Cairo University

Faculty of specific Education

Department of Music Education

Facilitating the performance difficulties for piano of

(Burlesques) Op. 48 by Christian Sinding

Master Thesis Presented by:

Christina Shadrkh Moussa Attia

A Demonstrator in Musical Education Department

Faculty of Specific Education
Cairo University
In Fulfillment of Requirements for Master Degree
In Specific Education in piano Section

Supervisors

Prof. Dr. Assis. Prof. Dr.

Afkar Refaey Ahmed Mohamed Mohamed Fathy Mohmoud Hamed
Professor of Piano Assistant Professor of Piano
Faculty of Music Education Faculty of Specific Education
Department of Performance Department of Music Education
Helwan University Cairo University
Cairo

2012
 ‫ﻤﻠﺨص اﻝﺒﺤث ﺒﺎﻝﻠﻐﺔ اﻝﻌرﺒﻴﺔ‬

‫ﺘذﻝﻴل اﻝﺼﻌوﺒﺎت اﻝﻌزﻓﻴﺔ ﻵداء ﻤؤﻝﻔﺎت اﻝﺒﻴﺎﻨو اﻝﻬزﻝﻴﺔ ﻤﺼﻨف )‪ (٤٨‬ﻋﻨد‬

‫ﻜرﺴﺘﻴﺎن ﺴﻴﻨدﻨﺞ‬

‫اﻝﻤﻘدﻤﺔ‪:‬‬

‫ﺸﻬد اﻝﻘرن اﻝﺘﺎﺴﻊ ﻋﺸر ﺘﻐﻴرات ﻜﺜﻴرﻩ ﻓﻲ اﻷﺤوال اﻝﺴﻴﺎﺴﻴﺔ واﻷﻗﺘﺼﺎدﻴﺔ‬

‫واﻹﺠﺘﻤﺎﻋﻴﺔ واﻝﻌﻠﻤﻴﺔ واﻝﺼﻨﺎﻋﻴﺔ‪ .‬وﻗد أدى ذﻝك إﻝﻰ اﻝﺘﻘﺎرب ﺒﻴن ﺒﻠدان أوروﺒﺎ‬
‫وﺒﺎﻝﺘﺎﻝﻰ ﺴﻬوﻝﺔ اﻹﺘﺼﺎل اﻝﺴﻴﺎﺴﻲ واﻝﺜﻘﺎﻓﻲ ﺒﻴﻨﻬﻤﺎ‪ ،‬وﺘﻌد اﻝﻨروﻴﺞ أﺤد اﻝﺒﻼد‬
‫اﻻﺴﻜﻨدﻨﺎﻓﻴﻪ اﻝﺘﻰ ﺘﻘﻊ ﻓﻲ اﻝﺸﻤﺎل اﻝﺸرﻗﻰ ﻤن أوروﺒﺎ‪ ،‬وﺘﺘﻜون ﺘﻠك اﻝﺒﻼد ﻤن اﻝﻨروﻴﺞ‬
‫واﻝﺴوﻴد واﻝداﻨﻤﺎرك وﻓﻨﻠﻨدا‪ ،‬وﻗد ظﻠت اﻝﻨروﻴﺞ ﺘﺤت ﺴﻴطرة اﻝداﻨﻤﺎرك ﻤﻨذ ﻨﻬﺎﻴﺔ‬
‫اﻝﻌﺼور اﻝوﺴطﻰ إﻻ أن اﻝﺤرﻜﺔ اﻝﻘوﻤﻴﺔ اﻝﺴﻴﺎﺴﻴﺔ اﻝﺘﻰ أدت إﻝﻰ اﻨﻔﺼﺎل اﻝداﻨﻤﺎرك‬
‫ﻋن اﻝﻨروﻴﺞ أﺜﺎرت اﻝﻤﺸﺎﻋر اﻝﻘوﻤﻴﺔ ﻋﻨد اﻝﻤؤﻝﻔﻴن اﻝﻤوﺴﻴﻘﻴﻴن وﻝﻜﻨﻪ اﺴﺘﻤر ﻓﻲ‬
‫ﻤﺴﺘوى اﻝﻬواﻴﺔ ﺤﺘﻰ ﺒداﻴﺔ اﻝﻘرن اﻝﺘﺎﺴﻊ ﻋﺸر إﻝﻰ أن اﻨﻀﻤت اﻝﻨروﻴﺞ إﻝﻰ اﻝﺴوﻴد‬
‫ﻋﺎم ‪١٨١٤‬م ﻓﺄدى اﻝﺸﻌور اﻝوطﻨﻲ إﻝﻰ ﻨﻤو ﻓن اﻝﻤوﺴﻴﻘﻰ ﻓﻲ اﻹﺘﺠﺎﻫﺎت اﻝﻘوﻤﻴﺔ‪،‬‬
‫‪Lindeman‬‬ ‫ﻜﻤﺎ أن اﻝرﻏﺒﺔ ﻓﻲ ﻤﻌرﻓﺔ اﻝﺘﻘﺎﻝﻴد اﻝﻘوﻤﻴﺔ ﺒواﺴطﺔ ﻝﻴﻨدﻤﺎن‬
‫)‪١٨٥٧:١٧٦٩‬م( وﻫو أول ﻤن ﻨﺸر اﻝﻠﻬﺠﺔ اﻝﻤوﺴﻴﻘﻴﺔ اﻝﻨروﻴﺠﻴﺔ ﻫو وﻋﺎزف‬
‫اﻝﻔﻴوﻝﻴﻨﺔ أوﻝﻲ ﺒول ‪١٨٨٠:١٨١٠) Ole Bull‬م( اﻝذي أﻝف ﻤﻘطوﻋﺎت ﻓﻲ أﺴﻠوب‬
‫اﻝرﻗص اﻝﺸﻌﺒﻲ اﻝﻨروﻴﺠﻲ ‪ ،Slatter‬وﺒذﻝك ظﻬر ﻓﻲ ﻫذﻩ اﻝﺒﻼد ﻓن ﻤوﺴﻴﻘﻲ ﻴﺘﻤﻴز‬
‫ﺒﺎﻹﻴﻘﺎﻋﺎت اﻝﻘوﻤﻴﺔ واﻝطﺎﺒﻊ اﻝﺤزﻴن ﻓﻲ إﺜراء اﻝﻤوﺴﻴﻘﻰ اﻝﻘوﻤﻴﺔ ﻝﻠﺒﻼد اﻻﺴﻜﻨدﻨﺎﻓﻴﺔ ‪.‬‬
‫وﻤن أواﺌل اﻝﻤوﺴﻴﻘﻴﻴن اﻝﻘوﻤﻴﻴن ﻓﻲ اﻝﻨروﻴﺞ "أوﻝﻲ ﺒول ‪١٨٨٠:١٨١٠) "Ole Bull‬م(‬
‫اﻝذي ﻜﺎن أول ﻤن اﺘﺠﻪ ﻝﻠﺘراث اﻝﻐﻨﺎﺌﻰ اﻝﺸﻌﺒﻲ وﺤﺎول ﺘطوﻴﻌﻪ ﻓﻲ ﻤؤﻝﻔﺎﺘﻪ اﻝﻤوﺴﻴﻘﻴﺔ‬

