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  • Learning and Teaching Healthy Piano Technique: Training as an Instructor in the Taubman Approach

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    Milanovic_2012_01Abstract.pdf (141.9Kb)
    Milanovic_2012_02Thesis.pdf (9.006Mb)
    4.1 Grouping According to Direction (May 26, 2009).m4v (11.68Mb)
    4.2 Tchaikovsky Sugar Plum Staccato Leaps (May 26, 2009).m4v (8.310Mb)
    4.3 Leaps Involving Chords (June 11, 2009).m4v (8.095Mb)
    4.4 Ravel - Dealing with Large Chords (June 10, 20009).m4v (12.62Mb)
    4.5 Ravel - Grouping Last Passage (June 10, 2009).m4v (17.14Mb)
    5.1 Rotation Comes in Different Sizes (April 27, 2009).m4v (19.76Mb)
    5.2 Torso Adjustment (May 19, 2009).m4v (14.17Mb)
    5.3 Debussy Octaves (May 27, 2009).m4v (13.25Mb)
    5.4 Interdependence in Scales (May 13, 2009).m4v (13.71Mb)
    5.5 Arpeggio Cross (May 5, 2009).m4v (4.255Mb)
    5.6 _A lesson in getting the exact size_ (April 27, 2009)#3C74.m4v (20.43Mb)
    5.7 Shaping Octaves (June 9, 2009).m4v (11.97Mb)
    5.8 Almost Agogic Timing (June 25, 2009).m4v (15.29Mb)
    5.9 Refining Non-legato Dominant Sevenths (May 20, 2009).m4v (19.49Mb)
    5.10 Moving Myself (May 19, 2009).m4v (6.583Mb)
    5.11_I've marked it on the score!_ (June 9, 2009)#4D3A.m4v (7.703Mb)
    5.12 Not Going In - _Look down!_ (June 8, 2009)#8001.m4v (6.358Mb)
    5.13 Accepting Correct Alignment (June 29, 2009).m4v (6.146Mb)
    5.14 Accepting Look of Low RH Octaves (May 11, 2009).m4v (11.79Mb)
    5.15 Beyond Scale Alignment (June 9, 2009).m4v (5.997Mb)
    5.16 Open Chords can Look Twisted (May 21, 2009).m4v (6.692Mb)
    5.17 Facing Opposite Direction of Travel (June 28, 2009).m4v (9.010Mb)
    5.18 EG Demos Arpeggio Release (June 3, 2009).m4v (8.336Mb)
    5.19 Gradually Resolving (June 3, 2009).m4v (4.863Mb)
    5.20 Disconcerted By _Twisted Hands_ (June 29, 2009)#B693.m4v (8.041Mb)
    5.21 Seeing My Alignment in JB's Hands (July 7, 2009).m4v (11.67Mb)
    5.22 Facing the Wrong Direction Again (June 10, 2011).m4v (11.93Mb)
    5.23 Beyond the Round Piano - Square Behind (July 5, 2009).m4v (8.077Mb)
    5.24 _Flat to the floor_ (July 1, 2009)#6942.m4v (20.47Mb)
    5.25 The Thumb Away From the Keyboard (May 26, 2009).m4v (20.33Mb)
    5.26 _Tell yourself it's the lid_ (May 27, 2009)#D159.m4v (7.013Mb)
    5.27 Learning Not to Push Off the Thumb (May 29, 2009).m4v (6.008Mb)
    5.28 What the Forearm Feels (May 29, 2009).m4v (5.861Mb)
    5.29 A Model (May 29, 2009).m4v (2.301Mb)
    5.30 Caught Myself (May 29, 2009).m4v (5.668Mb)
    5.31 Integrating the Whole Hand in Rotation (July 2, 2009).m4v (5.126Mb)
    5.32 Allowing the Torso to Follow (May 11, 2009).m4v (5.778Mb)
    5.33 Overcoming Being _straight with myself_ (July 2, 2009).m4v (28.91Mb)
    6.1 _Both shapes feel lateral_ (June 2, 2009)#3FA3.m4v (4.326Mb)
    6.2 EG Demo Judging the End of an Overshape (June 19, 2009).m4v (12.92Mb)
    6.3 EG Demo Overshape With a Change of Direction (May 19, 2009).m4v (18.58Mb)
    6.4 Overshape With a Change of Direction can feel counter-intuitive (June 19, 2009).m4v (6.691Mb)
    6.5 Imitating Shaping - _Feel this_ (May 27, 2009)#38B7.m4v (5.157Mb)
    6.6 Relating Shaping Analysis to the Bigger picture (June 19, 2009).m4v (8.060Mb)
    6.7 Analysed, not Embodied (June 19, 2009).m4v (4.119Mb)
    6.8 _Little shapes_ (June 19, 2009)#E422.m4v (3.611Mb)
    6.9 Rotation Too Distant to Be Effective (July 5, 2009).m4v (5.817Mb)
    6.10 Dichterliebe - Tone, Pedal, Line, EG demo (May 21, 2009).m4v (10.03Mb)
    6.11 Dichterliebe - TM Demo (May 21, 2009).m4v (11.35Mb)
    6.12 Physically Shaping the Inner Line (May 11, 2009).m4v (14.97Mb)
    6.13 Shaping Two Consecutive Thumbs (May 26, 2009).m4v (17.91Mb)
    6.14 Tone + Shaping + Beat = Flow (May 26, 2009).m4v (8.545Mb)
    6.15 Tyranny of the Dot (June 18, 2009).m4v (8.231Mb)
    6.16 Impact on Staccato Without Shaping (June 18, 2009).m4v (6.376Mb)
