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|Title:||Keyboard performance techniques required for music synthesizers|
|Author(s):||Maldonado, Carlos Daniel|
|Doctoral Committee Chair(s):||Peters, G. David|
|Department / Program:||Education|
|Degree Granting Institution:||University of Illinois at Urbana-Champaign|
|Abstract:||The problem of the study was to determine expert synthesists' perceptions of the process by which performance proficiency in the synthesizer can be developed.
Analysis of the problem resulted in the formulation of the following subproblems: (1)What keyboard skills do expert synthesists consider important in the development of performance proficiency on the synthesizer? (2) How do expert synthesists perceive: (a) Their overall musical education; and (b) the process by which they developed their current level of performance proficiency? (3) What advice do expert synthesists have for students desiring to develop performance proficiency on the synthesizer?
The investigator constructed a Likert scale questionnaire consisting of techniques required to perform on the synthesizer and submitted it to a panel of 15 experts. The investigator selected ten widely recognized expert synthesizer performers from the panel of experts and interviewed them regarding (a) their overall musical education, (b) their learning specific to acquiring expertise as synthesists, and (c) their advice for students desiring to develop performance proficiency on the synthesizer.
The three techniques considered most important by the panel of experts were: (1) Dynamic control via attack velocity; (2) Pitch bend; (3)Continuous controller techniques: wheel, joystick, slider.
The study also resulted in the following conclusions: (1) All the synthesists underwent formal musical training and played piano and/or organ prior to learning to play the synthesizer but were, however, self-taught regarding their performance skill on the synthesizer. (2) All the synthesists had the desire and ability to begin improvisation on keyboard and other instruments at an early age. Furthermore, they learned to perform in a variety of musical styles on their own. (3) The synthesists were unanimous in expressing that (a) the musical potential of the synthesizer is so impressive that the instrument should be included in music programs at all levels, and (b) colleges and universities should offer the synthesizer as a performance major. None of them could, however, identify a synthesizer teacher whom they could recommend.
|Rights Information:||Copyright 1994 Maldonado, Carlos Daniel|
|Date Available in IDEALS:||2011-05-07|
|Identifier in Online Catalog:||AAI9512475|