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Thematische Bibliographien / Instrumental ensembles

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Zeitschriftenartikel
Dissertationen
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Auswahl der wissenschaftlichen Literatur zum Thema „Instrumental ensembles“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 29. Juli 2024

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Zeitschriftenartikel zum Thema "Instrumental ensembles"

1

Larikova, Liudmyla. „Women’s Bandura Ensembles. Aspects of Working with Small Vocal Ensembles“. Artistic Culture Topical Issues, Nr. 18(1) (31.05.2022): 37–42. http://dx.doi.org/10.31500/1992-5514.18(1).2022.260413.

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The paper describes the specific features in the functioning of women’s bandura ensembles. In particular, it gives a historiographical picture of vocal-instrumental bandura performance, describes the stages of academisation of women’ssinging in bandura ensembles, and overviews the main methodological approaches of work with women’s vocal-instrumental bandura ensembles. Women’s bandura ensembles as an academic genre trend of Ukrainian musical culture have three fields of study: vocal and instrumental (performers), genre and stylistic (composers), and social and educational (cultural). Also, it is important to pay due attention to the widening of theoretical knowledge and practical skills, and to serious work on the methods of improving the performing and expressing components of singing and playing bandura in the ensemble.

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Pratt, George. „Music for instrumental ensembles“. British Journal of Music Education 5, Nr. 3 (November 1988): 320–22. http://dx.doi.org/10.1017/s0265051700006732.

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3

Kysliak, Bohdan. „Ukrainian folk instrumental ensemble music-making in the historical process“. Aspects of Historical Musicology 28, Nr. 28 (28.12.2022): 24–37. http://dx.doi.org/10.34064/khnum2-28.02.

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Statement of the problem. The ensemble is a type of collective musicmaking that dates back to ancient times and is an integral factor in the spiritual life of any nation. For Ukrainian culture, the traditions of the folk-instrumental ensemble have always been important, because they were associated with labor and ceremonial-ritual functions in society, people’s daily life, and secular forms of musical art. The article singles out significant elements of the process of academicization and chamberization of accordion ensembles in order to determine the characteristic features of Ukrainian folk-instrumental professionalism in ensemble music-making. In this context, the phenomenon of creative activity of “triple musicians” is highlighted, as a significant type of Ukrainian ensembleinstrumental performance. Special attention is paid to the crystallization of ensemble functions, and to the definition of the characteristic features of the Ukrainian harmonica and bayan culture. The bayan began to be introduced into European chamber-ensemble instrumental music only in the last decades of the 20th century; hence, the phenomenon of academization and chamberization of bayan ensembles is understudied, which determines the relevance of the research topic, prompting to make sense of their place in the general historical and stylistic process of ensemble music-making. The purpose of the article is to determine the characteristic features of Ukrainian folk-instrumental professionalism in the field of ensemble musicmaking, in order to popularize this type of performance in the Ukrainian national tradition. Recent research and publications. Relevant to the topic of the article is Yu. Loshkov’s work “Harmonica in Ukraine”, where “the specifics of harmonica performance in various spheres of domestic musical culture of the second half of the 19th and early 20th centuries” are determined (Loshkov, 2014: 238), and Igor and Liudmila Sniedkov’s article devoted to the Kharkiv bayan school (Sniedkov & Sniedkova, 2021), which contains information about the features of ensembles with the participation of the bayan. In M. Pliushchenko’s dissertation (2021) on timbretextural specificity of bayan and accordion transcriptions by Kharkiv composers of the late 20th – early 21st century, the parameters of Ukrainian instrumental and folklore professionalism are singled out. The scientific novelty of the presented study lies in emphasizing the role of folk-instrumental ensemble music-making in the historical-stylistic process and its peculiarities in Ukraine. Research results. The evolution of harmonica-bayan ensembles took place at first outside the traditions of classical chamber ensembles. The genesis of harmonica-bayan ensembles is closely related to the folk-instrumental tradition. In the aspect of the further movement of accordion ensembles towards academicization, as historically the first, such genetic and stylistic folklore features should be defined: the professionalism of instrumental ensembles since ancient times, which contributed to the further improvement of organological qualities and the development of ensemble playing; tendency towards individualization / differentiation of performers’ personalities (ensemble voices, in particular, in “triple musicians”); improvisational presentation of themes and theatricalization of musical communication. Conclusion. Collective musical performance has its roots in the ancient instrumental folk tradition. In the historical-stylistic process, genetically the first forms of collective music-making related closely to folklore instrumentalism were developed. With the obvious difference between folklore and academic types of music-making, there are also linked, tangential functions and properties of instruments. In the second half of the 20th century the bayan quickly assumed the position of both solo and ensemble status due to academicization and subsequent chamberization. These processes were related not only to folk instruments (bayan, domra, balalaika, bandura, whose classification as “folk” today does not correspond to the essence of their socio-cultural existence), but also to historically established accomplices of chamber-ensemble genres – violins, pianos, brass, percussions. And therefore, each new generation of musicians-performers on folk instruments has a need to research the mentioned tradition with the aim of further implementation of individual instrumental-folkloric segments into modern author’s compositions.

