{"id":322,"date":"2015-02-04T20:12:27","date_gmt":"2015-02-04T18:12:27","guid":{"rendered":"https:\/\/harps.lmta.lt\/en\/?page_id=322"},"modified":"2021-12-06T20:31:39","modified_gmt":"2021-12-06T18:31:39","slug":"the-concept-of-a-piano-school-interpretational-canons-and-the-quest-for-the-creative-freedom","status":"publish","type":"page","link":"https:\/\/harps.lmta.lt\/en\/artistic-doctorate\/completed-artistic-projects\/the-concept-of-a-piano-school-interpretational-canons-and-the-quest-for-the-creative-freedom\/","title":{"rendered":"The Notion of a Piano School: Interpretative Canons and the Pursuit of Creative Freedom"},"content":{"rendered":"<p>Doctoral student: Jurgis Aleknavi\u010dius<br \/>\nSupervisors: Prof. Jurgis Karnavi\u010dius, Prof. Habil. Dr. Leonidas Melnikas<br \/>\nResearch consultant: Assoc. Prof. Dr. Lina Navickait\u0117-Martinelli<br \/>\nDepartment:\u00a0Piano<br \/>\nIntended duration: 2014-2019<\/p>\n<p><strong>Abstract<\/strong><\/p>\n<div id=\"attachment_323\" style=\"width: 235px\" class=\"wp-caption alignright\"><a href=\"https:\/\/harps.lmta.lt\/en\/wp-content\/uploads\/2015\/02\/Jurgis_Aleknavicius_res.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-323\" class=\"size-medium wp-image-323\" src=\"https:\/\/harps.lmta.lt\/en\/wp-content\/uploads\/2015\/02\/Jurgis_Aleknavicius_res-225x300.jpg\" alt=\"Jurgis Aleknavi\u010dius\" width=\"225\" height=\"300\" srcset=\"https:\/\/harps.lmta.lt\/en\/wp-content\/uploads\/2015\/02\/Jurgis_Aleknavicius_res-225x300.jpg 225w, https:\/\/harps.lmta.lt\/en\/wp-content\/uploads\/2015\/02\/Jurgis_Aleknavicius_res-150x200.jpg 150w, https:\/\/harps.lmta.lt\/en\/wp-content\/uploads\/2015\/02\/Jurgis_Aleknavicius_res.jpg 675w\" sizes=\"auto, (max-width: 225px) 100vw, 225px\" \/><\/a><p id=\"caption-attachment-323\" class=\"wp-caption-text\">Jurgis Aleknavi\u010dius<\/p><\/div>\n<p>It would be legitimate to ask whether the notion of a piano school can exist today as a specific entirety of interpretative canons related to different philosophical and musical ideas, national traditions, musical styles and educational stereotypes. Identifying specific piano teaching traditions and representatives of <em>a school<\/em> becomes difficult when one begins to appeal to globalisation, which manifests itself through the scale of music publishing, the industry of international competitions and a broad geography of master classes. One thus begins to deny the apparent features related to one or another\u00a0tradition of musical education and piano teaching.<\/p>\n<p>Well-known and widely recognised old piano schools are associated with the names of famous piano educators and composers: the Viennese school and\u00a0Johann Hummel, Carl Czerny; the London school and Muzio Clementi, Jan Dusik, Johann Baptist Kramer; the Parisian school and Jean-Lois Adam, Camille Saint-Sa\u00ebns; Moscow, Saint Petersburg schools and brothers Anton and Nicolai Rubinsteins.<\/p>\n<p>Every textbook on piano methodologies provides its own ways of developing a technique, producing a specific sound or performing the repertoire of a specific epoch and defines the essential requirements for a piano performer. Every piano school offers its own approach to piano teaching and methodological elements and pursues goals that reflect people\u2019s mentality in its home country and the overall national education objectives.<\/p>\n<p>Once it comes into contact with contemporary culture and artistic taste, historic interpretative practice enables anticipating the priorities of a performer. The prevailing paradigm of the vocal element, the paradigm of the coloristic element and the paradigm of conceptuality bring out the essential philosophy of interpreting a piece of music. Works by Fryderyk Chopin appear very frequently in the repertoire of Lithuanian pianists. This composer, pianist and performer can be treated as an epoch, style and school in the history of the art of the piano. In the light of so many interpretations of Chopin\u2019s music in concert halls in Lithuania and worldwide, the author of the present\u00a0research paper will attempt to identify the interpretative canons of Chopin\u2019s works used by Lithuanian pianists. This research will help to sense the influence of piano schools on the artistic taste, interpretative logic and philosophy of Lithuanian piano performers.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Doctoral student: Jurgis Aleknavi\u010dius Supervisors: Prof. Jurgis Karnavi\u010dius, Prof. Habil. Dr. Leonidas Melnikas Research consultant: Assoc. Prof. Dr. Lina Navickait\u0117-Martinelli Department:\u00a0Piano Intended duration: 2014-2019 Abstract It would be legitimate to ask whether the notion of a piano school can exist today as a specific entirety of interpretative canons related to different philosophical and musical ideas, [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":29,"menu_order":0,"comment_status":"open","ping_status":"closed","template":"template-doct-music-completed.php","meta":{"footnotes":""},"class_list":["post-322","page","type-page","status-publish","hentry"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO 5.0.3 - aioseo.com -->\n\t<meta name=\"description\" content=\"Doctoral student: Jurgis Aleknavi\u010dius Supervisors: Prof. Jurgis Karnavi\u010dius, Prof. Habil. Dr. Leonidas Melnikas Research consultant: Assoc. 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