Thematische Bibliographien / Transcription for piano solo

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  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte

Auswahl der wissenschaftlichen Literatur zum Thema „Transcription for piano solo“

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Veröffentlicht am 15. Februar 2025

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Zeitschriftenartikel zum Thema "Transcription for piano solo"

1

Budhiono, Sofia Shieldy, und I. Dewa Made Bayu Atmaja Darmawan. „Pitch Transcription of Solo Instrument Tones Using the Autocorrelation Method“. JELIKU (Jurnal Elektronik Ilmu Komputer Udayana) 8, Nr. 3 (25.01.2020): 347. http://dx.doi.org/10.24843/jlk.2020.v08.i03.p18.

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Pitch transcription is basically identifying and copying pitch on an audio or music. In this case, the pitch of a solo instrument music is processed to find the composition of the music tones, the method used is autocorrelation. After processing, the system will produce pitch transcription results from the audio that has been processed. this research done digitalization of an old method of identifying pitches into an application that is able to transcribe pitches in an audio. This Pitch Transcription application was created using the Python programming language with Librosa library as a library for audio processing. The purpose of making this system is to facilitate the identification of pitch from a solo instrument music. This Application Feature itself besides being able to show the results of pitch transcription can also display the Onset Graph, Signal Graph play the results of the synthesis transcribed audio sounds. Testing in this study uses audio sourced from 4 single instruments, there are flute, piano, violin and acoustic guitar. The test results show that the implementation of the autocorrelation method in the solo instrument tone transcription application has an accuracy of 92.85%.
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2

Știuca, Petru. „The pecularities of transcription of homofon-harmonic musical works for accordion“. Akademos, Nr. 1(68) (Juni 2023): 146–49. http://dx.doi.org/10.52673/18570461.23.1-68.19.

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The article deals with the general and specific issues of accordion transcription development. The peculiarities of this process depend largely on the discourse of the original creations, selected for transcription. Most of them belong to the homophonic-harmonic style, usually corresponding to the period of musical classicism and romanticism, and are written for piano or violin solo, or with orchestral accompaniment. The author focuses on the specifics of the given instruments, analyses the transcription of homophonic-harmonic creations from a historical perspective. At the same time, specific features and recommendations are presented in order to create accordion versions of musical creations in this style.
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3

Shaymukhametova, Liudmila N. „About the Study of the Means of Transcription of Works for Clavier by Beginning Pianists“. ICONI, Nr. 2 (2019): 116–27. http://dx.doi.org/10.33779/2658-4824.2019.2.116-127.

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The methodological elaborations of the rubric of the journal “My fi rst transcriptions” will present examples from assignments from the attempts of creative work of beginning pianists with the musical text. The offered assignments carry the aim of teaching certain universal techniques of artistic transformation of the composer’s primary text. The fi rst article devoted to this subject matter examines the register allocation and the doubling which were applied in everyday music-making in the 16th and 17th centuries during the varied re-exposition of the clavier text into various ensembles. The technique of their application is simple and accessible to contemporary listeners as well; it presumes the utilization of timbral possibilities of the present-day piano and keyboard synthesizer. At the basis of the elaboration of the assignments there are fragments of J.S. Bach’s instructive compositions from such compilations as “Kleinen Preludien und Fugen,” “Klavierbüchlein für Wilhelm Friedemann Bach,” as well as the “French Suites,” all of which assume a transformation of the clavier text for performing it in various variants and instrumental ensembles. These are the introductory pieces to the cycles: the preludes, fantasies or the pieces in the dance genres.The lessons are organized in the piano classes upon the conditions of “sight-reading” either in a solo manner, or with participation of partners in the form of intonational etudes. The analysis of the semantic structures applies role playing games in the subject matter of “I am playing the organ,” “there is a rehearsal of a historical orchestra going on,” “Trio for two fl utes and cello,” etc.
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4

Beirens, Maarten. „ARCHAEOLOGY OF THE SELF: MICHAEL FINNISSY'S ‘FOLKLORE’“. Tempo 57, Nr. 223 (Januar 2003): 46–56. http://dx.doi.org/10.1017/s0040298203000044.

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The compositional output of Michael Finnissy includes several major cycles for piano solo, which stand out by reason of their dimensions and their scope. English Country-Tunes (1977/1982–85), Verdi Transcriptions (1972–92/1988–95/2002-), Gershwin Arrangements (1975–88) and Folklore (1993–94) are all long, technically demanding and full of expressive potential. Yet they have been outdone by Finnissy's most recent piano cycle: The History of Photography in Sound (1995–2001), a phenomenal endeavour, lasting over five and a half hours and employing every conceivable means of articulating musical expression and intellectual significance. Speaking of the scope of these works, however, does not merely entail their unusual length – although the extended duration, in comparison to what is considered customary for a solo piano piece, is indeed one of their prominent features. What is more significant here is their scope in terms of the wide array of ideas, concepts and statements that make up the musical text. In that respect, Folklore (like the other pieces mentioned here) is an unrelenting statement, reflecting upon or formulating a critique of many issues that are crucial to late-20th-century human existence. This article tries to demonstrate how all these layers of significance can indeed form the subject of a piece that is supposed to be ‘abstract’ (because textless, instrumental) music.
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Зильберман Юрий. „СУРОК, соч. 52 No 7 (фр. MARMOTTE) ЛЮДВИГА ВАН БЕТХОВЕНА СТИХИ И. В. ГЁТЕ“. International Academy Journal Web of Scholar, Nr. 5(35) (31.05.2019): 39–45. http://dx.doi.org/10.31435/rsglobal_wos/31052019/6504.