‫‪١‬‬
‫وﺒﻌدﻫﺎ ظﻬر اﻝﻤؤﻝف اﻝﻨروﻴﺠﻲ "إدوارد ﺠرﻴﺞ ‪1907:1843) "Edword Grieg‬م(‬
‫واﻝذى ﻴﻌد ﻤن أﻫم اﻝﺸﺨﺼﻴﺎت اﻝﻘوﻤﻴﺔ ﻓﻲ اﻝﻘرن اﻝﺘﺎﺴﻊ ﻋﺸر ﻓﻲ اﻝﻨروﻴﺞ وﻝﻪ ﺸﻬرة‬
‫ﻋﺎﻝﻤﻴﺔ وأﻫﺘم ﺒﺘﺄﻝﻴف اﻝﻤﻘطوﻋﺎت اﻝﺼﻐﻴرة ﻝﻠﺒﻴﺎﻨو واﻷﻏﻨﻴﺎت اﻝرﻗﻴﻘﺔ اﻝﺘﻲ ﺘﻤﻴزت‬
‫ﺒﺎﻝﻤذاق اﻝﻘوﻤﻲ اﻝﺘﻌﺒﻴري ﻓﻬو ﻴﻌﺘﺒر ﻤن أﺸﻬر اﻝﻤؤﻝﻔﻴن اﻝﻨروﻴﺠﻴﻴن ﻓﻲ آواﺨر اﻝﻌﺼر‬
‫اﻝروﻤﺎﻨﺘﻴﻜﻲ وﺒداﻴﺔ اﻝﻘرن اﻝﻌﺸرﻴن‪ .‬وﻗد ظﻬر ﻓﻲ ﻫذﻩ اﻝﻔﺘرة اﻝﻌدﻴد ﻤن اﻝﻤوﺴﻴﻘﻴﻴن‬
‫اﻝﻨروﻴﺠﻴﻴن اﻝذﻴن أﺘﺒﻌوا ﻤﻨﻬﺞ ﺠرﻴﺞ ﻓﻲ إﺴﺘﺨدام اﻝﻤوﺴﻴﻘﻰ اﻝﺸﻌﺒﻴﺔ ﻜﺄﺴﺎس‬
‫‪Agatha‬‬ ‫‪Baker‬‬ ‫‪Grondahl‬‬ ‫ﺠروﻨدال‬ ‫ﺒﻴﻜر‬ ‫أﺠﺎﺜﺎ‬ ‫أﻤﺜﺎل‬ ‫ﻝﻤوﺴﻴﻘﺎﻫم‬
‫)‪١٩٠٧:١٨٤٧‬م( وﻜرﺴﺘﻴﺎن ﺴﻴﻨدﻨﺞ ‪١٩٤١:١٨٥٦) Christian Sinding‬م(‬
‫)ﻤوﻀوع اﻝﺒﺤث( وﻴﺘﻤﺘﻊ ﺴﻴﻨدﻨﺞ ﺒﺸﻬرة واﺴﻌﺔ ﺨﻼل ﺴﻨوات ﺤﻴﺎﺘﻪ‪ ،‬ﻓﺘﺄﺜر إﻝﻰ ﺤد‬
‫اﻝﻌظﺎم‬ ‫ﺒﺎﻝﻤؤﻝﻔﻴن‬ ‫وﻗوي‬ ‫ﻜﺒﻴر‬
‫أﻤﺜﺎل"ﻓﺎﺠﻨر‪١٨٨٣:١٨١٣)Wagner‬م("‪"،‬ﻝﻴﺴت‪١٨٨٦:١٨١١)Liszt‬م("‪"،‬وﺸﺘراوس‬
‫‪١٩٤٩:١٨٤٦)Straus‬م(" وﻝﻜن ﺴرﻋﺎن ﻤﺎ ﺘﺤول إﻝﻰ اﻹﻫﺘﻤﺎم اﻝﻌﻘﻠﻰ ﺒﺈﺴﺘﻜﺸﺎف‬

‫اﻝﺘﻀﻤﻴﻨﺎت اﻝﻬﺎرﻤوﻨﻴﺔ اﻝﺘﻲ واﺼل ﺒﻬﺎ اﻝروﻤﺎﻨﺘﻴﻜﻴﺔ ٕواﺴﺘطﺎع أن ﻴﺒﻨﻰ ﻝﻨﻔﺴﻪ أﺴﻠوﺒﺎً‬
‫ﺨﺎﺼﺎً ﺒﻪ‪.‬‬

‫ﻝذا ﺘﻨﺎوﻝت اﻝﺒﺎﺤﺜﻪ ﻤؤﻝﻔﺎت اﻝﺒﻴﺎﻨو اﻝﻬزﻝﻴﺔ )‪ (BURLESQUES‬ﻤﺼﻨف )‪(٤٨‬‬

‫ﺒﺎﻝﺘﺤﻠﻴل اﻝﻨظري واﻝﻌزﻓﻲ ﻝﻠﻤؤﻝف اﻝﻨروﻴﺠﻲ ﻜرﺴﺘﻴﺎن ﺴﻴﻨدﻨﺞ ﻜوﻨﻪ أﺤد أﻋﻼم‬
‫اﻝﻤوﺴﻴﻘﻴن اﻝﻨروﻴﺠﻴﻴن ﺤﺘﻰ ﺘﺴﺎﻋد اﻝدارس ﻋﻠﻰ ﺘﻔﻬم ﺘﻠك اﻝﻤؤﻝﻔﺎت واﻹﻗﺒﺎل ﻋﻠﻰ‬
‫ﻋزﻓﻬﺎ ‪.‬‬

