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• W61042693 abstract "In a piano lesson, a teacher teaches a way of performance by providing indirect cues, e.g., metaphors and singing. A model performance is one of the important cues. Meanwhile, it is difficult even for the teacher to perform a very technical piece without enough practice, even if he/she had formerly performed it. However, the teacher still retains his/her for performing the piece. Accordingly, we propose “Coloring-in Piano (CiP)” to support a piano lesson. CiP frees the performers from heavy labor of accurate reproduction of described melody and miss-touches. Therefore, CiP allows them to immediately concentrate on expression that is essential for the performers, which facilitates the teacher to show his/her to the pupil. We conducted experiments to subjectively evaluate the performances with Piano and with a conventional piano. These results demonstrate that the performer can perform music with CiP as felicitously as with the conventional piano. Moreover, we could find that CiP can facilitate the teacher to perform even an unpracticed piece to his/her own satisfaction. Considering the experimental results, we discuss what is necessary and essential for the performers is to express “indiscrete elements,” e.g., agogik, dynamik, and so on based on her/his individual interpretation and impressions of an opus, than the correct reproduction of the sequence of notes. 1. BACKGROUND This paper proposes Coloring-in Piano (CiP), which can support a teacher's model performances in a piano lesson. The teacher has musical knowledge that is required to execute the series of intellectual processes involved in performance. Musical consists of the various elemental pieces of used to express desired timbre, dynamics, agogics, articulation, and so on. Most consists of so-called tacit knowledge [1] that a performer cannot describe or explain, although she/he is aware of having such knowledge. Therefore, a teacher cannot help but show her/his through indirect cues, e.g., model performances, singing, and metaphors [2] . By applying induction or abduction based on such indirect cues, a pupil, in the beginning, attempts to imitate the teacher's way of performance [3] and to reconstruct the teacher's in her/his mind. The model performances can show the teacher's performance expression directly. However, if a pupil studies a highly technical piece that the teacher has seldom performed or never performed, the teacher may not be able to perform it perfectly without any practice. Even in that case, the teacher has musical knowledge to perform it. 2. AIMS To solve these problems, we propose CiP. CiP frees a performer from accurate reproduction of melodies described in a score. Therefore, CiP allows the teacher to perform the highly technical piece without paying too much attention to making mistakes. Accordingly, the teacher becomes able to concentrate on expression e.g., agogics, dynamics, articulation, and so on, with CiP in the pupil’s presence. Thus, CiP is expected to facilitate the transmission of the teacher’s to the pupil. This paper reports a comparison between performances with CiP and performances with a conventional piano by subjective evaluation from the perspectives of felicity and similarity. Additionally, we discuss the importance of conveying from the teacher to the pupil and the necessity of supporting the piano lesson at a section of topic areas. 3. METHOD" @default.
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• W61042693 date "2002-01-01" @default.
• W61042693 modified "2023-09-26" @default.
• W61042693 title "COLORING-IN PIANO: A PIANO THAT ALLOWS A PERFORMER TO CONCENTRATE ON MUSICAL EXPRESSION" @default.
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