Restricted access This content is exclusive to members of the International Journal of Music. Join now for as low as $1.67 per month… …or get […]
Restricted access This content is exclusive to members of the International Journal of Music. Join now for as low as $1.67 per month… …or get
Restricted access This content is exclusive to members of the International Journal of Music. Join now for as low as $1.67 per month… …or get
Handcrafted Pianos in China: Zhang Gangning and the Endless Search of a Unique Piano Tone Open »
Restricted access This content is exclusive to members of the International Journal of Music. Join now for as low as $1.67 per month… …or get
György Sebők: Pedagogical Highlights From a Master Open »
Carl Philipp Emanuel Bach is a composer whose music, though admired by all of the great composers of his day, is today only infrequently heard on the concert stage or utilized in the teaching studio. During his lifetime, however, C. P. E.’s ideas about music were extremely influential. The six Württemberg sonatas, expressive and experimental keyboard works, serve as an excellent summation of C. P. E.’s aesthetic and style. Composed between 1742-1744 and dedicated to C. P. E.’s pupil Carl Eugen, the Duke of Württemberg, the Württemberg sonatas are challenging works that present the performer with a multitude of technical and interpretative difficulties. In each sonata, C. P. E. gives full rein to his creative abilities and seems to relish such difficulties as complicated rhythms, overlapping voices, extreme technical challenges, and unusual or difficult key signatures. This article discusses what makes the Württemberg sonatas stand out from among the more than 150 sonatas that C. P. E. composed over the course of his creative life, focusing on overall aspects of the set as well as significant characteristics of the individual sonatas themselves. Special attention is paid to the pedagogical applications of these works. Contrary to what has been widely assumed over the centuries, C. P. E. Bach is not a composer best consigned to the dusty annals of history but is actually a creative musician of superior ability. He influenced musical thought and composition generations to come, and his works can still speak to us today.
Emotion, Experimentation, and Education: C. P. E. Bach’s Württemberg Sonatas Open »
In this article, the author follows diverse aesthetic, therapeutic and educational facets of musical reception and production. From the levels of meaning of the aesthetic in art and music, she draws a bridge to the analogy between the love of music and friendship. It opens up listening and musical activity as a physical performance in the devotion to music, in which reflection, experience and action are united. This bodily-aesthetic potential of music can support healing and identity finding in music therapy. Therapeutic work with the medium of music offers sound spaces and resonating spaces that can be experienced by the compulsion of the body and enables one to find one’s own aesthetic meaning patterns.
The Healing Power of Aesthetics Open »
If when it comes to writing or talking about something so well known as Beethoven’s piano sonatas is almost impossible to avoid repeating what’s already been said, it’s also true that the necessity of looking into this music is always impellent. Studying them all has been one of my most rewarding experiences so far. I would like to share some of my experiences of spending quite some time with it as well as some personal discoveries I’ve made along the way.
Thoughts on Learning All of Beethoven’s Sonatas Open »
Restricted access This content is exclusive to members of the International Journal of Music. Join now for as low as $1.67 per month… …or get
Your Mother Wants You to Be a Doctor but You Want to Be a Collaborative Pianist Open »
This article delves into the intricacies of trumpet playing, examining the challenges faced by musicians in developing a natural and effortless technique. The study focuses on a diverse group of trumpet players, considering their unique physical attributes and the impact of emotional stress on their learning process. Employing a performativity-based methodology, the research draws on insights gained from a comprehensive review of video lessons and expert interviews.
The results highlight the inhibitive nature of certain playing operations, such as the production of compression in the oropharyngeal cavity when blowing air through closed lips. The study underscores the significance of considering individual psychomotor development and emotional states during trumpet lessons. Over time, tension in the throat can become ingrained in motor skills, hindering progress and potentially leading to motor reflex disorders.
In conclusion, the research emphasises the predictability of motor skill difficulties, suggesting that a deeper understanding of the initiation process in trumpet playing is essential. The findings call for a re-evaluation of teaching methods, advocating for a self-led learning model and emphasising the need for trumpet teachers to possess and impart a wealth of truthful information. The article concludes with a call for a shift in perspective, urging students and educators to explore alternative learning strategies, akin to the adaptive approaches employed by admired and talented trumpet players. This study opens avenues for future research into refining teaching methodologies and fostering a more nuanced understanding of the complex interplay between natural abilities and learned skills in trumpet performance.
I’m not Meant to be a Musician Open »
