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Head-mounted mixed reality interfaces, in which a user perceives a seamless blend of real, virtual or remote content, have great potential in a wide range of educational contexts. In this paper, we explore the use of mixed reality (MR) in piano education. We begin with a review of previous examples of virtual and mixed reality for piano teaching and learning, identifying four major categories of functionality: remote teaching, learning to read musical notation, providing alternative notation systems to Western musical notation, and enhancing users' understanding and experience of music. Following this review, we present an application designed to demonstrate the use of MR for facilitating remote student-teacher piano lessons. Additionally, hand-tracking enables real-time, bi-directional visualization of both the student's and teacher's hand movements while playing, which is a crucial communication channel in piano instruction. We also present the Piano Theory Hub, an interactive area for independent learning and practice designed to compliment remote instructions. The Piano Theory Hub uses MR to provide spatial in situ explanations and exercises on notes, intervals, scales, and chords. User studies were conducted to evaluate both remote and solo aspects of the application. The first study with 10 participants revealed a strong sense of immersion and co-presence with the teacher during remote lessons. Trials also revealed that, in addition to virtual hands, visual highlighting of key-presses was found to improve visualisation of the remote users' play. The second study, with 15 participants found the Piano Theory Hub to be helpful for beginners and some intermediate players, with feedback suggesting improvements in user experience and highlighting the limitations of replacing traditional piano teachers. Our experiments demonstrate that MR can be successfully employed for the following strategies for piano education: hand interaction coaching, flexible virtual hand and piano visibility, augmented feedback including key highlighting, gamified learning elements, and flexible teacher positioning options. Overall, the findings suggest that mixed reality holds promise as an effective tool for remote piano learning and music education, offering immersive and engaging learning experiences. [ABSTRACT FROM AUTHOR]

Playing musical instruments involves a high level of skill based on the harmonious and esthetic reproduction of notes. The main aim of this study is to determine the impact of MusicFlow, an interactive music composition system, on the development of students' piano skills. The article also used a survey to determine the potential of using digital technology in piano education. To achieve this goal, the authors used the questionnaire method and the method of experimental research. Analysis of the final music aptitude test showed that only the overall average of piano skills differed significantly between groups (Z = −2.53, p =.031). The results of the survey showed that digital technologies contributed to the correct positioning of hands for 27% of university students and 25% of school students who learn song compositions, which was associated with the visualization of each stage during training. 87% of respondents confirmed that the curriculum influenced significantly the speed of learning and contributed to learning not only during lessons, but when preparing homework. The results of the paper are important for musicians of various levels who focus on improving technical and aesthetic skills while playing the piano. [ABSTRACT FROM AUTHOR]

AbstractThis study investigates the impact of augmented reality (AR) technologies on the development of motor skills, specifically left-hand piano playing skills, among piano students. The paper employed the AR Piano application, which generates three-dimensional, intuitively understandable visualizations aimed at facilitating the piano learning process, thereby minimizing the cognitive load on students. The Piano Proficiency Test-2 was used to analyze piano playing skills. The sample consisted of 297 right-handed third-year students from three educational institutions in China. According to the post-test results, the experimental group, which underwent training utilizing augmented reality (AR) technology, exhibited significantly greater skill level improvement following the experimental period compared to the control group. These findings suggest a positive effect of AR technology application on the development of motor skills and may provide valuable insights to researchers exploring the application of AR technologies in diverse educational settings, particularly for musical instrument instruction. [ABSTRACT FROM AUTHOR]

The article focuses on the innovative teaching methods utilized by piano learning apps that gained popularity during the pandemic. Topics include the unique features of apps like Flowkey, Piano Marvel, Simply Piano, and Pianote; the impact of technology on music learning; and the lessons that music educators can learn from these applications to enhance their teaching approaches.

The article focuses on developing interpretive sensitivity in elementary piano students through inductive and deductive analysis methods. Topics include the importance of imitative learning versus independent decision-making, the role of sensory perceptions in interpretive choices, and strategies for teachers to facilitate engaging discussions around musical structure and expression.