‫‪٢‬‬
 ‫وﻴﺘﻀﻤن ﻫذا اﻝﺒﺤث أرﺒﻌﺔ ﻓﺼول ﺠﺎءت ﻜﻤﺎ ﻴﻠﻲ ‪:‬‬

‫اﻝﻔﺼل اﻷول‪ :‬اﻝﺘﻌرﻴف ﺒﺎﻝﺒﺤث واﻝدراﺴﺎت اﻝﺴﺎﺒﻘﺔ ‪:‬‬

‫وﻴﺸﺘﻤل ﻫذا اﻝﻔﺼل ﻋﻠﻰ ﻤﺒﺤﺜﻴن ‪:‬‬

‫اﻝﻤﺒﺤث اﻷول‪ :‬اﻝﺘﻌرﻴف ﺒﺎﻝﺒﺤث ‪:‬‬

‫ﻤﺸﻜﻠﺔ اﻝﺒﺤث ‪ :‬ﺒﺎﻝرﻏم ﻤن إﺤﺘواء ﻤؤﻝﻔﺎت اﻝﺒﻴﺎﻨو اﻝﻬزﻝﻴﺔ )‪(BURLESQUE‬‬

‫ﻤﺼﻨف )‪ (48‬ﻋﻨد ﻜرﺴﺘﻴﺎن ﺴﻴﻨدﻨﺞ ‪ Christian Sinding‬ﻋﻠﻰ اﻝﻌﻨﺎﺼر اﻝﻤوﺴﻴﻘﻴﺔ‬
‫واﻝﺘﻜﻨﻴﻜﻴﺔ واﻝﺘﻌﺒﻴرﻴﺔ وﺘﻨوﻋﻬﺎ ﻓﻰ اﻷﺴﻠوب واﻝﻤﺴﺘوى وﺘﻌد ﻤن اﻷﻋﻤﺎل اﻝﺸﻴﻘﺔ‬
‫واﻝﺠﻴدة‪ ،‬إﻻ ان اﻝﺒﺎﺤﺜﺔ ﻻﺤظت ﻨدرة اﻻﺒﺤﺎث اﻝﺨﺎﺼﺔ ﺒﻬذا اﻝﻤؤﻝف واﻝﺘﻰ ﺘﺘﻨﺎول ﻫذﻩ‬
‫اﻝﻤؤﻝﻔﺎت ﻵﻝﺔ اﻝﺒﻴﺎﻨو ﻝذا رأت اﻝﺒﺎﺤﺜﻪ أن ﺘﻨﺎول اﻝﺨﺼﺎﺌص اﻝﻔﻨﻴﺔ اﻝﺘﻲ اﺘﺼﻔت ﺒﻬﺎ‬
‫ﻤؤﻝﻔﺎت اﻝﺒﻴﺎﻨو اﻝﻬزﻝﻴﻪ واﻝﺘﻘﻨﻴﺎت اﻝﻌزﻓﻴﺔ اﻝﺘﻲ اﺸﺘﻤﻠت ﻋﻠﻴﻬﺎ وﻤﺤﺎوﻝﺔ ﺘذﻝﻴل ﺼﻌوﺒﺎﺘﻬﺎ‬
‫ﺴوف ﻴﺴﺎﻋد اﻝطﺎﻝب ﻓﻲ اﻝوﺼول إﻝﻰ ﻤﺴﺘوى ﻤﺘﻤﻴز ﻓﻰ ﺘﻨﻤﻴﺔ اﻝﻤﻬﺎرات اﻝﻌزﻓﻴﺔ‬
‫ﻝدارﺴﻲ آﻝﺔ اﻝﺒﻴﺎﻨو ‪.‬‬

‫وﻫدف اﻝﺒﺤث ﻝﻠﺘﻌرف ﻋﻠﻰ ﺘطور اﻝﻤوﺴﻴﻘﻰ ﺒﺼﻔﺔ ﻋﺎﻤ ًﺔ ﻓﻲ أواﺨر اﻝﻘرن‬
‫اﻝﺘﺎﺴﻊ ﻋﺸر وأواﺌل اﻝﻘرن اﻝﻌﺸرﻴن واﻝﺘﻌرف ﻋﻠﻰ اﻝﻤوﺴﻴﻘﻰ اﻝﻨروﻴﺠﻴﺔ ﺒﺼﻔﺔ ﺨﺎﺼﺔً‪،‬‬
‫ٕواﻝﻘﺎء اﻝﻀوء ﻋﻠﻰ ﺤﻴﺎة وأﺴﻠوب اﻝﻤؤﻝف اﻝﻤوﺴﻴﻘﻲ اﻝﻨروﻴﺠﻲ ﻜرﺴﺘﻴﺎن ﺴﻴﻨدﻨﺞ‬
‫وﻤؤﻝﻔﺎﺘﻪ ﻋﺎﻤﺔً وﻤؤﻝﻔﺎﺘﻪ ﻝﻠﺒﻴﺎﻨو ﺨﺎﺼﺔً‪ ،‬ﺘﺤدﻴد اﻝﺼﻌوﺒﺎت اﻝﻌزﻓﻴﺔ واﻝﺘﻜﻨﻴﻜﻴﺔ واﻝﺘﻌﺒﻴرﻴﺔ‬
‫اﻝﺘﻲ ﻴﻤﻜن أن ﺘﻌوق آداء ﻤؤﻝﻔﺎت اﻝﺒﻴﺎﻨو ‪) BURLESQUES‬ﻋﻴﻨﺔ اﻝﺒﺤث(‪ ،‬إﻗﺘراح‬
‫اﻝﺘدرﻴﺒﺎت واﻹرﺸﺎدات اﻝﻌزﻓﻴﺔ اﻝﻤﻨﺎﺴﺒﺔ ﻝﺘﻠك اﻝﺼﻌوﺒﺎت ﻝﻠوﺼول إﻝﻰ اﻵداء اﻝﺠﻴد‬
‫اﻝﻤطﻠوب ﻝﻤؤﻝﻔﺎت اﻝﺒﻴﺎﻨو ‪ ) BURLESQUES‬ﻋﻴﻨﺔ اﻝﺒﺤث (‪ ،‬ﺒﺎﻹﻀﺎﻓﺔ إﻝﻰ‬