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In his youth Ludvig van Beethoven wrote the song "La Marmotte" on the words of J. W. Goethe. The predominant feeling in it was loneliness. The further Beethovens time drifted away, the more song transcriptions for a solo instrument became. There was a variant of the piece for piano, violin, flute, etc. All novice musicians almost must have played this piece. Author of the article, folowing the path of the song offers a method of studying the piece to beginner violinist.
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Rimm, Robert. „Le festin d'Esope and Other Works for Solo Piano, and: Ier concerto da camera en la mineur pour piano et orchestre, op. 10, and: Zweite Ballettszene fur Klavier, op. 20, Busoni-Verz. 209, and: The Complete Elegies, the Six Sonatinas and Other Original Works for Solo Piano, and: Toccata and Fugue in D Minor and Other Bach Transcriptions for Solo Piano, and: The Godowsky Collection, and: The Complete Piano Sonatas, and: Complete Fairy Tales for Solo Piano, and: Passeggiata Variata (1981) for Piano (review)“. Notes 60, Nr. 1 (2003): 290–95. http://dx.doi.org/10.1353/not.2003.0126.

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7

Lynnyk, M. S. „Rostislav Genika: performer, teacher, composer“. Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, Nr. 54 (10.12.2019): 39–54. http://dx.doi.org/10.34064/khnum1-54.03.

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Under consideration are various facets of the creative work of Rostislav Genika, a comprehensively educated musician, universally gifted personality, one of the founders of the Kharkov piano school. The research is based on the study of critical reviews of R. Genika’s and his students’ concerts. Under analysis is the main genre of R. Genika as a composer and pianist – a transcription represented by the piece “Concert Paraphrase” to the motive of “Kupava’s Complaints” from P. Tchaikovsky’s music to the play “The Snow Maiden” by A. Ostrovsky. Rostislav Genika (1859 – 1942?) focused on piano art, which can be considered the key basis of all his theoretical, historical and musical-critical generalizations and conclusions, as well as practical activities as a performer, teacher and composer. The education received by R. Genika in the class of N. Rubinstein at the Moscow Conservatory prompted the Kharkov musician to pay tribute to piano performance in the early stages of his career. The information about the pianist R. Genika, which came to us from publications in the press and the memoirs of his colleagues, gives an opportunity to reconstruct, although not in full, the style of his piano playing as a soloist, ensemble performer and accompanist. All this together constituted the subject of a comprehensive review and the relevance of this article. The research material includes reviews of R. Genika’s concerts and an example of his composer’s heritage in the field of piano music – a transcription “Concert Paraphrase” to the motive “Kupava’s Complaints” from P. Tchaikovsky’s music to the play “The Snow Maiden” by A. Ostrovsky. The purpose of the paper is to reveal the universalism of the composer’s talent, the scale of his work, which was mainly focused on piano performance, through the analysis of various aspects of Rostislav Genika’s creative work. It would be wrong to call R. Genika a concert pianist in the traditional sense of the word. He had few solo concerts in his practice and they refer to the very beginning of his work career in Kharkov. As a concertist, he mostly performed works mastered in the class of N. Rubinstein, as well as piano parts in various ensembles, learnt by him when playing with “K. Gorsky Quartet” and other ensemble performers. The piano repertoire of R. Genika included pieces by I. S. Bach, G. Handel, D. Scarlatti, L. van Beethoven, K. M. Weber, F. Liszt, F. Chopin, R. Schumann, M. Mussorgsky, P. Tchaikovsky and others. Raised on the best examples of piano music, R. Genika appreciated such an interpretation that would meet not only the criteria of "accuracy", but would also be spiritually filled, sublimely emotional, and not outwardly ostentatious. Since the first days of working in Kharkov R. Genika, was able to combine lecturing, performing and correspondent activities with piano pedagogy. The sphere of pedagogy was one of the prevailing and time-consuming in his life. There is quite little information about R. Genika as a teacher and it can be found mainly in the reviews of his students’ concerts, in the notes of the local press as well as in the reports on academic concerts and exams at Kharkov Music College and Conservatory. The personal pianistic experience of R. Genika and the pedagogical style of his teacher N. Rubinshtein affected the choice of virtuoso programs and concert programs for his students. R. Genika’s composing experiments are closely related to his concert-pianistic and pedagogical work, as well as to the study of piano music history. The circle of his genre interests in this area was quite symptomatic. As an ardent supporter of concert pianism traditions R. Genika considered the genre of transcriptions and arangementds in the Liszt-Talberg spirit to be a new wave in piano literature of that time, a promising direction. This is how his transcriptions to the motives from “Parsifal” by R. Wagner, a piano arrangement of the “Arabic Dance” from the “Nutcracker” by P. Tchaikovsky, a fantasy “Abyss” to the motive of E. Grieg appeared. R. Genika also wrote short pieces intended for his concerts, as well as for educational practice. Unfortunately, the score of these works are still either not found or not preserved. An exception is the “Concert Paraphrase” to the motive of “Kupava’s Complaints” from P. Tchaikovsky’s music to the play “Snow Maiden” by A. Ostrovsky (author’s handwritten text dedicated to the pianist V. Timanova). Being a pianist was very important for R. Genika. Understanding pianism as a musical aesthetic phenomenon resulted in a multifaceted and deep understanding of the essence of musical art, which was characteristic of R. Genika as a music educator. The musician thought of himself precisely as a “generalist” who could handle any music profession – a performer’s, teacher’s, or researcher’s one. Hence, further study of the creative and critical heritage of R. Genika will invariably affect the spheres of other areas of musical art (opera, chamber, etc.). Such universal personalities as R. Genika have always been an engine for the musical-historical process, idea generator of the era. Nowadays such universal musicians, who would be a kind of "litmus test" of their time and faithfully served the art, are still in need. One of such outstanding figures in Ukraine, a universal personality was Valerii Oleksandrovych Bohdanov (07/13/1939 㶹– 10/10/2017) – performer, teacher, scientific researcher, composer. His multifaceted activities encompassed a wide range of musical art and were reflected in many years of pedagogical work, a large number of research works, transcriptions, and composer’s experiments. We would like to hope that this anniversary collection dedicated to V. Bogdanov will serve as a prelude to a deep and comprehensive study of the life and work of this bright and extraordinary musician.
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Loya, Shay. „Recomposing National Identity: Four Transcultural Readings of Liszt's Marche hongroise d'après Schubert“. Journal of the American Musicological Society 69, Nr. 2 (2016): 409–76. http://dx.doi.org/10.1525/jams.2016.69.2.409.

