Posts by Cristine

Examples of the workshops, February 2013

Posted by on Apr 13, 2014 in Event News | 0 comments

Full conference programme provided under News and Events Britten Theatre RCM   Background Performance science has grown considerably during the last ten years. But despite the potential for this field to inform educational and professional practice across the arts, its application in the field of piano performance has been largely neglected. This neglect is not surprising, since the area is steeped in traditional methods of performance practice, and suffers also from a mind/body dualism.  These workshops will suggest that skilled pianism cannot be achieved exclusively by pursuing the traditional route, in which the student and the teacher sit side by side throughout the piano lesson.  It may be better achieved by including some collaboration with other disciplines such as operative surgery, dance, neuroscience and musical analysis. 1st Workshop The Keyboard and the Scalpel In this workshop, the distinguished surgeon Roger Kneebone will explore unexpected parallels between the worlds of piano performance and operative surgery.  As he writes ‘both demand years of preparation, and both require dexterity, memorisation and performance under pressure’.  After a brief illustrated introduction to what surgeons do and how they do it, the workshop will explore how an understanding of this closed world may cast light on pianistic training and performance. Issues will include memorisation, rehearsal, performance anxiety and strategies for recognising and remedying errors during recital and ensemble performance.  The workshop will involve discussion by participants, aiming for an interactive and stimulating sharing of views, insights and perspectives’.   2nd Workshop. Mirror Neurons:imitation & emulation in piano performance In 2004, Rizzolatti writes ‘every time an individual observes an action performed by another individual, neurons that represent that action are activated in the premotor cortex. The observer ‘‘understands’’ someone else’s actions because the evoked motor representation corresponds to that generated internally during action execution’.  This research amongst others, Craighero et al (2007), (Haggard (2008), and Iacoboni (2008), Ramchanderan (2011), will be drawn upon, because it may underpin the approach taken in this workshop in which a music analyst, a choreographer and dancer from the Royal Ballet will collaborate in assisting the pianist to develop a greater control of the pacing of the ebb and flow of Clair de lune through imitation and emulation of the dancer’s movements. A short piano recital will be given by the Russian pianist, Sofya Gulyak, the first, and only woman to win the Leeds international Piano Competition....

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We are delighted to receive the support & guidance of the MORE Partnership

Posted by on Apr 5, 2014 in Event News | 0 comments

‘MORE partnership[s] is an agency specializing in creative partnership design. They connect companies and culture creators (musicians, artists, film makers, ..’.

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Music Teacher magazine reviews Cristine MacKie’s work

Posted by on Mar 19, 2014 in Event News | 0 comments

The magazine the Music Teacher, published this April 2014, acknowledges Cristine MacKie as one of the foremost leading advocates in the UK of the mind/body approach to piano performance

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Sample of abstracts submitted in 2013

Posted by on Jun 7, 2013 in Event News | 0 comments

  Elaine Chew, Queen Mary, University of London Title: Explaining what musicians do, how we do it, and why; making concrete conceptualized structures and expressive (prosodic) decisions that shape musical communications using mathematical models, computational methods, and scientific visualisations   Schnabel’s playing of Beethoven’s Moonlight Sonata (15 bars) – Tempo analysis from Elaine Chew on Vimeo. Schnabel’s tempo variations in his performance of Beethoven’s Moonlight Sonata (15 bars). Vertical grid lines mark the beginnings of each bar. The arches denote phrase and sub-phrase groupings at different hierarchical levels.  In Schnabel’s performance, the phrase arcs consistently cut across the bar lines, creating the perception of a long line.  The phrase boundaries align with the bar line for the first time  at  beginning of bar 9, reinforcing the arrival of the new key (the relative major). More analysis videos at vimeo.com/elainechew. Musical prosody is the manipulation of timing, loudness, articulation, and timbre that a performer adds to an abstract conceptualisation of music (such as that notated in a score) in order to communicate ideas of grouping and prominence. Prosodic choice can often be explained as the result of desired parsing, subject to the structural constraints of the abstract music, and the acoustic properties of the musical instrument. Decisions of grouping and prominence, and of musical prosody form the crux of the art of interpretation, but it remains one of the most elusive elements in music pedagogy. The advent of scientific tools for representing and charting not only the music waveform but also acoustic features ranging from frequency and amplitude to tempo and loudness allows us to overlay and cross reference prosodic information from a performance with structural information in a score. By synchronising these multiple layers of information, we make concrete connections between abstract time and pitch structures (such as measures and key), prosodic decisions (such as timing and loudness), and acoustic properties of the instrumental sound (such as sound decay time). The scientific visualisations become a tool to discover and explain prosodic choice and the underlying grouping and prominence decisions. A brief illustration of the technique using three performances of Beethoven’s Moonlight Sonata, by Barenboim, Pollini, and Schnabel will show how the performers’ different grouping decisions can be inferred from prosodic information. A more detailed study of prosodic choices in my recording and live demonstration of the Epilogue from Peter Child’s Doubles (1998-1999), how these decisions are constrained by the acoustics of the instrument, and expressive markings in the score, corroborated by the scientific visualisations will follow. By revealing the logic behind prosodic choices, we aim to make widely accessible the knowledge of creating new and informed interpretations. Keywords: music prosody, scientific visualisation, interpretation Kathleen Riley, The NYU Steinhardt School of Culture, Education and Human Development. Title: Understanding the Physiology of Piano Performance Background In addition to many years of intensive instructive guidance and practice, music performance requires strength, coordination and fine motor control in order to realize performance intentions. To achieve optimal performance requires that we address the physical, mental and emotional aspects of each individual in order to allow their careers to flourish. While many teachers subscribe to healthy teaching methods, the problem seems to lie in knowing whether or not these methods have been integrated correctly into the physiological profiles of our students. In addition, the most efficient utilization of muscles is a necessary component when strain and injury may still be a concern. In sports training, this is widely accepted as one of the most important factors. Aims This paper presents research on several high level pianists using multimodal biofeedback that enables pedagogues to see inside their students, collecting data that can not only give them insights for teaching, but, more importantly, can be provided as objective data to members of the medical community. The protocols I have developed and use through ProformaVision, a software program that simultaneously layers and analyzes multi-perspective videography with surface electromyography (sEMG) muscle tension recordings and MIDI data, can help to provide researchers and medical experts, as well as pedagogues, with data that can help focus on the cause, not the...

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Sucess: Going to the Linbury Theatre, Royal Opera House.

Posted by on Mar 25, 2013 in Event News | 0 comments

 The collaboration at the Royal College of Music during  February last between Cristine MacKie & Jeanetta Lawrence of the Royal Ballet was so successful that the work is being presented at the Linbury Theatre, Royal Opera House, Covent Garden on April 23rd, 24th and 26 April.

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