Journal articles on the topic 'Keyboard compositions'
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Bond, Ann. "[Various Keyboard Compositions]." Musical Times 128, no. 1732 (June 1987): 353. http://dx.doi.org/10.2307/1193763.
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Сербин, Павел Георгиевич, and Аскольд Владиславович Смирнов. "Composer Ivan Pratsch and His Instrumental Music." Научный вестник Московской консерватории, no. 1(48) (March 31, 2022): 116–49. http://dx.doi.org/10.26176/mosconsv.2022.48.1.03.
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На основе разнообразных старинных и современных источников предпринята попытка реконструкции биографии известного композитора и фортепианного педагога Ивана Прача (ок. 1750-1818). Подробно освещаются его контакты в музыкальной среде Санкт-Петербурга конца XVIII - начала XIX веков, а также клавирное и камерно-инструментальное творчество, в том числе приводятся новые сведения о трех наиболее масштабных сочинениях: Фанданго для клавира, Большой сонате для виолончели и клавира, транскрипции фортепианного квартета В. А. Моцарта Es-dur K. 493 для двух клавиров. В качестве приложения к статье впервые публикуется подробный список сочинений Прача, включающий в себя информацию обо всех обнаруженных на сегодняшний день произведениях композитора. Basing on a variety of historical and modern sources, the article seeks to reconstruct the biography of the famous composer and piano teacher Ivan Pratsсh (c. 1750-1818). His contacts in the musical circles of St. Petersburg of the late 18th and early 19th centuries, as well as little-known aspects of his activity as the author of keyboard and chamber music are covered in detail, including new data on three of his large-scale compositions: Fandango for keyboard, Grand sonata for cello and keyboard, and Transcription of Mozart’s piano quartet Es-dur K. 493 for two keyboards. As an appendix to the article, a detailed list of Pratsсh’s musical oeuvre is published for the first time, covering information on every work by the composer discovered to date.
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Fatianova, Elena Alekseevna. "Transcription for a synth keyboard (the case study of the work of A. Artemiev, V.Martynov, Yu. Bogdanov - the disc “Metamorphoses”)." PHILHARMONICA. International Music Journal, no. 5 (May 2021): 41–55. http://dx.doi.org/10.7256/2453-613x.2021.5.36938.
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The author analyzes the experience of transcription of the compositions of J. Bull, C. Monteverdi, J. Bach, C. Debussy and S. Prokofiev for a synth keyboard Synthi 100 done by the Russian composers A. Artemiev, V. Martynov, Yu. Bogdanov in 1980, and released on the disc “Metamorphoses”. The author also considers the composers’ range of artistic tasks and sound solutions and the variants of work with the texture of the original compositions. The electronic interpretations, contained in the “Metamorphoses”, not only demonstrate the examples of transcribing the original text for a synth keyboard, but also illustrate the 4 criteria of electronic music formulated by K. Stockhausen: unified temporal structuring (a common temporal field), the disintegration of sound, a multidimensional spatial composition, and the equality of the tone and the noise. In spite of the fact that the transcription of classical music pieces for a synth keyboard was carried out by the Russian composers several decades ago, this experience hasn’t been studied yet. Probably, it is explained by the fact that the analysis and description of electronic music using traditional means is complicated, since the material under study is not noted: all transformations carried out by the interpreter are fixed only in the audiorecord. The analysis of transcriptions is complicated by the fact that electronic instruments are regularly upgraded and transformed, and therefore their artistic capacity is increased. The change of instruments caused the transformation of approach to music art. The article analyzes the transformation of the author’s text, the transformation of a piano texture into the electronic score, and the role of the arranger as a co-author of the composition.
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Owczarek-Ciszewska, Joanna. "Hammer mechanism instruments and their role in shaping the composition style of pieces written for keyboard instruments in the period of 1730-1780, part 3 – Keyboard instruments in concert halls and in the high society." Notes Muzyczny 1, no. 11 (June 28, 2019): 43–64. http://dx.doi.org/10.5604/01.3001.0013.3521.
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The present text is the third and last part of the cycle of articles devoted to keyboard instruments with hammer mechanism in the 18th century published in subsequent issues of the magazine “Notes Muzyczny”. The first two parts primarily touched on the history of keyboard instrument making in the 18th century: first pianos and other original inventions. The third part is in turn devoted to the changing position of the piano in the musical life of that period, namely – concerts, publications and compositions. The crowning of this part is the chronological and topic-related list (in a form of a reference chart) of the most significant phenomena and events discussed in the whole cycle of articles. The first mentions of a wider presence of keyboard instruments with hammer mechanism on the music market and concert life date back to the 1760s. In the 1770s there was a fast growth in the popularity of these instruments in the life of the high society, first of all in England and France (table instruments), as well as in Germany, even though there it took slightly more time because of the domination of the traditional clavichord. Due to the imprecise nomenclature used as long as until the 1780s and 1790s, it is often hard to decide which keyboard instrument was meant in a given case, hence it is impossible to assess how popular a specific instrument was. Some academics suggest that the presence of instruments with hammer mechanism in the musical life of that period was much greater than in might seem. Probably both hammer and tangent pianos and their other variants were not opposed to harpsichords but were treated as a special type within the same group of instruments. In the 1780s musical pieces written for both keyboard instruments, i.e., “for harpsichord or piano”, became the norm. Despite the increase in popularity of pianos (as compared to harpsichords) in the 1790s, such designation would remain on title pages of compositions until the end of that century. The period between the 1780s and 1790s was also the time when the first piano playing textbooks appeared. Expanding expressive capacities of keyboard instruments was the response to the changing needs of the galant and Empfindsamkeit styles. On the other hand, the presence of pianos had a significant influence on the styles of specific compositions. In order to illustrate these processes, the annex presents the analyses of two representative cycles of works from the 1760s written for the new instrument: Sonatas op. 1 by Johann Gottfried Eckard and Sonatas op. 5 by Johann Christian Bach.
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Bray, J. "Christopher Gibbons, Clare G. Rayner and John Caldwell eds., Keyboard compositions." Early Music XXI, no. 1 (February 1, 1993): 121–27. http://dx.doi.org/10.1093/em/xxi.1.121.
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Ploch, Tomasz. "PROBE-STÜCKE By Carl Philipp Emanuel Bach. The Teaching and the artistic aspects of the cycle1." Notes Muzyczny 1, no. 13 (June 9, 2020): 95–123. http://dx.doi.org/10.5604/01.3001.0014.1942.
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The article discusses the cycle of didactic pieces by Carl Philipp Emanuel Bach entitled Probe- Stücke, included in one of the most important works of that composer, i.e. Essay on the True Art of Playing Keyboard Instruments. The text, which was first published in 1753, to this day remains a valued source of knowledge about the period and a helpful support in the process of education. It seems that the cycle of compositions included with the essay is little known and there are very few sources where we can find information about it. In this respect, practical playing schools by Johann Sebastian Bach are much more popular and are used frequently in music education. It is hardly surprising as today the Leipzig cantor is duly regarded as one of the greatest composers in the history of music. However, the renaissance of the creative output of his son Carl Philipp Emanuel that we observe nowadays, seems to be the right moment to pay attention of music lovers also to the collection of didactic works of that composer. They may turn out to be the key to understand his compositions and also an important element for the field of learning to play keyboard instruments. The cycle includes a complete presentation of genres, various playing techniques, articulations, ornaments, and each part represents a diffe- rent character, a different affect. Listed elements, combined with the composer’s individual style, make the Probe-Stücke a perfect material for teaching keyboard instrument playing. In the article we will find a discussion on the works in the context of the composer’s remarks included in the theoretical part of the essay. Further on the author focuses on the analysis of the compositions in the Probe-Stücke and attempts to evaluate the usefulness of the cycle for teaching purposes as well as its artistic qualities.
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Bocharov, Yury S. "Voluntary and Lesson in English Music Sources of the 17th and 18th Centuries." Vestnik of Saint Petersburg University. Arts 12, no. 4 (2022): 562–90. http://dx.doi.org/10.21638/spbu15.2022.401.
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The article focuses on the use Voluntary and Lesson as terms in the English musical practice in the 17th and 18th centuries. Based on the unique example of the interpretation of these terms as synonyms in edition of Carl Trinks’s organ pieces in 1810 (this fact is remained unnoticed in musicology), the author compares Voluntary and Lesson, noting, first of all, significant differences in the use of these specific names of musical compositions and also paying attention to the reflection of this practice in the general and musical lexicographic sources of that time. The author also criticizes a number of ideas that have already been established in Western musicology. For example, he does not agree with the interpretation of a small fragment from the “Mulliner Book” entitled Voluntarye as an independent keyboard piece by R. Farrant, and he doubts the real existence of the 12-movement J. Ch. Pepush’s Voluntary (published only in 1988) as a single musical work. But most importantly, he opposes spread of the Voluntary concept to all polyphonic organ works by English composers of the 17th and 18th centuries (including organ compositions from M. Locke’s “Melothesia”, many Th. Roseingrave’s fugues, etc.). The author notes the term Lesson was used more variously than modern musicology interprets, extending not only to solo (mainly keyboard) music, but also compositions for melodic instruments with basso continuo and even ensembles, as well as instructive exercises and simple compositions for beginners.
