THE DYNAMICS OF PIANO PLAYING IN CORPORATE CHRISTIAN WORSHIP
Abstract
According to Davidson (2002:1), “Corporate Christian Worship is the dynamic, dramatic and dialogical encounter between the triune God of the Bible and His people, in which God reveals Himself to His people and His people respond positively in an appropriate and Biblical manner.” For effective use of musical instruments in Christian Worship of which piano is a major one, care must be taken so that there can be a clear demarcation between the secular and the sacred. The appropriateness of the instrument with the issue of how and when it should be used must be taken into special consideration. As we know that, the matter of reverence and awe in worship must not be taken lightly, for our worship is to God Almighty our creator, redeemer and sustainer. Also, sensitivity in the part of the instrumentalist(s) or pianist(s) must be taken seriously. The pianist (instrument) must play with care and reverence. Issues of loudness and softness of instrument and when to play should also be taken seriously. For example, no instrumentalist should be playing the instrument prayer is on, he or she should also pray, when scripture is read, he should also open his or Bible and read along, when preaching is on, he should listen attentively, without distraction etc. The use of musical instruments in worship should serve an accompaniment role in worship, a means to an end, which is encountering God in a meaningful worship (Auda, 2012).
Article visualizations:
Keywords
References
Adedeji, S. O. (1999). The Role of Music in God’s Work. Ile-Ife: Bolakay Press.
__________ (2007). “Performance Styles and Practices in Nigerian Gospel Musicianship” an unpublished article.
__________ (2012). Augustus O. Vidal selected Topics on Nigerian Music (General Nature, History and Musicology, Music Education). Ile-Ife: IMEF African Music.
Anderson, Keith (1996). The A to Z of Classical Music. The Great Composers and Their Greatest Works. Marco Polo: HNH International Ltd.
Auda, Samuel Onimisi. (2010). Musical Instruments in Congregational Singing. Ibadan: Heavens way Publisher.
Bachus, Nancy (1986-11-18), “Transmitting the Joy of Music”. Clavier, vol. 25, no. 9. Northfield, Illinois: The Instrumentalist Publishing Company.
Banowetz, Joseph & Bernard Mc Ginn (1992). The Pianist’s Guide to Pedaling. Indiana: Indiana University Press.
Bashen, James. 3rd edition. How To Teach Piano Successfully. San Diego, California. A kjos Music Co.
Bastein, James W. (1995). How to Teach Piano successfully, 3rd edition. San Diego, Califonia: General Words and Music Company.
____________ (1988). How to Teach Piano Successfully. New York: Neil Kjos Music Co.
Boyd, Malcolm (2000). The Master Musicians BACH. New York: Oxford University Press, 101-110.
Camp, Max W. (1992). Teaching Piano (The Synthesis of Mind, Ear and Body). Los Angeles: Alfred Publishing Co.
Chappell, Sally (2000). Developing The Complete Pianist: a study of Importance of a while-brain approach to Piano Teaching. Piano Journal.
Clark, Frances (Nov.1986). “Questions and answers”. Clavier, vol. 25, No.9. Northfield, Illinois: The Instrumentalists Publishing Company.
Clark, John O.E. (2004) Abiola’s Mini English thesaurus. Yaba, Lagos: Abiola Publishing Ltd
Clark, Lauren Schack (200110-26). “Smart Practice”. Clavier, vol.40, No.8. Illinois: The Instrumentalist Publishing Company
Cooper, Thelma L (2001). “Adult’s perceptions of Piano Study”. Achievements and
Davidson, Paul O. (2002). Come, Let Us Worship. Ibadan: Baptist Press Nigeria Ltd.
Gellrich, M. & Parncult, R (1998). Piano Technique and fingering in the 18th and 19th centuries: Bringing a forgotten method back to life. British Journal of Music Education, 15 (1), 5-23.
Goebl, W. (2001). “Melody Lead in Piano Performance: Expressive device or artifact?” Journal of the Acoustical society of America.
Gold, Michael (2000-6-7). Clavier, vol.39, no.8, October ed. Northfield, Illinois: The Instrumentalist Publishing Company.
Goss, Louise (April/May 1990). Pedagogy Certificate Programs Within The College Curriculum. American Music Teacher (The National Association) Cincinnati, Ohio: MTNA, Inc.
Lassnig, J. (2004). Theorie and Praxis der kreativifat als arundlage einer improvisations- Didakiik im jazz-Unterricht, diplomarbeit, kienstuniversistat Graz.
Lyke, James, Yvonne Enoch and Geoffrey Haydon. (1996). Creative Piano Teaching. Campaign, Illionis, Stipes Publishing Ltd.
Oyadiran, Kola (2001). African Pianism – The Versatility of Pianoforte as adapted in Joshua Uzoigwe’s Piano composition. Ile Ife: Nigerian Music Review, Vol.2, 56-67.
Pancitt, Richard & Holming, P.G.S. (2000). Is scientific research on Piano performance useful for Pianists? Poster and abstract at International Conference on Music perception & cognition (keele, England, July).
Palmieri, Bob & Meg (2003). The Piano: An encyclopedia. Taylor and Francis. Instrument: “Piano et forte genandt” was an expression Bach also used when aefry as Silbermann’s agents.
Palmieri, Bob ed; Robert (2003). Encyclopedia of Keyboard Instruments Volume 2, Rovitledge, pg 437.
Parnantt, Richard (2007- 1-25). “Can Researchers help artists? Music Performance research for music students” Music Performance Research MPR. Vol. 1. Graz, Austria: Royal Northern College of Music
Price, Deon Nielsen (1991). Accompanying Skills for Pianists. Culver City, California: Culver Crest Publications.
Price, Elwynne (1997). “A Prayer”. Pedal point- Church Music and Study helps for pianists and Organists. Nashville, Tennessee; Sunday School Board, Southern Baptist Convention.
Schaum, Wesley and Joan Cupp (1991). Keyboard Teaching (with greater success and satisfaction). Mequon, Wisconsin, Schaum Publications.
Timmers, Renee & Henkjan Honing (2000-16). “On Music Performance, theories, measurement and diversity” Cognitive Science Quarterly. Nijmegen, The Netherland: Hermez Scienc Publications.
Turabian, Kate (2007). A manual for writers of research papers, theses, and Dissertations. Chicago Style for Students and Researchers.
Ulszer, Marianne (1995). The Well-Tempered Keyboard Teacher. New York Schirmer Books.
DOI: http://dx.doi.org/10.46827/ejes.v0i0.1223
Refbacks
- There are currently no refbacks.
Copyright (c) 2018 Samuel Onimisi Olusegun Auda
This work is licensed under a Creative Commons Attribution 4.0 International License.
Copyright © 2015-2023. European Journal of Education Studies (ISSN 2501 - 1111) is a registered trademark of Open Access Publishing Group. All rights reserved.
This journal is a serial publication uniquely identified by an International Standard Serial Number (ISSN) serial number certificate issued by Romanian National Library (Biblioteca Nationala a Romaniei). All the research works are uniquely identified by a CrossRef DOI digital object identifier supplied by indexing and repository platforms. All authors who send their manuscripts to this journal and whose articles are published on this journal retain full copyright of their articles. All the research works published on this journal are meeting the Open Access Publishing requirements and can be freely accessed, shared, modified, distributed and used in educational, commercial and non-commercial purposes under a Creative Commons Attribution 4.0 International License (CC BY 4.0).
