. Några nackdelar med gemensamhetsskapande aktiviteter är att de är tidskrävande och svåra att organisera samt svåra att hitta bra notmaterial till. De gemensamhetsskapande arbetssätt som används är bland annat spel med läraren på enskild lektion, fyrhändigt/flerhändigt pianospel/spel i grupp och lekar i grupp. I diskussionen förs resonemang kring hur fördelar och nackdelar av gemensamhetsskapande aktiviteter påverkar elevernas sociala sammanhållning och musikaliska lärande. Exempelvis kan kammarmusikspel bidra positivt, då elever lär sig olika roller i ensemble och skapar en specifik stämning i den. Samtidigt kan samma aktivitet bidra till negativa konsekvenser om pianoeleven får för svår stämma eller om medlemmar i en ensemble umgås inte utanför lektionssammanhang. / The purpose of the present study is to investigate how cultural school teachers view community-creating activities in their piano teaching and how these affect students' cohesion and learning. The background chapter presents literature that deals with the positive effects of using community-building activities. There is a lack of literature that deals with opposite effects. The theoretical starting point of the study consists of the socio-cultural perspective with its focus on appropriation, mediation, situated activities, the proximal development zone and scaffolding. A qualitative research approach is used with a focus on how teachers interpret, understand and construct community-creating activities. Semi-structured interviews are used as the data collection method and thematic analysis is used as the analysis method. The results show that the use of community-creating activities in piano teaching has both advantages and difficulties. Some of the benefits of community-building activities are that students learn to listen to each other, develop rhythm and pulse as well as a sense of tempo and try different musical roles, learn to dare to play in front of others. Some disadvantages of community-building activities are that they are time-consuming, difficult to organize and difficult to find good sheet music material for. The community-creating ways of working that are used include playing with the teacher in a single lesson, four-handed/multi-handed piano playing/group playing and games in group. The discussion deals with how the advantages and disadvantages of community-creating activities affect students' social cohesion and musical learning. For example, chamber music can contribute positively as students learn different roles in ensemble and create a specific mood in it. At the same time, the same activity can contribute to negative consequences if the piano student gets too difficult parts to play or if members of the chamber music ensemble do not see each other outside the classroom.

No description available.

Syftet med denna studie är att synliggöra en grupp pianolärare och en grupp musiklärarstudenters förståelse av individualisering. Forskningsfrågan behandlar synsätt och arbetssätt i en grupp yrkesverksamma lärare och en grupp lärarstudenter. Studien utgår från det sociokulturella perspektivet, då studien undersöker hur lärare planerar och organiserar lärande vid mötet med olika individer. Data samlas in genom två fokusgruppintervjuer med dessa två separata grupper som sedan analyseras. I resultatet presenteras deltagarnas synsätt och deras användning av undervisningslitteratur i individualiseringsarbetet. Resultatet visar att individualiseringsarbetet är något som kan motivera elevers lärande och arbetet kräver lärarkompetenser. Dock visar det sig att det finns vissa oklarheter gällande definitionen av individualiseringsarbetet. Det framgår också i resultatet att respektive grupper har olika kriterium för valet av undervisningslitteratur i arbetet med individualisering, och stödjande undervisningslitteratur kan ibland även utmana individualiseringsarbetet. I diskussionen behandlas och problematiseras resultatet ytterligare, i relation till tidigare presenterad forskning och litteratur. / The purpose of this study is to investigate the understanding of individualized teaching in a group of piano teachers at “Kulturskolan” and a group of piano teacher students. The research questions deal with the views and working methods of a group of professional teachers and a group of student teachers. The study is based in the socio-cultural perspective, as it examines how teachers plan and organize learning at the meeting with different individuals. Data is collected through two separate focus group interviews with these two groups which are then analyzed with thematic analysis. The results present the attitudes of the participants and their use of teaching literature in the individualization work. The result shows that the individualization work is something that can motivate students' learning and the work requires teacher skills. However, it turns out that there are some ambiguities regarding the definition of individualized teaching. It is also evident from the result that the respective groups have different criteria for the choice of teaching literature in the work of individualization and supporting teaching literature can sometimes also challenge the individualization work. In the discussion, the results are further discussed and problematized in relation to previously presented research and literature.

This essay uses existential ideas of Jean-Paul Sartre to provide a philosophy of college piano performance teaching which includes awareness of freedom, abandonment and responsibility as a prerequisite for student-teacher interaction. To set the stage for the interaction the study uses Sartre's philosophy, illustrated with concrete examples from the world of piano teaching and performing, to describe what it means to be human. The author applies Sartre's writings about literature to support the idea of an engaged performance, relating it to existential psychoanalysis, making the performer and audience member realize freedom through choice, while addressing ideas of abandonment and performance anxiety. Sartre's philosophy is used to identify the roles both teachers and students play in the college environment as people and as performers. The study with the help of existentialism, describes the interaction between the different elements: teacher, student, performer, and human being, and provides a better understanding of the complexity of the pupil/professor relationship in the college piano performance program.

