six interviews

UID/EAT/00693/2013Com o objetivo de analisar a presença ou a ausência de Ansiedade de Performance Musical (APM) em duos instrumentais con- solidados, seis entrevistas semiestruturadas com membros de três duos instrumentais de música de câmara de longa duração (violino e piano; violoncelo e piano; piano a 4 mãos) foram conduzidas. A análise mostrou que a APM é um pouco comum a todos os músicos, mas que a formação de duo foi considerada um lugar seguro ou de refúgio quando com- parado ao lugar da performance solo. As causas da APM na performance em duo, para os entrevistados, foram relacionadas à família e ao ambiente em que foram criados. Além disso, a relutância em falar sobre APM entre os membros dos duos prevaleceu, e a falta de um sistema educacional para promover o conhecimento e auxiliar no desenvolvimento de estratégias de enfrentamento foi observada. Diferentes atitudes foram observadas através das diferenças de gerações dos duos, no que diz respeito à resolução do problema da APM. No entanto, todos concordaram que uma atitude psicossomática positiva e um estilo de vida saudável, juntamente com a aplicação das técnicas de respiração e concentração, são meios e eficazes para combater os problemas da APM. Em relação às suas percepções de desempenho com o parceiro regular em um duo de longo prazo (“duo consolidado”), em oposição a um parceiro ocasional em um duo de curto prazo (“duo ocasional”), todos concordaram com a satisfação preferencial do duo de longo prazo, apreciando nele “outra percepção, outra poesia”.publishersversionpublishe

The teaching legacy of Iravati M. Sudiarso

Iravati Mangunkusumo Sudiarso (born in 1937, in Surabaya) is one of Indonesia\u27s most respected musical figures. Famous throughout Indonesia as a pianist and teacher, Sudiarso has produced successful generations of pianists for more than forty years. With her professionalism and idealism in teaching, combined with endless dedication, Sudiarso has guided many students to achieve high artistry and taste in piano playing. The author had the privilege of studying with Iravati Sudiarso from 1996 through 2000, an experience which brought personal knowledge of her teaching.;Several of Sudiarso\u27s students have composed music dedicated to her, but no one has written a comprehensive study of her teaching legacy. In addition to describing Sudiarso\u27s influence on piano playing throughout Indonesia, this study will analyze piano pieces written by two of her other former students in honor of Sudiarso: Citra, by Dr. Johannes S. Nugroho; and Happy Birthday, by Levi Gunardi

CMS South Central Regional Conference 2021 Program

Program for the 2021 virtual conference of the CMS South Central Chapter

ECHOES OF THE MASTER: A MULTI-DIMENSIONAL MAPPING OF ENRIQUE GRANADOS’ PEDAGOGICAL METHOD AND PIANISTIC TRADITION

The interpretation of the piano works of Enrique Granados has challenged musicologists and performers for decades. The performances of Granados have often been described as improvisatory and spontaneous, as if his creative artistry and natural talent denied following any rigid rules. He did not like to perform the same work in the same way more than once and even his compositional process was one of continual evolution. Further, anecdotes about Granados as teacher describe the way he encouraged his students to try different approaches in the performance of his pieces. However, this description of him as a relaxed and rather free spirit might be somewhat misleading. The pedagogical methods of Granados contain painstaking descriptions and guidelines for students and his comprehensive theoretical methods are supplemented by a series of practical exercises, some of which he demanded his students follow rigidly. In an effort to reconcile both sides of his artistic temperament and to steer the student of Granados’ piano works in the right direction, attempts have been made to develop authoritative editions of his works through the analysis of his recordings and scores under the supervision of well-known interpreters of his piano music. This thesis proposes that the formulation of an authentic interpretation of Granados’ piano music involves a fresh look at the source material. It re-examines Urtext in the light of additional, more up to date analytical approaches and reveals consistencies between his pedagogical methods and his own performances. It also draws on the knowledge and reminiscences of Spanish pianists who play an incredibly important role in terms of their direct lineage to the Granados/Catalan piano school, but who are perhaps not so well-known outside of the Spanish musical community. This shared information is brought together for the first time in this thesis and helps to colour a more vivid and complete portrait of one the most important Spanish musicians of all time