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Davis, Virginia Wayman, Laura Singletary und Kimberly VanWeelden. „General Music Today Music Ideas Series: Viewpoints in Secondary General Music—Article Two: Power Trio: Three Ideas for Renewed Success With Classroom Ensembles“. General Music Today 33, Nr. 1 (29.03.2019): 6–14. http://dx.doi.org/10.1177/1048371319839112.

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In this second of three in the series, we explore methods for incorporating instrumental ensembles into your music classroom. Experiences such as performing on ukulele, bucket drums, and in modern popular music ensembles are excellent ways to provide meaningful, relevant music education to students of all ages. Using both research-based information and practical experience, we will discuss ideas for three common instrumental ensembles. The techniques and resources provided in this article are starting points, appropriate for various levels and configurations of music classes: upper elementary music classes, secondary general music classes, afterschool or extracurricular music groups, or for teachers seeking to start an alternative ensemble or rebrand an existing nonperformance music class.

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Ray, James, und Karin S. Hendricks. „Collective Efficacy Belief, Within-Group Agreement, and Performance Quality Among Instrumental Chamber Ensembles“. Journal of Research in Music Education 66, Nr. 4 (19.10.2018): 449–64. http://dx.doi.org/10.1177/0022429418805090.

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We examined collective efficacy beliefs, including levels of within-group agreement and correlation with performance quality, of instrumental chamber ensembles (70 musicians, representing 18 ensembles). Participants were drawn from collegiate programs and intensive summer music festivals located in the northwestern and western regions of the United States. Individuals completed a five-item survey gauging confidence in their group’s performance abilities; each ensemble’s aggregated results represented its collective efficacy score. Ensembles provided a video-recorded performance excerpt that was rated by a panel of four string specialists. Analyses revealed moderately strong levels of collective efficacy belief and uniformly high within-group agreement. There was a significant, moderately strong correlation between collective efficacy belief and within-group agreement ( rs = .67, p < .01). We found no relationship between collective efficacy belief and performance quality across the total sample, but those factors correlated significantly for festival-based ensembles ( rs = .82, p < .05). Reliability estimates suggest that our collective efficacy survey may be suitable for use with string chamber ensembles. Correlational findings provide partial support for the theorized link between efficacy belief and performance quality in chamber music settings, suggesting the importance for music educators to ensure that positive efficacy beliefs become well founded through quality instruction.

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Danyliuk, M., und Ya Danyliuk. „Creative guidelines of folkinstrumental ensembles in the cultural space of Kharkiv in the second half of the XX — beginning of the XXI centuries“. Culture of Ukraine, Nr. 81 (21.09.2023): 69–76. http://dx.doi.org/10.31516/2410-5325.081.09.

