A few words about music : containing hints to amateur pianists, to which is added a slight historical sketch of the rise and progress of the art of music /

Includes bibliographical references.

Piano mastery : second series : talks with master pianists and teachers, including conferences with Hofmann, Godowsky, Grainger, Powell, Novaes, Hutcheson and others; also hints on Macdowell's teaching by Mrs. Macdowell, and reminiscences of Joseffy /

Photocopy.

Great pianists on piano playing;

Mode of access: Internet.

Famous pianists of to-day and yesterday,

Mode of access: Internet.

Piano mastery, second series; talks with master pianists and teachers, including conferences with Hofmann, Godowsky, Grainger, Powell, Novaes, Hutcheson and others; also hints on Macdowell's teaching by Mrs. Macdowell, and reminiscences of Joseffy,

Mode of access: Internet.

Analise das alterações nos padrões de preensão palmar em pianistas

Universidade Estadual de Campinas . Faculdade de Educação Física

Reciprocal Modulation of Cognitive and Emotional Aspects in Pianistic Performances

Background: High level piano performance requires complex integration of perceptual, motor, cognitive and emotive skills. Observations in psychology and neuroscience studies have suggested reciprocal inhibitory modulation of the cognition by emotion and emotion by cognition. However, it is still unclear how cognitive states may influence the pianistic performance. The aim of the present study is to verify the influence of cognitive and affective attention in the piano performances. Methods and Findings: Nine pianists were instructed to play the same piece of music, firstly focusing only on cognitive aspects of musical structure (cognitive performances), and secondly, paying attention solely on affective aspects (affective performances). Audio files from pianistic performances were examined using a computational model that retrieves nine specific musical features (descriptors) - loudness, articulation, brightness, harmonic complexity, event detection, key clarity, mode detection, pulse clarity and repetition. In addition, the number of volunteers' errors in the recording sessions was counted. Comments from pianists about their thoughts during performances were also evaluated. The analyses of audio files throughout musical descriptors indicated that the affective performances have more: agogics, legatos, pianos phrasing, and less perception of event density when compared to the cognitive ones. Error analysis demonstrated that volunteers misplayed more left hand notes in the cognitive performances than in the affective ones. Volunteers also played more wrong notes in affective than in cognitive performances. These results correspond to the volunteers' comments that in the affective performances, the cognitive aspects of piano execution are inhibited, whereas in the cognitive performances, the expressiveness is inhibited. Conclusions: Therefore, the present results indicate that attention to the emotional aspects of performance enhances expressiveness, but constrains cognitive and motor skills in the piano execution. In contrast, attention to the cognitive aspects may constrain the expressivity and automatism of piano performances.

Relatório de estágio: mestrado em ensino da música

Resumo I - O projecto “Piano e outros Instrumentos/orquestra” consiste na implementação do formato Piano e Orquestra em complemento às aulas individuais e aos ensaios de conjunto. O trabalho foi dirigido a um grupo de três alunos com idades de 9, 12 e 16 anos, do curso de Iniciação, Básico e Secundário da EMNSC (Escola de Música de Nossa Senhora do Cabo). Foram criados momentos distintos em cada fase. Estimulou-se o desenvolvimento de competências musicais e de estratégias metacognitivas visando a evolução dos alunos e a eficácia na realização do estudo individual. O Projecto foi criado com o objectivo de desenvolver as competências musicais, a motivação para realização do estudo individual e de grupo, o espírito e a audição crítica, o controlo dos factores psicológicos, a ansiedade, o aumento da autoconfiança, a aprendizagem, a melhoria da atitude positiva no momento da execução pública e o incremento do interesse pelas actividades relacionadas com a prática musical. A realização deste projecto visou analisar o grau de motivação, o desenvolvimento e a aquisição de competências musicais dos alunos de piano que frequentaram semanalmente aulas individuais, aulas extra de preparação, ensaios com Orquestra “Da Capo”, ensaios com a Orquestra Maior, duos com violoncelo e com canto. Um dos objectivos era comparar o grau de motivação e desenvolvimento dos alunos quando estudam obras nas aulas individuais que constituem o programa curricular e, por outro lado, quando o fazem em peças seleccionadas especificamente para este Projecto. Esta experiência visou proporcionar um conhecimento nos diversos domínios da música, uma visão diferente da funcionalidade do piano em conjunto com os outros instrumentos, a descoberta das sonoridades do piano contrastante e ao mesmo tempo, integrante com outros instrumentos, as formas de funcionamento dos instrumentos de corda, de sopro, dos assuntos relacionados com a afinação e pretendendo-se assim apurar o sentido de fazer parte integrante de um todo.

Sobre o (des)uso de exercícios na técnica pianística

Dissertação para obtenção do grau de Mestre em Música - Interpretação Artística. Especialidade: Piano

Modélisation de l'interprétation des pianistes & applications d'auto-encodeurs sur des modèles temporels

Ce mémoire traite d'abord du problème de la modélisation de l'interprétation des pianistes à l'aide de l'apprentissage machine. Il s'occupe ensuite de présenter de nouveaux modèles temporels qui utilisent des auto-encodeurs pour améliorer l'apprentissage de séquences. Dans un premier temps, nous présentons le travail préalablement fait dans le domaine de la modélisation de l'expressivité musicale, notamment les modèles statistiques du professeur Widmer. Nous parlons ensuite de notre ensemble de données, unique au monde, qu'il a été nécessaire de créer pour accomplir notre tâche. Cet ensemble est composé de 13 pianistes différents enregistrés sur le fameux piano Bösendorfer 290SE. Enfin, nous expliquons en détail les résultats de l'apprentissage de réseaux de neurones et de réseaux de neurones récurrents. Ceux-ci sont appliqués sur les données mentionnées pour apprendre les variations expressives propres à un style de musique. Dans un deuxième temps, ce mémoire aborde la découverte de modèles statistiques expérimentaux qui impliquent l'utilisation d'auto-encodeurs sur des réseaux de neurones récurrents. Pour pouvoir tester la limite de leur capacité d'apprentissage, nous utilisons deux ensembles de données artificielles développées à l'Université de Toronto.

The expression and production of piano timbre : gestural control and technique, perception and verbalisation in the context of piano performance and practice

La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (http://www.bib.umontreal.ca/MU).

Dedilhado pianístico e suas relações com princípios técnicos e musicais

Pós-graduação em Música - IA

Pianeiros: dialogismo e polifonia no final do século XIX e início do século XX

Pós-graduação em Música - IA

A leitura à primeira vista e o ensino de piano

Pós-graduação em Música - IA

Using Three Dimensional Motion Capture Technology to Describe and Assess Piano Technique: A Case Study

The purpose of the study was to examine any differences that exist in the quality of motions employed by pianists when they are sight-reading versus performing repertoire. A secondary question of interest was whether or not an improvement in the efficiency of motion could be observed between two sight-reading trials of the same musical excerpt. While data analysis for the full study is ongoing, the following results from a case study are illustrative.