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Dean, Roger Thornton, and Marcus Thomas Pearce. "Algorithmically-generated Corpora that use Serial Compositional Principles Can Contribute to the Modeling of Sequential Pitch Structure in Non-tonal Music." Empirical Musicology Review 11, no. 1 (July 8, 2016): 27. http://dx.doi.org/10.18061/emr.v11i1.4900.
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We investigate whether pitch sequences in non-tonal music can be modeled by an information-theoretic approach using algorithmically-generated melodic sequences, made according to 12-tone serial principles, as the training corpus. This is potentially useful, because symbolic corpora of non-tonal music are not readily available. A non-tonal corpus of serially-composed melodies was constructed algorithmically using classic principles of 12-tone music, including prime, inversion, retrograde and retrograde inversion transforms. A similar algorithm generated a tonal melodic corpus of tonal transformations, in each case based on a novel tonal melody and expressed in alternating major keys. A cognitive model of auditory expectation (IDyOM) was used first to analyze the sequential pitch structure of the corpora, in some cases with pre-training on established tonal folk-song corpora (Essen, Schaffrath, 1995). The two algorithmic corpora can be distinguished in terms of their information content, and they were quite different from random corpora and from the folk-song corpus. We then demonstrate that the algorithmic serial corpora can assist modeling of canonical non-tonal compositions by Webern and Schoenberg, and also non-tonal segments of improvisations by skilled musicians. Separately, we developed the process of algorithmic melody composition into a software system (the Serial Collaborator) capable of generating multi-stranded serial keyboard music. Corpora of such keyboard compositions based either on the non-tonal or the tonal melodic corpora were generated and assessed for their information-theoretic modeling properties.
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Pilch, Marek. "Harpsichord or piano? Different concepts in the 18th century keyboard music." Notes Muzyczny 1, no. 9 (June 20, 2018): 65–87. http://dx.doi.org/10.5604/01.3001.0012.9899.
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The article touches on the problem musicians come across while referring to compositions without a specified instrument they were meant for. This problem is particularly noticeable in the harpsichord music from the end of the 18th century when there were numerous keyboard instruments. Some of them, so to say, were at the end of their career (harpsichord, clavichord), others only at the beginning (piano). The author of the article is primarily interested in the dependency between the piano and the harpsichord, so he asks himself whether keyboard music from the Classical period can still be part of the harpsichord repertoire and to what degree harpsichord performances of Classical compositions can be justified in performance practice. The problem is discussed especially in reference to music by W.A. Mozart. The article presents the history of views on the possibility of Mozart’s works to be performed on historical instruments. It also provides the most up-to-date information on the position of the harpsichord at the end of the 18th century. The last part of the article discusses this instrument’s role in the creative output of W.A. Mozart. It is mainly based on the latest knowledge Siegbert Rampe acquired in recent years.
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Woolley, Andrew. "From Arrangements to New Compositions: Seventeenth-Century French Dance Music in Portuguese and Spanish Keyboard Sources to 1720." De musica disserenda 16, no. 1 (March 10, 2020): 9–35. http://dx.doi.org/10.3986/dmd16.1.01.
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Focussing on four keyboard manuscripts, this article discusses the dissemination, arrangement and adaptation of French-style dance music in Portugal and Spain in the late seventeenth and early eighteenth centuries. It highlights the importance of short scores in facilitating its transmission and discusses how adaptations accorded with local tastes and practices.
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Rabin, Ronald J., and Steven Zohn. "Arne, Handel, Walsh, and Music as Intellectual Property: Two Eighteenth-Century Lawsuits." Journal of the Royal Musical Association 120, no. 1 (1995): 112–45. http://dx.doi.org/10.1080/02690403.1995.11828226.
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In 1773 Johann Christian Bach filed a bill of complaint in Chancery for breach of musical copyright, initiating what was to become a landmark case in British copyright law. Bach claimed that the publishing firm of Longman, Lukey & Co. had brought out unauthorized editions of two of his compositions: a ‘new lesson for the Harpsichord or Piano Forte’ and a ‘new Sonata’ for keyboard and viola da gamba.
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Pilch, Marek. "Performance topics in harpsichord music in the second half of the 18th century – Part 1." Notes Muzyczny 1, no. 11 (June 28, 2019): 29–42. http://dx.doi.org/10.5604/01.3001.0013.3520.
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The present article is connected in terms of its topic with the text entitled Harpsichord or piano? Different concepts in the 18th century keyboard music published by the author in “Notes Muzyczny” no. 1 (9) 2018, and it is the continuation of the discussion on the capacities and ways of performance of music from the Classical period, which is now understood as piano music, on the harpsichord. Subsequent parts will touch on peculiar performance topics connected with the role of the harpsichord in that period: the understanding and rendering of the dynamics, the performance of arpeggios, and the ornamentation. The starting point of the author’s deliberations is the textbook by Daniel Gottlob Türk entitled Klavierschule oder Anweisung zum Klavierspielen für Lehrer und Lernende mit kritischen Anmerkungen. (Leipzig, Halle 1789) and textbooks by other theoreticians of that period (J. J. Quantz, C. Ph. E. Bach), as well as modern publications (F. Neumann, C. Brown, S. Rampe, J. Trinkewitz). The possibility of the rendering of the dynamics understood as the capacity to influence the strength of single sounds is not the necessary condition for performing keyboard compositions from the second half of the 18th century. Neither is it the feature placing keyboard instruments in any particular hierarchy of values. In the 18th century sources it is hard to find any opinions stating that harpsichords were perceived as worse than other keyboard instruments due to the impossibility of shaping the dynamics of individual sounds. The most significant remarks referring to the performance are the topics connected with expression. The dynamics is not the only mean thanks to which a performance becomes expressive. It is possible to play in an expressive way on the harpsichord, yet it is achieved thanks to articulatory measures, agogic nuances, the right way of hitting keys and the proper selection of texture while playing basso continuo.
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Alexeyeva, Irina V., and Olga Yu Kirsanova. "The “Notebooks” of Leopold Mozart (“Die Notenbücher der Geschwister Mozart”) As a Specimen of Instructive Compositions." ICONI, no. 1 (2019): 92–101. http://dx.doi.org/10.33779/2658-4824.2019.1.092-101.
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One of the interesting realms of contemporary musicology is the issue of study and evaluation of the historical musical text of the early classical period, remote from us in terms of time. No less significant is the comprehension of its didactic potential, as well as the adaptation of scholarly results of research and their application in pedagogical practice. More relevant is the study of the techniques of interaction on the part of the performer with this musical text. The article acquaints the readers with the unique album for clavier, absent in Russian performing and instructive practice — “Die Notenbücher der Geschwister Mozart” in its original version. Its study presents the possibility to immerse into the specificity of the artistic content and pedagogical “secrets” of one of the opuses of the instructive direction reflecting the specificity of 18th century instrumental music-making. Analytical immersion into the musical text of the “Notebooks” (such is the version of the translation of the title of the analogous albums of J.S. Bach, according to Russian publishers) as a historical document of the epoch is aided by turning to its “intonational-lexical vocabulary” stipulated by culturological context. The album discloses the practical secrets of adaptation of the musical score form of notation in its transcription into two-lined form and demonstrated signs of the reduction of the musical text in correspondence with the peculiarities of keyboard instruments. For a present-day beginning performer, the creative potential of the pieces in the collection consists in the possibility of reverse unfolding of two-line keyboard music into an ensemble score the means of which have been fixated into the musical text.
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Fulias, Ioannis. "A peculiarity in Haydn’s early symphonic work: Form and possible sources of the first movement of Symphony Hob. I:21." Studia Musicologica 51, no. 3-4 (September 1, 2010): 419–28. http://dx.doi.org/10.1556/smus.51.2010.3-4.12.
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Among the first forty symphonies that Joseph Haydn wrote up to 1765, Symphony Hob. I:21 has a slow first movement that does not resemble any other, since it is not based on the usual mid-18th-century ternary or binary sonata form; its structure would be better described as a fantasy with allusions of sonata form, and this special structural case should be placed somewhere in the middle of two other notable “capriccios” from the same period: the first movement of Keyboard Trio Hob. XV:35 (a pure sonata form) and the Keyboard Capriccio Hob. XVII:1 (a pure fantasy on a single theme). Yet, the unique form of Hob. I:21 / I does not seem to be absolutely novel in the “pre-classical” repertoire, since some slow movements from Carl Philipp Emanuel Bach’s “Württemberg” Sonatas (Wq. 49 nos. 1, 3 and 6) display several common characteristics with it. Thus, the present paper, focusing on similarities between C. P. E. Bach’s and J. Haydn’s compositions during the 1760s, aims at the broadening of the subject-matter of one’s influence on the other, not only from a chronological point of view but also in terms of an interrelation between different music genres.
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Whittall, Arnold. "‘SUBTLE SHIFTS’: HOWARD SKEMPTON'S TWENTY-FIRST-CENTURY MODERNISM." Tempo 72, no. 284 (March 20, 2018): 7–19. http://dx.doi.org/10.1017/s004029821700119x.