‫‪٣‬‬
‫اﻝﺘﻌرف ﻋﻠﻰ اﻝﻤﺴﺘوى اﻝﺘﻌﻠﻴﻤﻲ اﻝذي ﻴﺘﻼﺌم ﻤﻊ اﻝﻘدرات اﻝﻌزﻓﻴﺔ ﻝطﻼب ﻤرﺤﻠﺘﻲ‬
‫اﻝﺒﻜﺎﻝورﻴوس واﻝدراﺴﺎت اﻝﻌﻠﻴﺎ ﺒﻜﻠﻴﺔ اﻝﺘرﺒﻴﺔ اﻝﻨوﻋﻴﺔ ‪.‬‬

‫وﺘﻜﻤن أﻫﻤﻴﺔ اﻝﺒﺤث ﻓﻲ اﻻﺴﺘﻔﺎدة ﻤن اﻝدراﺴﺔ اﻝﺘﺤﻠﻴﻠﻴﺔ اﻝﻌزﻓﻴﺔ ﻝﻤؤﻝﻔﺎت‬

‫اﻝﺒﻴﺎﻨو اﻝﻬزﻝﻴﺔ ‪ BURLESQUES‬ﻤﺼﻨف )‪ (48‬ﻋﻨد ﻜرﺴﺘﻴﺎن ﺴﻴﻨدﻨﺞ ﻝﻠوﺼول إﻝﻰ‬
‫اﻝﻨﻀﺞ اﻝﻔﻨﻲ واﻝﻌزﻓﻲ ﻝﻬﺎ‪ ،‬ﺒﺎﻹﻀﺎﻓﺔ إﻝﻰ إﻝﻘﺎء اﻝﻀوء ﻋﻠﻰ اﻝﻤؤﻝف اﻝﻤوﺴﻴﻘﻲ‬
‫ﻜرﺴﺘﻴﺎن ﺴﻴﻨدﻨﺞ وأﻫم أﻋﻤﺎﻝﻪ ﺨﺎﺼﺔً ﻤؤﻝﻔﺔ اﻝﺒﻴﺎﻨو اﻝﻬزﻝﻴﺔ ‪BURLESQUES‬‬
‫ﻤﺼﻨف )‪. (48‬‬

‫ﺘﻤﺜﻠت ﻓروض اﻝﺒﺤث ﻓﻲ إﻝﻘﺎء اﻝﻀوء ﻋﻠﻰ ﺘطور اﻝﻤوﺴﻴﻘﻰ ﻓﻲ أواﺨر اﻝﻘرن‬
‫اﻝﺘﺎﺴﻊ ﻋﺸر وأواﺌل اﻝﻘرن اﻝﻌﺸرﻴن ﺒﺼﻔﺔ ﻋﺎﻤ ًﺔ‪ ،‬واﻝﺘﻌرف ﻋﻠﻰ اﻝﻤوﺴﻴﻘﻰ اﻝﻨروﻴﺠﻴﺔ‬
‫وأﻨواﻋﻬﺎ ﺒﺼﻔﺔ ﺨﺎﺼﺔً‪ ،‬واﻝﺘﻌرف ﻋﻠﻰ ﺤﻴﺎة وأﺴﻠوب اﻝﻤؤﻝف اﻝﻤوﺴﻴﻘﻲ اﻝﻨروﻴﺠﻲ‬
‫ﻜرﺴﺘﻴﺎن ﺴﻴﻨدﻨﺞ وأﻋﻤﺎﻝﻪ ﻋﺎﻤﺔً وأﻋﻤﺎﻝﻪ ﻝﻠﺒﻴﺎﻨو ﺒﺼﻔﺔ ﺨﺎﺼﺔً ﻴﺴﺎﻋد اﻝدارﺴﻴن ﻋﻠﻰ‬
‫ﺘﻔﻬم أﺴﻠوب ﻜرﺴﺘﻴﺎن ﺴﻴﻨدﻨﺞ ﻓﻲ ﺘﺄﻝﻴﻔﻪ ﻝﻤؤﻝﻔﺎت اﻝﺒورﻝﻴﺴك‪ ،‬اﻝﺘﺤﻠﻴل اﻝﻌزﻓﻲ ﻝﻤؤﻝﻔﺎت‬
‫اﻝﺒﻴﺎﻨو اﻝﻬزﻝﻴﺔ ‪ BURLESQUES‬ﻤﺼﻨف )‪ (٤٨‬ﻋﻨد ﻜرﺴﺘﻴﺎن ﺴﻴﻨدﻨﺞ ﺴوف ﻴﺴﻬم‬
‫ﻓﻲ ﺘﺤدﻴد اﻝﺼﻌوﺒﺎت اﻝﻌزﻓﻴﺔ اﻝﻤوﺠودﻩ ﺒﻬﺎ‪ ،‬اﻹرﺸﺎدات واﻝﺘﻤﺎرﻴن اﻝﻤﻘﺘرﺤﺔ ﻝﻤؤﻝﻔﺎت‬
‫اﻝﺒﻴﺎﻨو اﻝﻬزﻝﻴﺔ ‪ BURLESQUES‬ﻤﺼﻨف )‪ (48‬ﻗد ﺘﺴﺎﻫم ﻓﻲ ﺘذﻝﻴل ﺼﻌوﺒﺎت‬
‫اﻵداء واﻝوﺼول إﻝﻰ اﻵداء اﻝﺠﻴد‪ ،‬ﺘﺤدﻴد اﻝﻤﺴﺘوى اﻝﺘﻌﻠﻴﻤﻲ ﻝﻤؤﻝﻔﺎت اﻝﻬزﻝﻴﺔ‬
‫‪ BURLESQUES‬ﻤﺼﻨف )‪" (٤٨‬ﻋﻴﻨﺔ اﻝﺒﺤث" ﻋﻨد ﻜرﺴﺘﻴﺎن ﺴﻴﻨدﻨﺞ اﻝذي ﻴﺘﻼﺌم‬
‫ﻤﻊ اﻝﻘدرات اﻝﻌزﻓﻴﺔ ﻝطﻼب ﻤرﺤﻠﺘﻲ اﻝﺒﻜﺎﻝورﻴوس واﻝدراﺴﺎت اﻝﻌﻠﻴﺎ ﺒﻜﻠﻴﺔ اﻝﺘرﺒﻴﺔ‬
‫اﻝﻨوﻋﻴﺔ ‪.‬‬

