Effective piano accompaniment training for music teachers and performers - a case study from Turkey and North Cyprus

This study explores accompaniment playing in higher education in Turkey and Northern Cyprus with a specific focus on a module in accompaniment playing delivered in the Eastern Mediterranean University. The aim of the current study is to explore existing approaches to accompaniment tuition and investigate the extent to which 14 weeks of specific training can support the development of piano accompaniment skills in HE students. Accompaniment playing is an important and necessary skill for all types of musicians. While recent studies indicate that accompaniment playing is generally taught in group piano lessons and is mostly offered for four semesters, the approach varies and there is no recognised standard model for this form of training in Northern Cyprus and Turkey. The proposed training therefore builds on elements of existing models, and highlights a range of necessary skills and understandings for students. In examining the effectiveness of the module, the current study involves both qualitative and quantitative data collection tools, including questionnaires, interviews and a focus group along with pre and post-tests. The range of participants includes accompaniment-playing tutors and both past and presents students with experience of the MAP. The research findings reveal a range of essential components which are vital in the development of effective accompaniment skills. The current study recommends that effective piano accompaniment playing training should be organized in small groups and cover both teaching how to play an existing accompaniment for a soloist/ensemble and how to create an accompaniment for a melody. The proposed training focuses on both theoretical and practical elements which can help prepare young musicians for work in the professional field by providing active learning in a range of genres. This new, formal approach to accompaniment playing tuition therefore develops creative thinking and creative skills, contributes to the employability of students and enhances intrinsic motivation and self-efficacy beliefs

The Butterfly Schema as a Product of the Tendency for Congruence and Hierarchical Selection in the Instrumental Musical Grammar of the Classical Period

Diverging explanations of local multiparametric schemata are found in music of the common practice period (c. 1600–c. 1900). Associative statistical theories describe schemata as situated structures in particular times and places, whereas generative theories present these constructions as features formed through stability in universal and general rule systems. Associative-statistical theories of schemata elucidate the culturally conditioned relationships between features (distinctive attributes commonly used in grammars and schemata), but do not show the influence of universal psychological constraints; generative theories reveal the implicit structure of music, but do not formalise particular grammatical features and contexts. A synthesis of generative and associative-statistical approaches is necessary to model the interaction between universal and particular constraints of grammars and schemata. This dissertation focuses on a novel localised schema formed in the Classical instrumental grammar, termed the butterfly schema. It is posited that the butterfly schema is generated by a tendency for congruence that is manifest in and between the particular features of this grammar. Computational musicology and psychology provide interdisciplinary insight on the formal possibilities and limitations of grammatical structure. Computational models of schemata and grammars show how the congruent features of musical structure can be represented and formalised. However, they also highlight the difficulties found in the automatic analyses of multiparametric relationships, and may be limited on account of their inductive frameworks. Psychological approaches are important for establishing universal laws of cognition, but are limited in their potential to account for the diversity of musical structuring in grammars. The synthesis of associative-statistical and generative approaches in the present dissertation permits modelling the combination of the universal and particular attributes of butterfly schemata. Butterfly schemata are dependent on the particular grammars of periods of history, but are constrained by the tendency for congruence, which is proposed to be a cognitive universal. The features of the butterfly schema and the Classical instrumental grammar are examined and compared against the features of the Baroque and Romantic grammars, showing how they are formed from diverse types of congruent structuring. The butterfly schema is a congruent grammatical category of the Classical instrumental grammar that comprises: chords that are close to the tonic in pitch space (with a chiastic tension curve starting and ending on the tonic); a textural and metrical structure that is regular and forms a regular duple hierarchy at the level of regular functional harmonic change and at two immediately higher levels; and simple harmonic-rhythm ratios (1:1 and 3:1). A survey conducted using arbitrary corpora in European instrumental music, c. 1750–c.1850, shows the distribution of butterfly schemata. Butterfly schemata are more common in the Classical-period sample (c. 1750–c. 1800) than in the Romantic-period sample (c. 1800–c.1850), suggesting that the tendency for congruence manifest in and between the features common in the Classical grammar generates butterfly schemata. A second component to the statistical analysis concerns the type of schemata observed, since the tendency for congruence is presumed to also apply to the type of features that form in butterfly schemata. Maximally congruent features are generated more commonly than minimally congruent features, indicating the influence of the tendency for congruence. This dissertation presents a formulation of the Classical instrumental grammar as a multiparametrically congruent system, and a novel explanation and integration of the concepts of grammars and schemata. A final component to the dissertation poses that the features of the Classical instrumental grammar and butterfly schema follow a distinct order of dependency, governed by the mechanism of selection in culture. Although the tendency for congruence governs all features of a grammar, features are also formed by the top-down action of culture which selects those features. Thus, a top-down hierarchical selection model is presented which describes how the butterfly schema is formed through the order of selection of features in the Classical instrumental grammar

A Computational Model on Harmonizing Chinese Folksong with Piano Accompaniment

Research on auto-harmonizing a melody (e.g. Chinese folksong) with piano accompaniment is trying to build up a computer system which generates a 3-voice music including piano left-hand voice and right-hand voice beside an input melody voice. This research belongs to the automatic harmonization field. Here we approach Chinese folksong harmonization with piano accompaniment as a machine learning task, in a probabilistic framework. We use existing example of Chinese folksong with piano accompaniment to build a model of piano accompaniment process. This model can then be used to harmonize new Chinese folksong with piano accompaniment

The Music Sound

A guide for music: compositions, events, forms, genres, groups, history, industry, instruments, language, live music, musicians, songs, musicology, techniques, terminology , theory, music video. Music is a human activity which involves structured and audible sounds, which is used for artistic or aesthetic, entertainment, or ceremonial purposes. The traditional or classical European aspects of music often listed are those elements given primacy in European-influenced classical music: melody, harmony, rhythm, tone color/timbre, and form. A more comprehensive list is given by stating the aspects of sound: pitch, timbre, loudness, and duration. Common terms used to discuss particular pieces include melody, which is a succession of notes heard as some sort of unit; chord, which is a simultaneity of notes heard as some sort of unit; chord progression, which is a succession of chords (simultaneity succession); harmony, which is the relationship between two or more pitches; counterpoint, which is the simultaneity and organization of different melodies; and rhythm, which is the organization of the durational aspects of music

Ohio State University Bulletin

Classes available for students to enroll in during the 1998-1999 academic year for The Ohio State University

Ohio State University Bulletin

Classes available for students to enroll in during the 2000-2001 academic year for The Ohio State University

Ohio State University Bulletin

Classes available for students to enroll in during the 1997-1998 academic year for The Ohio State University