|Piano Training on Schenkerian Principles|
|For whom||Beginning and intermediate-level students of piano with possible professional aspirations.|
|Description||A research-derived program of piano training based on Heinrich Schenker’s ideas on musical logic (structure) and interpretation . The course blends a traditional piano syllabus with original material that applies Schenkerian procedures in a performance context.|
|Locations||Piano lessons are available in Helsinki/Espoo, Saint Petersburg, Tallinn, and Moscow .|
|Learning goals||In addition to imbuing every single tone in the music with a specific and unique expressive function, Schenkerian reasoning helps overcome “technical” pianistic obstacles by intrinsically musical means , and specifically through an awareness of the work’s tonal structure. We cultivate automatisms for reading and hearing hierarchies of simpler musically meaningful entities, which serve as a framework for creative yet methodical work on interpretation and tone production as a unity.|
|Our research goals||The program serves a double function: first, as field research for an ongoing investigation of Heinrich Schenker’s tonal reduction and diminution as primary concepts in studio-based instrumental learning. ; second, as a testing environment for sensor-enhanced pedagogies , including the collection of sensor data and usability feedback from our participants.
|Sensor use||Frequent (upon the participant’s approval).|
|Duration||Piano lessons take place once or twice a week. Their duration varies depending on age and level.|
|Fees||See our FAQ.|
|Schenkerian Analysis on the Instrument|
|For whom|| Primarily a professional-development course for instrument pedagogues .
Also suitable for performers, advanced students, musicologists, composers.
Prior study of textbook four-part harmony is essential. Familiarity with modal or tonal counterpoint in two parts would be helpful but is not a prerequisite.
|Description||A comprehensive course in Schenkerian analysis with three features:
|Locations||Training sessions take place online with students from most time-zones.
Also available onsite in Helsinki/Espoo, Saint Petersburg, and Moscow .
We are typically able to provide online students with a Wacom tablet—our digital collaboration tool of choice—on long-term loan.
|Learning goals||The program generally follows the plan of a university-level Schenker sequence, but is designed to address common reasons for the resistance of performers to music analysis :
|Our research goals||We try to assess and predict the comparative cognitive loads of different analytical representations.
The program also serves as a generator and field-test of instructional material for possible publication.
|Sensor use||On rare occasions (upon the participant’s approval).|
|Duration||One or two cycles of 8–12 weekly meetings. Meetings typically last 60–90 minutes each.|
|Fees||See our FAQ.|
|Schenkerian Performance Preparation|
|For whom||Instrument pedagogues.
Performers and advanced students preparing for specific engagements ( competitions, auditions, examinations, concerts ).
Knowledge of harmony (four-part writing) is a prerequisite.
|Description||In these individual workshops we unfold each work’s “tonal drama” through a fusion of analytical reflection and sound production . The approach is fundamentally Schenkerian but most terminology is typically hidden from view.
We alternate between microscopic (the local dramatic detail) and macroscopic hearings (the entire work as a synoptic “landscape” view) , experimenting with spontaneously scribbled analytical graphs (Bilder) and a variety of realizations in sound.
We are in search of large-scale motives, long-range lines, multi-level designs, and other dramatic structures and revelatory events that are as salient to a convincing performance as they are concealed from ordinary score-reading or hearing .
|Locations||Sessions take place in Helsinki/Espoo, Saint Petersburg, Moscow, and Tallinn .
In certain cases online sessions may also be possible.
|Learning goals||Schenkerian training recasts harmonic hearing as a horizontal phenomenon, and accordingly the workshop emphasizes long-range continuity, finely nuanced tonal closures (cadences, lines, transitions between formal units), a subtle and variegated hearing of meter and rhythm, and sensitivity to tonal tension (e.g. eradicating unintended “dead spots.”) . We also pursue more elusive but no less palpable performance values within the purview of Schenker’s original project, such as authenticity, conviction, and coherence.|
|Our research goals||The programs serves as field research for an ongoing investigation of Heinrich Schenker’s tonal reduction and diminution as primary concepts in studio-based instrumental learning.|
|Sensor use||During the sessions (upon the participant’s approval) we occasionally test sensor-enhanced pedagogies and solicit device usability feedback.|
|Duration||As agreed on a case-by-case basis, depending on study goals, any forthcoming performance commitments, and repertoire.|
|Fees||See our FAQ.|
Our training programs serve simultaneously as research platforms to the benefit of everyone involved, so we seek participants whose musical background is aligned with our current research needs. We invite you to run TekhneeBot, our decision engine, which will consider your individual background and suggest relevant projects. At the end of the process you’ll be provided with the option to arrange a follow-up discussion with us.
Sensor usage is more frequent in the performance-intensive programs. Most participants will be invited to wear one or more coin-sized sensors on a regular basis during piano lessons and performance workshops. In relevant cases we request acceptance of a standard “non-disclosure agreement,” as a token of understanding that any information on the devices or associated pedagogic materials, to which you’ll be privy, will remain confidential. Participants are given access to all data collected from their playing.
The number is limited and depends on current resources, the possible involvement of collaborators, and the number of active participants, among other factors. Space is especially constrained for piano lessons.
Please contact us, either directly or after running TekhneeBot, for information on fees.
The academic integrity of our research and the artistic relevance of our practices and technologies.
We are particularly keen on working with graduate students and junior researchers in any of the above areas.
Most of the resulting research is intended to be released in the public domain via academic and open scholarship channels. Until that happens we count on your confidentiality. Some of our work is also patent-pending. In special cases, especially when sensors are involved, Tekhnee may request a non-disclosure agreement with you.
Among others: Swift, Julia, Pd, RStudio, OSC, music21, and the mbientLab platform.
More reasons than would fit in this space: former affiliation of Tekhnee staff with the Sibelius Academy, a vibrant art-music scene, a penchant for innovation in education, proximity to Russia and its outstanding performance tradition, the open entrepreneurial culture and infrastructures, and much more.