INTERPRETATIONS OF THE TERM ‘FREEDOM’ IN THE EDUCATIONAL PROCESS OF A YOUNG PIANIST

Abstract

Superiority in piano-technique which provides artistic freedom to each individual is the ultimate result that we are supposed to achieve in the pianism. This paper explores interpretations of the term ‘freedom’ used in the educational process of a young pianist. Comparison with the definition of ‘freedom’ supplied by the Russian pedagogue K. D. Ushinsky has contributed to the examination of options in his interpretation of pedagogical impact on the personal growth and musical development of a young pianist. The analysis of instrumental characteristics of the piano and elements of work on the piano piece defined by teaching methodology (artistic concept of the piece, rhythm, tone, pianistic technique) specify the aspects of freedom in this activity. Like in other segments of life, freedom in creating a piano piece is conditioned by the previous education, while the freedom in the formation of an artistic concept of a musical piece is conditioned by the development of fantasy. The artistic concept of a musical piece preconditions the freedom of work on rhythm and tone. The acquisition of interpretative habits (piano technique) depends on the contents of the piece and the freedom of performance apparatus. By free selection of working methodology and the programme, a teacher guides different personalities towards the same aim. The achievement of top-level results in the domain of pianism is determined by the degree of freedom in the application of the stated elements through the act of interpretation, which portrays the individual and his/her education. In which degree the pianist will use his/her previous knowledge, and in which degree he/she will use the freedom of his/her individual personality in the act of interpretation is yet unknown. Aspirations of contemporary piano pedagogy are moving towards discovering the answer to this question.