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ABSTRACTHoward Skempton's distinctive presence on the British musical scene, and his prolific compositional output since the mid-1960s, have presented commentators with certain challenges as they contemplate which labels to apply, and, for music analysts, which techniques to deploy. Skempton's own comments, in various interviews and essays down the years, remain the ideal starting point, suggest a range of contexts, some of which underpin this study. With reference to a few of his smaller vocal and keyboard compositions, the quality of constantly shifting rather than strictly fixed elements is explored. When pitch materials conform more or less exactly to tonal or modal tradition, rhythm is particularly important as a determinant of subtle shifting. But it is often the case that pitches identities themselves shift between functions best defined as tonal scale degrees at one extreme and post-tonal pitch classes at the other. The result is a very personal and unaggressive kind of modernism.
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Marlisna, Marlisna, and Marzam Marzam. "BENTUK PENYAJIAN KESENIAN KASIDAH REBANA DALAM ACARA PESTA PERKAWINAN DI JORONG SAROHA TAMIANG KECAMATAN LEMBAH MELINTANG KABUPATEN PASAMAN BARAT." Jurnal Sendratasik 9, no. 3 (September 1, 2020): 8. http://dx.doi.org/10.24036/jsu.v9i1.109378.
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AbstractThis research aims to describe the form of a Kasidah Rebana presentation in a wedding party in Jorong SarohaTamiang, Lembah Melintang District, West Pasaman Regency. This research is a qualitative research which focuseson getting issues related to the topic. The data were collected through literature study, observation, interviews, and documentation. The development of sophisticated era and the cultures and arts developed in community give positive and negative effects. However, the art of Kasidah Rebana in the Jorong Saroha Tamiang still exists and is the choice of the community to be presented in a wedding party.The presentation form of Kasidah Rebana in the wedding party now has undergone many changes towards a more modern direction in accordance with the times. This can be seen from the sound system and formations, which neatly arranged by the group on stage, provided by the committee. Based on the composition, the rhythm pattern played is in accordance to the rhythmic musical instrument as well as the keyboard melody combined with chord harmonization and sound distribution. The vocalist sings the song according to the structure of the song's form and the expression according to the song's verse. These are combined to produce a beautiful tambourine blend.Based on the results of the study, to be more creative is an advice the author gives to the group. Song references, music compositions and costumes can be differently arranged, for instance. Thus, it is more interesting and more demanded by the community. The form of a Kasidah Rebana presentation is a mixed ensemble played by 12 players consisting of two vocalists, two tambourine players, two rhythm players, two bass players, three ketipung players, and one keyboard player.Keywords: form of presentation, kasidah rebana, wedding party
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Salleh, Marzelan, and Camellia Siti Maya Mohamed Razali. "Creative music making through composition workshop for higher education educators: An experiential learning." Journal Of Research, Policy & Practice of Teachers & Teacher Education 10, no. 2 (November 18, 2020): 32–48. http://dx.doi.org/10.37134/jrpptte.vol10.2.3.2020.
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This study looked into a way experiential learning was incorporated into a music course by having students participate in a workshop led by a subject matter expert. In the workshop, Passepartout Duo’s role as subject matter experts in the music field ensures an ideal experiential learning environment for composition music students to immerse themselves in order to develop new skills and knowledge. Passepartout Duo is a piano and percussion duo based in Germany, who performs and composes contemporary music. Passepartout Duo members are Nicoletta Favari (piano & keyboard) and Christopher Salvito (drums and percussion). The music composition workshop which ran for two consecutive days was presented in an informal group context introducing contemporary music. Participants and observers of the workshop included Malaysian music students of higher education institutions and professional composers. Participating composers composed original music pieces and worked together and were directly involved with Passepartout Duo in the creative processes required in creating their own music composition and the culmination of the workshop was a concert featuring music compositions from participating composers performed by the duo. Students attending the workshop were found to better grasp musical concepts, be more creative, and have a peek into the career as a composer. Implementing workshops into the music course also maximised learning for students and ensured the efficient development of the course.
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Morein, Ksenia N., and Liudmila N. Shaymukhametova. "Ensemble Music-Making in the Mirror Reflection of 17th and 18th Century Western European Painting." ICONI, no. 1 (2019): 135–40. http://dx.doi.org/10.33779/2658-4824.2019.1.135-140.
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During the Baroque era ensemble music-making was a favorite pastime. For the nobility and the middle class “communication by means of music” was an inherent part of life: the musical language was the means of expressing respect, presenting “musical offerings” and confessions of love. In musical competitions virtuosi demonstrated their exceptional performing skills, and high-society ladies accompanied readings of poetical works with playing the harp or the lute. The desire to make music in the form of solo or ensemble performance was shared by players on various instruments endowed with different levels of preparedness. This “social demand” resulted in the appearance of the two-staff form of notation, endowed with traits of a quasi-score, which it was customary to call the keyboard urtext. However, this music can be termed as being for the keyboard only upon the condition of their performance on the organ or the harpsichord. The structure of the “two-staff scores” from the 17th and 18th centuries possesses immense possibilities, since it presents a universal form of notation for ensemble and orchestral compositions in convolved form. As the result of the traits of the quasi-score, the baroque urtext became a unique phenomenon, a peculiar “mirror of the epoch”, which registered numerous 17th and 18th century musical instrumental clichés, scenes of music-making in duos, trios, and even images of groups of the baroque orchestra — the solo and the continuo. A sort of mirror reflecting pictures of music-making and ensemble groups was provided by the art canvases of 17th and 18th century painters.
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Lee, Kuo-Ying. "Synesthesia and the Color-light Keyboards." International Journal of Management and Humanities 5, no. 4 (December 15, 2020): 47–50. http://dx.doi.org/10.35940/ijmh.d1203.125420.
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The invention of a color-light keyboard combines the scientific and artistic domains in the performing arts. Based on the sound-color correspondence, the design of the color-light keyboard indicates a certain sound or a specific harmony in association with a particular color, shape, or colorful pattern. The correlation between visual image and sound is partially associated with the concept of synesthesia, refers tothe neurological condition of sensory fusionthat often appears in the musical composition. This study will investigate the revolution and development of the color-light keyboard in history, as well as the synesthetic perspectives concerning the originality and innovations of color-light keyboards made by different scholars. It will aim to explore the significance of synesthetic behaviors in contemporary music performance presented bythe color-light keyboards, which pioneers the multimedia application in the performance.
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Wolde, Behailu Getachew, and Abiot Sinamo Boltana. "REST API Composition for Effective Testing the Cloud." Journal of Applied Research and Technology 19, no. 6 (December 31, 2021): 676–93. http://dx.doi.org/10.22201/icat.24486736e.2021.19.6.924.
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Cloud offers many ready-made REST services for the end users. This offer realizes the service composition through implementation somewhere on internet based on Service Level Agreement (SLA). For ensuring this SLA, a software testing is a useful means for attesting a non-functional requirement that guarantees quality assurance from end user's perspective. However, test engineer experiences only what goes in and out through an interface that contains a high level behaviors separated from its underlying details. Testing with these behaviors become an issue for classical testing procedures. So, REST API through composition is an alternative new promising approach for modeling behaviors with parameters against the cloud. This new approach helps to devise test effectiveness in terms of REST based behavior-driven implementation. It aims to understand functional behaviors through API methods based on input domain modeling (IDM) on the standard keyboard pattern. By making an effective REST design the test engineer sends complete test inputs to its API directly on application, and gets test responses from the infrastructure. We consider NEMo mobility API specification to design an IDM, which represents pattern match of mobility search URL API path scope. With this scope, sample mobility REST API service compositions are used. Then, the test assertions are implemented to validate each path resource to test the components and the end-to-end integration on the specified service.
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Gregory, Dianne. "Analysis of Listening Preferences of High School and College Musicians." Journal of Research in Music Education 42, no. 4 (December 1994): 331–42. http://dx.doi.org/10.2307/3345740.
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Undergraduate college music majors, high school musicians in performance groups, and sixth-grade students in eight sites across the United States listened to brief excerpts of music from early contemporary compositions, popular classics, selections in the Silver Burdett/Ginn elementary music education series, and current crossover jazz recordings. Each of the classical categories had a representative keyboard, band, choral, and orchestral excerpt. Self reports of knowledge and preference were recorded by the Continuous Response Digital Interface (CRDI) while subjects listened to excerpts. Instrumental biases were found among high school and college musicians' preferences for relatively unfamiliar classical music. College music majors' preferences, in general, were less “own-instrument-based” than were those of high school musicians. In addition, the results suggest training broadens receptivity within and across music genres. There seems, however, to be no predictable connection between the degree to which one “knows ” an excerpt and preference for the excerpt.
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Darussalam, Najwa Leonita, and Joko Wiyoso. "Creating Process of Composition Of The “Kulino” Musical Drama At Theater Aura Indonesia." Jurnal Seni Musik 10, no. 2 (December 31, 2021): 150–59. http://dx.doi.org/10.15294/jsm.v10i2.45925.
