Increasing the Quality and Enhancing Musical Auditory Notions through Professional Training in Piano
International Journal of Literature and Arts
Volume 2, Issue 5-1, October 2014, Pages: 25-32
Received: Jul. 30, 2014;
Accepted: Aug. 26, 2014;
Published: Aug. 26, 2014
Views 6003 Downloads 2690
Krasimira Georgieva Fileva-Ruseva, Faculty of Music Pedagogy, Academy of Music, Dance and Fine Arts – Plovdiv, Bulgaria, Europe
Follow on us
One of the areas of art, where specific abilities are combined and their maximal and balanced development is required, is the activity of piano performance. For this reason, at the first place among the responsible tasks of the piano pedagogue (who teaches the future interpreters) is the development of the musical abilities of the student – the mode sense, methro-rhythmic sense and musical auditory notions. Musical auditory notions allow for sound impressions of varied musical sequences to be stored in the individual’s memory pool. The musical auditory experience, containing the gathered musical auditory notions, facilitates each tonal perception through identification and differentiation of the familiar, common (already stored in the memory), from the new, different, which is to be imprinted in the mind and on its turn used as a basis for future perception. The richer, more detailed, well comprehend and easily activated the musical auditory notions of the student, the more facilitated and of more quality will be the process of comprehension, learning and artistic performance of the tonal art. The professional training in piano is aimed mainly at improving the instrumental skills, development of a repertoire and building a style and general musical culture. Among the reasons for the insufficient attention of piano pedagogues on the balanced development of the musical abilities of their students, is the limited time frame of the piano lesson, as well as the requirements for the pedagogue to sent the largest possible number of prominent students to as many as possible competitions for pianists, auditions, youth festivals and concerts. The pianist being held continuously in their everyday activities on the same and only concert or competition program for reasons of assuring the maximal quality of its performance on a specific forum, leads to the creations of a relatively sparse pool of musical auditory notions. From the supplementary activities in piano training, related to the process of creation and actualization of musical auditory notions are mainly the following: reading at first glance, playing by ear, recreation from memory of works that have not been performed recently. More connected to the accumulation of a pool of musical auditory notions is the schematic learning; to the particularization and comprehension of the musical memory image, introduced in the pool of musical auditory notions through its multiple actualizations, is related the analysis of the musical work of art with the purpose of memorization and clarification of the interpreter’s conception.
Music, Musical Auditory Notions, Piano Training
To cite this article
Krasimira Georgieva Fileva-Ruseva,
Increasing the Quality and Enhancing Musical Auditory Notions through Professional Training in Piano, International Journal of Literature and Arts. Special Issue: Musical Theory, Psychology and Pedagogy.
Vol. 2, No. 5-1,
2014, pp. 25-32.
Golubovskaya, N. O. Of Musical Performance. L. 1985 (Голубовская, Н. О. О музыкальном исполнительстве. Л. 1985)
Kogan, G. At the Gates of Mastery. The Work of the Pianist. Moscow, 1961 (Коган, Г. У врат мастерства. Работа пианиста. Москва, 1961)
Kurteva, M. and J. Ganeva. Methodical Guide in Piano. Sofia, 1984. (Куртева, М. и Дж. Ганева. Методическо ръководство по пиано. София, 1984.
McKinnon, L. Playing by Heart. Leningrad, 1967 (Маккиннон, Л. Игра наизусть. Л. 1967)
Shtapov, A. Piano Lesson in Musical Academy or School. Moscow, 2009 (Щапов, А. Фортепианный урок в музыкальной школе и училище. Москва, 2009