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Piano Playing Study Process within the Context of Changes in Contemporary Education

100%

Davidova J., Gončarova O.

Signum Temporis

2010

vol. 3

issue 1

19-27

Introduction. Practice shows that the conceptions of the development of contemporary piano playing pedagogy are bristling with discrepancies: on the one hand, high achievements, results in festivals, competitions, on the other - an obvious decrease of interest in piano playing. A decline in the popularity of professional education institutions testifies not only to a general social apathy of the society, but reveals a range of problems in professional music education.The Aim of the Study. To explore the opinions of Latvian piano teachers about the changes in the piano playing study process.Methods and Materials. Analysis of scientific literature on the research problem, opinion survey of piano teachers in children's music schools; cluster analysis.Results. Research questions were investigated: What pedagogical paradigms do Latvian piano teachers use as the basis? Do Latvian piano teachers create the environment for the development of a free, creative and independent pupil's personality?Main Conclusions. The process of teaching piano playing, being part of the system of education, fully mirrors the on-going changes in the whole society under the situation of crisis. The influence of a social factor (the decline of the general intellectual level of the society, cultural crisis, re-assessment of values) on the level of popularity of the process of teaching piano playing is obvious.

The optimal piano teacher: Sosniak’s model versus Polish teachers from public music schools

86%

Chmurzyńska M.

Interdisciplinary Studies in Musicology

2011

issue 10

111-130

The author deals with the relationship between a piano teacher and her/his pupil/student at different stages of development. The relationship is defined in the literature as one of the most important features determining musical-artistic achievements. She describes the American research into the nurturing of pianists’ talent, and presents the optimal model of piano teacher devised by L. Sosniak, based on interviews with 20 young American pianists with high and significant achievements. The model indicates that the best conditions for artistic development are the sequence of three different teachers, or three different pedagogical strategies, adjusted to the stages of development of young musicians: (1) music teacher for the youngest pupils, whose task is to arouse interest and provide intrinsic motivation and passion for music and piano-playing; (2) instructor teacher (for teenagers), whose task is to help students to build a solid métier, acquire the necessary motor skills and piano technique, and to improve their artistic performance; (3) master teacher for young adult pianists, whose task is to help them to integrate the skills gained previously, to shape their artistic personality. This sequence turned out to be extremely favourable for the later achievements of the interviewed pianists. The author then provides an analysis of statements by Polish pianists from the older generation, and an observation of the behaviour of piano teachers from Polish public music schools. These show that in our piano pedagogy there exists only one type of teacher, the instructor teacher who, compared to Sosniak‘s model, places the greatest emphasis on technical skills and avoids the issue of expression.

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1 Interdisciplinary Studies in Musicology

1 Signum Temporis

1 Chmurzyńska M.

1 Davidova J.

1 Gončarova O.

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Piano Playing Study Process within the Context of Changes in Contemporary Education

The optimal piano teacher: Sosniak’s model versus Polish teachers from public music schools