Impact of expressive intentions on upper-body kinematics in two expert pianists by Craig Turner, Robin Mailly, Fabien Dal Maso, Felipe Verdugo

“…IntroductionExpression is a key aspect of music performance. Studies on pianists’ gestures and expression have mainly documented the impact of their expressive intentions on proximal segments and head linear kinematics. …”
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L’ermite et le virtuose by Denis Laborde

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WORKING WITH VISUALLY-IMPAIRED PERFORMERS IN PIANO CLASS by Julia P. Antonova, Vitaliy V. Kalitskiy

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Formgestaltung aus aufführungspraktischer Perspektive. Zur Interpretationsgeschichte von Beethovens 33 Veränderungen über einen Walzer von A. Diabelli op. 120 by Thomas Glaser

“…Dieser Beitrag untersucht auf Grundlage einer umfassenden quantitativen Datenerhebung aus 66 Gesamteinspielungen von Beethovens ›Diabelli-Variationen‹ mit Aufnahmedatum zwischen 1937 und 2018 Aufführungsweisen von Pianist*innen zur Gestaltung zyklischer Makroform. …”
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Breit über mein Haupt dein schwarzes Haar. Vier auktoriale Versionen von Richard Strauss’ Schack-Vertonung op. 19/2, betrachtet unter performativem Aspekt by Kilian Sprau

“…Der Komponist war außerdem als Pianist an zwei Einspielungen der Komposition beteiligt, von denen die frühere (1921/22) mit der Erstfassung, die spätere (1942) mit der Zweitfassung korreliert. …”
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ESSENTIAL PRINCIPLES OF VIOLIN INTERPRETATION by Cătălina GUŢANU

“…During the performance of a musical piece, any musician – regardless of whether he/she is a pianist, violinist or vocal singer, uses a full and profound sound that beautifies the interpretation and gives it more musicality, more feeling, warmth and spirituality. …”
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Solo Songs by Count Julijan Pejačević in the Našice Local History Museum by Andrea Rakitić

“…Although he is remembered primarily as a royal chamberlain and family historian, he was also a pianist and a composer. His musical oeuvre consists of at least 70 works (though some sources would point to far more), including solo songs and piano pieces, most of which are today lost due to a plethora of reasons concerning the history of the Pejačević family library. …”
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The Noble Suicide: The Case of a Self-Contained Dagger in the Heart and a Literal Raw by Maricla Marrone, Benedetta Pia De Luca, Marco Papalino, Fortunato Pititto, Carlo Angeletti, Roberto Bellacicco, Michela Raino, Giuseppe Pulin, Francesca Tarantino

“…The man decided to commit suicide because he could no longer find meaning in his life after losing hope for a career as a pianist, having been diagnosed with a degenerative disease in his hands. …”
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Die schiefe Folie. Komplexität zwischen Metrik und Performance in Beethovens ›Diabelli-Variationen‹ by Jakob Raab

“…Ausgehend von der Idee metrischer Ambivalenz werden die besonderen Herausforderungen, die Beethovens ›Diabelli-Variationen‹ an Hörer*in und Interpret*in stellen, an ausgewählten Beispielen erläutert und individuelle Ausdeutungen renommierter Pianist*innen aufgeführt und besprochen. Insbesondere wird gezeigt, wie nah intrikate metrische Passagen des Zyklus sich an Diabellis Vorlage orientieren und wie reichhaltig somit das Walzerthema in Bezug auf metrische Verunsicherung angelegt ist. …”
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Eine Diskursgeschichte der ›Diabelli-Variationen‹. Makroform und Interpretation im Spiegel analytischer Texte aus 200 Jahren by Cosima Linke

“…Finally, a film recording of the “Diabelli Variations” with the pianist Piotr Anderszewski (2000) is discussed, as it illuminates an individual interpretational approach to the macroformal dramaturgy of the cycle.…”
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Die Aufnahme bestätigt die Regel. Analyse als Interpretation (Response) by Julian Caskel

“…The consistently high quality of the contributions, the concrete results of which remain tied to three specific cyclical works, instead suggests a focus on the fundamental prerequisites of the research presented here: (1) The methodological implications of time measurements should be reflected on more closely (the discussion of the empirical measurements takes place primarily on the basis of the articles about Bach’s “Goldberg Variations”). (2) Normative preconditions for the selection of recordings or text references should be explicitly discussed (the discussion of the hermeneutic formation of opinion takes place primarily on the basis of the articles about Beethoven’s “Diabelli Variations”). (3) The common or separate access routes for theory and practice are once again put up for debate (now more on the basis of the articles about Schubert’s Winterreise). (4) As a sign of the new directions such research might take , possibilities for further processing of the data are presented in an analytical example by the author, based on recordings by the pianist Igor Levit.…”
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Decomposition of a complex motor skill with precise error feedback and intensive training breaks expertise ceiling by Yudai Kimoto, Masato Hirano, Shinichi Furuya

“…By contrast, neither unskilled pianists who underwent the same training nor skilled pianists who performed the decomposition training without receiving visual feedback on the error showed improved skill through training. …”
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Holokaust i polityka by Teresa Rutkowska

“…Haltof omawia również filmy powstałe po przełomie 1989 roku, po okresie ciszy (z lat 1965-1980), kiedy temat Holokaustu był przez filmowców niechętnie podejmowany: między innymi Korczaka Andrzeja Wajdy i Pianistę Romana Polańskiego. Książka Haltofa może być również rozpatrywana w kategoriach ważnego przyczynku w kwestii polskiej pamięci narodowej. …”
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Zum aktuellen Stand der professionellen Musikausbildung in Russland by Irina Susidko, Pavel Lucker

“…The teaching of performing musicians is also dominated by the principle of universalism. Pianists at the Gnesin Russian Academy of Music, for example, have approximately 950 hours of special (performing) disciplines, approximately 830 for the general humanities, and approximately 530 for music history and theory. …”
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The role of music performance anxiety in musical training: four personal histories by Oscar Casanova, María Elena Riaño, Francisco Javier Zarza-Alzugaray, Santos Orejudo

“…To apply such an approach, we gathered testimonials of life histories from four musicians – two pianists, a violinist, and a cellist – through semi-structured interviews. …”
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Zwischen Traditionalismus und Modernisierung: Musikausbildung in Russland by Irina Susidko, Pavel Lutsker

“…This position remains firmly established in the training of all musical specialities: pianists, orchestral musicians, musicologists, ethnomusicologists, musicians on folk instruments and even pop musicians. …”
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