Quel rôle le Concours international Marguerite Long joue-t-il dans le contexte de la Guerre Froide, en tant que vecteur culturel où s’affrontent deux écoles opposées d’un point de vue esthétique, à savoir les Écoles de piano française et soviétique ? L’objectif de cette thèse est de comprendre les mécanismes du concours Marguerite Long et leur impact sur le jeu pianistique qui, depuis les années cinquante jusqu’à la fin des années soixante-dix, évolue considérablement sous l’impulsion des succès de l’École russo-soviétique. Le lien apparent entre concours et politique internationale est déconstruit pour laisser place aux enjeux esthétiques et culturels qui seuls influencent le palmarès. Le deuxième volet de notre étude nous amène à envisager les particularités de chacune des écoles de piano, puis à les comparer pour établir dans quelle mesure elles s’influencent mutuellement et se distancient. Des facteurs cruciaux des échanges franco-soviétiques sont pris en considération, comme l’essor de la vie culturelle souterraine en U.R.S.S. à partir du milieu des années soixante. Notre étude se fonde sur le dépouillement de six fonds d’archives, notamment le Fonds Long de la Bibliothèque Mahler, les archives de la Fondation Long-Thibaud-Crespin, celles du Centre des archives diplomatiques de la Courneuve ainsi que celles de l’A.L.A.P. / What role does the Marguerite Long International Music Competition play in the context of Cold War? In other words, how important is this culture transmission vector, where two piano traditions so contrasted as the French and Soviet piano schools confront each other on the basis of aesthetic matters? The aim of this thesis is to understand the mechanism of the Marguerite Long competition and its impact on piano playing, which significantly evolves from the 1950s until the late 1970s, influenced by the successes achieved by the Soviet-Russian piano school. The apparent link between music competitions and international politics is deconstructed to put an emphasis on cultural issues, which solely determine the list of award winners. The second part of this thesis consists in examining the particularity of both piano schools, comparing them to ascertain to what extent they mutually influence each other or distance themselves. Crucial aspects of Franco-Soviet cultural exchanges are taken into account, such as the full development of underground culture in the USSR from the mid-1960s. This study was conducted on a systematic analysis of six archival holdings, notably those kept by the Fonds Long of the Bibliothèque Mahler, the Long-Thibaud-Crespin Foundation, the Center of diplomatic archives in la Courneuve and archival sources regarding the A.L.A.P. (Parisian Literary and Artistic Agency).

