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This research article investigates a distinctive tempo manipulation technique present in Sergei Prokofiev’s historical piano recordings, termed the surge effect. The principal research question asks whether Prokofiev employed tempo alterations that are not captured in the score and, if so, what characteristics define these alterations and how consistently they appear. The study aims to define and contextualize this performance practice, and to consider its implications for today’s performers, pedagogues, and scholars. It is hypothesized that Prokofiev frequently executed rapid, unnotated accelerandi through sixteenth-note (semiquaver) passages or other small-value note groupings, producing brief surges of kinetic intensity. Using tempo data extracted via Sonic Visualiser from twelve of Prokofiev’s gramophone recordings (1932–1935), the analysis combines quantitative beat-duration measurement with qualitative score-based interpretation. The findings confirm that the surge effect recurs across various works and expressive contexts, often independent of any notated cues. These tempo surges typically occur in gestural rather than melodic material and appear to serve rhetorical, structural, and expressive functions. The article concludes by considering points of departure for further research.

Collegiate music programs in the United States cater to diverse student populations and have widely varying processes through which students apply, audition, enroll, and engage in college study. However, many students may face challenges related to the college adaptation process. Initial adaptation may impact students’ academic achievement, development of music practice and performance skills, mental and physical health, and ability to attain the grades required for scholarships. Successful adaptation is characterized by the adoption of productive educational habits (Credé & Niehorster, 2012). Group piano offers a unique environment in which to study adaptation for music majors because it is a typical experience for first-year students and requires the development of both music knowledge and skills such as sight-reading, hand coordination, score-reading, and ensemble. The purpose of this phenomenological study was to investigate how first-year music students adapt to group piano classes. The study was guided by the question: What meaning do six first-year music majors ascribe to their group piano experience, especially as this pertains to the adaptation process? Four key themes (Preparedness, Value, Priorities and Expectations, and Support Systems) emerged and offer connections to previous findings in other social sciences, as well as a complex framework of adaptation as a means for planning group piano curriculum. Results from this qualitative study are not generalizable to a broader population, but the findings discussed can be used to recommend future research that will help guide curricular decisions in group piano and other core music classes.

How can we define stagecraft? Is showmanship innate or learned? Can students learn how to develop stage charisma? This paper investigates expert pianists’ views on stagecraft and how their insights can inform training tools to enhance piano pedagogy. In Part 1, we interviewed expert pianists to understand their lived experiences of the stage and to discover their approach to stagecraft. Expert performers were acutely aware of the audience’s gaze, considered their performances by sight and sound, and tailored concert preparation to optimize visual presentation. These experts utilized practice strategies such as visualization of the concert experience (backstage and onstage), choreographing stage entrance and stage manner, “The King” mindset, and performing in “mock concerts.” In Part 2, we developed five roleplaying strategies for early-career pianists, based on expert pianists’ practice strategies for the concert stage. In a series of workshops, pianists trialed backstage immersion, stage entrance styles, contrasting visualization prompts, creating “The King” mindset, and performing a mock concert. They reflected on their experiences in workshops, discussions groups, and interviews. Early-career performers valued roleplaying as an effective way to master experts’ strategies for developing stagecraft and optimized their stage skills for professional performance. They were able to access the audience’s gaze by roleplaying as performer and audience member, and understand the totality of performance by both sight and sound. These roleplaying training tools can enhance performance pedagogy and equip the next generation of performers for the professional concert stage.

The quality and engagement in piano practice evolve throughout undergraduate study, and are key for the development of piano majors. Yet their impact on future career aspirations remains underexplored. This study investigates differences in quality and engagement of practice among undergraduate piano students at different stages of their studies, and examines how quality and engagement of practice correlates to their future aspirations. Data about quality and engagement in piano practice, and future aspirations were collected from 192 piano majors across 12 universities via an online survey, with 160 responses selected for quantitative analysis. A t-test revealed a significant difference in attitudes toward practice between students in years 1 and 2, and students in years 3 and 4. An analysis of variance (ANOVA) was employed to compare the mean differences in several aspects of practice between the two groups. Results indicated that year 1 and 2 students generally exhibited higher practice quality and engagement, and more positive attitudes, than those in year 3 and 4. Students in year 1 and 2 reported greater enjoyment in playing the piano, higher enthusiasm for lessons, and a stronger perception of the piano’s value. Regression analyses were then conducted to identify key predictors of students’ future aspirations. These analyses revealed that practice strategies, self-belief, teacher and parental support, and performance enjoyment are key factors influencing students’ enthusiasm for their future aspirations. These results highlight the importance of fostering a supportive learning environment to sustain student engagement and motivation throughout their academic journey.

