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Journal articles on the topic 'Keyboard music'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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1

Herlin, Denis, and Alan Brown. "Elizabethan Keyboard Music." Revue de musicologie 77, no. 1 (1991): 140. http://dx.doi.org/10.2307/947197.

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2

Schott, Howard, and Christophe Rousset. "Bach: Keyboard Music." Musical Times 133, no. 1797 (November 1992): 590. http://dx.doi.org/10.2307/1002602.

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3

Irving, John. "Tudor keyboard music." Early Music XXIV, no. 1 (February 1996): 167–68. http://dx.doi.org/10.1093/earlyj/xxiv.1.167.

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4

Smith, David J. "Sweelinck's keyboard music." Early Music XXVI, no. 1 (February 1998): 143–45. http://dx.doi.org/10.1093/earlyj/xxvi.1.143.

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5

WILLETTS, CARL. "Gibbons keyboard music." Early Music XXVIII, no. 3 (August 2000): 509—b—509. http://dx.doi.org/10.1093/earlyj/xxviii.3.509-b.

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6

IRVING, JOHN. "MORLEY'S KEYBOARD MUSIC." Music and Letters 75, no. 3 (1994): 333–43. http://dx.doi.org/10.1093/ml/75.3.333.

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7

Simmonds, P. "Bach keyboard music." Early Music 38, no. 1 (January 28, 2010): 155–58. http://dx.doi.org/10.1093/em/cap133.

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8

Barker, N. J. "Frescobaldi keyboard music." Early Music 39, no. 4 (November 1, 2011): 633–36. http://dx.doi.org/10.1093/em/car096.

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9

Trocme-Latter, D. "Bach keyboard music." Early Music 41, no. 2 (May 1, 2013): 358–61. http://dx.doi.org/10.1093/em/cat052.

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10

Adlam, D. "Early keyboard music." Early Music 35, no. 1 (January 16, 2007): 144–46. http://dx.doi.org/10.1093/em/cal111.

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11

Simmonds, P. "Early keyboard music." Early Music 35, no. 3 (June 4, 2007): 474–77. http://dx.doi.org/10.1093/em/cam039.

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12

Irving, David R. M. "Iberian keyboard music." Early Music 45, no. 1 (February 2017): 156–59. http://dx.doi.org/10.1093/em/cax017.

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13

Haken, Lippold. "Continuous music keyboard." Journal of the Acoustical Society of America 116, no. 3 (2004): 1334. http://dx.doi.org/10.1121/1.1809951.

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14

Trouillet, Emmanuel, Peter Philips, David J. Smith, John Blow, and Robert Klakowich. "Complete Keyboard Music." Revue de Musicologie 91, no. 2 (January 1, 2005): 492. http://dx.doi.org/10.2307/20141630.

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15

Owen, Barbara, and Alexander Silbiger. "Keyboard Music before 1700." Sixteenth Century Journal 29, no. 1 (1998): 265. http://dx.doi.org/10.2307/2544489.

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16

Haken, Lippold, Ed Tellman, and Patrick Wolfe. "An Indiscrete Music Keyboard." Computer Music Journal 22, no. 1 (1998): 30. http://dx.doi.org/10.2307/3681043.

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17

Nelson, Bernadette. "Interpreting Iberian keyboard music." Early Music XXIII, no. 3 (August 1995): 507–9. http://dx.doi.org/10.1093/earlyj/xxiii.3.507.

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18

Kitchen, John. "Baroque solo keyboard music." Early Music XXIV, no. 4 (November 1996): 715–17. http://dx.doi.org/10.1093/earlyj/xxiv.4.715.

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19

Schott, Howard. "Byrd's keyboard music complete." Early Music XXVIII, no. 3 (August 2000): 494–95. http://dx.doi.org/10.1093/earlyj/xxviii.3.494.

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20

Morehen, John. "Review: Complete Keyboard Music." Music and Letters 84, no. 1 (February 1, 2003): 155–57. http://dx.doi.org/10.1093/ml/84.1.155.

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21

SILBIGER, ALEXANDER. "‘17TH CENTURY KEYBOARD MUSIC’." Music and Letters 72, no. 2 (1991): 351–53. http://dx.doi.org/10.1093/ml/72.2.351.

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22

GUSTAFSON, BRUCE. "‘17TH CENTURY KEYBOARD MUSIC’." Music and Letters 72, no. 2 (1991): 353. http://dx.doi.org/10.1093/ml/72.2.353.