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Music for the Aura Theater is not only a supporter of the presentation of the show, but also as a medium for conveying the core story in a performance that is packaged in the form of songs and becomes part of the storyline. This makes researchers interested in the process of creating songs in their musical dramas. This study aims to identify and describe the process of creating compositions for musical drama songs in Kulino scripts at the Aura Indonesia Theater performance. This study uses a qualitative descriptive method that produces descriptive data. The research location is in the center of theatrical activities of Theater Aura Indonesia with data sources from the chairman as well as the director of Kulino performances and composers. Data were collected by using observation, interview, and documentation techniques. The data analysis technique used in this study is an interactive model whose elements include data reduction, data presentation, and conclusions. The results showed that in the process of creating the composition of the Kulino musical drama song through stages (1) script review, namely the activities of appreciating, reviewing, discussing, or reviewing all the elements contained in the script to be worked on (2) observation, namely the stages carried out by the composer. to get musical inspiration which is then illustrated in the form of rough notes (3) pouring, namely pouring rough notes from observations into the form of musical compositions (4) embodiment, namely redeveloping the finished song by adding other musical instruments, namely keyboard, guitar melody, violin, cello, drum, bass, flute, and saxophone (5) presentation, in which the composer presents the finished song to the director and assistant director.
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Vuksanovic, Ivana. "The fate of the postmodern world: On melancholy and rebellion by Milan Mihajlovic." Muzikologija, no. 21 (2016): 87–107. http://dx.doi.org/10.2298/muz1621087v.
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The musical oeuvre of Milan Mihajlovic (b. 1945) enjoys a high reputation and position in contemporary Serbian music. This has been proven by the many awards he has received, countless performances of his compositions at home and abroad, and especially by the warm and approving reactions of the audience. The stylistic consistency in his oeuvre is a result of his creative use of Scriabin?s scale. The concept of this scale was first theoretically elaborated in an extensive study written by Mihajlovic in 1980 and, since then the scale has been functioning as a crucial cohesive element in all Mihajlovic?s compositions. The novelty in his oeuvre, composed during the 1990s, were intertextual references made by using citations from his own works and those of other composers (Monteverdi, Mozart, Stravinsky, Rachmaninov, Vasilije Mokranjac). The most characteristic features of his mature style are also recognizable in his recent works Melancholy (2014) and Rebellion (2015). The interval structure of Skriabin?s scale is projected along the horizontal (melodical) and vertical (harmonical) axes of the both works while the formal design resulted from shifts of tensions and relaxations. Developmental sections are based on variation and improvisation of the small number of different motifs (three basic ones in Melancholy, four in Rebellion) above the metrically moveable ostinato layers and the releases are marked by change of tempo, dynamic, meter and texture. The most significant and radical release is the one which marks the abrupt ending of Rebellion by the physical gesture of slamming down the keyboard lid. As the composition was written for the BUNT festival (Belgrade) it fits the festival?s idea of expressing resistance to the government?s neglect of academic musicians and institutions. In the wider sense, it becomes a sign of the resistance to the world we live in, and that is the world of lost ideals. Both works are composed for the wind instrument and the piano quartet and in the both cases the author?s voice, with its figures of sorrow and anger, is personified in singing, narrative lines of the wind instrument (the oboe in Melancholy and French horn in Rebellion respectively). These two compositions also demonstrate the specific concept of a circle that is intuitively searched for and ingeniously implemented. It is manifested by the cyclic concept of Scriabin?s scale and projected in all of the author?s compositional procedures as a vehicle for the expression of lament and resignation.
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Juszyńska, Krystyna. "Didactic qualities of piano pieces for children by Miłosz Magin (1929-1999)." Konteksty Kształcenia Muzycznego 6, no. 1 (10) (June 30, 2020): 27–44. http://dx.doi.org/10.5604/01.3001.0014.2314.
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Miłosz Magin was a renowned Polish pianist and composer. He was born in Łódź, studied in Warsaw, was a prizewinner of several international piano competitions, successfully concerted all over the world and in 1960 he finally settled down in Paris. His compositional output covers numerous piano pieces, orchestral, chamber and vocal works, as well as a ballet. Pieces for children constitute an important and relatively large part of his oeuvre. The article discusses five cycles of miniatures (38 pieces in total), dedicated to pupils at the elementary level of piano learning: Obrazki z Polski (1982), Miniatury polskie (1982), Kółko graniaste (1987), Karnawał lalek for four hands (1990) and Zaczarowane zabawki (1996). The pieces have didactic qualities and play the two roles: they gradually introduce a pupil into the world of music and they help to master the piano technique. They develop, in particular, fingers’ dexterity, chordal and arpeggio technique, precision while realization various rhythmic structures, mastery of large leaps on the keyboard. Performing Magin’s music sensitizes to the timbre of pitches in different registers, to changeable dynamics, original harmony, bitonality, phrasing, articulation, agogic and proper interpretation. His compositions develop children’s imagination and familiarize them with diverse timbres of the piano. They are little masterpieces, put into a terse form of a miniature.
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Marvin, Elizabeth West, and Alexander Brinkman. "The Effect of Modulation and Formal Manipulation on Perception of Tonic Closure by Expert Listeners." Music Perception 16, no. 4 (1999): 389–407. http://dx.doi.org/10.2307/40285801.
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This study arises in response to previous research that calls into question the ability of musically trained listeners to perceive tonal closure in the original tonic key. In our Experiment 1, 36 experienced musicians heard 12 randomly ordered excerpts from piano and orchestral works in three categories: nonmodulating, modulating to the dominant, modulating to a key other than the dominant. After hearing each excerpt, participants answered six questions, one of which asked whether the concluding key was the same as the initial one. Participants correctly answered this question at above-chance levels, with music academics (theorists and musicologists) more accurate than other musicians. In Experiment 2, 33 experienced musicians heard MIDI performances of six Handel keyboard compositions. On each trial, participants heard either the original composition or one of two variants with phrase units rearranged. Trials were quasi-randomly ordered so that an original and variant were not heard in succession. Three types of tonal motion resulted from our formal manipulation: the stimulus began and ended in the tonic key, began and ended in the dominant key, or began and ended in different keys. After hearing each work, participants answered seven questions, of which data were analyzed for three: whether the beginning and ending key were the same, whether the harmonic structure conformed to stylistic expectations, and whether the final key was the tonic. Participants' accuracy on the beginning/ending key question was no better than chance would predict; however, listeners were able to discriminate between works that ended in the tonic key and those that did not. Unlike Experiment 1, we found no significant differences in accuracy between music academics and other musicians. Listeners generally found both the original and the manipulated compositions to conform to stylistic expectations, possibly because they attended to local harmonic relationships rather than global ones.
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Marvin, Elizabeth West, and Alexander R. Brinkman. "The Effect of Key Color and Timbre on Absolute Pitch Recognition in Musical Contexts." Music Perception 18, no. 2 (2000): 111–37. http://dx.doi.org/10.2307/40285905.
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Previous research has shown that listeners with absolute pitch identify white-key pitches (as on the piano) more quickly and accurately than they identify black-key pitches. Related research has shown that the timbre of tones also affects pitch identification. Our experiments extend the investigation of color and timbre effects on pitch recognition from isolated pitches to more complex musical textures, using both musicians with absolute pitch and musicians without absolute pitch as participants. In Experiment 1, listeners named isolated pitches in synthesized violin or piano timbres; in Experiment 2, they named the tonal center of classical string quartets or piano solos; in Experiment 3, they identified the tonal center of the same musical excerpts by humming. We replicated the color effect for both groups of participants in the response times for all three experiments, but found a color effect on accuracy rates only in Experiment 2. Timbre effects were found only in Experiment 1, where response times were quicker for piano tones than string tones. Participants' instrumental training affected response times: string players identified isolated tones most quickly; keyboard players identified the keys of compositions most quickly.
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Berg, Darrell M. "C. P. E. Bach's Organ Sonatas: A Musical Offering for Princess Amalia?" Journal of the American Musicological Society 51, no. 3 (1998): 477–519. http://dx.doi.org/10.2307/832037.
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This article presents a history of the prelude and six sonatas, Wq 70/1-7, that Carl Philipp Emanuel Bach reputedly wrote for Princess Anna Amalia of Prussia. As a musical patron of mid-eighteenth-century Berlin, the princess was second only to her brother, Frederick the Great. Her library of musicalia (the Amalien-Bibliothek), celebrated in her lifetime, is still of paramount importance to scholars. The present study offers solutions to two mysteries surrounding the works of Wq 70: the absence of all but one from the Amalien-Bibliothek and the conflict of late eighteenth-century accounts of Bach's solo organ works with the canon established in the catalogues of Alfred Wotquenne and Eugene Helm. It considers the role that the princess's conservative musical taste probably played in the acquisition of scores for her collection. It investigates the reception of the works of Wq 70, not only by Bach's royal patroness, but by publishers and a large clientele of keyboardists of his time, and considers the circulation of these compositions in versions for stringed keyboard instruments-far more fashionable in the second half of the eighteenth century than the organ.
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Reece, Frederick. "Composing Authority in Six Forged “Haydn” Sonatas." Journal of Musicology 35, no. 1 (January 1, 2018): 104–43. http://dx.doi.org/10.1525/jm.2018.35.1.104.