Many scholars and pedagogues have noted the various benefits that class piano can offer to student development, but few have noted the great potential for the piano class to address current prevailing issues in music education. The most pressing of these issues has centered on preparing students for the future through building 21st century skills, democratizing education through social justice, and increasing opportunities for student socialization post-pandemic. As interest in piano classes grows, it is vital to begin discussing ways that musical learning can occur in these settings. This article will provide examples of how the piano can be used in the piano technology lab, the piano ensemble, and the general classroom to address these current gaps in music education through project-based learning and student collaboration. [ABSTRACT FROM AUTHOR]

Introduction: The focus of this study centers on the extraction, analysis, and interpretation of the motor behavior of advanced-level pianists using observational methodology, itself framed within the field of mixed methods, paying particular attention to those aspects that characterize the pressed and struck touch. The aim of this research was to analyze the motor interactions of activation or inhibition associated with the production of a type of touch in the movements of the right upper limb of the participating pianists. Methods: An ad hoc observational instrument was built that was incorporated into the software Lince Plus for data recording and coding. Data reliability was guaranteed applying Cohen's Kappa coefficient, and an analysis of polar coordinates was carried out to identify the motor interactions involved in piano playing. Results: The study provided significant information about the interaction of motor functions linked to two types of touch, such as those that occur in the sliding finger movement over the key in the pressed touch or the lifting finger movement above the key in the struck touch, obtaining clearly identified patterns of piano touch motor behavior. Discussion: This research represents an innovative perspective of the study of piano-playing movement via the direct and perceptible observation of the pianist's motor behavior in an everyday context. Observational methodology is distinguished by its low degree of internal control, which makes it possible to scientifically study the spontaneous behavior of pianists in their natural environment. This model allows us to describe and analyze piano touch for its application in the field of piano performance and teaching, emphasizing the practical implications of motor interactions in piano touch. [ABSTRACT FROM AUTHOR]

The Packard Humanities Institute has released a new edition of Johann Christian Bach's operas and dramatic works, available in both printed and digital formats. The University of Iowa's Rita Benton Music Library has received a grant to digitize and preserve early recordings of Czech music. The RISM Editorial Center is seeking updates to its Series C, the Directory of Music Research Libraries. The Leon Fleisher papers at the Peabody Institute of the Johns Hopkins University are now open for research, documenting Fleisher's career as a concert pianist and educator. The Music Library Association awarded the Diversity Scholarship to support candidates from underrepresented groups pursuing a master's degree in library and information science. The text also provides information about various awards and grants given by the Music Library Association, as well as highlights from the journal Notes. [Extracted from the article]

Copyright of Yegah Musicology Journal / Yegah Müzikoloji Dergisi is the property of International Yegah Music Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Artificial Intelligence (AI) technology can reshape music education to enable students to learn musical instruments and compose music in a fun and easy way. This article examines the effectiveness of AI-enabled music teaching. The study seeks to incorporate AI-powered chatbots into piano classes in seven music schools and evaluate their effect on student performance. The results show that students who used the given app achieved better results than those enrolled in conventional classes. Overall, exploiting AI resulted in a 15% increase in academic performance, but the intensity of training led to variation in achievements. With this app, the scores increased as follows: piano playing by 6.51%; solfeggio and music literature by 4%; and vocal signing by 0.56%. The integration of chatbots in music education opens new developmental prospects. Based on the present findings, AI can be successfully integrated into music education. [ABSTRACT FROM AUTHOR]

With the development of Internet technology, music videos on the network are becoming increasingly rich. How to extract concert video clips for specific scenes or shots from massive video libraries or ultra-long video files is a relatively difficult issue. Traditional music video retrieval methods are mostly based on key text retrieval. However, they cannot meet the needs of users. At the same time, in response to the demand for specific videos in piano performance teaching, it is also difficult for these methods to filter out key music clips from numerous videos. Therefore, a music video retrieval technology is constructed based on video feature similarity calculation. Aiming at the shortcomings of video similarity calculation methods, a dynamic programming algorithm is used to improve it. The improved music video retrieval technology is applied to the classroom learning practice of piano performance teaching, verifying the actual effect of this technology. The experimental results show that the accuracy of the music video retrieval technology reaches 91.02%. After being applied to piano classroom teaching, the overall performance of students has been improved. This shows that the proposed music video retrieval technology can effectively achieve the retrieval of required videos and improve the effectiveness of piano classroom teaching. [ABSTRACT FROM AUTHOR]

