Use this url to cite ETD: https://hdl.handle.net/20.500.12259/98759
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The role of piano playing skills in the process of future music teachers’ education
Field of Science
Edukologija / Education (S007)
Type of publication
type::text::thesis::master thesis
Title
The role of piano playing skills in the process of future music teachers’ education
Other Title
Grojimo fortepijonu gebėjimų vaidmuo būsimųjų muzikos mokytojų ugdymo procese
Author
Extent
58 p.
Date Issued
2019-06-05
Abstract
When a piano student fully grasps the material part of skills, he will show an infinite and broad vision of artistic deduction, which requires skilful use of intelligence, spiritual and emotional integration on the basis of knowledge and aesthetic sense (Hofmann, 2000). Perceptual listening refers to the listening with perceptual materials as the object, paying attention to the musical instruments’ sound speed in the process of music playing.Students must also learn to understand how invisible things merge externally separated notes, groups, segments, movements and voices into an organic whole. These are the most enchanting and arduous tasks of intelligent artists (Hofmann, 2000).Art can not only be limited to perceptual knowledge, but also cannot be limited only to rational understanding. It is necessary to carry out the steps ofemotional deepening (Zou, 2000). “Scientists have a mission in a setting of academic background of power or force to fuse and change the way music acts because this is how methodology of understanding music works, namely, through understanding of musical sense, some kind of technical analysis or musicology analysis involving imagination and inference.Artistic abilities such as finger movement speed, force, sensitivity and some other skills are the technical content used in music art while playing music, for example, skilful use of appropriate technology like to play pop music the player’s movements should be light weight, slow, etc. So, using the technology does not necessarily mean the player has skills, but no technology certainly means that there are noskills involved at all (Chen, 2013). If the definition of the two is confused, and the ability to express music is collectively referred to as technology, then music expression is regarded as the manufacturing of technology or a programme that can be massproduced, which leads artistic performance into a dead end.There is no doubt that degree of exquisite feelings is compared with music performance in the subtle degree of all skills which are closely linked to musical and emotional expression (Zou, 2000).Therefore, while playing the piano, in order to make better performance and convey all kinds of exquisite and rich musical emotions of the music work, player must be careful with the interpretation and analysis of all kinds of music in the original methodof subtle contrast. For example, in the premise of respecting the original composition, through comparing styles of different players, all sorts of rigorous and exquisite skills eventually emerge in the second creation of music works. The original and performer’s musical emotions are perfectly conveyed to the audience if they are interested in the technical problems of a special Etude and listen to it.If learner would learn a lot about one’s body, he or she will have fun and acquire some benefits (Madeline, 1997). From the development history of the piano people can be seen on the
8stereo’s aesthetic pursuit of the rich volume and hearing is the wisdom that creates miracles in the history of piano playing, which made the piano as it is today. It can be saidthat the threshold of the high quality life of modern people is the way it is right now is because there had been a raise of appreciation for the piano and violin music, it inspired in composers a desire to write and promote the development of the piano technology.Learning piano is not only a matter of doing things, but more importantly, it is eye-catching, brain-moving and tempting (Zhao, 1998). In the process of understanding music, we need to pay attention to the relationship between skills and the expression. Sometimes, the spectrum shows a skill, but the last skill should be an expression that integrates various factors such as expression’s speed, rise and fall, rather than simply playing skilfully.To learn the piano, it is necessary to make the whole body correspond to the whole soul and achieve relaxation, insight, perception, and to integrate the soul with the flesh and music. Only in this way can the music be understood and expressed during the piano practice (Zhao, 1998). When the learner is ready, he or she will be able to play the musical piece very quickly. When the body is forced to move fast, it will shrink. This will only prevent the learner from playing the piano successfully.Reaching the expected speed will have no proper results, as evenif you are worried about the deadline, it will only waste time and have no other effect (Madeline, 1997). If the player doesn’t have a clear image in his mind, the effect will be only a blur. What is played is usually controlled by the mind. This is true for any artist, especially a musician.When people grow up, they must acquire a new understanding of art (Horowitz, 2000). In order to become a pianist with musical and artistic attainments, the musician must first recognize the possibility and limitationsof the piano as an instrument in order to determine the scope of activities. Then, all the energy of the expressive force and the sound quality contained in the piano must be explored and discover. Most importantly, pianists can never compete with orchestras. There is no need for it, because the inherent expressive force of the piano is wide enough to ensure the highest artistic effect. The problem of the research: how quality of the piano playing skills affect the process of future music teachers’ education.The object of the research: future music teachers’ piano playing skills.The aim of the research: to discuss the importance of piano playing skills for the future music teacher’s education.The objectives of the research:1.To uncover the importance of piano playing skills in the process of future music teachers’ education using the scientific and methodological literature.
