Introducing Technical Skills through Russian Piano Repertoire from the Elementary to Advanced Level
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Piano teachers tend to approach pedagogy by treating technical studies and repertoire as separate parts of the curriculum, often using etudes by Charles-Louis Hanon, Josef Pischna, and Carl Czerny to build the student's technique. Yet, although these methods are popular, pedagogues disagree about their value. In any case, many pieces suitable for intermediate pianists integrate technique and musicality, such as Friedrich Burgmüller's 25 Etudes, Op. 100, Muzio Clementi's Preludes and Exercises, Op. 43, and Ignaz Moscheles's 24 Etudes, Op. 70. Although these exercises can indeed build technique through intermediate-level recital pieces, many similar piano works from the Russian school are rarely used, and yet they could better serve students who will eventually move on to the advanced Russian piano repertoire. This paper provides a pedagogical guide for introducing technical skills through various levels of the Russian piano repertoire. The guide focuses on technique in the context of musical expression, especially tone production, wrist motion, and finger technique, progressing systematically through elementary, intermediate, and advanced Russian piano pieces, composed in a Romantic style—both elegant and rich with melody and expression. The repertoire used as examples should develop the finger technique as well as the musicality of the student. The examples come from nineteenth-century Russian Piano School composers such as Reinhold Glière, Alexander Goedicke, Samuel Maykapar, Semyon Barmotin, and Anton Arensky.Cadenza
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TRT Turkish folk music repertoire is used as a common repertoire in the performance of Turkish folk instruments. Among these Turkish folk instruments, the baglama is one of the main instruments that stand out in Turkish folk music. In baglama performance, it is known that works belonging to different musical genres or new works composed for the baglama are used, as well as the use of the THM repertoire to a large extent. It can be said that this is due to the ability of the baglama to easily adapt to different types of music and types of performance, and to have a large performance capacity that baglama players today reach. Therefore, given the level of performance that the baglama, which has a rich performing infrastructure, has reached today, there is a need for an instrumental repertoire based on instrument performance. In the study, the existing instrumental repertoire used in baglama performance was evaluated from various angles. The main results of the study are that the baglama has a very rich performing infrastructure, there are alternative or new/innovative repertoire works next to the existing THM repertoire, baglama performers are already entering the repertoire areas of different musical genres due to the need for instrumental repertoire.
Folk music
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Білім берy қоғaмның экономикaлық дaмyының негізі, әлеyметтік тұрaқтылықтың фaкторлaрының бірі, хaлықтың рyхaни-aдaмгершілік әлеyетінің және интеллектyaлдық өсyінің қaйнaр көзі ретінде бaрлық yaқыттaрдa тaптырмaс құндылық болып есептеліп келеді. Aл қaзіргідей aдaм кaпитaлын қaлыптaстырy мен дaмытy мәселесін шешy негізгі міндет ретінде қaрaстырылaтын зaмaндa хaлықтың білімдік қaжеттіліктері өсіп, жоғaры, ортa aрнayлы, кәсіби қосымшa білім aлyғa үміткерлер сaны aртa түсyде. Бұғaн жayaп ретінде білім берy ұйымдaрының сaлaлaнyы aртып, әртүрлі типтегі оқy орындaрының сaны aртyдa, білім берyдің инфрaқұрылымы, бaсқaрy формaлaры, әдістемелік, ғылыми қызмет түрлері дaмyдa. Олaрды білім aлyшылaрдың жеке сұрaныстaры мен мүмкіндіктеріне бaғыттay күшейтілyде. Осығaн орaй білімнің сaпaсынa қойылaтын тaлaптaр aртып, бұл сaлaның әлеyметпен өзaрa әрекеттестігіне негізделген құрылымдық – қызметтік дaмyының көкейтестілігі aртyдa. Мaқaлaдa «серіктестік», «әлеyметтік серіктестік», «білімдегі әлеyметтік серіктестік» ұғым- дaрының мәні aшылып, олaрдың қaлыптaсy және дaмy үрдісіне шолy жaсaлaды, жоғaры оқy орындaрындa педaгогтaрды дaярлayдa әлеyметтік серіктестердің әлеyетін пaйдaлaнyдa бaсшылыққa aлынaтын ұстaнымдaр мен тиімді жолдaры сипaттaлaды. Түйін сөздер: серіктестік, әлеyметтік серіктестік, білімдегі әлеyметтік серіктестік, бірлескен әрекет ұстaнымдaры, әлеуметтік серіктестік әлеуеті. Обрaзовaние является основой экономического рaзвития обществa, одним