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Piano Education In Adults
Abstract
Piano education is one of the main dimensions of instrument training. Due to the possibility of polyphonic
music, the piano is being sought after at all ages, unlike other instrument groups. In developed countries, amateur
music education is seen as a large mass of individuals, so they are accepted as the music body of society (Say,
2002).
In this study, the factors affecting success in adult piano education and its historical development and the
methods of piano used in education are discussed. The views of the expert lecturers in the field were collected by
the resource screening method. Depending on the purpose, a descriptive research method has been applied. As a
result of the research, it is emphasized that adult piano education requires a serious, detailed, working process
and that the problems students face when playing piano can be psychological, as they may have physical
problems with their age, as they are nervous about worrying about not working enough, failing to achieve, and
criticizing. Furthermore, as a result of the examination of the methods related to the subject, it was suggested that
the Education conducted with an absolute method is not useful enough, and the continuation of the method using
different sources will positively affect the development of the method regarding eliminating the deficiencies.
Keywords: Music, Piano education, Piano method book, Interpretation
1. Introduction
Music flows into the emotional and intellectual world of the individual. It opens opportunities for people to get
to know themselves, to make them think and to make them feel (Say, 2002).Education is a series of continuous
activities for the development and acquisition of knowledge, behavior, and skills, as well as the continuity of
social life and cultural transport (Yoncalık, 2004). We can describe piano education as a versatile process based
by acquiring and developing a variety of cognitive, intellectual and kinesthetic skills independently of each other
(Ertem, 2011).
The basic skills that should be gained to the student during the initial stage of piano education should be the
correct hand position, the ability to reach enough technique, the reading of notes, a sense of sound rhythm,
musicality and the copiousness of Touché. One of the most effective ways to gain these skills to the student is
the appropriate repertoire to be chosen by the lecturer. In this way, the importance of the piano method is
revealed in acquiring the mentioned behaviors at the desired level.
Today, rapid change in science and technology is known to cause knowledge in many fields to be outdated in a
short time. From this point of view, the fact that education is a process that should be carried on for the entire life
without being dependent on age or place is gaining weight. The strong individual is associated with powerful
community concepts, the ability to access knowledge, to construct and disseminate knowledge. Therefore,
individuals who develop themselves and learn for life are required (Bagnall, 2006; Scans, 1991; TÜSİAD, 1999).
Since Gruatvig first used this concept in the 1800s, he is considered to be the founder of this tradition.
The concept of lifelong learning has been taken into consideration as a process in adult education until the 1970s
(Koç, Taş, Özkan and Yılmaz, 2009). In the following years, this concept has been perceived as a process that
covers all segments of society and all levels of educational systems (Uysal, 2009). Structuring a society of
lifelong learning individuals will undoubtedly be possible through arrangements in educational systems. In the
application of the concept of traditional learning, the educator is the source of knowledge which, in the
application of the concept of lifelong learning, must be the guide for the source of knowledge. In the
implementation of piano education, educators can apply life-long learning features by developing individualized
learning areas for adult learners who have access to learning opportunities (Gencel, 2013).
1.1. Problem
In parallel with the changing and developing world, there are also changes and developments in the field of art
and music. In our era, adaptation to these developments is a measure of modernization. In this context,
instrument education is one of the requirements of modernization (Orhan and Ercan, 2012).
Considering the lack of adequate work on adult piano education, the necessity of examining the subject and
methods used in adult education constitutes the problem of this research.
1.2. Research Objective
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In this study, it is aimed to examine piano education in adults. In this respect, the following questions will be
sought.
1.
What are the dimensions of adult piano education including historical development?
2.
What are the methods used in adult piano education?
3.
What are the factors that affect success in adult piano education?
1.3. Importance Of Research
This study, which aims to examine how piano education methods are in adults, is expected to contribute
positively to the field of piano education. Also, the content of this study is essential for the inclusion of
educational areas such as lifelong learning, which are significant in education.
