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How can piano teachers successfully foster student participation and growth from the outset? How can teachers prepare and sustain their influential work with beginner student musicians? This book presents answers to these questions by making important connections with current music education research, masters of the performance world, music philosophers, and the author’s 30-year career as a piano pedagogy instructor in Canada, the USA, Australia, New Zealand, and Japan. It investigates the multilayered role piano teachers play right from the very beginning – the formative first four to five years during which teachers empower students to explore and expand their own emerging musical foundations.  This book offers a humane, emancipatory, and generous approach to teaching by grappling with some of the most fundamental issues behind and consequences of studio music teaching. More experiential than abstract and cerebral, it demonstrates how teaching beginner piano students involves an attentiveness to musical concerns like our connection to music, learning to play by ear and by reading, caring for music, the importance of tone and technique, and helping students develop fluency through their accumulated repertoire. Teaching beginner students also draws on personal aspects like independence and authenticity, the moral and ethical dignity associated with democratic relationships, and meaningful conversations with parents. Further, another layer of teaching beginners acknowledges both sides of the coin in terms of growth and rest, teaching what is and what might be, as well as supporting and challenging student development. In this view, how teachers fuel authentic student musicians from the beginning is intimately connected to the knowledge, beliefs, and values that permeate their thoughts and actions in everyday life.  Fundamentals of Piano Pedagogy stands out as a much-needed instructional resource with immense personal, practical, social, philosophical, educational, and cultural relevance for today’s studio music teachers. Its humanistic and holistic approach invites teachers to consider not only who they are and what music means to them, but also what they have yet to imagine about themselves, about music, their students, and life.   .

Education. --- Music. --- Teaching. --- Creativity and Arts Education. --- Teaching and Teacher Education. --- Piano --- Instruction and study. --- Performance. --- Didactics --- Instruction --- Pedagogy --- School teaching --- Schoolteaching --- Education --- Instructional systems --- Pedagogical content knowledge --- Training --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Children --- Education, Primitive --- Education of children --- Human resource development --- Schooling --- Students --- Youth --- Civilization --- Learning and scholarship --- Mental discipline --- Schools --- Teaching --- Piano playing --- Piano music --- Interpretation (Phrasing, dynamics, etc.) --- Practicing --- Art education. --- Art --- Art education --- Education, Art --- Art schools --- Analysis, interpretation, appreciation --- Teachers --- Study and teaching. --- Training of. --- Teacher education --- Teacher training --- Teachers, Training of

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How can piano teachers successfully foster student participation and growth from the outset? How can teachers prepare and sustain their influential work with beginner student musicians? This book presents answers to these questions by making important connections with current music education research, masters of the performance world, music philosophers, and the author’s 30-year career as a piano pedagogy instructor in Canada, the USA, Australia, New Zealand, and Japan. It investigates the multilayered role piano teachers play right from the very beginning – the formative first four to five years during which teachers empower students to explore and expand their own emerging musical foundations.  This book offers a humane, emancipatory, and generous approach to teaching by grappling with some of the most fundamental issues behind and consequences of studio music teaching. More experiential than abstract and cerebral, it demonstrates how teaching beginner piano students involves an attentiveness to musical concerns like our connection to music, learning to play by ear and by reading, caring for music, the importance of tone and technique, and helping students develop fluency through their accumulated repertoire. Teaching beginner students also draws on personal aspects like independence and authenticity, the moral and ethical dignity associated with democratic relationships, and meaningful conversations with parents. Further, another layer of teaching beginners acknowledges both sides of the coin in terms of growth and rest, teaching what is and what might be, as well as supporting and challenging student development. In this view, how teachers fuel authentic student musicians from the beginning is intimately connected to the knowledge, beliefs, and values that permeate their thoughts and actions in everyday life.  Fundamentals of Piano Pedagogy stands out as a much-needed instructional resource with immense personal, practical, social, philosophical, educational, and cultural relevance for today’s studio music teachers. Its humanistic and holistic approach invites teachers to consider not only who they are and what music means to them, but also what they have yet to imagine about themselves, about music, their students, and life.   .

Teacher education. Teacher's profession --- Didactics of the arts --- Music --- muziek --- kunstonderwijs --- creativiteit --- lerarenopleiding --- lesgeven

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Painting --- easel paintings [paintings by form] --- portraits --- Expressionist [style] --- Soutine, Chaïm --- anno 1920-1929 --- anno 1930-1939 --- Paris --- eetcultuur --- portretten --- portretten. --- eetcultuur. --- Soutine, Chaïm.

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Une mine d’informations. Écrit dans un langage clair et direct, ce guide ouvre d’abord plusieurs portes d’accès à l’œuvre de Wagner. Complet et synthétique, il s’adresse à tous les curieux de l’univers wagnérien, de ses enjeux poétiques et politiques, de ses sources mythiques et de la place du compositeur dans l’histoire de la musique. Chaque opéra y est analysé séparément : circonstances d’écriture et de composition, intrigue mise en regard des passages musicaux à ne pas manquer, profils vocaux et psychologiques des personnages, composantes esthétiques. Les passionnés du disque et de la mise en scène trouveront ici un panorama des grands interprètes, des metteurs en scène, des chefs d’orchestre, et une étude sur l’art de chanter et de diriger Wagner. I. Points de repère : - Wagner dans l'histoire de la musique - Richard Wagner 1813-1883 - Poète et penseur - De quelques équivoques politiques - Le Festival de Bayreuth, une utopie réalisée II. Les bonnes questions - Qu'est-ce que l'oeuvre d'art totale ? - Qu'est-ce que la mélodie infinie ? - Qu'est-ce qu’un leitmotiv ? III. Regards sur l'œuvre Avec, pour chaque opéra : genèse et création, résumé de l’action, repères d’écoute, profils de rôles, les enjeux de l’œuvre. 1. Trois opéras de jeunesse : Les Fées, La Défense d'aimer, Rienzi 2. Le Vaisseau fantôme 3. Tannhäuser 4. Lohengrin 5. Tristan et Isolde 6. Les Maîtres chanteurs 7. L’Or du Rhin 8. La Walkyrie 9. Siegfried 10. Crépuscule des dieux 11. Parsifal IV. Ecouter et voir - Chanter Wagner - Diriger Wagner - Mettre en scène Wagner V. Repères pratiques - Discographie sélective (mis à jour juin 2018) - Videographie sélective (mis à jour juin 2018) - Bibliographie sélective Pour rire un peu Index des noms

Opera --- Opera --- Wagner, Richard,