‫‪٤‬‬
 ‫إﺠراءات اﻝﺒﺤث ‪:‬‬

‫ﻤﻨﻬﺞ اﻝﺒﺤث ‪ :‬ﻗﺎﻤت اﻝﺒﺎﺤﺜﺔ ﺒدراﺴﺔ ﺜﻼث ﻤؤﻝﻔﺎت ﻤن ﻤؤﻝﻔﺎت اﻝﺒﻴﺎﻨو اﻝﻬزﻝﻴﺔ‬
‫ﻤﺼﻨف )‪ (٤٨‬ﻋﻨد ﻜرﺴﺘﻴﺎن ﺴﻴﻨدﻨﺞ وﺘﺤﻠﻴﻠﻬﺎ ﺘﺤﻠﻴﻼً ﻨظرﻴﺎً وﻋزﻓﻴﺎً وﺘﺤدﻴد اﻝﺼﻌوﺒﺎت‬
‫اﻝﻌزﻓﻴﺔ وﺘذﻝﻴﻠﻬﺎ ﺒﺎﺴﺘﺨدام اﻝﻤﻨﻬﺞ " اﻝﺘﺠرﻴﺒﻲ اﻝﻤﻌﻤﻠﻲ " ‪.‬‬

‫ﻋﻴﻨـــﺔ اﻝﺒﺤـــث ‪ :‬ﺘ ــم اﻨﺘﻘ ــﺎء ﺜ ــﻼث ﻤؤﻝﻔ ــﺎت ﻤ ــن اﻝﺴ ــت ﻤؤﻝﻔ ــﺎت اﻝﺒﻴ ــﺎﻨو اﻝﻬزﻝﻴ ــﻪ‬
‫)‪ (BURLESQUES‬ﻤﺼﻨف )‪ (48‬ﻋﻨد ﻜرﺴﺘﻴﺎن ﺴﻴﻨدﻨﺞ‪ ،‬وﻫﻰ ﻋﻠﻰ اﻝﻨﺤو اﻝﺘﺎﻝﻲ‪:‬‬

‫• اﻝﻤؤﻝﻔﺔ اﻷوﻝﻰ ‪ :‬ﻤؤﻝﻔﺔ ‪Burlesqu’e‬‬

‫• اﻝﻤؤﻝﻔﺔ اﻝﺜﺎﻨﻴﺔ ‪ :‬ﻤؤﻝﻔﺔ ‪Plaisanterie‬‬

‫اﻝﻤؤﻝﻔﺔ اﻝﺜﺎﻝﺜﺔ ‪ :‬ﻤؤﻝﻔﺔ ‪Bagatelle‬‬ ‫•‬

‫ﺘﻤﺜﻠت أدوات اﻝﺒﺤث ﻓﻲ اﻝﻤدوﻨﺎت اﻝﻤوﺴﻴﻘﻴﺔ ﻝﻤؤﻝﻔﺎت اﻝﺒﻴﺎﻨو اﻝﻬزﻝﻴﺔ‬

‫‪ BURLESQUES‬ﻤﺼﻨف )‪ (48‬ﻵﻝﺔ اﻝﺒﻴﺎﻨو ﻋﻨد ﻜرﺴﺘﻴﺎن ﺴﻴﻨدﻨﺞ اﻝﺘﻲ أﻝﻔﻬﺎ ﻋﺎم‬
‫‪١٩٠٠‬م‪ ،‬وآﻝﺔ اﻝﺒﻴﺎﻨو‪ ،‬واﻝﺒﺤث ﻋﻠﻰ ﺸﺒﻜﺔ اﻹﻨﺘرﻨت‪ ،‬ﺒﺎﻹﻀﺎﻓﺔ إﻝﻰ اﺴﺘﻤﺎرة اﺴﺘطﻼع‬
‫آراء اﻝﺨﺒراء واﻷﺴﺎﺘذة أﻋﻀﺎء ﻫﻴﺌﺔ اﻝﺘدرﻴس ﻵﻝﺔ اﻝﺒﻴﺎﻨو ﻓﻲ ﺘﺤدﻴد اﻝﻤﺴﺘوى اﻷداﺌﻲ‬
‫ﻝﻤؤﻝﻔﺎت اﻝﺒﻴﺎﻨو اﻝﻬزﻝﻴﺔ ‪ BURLESQUES‬ﻤﺼﻨف )‪ (48‬ﻋﻨد ﻜرﺴﺘﻴﺎن ﺴﻴﻨدﻨﺞ‬
‫اﻝﺘﻲ ﺘﺘﻨﺎﺴب ﻤﻊ اﻝﻘدرات اﻝﻌزﻓﻴﺔ ﻝدارﺴﻲ آﻝﺔ اﻝﺒﻴﺎﻨو ﺒﺎﻝﻜﻠﻴﺎت اﻝﻤﺘﺨﺼﺼﺔ‪ ،‬اﺴﺘﻤﺎرة‬
‫اﺴﺘطﻼع آراء اﻝﺨﺒراء وأﻋﻀﺎء ﻫﻴﺌﺔ اﻝﺘدرﻴس ﻵﻝﺔ اﻝﺒﻴﺎﻨو ﻓﻲ ﺘﺤدﻴد اﻝﺼﻌوﺒﺎت‬
‫اﻵداﺌﻴﺔ اﻝﺘﻲ ﺘﺸﻤﻠﻬﺎ ﻤؤﻝﻔﺎت اﻝﺒﻴﺎﻨو اﻝﻬزﻝﻴﺔ ‪ BURLESQUES‬ﻤﺼﻨف )‪ (48‬ﻋﻨد‬
‫ﻜرﺴﺘﻴﺎن ﺴﻴﻨدﻨﺞ‪ ،‬اﺴﺘﻤﺎرة اﺴﺘطﻼع آراء اﻝﺨﺒراء ﻓﻲ اﻝﺘدرﻴﺒﺎت واﻹرﺸﺎدات اﻝﻌزﻓﻴﺔ‬
‫ﻝﺘذﻝﻴل اﻝﺼﻌوﺒﺎت اﻝﺘﻲ ﺠﺎءت ﻓﻲ ﻤؤﻝﻔﺎت اﻝﺒﻴﺎﻨو اﻝﻬزﻝﻴﺔ ‪BURLESQUES‬‬
‫ﻤﺼﻨف )‪ (48‬ﻋﻨد ﻜرﺴﺘﻴﺎن ﺴﻴﻨدﻨﺞ ‪.‬‬
‫‪٥‬‬
‫أﻤﺎ ﺒﺎﻝﻨﺴﺒﺔ ﻝﻤﺼطﻠﺤﺎت اﻝﺒﺤث ﻓﺠﺎءت ‪ ) :‬ﻤؤﻝﻔﺎت "‪،" BURLESQUES‬‬
‫ﻤؤﻝﻔﺔ "‪ ،"Plaisanterie‬ﻤؤﻝﻔﺔ "‪ ، "Bagatelle‬اﻝﺘﻜﻨﻴك "‪ ،" Technique‬اﻝﻘوس‬
‫اﻝﻠﺤﻨﻲ اﻝﻘﺼﻴر "‪ ،"Slur‬اﻝﻤﺼﺎﺤﺒﺔ "‪ ،"Accompaniment‬أﺴﻠوب اﻵداء‬
‫"‪ ،"Performance‬اﻷداء اﻝﺠﻴد "‪ ،"Good Performing‬اﻝﻬﺎرﻤوﻨﻲ "‪،"Harmony‬‬
‫اﻝﻬوﻤوﻓوﻨﻴﺔ "‪ ،"Homophony‬اﻝﺘﺸﻜﻴل اﻝﻤوﺴﻴﻘﻲ "‪ ،"Phrasing‬ﺨﺎﺘﻤﺔ أو ﺘذﻝﻴل "‬
‫‪. "Coda‬‬