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In December 1993 news broke that six keyboard sonatas whose rediscovery was being hailed as “The Haydn Scoop of the Century” were, in fact, not by Haydn at all. It soon emerged that the compositions—initially believed to be the lost Hob. XVI:2a–e and 2g—were not simple misattributions, but rather something that has rarely been discussed in the music world: modern forgeries deliberately constructed to deceive scholars and listeners. Adapting philosophical and art-historical writing on forgery to music, this article examines the six “Haydn” sonatas in the context of contemporary debates about expertise, postmodernism, and the author concept. Analyzing the stylistic content of the works in question sheds new light on musical forgeries as artifacts of aesthetic prejudice and anti-academic critique. More broadly, it suggests that the long-overlooked phenomenon of forgery poses questions about authorship, authority, and truth itself that have an important place in our shared history as musicologists. Should our standards of evidence be rooted in historical sources, musical style, or some combination of the two? What kind of relationship do we believe exists between composers and their works? And is there any inherent reason—cultural, ethical, or otherwise—that we cannot write music like Haydn’s today? In posing such questions, the story of the forged Haydn sonatas provides us with a unique opportunity to reflect on the values and future of the field.
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Shaymukhametova, Liudmila N. "About the Study of the Means of Transcription of Works for Clavier by Beginning Pianists." ICONI, no. 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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Silbiger, Alexander. "Keyboard Compositions . Ottavio Bariolla , Clyde William Young . Ricercari . Luigi Battiferri , G. C. Butler . Keyboard Compositions . Francesco Bianciardi , Costanzo Porta , Bernhard Billeter . Sudori musicali (1626) . Giovanni Cavaccio , I. Evan Kreider . Harpsichord Music . Giovanni Battista Draghi , Robert Klakowich . Toccatas . Hans Leo Hassler , Stijn Stribos . Pieces de clavecin . Elisabeth-Claude Jacquet de La Guerre , Carol Henry Bates . Tonos de Palacio y canciones comunes . Antonio Martin y Coll , Julian Sagasta Galdos ." Journal of the American Musicological Society 42, no. 1 (April 1989): 172–88. http://dx.doi.org/10.1525/jams.1989.42.1.03a00070.
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Roguska, Agnieszka. "Piano in the land of unsaid love – musical contexts of emotional lives of married female characters in Thomas Mann’s Buddenbrooks and Sándor Márai’s Embers." Notes Muzyczny 1, no. 15 (June 21, 2021): 125–39. http://dx.doi.org/10.5604/01.3001.0014.9693.
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In The Sorrows of Young Werther, an epistolary novel by J.W. Goethe, we can find a literary portrait of a beloved woman playing a keyboard instrument. This is the motif Adam Mickiewicz referred to in his Dziady, Part 4. Both texts describe unrequited love to a woman belonging to another man. Belles-lettres reflect repertoire issues – at the turn of the 19th century girls from a proper home performed simple pieces, often dances. Subsequent decades of the 19th century came with the development of piano methodics, and composers wrote pieces which today constitute part of concert canon, whereas the piano became the perfect musical tool. The plot of Thomas Mann’s Buddenbrooks is set in the second half of the 19th century. Music plays an important role in that novel. Mann depicts the problem of clashing views in the marriage of Thomas, who was fond of “pretty melodies”, and Gerda, a magnificent violin and piano player who performed ambitious compositions and showed no mercy in criticising her husband’s musical taste. An important motif is the appearance of a young officer who visits Gerda in order to perform chamber works together. Thomas fears the mysterious bond between his wife and the lieutenant on the one hand and people’s opinions on the other. The motif of music as a platform for communication between a man and a woman can also be found in the novel Embers by Sándor Márai. Here as well it is a connection unavailable to the husband of the main heroine. At the end of his life, Henri, Christine’s husband, refers to music as the “melodious and obscure language” which allows “certain people” to communicate. Both novels include the motif of the end of an era and death of the characters for whom music was extremely significant and who performed compositions of the highest artistic value. Texts by Mann and Márai reflect a decline of a certain stage in the history of culture. It is also the end of the typical ways how burgesses and aristocrats spent their leisure time, how they treated the sphere of emotions and communed with the widely understood art. The result of these changes is the dethronement of the piano, which no longer was one of the most important pieces of furniture in a drawing room nor the most important instrument – as it used to be in the 19th century culture.
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REUL, BARBARA M. "CATHERINE THE GREAT AND THE ROLE OF CELEBRATORY MUSIC AT THE COURT OF ANHALT-ZERBST." Eighteenth Century Music 3, no. 2 (September 2006): 269–309. http://dx.doi.org/10.1017/s1478570606000613.
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As Empress of Russia, Catherine the Great (1729–1796) shaped not only history in general but also, as a member of its princely family, the history of Anhalt-Zerbst. Drawing upon little known eighteenth-century manuscripts housed at the Landeshauptarchiv of Saxony-Anhalt in Dessau and the Francisceumsbibliothek in Zerbst, this study assesses the impact of Catherine’s marriage in 1745 to Grand Duke Peter of Russia (1728–1762) on musical life at the court of Anhalt-Zerbst during and after the thirty-six-year tenure of Kapellmeister Johann Friedrich Fasch (1688–1758). First the role of music at the court prior to 1745 will be considered – specifically the ‘Concert-Stube’, an inventory of the Hofkapelle’s musical library prepared according to Fasch’s specifications in March 1743. The second section of this article focuses on the celebrations held at the court in 1745 on the occasion of Catherine the Great’s wedding. The Hofkapelle premiered a large-scale serenata by Fasch, the music to which has been lost. However, an examination of the extant libretto and of other music by Fasch that was performed at the court during the 1740s sheds light on the musical forces he would have employed and the compositional approach he might have taken. The Hofkapelle also performed a secular wedding cantata for bass solo and instruments by an anonymous composer as part of a spectacular fireworks display in three acts, the ‘Anhalt-Zerbstisches Freuden-Feuer’ (Fire of Joy), chronicled by Zerbst headmaster Johann Hoxa. Finally, it is possible to reconstruct a performance schedule of sacred music premiered in honour of Catherine the Great from 1746 to 1773. Despite Fasch’s death in 1758 and the Seven Years War, which led to the town of Zerbst being occupied by 16,000 Prussian soldiers for three years until 1761, new music was commissioned by the court from Fasch’s successor Johann Georg Röllig (1710–1790), Catherine the Great’s keyboard instructor at the court of Anhalt-Zerbst. He not only provided occasional compositions to commemorate her birthday and accession to the Russian throne but also composed a new cycle of Sunday cantatas to reflect the changing artistic priorities and practices of the Hofkapelle in the early 1760s.
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Komangoda, Lahiru Gimhana. "Vinay Mishra and the Artistry of the Harmonium." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 8 (December 9, 2021): 39–46. http://dx.doi.org/10.30819/aemr.8-5.
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Vinay Mishra is an accomplished Indian solo and accompanying harmonium player born and brought up in Benaras and currently residing in Delhi serving as a faculty member of the Department of Music, Faculty of Music and Fine Arts, University of Delhi. The rigorous training of both vocal and instrumental music under veteran Hindustani Music virtuosos, the academic and scholarly scope built up till the degree of PhD in Music, the realizations, and understandings on music must have conspicuously made an impact of his practice and artistry as a harmonium player. Harmonium was originated in the west and adopted by Indian musicians in the colonial era which was brought up to the present day through many artistic, cultural and political controversies, and obstacles. This work focuses on discovering the insights of the harmonium art of Vinay Mishra. Hence, his academic background, musical training, musical career, his playing style as a soloist, general techniques and techniques of accompaniment, sense of machinery, perspectives on raga Taal, and thoroughly the tuning methods were studied in-depth through personal conversations and literature resources where it was observed that modern Hindustani harmonium artists favor a typical natural tuning method over the 12 equal temperaments of the common keyboard instruments. According to him, the stable sound of the harmonium was the reason to be vocal music- friendly in classical and light vocal music accompaniment which was only interrupted by the equal temperament earlier and was later overcome by the artists and harmonium makers. The idea was also raised that apart from gaining the basic command of an instrument, a Hindustani instrumentalist may learn and practice all other aspects of Hindustani music from the teachers of other forms too. Vinay Mishra’s thoughts of machinery, musical forms, compositions, applying Hindustani vocal, and plucking string instrumental ornamentations on the Harmonium were also reviewed.
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Dragomirescu, Daniel. "Stylistic-Interpretative Statistics of The Creation for Guitar Solo (Preludes no. 1-5) by Heitor Villa Lobos." Review of Artistic Education 17, no. 1 (March 1, 2019): 141–58. http://dx.doi.org/10.2478/rae-2019-0016.