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Liszt's Mélodies hongroises d'après Schubert, a solo piano transcription of Schubert's four-hand Divertissement à l'hongroise, provides an interesting example of the complex relationship between centers and peripheries, and between personal patriotism and public nationalism. The first transcription (S. 425, 1838–39) stands at the very beginning of Liszt's career as a “national composer,” the most significant aspect of this rather overlooked fact being Liszt's transformation of the second movement—a naive, dance-like march—into “republican” heroic music driven toward an apotheosis à la Beethoven. This heralded a new type of national genre, and Liszt deemed the march movement important enough to be published on its own in numerous versions between 1838 and 1883. Yet this Marche hongroise was not merely nationalist: it related to other, non-Hungarian identities, most notably French and Austrian. Later versions (from 1859 onward) allowed Liszt to express a progressive, liberal Hungarian identity in the face of a rising tide of chauvinism. Four transcultural readings of the work, both complementary and conflicting, follow Liszt's revisions in roughly chronological order, interpreting the work as, in turn, a nationalist reclamation of Hungarian music, a republican response to the political status quo, the construction of an Austro-Hungarian identity, and a discontinuous text in which new, modernist ideas often merge or conflict with older ones, forcing a fresh renegotiation of national identity.
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Zhou, Daping. „The Theoretical Background for the Chinese Composers Piano Music Genre Peculiarities Research“. Aspects of Historical Musicology 14, Nr. 14 (15.09.2018): 180–206. http://dx.doi.org/10.34064/khnum2-14.13.