‫اﻝﻤﺒﺤث اﻝﺜﺎﻨﻲ‪ :‬اﻝدراﺴﺎت اﻝﺴﺎﺒﻘﺔ ‪ :‬ﺤﻴث ﻗﺎﻤت اﻝﺒﺎﺤﺜﺔ ﺒﺘﺼﻨﻴف اﻝدراﺴﺎت إﻝﻰ‬
‫ﺜﻼث ﻤﺤﺎور ‪:‬‬

‫اﻝﻤﺤور اﻷول ‪ :‬دراﺴﺎت ﺘﻨﺎوﻝت اﻝﻤوﺴﻴﻘﻰ ﻓﻲ اﻝﻌﺼر اﻝروﻤﺎﻨﺘﻴﻜﻲ اﻝﻤﺘﺄﺨر) أواﺨر‬

‫اﻝﻘرن اﻝﺘﺎﺴﻊ ﻋﺸر وﺒداﻴﺔ اﻝﻘرن اﻝﻌﺸرﻴن( ‪.‬‬

‫اﻝﻤﺤور اﻝﺜﺎﻨﻲ ‪ :‬دراﺴﺎت ﺘﻨﺎوﻝت أﺴﻠوب ﻤؤﻝﻔﺎت ﻜرﺴﺘﻴﺎن ﺴﻴﻨدﻨﺞ ‪.‬‬

‫اﻝﻤﺤور اﻝﺜﺎﻝث‪ :‬دراﺴﺎت ﺘﻨﺎوﻝت اﻝﻤوﺴﻴﻘﻰ اﻝﻨروﻴﺠﻴﺔ ‪.‬‬

‫اﻝﻔﺼل اﻝﺜﺎﻨﻲ‪ :‬اﻹطﺎر اﻝﻨظري ‪:‬‬

‫وﻴﺘﻀﻤن ﻫذا اﻝﻔﺼل ﺜﻼث ﻤﺒﺎﺤث ‪:‬‬

‫اﻝﻤﺒﺤث اﻷول‪ :‬اﻝﻌﺼـر اﻝروﻤـﺎﻨﺘﻴﻜﻲ اﻝﻤﺘـﺄﺨر ‪ ) :‬ﺘﻌرﻴـف اﻝروﻤﺎﻨﺘﻴﻜﻴـﺔ‪ ،‬أﻫـم اﻝﺘﻐﻴـرات‬

‫اﻝﻤوﺴﻴﻘﻴﺔ اﻝﺘﻲ ظﻬرت ﻓﻲ اﻝﻌﺼر اﻝروﻤﺎﻨﺘﻴﻜﻲ‪ ،‬اﻝروﻤﺎﻨﺘﻴﻜﻴون اﻝﻤﺘـﺄﺨرون‪ ،‬ﺨﺼـﺎﺌص‬
‫اﻝﻌﺼر اﻝروﻤﺎﻨﺘﻴﻜﻲ اﻝﻤﺘﺄﺨر‪ ،‬ﺸﺨﺼﻴﺔ اﻝﻔﻨﺎن ﻓﻲ اﻝﻌﺼر اﻝروﻤـﺎﻨﺘﻴﻜﻲ‪ ،‬اﻝﻤوﺴـﻴﻘﻰ ﻓـﻲ‬
‫اﻝﻨﺼـ ــف اﻷول ﻤـ ــن اﻝﻘ ـ ــرن اﻝﻌﺸ ـ ـرﻴن‪ ،‬أﻫـ ــم اﻝﻤ ـ ــدارس واﻝﻤـ ــذاﻫب اﻝﻤوﺴـ ــﻴﻘﻴﺔ‪ ،‬ﺴ ـ ــﻤﺎت‬

