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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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4
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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5
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.
6
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 enseignementsKöln 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
7
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 LisztLiszt '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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PLANCHAK, MATTHEW A. „FOUR FLASHBACKS FOR SOLO PIANO“. University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1123858361.
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Pew, Douglas G. „Twelve Bagatelles for Solo Piano“. University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1238667856.
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Kim, Kyung-Ae. „Concert waltzes for solo piano“. Morgantown, W. Va. : [West Virginia University Libraries], 1999. http://etd.wvu.edu/templates/showETD.cfm?recnum=823.
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Thesis (Ph. D.)--West Virginia University, 1999.Title from document title page. Document formatted into pages; contains iii, 87 p. : music Includes abstract. Includes bibliographical references (p. 84-87).
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Cheng, Tian. „Exploiting piano acoustics in automatic transcription“. Thesis, Queen Mary, University of London, 2016. http://qmro.qmul.ac.uk/xmlui/handle/123456789/18421.
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In this thesis we exploit piano acoustics to automatically transcribe piano recordings into a symbolic representation: the pitch and timing of each detected note. To do so we use approaches based on non-negative matrix factorisation (NMF). To motivate the main contributions of this thesis, we provide two preparatory studies: a study of using a deterministic annealing EM algorithm in a matrix factorisation-based system, and a study of decay patterns of partials in real-word piano tones. Based on these studies, we propose two generative NMF-based models which explicitly model different piano acoustical features. The first is an attack/decay model, that takes into account the time-varying timbre and decaying energy of piano sounds. The system divides a piano note into percussive attack and harmonic decay stages, and separately models the two parts using two sets of templates and amplitude envelopes. The two parts are coupled by the note activations. We simplify the decay envelope by an exponentially decaying function. The proposed method improves the performance of supervised piano transcription. The second model aims at using the spectral width of partials as an independent indicator of the duration of piano notes. Each partial is represented by a Gaussian function, with the spectral width indicated by the standard deviation. The spectral width is large in the attack part, but gradually decreases to a stable value and remains constant in the decay part. The model provides a new aspect to understand the time-varying timbre of piano notes, but furtherinvestigation is needed to use it effectively to improve piano transcription. We demonstrate the utility of the proposed systems in piano music transcription and analysis. Results show that explicitly modelling piano acoustical features, especially temporal features, can improve the transcription performance.
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Lertpibulchai, Korak. „Siam Sonata: Thai Solo Piano Works“. Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/4804.
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The final product of this project is a high-quality recording of solo piano works by three living Thai composers; Nat Yontararak, Atibhop Pataradetpisan and Siraseth Pantura-umporn. It also includes two Yontararak’s arrangements of songs by King of Thailand, Bhumibol Adulyadej. This recording consists entirely of solo piano works written and arranged by contemporary Thai composers. As a Thai-born pianist, I believe it is my privilege to promote Thai classical music.
All pieces selected for this project demonstrate distinctively Thai characteristics, as well as pianistic techniques that are engaging to both the audiences and performers.
The recording features Piano Sonata No. 3 “Siam Sonata” by Nat Yontararak, “Duality” by Atibhop Pataradetpisan, “Bells” by Siraseth Pantura-umporn, “Still on My Mind” and “Love in Spring” by H.M. King Bhumibol, arranged by Nat Yontararak.
This recording project aims to archive three generations of composers living in present-day Thailand whose works fit exceptionally well for the solo piano. It is a part of my continuing efforts to open doors to future collaborations. As a Thai pianist, I am excited to be able to help foster a national identity through piano music.
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Emiya, Valentin. „Transcription automatique de la musique de piano“. Phd thesis, Télécom ParisTech, 2008. http://pastel.archives-ouvertes.fr/pastel-00004867.
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La transcription automatique de la musique (TAM) s'inscrit dans le champ de l'indexation audio et de la recherche d'informations musicales. Elle vise à extraire l'information relative aux notes jouées - début, fin, hauteur - dans un enregistrement numérique. Cette thèse aborde la TAM dans le cadre du piano, instrument difficile à transcrire par les systèmes actuels et qui occupe une place majeure d'instrument solo dans la musique occidentale. La problématique générale de la TAM étant vaste et complexe, nous exploitons certains aspects spécifiques du piano pour spécialiser la tâche, tout en abordant des thématiques générales comme l'estimation de fréquences fondamentales (F0) ou l'évaluation. Nous étudions tout d'abord la caractérisation spectrale des sons de piano pour la transcription à travers la distribution inharmonique des partiels, la modélisation de l'enveloppe spectrale des notes et celle du bruit. Nous proposons ensuite une méthode d'estimation de F0 isolées performante dans des conditions d'analyse difficiles qui sont réunies dans le cas du piano: les contraintes d'une fenêtre d'analyse courte et d'un registre étendu. L'estimation de F0 multiples et du degré de polyphonie est abordée via une modélisation conjointe paramétrique (autorégressive/à moyenne ajustée). Cette méthode spectrale s'intègre dans un système de TAM pour le piano analysant tout enregistrement avec des limites raisonnables en termes de polyphonie, de vélocité et de tessiture. Enfin, nous proposons de nouvelles métriques d'évaluation des transcriptions, un cadre d'évaluation de la qualité des métriques et une base de données de sons de piano pour l'estimation de F0 multiples et la TAM.
