Pianistic Approach – paradigm shift in performance and practise
Terms such as Pianistic Approach, Fluid Movement, Legato Technique and Milkov Method show a general trend among mallet percussion methods worldwide. Currently, we are witnessing a paradigm shift in both techniques, performance and mentality. This shift creates new mechanics and techniques of mallet percussion. It goes beyond the traditional marimba techniques, like split rhythm and pseudo-polyphony, further refines phrasing possibilities, and provides new modes of expression. It inspires music pieces, builds a new virtuoso level, and opens music history that has not been available to percussionists. It affects the attitude of percussion instrumental aesthetics and practices.
These changes have created new perspectives on practice raising questions, such as: considering the above mentioned paradigm shift, what periods can be identified in the development of the technique so far? What is the literature and technical context of this innovation that makes it unique? New technical and mechanical changes are observed, how could these be categorised? And how do these categories may help the player in terms of memory and cognitive functions?
First, we briefly summarise the historical overview of this process, seeking to understand whether the development of keyboard percussion instruments can be traced throughout the aesthetic, acoustic and technical instrumental history.
Through this path, we will seek to understand whether this development can be centered on movement, clarifying patterns, memory and connections between music and movement.
Finally, we focus on a niche in music instrumental research connected to movement, memory and practice methodology, introducing new results and terms such as movement patterns.
We focus our study on the work of pioneers such as Theodor Milkov, Arjan Jongsma, Alex Jacobowitz, among others, who are using these new techniques, also implementing terms from Rolf Inge Godoy and using László Stachó’s research on attention, memory and precise timing, as an attempt to categorise such techniques.
Keywords: pianistic approach, memory, movement pattern
Biography
The author is PhD/DLA student at the Doctoral School of Arts of the University of Pécs, Hungary
University of Pécs, Hungarian Academy of Arts – mszives@gmail.com