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Abstract In the past, more precisely in the Fifteenth and Sixteenth centuries, both pieces for keyboard instruments (organ or clavecin) and those for the guitar’s ancestor, the lute, were preceded by an introduction bearing the title of prelude. In the seventeenth century, this prelude was used as an introduction to some religious works, being synonymous to the preamble, as both were meant to prepare the atmosphere and tone of a musical piece. Johann Sebastian Bach played a decisive role in the evolution of the prelude, using it as the first part of the preclassic instrumental suite, with the intention of setting the unique tone, the tone in which the whole work will be performed. Later, in the 19th and 20th centuries, taking over the tradition of J.S.Bach, the composers will write cycle pieces for various instruments, which, through their rich, melodic, harmonic, rhythmic variety of form and genre, will enjoy success in the concert halls. Examples include the cycles of preludes of Frederich Chopin, Claude Debussy, Alexandr Skriabin, Serghey Rachmaninov, Mihail Jora, and others. Villa-Lobos preludes touch the audience’s sensitivity more directly than studies. Their appearance is an essential contribution to the guitar repertoire of the 20th century. In the small form, the author proved a brilliant sense of balance, intense feelings, great conceptual originality, making the most of the technical and sound resources of the instrument. These short compositions, always present in the repertory of all great guitarists, require our attention and admiration. Written shortly before 1940, in the original manuscript these preludes were six. Unfortunately, one of them, “the best of all” as the composer said, was lost. As regards this statement, John Duarte, in his work, the Preludes of Villa-Lobos. Some notes” considers this would have an ironic character. “Just like the Three Musketeers who were actually four, so the 5 Preludes were originally six”.143
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Adeniji, Adenike Olusola. "Composition Of Songs Using Symmetric Group." JOURNAL OF ADVANCES IN MATHEMATICS 14, no. 2 (September 20, 2018): 7983–8003. http://dx.doi.org/10.24297/jam.v14i2.7514.
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Mathematics of music and sound production brings to bear the physical and practical application of Mathematics in the field of Music. The composition of songs involves the principle of key scaling, their respective interval as calculated with the aid of an appropriate key division which suites the generality of songs composed in different keys with the keyboard. Melodies, harmonies and rhythms produced in the stage of rendition is characterized by transposition and inversion of key to suite each song. With the aid of keyboard, elements of Symmetric group are used to compose songs.
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Irving, John. "John Blitheman's keyboard plainsongs: another ‘kind’ of composition?" Plainsong and Medieval Music 3, no. 2 (October 1994): 185–93. http://dx.doi.org/10.1017/s0961137100000735.
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The foregoing quotation from an epitaph in the church of St Nicholas Olave, Queenhithe, summarizes most of what we know about the career of John Blitheman (c. 1525–91), one of the composers of keyboard plainsong settings represented in the so-called Mulliner Book, compiled probably in London sometime between the mid-1550s and about 1570. All but one of Blitheman's surviving keyboard works is contained in this manuscript.
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Sretić, Stefan. "Program content in relation with compositional and technical solutions found in piano pieces by Modest Mussorgsky." Artefact 7, no. 1 (2021): 33–49. http://dx.doi.org/10.5937/artefact2101033s.
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The thesis focuses on the analysis of three program pieces - Catacombs, The Hut on Hen's Legs (Baba Yaga) and The Great Gate of Kiev from the Modest Mussorgsky's piano suite Pictures at an Exhibition. A starting point is the analysis of the wider context out of which the mentioned pieces originated which throws light on the stylistic characteristics of Romanticism, and provides grounds for a detailed pondering on the artistic creations of the iconic composer. The study can be valuable for the pianists and musical pedagogists, as the analysis in its essence explores the ways of interpretation of the mentioned compositions. The article PROGRAM CONTENT IN RELATION WITH COMPOSITIONAL AND TECHNICAL SOLUTIONS FOUND IN PIANO PIECES BY MODEST MUSSORGSKY consists of the following chapters: Introduction, Modest Mussorgsky - Features of Artistic Oeuvre and Musical Language, Pictures at an Exhibition: Catacombs, The Hut on Hen's Legs (Baba Yaga) and The Great Gate of Kiev - Analysis of the Contents and Performance Aspects, Conclusion and References. The introductory part offers an explanation of the research framework, presents the research methods and objectives and gives a short review of the literature used for the study. The following chapters are drafted in such a way as to offer to the reader the important information on the characteristics of Mussorgsky's oeuvre in order to provide for a well-founded introspection of the selected compositions. The central part of the thesis is reserved for the analysis of the compositions, first by presenting their program content, and then by focusing on its bonds with compositional and technical solutions found in each piece. In order to come up with fuller consideration of the employed means of expression and their role in evoking the specific contents, the work offers the author's own solutions, all backed up by notational examples and explanations. The piano suite Pictures at an Exhibition by Mussorgsky is a work of exceptional value, very inspiring for the performer. Pieces contrast with each other in tempo, character, as well as harmonic and expressive means. In addition to achieving it's unity, it is important that each piece is well conceived, that the main points are singled out and that the narrative of each piece is recognized and complied in the interpretation. Taking into account the atmosphere of the piece Catacombs, the performer should keep the chords long enough and move from one to the other without haste. Another important element of the performance is the acoustic connection of the chords without interruption and being out of context, so it is important to listen well to each chord, with a special focus on the sound level just before the next one. Baba Jaga's flight in a large attic is characterized by a constant vertical in the texture, largely composed of octaves and massive chords, frequent leaps and rapid changes of the register along the entire keyboard. In order to evoke the fierce and evil nature of the character, the composer establishes a characteristic rhythmic scheme. The witch's impatient and angry steps are represented by accents on the weak parts of the beat. The invoice is composed of unison, doubled or tripled octaves. With its sumptuous sound, in full piano capacity, the piece The great gate of Kiev completes the work in an imposing way. Inspired by folklore and church motifs, the composer pays tribute to the Russian people, historical heritage, tradition and cultural values. The grand fi nale opens with the long chords of E-flat major, a key that has often been associated with heroism and fame in the history of music. The massive sonority and triumphant character of this theme, which also closes the cycle, can be connected with the sound of a Russian folk melody sung by large masses of people, in a way that symbolizes the vitality of the national spirit. Mussorgsky's melodic line is characterized by a wide range of expressions, in accordance with the aesthetic and psychological principles of individual paintings; it less often contains "long breath" or longer motion in one direction. Of the selected pieces in this work, except in The great gate of Kiev, the melodic lines are mostly comprised of short motifs. The rhythmic component is extremely important for certain pieces of the cycle (among which is certainly baba yaga). Harmony includes unusual and frequent changes of tonal centers, as well as the appearance of modality. Particularly expressive properties of harmony can be observed in the Catacombs, where dissonances are supported by sharp dynamic extremes, with the aim of evoking the psychological state of the observer in the eclipse of ancient Christian hiding places and tombs. The fi nal considerations, which are focused on the contribution of the research, offer possible perspectives for further studies of pianistic poetics as a means of interpretation of program compositions. I believe that my research has contributed to the elucidation of possible perspectives for further reflections on pianistic poetics in the service of interpreting and evoking compositions of a programmatic character. Also, I hope that this work will be useful to all pianists who are looking for their own solutions and personal path to achieving high creative and artistic achievements.
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Shaymukhametova, Liudmila N. "The Pianist-Producer. Interpretation and Transcription in the Work with Beginning Pianists." ICONI, no. 3 (2019): 77–89. http://dx.doi.org/10.33779/2658-4824.2019.3.077-089.
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One of the main criteria of professional performance by the musician of compositions established in the repertoire is considered to be a concise interpretation of the musical text with rendering all the markings made by the editor and the composer. A steadfast tradition has been created of application in pedagogical practice of interpretation by other musicians and an authoritarian approach to learning. However, if such demands are to be considered to be admissible, they cannot be applied to all the styles and genres. The pianist’s interaction with the musical text has been historically determined by two forms which have evolved in the practice of music-making itself. For example, in Baroque music the ensemble form of music-making, which predominated in it, presumed a variant-type unfolding of the keyboard musical text in various performance versions and ensembles. The Baroque tradition is distinct for its active transformation of the musical material and its improvisatory manner in the work with the primary musical source, and it presumes an active incorporation of transcriptions, adaptations, elaborations, arrangements and variations on the original musical text. The second form, which is the soloist variety, regulated by the composer’s precise notation, is designed for interpretation of the music and its performance in concerts. It is particularly the second type, characteristic for the later Classical-Romantic tradition, which is used in teaching, hence the rules of interaction with the musical text are transferred by pedagogues to the other type of musical text, namely, the Baroque variety, as well. The primary musical source contains numerous possibilities for the variant-type replication and creation of performance scenarios both in the ensemble and solo forms. By applying both forms of performing music, transcription and interpretation, the pedagogue would enhance the revival of the traditions of a creative attitude towards the musical text. The article shows examples of work with beginning pianists in a problem-based situation which may be called the role game of “Pianist- Producer.”
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Silbiger, Alexander. "Review: Keyboard Compositions by Ottavio Bariolla, Clyde William Young; Ricercari by Luigi Battiferri, G. C. Butler; Keyboard Compositions by Francesco Bianciardi, Costanzo Porta, Bernhard Billeter; Sudori musicali (1626) by Giovanni Cavaccio, I. Evan Kreider; Harpsichord Music by Giovanni Battista Draghi, Robert Klakowich; Toccatas by Hans Leo Hassler, Stijn Stribos; Pièces de clavecin by Elisabeth-Claude Jacquet de La Guerre, Carol Henry Bates; Tonos de Palacio y canciones comunes by Antonio Martín y Coll, Julian Sagasta Galdos." Journal of the American Musicological Society 42, no. 1 (1989): 172–88. http://dx.doi.org/10.2307/831422.
