Katson, soitan, läpielän : pianistisia kokemuksia prima vista -soittamisesta
Vuori, Marja (2002)
Taideyliopiston Sibelius-Akatemia, DocMus-tohtorikoulu
2002
2489-8155
978-952-329-246-8
Väitöskirja
Studia musica 13
Julkaisun pysyvä osoite on
https://urn.fi/URN:ISBN:978-952-329-246-8
https://urn.fi/URN:ISBN:978-952-329-246-8
Tiivistelmä
The phenomenon of prima vista is studied as an empiricalphenomenological
question in a piano playing situation. Eight pianists' individual experiences in prima vista playing
are described in detail, in order to establish the structural qualities of the experience.
The topic question is: What are the qualities and
general themes that describe pianistic prima vista as a phenomenon?
Over a period of half a year I visited prima vista piano lectures at the
Sibelius Academy to observe, record, and videotape lessons. As a result of the
process a special prima vista situation was prepared, together with a prima
vista teacher, in order to collect the data at these lessons. Seven piano students,
and one pianist specialized in accompaniment, were selected as participants.
They were asked to sight-play Vittorio Rieti's "Elegia" at least five times in
succession. The performances were videotaped and a discussion was
conducted with each player after the performance. The data constituted
documentation of individual processes with this piece "Elegia," as well as the
observations and documentation of the prima vista piano lessons.
The analysis of the data was based on the phenomenological model of
Clark Moustakas (1994). In phenomenological reduction, the task is that of
setting aside prejudgements and opening the performance with an unbiased,
receptive presence. Descriptions of individual sight-playing processes were a
starting point, whereby the ultimate aim was an integration of such
experiences towards a structural description of all the individual processes
into a group or universal structural description of the experience.
The results center upon approaches to prima vista as experienced qualities
of space and time, both as a musical skill and as a body-phenomenological
question. The discussion argues for the multiplicity of individual avenues for
getting in touch with a new piece of music. The results suggest that the
phenomenon of prima vista can be described as two separate phenomena:
first, prima vista as a living-through experience of music and, secondly, prima
vista as a playing-through experience of a musical piece.
question in a piano playing situation. Eight pianists' individual experiences in prima vista playing
are described in detail, in order to establish the structural qualities of the experience.
The topic question is: What are the qualities and
general themes that describe pianistic prima vista as a phenomenon?
Over a period of half a year I visited prima vista piano lectures at the
Sibelius Academy to observe, record, and videotape lessons. As a result of the
process a special prima vista situation was prepared, together with a prima
vista teacher, in order to collect the data at these lessons. Seven piano students,
and one pianist specialized in accompaniment, were selected as participants.
They were asked to sight-play Vittorio Rieti's "Elegia" at least five times in
succession. The performances were videotaped and a discussion was
conducted with each player after the performance. The data constituted
documentation of individual processes with this piece "Elegia," as well as the
observations and documentation of the prima vista piano lessons.
The analysis of the data was based on the phenomenological model of
Clark Moustakas (1994). In phenomenological reduction, the task is that of
setting aside prejudgements and opening the performance with an unbiased,
receptive presence. Descriptions of individual sight-playing processes were a
starting point, whereby the ultimate aim was an integration of such
experiences towards a structural description of all the individual processes
into a group or universal structural description of the experience.
The results center upon approaches to prima vista as experienced qualities
of space and time, both as a musical skill and as a body-phenomenological
question. The discussion argues for the multiplicity of individual avenues for
getting in touch with a new piece of music. The results suggest that the
phenomenon of prima vista can be described as two separate phenomena:
first, prima vista as a living-through experience of music and, secondly, prima
vista as a playing-through experience of a musical piece.
Kokoelmat
- Kirjalliset opinnäytteet [1536]