Researcher

…open new possibilities of expression for all pianists. His studies about “artistic body-control” animate as well masters of the other instruments and can give numerous impulses for new ideas in each teaching and playing.

…of the interdisciplinary sound research center at Tongji University in Shanghai since 2015. Even after his retirement, he continues to be invited to give lectures and participate in projects.

Various books have been published in German, English and Chinese. Articles have been published in NMZ, the EPTA yearbook and by Springerverlag New York, among other.

From Wolfgang Wagenhäuser’s lecture on the founding of the interdisciplinary research center in Shanghai:

Sound research is the generic term for a recently developed innovative approach which brings the music-making and music education into the 21st century. Based on the sound as most important for the support of music sound research explores al of the components which are required for its preparation (detection, optimization and expansion of instrumental techniques to analyzes and improvements in instrument) and its effectiveness (handling different acoustics, psychology of sounds, optimize interpretive means).

But not only for artistic but also pedagogical training the sound research is the approach, which guides away from imitative towards research-oriented learning in the spirit of the motto “Tradition is the carry on the flame – not preserving the ashes “! We want to train a new generation of teachers and make today’s teachers curious about this input…

MUSIC

Of course, the music is the starting point for all considerations. The artistic and technical problems, with which always deal with instrumentalists and singers, will now be answered interdisciplinary. We want to break fear of contact resulting from periods in which the artistic diversity found better responses that still young sciences inexperienced with music. 

The now highly differentiated measurement methods can help us to analyze our musical do much more accurately. We have come across a number of further issues. For example: why does the music get stuck on stage one evening and arrives wonderfully alive for the listener on another day.

So we can develop methods together with various sciences to realize our musical intentions effectively. We can significantly increase the frequency of our great moments in the classroom and on the stage under construction

• We learn a lot in cooperation with the Sport Medicine. Of course, we are dependent on open minds as partners who are willing to develop a common language. It is best to work with scientists who want to first get to know the perspective of musicians. Conversely, we try to go along with their ideas.
• Have no fear of contact with the motto “Music is not a sport” or “science disturbs the artistic habit”. Of course, the rich experience in sports medicine can not be transferred one to one to the music. We have among other things much more to do with fine motor processes. But these have just a special burden of partly extremely high power delivery. Also for example, the power condition making music must be fully evaluated differently.
• The rich experience with extended exercise in the sport can be used to practice effectively as a musician. And we are going to further develop these plans that we can (as opposed to athletes) make music into old age also.
• Avoiding music-related pain, limitations or even failure is another major area of work, which must be linked to the results of the above-mentioned tasks.

Choice/ Auswahl: Books/ Bücher

(Advices for succeeding in pianistic and interpretation will follow soon. Different training books are being translated.)