Research Article
Capturing the magic of pianistic sound and touch: toward a synergy of ear and fingers in the creation of the artistic image
Abstract
“To learn how to hear, to educate the ear, to develop a student’s sense of voicing and timbre in nuanced hearing – this is the first task of a pedagogue-musician, a defining pillar of his work.” These words of the great Russian musician, Grigory Kogan, shine light on the inspiring path of what it means for a teacher to simultaneously develop student’s ears and fingers with the aim of building the artistic image of a composition. Of course, such instruction requires a holistic approach and, yet some approaches from the past were anything but that. Indeed, the 19th century saw a rise in mechanical finger training, which often resulted in injuries and stultified the ear. This article analyzes these and other past trends in piano teaching and performance and their influence on the training of fingers, ears--or both. In addition, it offers practical advice on how best to foster the simultaneous schooling of ears and fingers, with the goal of nurturing a complete musician.
References
- Artur Schnabel, My Life and Music (New York: Dover, 2012), 126.
- Bach, Essay on the True Art of Playing Keyboard Instruments, 148.
- Bruno Monsaingeon, Mademoiselle, trans. Robyn Marsack (Boston: Northeastern University Press, 1988), 51.
- Carl Philipp Emanuel Bach, Essay on the True Art of Playing Keyboard Instruments, trans. William J. Mitchell (New York: W. W. Norton and Company, 1948), 147.
- Eigeldinger, Chopin, 195
- Eigeldinger, Chopin, 73
- François Couperin, The Art of Playing the Harpsichord (Van Nuys: Alfred Publishing, 2007), 40.
- Heinrich Neuhaus, The Art of Piano Playing, trans. K. A. Leibovitch (London: Kahn and Averill, 1993), 2.
- J. A. Graves Adams, Chapters from a Musical Life (Chicago: C. Adams, 1903), 132.
- Jean-Jacques Eigeldinger, Chopin: pianist and teacher as seen by his pupils, trans. Shohet, Osostowitz and Howat (Cambridge: Cambridge University Press, 1986), 27.
- Ruth Slenczynska, “On Preparation for a Piano Competition,” Chopin Foundation of the United States, accessed September 13, 2021, https://www.chopin.org/s/On-Preparation-for-a-Piano-Competition-Slenczynska.pdf
- Tobias Matthay, Musical Interpretation, Its Laws and Principles, And Their Application in Teaching and Performing (Boston: Stanhope Press, 1913), 157-158.
- Walter Gieseking and Karl Leimer, Piano Technique (New York: Dover, 1972)
- Г. М. Цыпин, Обучение игре на фортепиано (Москва: Просвещение, 1984), 38. (trans. Vladimir Valjarevic) (G. M. Tsypin, Learning to play the piano (Moscow, Prosveshcheniye Publishers, 1984), 38. )
- Е. М. Тимакин, Воспитание пианиста (Москва: Советский Композитор, 1989), 69. (trans. Vladimir Valjarevic) (E. M. Timakin, The upbringing of a pianist (Moscow: Soviet Composer, 1989), 69. )
Capturing the magic of pianistic sound and touch: toward a synergy of ear and fingers in the creation of the artistic image
Abstract
“To learn how to hear, to educate the ear, to develop a student’s sense of voicing and timbre in nuanced hearing – this is the first task of a pedagogue-musician, a defining pillar of his work.” These words of the great Russian musician, Grigory Kogan, shine light on the inspiring path of what it means for a teacher to simultaneously develop student’s ears and fingers with the aim of building the artistic image of a composition. Of course, such instruction requires a holistic approach and, yet some approaches from the past were anything but that. Indeed, the 19th century saw a rise in mechanical finger training, which often resulted in injuries and stultified the ear. This article analyzes these and other past trends in piano teaching and performance and their influence on the training of fingers, ears--or both. In addition, it offers practical advice on how best to foster the simultaneous schooling of ears and fingers, with the goal of nurturing a complete musician.
References
- Artur Schnabel, My Life and Music (New York: Dover, 2012), 126.
- Bach, Essay on the True Art of Playing Keyboard Instruments, 148.
- Bruno Monsaingeon, Mademoiselle, trans. Robyn Marsack (Boston: Northeastern University Press, 1988), 51.
- Carl Philipp Emanuel Bach, Essay on the True Art of Playing Keyboard Instruments, trans. William J. Mitchell (New York: W. W. Norton and Company, 1948), 147.
- Eigeldinger, Chopin, 195
- Eigeldinger, Chopin, 73
- François Couperin, The Art of Playing the Harpsichord (Van Nuys: Alfred Publishing, 2007), 40.
- Heinrich Neuhaus, The Art of Piano Playing, trans. K. A. Leibovitch (London: Kahn and Averill, 1993), 2.
- J. A. Graves Adams, Chapters from a Musical Life (Chicago: C. Adams, 1903), 132.
- Jean-Jacques Eigeldinger, Chopin: pianist and teacher as seen by his pupils, trans. Shohet, Osostowitz and Howat (Cambridge: Cambridge University Press, 1986), 27.
- Ruth Slenczynska, “On Preparation for a Piano Competition,” Chopin Foundation of the United States, accessed September 13, 2021, https://www.chopin.org/s/On-Preparation-for-a-Piano-Competition-Slenczynska.pdf
- Tobias Matthay, Musical Interpretation, Its Laws and Principles, And Their Application in Teaching and Performing (Boston: Stanhope Press, 1913), 157-158.
- Walter Gieseking and Karl Leimer, Piano Technique (New York: Dover, 1972)
- Г. М. Цыпин, Обучение игре на фортепиано (Москва: Просвещение, 1984), 38. (trans. Vladimir Valjarevic) (G. M. Tsypin, Learning to play the piano (Moscow, Prosveshcheniye Publishers, 1984), 38. )
- Е. М. Тимакин, Воспитание пианиста (Москва: Советский Композитор, 1989), 69. (trans. Vladimir Valjarevic) (E. M. Timakin, The upbringing of a pianist (Moscow: Soviet Composer, 1989), 69. )
There are 15 citations in total.
Details
| Primary Language | English |
|---|---|
| Subjects | Music |
| Journal Section | Music Education |
| Authors | |
| Early Pub Date | March 15, 2022 |
| Publication Date | March 31, 2022 |
| Published in Issue | Year 2022 Volume: 10 Issue: 1 |
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