‫‪٦‬‬
‫اﻝﻤوﺴ ــﻴﻘﻰ ﻓ ــﻲ اﻝﻨﺼ ــف اﻷول ﻤ ــن اﻝﻘ ــرن اﻝﻌﺸـ ـرﻴن‪ ،‬ﻨﺒ ــذﻩ ﺘﺎرﻴﺨﻴ ــﺔ ﻋ ــن اﻝﻘوﻤﻴ ــﺔ ﻓ ــﻲ‬
‫اﻝﻌﺼر اﻝروﻤﺎﻨﺘﻴﻜﻲ اﻝﻤﺘﺄﺨر(‪.‬‬
‫اﻝﻤﺒﺤـــث اﻝﺜـــﺎﻨﻲ‪ :‬اﻝﻤوﺴـــﻴﻘﻰ اﻝﻨروﻴﺠﻴـــﺔ ‪ ) :‬اﻝﻤوﺴ ــﻴﻘﻰ اﻝﻨروﻴﺠﻴ ــﺔ‪ ،‬أﻨـ ـواع اﻝﻤوﺴ ــﻴﻘﻰ‬
‫اﻝﻨروﻴﺠﻴﺔ(‪.‬‬
‫اﻝﻤﺒﺤث اﻝﺜﺎﻝث‪ :‬اﻝﺴﻴرة اﻝذاﺘﻴﺔ ﻝﻠﻤؤﻝف اﻝﻨروﻴﺠﻲ "ﻜرﺴﺘﻴﺎن ﺴﻴﻨدﻨﺞ" ‪) :‬ﻨﺸﺄﺘﻪ‪،‬‬
‫أﺴﻠوﺒﻪ وطﺎﺒﻊ ﻤوﺴﻴﻘﺎﻩ‪ ،‬أﻋﻤﺎﻝﻪ وﻤؤﻝﻔﺎﺘﻪ ( ‪.‬‬
‫اﻝﻔﺼل اﻝﺜﺎﻝث‪ :‬اﻹطﺎر اﻝﺘطﺒﻴﻘﻲ ‪:‬‬
‫ﺘﻀﻤن ﻫذا اﻝﻔﺼل )ﻤدﺨل إﻝﻰ اﻹطﺎر اﻝﺘطﺒﻴﻘﻲ‪ ،‬اﻝﻤﺴﺢ اﻝﺸﺎﻤل ﻝﻤؤﻝﻔﺎت اﻝﺒﻴﺎﻨو‬
‫اﻝﻬزﻝﻴﺔ ‪ Burlesques‬ﻤﺼﻨف رﻗم )‪ (٤٨‬ﻋﻨد ﻜرﺴﺘﻴﺎن ﺴﻴﻨدﻨﺞ ﻤن ﺤﻴث اﻝﺴﻤﺎت‬
‫اﻷﺴﺎﺴﻴﺔ‪ ،‬طرﻴﻘﺔ اﺨﺘﻴﺎر ﻋﻴﻨﺔ اﻝﺒﺤث‪ ،‬اﺴﺘﻤﺎرة اﺴﺘطﻼع آراء اﻝﺨﺒ ارء ﻓﻲ اﻝﻤﺴﺘوى‬
‫اﻝﺘﻌﻠﻴﻤﻲ‪ ،‬ﻨﺘﻴﺠﺔ اﺴﺘطﻼع آراء اﻝﺨﺒراء ﻓﻲ اﻝﻤﺴﺘوى اﻝﺘﻌﻠﻴﻤﻲ‪ ،‬اﻝﺘﺤﻠﻴل اﻝﻨظري‬
‫واﻝﻌزﻓﻲ ﻝﻠﻌﻴﻨﺔ اﻝﻤﺨﺘﺎرة‪ ،‬اﺴﺘﻤﺎرة اﺴﺘطﻼع آراء اﻝﺨﺒراء ﻓﻲ اﻝﺘﻘﻨﻴﺎت اﻝﻌزﻓﻴﺔ‬
‫واﻝﺘدرﻴﺒﺎت واﻹرﺸﺎدات اﻝﻤﻘﺘرﺤﺔ‪ ،‬ﻨﺘﻴﺠﺔ اﺴﺘطﻼع آراء اﻝﺨﺒراء ﻓﻲ اﻝﺘﻘﻨﻴﺎت اﻝﻌزﻓﻴﺔ‬
‫واﻝﺘدرﻴﺒﺎت واﻹرﺸﺎدات اﻝﻤﻘﺘرﺤﺔ ‪.‬‬
‫اﻝﻔﺼل اﻝراﺒﻊ‪ :‬اﻝﻨﺘﺎﺌﺞ واﻝﺘوﺼﻴﺎت ‪:‬‬
‫ﻴﺸﺘﻤل ﻫذا اﻝﻔﺼل ﻋﻠﻰ ﻨﺘﺎﺌﺞ اﻝﺒﺤث وﺘﻔﺴﻴرﻫﺎ اﻝذي ﻫو ﻋﺒﺎرة ﻋن اﺴﺘﻌراض ﻝﻠﻨﺘﺎﺌﺞ‬
‫اﻝﺘﻲ ﺘوﺼﻠت ﻝﻬﺎ اﻝﺒﺎﺤﺜﺔ ﻤن ﺨﻼل ﺘﺤﻘﻴق ﻓروض اﻝﺒﺤث‪ ،‬إﻝﻰ ﺠﺎﻨب اﻝﺘوﺼﻴﺎت‬
‫واﻝﺒﺤوث اﻝﻤﺴﺘﻘﺒﻠﻴﺔ اﻝﻤﻘﺘرﺤﺔ ‪.‬‬
‫ﺒﺎﻹﻀﺎﻓﺔ إﻝﻰ ﻤراﺠﻊ اﻝﺒﺤث اﻝﺘﻲ أﻋﺎﻨت اﻝﺒﺎﺤﺜﺔ ﻋﻠﻰ إﺘﻤﺎم رﺴﺎﻝﺘﻬﺎ‪ ،‬وأﻴﻀﺎً ﻤﻼﺤق‬
‫اﻝﺒﺤث‪ ،‬وأﺨﺘﺘم اﻝﺒﺤث ﺒﻤﻠﺨص اﻝﺒﺤث ﺒﺎﻝﻠﻐﺔ اﻝﻌرﺒﻴﺔ واﻵﺨر ﺒﺎﻝﻠﻐﺔ اﻹﻨﺠﻠﻴزﻴﺔ ‪.‬‬

‫‪٧‬‬
 Summary of the research

Facilitating the performance difficulties for piano of

Burlesques Op. (48) by Christian Sinding

Introduction:

The nineteenth century witnessed several changes in the

social, political, economic, scientific an industrial conditions.
This cause approximation and convergence among the
European countries and therefore easy political and cultural
communication among them. Norway is one of the
Scandinavian countries located at the North East of Europe.
These countries consist of Norway, Sweden, Denmark and
Finland. Norway has been under the Denmark Control from the
end of the medieval era. However, the national political
movement that separated Denmark from Norway raised the
national feelings in the music composers, but this continued in
the level of interest to the beginning of the nineteenth century
till Norway joined Sweden in 1814 AD. The national feeling led
to the development of the art of music in the national trends. In
addition, the desire to identify the national traditions by
Lindeman (1769:1857 AD), who was the first one to publicize
the Norwegian music dialect and he is composer of violin, and
Ole Bull (1810: 1880 AD) who composed pieces in the style of
Norwegian popular dancing, slatter. As a result, in these
1
countries, an art of music characterized by national rhythms
and sad mode appeared in the national music of the
Scandinavian countries. Among the first national musicians in
Norway is Ole Bull (1810: 1880 AD) who was the first one to
turn to the folk singing heritage and tried to tailor it in his
musical compositions. Afterwards, the Norwegian composer,
Edward Grieg (1843: 1907 AD), appeared, and he is
considered one of the main national figures in the nineteenth
century in Norway and has international reputation. He was
concerned with the composition of small pieces of piano and
elegant songs that were characterized by national expressive
taste, and he is one of the most popular Norwegian composers
in the late romantic era and the beginning of the twentieth
century. In this period, several Norwegian musicians appeared
and they followed the approach of Grieg in the use of popular
music as basis of their music, like Agatha Baker Grondahl
(1847: 1907 AD) and Christian Sinding (1856: 1941 AD)
(subject matter of the research). Sinding enjoys broad
reputation and fame during the years of his life. He was largely
and strongly affected by the great composers like Wagner
(1883: 1813 AD), Liszt (1886: 1811 AD), and Strauss (1949:
1846). However, he sooner turned to the mental attention to
the exploration of the harmonic designs by which he resumed
romanticism and managed to build his own approach.