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Beers, S. F., T. Mickail, R. Abbott, and V. W. Berninger. "Effects of transcription ability and transcription mode on translation: Evidence from written compositions, language bursts and pauses when students in grades 4 to 9, with and without persisting dyslexia or dysgraphia, compose by pen or by keyboard." Journal of Writing Research 9, no. 1 (June 2017): 1–25. http://dx.doi.org/10.17239/jowr-2017.09.01.01.
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Mardiana, Fahreza Apriyoga Arizal, Meizano Ardhi Muhammad, Martinus, and Gita Paramita Djausal. "Word Per Minute (WPM) Lampung Script Keyboard." TEPIAN 1, no. 3 (August 2, 2020): 79–83. http://dx.doi.org/10.51967/tepian.v1i3.147.
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Users of Font Lampung in previous studies have difficulty in typing because the layout of the Lampung script is complicated to understand. Re-designing the Lampung alphabet keyboard layout allows users to be able to type text in characters more easily. The purpose of this research is to create a Lampung alphabet keyboard layout for more effective typing of the Lampung alphabet. The methods used are UX (User Experience) that are, requirements gathering, alternative design, prototype, evaluation, and result report generation. The layout design is created by eliminating the use of the SHIFT key and regrouping parent letters, the child letters in a more effective composition. The layout design of the Lampung alphabet was printed using the Laser Engraver tool on the keyboard. Through the test, the typing speed increased to 208% of the average value of 62 seconds to 32 seconds. In addition to the results of WPM (Word Per Minute) on keyboard layouts with 8.7 WPM which is faster than previous WPM research but still slower than QWERTY keyboard WPM. Testing of character quality, readability, and difficulty level to know the flaws in the Lampung RaTaYa keyboard layout with good results. This research concludes that the keyboard layout of Lampung RaTaYa is more effective than using the font Lampung script.
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Kutluieva, Daria. "Piano quartets by F. Mendelssohn as a phenomenon of the Romantic era." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 143–57. http://dx.doi.org/10.34064/khnum2-16.08.
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Background. Nowadays, the typology of the piano quartet is actively studied by the modern scientists. The genesis of this genre is becoming more contentious. As pointed out by L. Tsaregorodtseva (2005), and earlier I. Byaly (1989), a connection of concerts for clavier solo accompanied by a string ensembles and a string quartet form a foundation for a genre of the piano quartet. N. Samoilova (2011) sees the origin of this genre in ensembles with clavier, L. Tsaregorodtseva (2005) ‒ in the historical and cultural situation of the last third of the 18th century, including the genre (string quartet and piano concerto), structural and compositional (sonata form), organological (instrument condition), performing (pianism development). I. Byaly (1989) and I. Polskaya (2001) consider the trio principle as the basis of ensemble genres, including the piano quartet. A conjunction of these opinions let us perceive the piano quartet as the result of the synthesis of various compositional and genre principles of ensembles, which formed the basis of the classical structure of the genre. Its creators are believed to be W. A. Mozart, the author of two piano quartets: No. 1 g-moll KV478 and No. 2 Es-dur KV493 (1785; 1786), and L. Beethoven, who composed four piano quartets: WoO 36 № 1 Es-dur, № 2 D-dur, № 3 C-dur (1785) and op. 16 Es-dur (1801). In these compositions of the classical era the defining attributes of the genre were multitimbrality, which manifests in keyboard and string instruments; ensemble players equality; signs of various types of utterance, including those inherent in a string quartet and clavier concerto involving a group of strings; sonatas and symphonies; as well as the type of composition, built on the model of “fast-slow-fast” with the obligatory sonata Allegro in the first position. In the romantic era, the boundaries of the genre expand in terms of content, structure, interpretation of the ensemble. The first attempt to increase the scale of the cycle belongs to C. M. Weber, who brought it closer to the composition of the string quartet through the introduction of Menuetto. However, the final fourpart cycle is set by F. Mendelssohn, who replaced Menuetto with Scherzo, which becomes the normative model for the romantic tradition of the genre. Objectives. The purpose of this article is to determine the role of F. Mendelssohn’s piano quartets in the evolution of the genre in general, and in the romantic era in particular. Results. Three piano quartets by F. Mendelssohn present a picture of his youthful attitude. The musician’s early composing ability allowed him to turn to the creation of works of this genre without fear. This genre usually attracts the attention of artists in their mature period of creativity, having mastered various genres, including chamber-instrumental ensembles (W. A. Mozart, R. Schumann, J. Brahms). It is easy to observe the commonalities of F. Mendelssohn and young Beethoven, who also composed the piano quartets in the early days of his oeuvre. F. Mendelssohn has composed three piano quartets: No. 1 c-moll (1882), dedicated to Prince Antoine Radziwill, No. 2 f-moll (December 1823), dedicated to Karl Zelter, and No. 3 h-moll (January 1823) – to Goethe. The skill of using large structures, the depth of musical thought, and even the sings of his future style are starting to find expression in Mendelssohn’s youth compositions. The four-part structure of the composition cycles reveals the young composer’s interest in the works of L. Beethoven, in particular in his piano sonatas. Distinctly clear analogies are also found in «Aurora» op. 53 and «Appassionata» op. 57. R. Larry Todd (2003) also points to the similarity of the original themes of the Piano quartet No. 1 c-moll by F. Mendelssohn and the piano sonata in the same key KV457 by W. A. Mozart. It defined by the initial course of the sounds of the basic triad, as well as the use of symmetrical question-answer constructions, contrasting in mood. The connections between these two compositions are even more evident in the finale, which begins with a theme directly borrowed from the last part of W. A. Mozart’s sonata (as identified by the author of this article). In Quartet No. 2 f-moll, connections with the music of L. Beethoven are not limited to allusions to the famous piano sonatas of the Viennese classic. The first part of F. Mendelssohn’s cycle contains several definite signs of Beethoven’s influences: the development of the code is significantly expanded in the sonata form, and in a monumental reprise the young author defines the extreme dynamic level fff. In Adagio (Des-dur) there is a wide enharmonic palette, including several sharp keys. The next part, labeled as Intermezzo, provides a transition to the «explosive» finale, which opens with a «rocket-like» theme, driven by an ascending line of chromatic bass. Piano Quartet No. 3 h-moll is the work that determined the choice of F. Mendelssohn’s professional composer career, which was highly appreciated by L. Kerubini. Mastery of the musical form is manifested in a significant expansion of the scope of the cycle and each of its parts. Adhering to the strategy of virtuoso interpretation of the piano part, which was chosen in the first two opuses, the author, at the same time, subordinates the tasks of demonstrating the pianist’s instrumental possibilities to the purpose of disclosure the dramatic idea of the work. At the same time, he does not brake the principle of equality of ensemble members, borrowed from his predecessors in any of his piano quartets. Conclusions. The analysis revealed the following indicators of the romanticization of the piano quartet genre in the work of F. Mendelssohn. These are: the scale of the content and composition of the cycle; the large coda sections in the first and final parts; the poetic completion of the lyrical second parts, as it is in “songs without words”; brilliance of the final parts; dominance of minor keys; equality of ensemble members with the “directorial” function of the piano and others. The high artistic qualities of F. Mendelssohn’s piano quartets attract the attention of many performers, among which the Foret Quartet demonstrates the most adequate interpretation of these works.
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Barker, Naomi J. "The Italian Keyboard Toccata c.1615–1650: A Repository for Oral Compositional Practices." Royal Musical Association Research Chronicle 50 (2019): 1–28. http://dx.doi.org/10.1080/14723808.2018.1513973.
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This research uses statistical analysis of a sample of keyboard toccatas including pieces by Frescobaldi, Rossi, Froberger and the anonymous composer of the manuscript R-Vat Mus Chigi Q.IV.25 to investigate the extent to which surviving written examples of the genre contain indicators of their unwritten compositional processes. The results of the analysis indicate that within the measurably formulaic textural disposition, there are clearly defined motivic patterns and melodic shapes that are present in the work of all three composers. The intertextuality thus implied is indicative of common unwritten procedures used in the process of composing toccatas at the keyboard and undermines common assumptions about the use of concordances between sources as indicative of authorship.
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Afdhal, Muhammad. "“REPUBLIKEN” MENYATU DALAM PERBEDAAN." Imaji 17, no. 1 (June 27, 2019): 66–73. http://dx.doi.org/10.21831/imaji.v17i1.25736.