2. Method
In this study, the screening model was used. In line with the purpose of the research, the factors affecting success
in adult piano education, the dimensions of historical development, and the subjects of the piano methods used in
education are discussed. In addition to the literature review of the relevant resources, together with the individual
experiences of the lecturer engaged in the research, the views of the experts in the field of this subject have been
applied.
3. Findings
3.1. Findings On The Historical Development of Adult Piano Education
The oldest method for keyboard instruments is the method consisting of three parts, “Fundamentum
Organisandi,” written in 1452 by The Organist Conrad Paumann, who lived between 1410 and 1473. This
musical piece is a counterpoint book.
The first genuine method, which includes methodological and pedagogical approaches, was observed in Spain.
The priest named ''Thomas de Santa Maria'' presented the ''Arte de Tanor Fantasia" method, which he worked for
16 years in 1565. Besides the fundamental knowledge in the first volume of the 400-page work, it also includes
practical examples that were not seen much at the time. In the thirteenth part of the first volume of the work,
eight essential features of good work are mentioned (Böhnova, 1973 ascited by Gültek, 2004).
●
playing in the right rhythm
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hands are in the right position
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the accurate sitting position in the piano
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play with a clean and precise interpretation
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comfort in passages requiring acceleration and deceleration
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playing with the appropriate finger number
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do not neglect to aim for the enjoyment of the audience
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achieving success in the ornamentation of the music pieces interpreted
Later, according to Böhnova, the French composer F. Couperin -) talked about almost the same
educational approaches in his method called “Pieces De Clavcin.”
Thus, it is understood that the basis of the methods used today was discarded about 200 years before the
discovery of piano.
The attempt to program piano education, from the discovery of piano in 1711, was made by D. G. G. Turk
-), F. Kalkbrenner -), L. Köhler (1858) is based on the piano methods of composers (Eren,
2013). The authors of ''Oxford Piano Courses'' (1928) presented "The Beginner's Book of Older Pupils" for adult
students in 1929. This method was compiled as content, adapted to the more conceptual and rapid learning of
older students. Following these methods, the “The Adult Explorer at the Piano” method, which was written by
Ahean, Blake, burrow in 1937, emphasized the functional skills that will enable students to understand how they
will get their music into everyday life and how they will be more enjoyable to express themselves, as well as the
teaching of keyboard training and The playing of their works. Later, Thompson's ''The Adult Preparatory Book''
(1943), Aeron's “Adult Piano Course” (1947), Richter's “The Older's Student” (1956) methods include; starting
with the middle do note, traditional melody editing, folkloric tunes, and little technical knowledge.
As a result of the historical examination of the piano methods, the methods published since the first half of the
twentieth century have also begun to include the findings which include the corresponding basic structures of
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music such as music theory, deciphering education, accompaniment and composing skills (Uszler, Gordon and
Mach, 1991).
3.2. Findings On Methods Used in Adult Piano Education
Instrument method books are prepared for learning a musical instrument with a phased progress system. Music
education, whether professional or amateur, requires a serious and detailed work process. In this respect, in the
selection of method, the student's ability, level of availability, the environment and the characteristics of the age
should be taken into account (Kaynak, 2011). In adult piano education;
●
James Bastien's "The Older Beginner Piano Course" level 1 and 2
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John Thompson's ''Adult Piano Method'' level 1 and 2
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Hall Leonard's ''Adult Piano Method'' level 1 and 2
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Burkard Piano Method
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Nancy Randall Faber Adult Piano Adventure All-in-one 1, 2
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Alfred Basic Piano Course All-in-one Course 1, 2 ve 3. level
are the most common methods.
3.2.1. James Bastien's “The Older Beginner Piano Course”
The Older Beginner Piano Course consists of 2 levels. Each level consists of four complementary books used
together with one main method.
●
The primary method usually includes the original piano works, which are carefully selected and progressive,
to make education more enjoyable.