Studying the impact of an individual approach to teaching students' performance subjects is relevant because of the brightness and diversity of creative thinking, artistic interests, and orientation of future specialists in the field of piano art. The aim of the study is to determine the effectiveness of person-oriented music pedagogy. The research methods are: monitoring the process of training professional personnel and their activities after the completion of education; surveying students and young performers; comparison. The results of this study shed light on the problem of an individual approach to the development of musical performance as a whole multifaceted system -- one of the modern pedagogical models consisting of several blocks: stages of training based on an individual approach; its components; principles. The prospects of research include the development of a modernized training programme oriented to student's personality. This is determined by the need to create an individual method of mastering the profession of a performer in the current conditions, which contributes to the development of students' unique abilities and serves as the basis for their successful realization as an artist. [ABSTRACT FROM AUTHOR]

This article explores the release of Joachim Raff's Fifth Symphony, "Lenore," in 2022, which commemorates the composer's 200th birth anniversary. Raff, a Swiss composer from the late 19th century, gained recognition for his diverse range of compositions that appealed to a wide audience. The symphony, composed in 1872, showcases Raff's attempt to combine programmatic elements with traditional classical structures. It is based on a Gothic ballad by Gottfried August Bürger and is divided into three parts that correspond to different sections of the ballad. The article also emphasizes the importance of giving more scholarly attention to composers whose works have been overlooked or underrepresented in the Western canon. [Extracted from the article]

This article discusses the publication of Maria Szymanowska's "Twenty Etudes and Preludes" by Polish Music Publishers (PWM). Szymanowska, a Polish-Jewish virtuoso and composer, was a prominent figure among women composers and considered the first professional female pianist in history. The article explores the two different groups of compositions in Szymanowska's body of work, with the "Twenty Etudes and Preludes" being highlighted as a significant collection. The article also delves into the mystery surrounding the original publication of the collection and the subsequent demand for Szymanowska's music. The text emphasizes the technical aspects of the etudes and the expressive nature of the preludes, and mentions the influence Szymanowska had on Fryderyk Chopin. It concludes by noting the importance of the publication of Szymanowska's complete works, but raises concerns about the limited international sales policy of the publisher. [Extracted from the article]

As evidenced in the literature, music has accompanied the human being for millennia, in different situations, emotions and activities. In addition, not only does it allow expressions of internal personal states and feelings, but it can also produce many positive effects in those who practice it. Various authors have explored these benefits that musical activity brings, mainly in children. They highlight positive aspects of learning music in different areas of knowledge, in school performance and even improvements in the IQ of infants. However, despite the large number of studies regarding the benefits of music in children and the different nascent teaching alternatives, in Colombia the situation continues to be dramatic in terms of the incorporation of musical activity in the school curriculum. The foregoing added to political factors, teaching spaces and teacher training. In this way, the present work offers a new musical learning alternative, aimed at children from 7 to 11 years old, through a musical software focused on the initial teaching of the instrumental keyboard. It is important to mention that the software has a feedback system based on decision trees, which allows reinforcing the topics covered in the application. Finally, a comparative analysis is presented between teaching using the software and traditional teaching with the book, through an Investigation-Action carried out over six days with two students from a public school in the city of Bogotá, Colombia. This Investigation-Action allowed to observe positive results based on the comments and performance of the participants, which opens a great possibility for the subsequent scaling of this application. [ABSTRACT FROM AUTHOR]

Folk music is an integral part of any national art and contributes to the cultural development of each country. This paper is aimed at studying aspects of Chinese folk music, which is the bedrock of Chinese cultural traditions. This paper conducted a sociological survey of 142 students in their third year of study. The results showed that 37% of the respondents believe that traditional music is a folk art passed down from generation to generation. The most important function of folk music, according to students' opinions, is the preservation of cultural traditions based on historical events (27%). Due to the fact that respondents perceive folk music as the most harmonious in piano instruction (36%), the tools for its integration in piano lessons have been developed. These tools include selecting a music platform, providing theoretical information in the public domain, developing improvisation skills based on folk compositions, using online platforms to share experiences and knowledge between students and teachers and analysing contemporary Chinese compositions. In addition, all mentioned applications have been tested to measure their effectiveness. The best results of using folk compositions in piano instruction were achieved in group #5 (100%), which can be explained by knowledge gained in the first and second terms. [ABSTRACT FROM AUTHOR]

