Characteristics of Generation Z Piano Students From the Perspective of Piano Teachers

The aim of this research is to determine the characteristics of Generation Z piano students from the perspective of piano teachers. The sample of the study consists of 40 piano teachers working in state conservatories with piano departments in Turkey. The data were collected with the “Teacher Opinion Form” consisting of 24 questions, which took its final form with expert opinions, and the findings were tabulated. As a result of the research, it has been determined that the majority of Generation Z piano students are generally impatient, have high self-confidence but low self-awareness in terms of personality traits. In terms of studying and learning characteristics, they experience great difficulties in their individual studies without support, they do not know their own learning methods, they have difficulty in managing their study time properly, and their professional curiosity is not high. When students are evaluated according to their emotional state, they are temperamental, have difficulty accepting criticism and lose their belief in success quickly. Piano students, according to their digital literacy, are hasty and play fast due to the habit of quick action/quick response habit acquired from the digital environment, and they quickly get bored with the works they are practicing as they are unable to balance between the regular flow of new information in the digital environment and the flow in real life. It is also among the results obtained that the students of Generation Z, who were born into technology, do not use this technology efficiently in terms of contribution to the piano lesson. In the light of these results obtained, suggestions regarding the piano education of Generation Z and future field studies were presented.

Arrangement and transcriptions in creations by Alexander Siloty at the mention of traditions for musical and redactional practice at the end of XIXth – the first part of the XXth centuries

Purpose of the article. Consists of research of redactional heritage by Alexander Siloty at the border of the XIXth-XXth centuries and analysis of his arrangement and transcriptions. The methodology consists of using resources-studying, comparative methods, and also method of systematization and generalization. The resources-studying method was used for analyzing previous resources and working with the full edition of redactions by Alexander Siloty. A comparative method was necessary during the comparison of the first piece`s resource and its transcription. Method of systematization and generalization consists of generalization for processed material and summarizing of this exploring. This mythological approach allows the analysis of details previsions information at the thymes of arranging and transcriptions by Alexander Siloty. The scientific novelty of the article consists of an introduction to scientific circulation redactions by Alexander Siloty, which are not explored at this moment, and also in locating of the creating by Alexander Siloty arrangements and transcriptions for piano pieces for orchestral and vocal genres. Сonclusions. Arrangements and transcriptions by Alexander Siloty absorbed in itself basis points of edition`s working by representatives of the previous generation, as C. Cherny and F. Busoni. But pedagogical and performable functions in Alexander Siloty`s redactions were actually balanced, in the same moment when pieces by previous representatives were calculated for the most part only for professional pianists. Identifying during exploration this approach in the way of editions` deleting on amplifications and reductions, did conclusions, that they had full right to take place in the repertoire of the modern pianists and in the pedagogical base of professional piano teachers. Modern pianist sets a goal of the technical problem`s solving and maximally exactly represent of score`s text, and left interpretative goals on the second side. On the other hand, redactions by Alexander Siloty weren`t focused attention on the only pianistic tricks. The general goal of it becomes the individual mind through the personality of the single performer.

Piano Puzzler Preparation

This section, newly created for the third edition, is a response to the many private piano teachers and classroom music teachers who have suggested that it should be possible to create a fun and useful curriculum based on the Piano Puzzler segment of public radio’s Performance Today, which has been broadcast weekly since 2002. These exercises are necessarily for pianists and composers who play the piano because they require keyboard skills and a working knowledge of modes, harmony, and other compositional vocabulary and grammar. All of the exercises may be approached as improvisations and/or compositions to be notated. The penultimate exercise in this book, “Be a Private Ear,” provides a detailed checklist of the main compositional features that go into composing a piano puzzler. The Private Ear Checklist is a kind of shopping list that reminds you of what ingredients you need to cook something that Chopin, Brahms, Debussy, or Stravinsky might prepare. The final exercise is to use the skills developed in the preceding exercises to compose one’s own piano puzzler.