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Matambo, Lotta Eleonoora. „The solo piano music of Einojuhani Rautavaara“. Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1002311.
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Einojuhani Rautavaara's oeuvre is characterised by four distinctive creative periods, each demonstrating a remarkable variety of compositional idioms and styles. His application of multifaceted elements, often within a single work leading to notions of postmodernism, is derived from multifarious sources, such as (Finnish) folklore, Orthodox mysticism and a wide variety of standard twentieth century compositional techniques. Furthermore, Rautavaara regularly quotes from his own material, thus creating elements of auto-allusions within his oeuvre; a predisposition which forms an essential part of his compositional aesthetic. Analyses of eight piano works (1952-2007) provide a cross-section of Rautavaara's output which, together with a consideration of biographical factors and analytical focus on the intertextual elements of his writing, offers a rationale for determining the development of his musical identity. The analyses conclude that intertextual elements, which appear through a diverse array of expressive modes (such as mysticism, nationalism and constructivism) are an essential part of Rautavaara's eclectic compositional style and contribute to an understanding of the on-going development of his musical identity.
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Larson, Karl. „The Solo Piano Music of David Lang“. Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1350677010.
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Lewis, Ronald Edwin. „The solo piano music of Frederic Rzewski /“. Full-text version available from OU Domain via ProQuest Digital Dissertations, 1992.
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Dixon, Kyle Richard. „Ocean Waves: nine preludes for solo piano“. OpenSIUC, 2015. https://opensiuc.lib.siu.edu/theses/1748.
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Ocean Waves: Nine Preludes for Solo Piano is a collection of preludes that sets ocean waves and sea currents for piano. The preludes range from being minimal and sparse in content, to being melodic and heavy in material. Waves of notes are used to push in and out of new musical ideas throughout the preludes. The work experiments with note density, motivic growth, and multiple pitch centers and harmonic structures all while centering around the musical color of each prelude.
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Peng, Wenjuan. „Complete solo piano suites by Rodion Shchedrin“. Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6246.
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Minnis, Timothy John. „The original solo piano music of Albert Roussel /“. The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487256826304288.
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Ramopoulou, Lorenda. „La musique pour piano solo de Nikos Skalkottas“. Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040017.
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Ce travail est une étude sur le style et les références présentes dans l’œuvre pour piano solo de Nikos Skalkottas (1904-1949). Il (ré)intègre pour la première fois le compositeur dans le milieu des pianistes qu’il a connu pendant ses années berlinoises (1921-1933), en inscrivant l’œuvre dans son contexte et l’ensemble des références auxquelles elle renvoie. Une méthodologie analytique émerge de ces mises en relation, destinée à faciliter le travail de l’interprète et à révéler les composantes stylistiques du corpus. Une importance particulière est portée sur le raffinement du timbre des pianistes berlinois dans l’entre-deux-guerres, mis en valeur par le « son coloré » des Bechstein historiques. Cette observation devient le point de départ d’une série d’analyses graphiques, montrant le rôle de la texture et du timbre en tant qu’éléments compositionnels chez Skalkottas. Les analyses, destinées à être utilisées par les interprètes, dévoilent une interaction de la texture avec le schéma formel. Elles sont complétées par l’étude des pièces, groupées par pôles de référence pour l’ensemble du corpus. Ces références s’étendent de la musique baroque et de Beethoven au jazz dansant et à la musique légère, tout en incluant des éléments provenant de la musique grecque. Les deux approches choisies s’appuient sur des sources mises pour la première fois au service de ce répertoire et s’avèrent complémentaires. Elles ont comme but d’offrir aux pianistes des clés pour son interprétation, de le rendre plus accessible et de faciliter sa propagationThis thesis is a research into the style and influences on the solo piano works of Nikos Skalkottas (1904-1949). For the first time the composer is considered in relation to the pianistic milieu he was acquainted with during his Berlin years (1921-1933) and his oeuvre is examined in the light of its various references. A specific analytical methodology emerges from these influences, aiming at facilitating the performer’s work and revealing the stylistic components of the pieces. The refinement of the timbre in the playing of Berlin pianists in the interwar years, enhanced by the “coloured sound” of the Bechstein historical pianos, acquires a special importance. It leads to a series of analyses and graphs, showing the role of texture and timbre as compositional elements in Skalkottas’s piano music. The graphs, meant for the use of pianists, reveal an interaction between texture and form. This is complemented by the study of the piano pieces grouped according to their references; they extend from baroque music and Beethoven to dance jazz, light music, and Greek music elements. Both approaches can be justified from the study of primary sources, used for the first time in relation to this repertoire, and are complementary. By offering pianists new tools for its interpretation, the aim is to facilitate the access to this music and help its further promotion
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Kim, Min. „A study of Franz Liszt's Totentanz piano and orchestra version, and piano solo version /“. Lecture recital, recorded July 20, 2006, in digital collections. Access restricted to the University of North Texas campus. connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-5409.