92.To disclose the peculiarities of learning to play the piano in the process of future music teachers’ education.3.To analyse future music teachers’ attitude about piano playing skills in the music education process on the basis of empirical research.Research methods: analysis of scientific and methodological literature; quantitative and qualitative (content) analysis of the data: analysis of future music teachers’ questionnaires and interviews. The Master Graduation paper contains: 58pages, 9tables, 4figures and 3annexes.
8stereo’s aesthetic pursuit of the rich volume and hearing is the wisdom that creates miracles in the history of piano playing, which made the piano as it is today. It can be saidthat the threshold of the high quality life of modern people is the way it is right now is because there had been a raise of appreciation for the piano and violin music, it inspired in composers a desire to write and promote the development of the piano technology.Learning piano is not only a matter of doing things, but more importantly, it is eye-catching, brain-moving and tempting (Zhao, 1998). In the process of understanding music, we need to pay attention to the relationship between skills and the expression. Sometimes, the spectrum shows a skill, but the last skill should be an expression that integrates various factors such as expression’s speed, rise and fall, rather than simply playing skilfully.To learn the piano, it is necessary to make the whole body correspond to the whole soul and achieve relaxation, insight, perception, and to integrate the soul with the flesh and music. Only in this way can the music be understood and expressed during the piano practice (Zhao, 1998). When the learner is ready, he or she will be able to play the musical piece very quickly. When the body is forced to move fast, it will shrink. This will only prevent the learner from playing the piano successfully.Reaching the expected speed will have no proper results, as evenif you are worried about the deadline, it will only waste time and have no other effect (Madeline, 1997). If the player doesn’t have a clear image in his mind, the effect will be only a blur. What is played is usually controlled by the mind. This is true for any artist, especially a musician.When people grow up, they must acquire a new understanding of art (Horowitz, 2000). In order to become a pianist with musical and artistic attainments, the musician must first recognize the possibility and limitationsof the piano as an instrument in order to determine the scope of activities. Then, all the energy of the expressive force and the sound quality contained in the piano must be explored and discover. Most importantly, pianists can never compete with orchestras. There is no need for it, because the inherent expressive force of the piano is wide enough to ensure the highest artistic effect. The problem of the research: how quality of the piano playing skills affect the process of future music teachers’ education.The object of the research: future music teachers’ piano playing skills.The aim of the research: to discuss the importance of piano playing skills for the future music teacher’s education.The objectives of the research:1.To uncover the importance of piano playing skills in the process of future music teachers’ education using the scientific and methodological literature.
92.To disclose the peculiarities of learning to play the piano in the process of future music teachers’ education.3.To analyse future music teachers’ attitude about piano playing skills in the music education process on the basis of empirical research.Research methods: analysis of scientific and methodological literature; quantitative and qualitative (content) analysis of the data: analysis of future music teachers’ questionnaires and interviews. The Master Graduation paper contains: 58pages, 9tables, 4figures and 3annexes.