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The purpose of the article is to reveal the peculiarities of the creativity of folk-instrumental ensembles in the second half of the XX — the beginning of the XXI centuries in the cultural locus of Kharkiv. The relevance of the article is determined by the dissonance between the intensity of artistic practice, the variety of ways of testing innovations, the permanent reinvention of genre, style, timbre, expressive parameters of folk-instrumental ensembles in the cultural locus of Kharkiv, and the discreteness of researching their activities in the musicological discourse. Comparative methodology is based on the guidelines of system analysis, historical approach, musical interpretation method and generalization method. The results. The article outlines the conceptual, genre and stylistic, repertoire guidelines of such poly-timbral and mono-timbral folk-instrumental ensembles of Kharkiv of the second half of the XX–XXI centuries, such as “Korobeinyky”, “Rozmai”, “Yarmarok”, “Stozhary”, “TsymBanDo”, “3+2”, “Hrotesk”, “Grey Folk”, “Vesela Banda”, “Koloryt”, duets of accordionists I. Lypnytskyi and L. Hura, O. Mishchenko and I. Sniedkov, female bandurist trio “Kupava” and “Zoredana”, Kharkiv Guitar Quartet. The scientific novelty of the article lies in identifying such specific features of the creative activity of folk-instrumental ensembles of Kharkiv, such as: variability of forms and compositions; virtuosity; the trend to expand timbral, sonorous, textural horizons, reinventing the technical and performing arsenal; testing of new improved modifications of traditional instruments and timbre-textural versions of classical world and national heritage; expansion of genre and stylistic horizons with original works of modern Ukrainian, in particular, Kharkiv artists; preservation of authentic music-making guidelines, establishment of the significance of the folklore and repertoire dominant idea; the significance of the academicization trend and the establishment of new sound images of folk instruments; timbral experi-mentalism, acting theatricalization of performance, tending to the aesthetic dimensions of World music and crossover, that are consonant with multiculturalism and ironic metamodernism; combination of perfor-mance, composition, research, pedagogical and methodical activities of its representatives. Conclusions. The revealed peculiarities of the creative activity of folk-instrumental ensembles in the cultural space of Kharkiv testify to the establishment of the academic status of the national folk-instrumental ensemble art as a bearer of mentally marked traditional guidelines for instrumental music-making and a reflection of the multicultural essence of metamodernism, the sphere of transformation of aesthetic, genre and stylistic, timbre and technical and performative parameters of folk-instrumental ensemble art based on the diffusion of folklore, academic and variety music, a mediator between cultures in diachrony and synchrony, the bearer of the mission of raising folk-instrumental traditions and finding innovative ways of their embodiment. The practical significance of the article is outlined by the heuristic application of its results in pedagogical-methodical, theoretical-practical and performance activities.

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Mokrohuz, Inna. „Modern instrumental and orchestral art of the Bukovyna region“. Aspects of Historical Musicology 31, Nr. 31 (27.07.2023): 49–64. http://dx.doi.org/10.34064/khnum2-31.03.

