Increasing the Quality and Enhancing Musical Auditory Notions through Professional Training in Piano

Krasimira Georgieva Fileva-Ruseva

doi:doi:10.11648/j.ijla.s.2014020501.15

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Increasing the Quality and Enhancing Musical Auditory Notions through Professional Training in Piano

Krasimira Georgieva Fileva-Ruseva

Published in International Journal of Literature and Arts (Volume 2, Issue 5-1)

Received: 30 July 2014 Accepted: 26 August 2014 Published: 26 August 2014

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Abstract

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.

Published in	International Journal of Literature and Arts (Volume 2, Issue 5-1) This article belongs to the Special Issue Musical Theory, Psychology and Pedagogy
DOI	10.11648/j.ijla.s.2014020501.15
Page(s)	25-32
Creative Commons	This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.
Copyright	Copyright © The Author(s), 2024. Published by Science Publishing Group

Keywords

Music, Musical Auditory Notions, Piano Training

References

[1]	Golubovskaya, N. O. Of Musical Performance. L. 1985 (Голубовская, Н. О. О музыкальном исполнительстве. Л. 1985)
[2]	Kogan, G. At the Gates of Mastery. The Work of the Pianist. Moscow, 1961 (Коган, Г. У врат мастерства. Работа пианиста. Москва, 1961)
[3]	Kurteva, M. and J. Ganeva. Methodical Guide in Piano. Sofia, 1984. (Куртева, М. и Дж. Ганева. Методическо ръководство по пиано. София, 1984.
[4]	McKinnon, L. Playing by Heart. Leningrad, 1967 (Маккиннон, Л. Игра наизусть. Л. 1967)
[5]	Shtapov, A. Piano Lesson in Musical Academy or School. Moscow, 2009 (Щапов, А. Фортепианный урок в музыкальной школе и училище. Москва, 2009

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Krasimira Georgieva Fileva-Ruseva. (2014). Increasing the Quality and Enhancing Musical Auditory Notions through Professional Training in Piano. International Journal of Literature and Arts, 2(5-1), 25-32. https://doi.org/10.11648/j.ijla.s.2014020501.15

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ACS Style

Krasimira Georgieva Fileva-Ruseva. Increasing the Quality and Enhancing Musical Auditory Notions through Professional Training in Piano. Int. J. Lit. Arts 2014, 2(5-1), 25-32. doi: 10.11648/j.ijla.s.2014020501.15

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AMA Style

Krasimira Georgieva Fileva-Ruseva. Increasing the Quality and Enhancing Musical Auditory Notions through Professional Training in Piano. Int J Lit Arts. 2014;2(5-1):25-32. doi: 10.11648/j.ijla.s.2014020501.15

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@article{10.11648/j.ijla.s.2014020501.15,
  author = {Krasimira Georgieva Fileva-Ruseva},
  title = {Increasing the Quality and Enhancing Musical Auditory Notions through Professional Training in Piano},
  journal = {International Journal of Literature and Arts},
  volume = {2},
  number = {5-1},
  pages = {25-32},
  doi = {10.11648/j.ijla.s.2014020501.15},
  url = {https://doi.org/10.11648/j.ijla.s.2014020501.15},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijla.s.2014020501.15},
  abstract = {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.},
 year = {2014}
}

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TY  - JOUR
T1  - Increasing the Quality and Enhancing Musical Auditory Notions through Professional Training in Piano
AU  - Krasimira Georgieva Fileva-Ruseva
Y1  - 2014/08/26
PY  - 2014
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DO  - 10.11648/j.ijla.s.2014020501.15
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JF  - International Journal of Literature and Arts
JO  - International Journal of Literature and Arts
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EP  - 32
PB  - Science Publishing Group
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AB  - 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.
VL  - 2
IS  - 5-1
ER  -

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Author Information

Krasimira Georgieva Fileva-Ruseva

Faculty of Music Pedagogy, Academy of Music, Dance and Fine Arts – Plovdiv, Bulgaria, Europe

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APA Style

Krasimira Georgieva Fileva-Ruseva. (2014). Increasing the Quality and Enhancing Musical Auditory Notions through Professional Training in Piano. International Journal of Literature and Arts, 2(5-1), 25-32. https://doi.org/10.11648/j.ijla.s.2014020501.15

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ACS Style

Krasimira Georgieva Fileva-Ruseva. Increasing the Quality and Enhancing Musical Auditory Notions through Professional Training in Piano. Int. J. Lit. Arts 2014, 2(5-1), 25-32. doi: 10.11648/j.ijla.s.2014020501.15

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AMA Style

Krasimira Georgieva Fileva-Ruseva. Increasing the Quality and Enhancing Musical Auditory Notions through Professional Training in Piano. Int J Lit Arts. 2014;2(5-1):25-32. doi: 10.11648/j.ijla.s.2014020501.15

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@article{10.11648/j.ijla.s.2014020501.15,
  author = {Krasimira Georgieva Fileva-Ruseva},
  title = {Increasing the Quality and Enhancing Musical Auditory Notions through Professional Training in Piano},
  journal = {International Journal of Literature and Arts},
  volume = {2},
  number = {5-1},
  pages = {25-32},
  doi = {10.11648/j.ijla.s.2014020501.15},
  url = {https://doi.org/10.11648/j.ijla.s.2014020501.15},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijla.s.2014020501.15},
  abstract = {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.},
 year = {2014}
}

Copy | Download

TY  - JOUR
T1  - Increasing the Quality and Enhancing Musical Auditory Notions through Professional Training in Piano
AU  - Krasimira Georgieva Fileva-Ruseva
Y1  - 2014/08/26
PY  - 2014
N1  - https://doi.org/10.11648/j.ijla.s.2014020501.15
DO  - 10.11648/j.ijla.s.2014020501.15
T2  - International Journal of Literature and Arts
JF  - International Journal of Literature and Arts
JO  - International Journal of Literature and Arts
SP  - 25
EP  - 32
PB  - Science Publishing Group
SN  - 2331-057X
UR  - https://doi.org/10.11648/j.ijla.s.2014020501.15
AB  - 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.
VL  - 2
IS  - 5-1
ER  -

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