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2016-02-18T08:08:52Z No. of bitstreams: 2 Dissertação - Thyago Peres Carvalho - 2015.pdf: 7596482 bytes, checksum: ecea89258dff2ed3c5eb4038bb4f3967 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-02-18T08:10:31Z (GMT) No. of bitstreams: 2 Dissertação - Thyago Peres Carvalho - 2015.pdf: 7596482 bytes, checksum: ecea89258dff2ed3c5eb4038bb4f3967 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2016-02-18T08:10:31Z (GMT). No. of bitstreams: 2 Dissertação - Thyago Peres Carvalho - 2015.pdf: 7596482 bytes, checksum: ecea89258dff2ed3c5eb4038bb4f3967 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-10-09 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This paper proposes a method to support the teaching-learning fist gestures in the piano music performance, using tracking and recognition of fist movements in executions of musical piano excerpts. For this, a system was built by means of computer vision techniques, aiming to present to the student videos produced to verify the execution of the exercise by the learner and aims to provide data related to performance. The system also uses the same computer vision techniques for the generation of the proposed exercises to class by the tutor in order to support the production of educational material as well. To recognize gestures, the system uses a regular low cost webcam, and from a colored marker on the back of the musician’s hand, the wrist movements are detected and tracked. A multidimensional dynamic time warping algorithm (MD-DTW) was used in order to develop this tool, which is an n-dimensional version of Dynamic Time Warping (DTW). In the work sequence, three rounds of experiments were performed, being the first of which to adjust the system parameters from video excerpts performed by an expert trainer. The second and third step assessed, respectively, the learning gain of piano students to the proposed method and system usability. The experiments were performed on volunteers with musical reading skills, however, without requiring minimum technical domain while playing the piano. The results of these tests showed that in addition to the method being able to detect and recognize successful gestures, the volunteers presented learning gain within middle range, which shows that this is a very promising method. In addition, usability testing revealed that the implemented interface, is well suited and has reached good satisfaction results among the volunteers. As a result, it can be said that the method and the proposed prototype demonstrate the potential of these tools in transferring techniques, such as musical performance gestures in a piano teachinglearning environment. / Este trabalho propõe um método de apoio ao ensino-aprendizagem de gestos de punho na execução musical ao piano, utilizando o rastreamento e reconhecimento de movimentos de punho na execução de excertos musicais ao piano. Para isso, um sistema foi construído, por meio de técnicas de visão computacional, visando apresentar ao aluno vídeos produzidos para verificar a execução do exercício pelo aprendiz, bem como visa fornecer dados relacionados ao desempenho. O sistema também utiliza as mesmas técnicas de visão computacional para a geração, pelo tutor, dos exercícios propostos para a aula, de modo a apoiar também na produção de material didático. Para reconhecer gestos, o sistema utiliza uma câmera regular de baixo custo, webcam, e, a partir de um marcador colorido no dorso da mão do músico, os movimentos de punho são detectados e rastreados. Para desenvolver essa ferramenta, foi utilizado o algoritmo Multidimensional Dynamic Time Warping (MD-DTW), que é uma versão n-dimensional do Dynamic Time Warping (DTW). Na sequência do trabalho, foram realizadas três etapas de experimentos, sendo que a primeira foi para ajustar os parâmetros do sistema a partir de vídeos dos excertos realizados por um instrutor especialista. A segunda e terceira etapa avaliam, respectivamente, o ganho de aprendizagem dos estudantes de piano com o método proposto e a usabilidade do sistema. Os experimentos foram realizados com voluntários com conhecimentos de leitura musical, porém, sem exigir limite mínimo de domínio de técnica ao tocar o piano. Os resultados desses testes mostraram que, além de o método ser capaz de detectar e reconhecer gestos com sucesso, os voluntários apresentaram ganho de aprendizagem na faixa média, o que demonstra ser esse um método bastante promissor. Além disso, o teste de usabilidade revelou que a interface implementada, é adequada e obteve bons resultados de satisfação entre os voluntários. Em virtude disso, pode-se afirmar que o método e o protótipo propostos demonstram o potencial dessas ferramentas no repasse de técnicas, como as de gestos de execução musical, em um ambiente de ensino-aprendizagem de piano.

Fils d’un facteur de piano, Pierre Joseph Guillaume Zimmerman (1785-1853), virtuose, pédagogue, compositeur et homme du monde, trouve sa place au sein d’une pléiade de promoteurs du piano et de la littérature pianistique. Son originalité réside dans la dualité que l’on distingue entre, d’une part, sa conscience de compositeur académique héritée de Cherubini et, d’autre part, cet esprit novateur que lui inspira la modernisation de la facture instrumentale dont il suivit et entérina l’évolution. Cette thèse se veut la première monographie qui envisage les activités nombreuses et variées dans lesquelles le musicien s’illustra aux différentes époques de sa vie. La première partie traite de ses origines et de l’époque d’avant 1831. Nous nous intéressons à ses études au Conservatoire, à sa première carrière pédagogique, à ses mariages, à ses œuvres classiques pianistiques (la Sonate op. 5 et les deux concertos) et à ses deux opéras. La deuxième partie porte sur la période de 1831 à 1845. Nous parlons des lauréats sortis de sa classe qui se multiplient à l’époque, de sa méthode Encyclopédie du pianiste compositeur qui favorise le genre des études, ainsi que des soirées musicales qu’il organise dans son appartement du Square d’Orléans. La troisième partie étudie la période post-Cherubini, de 1842 à 1853. Nous y abordons sa contribution à l’organisation de l’Association des artistes musiciens, ses deux messes, ses dernières années comme professeur au Conservatoire, ainsi que l’époque postérieure à sa retraite en 1848. Le second volume d’annexes complète cette étude en présentant un arbre généalogique, les portraits et les états civils des Zimmerman, ses lettres et d’autres documents. / Born as the eldest son of a piano manufacturer, Pierre Joseph Guillaume Zimmerman (1785-1853) was one of the piano promoters in the first half of the nineteenth century, this can clearly be seen from his activities as a piano virtuoso, educator, composer and socialite. His unique role consisted of his dual occupation as a successor to Cherubini in academic composition, and also his role as a passionate supporter of the modernization of the piano. This thesis is a monographic study of Zimmermann, and explores the multiple aspects of the activities in which the musician became famous for in different periods of his life. In the first part, I discuss his origins and his life before 1831. I discuss his studies at the Conservatoire, his first pedagogical contributions, his marriages, his classical piano works (Sonata op.5 and two concertos) and two operas. The second part covers the period from 1831 to 1842. I consider the increase in the number of students from his class who became winners of the annual piano competition, his method Encyclopédie du pianiste compositeur – which favours the études as a genre – and the salon concerts that he organized at his apartment in the Square d’Orléans. The third and final part relates to the post-Cherubini period from 1842 to 1853 in which I focus on his contribution to the organization of the Association des artistes musiciens, his two masses, his last years as a professor of Conservatoire, and the life after his retirement in 1848. The information provided in the second volume of annexes also highly complement this study by presenting a family tree, his portraits, civil registers of the Zimmermans, his letters and the other documents.

