Modern piano teaching and practice methods: considerations and comparisons with language learning
Turkish Online Journal of Educational Technology September, 2015
Special Issue for INTE 2015 pp. 357-362 - ISSN 1303-6521
available online at http://www.tojet.netspecial2015_9_1.pdf
Beginning with observations of current procedures in learning music, the author shows that the teaching process in many situations is reduced to mere reading of the notes, with practice being robbed of its most important aspect – the music – focusing only on mechanical repetition of the more difficult passages. After discussing how performers and composers faced this topic in the past, the author analyzes some problems resulting from a wrong approach to music. He provides diverse solutions and possibilities, illustrated by concrete teaching examples based on his experience, referring to some of the most authoritative piano literature. (In the following summary this last section is limited to the example of Bartok’s Mikrokosmos.)
Maieutic: a teaching and learning approach as applied to western music
Procedia - Social and Behavioral Sciences 237C (2017)
pp. 1520-1525 - ISSN 1877-0428
available online on http://www.sciencedirect.com
In this article, I discuss some considerations arising from eight years of professional experience in Thailand, as both performer and teacher of music. Working alongside students mainly from Asian countries, I have been led to reconsider deeply how western teaching methodologies can be efficient and valuable in non-western cultures. I have become convinced that music teaching (and learning) must be part of a cultural and artistic approach towards diverse heritage – the western legacy in this specific case – through study of music. The goal of a teacher is to show students the correct learning process, and to create for them the best conditions to facilitate awareness, understanding and appreciation of the music. Considering the undeniable relevance of ancient Greek influence in western arts and philosophy, I demonstrate the effectiveness of the Socratic method known as maieutics, as applied to the learning of music. By this method students are always forced to think-in-music, to understand what they are doing, to make responsible choices. A musical piece is a problem to solve, and classes are often based on dialogue with Q&A sessions, stylistic considerations, reflections on the meaning of the music, and understanding of the underlying meaning of the written notation, following which performance of the score is just a way to verify the validity of our proposed solution. Through this approach students are stimulated to find the truth WITHIN THEMSELVES, and thus have the opportunity to become artistically independent.
Learning Classical Music through Improvisation:
(a new approach?) Instruction for use
Education and New Developments 2017, pp. 642-646 - ISSN 2184-044Xavailable online at: http://end-educationconference.org/wp-content/uploads/2017/07/Education-and-New-Developments_2017.pd...
The author takes the cue from some historical considerations about modern teaching & learning process in classical music. While in the past most renowned musicians have considered improvisation and composition as a complementary aspect of performance, today for almost all music students the practice of improvisation seems to be not necessary at all, and often only a very basic knowledge of harmony and theory is requested to complete their studies. Presently it is very rare to find a classic music student able to improvise a short prelude or compose a little music piece with confidence. Investigating possible reasons of this shift, we may notice that by one side since the last post-war a remarkable significance has been given to technical approach, on the other side music teaching has been reduced essentially on the reproduction of the symbols of the music score. In order to re-establish the lost balance among improvisation, composition and performance, the author proposes a different approach to classic music, starting from improvisation and consequently understanding of musical structures. In his almost ten-year experience of teaching in Asian countries, he developed the idea that the proper way to approach classical music should not be based on a mere reading of the notes without awareness of the musical structure, as well as fulfilment of a given composition should not be based on reiterated mechanical repetitions of the same passage. The author elaborated a simple as well as efficient method to introduce students to improvisation: starting from the invention a melodic and/or rhythmic fragment, the student is led step by step to the creation and completion of the musical piece. During class students have chance to discover, experiment, test diverse possibilities and get familiarity with essential elements of the music. The study of improvisation let students look at the music under a different perspective: it represents a valuable support for the real understanding of the music score, an aid to penetrate composer's mental process and an unique way to learn how to create music.
Discovering Eighteenth-century Italian keyboard works: easy listening music or unexplored pedagogical material?
Music and Socio-Cultural Developments of the ASEAN pp. 6-16. Available online at http://www.pgvim.ac.th/sym/Files/Proceedings_2016.pdf
This contribution wishes to highligh the pedagogical relevance of some
keyboard compositions written by Cimarosa, Platti, Paradisi, Galuppi, Rutini
and many others. These works fall historically between the sonatas of Domenico
Scarlatti and the galant/classical works of the second half of the century.
This music offers a variety of idioms, style, compositional techniques and
musical affects; in the same time it preserves shortness and conciseness.