Būsimųjų muzikos mokytojų gebėjimams groti fortepijonu daro įtaką daug veiksnių – noras groti, motyvacija, emocinis pasirengimas ir psichologinė savikontrolė, įtampos valdymas, psichologinės problemos. Darbe aptariami šie veiksniai, taip pat ir būsimųjų muzikos mokytojų grojimo fortepijono gebėjimų ugdymas dalykinių kompetencijų ugdymo kontekste.
Tyrimo problema apibrėžiama klausimu: kiek svarbūs grojimo fortepijonu būsimųjų muzikos mokytojų ugdymo procesui.
Tyrimo objektas: būsimųjų muzikos mokytojų grojimo fortepijono gebėjimai.
Tyrimo tikslas: aptarti grojimo fortepijonu gebėjimų svarbą būsimųjų muzikos mokytojų ugdymui.
Tyrimo uždaviniai:
1. Naudojant mokslinę ir metodinę literatūrą, išsiaiškinti grojimo fortepijonu gebėjimų ypatumus būsimųjų muzikos mokytojų ugdymo procese.
2. Atskleisti veiksnius, darančius įtaką būsimųjų muzikos mokytojų mokymuisi groti
fortepijonu.
3. Remiantis empiriniu tyrimu, išanalizuoti būsimųjų muzikos mokytojų požiūrį į grojimo fortepijonu mokymosi procesą.
Tyrimo metodai: mokslinės ir metodinės literatūros analizė; būsimųjų muzikos mokytojų anketinės apklausos atsakymų ir interviu analizė; kiekybinė ir kokybinė (turinio) duomenų analizė:
Išvados
Vis daugiau besimokančiųjų groti fortepijonu naudoja įvairiausius būdus ir metodus savo įgūdžiams tobulinti, todėl tik didelis žinių ir patirties bagažas gali padėti rasti savo stipriąsias ir silpnąsias puses.
Tyrimo apklausos rezultatuose nemažai būsimųjų muzikos mokytojų pažymėjo, kad fortepijono technikos įvaldymas ir sisteminis grojimo įgūdžių ugdymas – labai svarbūs veiksniai būsimųjų muzikos mokytojų kompetencijų formavimo procese.
Tyrimo problema apibrėžiama klausimu: kiek svarbūs grojimo fortepijonu būsimųjų muzikos mokytojų ugdymo procesui.
Tyrimo objektas: būsimųjų muzikos mokytojų grojimo fortepijono gebėjimai.
Tyrimo tikslas: aptarti grojimo fortepijonu gebėjimų svarbą būsimųjų muzikos mokytojų ugdymui.
Tyrimo uždaviniai:
1. Naudojant mokslinę ir metodinę literatūrą, išsiaiškinti grojimo fortepijonu gebėjimų ypatumus būsimųjų muzikos mokytojų ugdymo procese.
2. Atskleisti veiksnius, darančius įtaką būsimųjų muzikos mokytojų mokymuisi groti
fortepijonu.
3. Remiantis empiriniu tyrimu, išanalizuoti būsimųjų muzikos mokytojų požiūrį į grojimo fortepijonu mokymosi procesą.
Tyrimo metodai: mokslinės ir metodinės literatūros analizė; būsimųjų muzikos mokytojų anketinės apklausos atsakymų ir interviu analizė; kiekybinė ir kokybinė (turinio) duomenų analizė:
Išvados
Vis daugiau besimokančiųjų groti fortepijonu naudoja įvairiausius būdus ir metodus savo įgūdžiams tobulinti, todėl tik didelis žinių ir patirties bagažas gali padėti rasti savo stipriąsias ir silpnąsias puses.
Tyrimo apklausos rezultatuose nemažai būsimųjų muzikos mokytojų pažymėjo, kad fortepijono technikos įvaldymas ir sisteminis grojimo įgūdžių ugdymas – labai svarbūs veiksniai būsimųjų muzikos mokytojų kompetencijų formavimo procese.
Language
Anglų / English (en)
Defended
Taip / Yes
Access Rights
Prieigos embargo / Embargoed Access
File(s)wa_cai_md.pdf (557.36 KB) Embargo Accessuntil 2024-06-05