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Introduction. The given paper is devoted to questions, which make up the dissertation research section upon the genre semantics of the Chinese composers’ solo piano creations. The general theoretic background for the vast amount of the musical artifacts studying is specified in the current section. Theoretical background. In his studying of the Chinese composers’ piano creative work the author follows the research trend, originated by G. Schneerson, Lui Ji, Wei Tinge, Liu Fuan, Zhang Xiaohu, Zhang Qian and others. In particular, the current research is based upon the works by Bu Li, Bian Meng, Wang Ango, Wang Yuhe, Cheng Xu and other authors, devoted to the problem of the European and national music traditions interaction in the Chinese composers’ piano artifacts. The insufficient readiness of this thesis is mentioned. Namely, it is still the point of discussion and analyzing, to what extend and in what quality the genre system of European piano music is mastered by the Chinese composers. It is another point of investigation if their compositions are the result of the surface signs borrowing, taken from the most widely spread European genres or the Chinese composers were able to comprehend the genre semantics profoundly and develop some genres creatively, basing on the national musical tradition. Objectives. The main objective of the current article is the essential theoretical background specification for the Chinese composers’ piano creations genre peculiarities research; in particular, the polygenicity, the borrowed material usage principle, the composer’s genre stylization method. Methods. The task setting and developing is based upon the functional and morphological approaches to the musical genre comprehension, on the terminological analysis of the musical genres and styles understanding, on the upto-date philological and musicological conceptions of composition poetics, artistic genre and stylization method. Results and discussion. The concept of musical genre is defined as the type of the creation or the musical creative activity. Here the category of genre involves not only the formal but also the substantial musical compositions properties, their typical semantics. The musical genre genesis is specified by three factors: 1) the functional creations similarity, the identity of their assignment; 2) the similarity of the conditions of the composition creating and performing; 3) artistic and contextual affinity. The given factors specify the occurance of common musical form properties among several compositions, and these properties are defined as genre style. The composition style properties quite definitely “indicate” some kind of genre “prototype”, and in this sense they are the sign-index of the genre. The typical artisticcontent properties of musical creations and performing are also the index of the genre. These typical properties and designated as genre image (or genre semantics). The genre style and the corresponding images reflect the real type relations of the musical practice phenomena. It enables the composers to use the formal signs of a certain genre as an artistic attribute well recognized by the audience. In the musical genres system, the areas of interactive and independent music are conventionally separated. The first group includes the numerous kinds of every day musical performing, where music interacts with the riot, dance, poetic verbal speech, theatre performance and other types of a person’s artistic activity. Meanwhile, the main and specific function of the independent music is its being the object of artistic perception. The independent music artifacts don’t need any interaction with the expressive means of other arts. The piano music can belong to both spheres. A lot of independent sphere piano music compositions are bear the names of the genres belonging to the folklore, theatre music, church rituals, urban life. We mean such as piano “lullabies”, “ballads”, “minuets”, “waltzes”, “marches”, “arias”, ”love songs” etc. there is still another phenomenon: the piano music pieces, the name of which is not connected with the interactive music genres, are often profoundly connected with them on the levels of the language and artistic text. Quite often, the piano pieces are built on certain composition, borrowed from the sphere of folklore, popular or church music. In all the alike cases we can notice the artistically justified synchronous (non consequent) interaction of several musical genres signs and properties in the form of the definite composition. This phenomenon is characterized as polygenicity. Two main approaches to achieve the polygenre artistic expressive effect are defined: a) the use of the “exterior” (non native, another’s, alien) musical material; b) the genre style characteristic properties reproduction (genre stylization). The given work gives the definitions for the methods of different musical genres properties combination by means of borrowing and of the “exterior” material use in the frames of the original composition: quotations, arrangements, edited versions, fantasies and transcriptions. The genres, originated by these composing methods, are characterized. The essence of the genre stylization method in the Chinese composers’ creations is revealed. It is the reproduction of tonal and compositional peculiarities of the certain traditional Chinese music genre style into the composition text belonging to the European piano music genre system. The wide range of this method implementation is mentioned: from total style imitation to allusion. Conclusions. The existence of the great amount of the piano music compositions in the today’s Chinese musical culture motivates the overall and profound scientific analysis of this phenomenon, in particular, it stimulates the given sphere genre features revelation in both synchronous and diachronic (historic-evolutionary) aspects. The piano music genre sphere researcher needs the clearly formulated, capacious and non-contradictory categories of musical genre, genre style, genre system, genre semantics, as well as of the notions, derivative and connected with them. As it was mentioned by numerous specialists, the Chinese piano music distinctive feature consists in its lasting connection with the national music tradition. The task, set for the musicologists, is to define the nature, the principles, the variants of the interaction between the European piano music genres and styles and the traditional Chinese music genres and styles ( folklore, theatre, popular song). The given article states that the first artistic method, leading to the combination of the European and Chinese traditions in the frames of one composition consists of the composer’s borrowing and using some “alien” material, a fragment of the famous musical creation in his artifact. Thus, using serves as a general notion, embracing a number of certain musical text composing methods, which include quoting, arranging, creating versions, fantasies and transcription. The second artistic approach, leading to European piano music and the Chinese traditional music interaction, consists in the artistic method of stylization. This method implies the reproduction of tonal and compositional peculiarities of the certain traditional Chinese music genre style into the composition text belonging to the European piano music genre system. This method reveals the unlimited possibilities to create the bright vivid effects for genre dialogue, conflicts, interaction, as well as very delicate conceptual modus, allusions, hints, promoting the remarkable enrichment of the compositions genre figurativeness. Basing on the given theoretical background the author is going to analyze the genre-style contents of the seven-volume edition “A century of Piano Solo Works by Chinese Composers”. This content may serve as a working model for the studying of the whole thesaurus of piano music artifacts, created by the Chinese composers.
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Zakharbekova, Irina S. „Georges Bizet in the Service of the Opera: More than “Just” a Composer?“ Contemporary Musicology 8, Nr. 4 (2024): 64–90. https://doi.org/10.56620/2587-9731-2024-4-064-090.