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Thesis (D.M.A.)--University of North Texas, 2007.System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded July 9, 2001, Nov. 18, 2002, and Jan. 24, 2005, and July 20, 2006. Includes bibliographical references and discography (p. 32-34).
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Pace, Cynthia Margaret. „Ruth Crawford's final solo piano works : an analysis of FOUR PRELUDES FOR PIANO and PIANO STUDY IN MIXED ACCENTS /“. Access Digital Full Text version, 1989. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10903598.
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Thesis (Ed.D.)--Teachers College, Columbia University, 1989.Typescript; issued also on microfilm. Sponsor: Lenore M. Pogonowski. Dissertation Committee: Harold F. Abeles. Bibliography: leaves 322-324.
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O'Shea, Gary. „Prokofiev's early solo piano music : context, influences, forms, performances“. Thesis, University of Sheffield, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.632817.
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Gomes, Rafael Tomazoni. „O samba para piano solo de Cesar Camargo Mariano“. Universidade do Estado de Santa Catarina, 2012. http://tede.udesc.br/handle/handle/1523.
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This dissertation deals with relations between the piano musical instrument associated with european culture and difficul mobility and samba musical genre associated with low classes and a certain image of african-brazilian culture. Throughout the twentieth century, through the performance of pianeiros, the practice of the piano in samba established itself as a tradition that Cesar Camargo Mariano would to fall heir. The first two chapters stand out periods in which the piano works significantly in the history of samba: 1) from the late nineteenth century until the 1930s with musical genres that originated the samba through the pianeiros; 2) and in the 1960s, in formation of trio (bass, piano and drums), with the instrumental repertoire of bossa nova and samba-jazz. The third chapter consists of the analysis of three musical pieces recorded by Cesar Camargo Mariano in the album Solo Brasileiro (Polygram, 1994): Cristal, Samambaia and Minha Mágoa, which aims to recognize characteristic features of the tradition of pianeiros the musical text, as well as identify stylistic features of samba for solo piano by Cesar Camargo Mariano
Esta dissertação trata de relações entre o piano instrumento musical associado à cultura européia e de difícil mobilidade e o samba gênero musical associado às classes populares e a uma certa imagem da cultura afro-brasileira. Ao longo do século XX, através da atuação dos pianeiros, a prática do piano no samba se consolida como uma tradição da qual Cesar Camargo Mariano seria herdeiro. Nos dois primeiros capítulos, destacam-se períodos em que o piano atua de modo significativo na história do samba: 1) do final do século XIX até a década de 1930 com os gêneros musicais que originaram o samba, através dos pianeiros; 2) e na década de 1960, principalmente na formação de trio (baixo, piano e bateria), com o repertório instrumental de bossa-nova ou samba-jazz. O terceiro capítulo consiste na análise musical de três peças gravadas por Cesar Camargo Mariano no disco Solo Brasileiro (Polygram, 1994): Cristal, Samambia e Minha Mágoa, que tem como objetivo reconhecer elementos característicos da tradição dos pianeiros no texto musical, bem como identificar traços estilísticos do samba para piano solo de Cesar Camargo Mariano
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McMahon, Matthew Joseph. „Graded Constraints: A Practise Methodology For Solo Piano Improvisation“. Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/29255.
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This participant-observer study documents the development of a practise methodology for solo improvised piano performance. Through this research I seek to answer several questions: How can one effect change within a solo piano improvising language to provide for greater expression, agility, fluency and creativity? Can change be effected by a systematic approach to practise and what would such a system look like? How can such change be demonstrated?
The personalised, constraints-based approach developed here draws upon the insights and recorded performances of improvisers such as Herbie Hancock, Keith Jarrett, Marilyn Crispell and Craig Taborn, researcher/performers such as Vijay Iyer, Andrew Gander, and Phil Slater and theorists such as Jeff Pressing and David Borgo to develop a series of practise tasks I term the ‘Graded Constraints Process’. These tasks emerged from practise sessions consisting of unstructured improvisation. Procedures were developed to extend the musical discoveries that emerged from these practise sessions. The tasks require improvisation within various parameters and represent a step-by-step approach to skill acquisition, and also serve as a repository of tools and devices that can be deployed in actual improvised performance. These tasks are designed to increase improvisational agility and fluency, and to stimulate the generation of new musical material and improvisational pathways. I introduce the term ‘Option Field’ to describe the range of possibilities represented by each task, and recorded and transcribed examples of each task demonstrate the process of skill acquisition in action.