The majority of foreign observers recognize that the most important aspect of Chinese pianism is its technical perfection, which can be explained in two ways: first, by social factors (the close resemblance between the traditional Confucian conception of education and the foundations of learning to play the piano, parents' interest in their children's success as pianists, the competitive nature of Chinese society), and second, by the classical setting of children's piano education to develop strict finger technique. Though it was unable to gain traction at all levels of Chinese piano teaching, the image of "singing on the piano" was also important for the development of Chinese pianism. The monosyllabic nature of the contributes language, as well as the dynamic brokenness and temporal syncopation of its intonation contribute to the specificity of the "singing on the piano" tradition in Chinese music culture. In general, the performing image of the piano in China is comparable to the image of the "salon piano," just as the current piano boom in China is comparable to the "golden age" of the piano in Europe and America at the close of the 19th century. [ABSTRACT FROM AUTHOR]

In an attempt of curricula improvement, many seek to create new approaches that would help develop the necessary knowledge within a shorter period of time. The primary purpose of this paper is to investigate the role of interactive piano teaching in distance learning. The paper suggests new learning approaches to interactive piano instruction. The training programme is based on interactive groups, the Flowkey application, technical and psychological aspects, improvisation, changing role positions, and the development of self-control. The programme results showed that 83% out of 120 students demonstrated a high level of knowledge, and only 2% showed a low level, which was explained by absenteeism. 28% out of 120 students learned to recognise melodies, 27% improved rhythm and tempo, 25% gained two-handed playing skills, and 20% out of 120 students developed improvisation skills. The results have scientific value for researchers engaged in studying various training programmes. [ABSTRACT FROM AUTHOR]

This article elucidates the principles and methods of developing melodic intonation for teaching piano students in the music school setting. The training of the student-pianist in the music school will be focused not only on the formation and development of technical musical-interpretive skills, but also on the perception and penetration of the intonation and semantic content of the performed music. [ABSTRACT FROM AUTHOR]

In the piano network teaching system, in order to ensure the teaching effect, it is necessary to monitor and evaluate the piano performance of students. In order to provide a better online piano teaching experience, it is necessary to combine machine learning and language activity detection algorithms. The machine learning algorithm can build an accurate language activity detection model by analyzing a large number of piano performance data and corresponding language activity data. As a non-contact monitoring method, light image detection can effectively detect students' piano performance while protecting their privacy. This paper presents an optical image detection method based on language activity detection algorithm. By analyzing the relationship between image features and language activities in light images, a model between light images and language activities is established. Then the model is used to detect and recognize the light image to judge whether the students are playing the piano. The experimental results show that the light image detection method based on language activity detection algorithm can accurately detect students' piano playing activities, and maintain good monitoring effect while protecting students' privacy. This method provides a new optical monitoring scheme for the simulation of piano network teaching system, which has high practicability and feasibility. [ABSTRACT FROM AUTHOR]

Blind children can benefit from music education as it enhances their musical skills and auditory abilities. However, blind children in China face challenges in pursuing music education due to issues such as social stigma and lack of qualified teachers. Moreover, research in this area is lacking. On the basis of the PERMA (positive emotion, engagement, relationships, meaning, accomplishment) framework, this study attempts to identify the positive psychology of blind children's piano learning among teachers, blind students, and parents. This study aims to to fill the research gap of piano learning among blind children. Interviews were conducted with piano teachers, blind students, and their parents (N=56) using a qualitative research methodology through PERMA framework. The data identified that piano teachers' instruction was influenced by their preparation of teaching and personal attitudes. Findings also revealed that the positive emotion, sense of engagement, and positive relationships, impacted the accomplishment and achievement of all participants. This study demonstrates that teachers' preparation experience and positive attitudes, engagement, and building rapport with blind children and their parents are crucial to promoting their piano learning. This study offers readers the chance to get insight into the field of piano instruction for the blind as well as illumination from thought and empirical support for piano teachers and music educators in inclusive music education in China. [ABSTRACT FROM AUTHOR]