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Republiken adalah penganut ketatanegaraan yang berbentuk republik. Istilah Republiken menunjukkan suatu kesatuan masyarakat yang berbangsa dan berdaulat. Republiken dalam kaitannya dengan karya seni ini adalah suatu bentuk semangat berbangsa melalui seni, dalam hal ini musik, menunjukkan bahwa perbedaan ras atau suku bukanlah masalah untuk bangsa Indonesia menjadi semangat yang satu. Karya komposisi musik yang berjudul “Republiken”, diharapkan dapat menunjukkan semangat berbangsa melalui beberapa karakteristik musik-musik nusantara yang diekspresikan melalui EDM atau Elektronik Dance Music yang merupakan sebuah rumah besar untuk genre-genre musik, seperti disco, dupstep dan sebagainya, karena sebagian alat musiknya menggunakan alat-alat elektronik seperti gitar elektrik, keyboard, synthesiezer dan lauchpad yang dewasa ini menjadi alat musik yang banyak digunakan dalam penciptaan musik EDM “REPUBLIKEN” UNITES IN DIFFERENCESAbstractRepubliken are followers of republic constitutions. The term Republiken shows a united nation and sovereign community. In relation to this work of art, Republiken is a form of nationalism spirit through art—in this case music—showing that racial or ethnic differences are not a problem for Indonesian people to be one spirit. The music composition works entitled "Republiken", are expected to show the spirit of nationalism through several characteristics of archipelago music expressed through EDM or Electronic Dance Music which is a big house for music genres, such as disco, dupstep and so on, because some of the music tools uses electronic devices like electric guitars, keyboards, synthesizers and lauchpads which today are a musical instrument that is widely used in EDM music creation
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KIM, SUNJUNG, and ELISABETH ANDRÉ. "A GENERATE-AND-SENSE APPROACH TO AUTOMATED MUSIC COMPOSITION." International Journal on Artificial Intelligence Tools 14, no. 01n02 (February 2005): 343–59. http://dx.doi.org/10.1142/s0218213005002132.
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Nobody would deny that music may evoke deep and profound emotions. In this paper, we present a perceptual music composition system that aims at the controlled manipulation of a user's emotional state. In contrast to traditional composing techniques, the single components of a composition, such as melody, harmony, rhythm and instrumentation, are selected and combined in a user-specific manner without requiring the user to continuously provide comments on the music employing input devices, such as keyboard or mouse.
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Salaman, William. "Reflections on progress in musical education." British Journal of Music Education 25, no. 3 (November 2008): 237–43. http://dx.doi.org/10.1017/s0265051708008073.
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This article raises questions about three features of musical education that have been explored in the pages of the British Journal of Music Education (BJME) over the last 25 years: the assessment of creative work; the nurturing of an elite among young musicians; the uses of electronics in music classrooms. The article suggests that teacher-based assessments of pupils' compositional work rarely promote deeper understanding because pupils learn better by considering the extent to which they have fulfilled their own musical intentions. The dilemma of serving the needs of all pupils while attending to the musical needs of the most gifted musically is explored, and it is suggested that, inter alia, pupils aged 12 should have a strong voice in their choices within arts education. Electronic keyboards have become sufficiently embedded in schools for broad judgements to be made. There are few signs that basic electronic keyboards offer expressive opportunities of value whereas the use of computers in support of composition have led to results of quality that merit close attention.
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Karmonik, Christof, Makiko Hirata, Saba Elias, and J. Todd Frazier. "An Exploratory Pilot Study of Brain Activation and Functional Connectivity Induced by the “Goldberg” Variations 276 years after their Commission." Medical Problems of Performing Artists 34, no. 4 (December 1, 2019): 191–97. http://dx.doi.org/10.21091/mppa.2019.4030.
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Around 1741, composer Johann Sebastian Bach published a long and complicated keyboard piece, calling it Aria with diverse variations for a harpsichord with two manuals. It was the capstone of a publication project called German Clavier-Übung (Keyboard Practice) where Bach wanted to show what was possible at the keyboard in terms of technical development, virtuosic finesse and compositional sophistication. The music is meticulously patterned, beginning with a highly ornamented Aria, the bass line of which fuels the 30 variations that follow. The piece is clearly divided into two parts with the second half beginning with an overture with a fanfare opening, in variation 16. The piece ends as it begins, with the return of the Aria. Here, we present an investigation into activation and connectivity in the brain of a pianist, who listened to her own recording of the “Goldberg” variation while undergoing a fMRI examination. Similarity of brain connectivity is quantified and compared with the subjective scores provided by the subject.
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Woolley, Andrew. "Purcell and the Reception of Lully's ‘Scocca pur’ (LWV 76/3) in England." Journal of the Royal Musical Association 138, no. 2 (2013): 229–73. http://dx.doi.org/10.1080/02690403.2013.771960.
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ABSTRACTThis article examines the English reception of an Italian song by Lully, ‘Scocca pur tutti tuoi strali’ (LWV 76/3), and its importance for English music of the late seventeenth century. In English sources, this song exists in arrangements for keyboard, and for two violins and bass. It was also the source of a five-bar bass formula used variously in the 1680s. Purcell, for example, clearly used the bass, or an adapted version of it, as an ostinato pattern in three instances. ‘Scocca pur’ is the clearest example of a model composition in Italian style that was known to English musicians in the late seventeenth century. By implication, Italian-style compositional practice was developed from a limited number of models, which were adapted freely, disseminated aurally, and modified to suit native tastes and practices.
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Matanari, Oang Gabriel, I. Komang Darmayuda, and Ni Wayan Ardini. "“Belenggu Benalu”: Komposisi Kolaborasi-Interpretatif mengenai Pengaruh Akulturasi Budaya Barat pada Musik Batak Toba “Uning-uningan”." Journal of Music Science, Technology, and Industry 2, no. 1 (January 15, 2019): 85. http://dx.doi.org/10.31091/jomsti.v2i1.612.
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Budaya asing yang masuk ke tanah Batak di Sumatera Utara, Indonesia, membawa pengaruh yang besar bagi perkembangan musik Batak Toba atau Uning-uningan, yaitu ansambel hasil transformasi antara Gondang Hasapi yang terdiri atas Sarune Etek, Hasapi Doal, Hasapi Ende, Garantung, serta Hesek, dengan Gondang Sabangunan/Bolon (Taganing, Ogung (Gong), Odap, dan Hesek serta Sarune Bolon). Dalam perkembangan zaman ini, sebagian besar acara adat Batak Toba menyajikan konsep musik Uning-uningan dengan iringan keyboard, bahkan dalam banyak situasi, ketika terdapat keterbatasan dana di dalamnya, otomatis ada ruang yang besar bagi pemain organ tunggal untuk mengaplikasikan repertoar-repertoar musik Uning-uningan hanya dengan keyboard-nya. Hal tersebut tentunya memberikan pengaruh negatif bagi eksistensi musik tradisional Batak Toba ini. Alhasil pengaruh yang terjadi akibat budaya Barat mampu menarik minat masyarakat Batak Toba, sehingga masyarakat Batak Toba lebih menyukai konsep musik Uning-uningan dengan iringan keyboard. Oleh sebab itu, keprihatinan penulis sekaligus komposer dalam menanggapi pengaruh akulturasi terhadap eksistensi musik tradisi Batak Toba dituangkan dalam komposisi musik dengan judul “Belenggu Benalu”. Melalui komposisi musik ini penulis berharap masyarakat Batak Toba, khususnya para musisi Batak sadar dan turut berpartisipasi dalam melestarikan serta menjaga Uning-uningan dan musik tradisional Batak lainnya sebagai salah satu identitas dari keragaman seni dan budaya Indonesia. Foreign culture that enters Batak land in North Sumatera, Indonesia, has a great influence on the development of the Batak Toba music or Uning-uningan (an ensemble transformed between Gondang Hasapi consisting of Sarune Etek, Hasapi Doal, Hasapi Ende, Garantung, as well as Hesek and Gondang Sabangunan/Bolon (Taganing, Ogung (Gong), Odap, Hesek and Sarune Bolon). Nowadays, most of the traditional Batak Toba ceremonials present the concept of Uning-uningan music with keyboard accompaniment, especially in the situations that there is a budget limitation which gives a large space for single organ players (keyboardist) to apply Uning-uningan musical repertoires only with an instrument (i.e. the keyboard). This certainly gives negative influence on the existence of the Batak Toba traditional music. As a result the influence that happened because of the western culture makes the people of Batak Toba prefers the musical concept of Uning-uningan with keyboard accompaniment. Therefore, the concern of the author and composer in responding to the influence of acculturation on the existence of Batak Toba traditional music is outlined in musical composition entitled “Belenggu Benalu”. Through this music composition hopefully the people of Batak Toba, especially Batak musicians are aware and participate in preserving and maintaining Uning-uningan and other traditional Batak music as one of the identities of the Indonesian art and culture diversity.
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Moseley, Roger. "Digital Analogies:." Journal of the American Musicological Society 68, no. 1 (2015): 151–228. http://dx.doi.org/10.1525/jams.2015.68.1.151.
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Relating evidence from the mythological to the contemporary in both historical and media-archaeological registers, this article explores how techniques of sonic generation and representation shuttled between what might be defined as digital and analog domains long before the terms acquired their present meanings—and became locked in a binary opposition—over the latter half of the twentieth century. It proposes that such techniques be conceptualized via the “digital analogy,” a critical strategy that accounts for the nesting of techno-musical configurations. While the scope of digital analogies is expansive, the focus here falls on a particular interface and mode of engagement. The interface is the keyboard; the mode of engagement is the play, both ludic and musical, that the keyboard affords. Operations at the keyboard have been integral to ludic communication and computation as well as to the practices of composition, performance, and improvisation. To map out this genealogy and to show how it continues to inform loci of musical play from sound art to digital games, the article draws on an array of critical and theoretical texts including Friedrich Kittler’s media analyses, Vilém Flusser’s writings on technology, and post-Foucauldian discourses on cultural techniques.