Method of Organ Playing

Noss, Luther; Gleason, Harold

doi:10.2307/890684

Cited by 2 publications

(2 citation statements)

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“…Steyl's hypothesis, which is informed by a South African context, tests and challenges the accepted notion that organ playing should be based on established piano playing skills and that organ tuition should only commence on the attainment of a specified bodily height. Her basis of comparison are four organ methods for students with keyboard experience: Peeters (1953), Gleason (1996), Ritchie and Stauffer (2000) and Thomas (1997). She draws a basic comparative analysis of four organ methods for beginners: Sanger (1990), Deis (2003), Ingelse (2006) and Rønnberg and Hagström (2006a).…”

Section: Research Into Early Organ Pedagogymentioning

confidence: 99%

Can We Buy Virtue? Implications from State University Funding On Musical Instrument Performance Teacher Mandate

Rolfhamre¹

2021

Higher Education as Context for Music Pedagogy Research

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Recent world developments have put a strain on the humanities in general, and higher education music performance study degree-programmes in particular. In an educational system currently promoting consumer-product relationships where the music performance teacher is very much accountable for the students’ development into professional musicians and, recently, also sustainable world citizens, we must give more attention to what, whom and why we educate? This chapter is an armchair analytical philosophical continuation of a paper published elsewhere (Rolfhamre, 2020). Taking the lead from Julia Annas’ (2011) virtue-as-skill, I will, here, elaborate on what implications the Norwegian state higher education funding system may have on the higher education music performance teacher’s perceived mandate from the perspectives of music pedagogy, rhetoric and virtue ethics. First, I pursue three different usages of the verb “to buy” to exemplify why I find the chapter’s title to be relevant and valid. This sets the premises for the following turn to rhetoric to highlight the starting point’s persuasive functions and incentives. Subsequently, I briefly relate the argument to Butlerian performativity to emphasise its relation to normativity, inclusion-exclusion and the theoretical possibility of “breaking free”. From this position, I draw on Aristotelian phronesis, mainly through the position held by Hansen (2007) to sketch up an ecology in which I ask how this all affects the teacher’s mandate?

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Section: Research Into Early Organ Pedagogymentioning

confidence: 99%

Can We Buy Virtue? Implications from State University Funding On Musical Instrument Performance Teacher Mandate

Rolfhamre¹

2021

Higher Education as Context for Music Pedagogy Research

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“…Pianists change the music's loudness by varying the amount of energy used to strike keys (and therefore the energy with which a hammer hits the piano strings; Kinoshita et al, 2007). However, the mechanism by which an organ produces loudness is independent of the force with which the keys are struck: the loudness of the organ is altered using stops and expression pedals, which control the number and type of pipes through which pressurized air flows (Gleason, 1937). Therefore, attempting to produce dynamics on the organ by varying muscle tension is redundant and potentially maladaptive, because playing forcefully (in loud music) elicits increased muscle loading and risk of strain injuries (Furuya et al, 2011).…”

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confidence: 99%

A cognitive intervention to correct a maladaptive technique in organists due to prior music learning: A randomized controlled trial

Kan

Dibben

Wong

2023

Psychology of Music

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Organists who start as skilled pianists may later maladapt their keyboard technique to play the organ. This randomized controlled study investigated the feasibility of using an audio cognitive intervention to correct organists’ playing technique. Forty participants played a music excerpt with two dynamics (soft/loud) on two musical instruments (organ/piano) at baseline, while their corresponding forearm muscle activities were measured by surface electromyography (sEMG). They also rated their playing force. Participants were then randomized to receive either a 5-min audio cognitive intervention (learning to use self-talk phrases “organists—stops/ expression pedals—minimal force” to reduce their tension in playing the organ; n = 21) or a control audio recording (instructing them to rest for 5 min; n = 19). All participants then repeated the two dynamics on the two musical instruments. The intervention group displayed significantly lower forearm sEMG muscle activity during organ playing, whereas the controls’ playing was unchanged. Our study shows that organists use unnecessary muscle tension to produce dynamics and that our intervention was effective and could improve motor control in playing the organ. Self-talk is therefore a viable way for music educators to help learners correct habitual but maladaptive techniques arising from prior learning.

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Method of Organ Playing

Cited by 2 publications

References 0 publications

Can We Buy Virtue? Implications from State University Funding On Musical Instrument Performance Teacher Mandate

Can We Buy Virtue? Implications from State University Funding On Musical Instrument Performance Teacher Mandate

A cognitive intervention to correct a maladaptive technique in organists due to prior music learning: A randomized controlled trial

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