Although the Flow experience has been researched extensively in music education, there is limited investigation into exploring the link between the Suzuki piano method and Csikszentmihalyi's flow theory. To address this gap, a quasi-experimental study was conducted to examine how the Suzuki piano method can promote the flow state of adult piano beginners. The study involved 36 participants assigned to either a treatment group or a control group. Both groups underwent an eight-week training program in Suzuki Piano Method and Conventional Group Piano Class respectively. After the program, participants from both groups underwent a posttraining performance test and completed a survey, namely Learning and Performing Experience Scale (LPES), modified based on the Short Flow State Scale (S-FFS) by Martin and Jackson to examine their flow experience. The treatment group showed significantly higher flow experience levels than the control group, particularly in dimensions of Concentration, Unambiguous feedback, Timelessness, Loss of self-consciousness, Sense of control, Autotelic experience, and Challenge-skill balance. The findings suggested that the Suzuki piano method may promote flow experiences among adult beginners in piano learning. The implication of the study signified that the collaborative and interactive learning inherent in the method might be beneficial in achieving flow state and could be a consideration in conducting group piano classes. [ABSTRACT FROM AUTHOR]

The study focuses on the folk music aspect of Piano Method Volume 1 and 2, which are still widely used in Hungarian piano teaching. It examines the proportion and function of Hungarian folk songs in the volumes. It sheds light on folk songs appearing in different phases of piano teaching and their methodological possibilities of use. [ABSTRACT FROM AUTHOR]

From his early youth, the composer lived his whole life under the spell of colors and color combinations. His talent as an artist was already apparent at the age of six, when, in addition to his piano studies, he enjoyed drawing plants and flowers in school notebooks. He kept his first vase, on one side of which he drew a bouquet of flowers sprouting from a heart on a bright pale green background when he was in high school, and on the other side a deer flying through a bush and a pine tree. She always felt a special fascination for the pine tree, seeing it as a symbol, its scent, and its green color as magical. He was similarly attracted to green grassy lawns and the changing colors of autumn leaves, which he saw as a symphony. These childhood experiences are also reflected in his colorful graphics. This paper presents the relationship between color and music in Ede Terényi’s compositions, and the composer’s conception of tonal aesthetics, the relationship between tonalities and colors. [ABSTRACT FROM AUTHOR]

Copyright of Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The main objective of this study is to investigate the attitudes, self-efficacy, and study habits of prospective music teachers in terms of various variables. The sample of this study, designed as a relational survey model, consists of a total 349 prospective music teachers studying at 5 state universities in the Aegean Region. Three measurement tools were used to collect data in the study. Participants' attitudes towards the piano course differed significantly by their gender, grade, perception of success, daily practice time, and piano ownership status. Prospective music teachers' selfefficacy towards piano courses differed significantly according to their gender, type of high school graduated, perception of success, daily practice time, and piano ownership status. Participants' self-efficacy also significantly differed by gender, type of high school graduated, perception of success, daily practice time, and piano ownership status. Participants' study habits significantly differed by type of high school graduated, perception of success, and daily practice time. Furthermore, there was a statistically significant relationship between students' attitude scores and their study habits scores, as well as a significant relationship between selfefficacy scores and study habits scores, and a moderately significant relationship between self-efficacy scores and attitude scores. Lastly, the correlation coefficient between the study's predictive variable (piano study habits) and the predicted variable (attitude) was found to be 0.574, indicating a moderate relationship. In a similar vein, the coefficient of correlation between the predictor variable (piano study habits) and the predicted variable (self-efficacy) was calculated as 0.773, implying a moderate relationship. [ABSTRACT FROM AUTHOR]

The occurrence rate of neuromusculoskeletal diseases related to keyboard instrument performance has remained high among instrumentalists, often limiting or terminating their learning and performing careers. Injured pianists have been eager to find solutions, seeking so-called scientific methods to develop injurypreventing techniques, yet these methods have lacked rigorous research. This study investigates an interdisciplinary and non-traditional piano teaching method - the Juilliard School's Piano Teaching Method - to determine its effectiveness in recovery and prevention of neuromusculoskeletal diseases and relapses. It also examines its influence on technique, musicality, and muscular factors. Participants include undergraduate and graduate students, amateur pianists, and enthusiasts who studied this method for at least two semesters between 2020 and 2022. The sample comprises 103 learners aged 22 to 72, with 74 respondents (N=74) participating (71.8%), and 26 of them underwent in-depth interviews. Survey and interview results indicate that participants find this method significantly beneficial for facilitating recovery from neuromusculoskeletal diseases. Moreover, survey and interview participants report improvements in technique and musicality. This study concludes that the Juilliard School's piano teaching method can serve as a useful model for piano technique instruction aimed at injury prevention within the piano profession, with potential for broader adoption nationwide. [ABSTRACT FROM AUTHOR]