из фaкторов социaль- ной стaбильности, источником дyховно-нрaвственного потенциaлa и интеллектyaльного ростa людей и во все временa считaлось незaменимой ценностью. И в нaстоящее время, когдa решение проблемы формировaния и рaзвития человеческого кaпитaлa рaссмaтривaется кaк основнaя зaдaчa, рaстyт обрaзовaтельные потребности людей, yвеличивaется количество желaющих полyчить высшее, среднее, специaльное, профессионaльное дополнительное обрaзовaние. В ответ нa это yсиливaется рaзветвленность обрaзовaтельных оргaнизaций, yвеличивaется количество обрaзовaтельных оргaни- зaций рaзличного типa, рaзвивaются инфрaстрyктyрa обрaзовaния, формы yпрaвления, методическaя и нayчнaя деятельность. Yсиливaется их ориентaция нa индивидyaльные потребности и возможности обyчaющихся. В связи с этим повышaются требовaния к кaчествy обрaзовaния, возрaстaет знaчение стрyктyрно-фyнкционaльного рaзвития этой сферы нa основе взaимодействия с обществом. В стaтье рaскрывaется знaчение понятий «пaртнерство», «социaльное пaртнерство», «социaльное пaртнерство в обрaзовaнии», рaссмaтривaется процесс их стaновления и рaзвития, описывaются рyко- водящие принципы и эффективные способы использовaния потенциaлa социaльных пaртнеров в подготовке педaгогических кaдров в высших yчебных зaведениях. Ключевые словa: партнерство, социaльное пaртнерство, социaльное пaртнерство в обрaзовaнии, принципы совместного действия, поненциал социального партнерство. Education is the basis of the economic development of society, one of the factors of social stability, a source of spiritual and moral potential and intellectual growth of people and has always been considered an irreplaceable value. And at the present time, when the solution of the problem of the formation and development of human capital is considered as the main task, the educational needs of people are growing, the number of people wishing to receive higher, secondary, special, professional additional education is increasing. In response to this, the branching of educational organizations is increasing, the number of educational organizations of various types is increasing, the infrastructure of education, forms of management, methodological and scientific activities are developing. Their focus on the individual needs and capabilities of students is increasing. In this regard, the requirements for the quality of education are increasing, the importance of the structural and functional development of this sphere on the basis of interaction with society is increasing. The article reveals the meaning of the concepts of "partnership", "social partnership", "social partnership in education", examines the process of their formation and development, describes the guidelines and effective ways to use the potential of social partners in the training of teachers in higher educational institutions. Keywords: partnership, social partnership, social partnership in education, principles of joint action, the potential of social partnership.
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There are lots of piano songs in music history.To study piano teaching methools,we'd better study piano songs and classification of piano songs which are key steps in piano teaching process.The paper puts emphasis upon the classification of piano songs and the selection of piano songs.
Piano pedagogy
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The nationally-recognized Susquehanna
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When performers, who have learned some but not all of the possible songs they might have learned, come together in situations where they have to play for a certain amount of time for whoever is there, what they play is their repertoire for that occasion. These players playing in this place with its demands and using the repertoire that is, one way or another and at one level or another, available to them individually and collectively, create, on the spot and perhaps for this one time only, a repertoire, the specific list of songs they play on that occasion. In the most general case, a working repertoire exists for just that one occasion. Musicians who assemble for a job often have played together before. This chapter looks at two common forms of repertoire that musicians can rely on to create an evening's performance: the working repertoire of a semistable group and the generalized repertoire that characterizes what we might call a playing region or musical community.
Dynamics
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