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Statement of the problem. The modern instrumental and orchestral art of Bukovyna, which has deep historical roots dating back to Proto-Slavic times, stands out for its bright originality. The creation of a musical-instrumental collective involves the search for a creative personality with the appropriate professional level, musical and organizational and communication skills, and the ability to communicate tolerantly with all members of the ensemble. That is why there is a need to highlight the artistic activities of both the instrumental groups themselves and their leaders. Because it is thanks to their creative restlessness that today Bukovyna is proud of a significant number of highly professional ensembles and orchestras of instrumental music. Objectives, scientific novelty, and methods of the research. The purpose of the study is to highlight the process of developing the instrumental collectives, whose activities contributed to the shaping of the modern Bukovyna musical culture. The special task of the research and its innovative component is to consider the role of outstanding figures of the leaders of these collectives in the cultural development of Bukovina. Historical, biographical, musicological and cultural approaches were chosen to reveal the stated topic, analytical and generalizing methods were used in the processing of reference sources and scientific literature. Results of the research. Bukovyna is historically multinational region, where the Ukrainian, in particular Hutsul, Romanian, Polish, Hungarian influences is felt. So, the creative activity and repertoire of the folk groups and academic instrumental ensembles are very diverse. The music art of instrumental ensembles has been always gaining interest and respect from the listeners, due to its distinguished professionalism and ease of perception. The artistic and educational activities of such instrumental ensembles as «Triple musicians», «Plai», Chamber and Academic Symphonic orchestra of the Chernivtsi Regional Philharmonic hall, folk music ensemble «Bukovyna» and the Brass Orchestra «Dixie-Band» of the Central Palace of Culture, the orchestra group of the Honoured Academic Bukovynyan song and dance ensemble named after A. Kushnirenko was highlighted. The active educational position of the leaders of these groups as an outstanding extraordinary personalities, their importance in the formation and development of cultural and educational processes in Bukovyna, popularization of the folk music of the Bukovyna region were emphasized. Such leaders are: People’s Artists of Ukraine – Andrii Kushnirenko, Yurii Gina, Pavlo Chebotov; Honored Artists of Ukraine – Mykola Hakman, Yuriy Bleshchuk, Yevhen Tarnavskyi, Oleksandr Zhukov; Honored Art Workers of Ukraine – Viktor Kostryzh, Yosyp Sozanskyi; Honored Cultural Workers of Ukraine – Illia Miskyi, Heorhii Novakovskyi. A significant number of famous vocalists from Bukovyna have worked with the orchestras at different times, such as Honoured Artists of Ukraine Mariia Melnychuk, Nina Kapliienko, Vasyl Pyndyk, Oksana Savchuk, Iryna Styts-Kulikovska, Honoured Worker of Culture of Ukraine Vasyl Fedoriuk, a poet-songwriter Mykola Bakai and others. Instrumental ensembles are regular participants of regional art festivals “Bukovynska vesna” (“Bukovyna Spring”), “Vizerunky Bukovyny” (“Patterns of Bukovyna”), “Bukovynski zustritchi” (“Bukovyna meetings”), “Chervona Ruta” (“Red rue”), “Bukovyna Suvenir”, and others. In the best traditions of brass music, brass band marches and brass concerts are constantly held in Chernivtsi, which turn into real festivals of folk music art. Conclusion. In this context, we consider the active concerts and competition activities of these groups to be important, because the instrumental art of the Bukovyna musicians are known far beyond the borders of Ukraine. The orchestras are multiple time participants of AllUkrainian and International competitions, and showcased their art to the audience of Europe, Canada, Australia and other parts of the world contributing in the constant growth of authority and world recognition of Ukrainian music.

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Imran, Sheik, und Pradeep N. „A Review on Ensemble Machine and Deep Learning Techniques Used in the Classification of Computed Tomography Medical Images“. International Journal of Health Sciences and Research 14, Nr. 1 (19.01.2024): 201–13. http://dx.doi.org/10.52403/ijhsr.20240124.

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Ensemble learning combines multiple base models to enhance predictive performance and generalize better on unseen data. In the context of Computed Tomography (CT) image processing, ensemble techniques often leverage diverse machine learning or deep learning architectures to achieve the best results. Ensemble machine learning and deep learning techniques have revolutionized the field of CT image processing by significantly improving accuracy, robustness, and efficiency in various medical imaging tasks. These methods have been instrumental in tasks such as image reconstruction, segmentation, classification, and disease diagnosis. The ensemble models can be divided into those based on decision fusion strategies, bagging, boosting, stacking, negative correlation, explicit/implicit ensembles, homogeneous/heterogeneous ensembles, and explicit/implicit ensembles. In comparison to shallow or traditional, machine learning models and deep learning architectures are currently performing better. Also, a brief discussion of the various ensemble models used in CT images is provided. We wrap up this work by outlining a few possible avenues for further investigation. Key words: Computed Tomography, Ensemble, Deep learning, Machine Learning.

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Roseth, Nicholas E. „A Survey of Secondary Instrumental Teachers’ Immediacy, Ensemble Setup, and Use of Classroom Space in Colorado and Indiana“. Journal of Research in Music Education 68, Nr. 3 (01.09.2020): 305–27. http://dx.doi.org/10.1177/0022429420944227.