In the realm of performing arts, physical movements are crucial for the embodiment of artistic expression while concurrently preventing the development of injuries. It has been widely recognized that playing-related physical injuries are prevalent among musicians, underscoring the pivotal role of physical education in preventing such injuries. However, it remains unknown to what extent pianists prioritize physical considerations in the pursuit of achieving ideal musical expression. Here we attempted to answer a research question of whether pianists place significance on physical aspects of piano performance for achieving ideal musical expression. We conducted a questionnaire-based study in Japan, collecting responses from a cohort of 100 Japanese pianists who had received professional education in piano performance at music conservatories and from professional pianists over years. Among the ten issues encompassing physical, perceptual, cognitive, and aesthetic dimensions that gathered the highest priority among the respondents, six pertained to physical concerns. These included the reduction of superfluous muscular tension and motions degrading music performance, and enhancement of articulation and legato techniques. A chi-squared test rejected independence between the number of respondents who prioritized resolving physical issues and those who prioritized resolving musical issues, which indicates a relationship between physical and musical considerations. Younger pianists, particularly those in their teens and twenties, exhibited significantly higher awareness of physical concerns of piano performance. These results offer compelling evidence of the critical need for establishing physical education curriculum in the artistic development of pianists, which is particularly pronounced in the early stage of their career.

Many studies have been conducted examining musicians’ injuries and their prevention; however, most of this research focuses on the advanced pianist. Pedagogues and researchers agree that the early stages of piano study are crucial for developing proper habits regarding piano technique, and many believe that inefficient physical movements can be a factor in playing-related injury. Therefore, the purpose of this study was to investigate current perspectives and perceptions of pre-college piano teachers regarding teaching technique to the beginner-level student and the relationship those perspectives have with injury prevention. The researcher created a questionnaire that was distributed to pre-college piano teachers from across the United States (N = 204). Participants were recruited via email and social media. This questionnaire contained questions concerning the order in which beginning piano techniques should be taught, participants’ preferred method books, participants’ perceptions on the relationship between technical training and injury prevention, and the influence method books have on technique pedagogy. Additionally, an open-ended question allowed participants to describe their teaching philosophies and strategies in their own words. Thematic coding was conducted on the responses. Results suggest that many teachers believe a relationship between beginner-level technique instruction and injury prevention exists. When teachers were divided into groups according to their preferred method books, the order in which they introduced technical skills to students varied. While 23% of participants believed that the method book was very influential on how they taught beginner students technique, 77% of the participants felt it was less influential (M = 3.35). Further study into the influence of method books upon teaching philosophies is warranted. This study provides the basis for more research to be conducted on beginner-level piano technique in order to aid in the prevention of future injuries and to promote healthy and fulfilling piano playing.

Dysmusia, likely a type of dyslexia in the music domain, is of particular importance to piano students as the complexity of two-staff reading and coordination requirements of piano playing have led to teachers and students alike reporting and observing challenges. As research in this field has not yet expanded to measurement, our overarching aim was the proposal of a screening tool for dysmusia, first tested with young piano students without suspected dysmusia, that could contribute baseline data and reflect tentative relationships between the most reported dysmusia manifestations: music reading, music writing, and audiation. Twenty-four piano students completed tests on paired music reading and writing conditions, sight-reading, and audiation. The key findings were that participants with a higher level of music sight-reading proficiency performed more accurately on paired tests compared to the lower group, that the music reading tests were more difficult than the writing tests, and that music reading expertise had no significant bearing on audiation performance.

Since the early stages of piano learning, students are expected to practice at home in order to develop their performance skills. Given that practice is critical to develop musical expertise, the purpose of this study was to examine the practice habits of precollege piano students and the factors that affected their application of practice strategies. In this descriptive study, we used Sojump, an online survey program, to create and disseminate the questionnaire to the precollege piano students from the southeast region of China. The self-report questionnaire consisted of eight items related to practice habits, 18 items regarding practice strategies, and seven items related to demographic information. A total of 188 students (n = 188), aged from 6 to 16, completed the questionnaire. Respondents were asked to indicate the frequency of their practice habits, and the practice strategies they applied using a Likert-type scale anchored by 1 to 5. The most common applied practice strategy was starting to play slowly and then gradually speeding up. Results indicated significant positive correlations between some of the respondents’ self-reported practice habits and their years of learning, attained piano grade, and parental monitoring. Additionally, we found significant positive relationships between certain practice strategies used by respondents and their years of learning, attained piano grade, and parental monitoring. Implications for piano teachers are discussed, and suggestions for further investigations are provided.