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            "abstractNote": "The purpose of this study was to analyze nine early childhood piano methods designed for teaching the beginning four- to five-year-old piano student and to determine whether or not they included the elements which researchers and practitioners deem necessary for an age-appropriate comprehensive music program. The research questions examined in this study were 1) to determine which methods are currently available for teaching piano to the younger child; 2) to determine whether or not these programs include the age- appropriate elements that researchers consider essential for early childhood musical development such as playing instruments (the piano), singing, moving, creating, and aural skills development; 3) to determine the variety of styles of repertoire found in each series; and 4) to determine whether or not parental involvement was discussed in these methods. Criteria for selecting preschool piano methods were methods which 1) were specifically designed for the four- and five-year-old beginning student; 2) were currently in print; 3) and were recommended in James Bastien’s (1988) How to Teach Piano Successfully and Marienne Uszler’s (2000) The Well-Tempered Keyboard Teacher. Thus, the methods which met these criteria were Music for Little Mozarts (1999-2000) by Barden, Kowalchyk, and Lancaster, Invitation to Music (1993-1994) by Jane, Lisa, and Lori Bastien, Prep Course for the Young Beginner (1988-1989, 1993) by Palmer, Manus, and Lethco, Piano for the Young Beginner (1987) by James Bastien, Sing and Play (1987) by Collins and Clary, Music Readiness Series (1984) by Glover, Glasscock, and Stewart, Mainstreams Primer Method (1977) by Cory, Music for Moppets (1971)and Kinder-Keyboard (1977) by Robert and Helen Pace, and The Very Young Pianist (1970, 1973) by Jane Smisor Bastien. A Data Sheet for Review of Preschool Piano Method Books was developed which focused on the key elements considered necessary for preschool music programs. Data were analyzed using frequency counts, and percentages of each element were calculated. The data showed that each piano method focused on one or more of the key elements; however, no single method contained similar percentages across elements. Researchers should continue to investigate the most effective proportion of these key elements in teaching preschool piano students.",
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            "abstractNote": "For many piano teachers, developing proficient reading skills in their young beginner students is one of the important aspects of weekly lessons yet it can also be one of the most frustrating tasks to undertake. To assist in this process, teachers look to method books to provide structure and an approach to music reading. Two reading approaches are prevalent in the current marketplace and widely used by teachers; the mixed intervallic approach and the middle C approach. The mixed intervallic approach, which stresses reading by interval, pattern and direction, is favoured and endorsed by current pedagogy and is adopted by many method books. This study compared the reading skills of young beginner piano students (ages 7-11) using either the mixed intervallic approach or the middle C approach to see which approach produced more reliable reading skills. Participants performed several music reading tasks to test keyboard identification (verbal), note identification in treble and bass clef (verbal), single note identification in C and G position (playing), broken and solid intervals in C and G position (playing), 3 note patterns and non-patterns in C and G position (playing), and sight reading. I hypothesized that the middle C students would perform better at single note identification while the mixed intervallic students would perform better in interval recognition, pattern recognition and sight reading. The results showed that the middle C students outperformed the mixed intervallic students in all tests except for keyboard identification and 3 note patterns in G position. These findings are surprising as they may indicate that the middle C approach, which is often criticized, is generating reliable reading skills among beginner piano students. Keywords: music, piano, beginner piano students, mixed intervallic approach, middle C approach, method books iii",
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            "title": "Technique And Expression İn Carl Czerny's Teaching: A Critical Study Of Czerny's Piano-Forte School, Opus 500, Demonstrating The Direct Relation Between Mechanical Teaching And Expression İn Performance",
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            "title": "Güzel Sanatlar Liselerinde Kullanılan 9. Sınıf Piyano Ders Kitabındaki Teknik Çalışma Ve İlgili Piyano Eserleri Arasındaki İlişkinin İncelenmesi",
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            "publicationTitle": "İnönü Üniversitesi Kültür ve Sanat Dergisi",
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            "date": "2016-08-25",
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            "abstractNote": "The purpose of this research is to analyse the musical elements of the most frequently voiced Turkish piano works in music departments of education faculties. The sample of this research consists of 6 Turkish piano works voiced by 628 students attended in 1st and 2nd classes of 11 music departments of education faculties during the academic year of 2006-2007. These 11 universities are; Abant Ýzzet Baysal University, Dokuz Eylül University, Gazi University, Ýnönü University, Karadeniz Technical University, Marmara University, Mehmet Akif Ersoy University, Pamukkale University, Selçuk University, Uludað University and Yüzüncü Yýl University. These 6 most voiced Turkish piano works are A. Adnan Saygun’s “Ninni”, Erdal Tuðcular’s “Bar”, of Ýlhan Baran’s “Söyleþi”, Muammer Sun’s “Köçekçemsi”, Necdet Levent’s “Özlem” of U. Cemal Erkin’s “Kaðný”. These are analysed in terms of form, nuance, piano technique, writing technique, tonality, voice area, measure symbols, note values, tempos, character and rhythmic structures and its frequency of use.",
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            "dateAdded": "2022-10-26T20:41:10Z",
            "dateModified": "2022-11-07T16:07:04Z"
        }
    }
]