A recorded public performance is presented as a culmination of the Graded Constraints practise process, and the effect of the process upon my improvising language is revealed through an analysis of this performance. A studio recording represents a final artistic statement.
This research is driven specifically to serve the needs of the development of my personal improvisatory language, and emerges out of my own improvising practice, but it also offers an example of a methodical approach that other improvisers can utilise in pursuing their own unique, creative expressions. Insights from expert performers are collated and contextualised, providing a valuable resource for those interested in exploring approaches to solo improvisation.
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Severtson, Kirk A. „Poulenc's development as a piano composer a comparison of the solo piano works and the melodies /“. Cincinnati, Ohio : University of Cincinnati, 2005. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1117195467.
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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2005.Title from electronic thesis title page (viewed Mar. 1, 2006). Includes abstract. Keywords: Francis Poulenc; French melodies; Piano works. Includes bibliographical references.
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Buck, Bryony. „Gestural communication of music structure during solo classical piano performance“. Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/7452/.
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The production and perception of music is a multimodal activity involving auditory, visual and conceptual processing, integrating these with prior knowledge and environmental experience. Musicians utilise expressive physical nuances to highlight salient features of the score. The question arises within the literature as to whether performers’ non-technical, non-sound-producing movements may be communicatively meaningful and convey important structural information to audience members and co-performers. In the light of previous performance research (Vines et al., 2006, Wanderley, 2002, Davidson, 1993), and considering findings within co-speech gestural research and auditory and audio-visual neuroscience, this thesis examines the nature of those movements not directly necessary for the production of sound, and their particular influence on audience perception. Within the current research 3D performance analysis is conducted using the Vicon 12- camera system and Nexus data-processing software. Performance gestures are identified as repeated patterns of motion relating to music structure, which not only express phrasing and structural hierarchy but are consistently and accurately interpreted as such by a perceiving audience. Gestural characteristics are analysed across performers and performance style using two Chopin preludes selected for their diverse yet comparable structures (Opus 28:7 and 6). Effects on perceptual judgements of presentation modes (visual-only, auditory-only, audiovisual, full- and point-light) and viewing conditions are explored. This thesis argues that while performance style is highly idiosyncratic, piano performers reliably generate structural gestures through repeated patterns of upper-body movement. The shapes and locations of phrasing motions are identified particular to the sample of performers investigated. Findings demonstrate that despite the personalised nature of the gestures, performers use increased velocity of movements to emphasise musical structure and that observers accurately and consistently locate phrasing junctures where these patterns and variation in motion magnitude, shape and velocity occur. By viewing performance motions in polar (spherical) rather than cartesian coordinate space it is possible to get mathematically closer to the movement generated by each of the nine performers, revealing distinct patterns of motion relating to phrasing structures, regardless of intended performance style. These patterns are highly individualised both to each performer and performed piece. Instantaneous velocity analysis indicates a right-directed bias of performance motion variation at salient structural features within individual performances. Perceptual analyses demonstrate that audience members are able to accurately and effectively detect phrasing structure from performance motion alone. This ability persists even for degraded point-light performances, where all extraneous environmental information has been removed. The relative contributions of audio, visual and audiovisual judgements demonstrate that the visual component of a performance does positively impact on the over- all accuracy of phrasing judgements, indicating that receivers are most effective in their recognition of structural segmentations when they can both see and hear a performance. Observers appear to make use of a rapid online judgement heuristics, adjusting response processes quickly to adapt and perform accurately across multiple modes of presentation and performance style. In line with existent theories within the literature, it is proposed that this processing ability may be related to cognitive and perceptual interpretation of syntax within gestural communication during social interaction and speech. Findings of this research may have future impact on performance pedagogy, computational analysis and performance research, as well as potentially influencing future investigations of the cognitive aspects of musical and gestural understanding.
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Dreyer, Nancy, und Nancy Dreyer. „A Guide to the Solo Piano Music of Richard Faith“. Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/626225.
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Campinho, Miguel Audaciano. „Oscar da Silva (1870--1958) Life and Solo Piano Works“. Thesis, University of Hartford, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3701473.
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This essay presents the life and works for solo piano of Portuguese composer and pianist Óscar da Silva (1870–1958). It is the first publication dedicated solely to Óscar da Silva in the English language. It also presents the first chronological catalogue of da Silva’s solo piano works. It includes both published and unpublished works, encompassing all of the extant music available in several libraries in Portugal. Óscar da Silva studied with Adolf Ruthardt and Carl Reinecke in Leipzig and with Clara Schumann in Frankfurt. He was the most prolific composer of piano music of his generation in Portugal, and one of the most prolific ever in Portuguese piano music. His life is marked by the end of the monarchy in Portugal, the rise and fall of the first republic, and by Estado Novo. His music ranges from German romanticism to modernism. His works are also emblematic of saudosism, a Portuguese nationalistic movement not previously studied in music.