●
Musicianship: The study of the bass movements of the four-dimensional motives presented in the primary
method of guidance includes the subjects of transferring the motives to certain tones and playing them in the
transferred tones and accompaniment to the melodies.
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Theory aims to contribute to the more conscious interpretation of the works by directing the piano works
that the students play to a harmonically functional approach.
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Sight reading: When playing piano, at first sight, it includes the ability to reflect the composer's intended
interpretation without repeating mistakes.
3.2.2. Thompson's Adult Piano Method Series 1, 2
In the first book of the series, mainly the author's compositions are included. In the second book, tracks from the
classical music repertoire were used. In the introduction of the famous composers, it is aimed to give theoretical
information on the starting themes of some of the musical pieces of the composer. Many of these pieces are
composed of orchestral works arranged for piano or the original accompaniment party, which has been
transformed into simplified pieces. Especially J. When J. Thompson's ''Modern Course Series'' was examined, it
was observed that some pieces were presented by changing the theme of B completely.
3.2.3. Hall Leonard’s Adult Piano Method Series 1, 2
This method consists of solo, technical and theory sections:
●
Basic musical concepts, symbols, and rhythm patterns are given in the first unit as preliminary information,
then playing in three different positions.
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In the first and second levels, only six tonalities were processed, and no other familiar tonalities were
included. Furthermore, the ornaments are not included in any unit.
●
From the beginning to the end of the series, improvisation and deciphering works are included. It can be said
that the speed of progress is slow compared to the adult learner (Eroğlu, 2018).
3.2.4. Burkard Piano Method
This book, written by Alexander Burkard in 1906, is based on the method of Burkard, known as the “Middle C
method,” which was used in piano methods published later. In this method, two hands start with the first finger
on the Middle C key. The Middle “C key” is a bridge between the bass and treble clef. In 2016, “Music
Education Publications in Turkey” was re-published in Turkish. In the method review, it is observed that in the
first fourteen exercises of 12 meters, each with different teaching objectives, five finger movements are based on
the use of keys in the staff. Instead of the uniform quarter-note accompaniment, it was noticed that quaver beat,
and reverse movement was used, and the left-hand accompaniment party was colored up. Also, in the method,
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there are no exercises aimed at the independent movement of both hands (for example, the comfort of departure
from one hand to the other in both the staccato and the rest).
In Method R. Schumann's 73. the work is simplified.
3.2.5. Nancy and Randall Faber’s Adult Piano Adventure All-in-one Lesson
In the first book of this 196-page series of methods, musical notation, chord practices, and musical forms are
introduced. In the second book, while the accompaniment of the chord and the teaching of keyboard harmony,
melodic material cannot be said to be satisfactory. The most prominent feature of this method is the reflection of
Faber's teaching theory. A - Analysis, C - Creativity, E - Expression titles are prominent in the targets expressed
as ACE.
A- The student will understand the work
C- Creativity will lead the student to discover himself
E- Expression will improve the student's art.
In this way, the method is sufficient regarding teaching approach and complementary content.
3.2.6. Alfred’s Basic Piano Course All-in-one Course Series
In this series, along with primary education, theoretical knowledge, technical knowledge, and famous piano
works are presented in a book. In the “Introduction to Piano Playing” unit at the beginning of the first book,
necessary information such as hand and finger exercises, breathing exercises, how to produce piano and forte
volume is explained in the picture, and the exercises related to these topics are given.
Level 2: compound measure, nuance terms, pedaling usage.
Level 3: divided into four sections
a) A review of old key signatures
b) New key signatures and concepts
c) Just forfun section
d) Ambitious section
The most important feature of the Alfred Basic Series is that for each piece, tips and exercises have been given,
which will allow for easy learning of the part first. With the placement of cadence under the melodies, it is aimed
to play the piano by using various accompaniment patterns as well as to gain the sound of music theory and
accompaniment skills.