Classical pianists, like athletes, often face unique challenges in their careers that can profoundly impact their physical and psychological well-being. One significant challenge is the prevalence of performance-related injuries, which can have far-reaching consequences on their careers. Even though the topic has been brought to the attention of the public multiple times in various noted publications in the past few decades, including The New York Times and The Los Angeles Times, there remains a significant gap between the availability of health resources and their utilization by pianists. This study explores the availability and accessibility of health resources specifically tailored to address performance-related injuries among classical musicians, with a focus on piano performance programs in New York City. The study examines the inclusion of the Alexander Technique, a specialized course addressing injuries-prevention concerns, the availability of comprehensive information on health resources on school websites, and offcampus health resources for classical musicians. The findings reveal a disconnect between the abundance of health resources available to classical musicians and their awareness and utilization within piano performance programs. While various local and international resources exist, encompassing areas such as health maintenance, therapies, diet, specialist referrals, and financial support, the research shows a lack of comprehensive information on these topics in program curricula and school websites. Even when specialized classes such as the Alexander Technique are offered, their visibility and promotion are often limited. [ABSTRACT FROM AUTHOR]

Copyright of International Journal of Education Technology & Scientific Researches is the property of Ayse Burcu Ulusoy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of International Journal of Education Technology & Scientific Researches is the property of Ayse Burcu Ulusoy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The continuous emergence of new social media has promoted the interaction of data in life. In this context, big data technology has gradually become a type of technology with special value in the field of education. It realizes business decision-making through the collection and analysis of specific types of data. The application of technology to the field of education can realize the analysis of students' learning needs and classroom teaching efficiency, while the application of big data technology to piano teaching can strengthen the combination of piano teaching and technology, and at the same time provide more data analysis and decision support for the whole process of piano teaching. Soft computing simplifies the calculation process by combining a variety of sophisticated algorithms. Soft computing is similar to human brain processing and perception. It can complete multi-variable complex calculations through low-cost and uncertain processes. With the continuous integration, the variables generated in the teaching process gradually increase, and the application of soft computing technology can effectively solve the complex calculation problems caused by many variables in the analysis of piano teaching. This paper first analyzes the basic theory of big data, soft computing and piano informatization teaching, and then obtains the problems existing in the current piano informatization teaching through questionnaire survey and analysis, and designs piano informatization, teaching innovation model based on big data and soft computing technology respectively. Through the post-investigation of the piano informatization teaching institutions combined with technical strategies, it is found that the degree of match between the piano informatization teaching content of the institution and the students' learning needs, the evaluation accuracy of piano teachers' teaching effects, and the students' piano learning performance have improved. [ABSTRACT FROM AUTHOR]

It is becoming increasingly popular for musicians to study Body Mapping, a method of body movement education, to improve both body movement and musical quality. In Body Mapping workshops, observers frequently claim that they can both see and hear improvements in the performance, yet previous research does not support this anecdotal evidence. In the present study, pianists received a full day Body Mapping workshop and a panel of judges, blind to condition, evaluated audio and silent video clips of performances recorded the day before and the day after the workshop. In Experiment 1, judges were able to identify the post-test recordings by silent video at a rate significantly better than chance, but not with audio alone. In Experiment 2, ratings of quality of body movement were significantly higher for post-test silent video recordings, but no such effect was observed with audio alone. The present findings suggest that there are visible but not audible changes to the pianists' performance. We discuss visual dominance as a possible explanation for these findings. [ABSTRACT FROM AUTHOR]