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23

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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24

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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25

Holman, Peter. "A New Source of Restoration Keyboard Music." Royal Musical Association Research Chronicle 20 (1987): 53–57. http://dx.doi.org/10.1080/14723808.1987.10540919.

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Restoration keyboard music has been well served in recent years by modern editions, source studies and thematic catalogues. Thus it is all the more surprising that Brussels Conservatoire MS XY 15139, a large manuscript from the early eighteenth century containing unique pieces by John Blow and William Croft as well as a number of early copies of music by Henry Purcell, has almost entirely escaped notice. It seems that the only references to it in the scholarly literature to date have been a brief description by Margaret Reimann in her article on the Kortkamp family in Die Musik in Geschichte und Gegenwart, and my edition of two Croft suites in the 1982 revision of that composer's Complete Harpsichord Works.
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26

Anderson, Robert. "Keyboard Miniatures." Musical Times 130, no. 1761 (November 1989): 688. http://dx.doi.org/10.2307/1193796.

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27

Thomson, Andrew, Severac, Halffter, and Dutilleux. "Keyboard Excursions." Musical Times 133, no. 1795 (September 1992): 460. http://dx.doi.org/10.2307/1002377.

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28

Simmonds, P. "Early keyboard." Early Music 34, no. 3 (August 1, 2006): 507–10. http://dx.doi.org/10.1093/em/cal048.

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29

Ehrlich, Cyril. "Keyboard Bach." Musical Times 131, no. 1763 (January 1990): 37. http://dx.doi.org/10.2307/965631.

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30

Drakeford, Richard, Robin Milford, Gerald Barry, Eric Hudes, Colin Matthews, and Anthony Powers. "Keyboard Diversity." Musical Times 132, no. 1783 (September 1991): 448. http://dx.doi.org/10.2307/965648.

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31

Schott, Howard, Alessandro Scarlatti, Luciano Grizzi, Joseph-Nicolas-Pancrace Royer, and Lisa Goode Crawford. "Keyboard Treasure." Musical Times 132, no. 1781 (July 1991): 342. http://dx.doi.org/10.2307/966285.

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32

Suranto, Joni, and Santosa Santosa. "Sistem pelarasan pada campursari." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 14, no. 1 (July 17, 2019): 28–33. http://dx.doi.org/10.33153/dewaruci.v14i1.2534.

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Campursari, keinginan manusia untuk selalu berkarya dan membuat hal-hal baru melahirkan sebuah musik yang terbentuk dari beberapa jenis musik yang memiliki latar belakang kebudayaan yang berbeda. Secara garis besar musik ini terbentuk dari dua jenis musik yang berbeda yaitu karawitan dan keroncong, tetapi campursari sudah memiliki ciri khas sendiri dengan estetika dan rasa musikal yang berbeda dengan musik aslinya. Alat musik yang digunakan dalam campursari mengambil beberapa dari gamelan jawa dan beberapa dari alat musik barat. Sistem pelarasan dalam campursari sebagian menggunakan tangga nada diatonis dan mengubah nada-nada pada gamelan menyesuaikan dengan keyboard atau alat-alat musik dengan sistem pelarasan diatonis yang lain. Seiring dengan perkembangan jaman beberapa seniman campursari mulai mencoba menerapkan sistem pelarasan pelog dan slendro pada gamelan Jawa kedalam campursari, alat-alat musik yang sebenarnya berasal dari musik barat ditalu untuk bisa menyesuaikan dengan gamelan Jawa. ABSTRACTCampursari, a human willingness to always make work and create something new, create a kind of music which is formed by different types of music that have a different cultural background. Mainly, this music formed by two kinds of music which are karawitan and keroncong. However, campursari has its characteristic with the esthetic and musical taste which differ from its original music source. The music instruments used in campursari consist of Javanese gamelan and western music instruments. From Gamelan, it uses saron, demung, gender, kendhang, siter, suling, and gong. It also uses cak and cuk / ukulele from keroncong and keyboard, guitar, guitar bass, and drum set from combo band. The tunings system in campursari partly uses diatonic scales and transforms the gamelan musical scales to suit the keyboard or other music instruments that use other diatonic tunings systems. With the development of technology, some Campursari artists start to implement pelog and slendro system of Javanese gamelan into campursari. The western music instruments used are played in such a way so it will suit the Javanese gamelan.
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33

McPherson, Andrew. "Buttons, Handles, and Keys: Advances in Continuous-Control Keyboard Instruments." Computer Music Journal 39, no. 2 (June 2015): 28–46. http://dx.doi.org/10.1162/comj_a_00297.