This essay was submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Piano Performance, at The Hartt School, University of Hartford, on March 23, 2015.
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Carrasco, Ana Cristina Pereira Rosa Pascoalinho. „Recognition of nonstationary signals with particular reference to the piano“. Thesis, University of Southampton, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.274068.
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Peeva, Adela Nikolova. „The Bulgarian Folklore Influence in Selected Works for Solo-Piano and Violin-Piano Duo of Pancho Vladigerov“. Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/101.
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The main goal of this paper is to discuss the tradition of Bulgarian folk music based on three significant folk-inflected compositions by Pancho Vladigerov, and thereby to contribute to the literature on Vladigerov's compositional style and influences. For this purpose, I have chosen three of his most popular and frequently performed compositions which are also representative of the stylistic trends in his music. They are: Bulgarian Rhapsody (op.16, 1922) for Violin and Piano, Song from Bulgarian Suite (op.21, 1927) for Violin and Piano and Shumen Miniatures (op. 29, 1934) for Solo Piano.
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Silveira, Raísa Farias. „Mediações nos choros para piano solo de Radamés Gnattali (1906-1988)“. Universidade do Estado de Santa Catarina, 2016. http://tede.udesc.br/handle/handle/2507.
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In general, mediation is a recurrent issue when talking about Radamés Gnattali, even if it is not directly referred to. In this study the issue has been called into the foreground, in an intent to recognize the ways in which this mediatorial trait is expressed in the choros for solo piano entitled Manhosamente, Canhoto and Negaceando, all of them composed in the 1940s. Considering that Radamés is not an isolated case in Brazilian music, nor in music produced in the West as a whole, this study proposes a discussion about the impact of the development of mass media in the transition from the 19th to the 20th century, using Jacques Attali’s “Noise: The Political Economy of Music” (2003 [1977]) and Jesús Martín-Barbero’s “Dos meios às mediações: comunicação, cultura e hegemonia” (2009 [5ªedição]) as main references. Roberto Schwarz’s studies on national identity in the work of the Brazilian writer Machado de Assis have also been used as reference. His studies present an alternative to recurrent concepts of Brazilian nationalism, particularly that of musical nationalism coined within the modernist movement in the beginning of the 20th century, whose main mentor was Mário de Andrade. Whilst on the one hand romantic nationalism was characterized through the choice of nationalistic themes and modernist nationalism in the assimilation of material derived from folklore, the kind of nationalism which we identified in Radamés refers primarily to processes of cultural mediation.
Em linhas gerais, a temática da mediação está sempre presente quando o assunto é Radamés Gnattali, mesmo que de forma indireta. Nesta investigação propomos colocar o tema em primeiro plano, buscando reconhecer de que forma este caráter mediatório se manifesta no repertório por ele composto, mais especificamente nos choros para piano solo, Manhosamente, Canhoto e Negaceando, datados da década de 1940. Partindo do princípio de que Radamés não seria um caso isolado dentro da música brasileira, tampouco dentro dos fluxos de produção musical a nível do ocidente como um todo, a pesquisa coloca em diálogo as leituras sobre o impacto do desenvolvimento dos meios de comunicação massivos na transição do século XIX para o século XX propostas por Jacques Attali no livro Noise: The Political Economy of Music (2003 [1977]), e por Jesús Martín-Barbero, no livro Dos meios às mediações: comunicação, cultura e hegemonia (2009 [5ªedição]). Soma-se a estas duas referências a proposta de identidade nacional reconhecida pelo crítico Roberto Schwarz em análises sobre obra de Machado de Assis. Seus estudos nos interessam como alternativa aos conceitos correntes de nacionalismo, particularmente o de nacionalismo musical cunhado no âmbito do movimento modernista do início do século XX, cujo principal mentor foi Mario de Andrade. Enquanto, por um lado, o nacionalismo romântico caracterizava-se pela escolha da temática e o nacionalismo modernista na assimilação de materiais oriundos do folclore, o tipo de nacionalismo que identificamos em Radamés refere-se prioritariamente a processos de mediação cultural.
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Littleton, Laurann. „An analysis of Martino's Fantasies and impromptus for solo piano (1981) /“. Digitized version, 1986. http://hdl.handle.net/1802/1235.
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Thesis (M.A.)--University of Rochester, 1986.Typescript (Photocopy). Includes bibliographical references (leaf 173). Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/1235
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Hsieh, Cheng-Feng. „Beyond traditional perspective the solo piano waltz in the twentieth century /“. Cincinnati, Ohio : University of Cincinnati, 2008. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1208829080.