Interactive learning environments have become important components for teaching pianists, which determines the relevance of the research topic. The study was conducted in Faculty of Piano of the Shenyang Conservatory of Music, and 87 first-year undergraduates participated in it. A positive effect of interactive teaching aids on professional skills development in pianists, including the psychophysiological component of performing skills, was revealed. The novelty of the study is the theoretical substantiation of the influence of interactive learning environments on pianists' professional skills, which can be used for professional selection and improving the quality of musicians' training. [ABSTRACT FROM AUTHOR]

Virtual Reality (VR) technology uses computers to simulate the real world comprehensively. VR has been widely used in college teaching and has a huge application prospect. To better apply computer-aided instruction technology in music teaching, a music teaching system based on VR technology is proposed. First, a virtual piano is developed using the HTC Vive kit and the Leap Motion sensor fixed on the helmet as the hardware platform, and using Unity3D, related SteamVR plug-ins, and Leap Motion plug-ins as software platforms. Then, a gesture recognition algorithm is proposed and implemented. Specifically, the Dual Channel Convolutional Neural Network (DCCNN) is adopted to collect the user's gesture command data. The dual-size convolution kernel is applied to extract the feature information in the image and the gesture command in the video, and then the DCCNN recognizes it. After the spatial and temporal information is extracted, Red-Green-Blue (RGB) color pattern images and optical flow images are input into the DCCNN. The prediction results are merged to obtain the final recognition result. The experimental results reveal that the recognition accuracy of DCCNN for the Curwen gesture is as high as 96%, and the recognition accuracy varies with different convolution kernels. By comparison, it is found that the recognition effect of DCCNN is affected by the size of the convolution kernel. Combining convolution kernels of size 5×5 and 7×7 can improve the recognition accuracy to 98%. The research results of this study can be used for music teaching piano and other VR products, with extensive popularization and application value. [ABSTRACT FROM AUTHOR]

The article discusses the appropriation of Indigenous American music in piano instruction and compositions, highlighting the problematic use of stereotypes and offering a more inclusive approach by featuring Indigenous composers and their works. Topics include the misrepresentation of Indigenous music, the contributions of Indigenous composers to piano music, and the importance of fostering cultural diversity in piano education.

The purpose of this study is to explore the life and work of Pierre Sancan (1916–2008), an exemplary piano teacher who, like many masters in the apprenticeship tradition, is chiefly remembered today by his pupils alone. An all-round musician, Sancan had early success as a composer when he won the Prix de Rome in 1943, and enjoyed a flourishing career in solo and ensemble piano performance. His applied studio practices were based on the French school but extended beyond it by drawing on Russian approaches to technique, a study of anatomy, and the influence of jazz improvisation. However, at the height of his creative career, hailed as 'one of the biggest names in French music today', Sancan became professor of piano at the Paris Conservatoire, increasingly devoting his expertise and energies to the musical lives of his pupils and influencing generations of pianists and piano teachers around the world. In this study, Sancan's musical career is examined through archival material including institutional documents, interviews and personal memorabilia, alongside an interview and survey study with former pupils including Jean-Philippe Collard and Jean-Efflam Bavouzet. [ABSTRACT FROM AUTHOR]

The history of female piano teachers, especially those working with children, remains largely unstudied. Estelle Philleo (1880–1936) is one example from the early 20th century who specialized in group lessons for beginners. A New Woman who never married, she began as a junior piano teacher at the Michigan Female Seminary before graduating in 1902. After moving to Denver around 1906, she continued teaching and began composing. Philleo traveled widely in the West conducting Melody Way campaigns during the 1920s. The year after she died, Willis Music published her teaching pieces, Two Pastimes on the Black Keys. She is remembered today primarily for her 1917 hit song, "Out Where the West Begins." Philleo's work as a composer and performer garnered the press coverage that makes documenting her career possible. Newspaper articles are the primary sources used to explore her three-pronged career as an educator, composer, and performer. She used her traditional career as a music educator to support work unexpected for a woman—writing and performing music about the American West. This article explores Philleo's teaching career, which spanned more than three decades. By doing so, it contributes to the history of female class piano teachers in the United States. [ABSTRACT FROM AUTHOR]