According to my experience as teacher and musician, I will try to explain how
and why this music pieces, despite their easiness and simplicity, may
contribute greatly to develop music skills in young (and less young) music
As everone may realize, a standard approach to this music (starting and focusing merely on the reading of the notes) would deeply limit the understanding of this music. Therefore I wish to propose a method that focuses the attention of the performer on the composition as a whole. Simultaneously, the affect related to the colour and characteristics of tonality is discovered, as an inevitable element within the framework of the work.
The Importance of a Correct Approach in Music (for both Professional Instrumentalists and Amateurs) to Guarantee a Stable Lifelong Benefit
ICLEL 2017, pp. 661-667 - ISBN 978-605-66495-2-3 available online at:
Could a learning method in music guarantee lifelong knowledge and, to
some extent, independence from practice? In the author’s opinion, the
answers within certain realistic limitations should be positive. Since
generalization is impossible, and for reasons of concision, this
article puts professional musicians to one side and considers two other
categories of student: firstly beginners, and secondly those people
who previously studied music but for only a while, usually as children. Taken
for granted that a lack of practice would damage even the most
talented and skilled musician, current music teaching pays disproportionate
attention to technical aspects of performance, to the detriment of other
essential subjects such as improvisation and composition. The author
will focus on the uselessness of a method based merely on reading the notes of
the score whilst paying no attention to the music’s meaning, and will
analyze some of the disadvantages caused from this approach in the
student’s mind. The author will then explain how a proper teaching process,
essentially based from the very beginning on improvisation and as a
means to learn directly from the musical instrument, will produce enormous
benefit and prevent several problems due to an incorrect method.
Directly in consequence of such a method, students approach the musical
score with a lively interest in other aspects than mere reproduction of the
A new pedagogical approach from the Music to the score
Proceedings of the 13th Australasian Piano Pedagogy Conference
The University of Adelaide, 10 – 14 July 2017
available online at: https://www.appca.com.au/proceedings/
While most traditional piano teaching methods are based on reading the notes, the author uses a different approach, where aspects such as awareness of music and knowledge of theory are emphasized since the first step. As example, the author proposes the learning of one little Bach prelude FROM the music TO the score. Initially, student’s attention is focused on the bass line: after the teacher plays this, the student is invited to reproduce it at the piano without any score. He may be asked to write it down after listening. After memorization, harmonies are played (extemporized) with the right hand. Student is asked to connect them properly. The next step consists of transpositions. Finally, suspensions – according to Bach examples - are introduced. This innovative approach has many advantages: among them, it shows the construction of the piece in different steps, and forces the student to “think in music”.
Exploration of instruments’ idiomatic sound and potential through the realization of an Unique Creative Arrangement of Piazzolla's Oblivion
written by Natpynya Kosilp and Dott. Alberto Firrincieli
RSU International Conference Rangsit University - Bangkok (Thailand), 1 May 2020
As music nowadays is played or/and written for certain combinations of instruments, hence limited the possibilities of creating more unique and special ensembles. This study aims to explore and create a new and pretty unique combination of instruments, as well as to help and guide arrangers and composers to create new instruments combination, exploring their maximum potentials. This study will be focused on the arrangement of the song Oblivion, composed by Astor Piazzolla for harpsichord, violin, accordion, and tabla. The following contribution methodologies to realize the arrangement will be explained, focusing on uniqueness of the chosen instruments and their combinatory possibilities. In the end, this arrangement is created based on the elements given from the original version, with the usage of improvisatory techniques, nationalistic elements, and newly composed sections.
Thirteen new variations on ‘La Folia’ for harpsichord –
Analysis and compositional process
The International Symposium on Creative Fine Art
Phranakhon Si Ayutthaya Rajabhat University, Bangkok (Thailand), December 16, 2020
The composition wishes to represent an original exploration of one of the most acknowledged tunes from the traditional harpsichord repertoire. Each variation let the performer combine different sonorities and varies the theme by the use of contemporary compositional techniques. Following objectives are pursued:
- to represent an original exploration of La Folia, one of the most acknowledged and used tunes from Renaissance and Baroque repertoire.
- to search for new sonorities discovered and revealed though the use of modern and contemporary composition techniques.
- to invent different performing technique thanks to the use of unusual combinatorial possibilities of the stops and keyboards of the instrument. Given that the harpsichord is unable to reproduce dynamic variation of the sounds, this work focuses on the study/exploration of different musical parameters in order to show peculiarities of the harpsichord.
The composition won the second prize of the International Composition Context “New Music For Harpsichord 2019” and will be published by the Italian Music Company Rugginenti.