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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2008.Committee/Advisosr: Sandra Rivers (Committee Chair), Eugene Pridonoff (Committee Member), Elisabeth Pridonoff (Committee Member). Title from electronic thesis title page (viewed Sep.3, 2008). Includes abstract. Keywords: solo piano waltz; the twentieth century waltz; watlz; Maurice Ravel; Erik Satie; George Gershwin; Francis Poulenc; Aaron Copland; Ross Lee Finney; Arnold Schoenberg; William Alwyn; Morton Gould; Eduard Pütz; Robert Helps; Waltzes by 25 Contemporary C. Includes bibliographical references.
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Outland, Joyanne Jones. „Emma Lou Diemer : solo and chamber works for piano through 1986“. Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/519286.
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Chapter I. Emma Lou Diemer, currently Professor of Composition at the University of California at Santa Barbara, is an excellent representative of the mainstream of twentieth- century American music. Born in 1927 in Kansas City, Missouri, she began composing at an early age, motivated by her improvisations at the piano. She received a Bachelor of Music and a Master of Music from Yale and a Doctor of Philosophy from Eastman, all in composition.Diemer's career has encompassed teaching in the public schools and at the university level, working as a church organist, and performing publically on all of her keyboard instruments. Her compositional output reflects this diversity. In 1959, she was the only woman in the first group of young composers to be awarded Ford Foundation Grants, for which she was assigned to the secondary schools of Arlington, Virginia. During this time, the simpler works for the bands and choirs resulted in requests from publishers and commissions from many sources, for choral works in particular. These have since become her largest category of compositions. However, she has also written some twenty-six chamber and solo works for piano. This body of music, which reflects both her many influences and her unique style, constitutes an outstanding contributionto her art.Chapter II. Her earliest works reflected her stated models, Rachmaninoff, Debussy, and Gershwin, in their programmatic titles, energetic rhythms, and full keyboard sound. In them one can see her affection for low sustained resonant tones and for Prokofiev-like brilliant high register sounds. She frequently used chord structures in thirds, but employed a deliberately atonal harmonic framework.Chapter III. At Yale, she fell under the neoclassic influence of Hindemith. Her forms tightened and her harmonic language centered on tonics and key schemes resembling traditional modes. Features seen in the early works became pervasive: motivic melodic construction, ametric and syncopated rhythms in a strongly metric context, ostinatos in all registers, imitative textures, structured fugues, and a Bartokian control of harmony by intervals, particularly the fourth and fifth.Chapter IV. With the solo piano works, she melded the neoclassic structured language with her earlier romantic style. Ideas once again flowed directly from improvisations, while she also wrote her first large twelve-tone work.Chapter V. In the 1970's, she combined the sonorities of the electronic world with intrinsically pianistic techniques, including the new sounds of the avant-garde. Rhythm returned as pulsing beats, contrasted with free and aleatoric sections. Neoclassic motivic development generated dramatic forms.Chapter VI. Diemer integrates many techniques, new and old, into a highly successful and personal style, one which places ultimate value on expression and communication. Retaining a strong tie to the past, she is a cautious explorer, rarely breaking new ground, but eventually encompassing even the most advanced trends into wonderfully effective works.
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Chardas, Kostas. „Yannis A. Papaioannou : the music for solo piano up to 1960“. Thesis, University of Surrey, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.435103.
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HSIEH, CHENG-FENG. „Beyond Traditional Perspective: The Solo Piano Waltz in the Twentieth Century“. University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1208829080.
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MARGETTS, JAMES ANOR. „Echoes of Venice: The Origins of the Barcarolle for Solo Piano“. University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1218894990.
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Bastos, Patrícia Carla Ferraria Lopes. „As sonatas e sonatinas para piano solo de Fernando Lopes-Graça“. Doctoral thesis, Universidade de Aveiro, 2007. http://hdl.handle.net/10773/8976.
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Doutoramento em MúsicaNeste projecto abordamos o estudo das sonatas e das sonatinas para piano solo de Fernando Lopes-Graça na teoria e na prática. É o próprio compositor quem nos indica o caminho para uma melhor compreensão da sua arte: a linguagem dos sons. Tenta-se fundir o conhecimento adquirido por meio da investigação com a interpretação pianística, numa prédica semelhante à Interpretação Histórica (‘Performance Practice’). Na Primeira Parte (theoria) expõem-se dados factuais com uma introdução à vida e obra deste artista português, a sua relação com o piano e o conceito de forma no processo criativo. Na Segunda Parte (poiesis), a análise das sonatas e das sonatinas é feita aplicando diferentes perspectivas para uma melhor dilucidação de cada obra. A Terceira Parte (praxis) inclui as diversas actividades exercidas ao longo deste trabalho, nomeadamente conferências e concertos, a edição revista das seis sonatas e duas sonatinas (com base no estudo analítico das obras), publicada pela Universidade de Aveiro, e um CD-ROM, com os quadros descritivos, gráficos, imagens dos originais manuscritos e gravações áudio interpretadas por Patrícia Lopes Bastos.