3.3. Findings On Factors Affecting Success In Adult Piano Education
Piano education in adults aims to enable people who want to improve themselves in any branch of music to
participate effectively in music and gain advanced musical behavior. The difference in the physical and
psychological characteristics of adult students will undoubtedly affect their educational success. In this respect,
taking into account the factors that affect success in education will facilitate the development of the education
process and the achievement of the target. We can examine the factors affecting development in three main
groups.
3.3.1. Cognitive Skills
Instrument education is individualistic. It is known that individual characteristics vary from person to person.
Therefore, the cognitive level of the adult student is influential in the success of the educational process.
According to the American psychologist Gates, learning is the process of acquiring new behaviors or changing
old behaviors at the end of the interaction with the environment according to the level of maturity of the
individual (Akt. Binbaşıoğlu, 1991).
●
Students who begin to learn a musical instrument at an early age learn unconsciously. They do not know
what they are learning for, for what reason. Adults, however, learn by questioning, thinking, reasoning
(Orhan, 2011)
●
Adult focus period is more extended than those who start at an early age.
●
As a result of teaching experience, while playing piano pieces written in two different clefs with two hands,
it is thought that it is possible to see the notes in both keys from the bottom staff to the top and ensure the
continuity of the press movement without losing time, because of the individual characteristics of the
student.
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Some adult students start playing musical pieces before the work is settled, in order to avoid continuing
follow-up of their work. This situation leads to incorrect placement of the musical piece regarding note
error, rhythm, finger number and interpretation characteristics. While it becomes difficult to correct errors
caused by early memorization, it also causes a loss of time.
In order to prevent such cognitive differences, the lecturer must guide the student.
3.3.2. Affective Skills
In this context, motivation can be defined as the internal strength that starts the student's actions and behaviors
and provides energy. Motivation in piano education is a significant determinant. Characteristics of piano that
attract students and lead them to education by making a difference;
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The abundance of repertoire compared to many instruments
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Positive contribution to ear-training due to the sound consistency caused by the fixed frets
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Developing a polyphonic sense perception
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Extensive sound limit
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Offer the opportunity to accompaniment easily
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Providing an opportunity for pleasure training can be listed (Yücetoker, 2009)
Some of the other reasons that lead adults to take piano education:
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The desire to enjoy self-expression by taking the education he received as an element of socialization and
joining his peers in a group environment and playing a few pieces
●
To desire to play a composition correctly by looking at the note, to be able to accompany a song or a chorus
by using chords
●
Parents may have started taking lessons with the idea that it would be appropriate to accompany the other
child who plays a different instrument (Uszlar, Gordon and Mach, 1991).
Adults who have chosen to play piano have specific ideas about why they are interested in playing the piano.
Every adult expects this experience to be pleasant, but their views on what constitutes this pleasure differed.
While some students may be satisfied with enjoying a short time, playing a few famous pieces, some students
would like to learn more about how to use their fingers and soft pedal to figure out the musical piece. Students
who give importance to theoretical knowledge about music, aim to learn about the chords and the harmonic
structure of the work he plays. However, none of them intend to be a pianist. However, it is difficult for teachers
to envisage piano education that does not involve a robust repertoire with technical development. Teachers plan
training with the idea that small students will reach their goals in the long term, their hands will grow over time,
their concentration will increase, and the reading of the note will become fluent. In the case of tutoring with
adults, the teacher usually aims to work by accelerating continuous progress in line with experience and
observation (Uszler, Gordon and Mach, 1991).
3.3.3. Psycho-Motor Skills
In the forced movements, while playing the piano, the independent working muscular and neural system works
together to perform the implementation. The technique is to control these movements. All motor skills depend on
the precise and accurate timing of these muscle movements.
Characteristics of adult students that facilitate playing piano compared to young students:
●
Physical compatibility as height and strength, easy access to pedals and keyboard tips
●
To be able to reach an octave and apply accompaniment methods in the piano
●
To have the ability and control to produce higher tonal resonance and tone color diversity according to
younger students in interpreting works
However, as a result of our teaching experience, we observe that many adult students are having problems during
the study, despite the advantages of strength and length that are not available in children.
