PIANOFORTE INSTRUCTION, Meth ods of. The word "method," as applied to piano forte instruction, may be used in a double sense. In the first place it may refer to the current collections of exercises and pieces which are used for the teaching of beginners; in the second place it may refer to modes or prin ciples of instruction. We shall use the word only in the broader sense. To be sure, the two meanings overlap to a considerable degree. A plan of instruction is generally embodied in books intended for the guidance of pupils, and collections of the kind mentioned are likely to contain suggestions of a pedagogic nature in addition to the material they offer for prac tice. Methods have been numerous, and it cannot be our purpose to go into a detailed enumeration and consideration of them. Nor will it be necessary. For most of the systems of former days have been superseded by later ones, so that an examination of the former would have only a remote, historic interest. Among the more important systems of the first half of the 19th century were those of Logier, Kalkbrenner and Czerny. A peculiarity of the Logier method was its employment of the mechanical device known as the chiroplast ; likewise the simultaneous teaching of many pupils. Kalkbrenner used a modified form of the chiroplast, called the hand-guide. Czerny was the pedagogue who especially promoted the technical side of piano playing. Many of his etudes arc classical and are still in use among teachers. Plaidy had the same end in view in his well-known 'Technical Studies.' It is peculiar that the individuals in whom piano forte virtuosity found its culmination — includ ing Liszt, Tausig, Billow and Rubinstein should have given us no methods of instruc tion. Tausig, to be sure, left a collection of valuable studies, a feature of which is the per sistent use of certain fingerings, unobstructed by the presence of black keys. And Billow has likewise embodied some novel ideas on fingering in the editions flowing from his pen. But nothing approaching a system or method was left by any of these men. The more im portant methods of recent times are those of Kohler, Deppe, Leschetizky, Mason and Virgil— the two latter being the product of American thought. The Kohler method is careful and betrays great pedagogic ability; but it is some what dry and lacks important features which are the result of more recent insight. Deppe's method lays great stress on ease and freedom of movement and advocates co-operation of the arm in playing. His maxim is: "If it looks well, it is right." Leschetizky has been famous as the teacher of a great number of eminent pianists. In consequence his system has gained wide celebrity. An examination of the same, however, as outlined by some of his assistants (Bree, Prentner), fails to reveal any startling innovations and so we are inclined to attribute his success to personal qualities as a teacher rather than to peculiar secrets of system. Mr. Mason may be regarded as the Nestor of Amer ican teacher-virtuosos. He published a method
entitled 'Touch and Technic,' which is very popular on this side of the Atlantic. Opposed to the stiff finger and wrist playing of former days, he aims particularly at beauty of touch. Like Deppe, he lays stress on arm movements, his analysis of the same being especially illumi nating. He likewise developed an ingenious method of practising scales and arpeggios in various rhythms and tempos. The Virgil method is unique inasmuch as it makes use of the dumb piano called the Practice Clavier. Tone is here replaced by clicks, which can be produced both by the up and down action of the keys. Likewise the force necessary to de press the keys is subject to regulation. Special printed instructions of a very detailed nature are supplied for the guidance of teachers and pupils.
In general, the tendency of modern instruc tion has been toward freer and more natural movements and specifically toward a' more liberal use of the arm. Playing in the older days was comparatively stiff. It proceeded mainly from the fingers and wrist and the members not directly involved were supposed to be held quiet. This has been changed of late: the old hammer-like touch of the fingers is having its supremacy disputed by touches that depend more on pressure, while the arm and forearm are constantly being brought into play. Even the time-honored motion of the thumb under the palm of the hand, in perform ing scales and arpeggios, is no longer insisted on so rigorously, and deft arm-movements are coming into the foreground.
Among the foremost innovators in this movement is Rudolf M. Breithaupt. He has published a voluminous treatise entitled 'Die natiirliche Klaviertechnik,' which is searching in its analysis and replete with excellent sug gestions. Among other things, Breithaupt aban dons the traditional wrist stroke, and his play ing of scales is accomplished by means of hand and forearm movements, with the minimum passing under of the thumb.
While this is not the place to pronounce judgment on methods, we may refer to the con sensus of modern opinion in favor of freer and more natural movements and liberal co-opera tion of the arm. The results which have been arrived at are based on careful analysis and seem destined to become permanent. Among the future advances to be expected in the field under consideration is the application thereto of psychological methods. Hitherto very little has been accomplished in this direction. Yet there is hardly a field which is more favorable to the work of the psychologist. The exact determination of the best playing motions, the regulation of practice hours, the testing of pupils for musical talent— these are but a few of the many things with which psychology would be competent to deal. There is no doubt that this work will soon be taken up. And the results will be shown in heightened efficiency on the part of the teacher and greater progress on the part of the pupil