In this project, we undertake the study of the sonatas and sonatinas for piano solo by Fernando Lopes-Graça in theory and practice. It is the composer himself who indicates the way to better understand his art: the language of sound. We try to blend the knowledge obtained through investigation with performance practice. In Part-I (theoria) we expose factual data with an introduction to the life and work of this Portuguese artist, his relation to the piano and the concept of form in the creative process. In Part-II (poiesis), the analysis of the sonatas and sonatinas is made applying different perspectives for a better dilucidation of each piece. Part-III (praxis) includes the different activities developed along this work, namely conferences and concerts, the reviewed edition of the six sonatas and two sonatinas (based on the analytical study of these pieces), published by the Universidade de Aveiro, and a CDROM, with the descriptive charts, graphics, images of the original manuscripts, and audio recordings performed by Patrícia Lopes Bastos.
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Margetts, James Anor. „Echoes of Venice the origins of the Barcarolle for Solo Piano /“. Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1218894990.
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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2008.Advisors: Robert L. Zierolf PhD (Advisor), Frank M. Weinstock MM (Committee Member), Stephanie P. Schlagel PhD (Committee Member) Title from electronic thesis title page (viewed Oct. 4, 2008). Includes abstract. Keywords: barcarolle; Mendelssohn; Chopin; seventeenth-century opera; Gondellied; Venice Includes bibliographical references.
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Wan, Mengying. „“INSTANTS D’UN OPERA DE PEKIN” FOR SOLO PIANO BY QIGANG CHEN“. UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/132.
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My monograph focuses on the Instants d’un Opera de Pekin by the contemporary Chinese composer Qigang Chen in particular how he incorporates Chinese musical elements with Western compositional techniques.
The main focus of this study is an analysis with emphasis on performance issues. A brief introduction to Chinese music elements is provided to establish a context. This document provides brief information about Chinese scale modes and instruments.
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Nöthling, Grethe. „A performance guide to Arnold Van Wyk's early solo piano compositions“. Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/4708.
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The aim of this study is to describe, explicate and make technical and musical suggestions regarding the solo piano compositions of Arnold van Wyk. A pianist himself, Arnold van Wyk, born on April 26th, 1916, was one of South Africa's foremost composers of the previous century. He composed many of his most important works for the piano. Although he composed during a time when some of the most radical musical innovations in composition for centuries were taking place, Van Wyk's compositional style references the Romantic and Impressionistic eras. The reason for this could be located in the reception circumstances of his works (conservative audiences) and in his biographical context: he developed an admiration for mostly Romantic art music in a society that was far removed from the thrust of avant-garde developments in Europe and the United States. Although he studied in London at the Royal Academy of Music (1938-1946) he never wanted to settle abroad and had a strong desire to return to his South African roots. This is part of the reason what makes his music unique- being born and raised in South Africa with little compositional training, but still being able to compose music that related to the Western music culture, praised by writer Howard Ferguson and pianist Dame Myra Hess while in London. Van Wyk performed all of his own piano music and he gave recitals till shortly before his death in 1983. His favorite repertoire was taken from the early Romantic period, especially Schubert. He also played a great deal of Mozart and Haydn. Van Wyk's approach to the piano was a coloristic one. He was technically never very secure or proficient, but set great store by the range of color he could attain at the piano. Still, his pieces do require the technique and musical understanding of the advanced student and could be an asset to any undergraduate or graduate music student's repertoire. Taking into consideration both matters of style (his neo-Romantic harmonic idiom, his preference for sonata form, his conservative approach to rhythm) and matters of his own performance preferences and limitation as a pianist, this study proposes to take a practical approach towards describing, explaining and suggesting appropriate musical and technical approaches to Van Wyk's piano music. The music that will be included in this study is Pastorale e capriccio, Nagmusiek [Night Music] (the largest solo piano work) and Four piano pieces.
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DuHamel, Ann Marie. „Magical, dissonant, fantastic beauty: the solo piano nocturnes of Lowell Liebermann“. Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/4618.
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This thesis explores the eleven solo piano nocturnes by living American composer Lowell Liebermann (b. 1961), to serve as a performer's guide. Characteristics of previous nocturnes provide historical context for Liebermann's pieces, illustrating similarities to the style developed by John Field, Frédéric Chopin, and Gabriel Fauré. Other musical influences on Liebermann, such as Ludwig van Beethoven and Ferruccio Busoni, demonstrate his relationship to the Western art music tradition and placement within the canon. Four distinct facets of Liebermann's musical style are presented: his reliance on traditional formal practices, motivic coherence, his particular harmonic vocabulary, and his use of texture. Liebermann's works use consonant triads, third relations, and smooth voice leading; because of these features, Neo-Riemannian models are suggested as a potential lens through which to view and analyze these pieces. In particular, hexatonic systems and their depiction of the musically "uncanny" relate to how Liebermann's music can have a sort of "defamiliarizing" and destabilizing effect on the listener. The salient musical features of motivic coherence, harmonic relationships, and formal innovations within tradition are presented for each nocturne alongside descriptions of musical character, to capture the essence and spirit contained within the works. The pieces verge on the fantastic and the rhapsodic, demonstrating Liebermann's imaginative approach to tradition. By utilizing a harmonic language that both synthesizes gestures of the past with a rich history of suggestive emotional content, and that innovates with a more modern and dissonant sensibility, Lowell Liebermann has achieved a distinctive musical vocabulary that captures the poetic and dark essence of nocturnes.