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Georges Bizet occupies an important place in the history of French musical theatre thanks to his works such as Carmen and Les pêcheurs de perles. However, the musical career of this bright and original composer includes not only his own compositional oeuvre, which is relatively modest in terms of the number of works he created, but also his work in adjacent spheres. The article discusses the editorial and correction work on the works of other authors, which Bizet began to carry out in the mid-1850s and was especially active in the 1860s and early 1870s. Bizet worked on transcriptions (piano-vocal reductions, arrangements for solo piano and duets for 4 hands, orchestration and additional compositions) of opera works by other composers for French music publishing houses — primarily Choudens and Heugel. The article also examines Bizet’s participation in the rehearsal and production process of opera performances by his colleagues and friends — in particular, Charles Gounod and Ernest Reyer. By turning to the composer’s epistolary legacy and the memoirs of his contemporaries, as well as by analysing some of the available operatic arrangements made by Bizet, we gain the opportunity to take a closer look at French musical and theatrical life of the second half of the 19th century as well as the private work of a musician of that time: work that was not always socially or legally recognised, but which nevertheless demonstrated the quality and professionalism of its producer. Moreover, a discussion of Bizet’s piano arrangements is important both in the context of the existence of this kind of music, as well as from the point of view of the educational and development functions that it fulfilled. No less significant for Bizet’s career was his assistance and participation in rehearsals of his compatriots’ performances in Parisian and other theatres: acting as an accompanist and “assistant composer”, Bizet could observe the opera “kitchen” from the inside and thus avail himself of the opportunity to prepare the ingredients for his own musical and theatrical masterpieces.
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Dissertationen zum Thema "Transcription for piano solo"

1

Wiffen, Charles. „A survey and critical evaluation of the twentieth-century solo piano transcription“. Thesis, Royal College of Music, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.576967.

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2

Kim, Min. „A study of Franz Liszt's Totentanz: Piano and orchestra version, and piano solo version“. Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5409/.

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Undoubtedly, Totentanz has been one of the most famous works by Franz Liszt. Totentanz has been recorded by many pianists and addressed in much of the vast literature about Liszt and his works; however, little research has been focused on this work. Most studies of Totentanz address only the historical background of the piece in relation to the theme based on Dies irae. Currently, there are no specific studies about the solo piano or two piano versions and only one recording was located. Liszt's own piano solo transcription of this famous work is an excellent addition to the concert repertoire. Totentanz consists of six variations that include canonic and fugato sections. The main theme is based on the Gregorian chant Dies irae, a melody that has been used by many other composers, most notably Berlioz in Witches Sabbath of Symphonie fantastique, op. 14 and Rachmaninoff in Rhapsody on a Theme of Paganini. This study contains five chapters. Chapters I and II provide background information, historical background and influences of Totentanz. Chapter III presents an outline of Liszt's achievement as a transcriber. Liszt revised his own works numerous times from the 1840s and 1850s, including Transcendental Etudes, Paganini Etudes, and piano and orchestra works. Like in the case of Totentanz, transcribed form piano and orchestra into piano solo, Liszt transcribed and paraphrased hundreds of other composers' works as well. Chapter IV discusses and compares the two main versions for solo piano and piano and orchestra. Form and harmonic language in particular the use of tritone in Totentanz is discussed. The adjustment required in transcribing the work for piano solo is discussed in detail, followed by a conclusion.
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Pierce, Stephen R. „An Examination of Alexander Siloti’s Printed Solo Piano Transcriptions of Works by J. S. Bach“. University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1322052457.

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Jennison, Suzanne Dorothee. „A Transcription of Jean Francaix’s L’Horloge de Flore for Solo Oboe, Woodwind Quartet, and Piano“. The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587517520481619.

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Kim, Aram. „Johann Nepomuk Hummel’s Transcriptions of Beethoven´s Symphony No 2, Op 36: a Comparison of the Solo Piano and the Piano Quartet Versions“. Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc149620/.

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Johann Nepomuk Hummel was a noted Austrian composer and piano virtuoso who not only wrote substantially for the instrument, but also transcribed a series of important orchestral pieces. Among them are two transcriptions of Beethoven’s Symphony No. 2 in D Major, Op. 36- the first a version for piano solo and the second a work for piano quartet, with flute substituting for the traditional viola part. This study will examine Hummel’s treatment of the symphony in both transcriptions, looking at a variety of pianistic devices in the solo piano version and his particular instrumentation choices in the quartet version. Each of these transcriptions can serve a particular purpose for performers. The solo piano version is an obvious virtuoso vehicle, whereas the quartet version can be a refreshing program alternative in a piano quartet concert.
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Barakat, Alexandra. „Improvisation(s) solo au piano : Keith Jarrett (the Köln concert) : mouvement(s) et frontière(s)“. Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3002.

