Piano Pedagogy is the study of the teaching of piano playing. While the field of music education professionals deals with teaching music in school classrooms or group settings, piano pedagogy focuses on teaching musical skills to individual piano students. This is often done through private or semi-automated instruction, commonly referred to as the piano lesson . Piano pedagogy practitioners are called piano pedagogues , or just, piano teachers .
Video Piano pedagogy
Pelatihan profesional
The range of professionalism among piano teachers is undoubtedly vast. "Competent instruction is not always guaranteed by the number of years that have been learned," piano instructors are warned and author of many pedagogical books, James Bastien. Factors affecting the professional quality of a piano teacher include one's competence in musical performances, knowledge of music genres, history and music theory, piano repertoire, teaching experience, the ability to adapt one's teaching methods to students of different personalities and learning styles, level of education, and so on.
Musicians without a degree in piano pedagogy
In the United States, piano lessons can be offered by teachers without a college education focusing specifically on piano performances or piano pedagogy. Some teachers may hold degrees in other disciplines in music, such as music education or other field of performances (sounds, orchestral instruments, etc.). Other teachers, without higher education in music, may learn to play the piano independently or self-study.
Undergraduate and graduate studies in piano pedagogy
The field of piano pedagogy can be studied through an academic program culminating in the attainment of a bachelor's, master's or doctorate degree in a music or conservatory college. The degree level may require many years of previous piano studies and prior teaching experience as a prerequisite for the application. At the graduate level, many schools require applicants to have teaching experience and at least a music scholar or equivalent experience in piano and/or pedagogy performances.
Although almost all piano pedagogy programs cover most performance requirements, pedagogy majors may differ from the performance majors in some schools. Some members of the last group may have the option of taking courses in piano teaching, but not all of them.
Professional organizations in the United States
Many piano teachers hold membership in professional organizations, to maintain their commitment to pedagogy and to networking with peers and others in music. These organizations often offer teacher workshops, conferences, guidance programs, publications on piano pedagogy, and opportunities for scholarships, competitions, and performances for member students. Some of the leading organizations in the United States include:
- American Council of Piano Performers - ACPP
- National Association of Music Teachers - MTNA
- National Music Club Federation
- The National Piano Teacher Guild
- Master Piano Congress in New York
Professional Organization in Canada
The main organization that offers certificates and curriculum testing in Canada is the Royal Conservatory of Music. There are three levels in their certificate program; basic, intermediate and advanced. Basic pedagogy certificates allow teachers to teach beginners to second-grade pianos, while medium certificates allow teachers to teach up to grade 6 piano. Advanced piano pedagogy is known as the "ARCT" (Associate of Royal Conservatory of Toronto), which allows teachers to teach up to 10th grade. There are also a number of theories and historical exams that accompany each certificate program to be completed. There is also a Piano Teacher Federation based in Vancouver, British Columbia.
Maps Piano pedagogy
The leading piano pedagogy in history
- Johann Nepomuk Hummel (Austria, 1778-1837)
- Carl Czerny (Austria, 1791-1857)
- Maria Szymanowska (Poland, 1789-1831)
- FrÃÆ'Â © dÃÆ' Â © ric Chopin (Poland, 1810-1849)
- Theodor Leschetizky (Poland, 1830-1915)
- Franz Liszt (Hungary, 1811-1886)
- Tobias Matthay (England, 1858-1945)
- Heinrich Neuhaus (Russia, 1888-1964)
- Dimitri Bashkirov (Russia, 1931 -)
- Leila Fletcher (Canada, 1899-1988) Ontario, Mayfair Montgomery Publishing
- Neil A. Kjos (USA, 1931-2009) Illinois, known by James Bastien's books
- Abby Whiteside (AS, 1881-1956)
- Isidor Philipp (France, 1863-1958)
- Harold Bradley (Canada 1906-1984)
- Vicente Scaramuzza (Italy 1885 - Argentina 1968)
- Frances Clark (USA, 1905-1998)
- Stefan Ammer (Germany, 1942 -)
- Ilana Vered (Israel, 1943 -)
Study topics
Piano pedagogy involves the study and teaching of motor skills, intellectuals, problem solving, and artistic involvement in playing piano effectively. Citing the influence of ZoltÃÆ'¡n Kodály, Carl Orff, ÃÆ' â € ° mile Jaques-Dalcroze, Russian-American piano pedagogue at Longy School of Music, Dr. Faina Bryanskaya, supports a holistic approach that integrates many aspects of music production. may well produce the most effective piano teaching.
Ear training
Dr. Bryanskaya argues that the main task for piano teachers early in student studies is the introduction of the habit of listening to quality "descriptive and highly expressive" music performances, as a means to "awaken [students] to the meaning of music".
Rhythm
Teaching the rhythm is important for students to be able to learn a part accurately, as well as to perform pieces that are practiced with confidence. Developing an internal metronome plays an important role when teaching rhythm. Teachers can encourage students to count hard when practicing, or practice with a metronome to develop a stable internal pulse.
Notation
Learning to read music is an essential skill for most pianists. In general there are three approaches to teaching students to read music, although the combined approach is increasingly common. The "C Middle Method", the "single identification" method, is the method most frequently taught throughout the 20th century. It was introduced by W.S.B. Mathews in 1892 but was popularized by Thompson's Modern Course for Piano (1936). "Middle C" teaches a position relative to middle C; in other "single note identification" methods, other records may be used.