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Zamparas, Grigorios. „Beethoven's Piano Concerto in E-Flat WoO 4: A Piano Reduction of the Full Orchestral Score Based on Jon Ceander Mitchell's Reconstruction“. Scholarly Repository, 2007. http://scholarlyrepository.miami.edu/oa_dissertations/6.
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Beethoven wrote his earliest piano concerto, the Piano Concerto in E-Flat Major WoO 4, in 1784-85. The surviving manuscript copy contains the solo part complete and a piano reduction of all orchestral passages (Tutti) whenever the soloist is not playing. That manuscript also includes Beethoven's cues for an instrumentation consisting of strings, horns and flutes. Eminent Beethoven scholar Willy Hess completed his own reconstruction of the concerto in 1943. His version has been recorded three times, but only one is currently available on the Philips label (442580-2). The newest reconstruction of the concerto, created by Professor Jon Ceander Mitchell in 2003, is presented in this study in the form of a piano reduction (as a two-piano critical edition). This present edition, edited by Dr. Mitchell and the author of this essay, retains Beethoven's instrumentation and restores the endings of the second and third movements (which were changed by Willy Hess). This study also includes a piano cadenza for the first movement, which is a free composition by the author. It also discusses both available restorations of this work and some of the concerto's interpretative issues.
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Severtson, Kirk A. „Poulenc’s Development as a Piano Composer: A Comparison of the Solo Piano Works and the aMélodies“. University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1117195467.
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Whiteley, Daniel H. „A graded list of solo piano sonatas written by American-born composers between 1950 and 1975“. Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/469094.
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The purpose of this study was to develop and apply an experimental grading system to sonatas written by American-born composers from 1950 to 1975. Although several authors have addressed the problem of grading or classifying piano music, there are generally no precise criteria provided to substantiate the validity of their systems. The present author discovered some significant and innovative yet generally neglected piano sonatas.The grading system in this research was based on the physiological factors effecting the pianist's development. These factors include: 1) Equality of Fingers (finger independence and mobility); 2) Passage of the Thumb (scales and arpeggios); 3) Double-Note and Polyphonic Playing; 4) Extensions (stretches between the fingers); and 5) Arm Rotation (execution of chords and octaves). In addition, since factors such as retuning of the instrument., polyrhythms, and improvisation can make a moderate or intermediate piece into a difficult one, a Special Problem category was added.Each of the six physiological divisions are assigned a numerical. difficulty level from one to ten. The divisions are then averaged and assigned a final "grade" as follows:Easy 1 (E-1)=1.0-1.9; Easy 2 (E--2)=2.0-2.9; Moderate 1 (M-1)--3.0--3.9; Moderate 2 (M-2)=4.0-4.9; Intermediate 1 (I-1)=5.0--5.9; Intermediate 2 (I-2)=6.0-6.9; Difficult. 1 (D-1)=7.0--7.9; Difficult 2 (D-2)=8.0-8.9; Virtuoso (V)=9.0.Eighty--six sonatas were reviewed and graded. These compositions represent a broad selection of works of various degrees of difficulty. By knowing the student's abilities and needs, the piano instructor may use this study to select sonatas that correspond to the appropriate level of attainment.Of the works reviewed, the majority fall into the Moderate category. This was not an unusual finding in that certain pianistic development is required before being able to play the scores. The grading system differs from previous systems in that it provides criteria for the placement of the works into a difficulty rating based on the physiological factors affecting the pianist's development.
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Araujo, Filho Alfeu Rodrigues de. „Timbres e ritmatas para piano solo de E. Villani-Côrtes = conceito, análise e interpretação pianística“. [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284441.
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Orientador: Mauricy Matos MartinTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A pesquisa descreve, inicialmente, o conceito do compositor Edmundo Villani- Côrtes. O foco principal está em apresentar um estudo analítico dos Timbres e Ritmatas do compositor em questão, sob o ponto de vista da prática interpretativa. Constam, nos anexos, os manuscritos (documento Histórico); as partituras digitalizadas; a musicografia e a discografia do compositor em ordem cronológica
Abstract: This research initially describes the concept of the composer Edmundo Villani- Côrtes. The main focus is to present an analytical approach from the composer's Timbres and Ritmatas, taking the performance into consideration. Manuscripts (historical document), digitized music scores and a compilation of the composer's musical pieces and records, were included in this work annex in chronological order
Doutorado
Praticas Interpretativas
Doutor em Música