ECHOES OF THE MASTER: A MULTI-DIMENSIONAL MAPPING OF ENRIQUE GRANADOS’ PEDAGOGICAL METHOD AND PIANISTIC TRADITION

The interpretation of the piano works of Enrique Granados has challenged musicologists and performers for decades. The performances of Granados have often been described as improvisatory and spontaneous, as if his creative artistry and natural talent denied following any rigid rules. He did not like to perform the same work in the same way more than once and even his compositional process was one of continual evolution. Further, anecdotes about Granados as teacher describe the way he encouraged his students to try different approaches in the performance of his pieces. However, this description of him as a relaxed and rather free spirit might be somewhat misleading. The pedagogical methods of Granados contain painstaking descriptions and guidelines for students and his comprehensive theoretical methods are supplemented by a series of practical exercises, some of which he demanded his students follow rigidly. In an effort to reconcile both sides of his artistic temperament and to steer the student of Granados’ piano works in the right direction, attempts have been made to develop authoritative editions of his works through the analysis of his recordings and scores under the supervision of well-known interpreters of his piano music. This thesis proposes that the formulation of an authentic interpretation of Granados’ piano music involves a fresh look at the source material. It re-examines Urtext in the light of additional, more up to date analytical approaches and reveals consistencies between his pedagogical methods and his own performances. It also draws on the knowledge and reminiscences of Spanish pianists who play an incredibly important role in terms of their direct lineage to the Granados/Catalan piano school, but who are perhaps not so well-known outside of the Spanish musical community. This shared information is brought together for the first time in this thesis and helps to colour a more vivid and complete portrait of one the most important Spanish musicians of all time

The life and influence of string pedagogue Phyllis Young (b. 1925): from the Kansas Plains through the University of Texas String Project

Thesis (Ph.D.)--Boston UniversityThe purpose of this study was to examine the life of Phyllis Young (b. 1925) and her contributions to string education. The researcher explored her ancestry, childhood, education, personal life, and career as a cellist and string pedagogue. The study is divided into a prologue, five chapters, and an epilogue, and ends with her retirement from the University of Texas String Project in 1993. Phyllis Young, a faculty member at the University of Texas at Austin from 1953- 2007, was Professor of Cello from 1974-2007 and the Parker C. Fielder Regents Professor in Music from 1991-2007. She authored two books, Playing the String Game (1978) and The String Play (1986), and served as national president of the American String Teachers Association. She received that organization's Distinguished Service Award (1984) and the Paul Rolland Lifetime Achievement Award (2002). In 2006, the American String Teachers Association established an award in her name, The Phyllis Young Outstanding Studio Teacher Award. For forty years (1953-1993) Young was associated with the University of Texas String Project, a teacher training program that continues to serve as a model for numerous string programs nation-wide. She was director of the project from 1965-93. Young has given lecture-demonstrations, master classes, and workshops for string teachers in thirtythree countries on six continents and in forty-four of the American states. Her success as a pedagogue is substantiated through her numerous students, many of whom occupy significant musical positions in universities and orchestras, and as leaders in the string education field. Phyllis Young is a dedicated, passionate teacher whose legacy rests not only on her professional accomplishments, but also on her influence on those who have been associated with her. The success of her students, her influence on other string teachers and programs, and her two books, all lasting testaments to her commitment to excellence, can be considered the most significant components of her legacy

Teaching intermediate-level technical and musical skills through the study and performance of selected piano duos

The study and performance of ensemble repertoire can provide benefits at all levels of music study. Playing piano duos (two people at two pianos) is enjoyable for young students and can help maintain their interest in playing the piano. Furthermore, skills acquired in duo-piano playing, such as communication, coordination, and balance can not only be transferred to solo and/or duet performance, but can also develop a foundation for performing other types of chamber music, thus preparing young students to accompany other instrumentalists or vocalists or even a choir in the near future.;This study provides a pedagogical guide that presents suggestions for teaching intermediate-level technical, musical skills, and collaborative skills through the study of selected intermediate-level piano duos from various musical periods. Specific technical and musical skills that students can hone from the study of this repertoire (including rhythm, phrasing and articulation, dynamics, musical style, balance, pedaling, and coordination of the ensemble) are discussed from the pedagogical standpoint

Improvisation and identity:a biographical perspective

Een overzicht van de rol van improvisatie in het leven en werk van de musicus. Improvisatie wordt belicht als vorm van zelfexpressie, wat voor de meeste musici van jongsaf aan een belangrijk thema is. Daarnaast wordt improvisatie belicht als middel voor expressie van 'zichzelf en de ander', zoals dat bijv. gebeurt tijdens participatieve muziekworkshops met publiek in uiteenlopende sociale contexten. Het onderzoek naar de praktijk Music for Life in Engeland wordt hier als voorbeeld genomen voor hoe 'person centred' of 'applied improvisation' in deze setting werkt