Duet playing should form an integral part of the development of all young pianists. Personal development, reduction of performance anxiety and skills such as listening, rhythmic stability and sight-reading are but a few components that can be improved through duet playing. Piano playing is mostly a lonely activity and one of the best ways to counteract this isolation is to become involved in collaborative musicianship through duet playing. The piano duet has an extended history, beginning in the Pre-Baroque and reaching its pinnacle during the Romantic period. After dwindling interest in the early twentieth century, renewed attention has recently been given internationally to duet playing and composition, resulting in large numbers of new duet publications. It is a matter of concern that duet playing is sadly neglected in the tuition of many beginners. This may be due to factors such as lack of knowledge of duet repertoire, difficulty in obtaining such repertoire and problems with incorporating still another aspect in the piano lesson. To provide some guidelines for the teacher, practical considerations such as partner compatibility, leadership, repertoire and publication choice, memorising, page turning and the preparation process have been investigated. Technical aspects are dealt with because adjustments are needed during duet playing compared to solo playing. These include seating, the position of the arms and hands, fingering, dynamic variety, balance, timing and the use of pedal. A factor contributing to the neglect of incorporating duet playing in teaching seems to be the difficulty in sourcing appropriate repertoire. Duet publications generally offer only limited guidelines concerning grading whereas duet repertoire lists include mostly advanced compositions using undefined grading over a broad spectrum. Beginner repertoire is seldom referred to in duet repertoire lists, which complicates the process of finding appropriate beginner repertoire. The fact that sheet music suppliers only have a limited variety of duet publications available exacerbates the problem. The researcher has endeavoured to find a solution for this problem by devising a selective syllabus of beginner duets. Because no relevant grading system is available, such a system had to be devised. The publications of six well-known piano beginner methods were analysed to establish the basic sequence in which musical concepts are introduced to the beginner pianist. Following these guidelines a grading system of eight levels has been developed. A search for duet repertoire has been undertaken by scrutinising a piano curriculum, various piano duet examination syllabi as well as the researcher’s duet collection, and by investigating the availability of repertoire in libraries, sheet music suppliers and on the Internet. Subsequently suitable duets were played and graded. The outcome of this dissertation is a suggested graded duet syllabus for the beginner pianist. A compact disc of selected piano duets performed by the author and a partner is included. / Dissertation (MMus)--University of Pretoria, 2010. / Music / unrestricted

The thesis is concerned with methodological specifics of beginner piano teaching of students at different age levels. It attempts to give a complex view of its various aspects. The thesis is subdivided into several chapters, drawing on available psychological and methodological literature, piano course books and a questionnaire survey. The first chapter focuses on a beginner piano learner as an individual undergoing a particular stage of psychological development. It explores learners' general as well as music- specific characteristics and links these characteristics to piano playing. In addition, it describes motivational tendencies prevailing at different development stages, and other factors which can substantially influence the learning process, but have not hitherto been discussed with respect to piano teaching in greater detail although a pedagogue can more easily deal with potential problems that may arise at beginner levels when thoroughly informed. It namely discusses learning and teaching styles, hindrances to learning and learning disabilities. The second chapter is devoted to methodological specifics of teaching learners of different age groups. The third chapter then expands on the subject of beginner piano teaching specifics, comparing techniques used in beginner piano books aimed at various...

The thesis is devoted to the specificity of playing the piano preschool children. It combines the knowledge of developmental psychology, psychology of music and piano methodology with their reflection in practical teaching piano. The work is divided into five chapters, which i s based on key publications and developmental psychology of music in the Czech republic, theoretical works of contemporary piano teachers, piano course books and a survey carried out in the framework of a diploma thesis. The first chapter deals with the level of psychological development of preschool age and its reflection in piano lessons. The second chapter discusses the level of musical abilities of the child at the same age. Chapter three outlines further specifics in teaching pre-school children, dedicated to personalities of pupil and teacher as the main creators of the educational process, it refers to the methods used in teaching and not least about the role of parents in the education of their child. The fourth chapter summarizes the methodology selected piano teaching materials suitable for teaching children of preschool age. Final Chapter complements the work of the views of piano teachers on teaching preschool children.