Motto: Still do exist some powerful psychophysical devices that determine our effectiveness in any musical activity. Few of them are deeply hidden in our mind & body entirety; actually they might be of the greatest importance...

(Rather very old truth...)

Virtual aspects of playing and teaching the piano: invisible elements.

Appearance One is available via this link; Appearance Three is available via this one.

Standard I: Emotional Resonance acts always and everywhere!

Every symbol, image and/or - sound we see, hear and/or - experience...

This one: , or this:, or this:

Generates particular kind of the EMOTIONAL RESONANCE in ours mind & body entirety.

Interpretation: each one human being needs in colors, images and ideas. Simply said: one actually needs in something inspiring that might put ones fantasy into action.

Especially musically talented individuals do not like to be feed up by the fully dried abstractions only, as NOTES, KEYS, FINGERS, CRESCENDO, RALLENTANDO, HANDS, SHARPS, FINGERING, FLATS, LEGATO, STACCATO, MODULATIONS, etc. All these necessary notions cannot be seen as enough powerful stimulators in case IF they possess no straight relation to any colorful, interesting FACT related to everyday life. Let you consider the fact, I didn't maintain the "everyday life of any uncivilized human being"! Philosophers and artists probably HAVE theirs everyday life, too - I hope.

Additional comment: Chopin said: "The abstract sound does not originate the music"... And Neuhaus said: "Technique cannot be created in a vacuum just as you cannot create a form devoid of any content"...

Standard II: Emotional Resonance truly acts always and everywhere!


Such contents one can see at the picture X. - usually is being "created" not only by the piano students' imagination! That is possibly why so many people are switching off theirs radios and TVs, hearing even some notes of the "CLASSICAL", i.e. habitually BORING piano music!

On the picture Z. one could found something else...

The Question: How could be possible to change the situation presented by model X into the better one, presented by model Z?

The Answer: One ought to change the OBJECT one is used to understand as the artistic content of The Piece she/he is actually practicing or playing...

Additional Explanations:

1. "Music" cannot mean - "the well organized sounds' stream."

2. "Interpretation" cannot mean - "the literally accurate realization of the every one composer's remark."

3. "Music" should mean - "the well organized stream of sounds that must impress the listeners' fantasy".

4. "Interpretation" should mean - "the creative realization of the composer's idea."

5. A technique of playing the piano, EVEN if somebody might understand it as something of purely mechanical, i.e. motional character - undoubtedly plays very important role in the whole piano professional schooling. Still the most important thing in the piano technical schooling apparently is the IMAGE - as something that could activate the player's fantasy and activate her/his intellectual and emotional RELATION to stylistic, historical, social, etc. soil, the studied piece has probably been grown in.

6. The IMAGE - that BECOMES definitely transferred via the piano sound from the pianist's fantasy to fantasy of his/her listeners, generates the images of exactly similar value in theirs mind. Creating artistically WORTHLESS IMAGES the pianist (violinist, singer, etc.) in spite of quality of his instrumental technique can originate in minds of his listeners only the feeling of emptiness or absurdity.

The Question: which way flows X's and Z's musical imagination along?

X. ......Z.

The Answer: Pianist X is interested in the literal realization of the musical text: for him Notes - graphical signs - are IDENTIC with the Idea, which still cannot be identified as a Text only. Pianist X seemingly cannot find any value that might virtually exist BEYOND the Text.

Pianist Z. - tries to recognize the Idea as something that really exists besides beyond the Text, he tries in his playing to carry out something, which - as a class or category - might actually represent the humanly Meaningful Thing.

Too esoteric, too much philosophy? Oh, no - Dear Friends! Not at all! Though, we actually are speaking about The Fine Art, not about of any "Obscure Something"...!


Post Scriptum

According to the Dmitri Kabalevski's opinion, each one musical piece could be determine, mainly - as such category as MARCH, DANCE or SONG.

Of course, he [D. Kabalevski] did not take into consideration the pieces composed by Schönberg, Boulez, Stockhausen & Comp. Still for everyday musical practice his very handy STANDARD could be used with the greater success. His Formula, for example, should be completed by the usage of such words as: VIEWING, FLOW or any else notion that might be related to any kind of MOTION!

I am sure; everybody is able to find out the NOTION that suits her/him for the Best! Herein exists only one condition there: such Notion should be related to any kind of Motion -again! Yes, because the MOTION generates the action on the same way as INACTIVITY originates indolence, i.e. - produces the pure, highly sterilized musical BOREDOM!

"The proof of the pudding is in the eating"...!

*   First Aid

*   Chopin & Neuhaus

If something might be unclear yet, let you try to use this help:

Thank you for yours patience - Stefan Kutrzeba

Appearance One is available via this link; Appearance Three is available via this one.

Last revised: 2005-11-12