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The purpose of this study was to survey secondary band and orchestra teachers ( N = 436) in Colorado and Indiana regarding their self-reported immediacy behaviors, ensemble setups, and use of classroom space when teaching. Immediacy “refers to nonverbal teacher behaviors which increase nonverbal interaction with students and which communicate closeness.” Female teachers and teachers of young ensembles reported higher levels of overall immediacy. Among component immediacy behaviors, teachers reported using proximity-related behaviors the least; females reported using proximity behaviors at higher rates than males. The majority of teachers reported using “closed” ensemble setups (i.e., setups that limit teacher movement among students) and remained in these setups for the majority of the school year. Teachers of young ensembles reported greater use of “opened” setups (i.e., setups that help facilitate teacher movement among students). Although teachers reported spending the majority of rehearsal time on the podium, female teachers, teachers of young ensembles, and teachers who used opened setups reported less time on the podium and more time moving among students. Implications for immediacy, ensemble setup, and teacher use of space in music education are discussed.

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Rivkin, Aaron. „Group Improvisation in Secondary School Instrumental Ensembles“. Music Educators Journal 109, Nr. 1 (September 2022): 37–43. http://dx.doi.org/10.1177/00274321221112870.

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Group improvisation encourages students to improvise in a collective setting to build confidence in their individual and group improvisational skills. In this article, I describe group improvisation methods that offer an accessible entry into creative music-making for learners in secondary school instrumental ensembles. Instructional considerations and establishing a positive classroom environment are discussed.

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Dissertationen zum Thema "Instrumental ensembles"

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Zagorski, Marcus. „And drown the wakeful anguish of the soul“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0007/MQ43989.pdf.

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Zajicek, Daniel J. „A rhetorical guide to Ebb“. connect to online resource, 2006. http://www.unt.edu/etd/all/May2006/zajicek%5Fdaniel/index.htm.

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Thesis (M.M.)--University of North Texas, 2006.
For flute, oboe, clarinet, contrabassoon, horn , tuba, percussion (2 players), 2 violins, viola, cello, double bass, 1 laptop computer, and 2 or more loudspeakers. System requirements: Adobe Acrobat Reader. Duration: 10:00. Includes performance notes by the composer (p. 1-23). Includes bibliographical references (p. 23-24).

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Levine, Josh Levine Josh Levine Josh Levine Josh. „Between image, process, and memory /“. Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2002. http://wwwlib.umi.com/cr/ucsd/fullcit?p3049670.

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Hindman, Heather. „Macula : for 10 instruments“. Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116068.

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Macula is a two-movement piece of music written for a mixed ensemble often instruments. The piece explores an aspect of visual perception in which an object seemingly becomes both larger and more detailed as it draws closer. This becomes a metaphor for the structure of the piece, where materials are gradually transformed and re-contextualized to suggest the notion of continually zooming in. The accompanying analytical paper gives a general overview of the procedures and techniques used to organize and compose the piece.

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Wannamaker, Robert Alexander. „Grain : for 17 instruments /“. Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236636.

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Mascarenhas, João Marcos Gomes. „The three Americas“. Diss., Columbia, Mo. : University of Missouri-Columbia, 2006. http://hdl.handle.net/10355/4558.

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Thesis (M.M.)--University of Missouri-Columbia, 2006.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on April 21, 2009) Includes bibliographical references.

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Mercer, Christopher Alan. „Untitled : for 10 players /“. Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2003. http://wwwlib.umi.com/cr/ucsd/fullcit?p3077798.

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Kronengold, Charles. „Tamburlaine : for twenty three players /“. Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2003. http://wwwlib.umi.com/cr/ucsd/fullcit?p3099932.

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Thesis (Ph. D.)--University of California, San Diego, 2003.
Vita. For flute, oboe, 2 clarinets, 2 horns, 2 trumpets, trombone, tuba, 2 percussionists, 2 pianos, harp, 4 violins, viola, violoncello, and 2 double basses. Performance instructions precede score. Also available on the World Wide Web. (Access restricted to UC campuses).

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Sudol, Jacob David. „Time fixtures“. Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=101832.

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Time Fixtures, a composition for chamber ensemble and electronics, attempts to provide some compelling perspectives on fixing a conception of time. The electronics feature six speakers placed symmetrically around the audience that broadcast live electronic transformations and pre-constructed audio files. The ensemble consists of eleven players: flute (doubling alto flute), oboe, B♭ clarinet (doubling bass clarinet), horn, percussion, harp, piano, MIDI keyboard (doubling crotale/tangkas placed out of sight of the audience), violin, viola, and violoncello. Performance also requires a conductor as well as a technician who operates a Max/MSP performance patch and the mixing board.