2
Consequently, the researcher discussed burlesque piano
compositions, Op. (48) by theoretical and playing analysis of
the Norwegian author Christian Sinding as one of the
prominent Norwegian musicians to help the scholar to
understand these compositions and turn to play them.

This research includes four sections as follows:

First Chapter: Introduction of the Research and the

previous Studies:

The research includes two sections were as follow:

The First section: Introduction of the Research:

Problem of the research: Although they contain the burlesque

piano compositions, Op. (48) of Christian Sinding, on the
musical, tactical and expressionist elements and their diversity
in the style and level and they are among the good and
interesting works, the researcher noted that the researches of
this composer and those that discuss these compositions of
piano are scarce. Therefore, the researcher suggested
discussing the technical properties of the burlesque
compositions of piano and the playing techniques that they
included, and tried to facilitate the difficulties so the student will
find help to reach a distinguished level of playing skills
development of the students of piano.

3
The objective of the research is to identify the development of
music in general in the late nineteenth century and the early
twentieth century, and to identify the Norwegian music in
particular, and to shed light on the life and style of the
Norwegian composer Christian Sinding and his compositions in
general and piano compositions in particular, and to define the
playing, technical and expressionist difficulties that can impede
the performance of the Burlesque piano compositions (subject
of the research), and to propose the suitable guiding tips and
guidelines to these difficulties to reach the required good
performance of the burlesque piano compositions (sample of
the research), in addition to the identification of the scientific
level that matches the playing capabilities of the students of the
bachelor and high studies phases in the faculties of specific
education.

The research aims: The Objective of the research lies in the

utilization of the analytical playing study of the burlesque piano,
Op. (48) in Christian Sinding to reach to the art and playing
maturity of them, in addition to shedding light to the musical
composition of Christian Sinding and his main works, especially
the burlesques piano composition, Op. (48).

The research importance: Lies the importance of the research

including the overview of the development of music in general
at the late nineteenth century and the early twentieth century,

4
and to identify the Norwegian music in particular, the life and
style of the Norwegian music composer, Christian Sinding, and
his works in general and the works of piano in particular helps
the scholars to understand the approach of Christian Sinding in
his composition of the burlesque works, Op. (48) in Christian
Sinding will contribute to define and determine the playing
difficulties in them, the proposed tip and quizzes of the
burlesque piano compositions, Op. (48) that may contribute to
facilitate the difficulties of performance and reaching good
performance, to define the educational level of the burlesque
compositions, Op. (48), "Sample of the Research" for Christian
Sinding that matches the playing abilities of the students of the
phases of bachelor and high studies in the faculties of specific
education.

Procedures of the Research:

Methodology of the Research: The researcher examined

three compositions of the burlesque piano compositions, Op.
(48) in Christian Sinding and their theoretical and playing
analysis, and definition of the playing difficulties and facilitating
them using the "Lab experimental" methodological.

The sample Research: Three compositions of the six

burlesque compositions of piano, Op. (48) in Christian Sinding,
and they are as follows:

• First Piece: Burlesque Composition

5
 • Second Piece: Plaisanterie Composition

• Third Composition: Bagatelle Composition

The instruments of the research included the musical pieces

of the burlesque piano compositions, Op. (48) of piano in
Christian Sinding that he composed in 1900 AD, and piano and
web search, in addition to the questionnaire form of the
opinions of the expert and teaching staff of piano in the
determination of the performance level of the burlesque piano
compositions, Op. (48) in Christian Sinding that match the
playing abilities of the scholars of piano in the specialized
faculties, questionnaire form of the opinions of the experts and
teaching staff members of piano in the determination of the
performance difficulties that the burlesque piano compositions
include, Op. (48) in Christian Sinding, Questionnaire form of
the experts' opinions in the playing quizzes and tips that were
included in the burlesque compositions of piano, Op. (48) in
Christian Sinding.

As for the terms of the research, they were as follows:

(Burlesque piece, plaisanterie piece, technique, slur,
accompaniment, performance, good performing, harmony,
homophony, phrasing, and coda)

The Second Section: The previous Studies:

Where the researcher classified the studies into three

parts:
6
Part One: Studied that examined music in the late romantic
age (late nineteenth century and early twentieth century).

Part Two: Studies that discussed the compositions of Christian

Sinding

Part Three: Studies that discussed the Norwegian Music

Chapter Two: Theoretical Part

This chapter includes three topics:

First Topic: Late Romantic Age: (definition of romanticism

and main musical changes that appeared in the romantic age,
later romanticists, properties of the late romantic age, character
of the artist in the romantic age, music in the first half of the
twentieth century, main music schools and trends, properties of
music in the first half of the twentieth century, historical
overview of nationalism in the late romantic age).

Second Topic: Norwegian Music: (Norwegian Music, Types

of Norwegian Music)

Third Topic: Biography of the Norwegian Composer

Christian Sinding: (birth, style, nature of his music, his works
and compositions)

Chapter Three: Applied Part:

This chapter includes (introduction to the applied part,

comprehensive survey of burlesque piano compositions, Op.

7
(48) in Christian Sinding in terms of the main properties,
method of selecting the sample of the research, questionnaire
form of the experts opinions on the educational level, result of
the questionnaire of the experts opinions on the educational
level, theoretical and playing analysis of the selected sample,
survey form of the experts' opinions in the playing techniques
and the proposed quizzes and tips, result of the survey of the
experts' opinions in the playing techniques and proposed
trainings and guidelines.)

Chapter Four: Result and Recommendations:

This chapter includes the results of the research and their

explanation. It reviews the results that the researcher
concluded through the realization of the hypotheses of the
research, beside the proposed future recommendations and
researches, in addition to the references of the research that
helped the researcher to complete her study and the
appendixes of the research. The research was concluded by
summary of the research in Arabic and in English.