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Nous avons appréhendé Köln Concert comme une sorte de symptôme. Il présente à l’analyse un ensemble de caractéristiques rarement coprésentes. C’est en ce sens une œuvre utile, prétexte à évaluer des phénomènes parfois contradictoires, du moins qu’on a l’habitude d’opposer (composé/improvisé, écrit/oral, savante/populaire). Enregistré à l’opéra de Cologne en 1975, par Keith Jarrett, il représente une vente record dans l’histoire du jazz, à cheval entre deux époques, comme le basculement dans l’ère post-moderne, qui traduit l’existence d’un flou esthétique, d’un état intermédiaire où la notion d’œuvre même paraît peu pertinente. Cette musique, improvisée du début à la fin, ne semble pourtant pas appartenir au « free jazz », ni même vraiment au jazz et évoque à l’écoute un récital « néo-romantique ». Nous nous sommes attachée à en suivre le cheminement, associant l’écoute et l’analyse critique de sa transcription (publiée en 1981). Elle ne relève pas d’une forme dominante : de formes nous ne trouvons qu’ébauches, segments; c’est une œuvre « ouverte », au sens d’une action en relation directe avec son public. Dans cette dramaturgie musicale, on reconnaît les effets d’une rhétorique – au sens de la Grèce antique – et un travail de la mémoire, évoquant l’ars memoria. Par sa grande culture musicale « classique », ses longues années d’étude précédant sa carrière de jazzman, Keith Jarrett occupe une position à part, marquée par la relation inédite entre une maison de disques européenne (ECM) et un musicien, achevant de brouiller les frontières entre les genres et les localisations esthétiques. Köln Concert acquiert ainsi une dimension anthropologique riche en enseignements
Köln Concert is a useful instrument to compare and articulate contradictory or opposite elements on conceptual sides (composed/improvised, written/oral, savant/popular). Recorded in 1975, this solo performance is the biggest record sale in jazz music. It was published at the very beginning of the post-modernism era in music and belongs to a new aesthetical field, not defined by such notions as « opus » or « work ». This music, totally improvised, can’t be defined as jazz or « free jazz » or « contemporay music », for example, nor « neo-classical music », even if it could sound like some neo-romantic recital. Through a critical analysis of the transcription (published in 1991), we tried to describe the music as an action. Köln Concert has no overall shape, no total structure, just fragmentary forms. It’s an opened work directly connected to an audience. His musical dramaturgy has a rhetorical dimension, as it can be perceived through ancient Greek culture and ars memoria in general. Thanks to his great musical culture, including jazz and classical music, Jarrett is out of categories. American artist. associated with an European record company (ECM) and to his new aesthetical conceptions of the sound, he belongs to a new world of aesthetics. We consider Köln Concert as a kind of musical symptom, not because of the quality of the music (which can always be discussed) but because this type of musical action can be analysed as a concrete utopia, made to explore cognitive processes and develop a new vision of anthropology
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Liu, Hongye. „Interpréter les symphonies de Beethoven dans les transcriptions de Franz Liszt“. Electronic Thesis or Diss., Strasbourg, 2024. http://www.theses.fr/2024STRAC022.

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Les transcriptions des symphonies de Beethoven pour piano seul par Liszt sont considérées comme les transcriptions les plus proches de l'original. Liszt a nommé ces transcriptions « partition de piano », signifiant spécifiquement reproduire ainsi la résonance orchestrale au piano. Liszt a également encouragé les jeunes pianistes du conservatoire à apprendre ces transcriptions. Cependant, les recherches existantes se limitent à l'étude des sources historiques et à l'analyse sur les partitions, ignorant la description de Liszt quant aux effets sonores résultant de l'interprétation orchestrale sur la partition de piano et trahissent le manque d'étude sur la façon dont elles s’interprètent sur piano moderne. Notre recherche prend la performance de la résonance orchestrale au piano comme thème de recherche, à partir des contextes historiques, de la comparaison entre les partitions symphoniques et de leurs transcriptions et de la façon d'interpréter en imitant l'orchestre sur piano moderne. Notre étude comporte trois parties, l'objectif étant de clarifier le concept « partition de piano » et la véritable pensée de Liszt pour ces transcriptions et ainsi d'enrichir le jeu pianistique en imitant la résonance orchestrale à travers l'étude de ces transcriptions des symphonies de Beethoven par Liszt
Liszt 's transcriptions of Beethoven's symphonies for piano solo are considered the most faithful to the original works. Liszt named these transcriptions « partition de piano » (piano score), specifically referring to reproduction of orchestral resonance on the piano. Liszt also encouraged young pianists of conservatories to learn these transcriptions. However, existing research has been limited to the study of historical sources and score analysis, which overlooked Liszt's description of the orchestral sound effect from the piano score and lacked studies on how they should be performed on the modern piano. The principal theme of our research focuses on the orchestral resonance on the piano, consists of historical contexts, comparison of the symphonic scores with their piano transcriptions, and exploration of how to perform them on the modern piano. Our study is divided into three parts, aiming to clarify the concept of « partition de piano » (piano score) and Liszt's true thinkings behind these transcriptions, and to enrich piano playing by reproducing orchestral resonance through the study of these transcriptions of Beethoven's symphonies by Liszt
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Vidal, Adolfo C. „Antonio Lauro: An Analytical Study and Piano Transcriptions of his Suite Venezolana and Eight Waltzes for Solo Guitar“. Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/235.

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The term nationalism in music usually refers to a movement from the nineteenth and early twentieth centuries, and is most often employed to describe the various European national schools that included folk elements in their music and consciously tried to separate themselves from the standards set in the Classical period by the French, Italian and especially the German traditionalists. In Latin America there was also a development of nationalism in music in the twentieth century. Countries from this continent, once politically independent, became interested in solidifying and glorifying their national identities. This essay will discuss the history and tradition of Venezuelan folk and academic music through the guitar compositions of Antonio Lauro, who was best known for his nationalistic trend to rescue and to celebrate the Venezuelan nation's musical traditions. I have also chosen eight waltzes and the Suite Venezolana for guitar by the same composer, which are both representative works of Venezuelan academic and folklore music, and I have created a piano transcription. Aiming a new inclusion and expansion of the stagnant Venezuelan piano repertoire, with my hope they become useful compositions for the pianists' personal study and aid.
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Sheldon, Vanessa Renee. „Franz Liszt and the harp: An examination of his lifelong interactions with harpists and transcriptions of four solo piano compositions for harp“. Diss., The University of Arizona, 2005. http://hdl.handle.net/10150/282893.

