@article{10.11648/j.ijla.20130103.11,
  author = {Krasimira Georgieva Fileva-Ruseva},
  title = {Development of the Musical Thinking of the Beginner Pianists},
  journal = {International Journal of Literature and Arts},
  volume = {1},
  number = {3},
  pages = {26-30},
  doi = {10.11648/j.ijla.20130103.11},
  url = {https://doi.org/10.11648/j.ijla.20130103.11},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijla.20130103.11},
  abstract = {Thinking is manifested by the speech. Through the semantic content of the speech entities, interactions, interdependencies, etc. are expressed. These complex interrelationships, as a product of the human thinking in general, exist in the different languages. Therefore, the spoken language can be translated from one language to another, preserving and conveying the specific content. Unlike the spoken language, the musical language can not be translated. The musical thinking process occurs spontaneously, and the content is “rationalized” by the character of the emotional response, that triggers in the perceiver. By logical musical thinking is meant typical of a geographical area, ethnicity or style development of the melody. That development has no equivalent in other geographic areas, ethnicities and styles, and so the musical thought is untranslatable. Therefore, while training beginner pianist-performers, along with other necessary qualities and skills, is essential to cultivate also the ability to empathy the expressed through the music feelings and the sense of distinctiveness of the different types of melodic structures. The ability to detect the underlying feelings in the work is achieved through different pedagogical approaches, such as: - The selection of an appropriate musical illustration to a short story, thought up by the teacher. - The recreation of the emotional meaning of the piece that is studied or played through created by the student tale, short story, verse or drawing. - The description of what he would draw to illustrate the music that has sounded. Using these methods "the understanding" of the emotional content of the musical work is encouraged - a necessary condition for improving the impact of the student’s own interpretation or the adequate assessment of someone else’s performance. The main method to form the sense of distinctiveness of the musical thought is the selection of a diverse repertoire for mastering. Other suitable approaches are: - Selecting an appropriate conclusion of the melody from several proposed cadences. Composing a logical conclusion of a melody by the student himself/herself. - Finishing of two different in character melodies. - Continuing the melody on a given small element of it. Thus accumulated and constantly enriched fund of musical-auditory notions, is of great benefit for both the more effective memorizing of the mastered piece, and the deeper understanding of the musical punctuation, syntax and the specificity of the musical image.},
 year = {2013}
}

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TY  - JOUR
T1  - Development of the Musical Thinking of the Beginner Pianists
AU  - Krasimira Georgieva Fileva-Ruseva
Y1  - 2013/11/10
PY  - 2013
N1  - https://doi.org/10.11648/j.ijla.20130103.11
DO  - 10.11648/j.ijla.20130103.11
T2  - International Journal of Literature and Arts
JF  - International Journal of Literature and Arts
JO  - International Journal of Literature and Arts
SP  - 26
EP  - 30
PB  - Science Publishing Group
SN  - 2331-057X
UR  - https://doi.org/10.11648/j.ijla.20130103.11
AB  - Thinking is manifested by the speech. Through the semantic content of the speech entities, interactions, interdependencies, etc. are expressed. These complex interrelationships, as a product of the human thinking in general, exist in the different languages. Therefore, the spoken language can be translated from one language to another, preserving and conveying the specific content. Unlike the spoken language, the musical language can not be translated. The musical thinking process occurs spontaneously, and the content is “rationalized” by the character of the emotional response, that triggers in the perceiver. By logical musical thinking is meant typical of a geographical area, ethnicity or style development of the melody. That development has no equivalent in other geographic areas, ethnicities and styles, and so the musical thought is untranslatable. Therefore, while training beginner pianist-performers, along with other necessary qualities and skills, is essential to cultivate also the ability to empathy the expressed through the music feelings and the sense of distinctiveness of the different types of melodic structures. The ability to detect the underlying feelings in the work is achieved through different pedagogical approaches, such as: - The selection of an appropriate musical illustration to a short story, thought up by the teacher. - The recreation of the emotional meaning of the piece that is studied or played through created by the student tale, short story, verse or drawing. - The description of what he would draw to illustrate the music that has sounded. Using these methods "the understanding" of the emotional content of the musical work is encouraged - a necessary condition for improving the impact of the student’s own interpretation or the adequate assessment of someone else’s performance. The main method to form the sense of distinctiveness of the musical thought is the selection of a diverse repertoire for mastering. Other suitable approaches are: - Selecting an appropriate conclusion of the melody from several proposed cadences. Composing a logical conclusion of a melody by the student himself/herself. - Finishing of two different in character melodies. - Continuing the melody on a given small element of it. Thus accumulated and constantly enriched fund of musical-auditory notions, is of great benefit for both the more effective memorizing of the mastered piece, and the deeper understanding of the musical punctuation, syntax and the specificity of the musical image.
VL  - 1
IS  - 3
ER  - 

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