The Effects of Russian Piano Pedagogy on Vietnamese Pianists, with Comparisons of Effects Of Vietnamese Piano Pedagogy and UK Piano Pedagogy. Minh Thanh Nguyen MMus (UNSW) School of English, Media and Performing Arts A thesis submitted for the Degree of Doctor of Philosophy in the Faculty of Arts and Social Sciences The University of New South Wales 2007 ABSTRACT Cultures in contact over a considerable period influence intellectual traditions, practices and habits relating to musical expression and the manner of teaching it. This study investigates the effects of different cultural contacts on Vietnamese student pianists, especially from Russian-style piano pedagogy and associated educational ideas and methods in music conservatoires. The purpose of this study was to compare various teaching approaches and learning styles, and the reactions of Vietnamese students to three different sources of training of piano teachers: Russia, Vietnam and England. Different sources of training affected piano pedagogy, and different musical traditions affected expression in piano performance, especially where students are from a cultural background different from that of their teacher. Observations of actual piano lessons were undertaken, and data were also obtained from interviews and questionnaires and analysed statistically. Results are reported and discussed in relation to four prominent features of the Russian piano school: achieving a powerful and substantial sound; the requirement for “singing” quality on the piano; the solid technical training which requires an enormous amount of practice time; and the necessity to play from memory. These are four prominent features of the Russian piano schooling. In addition, Vietnamese students’ problems regarding rhythmic accuracy highlight an inherent difference between the Vietnamese and Russian piano school. Major differences and similarities in teaching styles between Russian teachers and those from the UK and Vietnam were described and commented on under the following headings: use of mental practice; the role of listening; teacher demonstration; freedom for students in learning and making decisions (choice of repertoire; performance opportunities for students; students’ emotional reactions); the more liberal approach of the UK teachers; and the piano teaching styles at the Hanoi Conservatory that have been strongly influenced by the Russian piano school through Russian graduates’ teaching in Vietnam. These findings have important pedagogical implications. The more teachers control there was in lessons, the less a student would contribute to lessons actively. More liberal or less authoritarian approaches to teaching do not necessarily inculcate the discipline required for high achievement technically and expressively. There needs to be a balance between liberal approaches and encouraging the student to become autonomous in their efforts, and ensuring that they realize the importance of being disciplined in their practice habits. ORIGINALITY STATEMENT I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged. Nguyen Minh Thanh 1 October 2007 COPYRIGHT STATEMENT I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstract International (this is applicable to doctoral theses only). I have either used no substantial portions of copyright material in my thesis or I have obtained permission to use copyright material; where permission has not been granted I have applied/will apply for a partial restriction of the digital copy of my thesis or dissertation. Nguyen Minh Thanh 1 October 2007 AUTHENTICITY STATEMENT I certify that the Library deposit digital copy is a direct equivalent of the final officially approved version of my thesis. No emendation of content has occurred and if there are any minor variations in formatting, they are the result of the conversion to digital format. Signed ……………………………………………........................... Date……………………………………………........................... ACKNOWLEDGEMENTS First, I would like to express my utmost gratitude to my supervisor, Professor Dr Robert Walker for his profound encyclopaedic knowledge of culture, music and music education, his dedication, tireless guidance, support and encouragement throughout my studies. His belief in my project and confidence in me have helped my transformation into a researcher and writer, and for me to bring the study to a successful completion. My deepest thanks and gratitude to my sponsors: the Vietnamese and Australian governments for sponsoring my master and doctoral studies at the University of New South Wales, Australia, and to the Former Rector Professor Trn Thu Hà and Rector Ngô Vn Thành of Hanoi National Conservatory of Music for granting me leave from my work at the Hanoi Conservatory in order to experience one of the most unforgettable but enjoyable experiences of my life. My special thanks to the University of New South Wales, and especially Faculty of Arts and Social Sciences, for awarding me a research travel grant for my trip to England to the Royal College of Music. I am thankful to the Royal College of Music, especially Professors Solomon, Bernard D’Ascoli and Andrew Ball for their piano lessons and Dr Janet Mills for her research methodology. My profound thanks to all of my Russian teachers, especially to Professor Nikolayevna Egiazarova for her “poet of the pianoforte”, to Professor Victor Nosov for his special virtuoso technique, my brother (Russian graduate) Dr Nguyn La Thng for his great pedagogy and brilliant spirit of pianism and my wonderful Australian piano teacher Dr Christine Logan for her pedagogy of artistic expressions on Western, American, French and Spanish music. These outstanding teachers formed my pianistic career and contributed to my developing mastery in teaching and playing the piano. I am grateful to them all. My sincere thanks are also extended to all those who have made my research and data collection proceed as planned: all the professors, piano teachers, students at Royal college of Music and Hanoi Conservatory of Music and the various university libraries. My deepest love and gratitude to my family, my loving parents for their patience, loving support and indulgence which gave me the strength to go through the process of this PhD. TABLE OF CONTENTS abstract...........................................................................................................................ii originality statement .....................................................................................................iii Copyright statement......................................................................................................iv Authenticity statement ..................................................................................................iv ACKNOWLEDGEMENTS...........................................................................................v List of figures...............................................................................................................xii List of tables ................................................................................................................xv CHAPTER 1 ................................................................................................ 1 INTRODUCTION....................................................................................... 1 NATURE AND SCOPE OF THE STUDY ............................................... 1 The Impact of Culture on the Teaching Behaviours of English, Russian and Vietnamese Trained Teachers ....................................................................................3 Some Relevant Socio-Cultural Environmental Differences between England, Vietnam, and Russia...................................................................................................3 Originality ..................................................................................................................5 Problem Statement......................................................................................................5 Methodological Approach..........................................................................................6 CHAPTER 2 ................................................................................................ 7 A DISCUSSION OF HOW OUTSIDE INFLUENCES AFFECT CULTURAL PRACTICES IN MUSIC ...................................................