    6.17 Balancing Staccato chords (May 26, 2009).m4v (8.789Mb)
    6.18 Mozart - Singing Sixteenths (June 18, 2009).m4v (16.95Mb)
    6.19 Ravel Forlane - Bring Into the Next Colour (May 28, 2009).m4v (6.955Mb)
    6.20 _I think of it as a start_ (June 15, 2009)#3AB7.m4v (10.09Mb)
    6.21 Acknowledging Each Beat (May 13, 2009).m4v (19.04Mb)
    6.22 Attempt to Incorporate Each Beat (May 13, 2009).m4v (11.41Mb)
    6.23 TM Plays Haydn With the Beat (May 14, 2009).m4v (29.85Mb)
    6.24 Chopin C Minor Etude - Finding the Pulse (June 28, 2009).m4v (23.36Mb)
    6.25 Ravel - Taking Time (June 8, 2009).m4v (10.00Mb)
    6.26 More Forearm for More Sound (June 8, 2009).m4v (3.095Mb)
    6.27 Relating Back to Downbeat (June 15, 2009).m4v (18.64Mb)
    6.28 Incorporating Offbeats, Syncopations, relating back (June 15, 2009).m4v (29.55Mb)
    6.29 Gradually Improving (June 15, 2009).m4v (13.26Mb)
    6.30 Tchaikovsky - Expressive Octaves (June 24, 2009).m4v (24.62Mb)
    6.31 _At the fingertip_ (May 11, 2009)#8D45.m4v (14.49Mb)
    6.32 Tchaikovsky - _Smallest possible combination_ (June 29, 2009)#9DFA.m4v (3.985Mb)
    6.33 Princeton Rehearsal (July 13, 2009).m4v (75.21Mb)
    7.1 Scale Practice - Self-talk (May 14, 2009).m4v (10.04Mb)
    Author(s)
    Milanovic, Therese Elaine
    Primary Supervisor
    Bartleet, Brydie-Leigh
    Other Supervisors
    Emmerson, Stephen
    Ackermann, Bronwen
    Year published
    2012
    Metadata
    Show full item record
    Abstract
    This research examines what can be learned about healthy virtuosity through embodying the Taubman Approach, applying the principles to compelling music making, and teaching across a range of pedagogical settings. The indivisable relationship of technical principles to artistry is discusssed, through applying Taubman principles to particular interpretative and performance contexts. Additionally, various issues relating to teaching this technical approach are unpacked, including issues pertaining to retraining injured pianists, teaching children, and transferring Taubman principles to computer use and playing stringed ...
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    This research examines what can be learned about healthy virtuosity through embodying the Taubman Approach, applying the principles to compelling music making, and teaching across a range of pedagogical settings. The indivisable relationship of technical principles to artistry is discusssed, through applying Taubman principles to particular interpretative and performance contexts. Additionally, various issues relating to teaching this technical approach are unpacked, including issues pertaining to retraining injured pianists, teaching children, and transferring Taubman principles to computer use and playing stringed instuments. Insights into training to become a Taubman teacher are uncovered through a reflective examination of the author's learning process, contexualised by the broader literature, and positioned by the ethnographic and autoethnographic approaches chosen. David Kolb's Experiential Learning Model forms the theoretical framework, underlined by James Zull's research into the biology of learning. The four learning stages of embodying, analysing, teaching, and reflecting inform the research at all levels.
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    Thesis Type
    Thesis (PhD Doctorate)
    Degree Program
    Doctor of Philosophy (PhD)
    School
    Queensland Conservatorium
    DOI
    https://doi.org/10.25904/1912/1406
    Copyright Statement
    The author owns the copyright in this thesis, unless stated otherwise.
    Note
    The Appendices have not been published here. The video excerpts have not been published here.
    Subject
    Taubman, Dorothy
    Piano instruction
    Piano, Performance technique
    Experiential learning model
    Publication URI
    http://hdl.handle.net/10072/367173
    Collection
    • Theses - Higher Degree by Research

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