Expert Pianists’ Practice Perspectives: A Production and Listening Study

The purpose of this study was to investigate how professional pianists practice music for a concert, and whether their individual cognitive orientations in such practice processes can be identified accurately from the resulting performances. In Study I, four pianists, previously found to be skilled music memorizers, practiced and performed a short piece by André Jolivet over the course of two weeks, during which their practice strategies were studied using semi-structured interviews, and analyses of practice diaries, practice activities, and eye-movement data. The results indicate that the pianists used similar basic strategies but had different cognitive orientations, here called “practice perspectives,” consistent with each individual, in that they focused on different kinds of information while practicing. These practice perspectives may be related to skills and habits in using imagery and music analysis, as well as to professional and educational background. In Study II, 34 piano teachers listened to recordings of the concert performances and evaluated them against 12 statements representing the four practice perspectives identified in Study I. The results did not support the prediction that practice perspectives would be correctly detected by listeners. Nonetheless, practice perspectives can be used to highlight potentially vast differences between the ways in which individual professional classical musicians conceptualize music and make it meaningful to themselves and others. They could be used in the context of music education to increase musicians’ knowledge of different practice strategies and the ability to develop their own preferred working methods.

Reconstruction of College Piano Teaching Model from the Perspective of "Internet+"

As an important course for music majors in colleges and universities, piano lessons need to enable students to master the theoretical knowledge of piano and form certain playing skills.Relying on the Internet+, reconstructing the piano teaching mode will help improve teaching efficiency and quality.This article first discusses the connotation characteristics and teaching functions of internet+, and then examines the current deficiencies in piano teaching from the perspective of internet+. Finally, it proposes strategies for restructuring the piano teaching model, hoping to provide reference for college piano teachers.

A iniciação à improvisação no piano popular: análise de métodos e elaboração de proposta didática

The theme of this research focuses on the initiation of improvisation on the popular piano, as a musical educational action to introduce students to this instrument in the universe of improvisation, as a music teaching activity, but mainly as a musical experience activity related to popular music. The study aimed to carry out a comparative analysis of the publications most used by Brazilian popular musicians on harmony and improvisation, in printed editions in Portuguese or translations printed in Brazil. Nine publications with this profile were found and the analysis took place through five main categories: 1) musical initiation; 2) concepts of improvisation; 3) rhythmic, melodic and harmonic aspects; 4) practical exercises (technique and repertoire); and 5) didactic aspects. The results show regularities, specificities, and gaps in these publications most widely circulated in Brazil among popular piano teachers and improvisers. Concerning the process of initiation to improvisation on the popular piano, we highlight aspects related to planning, the sequence of contents, and practical activities.

A NEW APPROACH IN PIANO TEACHING: WE TEACHERS CAN COMPOSE REPERTOIRE IN MINIMALISM FOR STUDENTS

Patterns and repetitions are the essence of studies and exercises for piano. In music history, among composers, Carl Czerny (1791–1857) composed a great number of easy pieces for piano pedagogy that widely employed patterns and repetitions. Nowadays, minimalistic music is a new style but overlaps with the traditional repertoire of piano pedagogy on this emphasis. To employ minimalistic music in piano teaching is a new approach. Further, piano teachers can even compose pedagogical repertoire in minimalism for students. Here, I introduced my own experiences of composing such music for my students. The result was proved satisfactory in teaching. Many piano teachers composed music for their students, which was a convention in piano teaching in music history. They contributed huge amount of repertoire to piano. In the meanwhile, they were dedicated to teaching as well. Nowadays, this practice is still shining in A New Approach in Piano Teaching 6 piano pedagogy. There is a great number of piano teachers who compose music for piano pedagogy. They naturally make the music collections and published them. Undoubtedly, music composition is a specific major study in music schools and conservatories. However, the twenty-first century is an era of free style, like you can mix drinks of different flavors from a beverage machine. Further, minimalism naturally brings a solution for achieving your own piano pedagogical pieces. You can have a try! It is so fun and joyful, when you teach your students your own pieces and then enjoy progresses your students make. Ultimately, this practice will bring you such happiness when they can even memorize and perform your music. Of course, it will be fantastic if you publish your music for piano pedagogy.