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Noll, William Henry. „Peasant music ensembles in Poland : a culture history /“. Thesis, Connect to this title online; UW restricted, 1986. http://hdl.handle.net/1773/11368.

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Bücher zum Thema "Instrumental ensembles"

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1957-, Green Anthony, und Australian Music Centre Library, Hrsg. Directory of Australian instrumental ensembles. 4. Aufl. Grosvenor Place, N.S.W: Australian Music Centre Library, 1997.

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Ma, Yo-Yo. A playlist without borders. New York, NY: Masterworks, 2013.

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Glass, Philip. Songs from liquid days. New York, N.Y: CBS, 1986.

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Vierdanck, Johann. Geistliche Konzerte: Zweiter Teil. Kassel: Bärenreiter, 1990.

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Radomski, Mikołaj. Dzieła wszystkie: Complete works. Warsaw: Dux, 2004.

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Torke, Michael. Adjustable wrench: For chamber ensemble. [United States]: Hendon Music, 1992.

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Schwartz, Elliott. Scatter: Five concertos and a chorale for twelve players (1978). St. Louis, Mo: Norruth Music, Inc., 1986.

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Françaix, Jean. Dixtuor pour quintette à vent et quintette à cordes. Mainz: Schott, 2000.

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Lazarof, Henri. Preludes and interludes to a drama: For 11 players. Bryn Mawr, Pa: Merion Music, 1996.

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Varèse, Edgard. Hyperprism: For 9 wind instruments and 9 percussion players. New York: Colfranc Music Pub. Corp., 1986.

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Buchteile zum Thema "Instrumental ensembles"

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Feldman, Evan, und Ari Contzius. „Directing Other Ensembles“. In Instrumental Music Education, 294–314. Third edition. | New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429028700-18.

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Feldman, Evan, und Ari Contzius. „Directing Other Ensembles“. In Instrumental Music Education, 324–47. 4. Aufl. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003366157-20.

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Colwell, Richard J., Michael P. Hewitt und Mark Fonder. „Planning for and Rehearsing Instrumental Ensembles“. In The Teaching of Instrumental Music, 99–125. Fifth edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315619033-10.

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Daughdrill, Gary W. „Determining Structural Ensembles for Intrinsically Disordered Proteins“. In Instrumental Analysis of Intrinsically Disordered Proteins, 107–29. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2010. http://dx.doi.org/10.1002/9780470602614.ch5.

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Kirkman, Andrew. „Organs and Instrumental Performance at the Collegiate Church of Saint-Omer, Northern France, in the Later Middle Ages“. In Instruments, Ensembles, and Repertory, 1300-1600, 101–9. Turnhout: Brepols Publishers, 2013. http://dx.doi.org/10.1484/m.bceec-eb.1.100636.

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Blackledge, Martin, Pau Bernadó und Malene Ringkjøbing Jensen. „Atomic-Level Characterization of Disordered Protein Ensembles Using NMR Residual Dipolar Couplings“. In Instrumental Analysis of Intrinsically Disordered Proteins, 89–106. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2010. http://dx.doi.org/10.1002/9780470602614.ch4.

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Andang’o, Elizabeth Achieng’. „Africanising the music classroom through choral and instrumental ensembles“. In Music Education in Africa, 201–15. Abingdon, Oxon; New York, NY: Routledge, 2019. | Series: Routledge studies in music education: Routledge, 2019. http://dx.doi.org/10.4324/9780429201592-13.

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Creech, Andrea, Maria Varvarigou und Susan Hallam. „Musical Possible Selves in Extra-Curricular Ensembles and Instrumental and Vocal Tuition“. In Contexts for Music Learning and Participation, 103–22. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-48262-6_6.

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Feldman, Evan, und Ari Contzius. „Large Ensemble Set-Up“. In Instrumental Music Education, 200–212. Third edition. | New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429028700-14.

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Feldman, Evan, und Ari Contzius. „Large Ensemble Set-Up“. In Instrumental Music Education, 226–38. 4. Aufl. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003366157-16.