Thus, it is observed that the flexibility of the fingers and arms movements observed in the students who started
education in the early stage disappeared in the adults who reached physical maturity. Adults who are accustomed
to using their body in certain forms and conditions can have difficulty in getting started with piano education,
switching to new movement patterns and modifying existing patterns, in other words reprogramming neural
information that is sent to muscles and limbs. In this case, those who start at the beginning level or a young age,
especially those who have left their education incomplete, may feel guilty if they do not achieve the desired
success despite their efforts, and they will not be able to experience such problems if they start their education at
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an early age. Adults are more difficult to accept failure than children. At this point, the proximity of the lecturer
to the students will make them psychologically relaxed and decrease their physical discomfort.
The fact that new patterns of movement will only be settled with time-consuming repetitions should be reminded
frequently by the lecturer. They should be told to make warm-up movements to soften their stiff arm muscles
before they start to work, gradually increase their daily piano practicing time and avoid technical passages that
force them to overcome problems.
4. Discussion
In this study, methods used in the historical development process of adult piano education and factors affecting
success in piano education were discussed. In a comprehensive literature review on the subject, it was found that
most of the research was directed to early-stage primary methods (Çimen, 1995; Kaynak, 2011; Güven-ÇevikCanbey, 2012; Eren, 2013).
However, taking into consideration that adult students have different characteristics, it should also be important
to disseminate the appropriate scope of methods. Method books taken into consideration in the research are
books prepared by educators and widely used in the world. However, it has been determined that many of them
have different strengths and weaknesses. In some of the 3 and 4 level series in the method review section, the
works of famous composers have been simplified and transformed, or only the head part of the work has been
sampled (Thompson Adult, Thompson Moderne Course Series, Burkard No: 73).
In order for the students to overcome different styles of difficulties, facilitating the work sections of famous
composers to the note for educational purposes will cause them to misunderstand the work. On the other hand, it
will undoubtedly affect the development of the student who is continuing education through continuous progress.
Burkard and F. Beyer piano method published in 1830 and used in contemporary conservatories piano
departments have been shown to continue at the treble clef during 53 studies in 28 study C positions. Because
they are 150 years old methods, they have emphasized that they do not have the characteristics of modern
methods (Eroğlu, 2018).
Parallel to the research on method, it was observed that Faber Adult Piano Adventures and Alfred Basic Adult
series dealt with piano education in all aspects. For this reason, we can express that they are more proper for
modern piano education.
The third question of the study is examined in the dimensions of “Factors Affecting Success in Adult Piano
Education”;
Some adult students may feel guilty, thinking that if they had started their education at an early age, they would
not have had such problems, as a result of their inability to achieve the desired success despite their efforts. In
this case, the lecturer should remind his student that it is more important to enjoy music. It would be helpful to
warn him that his attempt to reach the best by feeling the music about the aesthetic aspect of music will comfort
him.
5. Conclusion and Recommendations
From the twentieth century, composers create new pieces in contemporary style and different forms. The purpose
of the education should be to introduce classical pieces as well as different styles of pieces. In this respect, the
teacher should not continue the same series of methods in order to provide the student with a more wholesome
development in line with his / her views. Instead, by using new compositions written in different rhythm and
forms, designing the most appropriate education plan will increase efficiency in education.
Enabling students to exhibit their favorite works in front of the audience will increase their self-confidence and
motivation.
Another problem is that adult piano methods are written in a foreign language, making it difficult to understand.
The Burkard method, which was written in 1906, was published in Turkish by Music Education Publications in
2016. The publication of the “Faber Adult Piano Adventures” and “Alfred Basic Adult All-In-One Course”
Series in Turkish will enable more efficient use of these methods by the majority.
As a result, it is thought that the recommendations presented in this research to bring various behaviors to adult
piano education will be a guide to future studies.
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