كليدواژه :
تكنيك هاي به خاطرسپاري موسيقي , تمرين ذهني موسيقي , نوازندگي پيانو , آموزش موسيقي
چكيده فارسي :
«به‌خاطرسپاري» قطعات موسيقي و تأثيرات آن بر عملكرد نوازندگان پيانو از اوايل قرن نوزدهم تاكنون از مسايل مطرح در حوزه‌هاي آموزش و نوازندگي پيانو بوده است. ازيك‌سو، اجراي قطعات با تكيه‌بر حافظه، نشانه‌ي تسلط نوازنده‌ي پيانو به‌شمار مي‌رفت كه به او فرصت تمركز بر اجرا بخشيده و با آزادي‌عمل در بيان احساسي، امكان برقراري ارتباط مؤثرتري با مخاطبان مهيا مي‌كرد. ازسوي‌ديگر، به حافظه سپردن قطعات، به‌ويژه در موسيقي آوانگارد، به‌نوعي اتلاف وقت و انرژي نوازنده‌ي پيانو محسوب مي‌شد. پژوهش حاضر، به بررسي فرايند به‌حافظه‌سپاري، انواع تكنيك‌ها و نقش آن‌ها در بهبود عملكرد نوازندگان پيانو مي‌پردازد. از ديگر اهداف تحقيق، مطالعه‌ي تكنيك‌هاي مورداستفاده‌ي هنرجويان ايراني در به‌خاطرسپاري قطعات و تلقي آنان از يادگيري، به‌صورت فرايندي يكپارچه و يا دو فرايند جداگانه است. اين پژوهش با روش‌هاي كتابخانه‌اي و ميداني با جامعه‌ي آماري متشكل از 30 هنرجوي نوازندگي پيانو انجام شده و براي سنجش همبستگي پرسش‌نامه از ضريب همبستگي پيرسون بهره برده است. يافته‌هاي پژوهش نشان داده كه بين «به‌خاطرسپاري» قطعه‌ي موسيقي، بهبود عملكرد نوازنده پيانو و صدادهي مطلوب رابطه‌ي مثبت و معناداري وجود دارد. براساس تحليل داده‌ها هنرجويان ايراني «يادگيري» و «به‌خاطرسپاري» را دو فرآيند مستقل تلقي كرده و بيشتر از تكنيك‌هاي حافظه‌ي عضلاني بهره برده‌اند.
چكيده لاتين :
Since the early nineteenth century, memorizing a music piece and its effects on piano players has been one of the most crucial issues in teaching and playing piano. On one hand, performance from memory indicates a player's mastery and provides the opportunity to focus on emotional expression, leading to more effective communication with the audience. On the other hand, it is regarded by some as a waste of time and energy, especially when it comes to Avant-guard music. The present study consists of two main parts. First, psychological definitions of different types of memory, visual, auditory, kinesthetic, and analytical, have been used to categorize memorization techniques. Subsequently, the study continues examining the "process of memorization" and the "skills of using memory in performing music. “The latter part of this section center on "reviving musical memory through signs" and "Strengthening the process of memorizing music pieces" in addition to "concentration practice" and "Mental practice (sans instrument)". In the second part of the research, a questionnaire in the Field’s method has been designed to examine the propositions on the subject of memorizing parts, catering specifically to Iranian students in Tehran to find answers to the following questions. 1 - Does memorizing piano pieces affect the desired sound and improve the performance of piano players? 2 - Does memorization provide the most freedom to express the beauty of the music? 3 - Which memorization techniques execute the members of the statistical community use the most? 4 - Do students consider learning and memorization as an integrated holistic process or as two separate processes? This is descriptive-analytical research that utilizes a statistical society consisting of 30 piano students at the intermediate level. To measure the correlation of the questionnaire, Pearson Correlation Coefficient was used to test the research questions. The results of this study showed that there is a positive and significant relation between memorizing a piece of music with the freedom of the performer. Sound quality and improving performance. According to data analysis, Iranian students considered learning and memorization as two separate processes. Also, according to statistics, muscle memory techniques were the most used among Iranian piano students; statistical analysis suggests that the association of music with the help of words or images in the mind have the least use among Iranian students. The most common technique employed by participants to stabilize memory is to imagine the movement of fingers in performing the piece, in addition to listening to the audio file of the piece. This research emphasizes the effectiveness of memorizing techniques in improving and accelerating the process of memorization and obtaining the desired result using the combination of memorization techniques for improving the performance of the pianist and achieving safe memory is useful. The descriptive table shows that the best results point towards the use of muscle memory, followed by aural, and analytic memorization. The use of visual memory was the least used among piano students.