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Konferenzberichte zum Thema "Instrumental ensembles"

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Vecchio, Mike. „Understanding Creative Musical Agency Through Composition in Secondary Instrumental Ensembles“. In 2023 AERA Annual Meeting. Washington DC: AERA, 2023. http://dx.doi.org/10.3102/2007452.

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Nikolaeva, D. S., und O. N. Gudozhnikova. „Features of the author's style in chamber and instrumental ensembles S.V. Rachmaninov“. In ТЕНДЕНЦИИ РАЗВИТИЯ НАУКИ И ОБРАЗОВАНИЯ. НИЦ «Л-Журнал», 2019. http://dx.doi.org/10.18411/lj-03-2019-39.

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Chiciuc, Natalia. „Bibliographical references in the research of Gheorghe Neaga's instrumental chamber music“. In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.07.

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The composer Gheorghe Neaga has a significant contribution to the enrichment of the autochthonous repertoire of instrumental chamber music by signing a series of miniatures, sonatas, trios, quartets and suites for various instrumental ensembles. In order to research the musician’s most representative opuses and, implicitly, in the sense of an adequate appreciation of the contribution in the field from the perspective of recognizing the value presented by his creative figure, any investigation will start with the study of the recommended bibliography found in the libraries from Chișinău, in the online environment or in various institutions outside the country. Quite numerous, all the consulted sources must be methodically divided into several categories: journalistic articles, biographical encyclopedic editions, scientific studies and monographs, as well as in various other publications from the national and international specialized literature.

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Plescan, Irina. „Compositional peculiarities of The trio for clarinet, French horn and piano by Oleg Negruta“. In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.11.

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Oleg Negruta is a Moldovan composer, the author of a large number of chamber- instrumental compositions. Among them there are two piano trios: the first is the Trio for clarinet, French horn and piano, reflecting the tendency towards non-traditional ensembles, that prevailed in Moldovan music in the 1980-90s, and in 2004 the composer created a trio for the classical composition — violin, cello, piano.This article is dedicated to the Trio for clarinet, French horn and piano written in 1993. The author’s purpose was to identify the interpretation peculiarities of this work’s composition. Within the a two-part cycle based on tempo and figurative contrast, O. Negruta created an individualized structure that synthesizes the classical and folklore principles of composition.

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Soffientini, S., P. Panfili, A. Ferrari, L. Dovera, E. Della Rossa, D. Fragola, E. Abbate et al. „Optimize Computational Throughput of Reservoir Simulation Workflows in a GPU Based High Performance Computing Environment“. In International Petroleum Technology Conference. IPTC, 2024. http://dx.doi.org/10.2523/iptc-24004-ms.

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Abstract Decision making workflows in the energy industry require the capability to simulate hundreds if not thousands of models in a practical timeframe. In this paper we show how these capabilities can be achieved by exploiting top-class high performance computing resources available on premise. A GPU reservoir simulator can maximize the efficiency and effectiveness of computational kernels for solving partial differential equations and phase equilibria on modern devices, hosting thousands of floating-point units with an unprecedented memory bandwidth. It incorporates functionalities to model recovery processes, and includes capabilities for coupled reservoirs and network simulation. Recently, we added the possibility to exploit GPU Multi Process Service and run field scale, multiple-reservoir simulations on a single device. The Simulator enables the possibility to simulate multi-million cell models on a single GPU, and then execute reservoir workflows where ensembles of many hundreds of models may run altogether, maximizing the overall throughput. In this work we present the most relevant applications of a specific GPU reservoir simulator, highlighting its efficiency and effectiveness in tackling everyday business requests and the benefits it provides with respect to traditional CPU-based software. In more detail we will show the application of the tool for the simulation of: 1) an uncertainty quantification of a compositional dual porosity-dual permeability super-giant carbonate reservoir; 2) the history matching of a black-oil reservoir through ensemble multiple data assimilation followed by screening and optimization of injectors location; 3) revisiting an integrated asset model uncertainty quantification including five black-oil reservoirs. This work demonstrates how the availability of a GPU centric reservoir simulator combined with high performance computing resources was instrumental to the deployment of the most complex and computationally intensive workflows processes inside our Company. The process combines focus on the leading-edge company hardware and care on current company needs.