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The main objective of this document is to investigate the suitability and aptness of performing the solo piano music of Franz Liszt (1811-1886) on the harp. This has been accomplished by dividing Liszt's career into four periods and examining the various connections he retained with harpists with during each of these periods. For each of these harpists the author shows how they became associated with Liszt, the scope of their work together, and demonstrates their influence on his life and compositional style, including musical examples where appropriate. As part of this research project the author also offers four of her own transcriptions of Liszt's solo piano compositions, corresponding from each of the four life stages, explaining why these are idiomatic for performance on the harp. This document also examines and explains any changes made from the original to the transcription with the inclusion of musical examples. These transcriptions, included in the document as appendices, are ready for publication and will hopefully become valuable additions to the harp repertoire.
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Lau, Pui Yan Ronald. „Two symphonic transcriptions for solo piano: Ferdinand Hiller’s Symphony in E minor, op. 67, “Es muβ doch Frühling werden” (“But spring must come”) and Robert Schumann’s Symphony no. 2 in C major, op. 61“. Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6787.

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Bücher zum Thema "Transcription for piano solo"

1

Festinger, Richard. Variations for piano: Piano solo. [New York?]: Henmar Press, 1997.

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Doky, Niels Lan. Jazz transcription: Developing improvisational skills through solo transcription and analysis. Rottenberg: Advance Music, 1992.

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Lieberson, Peter. Bagatelles, solo piano. New York, NY: Associated Music Publishers, 1990.

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Taub, Bruce J. Preludes, piano solo. New York: C.F. Peters, 1990.

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Wuorinen, Charles. Capriccio, piano solo. New York: C.F. Peters, 1996.

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Johannes, Brahms. Complete Symphonies for Solo Piano. Dover Publications, 2006.

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Bartók, Béla. The Wooden Prince for Solo Piano, Op. 13: Composer's Original Transcription. Dover Publications, 2001.

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Howard, Luke. 28 Transcriptions for Solo Piano. Faber Music, Limited, 2022.

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Liszt, Franz. Complete Bach Transcriptions for Solo Piano. Dover Publications, 2003.

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Jacques Bittner: Suite for viola solo: Transcription for viola by Marco Misciagna. Da Vinci Edition, 2016.

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Buchteile zum Thema "Transcription for piano solo"

1

Toft, Robert. „Solo Piano“. In Recording Classical Music, 125–28. New York, NY: Routledge, 2020.: Focal Press, 2019. http://dx.doi.org/10.4324/9781351213783-12.

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King, Richard. „Recording Solo Piano“. In Recording Orchestra and Other Classical Music Ensembles, 162–69. 2. Aufl. New York: Focal Press, 2024. http://dx.doi.org/10.4324/9781003319429-26.

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Haigh, Caroline, John Dunkerley und Mark Rogers. „Solo instruments and piano“. In Classical Recording, 109–27. Abingdon, Oxon ; New York, NY : Routledge, 2021. | Series: Audio Engineering Society presents...: Focal Press, 2020. http://dx.doi.org/10.4324/9780429316852-9.

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Oldfield, Anna. „Concerto for Solo Piano“. In Routledge Handbook of Asian Diaspora and Development, 334–45. 8. Aufl. Abingdon, Oxon; New York, NY: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429352768-30.

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Costantini, G., M. Todisco und M. Carota. „Improving Piano Music Transcription by Elman Dynamic Neural Networks“. In Lecture Notes in Electrical Engineering, 387–90. Dordrecht: Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-90-481-3606-3_78.

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D’Urso, Stefano, und Aurelio Uncini. „Automatic Polyphonic Piano Music Transcription by a Multi-classification Discriminative-Learning“. In Neural Nets, 129–38. Berlin, Heidelberg: Springer Berlin Heidelberg, 2003. http://dx.doi.org/10.1007/978-3-540-45216-4_14.

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Zhao, Jiahao, Yulun Wu, Liang Wen, Lianhang Ma, Linping Ruan, Wantao Wang und Wei Li. „Improving Automatic Piano Transcription by Refined Feature Fusion and Weighted Loss“. In Lecture Notes in Electrical Engineering, 43–53. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-4703-2_4.

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Pivetta, Chantal. „La morte come portatrice di senso in Uomini e no di Elio Vittorini“. In Studi e ricerche del Dipartimento di Lettere e Filosofia, 219–37. Firenze: Società Editrice Fiorentina, 2023. http://dx.doi.org/10.35948/dilef/978-88-6032-727-7.13.

