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Topic: Teaching the Meat  (Read 1675 times)

Offline hardy_practice

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Teaching the Meat
on: December 20, 2015, 04:23:50 PM
We've no idea how even such a simple thing as guiding a fork full of food to our mouth is carried out let alone the complication of piano performance.   All we can do is present to the 'meat' the thing we want carried out - in the most appropriate way for its grasping.  Therein lies the art of learning.  Ultimately the 'meat' is the brains of the matter - if you can't speak its language, hard luck.
B Mus, PGCE, DipABRSM

Offline goldentone

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Re: Teaching the Meat
Reply #1 on: December 20, 2015, 08:03:21 PM
Interesting.  Maybe you could 'flesh out' your thoughts.
For in that sleep of death what dreams may come

Offline jazzyprof

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Re: Teaching the Meat
Reply #2 on: December 21, 2015, 04:33:56 PM
So what's a poor vegetarian to do?
"Playing the piano is my greatest joy, next to my wife; it is my most absorbing interest, next to my work." ...Charles Cooke

Offline briansaddleback

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Re: Teaching the Meat
Reply #3 on: December 21, 2015, 05:14:38 PM
So what's a poor vegetarian to do?
That's what you call an equivocation fallacy. Haha
Work in progress:

Rondo Alla Turca

Offline hardy_practice

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Re: Teaching the Meat
Reply #4 on: December 21, 2015, 06:36:01 PM
So what's a poor vegetarian to do?
be kind to not-so-dumb animals?
B Mus, PGCE, DipABRSM
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Piano Street Magazine:
Women and the Chopin Competition: Breaking Barriers in Classical Music

The piano, a sleek monument of polished wood and ivory keys, holds a curious, often paradoxical, position in music history, especially for women. While offering a crucial outlet for female expression in societies where opportunities were often limited, it also became a stage for complex gender dynamics, sometimes subtle, sometimes stark. From drawing-room whispers in the 19th century to the thunderous applause of today’s concert halls, the story of women and the piano is a narrative woven with threads of remarkable progress and stubbornly persistent challenges. Read more
 

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