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Hanganu, Dumitru, und Svetlana Badrajan. „Aspects of the treatment of the technical-expressive and interpretative means of the trumpet in the Concert Study by Alexandr Sochireanschii and Oleandra by Vladimir Slivinskii“. In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.05.

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The instrumental chamber music works by composers from the Republic of Moldova are rich and diverse, both in terms of the musical genres addressed and the instruments required, either for the ensemble or solo parts. The trumpet, an instrument with wide technicalinterpretative and expressive possibilities, offers composers an ample opportunity for harnessing its potential. The two works, which we will analyze from an interpretive point of view – “The Concert Study” for trumpet and piano (in B) by Alexandr Sokireanski (1977) and “Oleandra” for trumpet and piano (in B) by Vladimir Slivinski (1979), are part of the active repertoire of trumpeters and are of interest to researchers. They require certain execution skills and a certain level of handling the instrument, as they contain elements with a high degree of difficulty; we refer here to the rhythmic structure, the complexity of dynamic nuances, technical elements, the change of tempo during the proceeding of the musical discourse, the exploitation of the acute register of the trumpet.

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Evrim Tunca, Ozan. „Using Distant Learning Platform for Musical Instrument Instructor Training“. In 2nd International Conference on Advanced Research in Education. Acavent, 2019. http://dx.doi.org/10.33422/2nd.educationconf.2019.11.797.

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The purpose of this study is to examine the productivity of distant instructor training program for musical instrument education. Music education, especially on playing musical instruments, has been one of the major topics of general education. Today, formal musical instrument education is available in conservatories and music departments of fine arts and education colleges, and informal or non-formal musical instrument education is available in private music schools and courses in Turkey. Recorder or melodica is taught in public schools as part of the general music education. There are number of different platforms to teach musical instruments where there is need to train teachers to do that in the needed quality. There are various applications of online teacher training for instrument education. For example, Northwestern University and University of North Carolina have been offering courses over Coursera (a major MOOCs provider), such as Teaching Violin and Viola, Fundamentals of Rehearsing Music Ensembles. Different from our program they do not provide direct contact with the instructor for feedback. A group of well-experienced instructor trainers of the Anadolu University including myself established a distant instructor-training program for musical instruments. This paper will explain and explore the stages of the program’s creation and its effectiveness.

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Samoylova, Nailya. „Instrumental Ensemble in Russian Music - Timbre Innovations“. In 2017 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-17.2018.27.

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Yu, Yang, und Huihui Lang. „Fault diagnosis of rotor rub based on ensemble EMD“. In Instruments (ICEMI). IEEE, 2009. http://dx.doi.org/10.1109/icemi.2009.5274634.

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González, Yubiry, und Ronaldo Prati. „Characterization of the sonority associated to woodwinds instruments through spectral analysis“. In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10452.

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The sonority is one of the definitions widely used by musicians when trying to define the color or timbral balances associated with individual or groups of instruments , such as for ensembles or orchestras. This definition obeys to subjective musical parameters associated with "color balance", "sound amplitude", among others. In the field of musical acoustics, it is well known that the sounds coming from musical instruments depend on several acoustic physical parameters such as Intensity, Frequency, and the number of harmonics, as well as other aspects including, association with its manufacturing process, such as geometry and materials used for construction. This work presents, from a spectral analysis of the timbre with the use of Fast Fourier Transform (FFT), Spectral Power Density (DPE) and Spectrograms, the characterization of the subjective concept of "sonority", for some instruments of the Woodwind family: Piccolo flute, transverse flute, clarinet and oboe. It is concluded that the stage of sound evolution as the attack and sustenance, allow the establishment of harmonics whose powers are fundamental to define the timbric "color" associated with each instrument, as well as the number of harmonics allowed to establish parameters of "sound identity", useful for the generation of a coefficient extracted from the obtained spectral analysis, which allows to advance in the characterization of the Sonority. The generalization of the method is suggested for all families of musical instruments.

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Berichte der Organisationen zum Thema "Instrumental ensembles"

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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.

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