This paper presents a novel exploration into the realm of online piano teaching, specifically through the integration of microbial systems, drawing upon cross-disciplinary insights from economics, biotechnology, and technology management. Our objective is to revolutionize the traditional piano teaching model by constructing an online teaching platform underpinned by micro service architecture. This platform leverages the evolutionary learning principles of bacterial communication, modelled on meta cellular automata, to simulate intricate user interactions and engagements on the platform, thereby fostering an innovative approach to piano education. This study's core involves applying microbial communication systems to enhance the online piano teaching platform's interactive and adaptive learning environment. This approach represents a groundbreaking step in educational technology and illustrates the potential of biotechnological concepts in reshaping online learning experiences. The platform's development and operational efficiency are critically analyzed from an economic and technology management perspective. Performance testing indicates robust functionality under high user loads, with an exception rate of 0% and an average response time of approximately 4 seconds even with 300 concurrent threads. This demonstrates the platform's scalability and reliability, key economic viability and management factors. Furthermore, this interdisciplinary approach offers a fresh perspective on utilizing biotechnological insights in digital education platforms. The successful integration and performance of the platform underscore its potential as a pioneering model in online music education, opening new avenues for pedagogical innovation and exploration. It signifies a step forward in blending advanced biotechnological concepts with digital teaching tools, providing valuable directions for future research and development in piano teaching methodologies. [ABSTRACT FROM AUTHOR]

According to the authors, the two types of risk most relevant to Renaissance art markets involve production and reception. Yet, this minor episode shows that, even today, art markets have not eliminated all risk involved in the production and exchange of valuable commodities. The former might possibly be an example of the result of production risk (high production risk leading to less production) and the latter fits more the authors' definition of reception risk. This is not the first time the authors have combined their complementary skills to analyze the economic logic of Italian Renaissance art markets. [Extracted from the article]

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The purpose of this study was to investigate the psychometric properties of the Piano Performance test for Elementary School Teachers and to undertake a standard-setting study for this scale. This study included three groups of participants: students (n=100), raters (n=2) used to test the psychometric features of the musical instrument performance test and experts (n=6) for the standard-setting study of the test. In this study, the researchers developed a music performance test and analytical rubric. The results showed that the one-factor structure was appropriate for the musical instrument performance test, which explained 66% of the total variance. The Cronbach Alpha coefficient showed that the internal consistency of the scale was acceptable (.83). Moreover, generalizability studies and the intra-class correlation coefficient indicated excellent rater reliability for the scale. The results of the item discrimination analysis show that the musical instrument performance test is capable of discriminating participants who had high and low levels of ability to play the piano. [ABSTRACT FROM AUTHOR]

With the rise in piano teaching in recent years, many people have joined the ranks of piano learners. However, the high cost of traditional manual instruction and the exclusive one-on-one teaching model have made learning the piano an extravagant endeavor. Most existing approaches, based on the audio modality, aim to evaluate piano players' skills. Unfortunately, these methods overlook the information contained in videos, resulting in a one-sided and simplistic evaluation of the piano player's skills. More recently, multimodal-based methods have been proposed to assess the skill level of piano players by using both video and audio information. However, existing multimodal approaches use shallow networks to extract video and audio features, which limits their ability to extract complex spatio-temporal and time-frequency characteristics from piano performances. Furthermore, the fingering and pitch-rhythm information of the piano performance is embedded within the spatio-temporal and time-frequency features, respectively. Therefore, we propose a ResNet-based audio-visual fusion model that is able to extract both the visual features of the player's finger movement track and the auditory features, including pitch and rhythm. The joint features are then obtained through the feature fusion technique by capturing the correlation and complementary information between video and audio, enabling a comprehensive and accurate evaluation of the player's skill level. Moreover, the proposed model can extract complex temporal and frequency features from piano performances. Firstly, ResNet18-3D is used as the backbone network for our visual branch, allowing us to extract feature information from the video data. Then, we utilize ResNet18-2D as the backbone network for the aural branch to extract feature information from the audio data. The extracted video features are then fused with the audio features, generating multimodal features for the final piano skill evaluation. The experimental results on the PISA dataset show that our proposed audio-visual fusion model, with a validation accuracy of 70.80% and an average training time of 74.02 s, outperforms the baseline model in terms of performance and operational efficiency. Furthermore, we explore the impact of different layers of ResNet on the model's performance. In general, the model achieves optimal performance when the ratio of video features to audio features is balanced. However, the best performance achieved is 68.70% when the ratio differs significantly. [ABSTRACT FROM AUTHOR]