The "intervallic method", developed by Frances Clark with her curriculum, teaches pattern recognition, and adds "historic records".
The "multi-key method", developed by Robert Pace and published in 1954, teaches students all major and minor keys quite quickly.
Technique
Good piano playing techniques involve a simultaneous understanding of both the mind and body of the relationship between elements of musical theory, the recognition of musical patterns in notation and at the fingertips, the physical landscape of the entire keyboard range, the dexterity of the fingers and independence, and the various touch and tone productions for various emotional expressions. Skills in all these areas are usually nurtured and developed in order to express themselves more effectively and naturally through the piano sound, so that the technical elements will sound alive with musicality.
Improvisation
Modern piano lessons tend to emphasize the notation of learning, and can ignore the development of creative spirit and sensitive ears that lead to the creation of expressive music. Studies show the need to use several approaches in learning music skills that involve both sides of the brain - analytical and intuitive - for students to master all aspects of play. Therefore, teaching improvisation skills can help students take ownership of the expressive qualities of the music they make, and to keep learning music and practicing life and interest. One way to do this is to create stories full of different emotions through improvisation, to reinforce the concepts of music theory that have been introduced and develop various touch and tone production.
Some of the main piano methods, such as Faber Piano Adventures, have started offering improvisational options. But in most methods, improvisation is still additional, with the core curriculum centering around notations, theories, and techniques. There are exceptions, such as The Music Tree, where each unit in the core textbook has an improvised activity. One of the game-based piano methods, Simply Music, includes improvisations that begin in the first lesson and continues throughout the student's learning experience.
Vision readings
Reading vision is highly dependent on students' ability to understand rhythm, and to recognize the pattern of music. The teaching of reading sight can include teaching students to recognize intervals, scale part patterns, reading notes and the ability to internalize the rhythm. The ability to have strong knowledge of different key and minor key signs can also help students anticipate accidents they should expect when reading sight.
Memorize
Memorizing is useful for doing pieces with confidence. It gives students the ability and freedom to experience music for all its intricacies rather than focusing on technical tones and rhythms. Memorizing can be easy for some students, and more difficult for others. The most common memorizing technique is muscle memory. However, dependence on muscle memory alone can hinder students if they do not make cognitive connections between each note they play, and leave room for many memory slips. To have a strong memorizing base, students should be able to visualize everything they play, and can start from any part.
Effective memorization results from "a combination of visual, kinesthetic, aural and analytical skills".
Repertoire
Notable keyboard works written with special attention to pedagogical purposes in mind include:
- Notebook for Anna Magdalena Bach (1725) by family and friends from J.S. Bach
- KlavierbÃÆ'¼chlein fÃÆ'¼r Wilhelm Friedemann Bach, Little Prelude and Fugues, Discovery and Sinfonias, & amp; The Well-Tempered Clavier by J.S. Bach
- Sonatinas by Muzio Clementi
- Album For The Younger, Op. 68 (1848) by Robert Schumann
- Album For The Younger, Op. 39 (1878) by Pyotr Ilyich Tchaikovsky
- Music for Kids, Op. 65 (1935) by Sergei Prokofiev
- Pieces by Igor Stravinsky, Dmitri Kabalevsky, and Aram Khatchaturian
- Microcosm, Sz. 107, BB 105 (1926-39) by BÃÆ' Â © la BartÃÆ'³k
Venues offers instructions in piano games
The teaching of piano play most often occurs in the form of private weekly lessons, in which a student and a teacher hold a one-on-one meeting. Instructions can sometimes be offered semi-privately (one teacher meeting with a small group of two or more students) or in a larger group class, in other time intervals. Piano lessons are offered in a variety of different settings, including the following:
- Independent piano studio studio
- Music and piano shop
- Community music school
- Continue education program
- Distribution of college music or conservatory preparation
- College music or conservatory
- Online Distance Learning Course
See also
- Five-finger exercise
- Pedagogy
- Pianist
References
Further reading
Bryanskaya, Faina (1988). Music Making Key: Piano Method for Beginners, Part I, II & amp; III. Providence, RI: White Lilac Press. ISBNÃ, 0-929571-00-2, ISBNÃ, 0-929571-01-0, ISBNÃ, 0-929571-02-9
Gerig, Reginald (2nd Ed. 2007). Famous Pianist and Their Technique. Indiana University Press. ISBN: 0-253-34855-2
Magrath, Jane (1995). Pianist's Guide for Standards and Literature Performance Teaching. Alfred Publishing Co. ISBNÃ, 0-88284-655-8
Business skills for teachers and piano artists
Riley, Peter Jason (2002). New Tax Guide for Artists Every Persuasion. Broadcasting Edition: New York. ISBNÃ, 0-87910-966-1
Colombo, SebastiÃÆ'¡n (2013). Vicente Scaramuzza. La vigencia de una escuela pianÃÆ'stica. Editorial CÃÆ'rculo Rojo. ISBN 978-84-9050-015-6
External links
- Music Teachers National Association - MTNA (USA)
- Frances Clark Center for Keyboard Pedagogy
- The National Piano Teacher Guild
- Master Piano Congress in New York
- Robert Schumann's Rules for Young Musicians
Source of the article : Wikipedia
0 Comments