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ll seguente articolo si focalizza sull’opera Uomini e no di Elio Vittorini (Bompiani, 1945), ambientata nella città di Milano negli anni della Resistenza. Il motivo indagato è il ruolo della morte violenta e la conseguente ricerca del suo significato in un contesto caotico in cui è difficile decifrare un ordine, un senso. Attorno alle morti violente, che nel romanzo raggiungono l’apice con l’ultimo estremo suicidio-omicidio del protagonista, si installano ampi scenari interpretativi lasciati alle parole dei personaggi, ma anche dubbi e domande sul senso della vita, sul valore della felicità, sulla resistenza e sul suo dopo. La parola chiave che scaturisce dalla morte è liberazione, non solo sul piano della Storia, ma anche nel suo aspetto esistenziale e intimo, non solo per una città libera, ma per un mondo intero libero per sempre.
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Steiner, Peter, Azarakhsh Jalalvand und Peter Birkholz. „Improved Acoustic Modeling for Automatic Piano Music Transcription Using Echo State Networks“. In Advances in Computational Intelligence, 143–54. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-85099-9_12.

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Tucker, Mark. „An Ellington Solo Piano Transcription in Down Beat (1944)“. In The Duke Ellington Reader, 250–51. Oxford University PressNew York, NY, 1993. http://dx.doi.org/10.1093/oso/9780195054101.003.0052.

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Abstract During his current theater tour, Duke is featuring a concerto type arrange ment on the standard Frankie and Johnny (fig. 1). The accompanying style example, one of his solo choruses, contains the melodic-harmonic treatment that is characteristic of Ellington’s composition and arrangements. It reflects Duke’s ability to think of his orchestra as a single instrument with multiple colorings and extensive harmonic possibilities. For example: the basic har mony, played by the left hand, is simple and, with the exception of abundant chromatics, quite conventional; the treble harmony, generally speaking, gives unusual coloring by the addition of sevenths, ninths, and elevenths. The intro duction establishes the key and the mood without the commonly used principal theme and authentic cadence. The first six measures of the chorus retain much of the original melody but with a new harmonization. variation. The following two measures are completely divorced from the original composition and form a progression into the improvised ending. The ending is formulated from the material used in the introduction. Here is a little masterpiece of good form and modern harmony.
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Konferenzberichte zum Thema "Transcription for piano solo"

1

Li, Yuqing, Ying Zhang, Xianke Wang, Ruimin Wu und Wei Xu. „CNN-Transformer Ensemble: Advancing Visual Piano Transcription with Global and Local Features“. In 2024 International Joint Conference on Neural Networks (IJCNN), 1–8. IEEE, 2024. http://dx.doi.org/10.1109/ijcnn60899.2024.10651281.

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Kusaka, Yuta, und Akira Maezawa. „Mobile-AMT: Real-Time Polyphonic Piano Transcription for In-the-Wild Recordings“. In 2024 32nd European Signal Processing Conference (EUSIPCO), 36–40. IEEE, 2024. http://dx.doi.org/10.23919/eusipco63174.2024.10715008.

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Mi, Jinyi, Sehun Kim und Tomoki Toda. „Improved Architecture for High-resolution Piano Transcription to Efficiently Capture Acoustic Characteristics of Music Signals“. In 2024 Asia Pacific Signal and Information Processing Association Annual Summit and Conference (APSIPA ASC), 1–6. IEEE, 2024. https://doi.org/10.1109/apsipaasc63619.2025.10848780.

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Pangwapee, Priyakorn, Juthakan Mekkoktanphira, Nat Dilokthanakul, Sirasit Lochanachit, Nont Kanungsukkasem und Praphan Pavarangkoon. „Impact of Rhythm, Tempo, and Rest Variations on Pitch Detection in Deep Learning-Based Piano Transcription Models“. In 2024 16th International Conference on Information Technology and Electrical Engineering (ICITEE), 288–93. IEEE, 2024. https://doi.org/10.1109/icitee62483.2024.10808545.

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Xiao, Xiao, und Hiroshi Ishii. „Duet for solo piano“. In the 2011 annual conference extended abstracts. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/1979742.1979762.

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Wu, Ruimin, Xianke Wang, Yuqing Li, Wei Xu und Wenqing Cheng. „Piano Transcription with Harmonic Attention“. In ICASSP 2024 - 2024 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2024. http://dx.doi.org/10.1109/icassp48485.2024.10447324.

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Ortiz-Berenguer, Luis I., und Francisco J. Casajus-Quiros. „Approaching polyphonic transcription of piano sounds“. In 154th Meeting Acoustical Society of America. ASA, 2007. http://dx.doi.org/10.1121/1.2899812.

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Chen, Xi. „Analysis on Lester's Piano Transcription qRigolettoq“. In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.18.

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Wang, Xian, Lingqiao Liu und Qinfeng Shi. „Enhancing Piano Transcription by Dilated Convolution“. In 2020 19th IEEE International Conference on Machine Learning and Applications (ICMLA). IEEE, 2020. http://dx.doi.org/10.1109/icmla51294.2020.00224.

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Kelz, Rainer, Sebastian Bock und Gerhard Widmer. „Deep Polyphonic ADSR Piano Note Transcription“. In ICASSP 2019 - 2019 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2019. http://dx.doi.org/10.1109/icassp.2019.8683582.

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