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- Title
Piyano egitiminde çözümleme destekli çalisma metodu ve uygulanışı.
- Authors
Selen, Beray; Aşkin, Cihat
- Abstract
It is quite possible that the current piano lessons today can be more analytical. The article will show some ways to add an analytical dimension to our "traditional" approach considering piano practice and teaching by developing specific skills such as spontaneous score reading, harmonization and improvisation. Moreover, we will see how these devices are linked through the common ground of creative thought and experimentation. Developing a fine ear, reading at sight, harmonizing, improvising or understanding the inner workings of the musical language have not always been among the top priorities of the music education system. Most of the 19th-century teaching never got too far into exercising the minds of young students as well as fingers. One could describe the various role that keyboard players have taken over throughout history, since they have always been socially relevant and useful. An individual could possibly have worn several hats - he could be a performer, composer, improviser, accompanist, coach, technician and tuner, public figure in a cultural position, philosopher, researcher and educator. In short, keyboard playing used to be a more functional activity. There was a time when composition and improvisation were taught through the keyboard or more accurately, keyboard studies were the natural road to achieve compositional and improvisational success. Looking from today's point of view, it is quite possible that a pedagogical approach can be rebuilt that is more dependent on analytical factors. This would save time as well as limit the number of mistakes in the first approach to the piece since analytical approach involves processes that allow for spontaneous reaction to the matter at hand which is one of the best memorization and learning approaches. There seems to be a few approaches possible- first of which is to accept the traditional methods fully and repair the faults produced through their application. The second approach involves a total denial of the current system. A third and intermediate approach is to get into the process of education, factors that have not been fully utilized before. Those basically involve harmonic and formal analysis, mnemonic techniques where mnemo-techni here basically means the involvement of secondary elements that come from auditory, visual or physical (touching) realms for the memorization of a list data. The pianists are the lucky inheritors of a big, still expanding canon of repertoire. This repertoire includes a wealth of solo and chamber music, plus a vast vocal and instrumental literature that brings the piano forth as the most capable and perfectionist accompanying device. Quite naturally, both teachers and students are enthusiastic to explore at least a significant part of that body of literature. As a result, repertoire and instrumental technique have historically absorbed much (if not all) of both instructional time and individual practice. The tendency has been to stress dexterity, resilience and speed, often sacrificing the possibility of a more functional and intelligent approach to piano playing. Through the methodic approach of learning and deciphering that is offered in this article, it is possible that the student could consider learning the musical score using a more spontaneous approach, as well as being creative and flexible in the improvement process while working on the piece. The abilities that are targeted to be enhanced through this type of study are most specifically improvement in terms of improvisation; being able to find creative connections among activities such as playing by ear, transposing or generating harmony for a melody on the spot. The examples used in this article have been restructured for the use of such an education purpose, and are used as a helping device and present alternative routes. The analytical definitions regarding the changes on the harmonization and deciphering help the student to keep the musical material under the control, as well as present models where the students can create their own approaches that will certainly be more efficient than having only traditional methods of learning to apply to new musical material. The process of learning is an ability that can always be improved, and it is best for the students to build on their own structures and models, when they can.
- Subjects
PIANO instruction; CREATIVE thinking; MUSIC education; KEYBOARD players; COMPOSERS; MUSIC memorizing; MUSICAL composition; LEARNING
- Publication
ITU Journal Series B: Social Sciences, 2009, Vol 6, Issue 1, p53
- ISSN
1303-7013
- Publication type
Article