Kuulonvaraisuuteen perustuva pianonsoitonopetus, metodi ja opetusfilosofia

Abstract

Opinnäytetyössäni selvitellään, mitä kuulonvarainen soittaminen on ja miten pianonsoittoa voidaan opettaa kuulonvaraisesti. Tavoitteenani on myös ollut muodostaa eräs mahdollinen menetelmä kuulonvaraiseen soitonopetukseen. Olen selvittänyt esittelemäni menetelmän teoreettis-filosofista taustaa lähinnä fenomenologisen filosofian ja gestalt-psykologian perinteeseen nojautuen. Lisäymmärrystä siitä, kuinka kuulonvaraisuus on läsnä soitonopetuksen käytännön työssä, olen etsinyt haastattelemalla kahta Pohjois-Pohjanmaalla opettavaa pianopedagogia.

Toisessa luvussa esittelen tutkimusmenetelmäni ja aineistoni.

Kolmannessa luvussa esittelen tutkielmani teoreettisia, filosofisia ja psykologisia perusteita sekä ihmiskäsitystä.

Neljännessä luvussa esittelen kaksi pianonsoiton opetuksessa käytettävää kuulonvaraisuuteen perustuvaa opetusmetodia: Järnefeltin ”Kolmen työn metodia” sekä Suzuki-metodia. Lisäksi mainitsen myös muita kuulonvaraisuuteen perustuvia opetusmenetelmiä, joita ei vielä ole sovellettu pianonsoiton opetuksessa.

Viidennessä luvussa esittelen haastattelemieni pianopedagogien näkemyksiä kuulonvaraisesta soitosta sekä sen opettamisesta.

The primary objective of this thesis was to clarify what is playing by ear, how piano playing can be taught by playing by ear and to act as a guide to develop playing by ear. The aim was to develop piano pedagogy in Finland. I have researched the theoretical and philosophical basis of my thesis mainly through phenomenological philosophy. Further understanding of how playing by ear is present in practice of piano pedagogy, I have gained by interviewing piano pedagogues.

I have gained information by interviewing two piano pedagogues working in music school and searched from literature and the internet information concerning listening to music and playing by ear.

In the second chapter I present my methodology and research material.

In the third chapter I present the theoretical, philosophical and psychological basis of my thesis.

In the fourth chapter I present two methods concerning playing by ear: the Suzuki method and Richard Järnefelt’s method of three procedures.

In the fifth chapter I present the views concerning playing the by ear and how to teach playing by ear by two piano pedagogues I interviewed. It can be argued, by their views, that teaching methods based on aural perceiving is needed.

In the sixth chapter I try to collect a piano teaching method based on aural perceiving. I present a brief history of playing by ear and it’s requirements in practice. I also present the elements of music, texture and structural aspects, because through these aspects it becomes easier to parse music. In the end of the chapter I present how to use aural method on a piano lesson.

In this thesis I have processed playing by ear with the concept of elements of music. I have gained information by interviewing piano pedagogues, from literature and the internet concerning listening and playing by ear. This thesis involves views and a method how music can be taught learning by ear by perceiving the elements of music.

This work can extensively be applied to the field of piano pedagogy with different musical styles. Aural methods should be applied more efficiently to practical piano pedagogy. This thesis can be used as guidance to develop playing by ear.