An undiscovered classic gem from Hungary on how to best practice music-or any skill. In this undiscovered classic gem from early twentieth-century Hungary, one of the country's most revered music educators of his era sums up his years of methodological and pedagogical research into piano playing and practicing in simple, highly accessible terms that not only students of the piano but of any instrument, and for that matter, just about anyone, can apply to their passions and pursuits. From setting and achieving goals to focusing on what you do best, from the relationship between mental acuity…mehr
An undiscovered classic gem from Hungary on how to best practice music-or any skill. In this undiscovered classic gem from early twentieth-century Hungary, one of the country's most revered music educators of his era sums up his years of methodological and pedagogical research into piano playing and practicing in simple, highly accessible terms that not only students of the piano but of any instrument, and for that matter, just about anyone, can apply to their passions and pursuits. From setting and achieving goals to focusing on what you do best, from the relationship between mental acuity and physical strength to performing in public, Sándor Kovács's How to Practice? is invaluable to anyone who has struggled when practicing a musical instrument, and it also holds its own as a simple guide to life, to living consciously and deliberately.
Sándor Kovács (1886 - 1918) was one of Hungary's most beloved young professors and practitioners of music of his era-a piano teacher, as well as a music historian and theorist-who published five books during his lifetime, including How to Introduce Children to Music, with a volume of his writings on music published a decade after his death. Born Sándor Kohn, to Jewish parents who took on the Hungarian family name Kovács when he was four years old, he graduated from the Franz Liszt Academy of Music, where he became the first person in Hungary to write a dissertation on music history. In Berlin, he studied under the noted German musicologist Johannes Wolf. From 1910 until his death, he was a teacher at the Fodor Music School, a distinguished private institution. He participated in the founding of the New Hungarian Music Association (UMZE) and helped popularizing modern Hungarian music, especially that Bartók and Kodály, both domestically and abroad. He also achieved considerable success as a pianist. As a music educator, he broke new ground in Hungary by incorporating findings from the then-new field of psychology. In 1918, at the age of thirty-two, he committed suicide by poisoning himself. He was laid to rest in the Kozma Street Jewish cemetery.
Inhaltsangabe
Preface Chapter 1: Setting the goal; wanting the goal; checking if you've attained the goal Chapter 2: Focusing on aptitudes Chapter 3: The enduring nature of first impressions. Being aware that nothing can be studied indefinitely. Not squandering each new practice session. Chapter 4: Separating the mental and physical aspects of learning music Chapter 5: The intellectual conditions of intellectual learning Chapter 6: Transforming one's predominant type of imagination. The higher goal of learning music: to become a unique person. Chapter 8: Physical conditions of intellectual learning Chapter 9: Emphasizing intellectual learning over physical learning. Rendering the former a conscious effort and the latter an automatic one. Chapter 10: Stages of development in playing of the piece of music Chapter 11: Thoughts on performing in public
Preface Chapter 1: Setting the goal; wanting the goal; checking if you've attained the goal Chapter 2: Focusing on aptitudes Chapter 3: The enduring nature of first impressions. Being aware that nothing can be studied indefinitely. Not squandering each new practice session. Chapter 4: Separating the mental and physical aspects of learning music Chapter 5: The intellectual conditions of intellectual learning Chapter 6: Transforming one's predominant type of imagination. The higher goal of learning music: to become a unique person. Chapter 8: Physical conditions of intellectual learning Chapter 9: Emphasizing intellectual learning over physical learning. Rendering the former a conscious effort and the latter an automatic one. Chapter 10: Stages of development in playing of the piece of music Chapter 11: Thoughts on performing in public
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