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The keyboard is one of the most popular and enduring musical interfaces ever created. Today, the keyboard is most closely associated with the acoustic piano and the electronic keyboards inspired by it, which share the essential feature of being discrete: Notes are defined temporally by their onset and release only, with little control over each note beyond velocity and timing. Many keyboard instruments have been invented, however, that let the player continuously shape each note. This article provides a review of keyboards whose keys allow continuous control, from early mechanical origins to the latest digital controllers and augmented instruments. Two of the author’s own contributions will be described in detail: a portable optical scanner that can measure continuous key angle on any acoustic piano, and the TouchKeys capacitive multi-touch sensors, which measure the position of fingers on the key surfaces. These two instrument technologies share the trait that they transform the keys of existing keyboards into fully continuous controllers. In addition to their ability to shape the sound of a sustaining note, both technologies also give the keyboardist new dimensions of articulation beyond key velocity. Even in an era of new and imaginative musical interfaces, the keyboard is likely to remain with us for the foreseeable future, and the incorporation of continuous control can bring new levels of richness and nuance to a performance.
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34

Moro, Giulio, and Andrew P. McPherson. "Performer Experience on a Continuous Keyboard Instrument." Computer Music Journal 44, no. 2-3 (2020): 69–91. http://dx.doi.org/10.1162/comj_a_00565.

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Abstract On several keyboard instruments the produced sound is not always dependent exclusively on a discrete key-velocity parameter, and minute gestural details can affect the final sonic result. By contrast, variations in articulation beyond velocity have normally no effect on the produced sound when the keyboard controller uses the MIDI standard, used in the vast majority of digital keyboards. In this article, we introduce a novel keyboard-based digital musical instrument that uses continuous readings of key position to control a nonlinear waveguide flute synthesizer with a richer set of interaction gestures than would be possible with a velocity-based keyboard. We then report on the experience of six players interacting with our instrument and reflect on their experience, highlighting the opportunities and challenges that come with continuous key sensing.
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35

Malton, Rosalind. "Thomas Roseingrave: Complete Keyboard Music." Musicology Australia 30, no. 1 (January 2008): 97–99. http://dx.doi.org/10.1080/08145857.2008.10416740.

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36

Simmonds, P. "Wilhelm Friedemann Bach's keyboard music." Early Music 38, no. 4 (November 1, 2010): 624–27. http://dx.doi.org/10.1093/em/caq098.

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37

Woolley, A. "Keyboard music of the Americas." Early Music 37, no. 2 (April 28, 2009): 322–24. http://dx.doi.org/10.1093/em/cap013.

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38

Woolley, Andrew. "Early English keyboard music revitalized." Early Music 47, no. 3 (July 23, 2019): 418–19. http://dx.doi.org/10.1093/em/caz052.

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39

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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40

Bond, Ann. "[Various Keyboard Compositions]." Musical Times 128, no. 1732 (June 1987): 353. http://dx.doi.org/10.2307/1193763.

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41

Schott, Howard. "Early Keyboard Instruments." Revue de musicologie 79, no. 2 (1993): 368. http://dx.doi.org/10.2307/946899.

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42

Maunder, Richard. "Mozart's keyboard instruments." Early Music XX, no. 2 (May 1992): 207–20. http://dx.doi.org/10.1093/earlyj/xx.2.207.

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43

Kitchen, John. "A keyboard miscellany." Early Music XXIII, no. 3 (August 1995): 520–22. http://dx.doi.org/10.1093/earlyj/xxiii.3.520.

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44

Brown, Alan. "Purcell’s keyboard contemporaries." Early Music 47, no. 4 (November 2019): 592–94. http://dx.doi.org/10.1093/em/caz089.

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45

Pleasants, V. "Bruges keyboard competition." Early Music 32, no. 4 (November 1, 2004): 640. http://dx.doi.org/10.1093/em/32.4.640.

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46

Cooper, Barry. "Keyboard concertos galore." Early Music 44, no. 1 (February 2016): 161–64. http://dx.doi.org/10.1093/em/caw008.

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47

Methuen-Campbell, James, and David Dubal. "From the Keyboard." Musical Times 127, no. 1718 (May 1986): 280. http://dx.doi.org/10.2307/965465.

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48

MacKay, James S. "Franz Joseph Haydn and the Five-Octave Classical Keyboard: Registral Extremes, Formal Emphases and Tonal Strategies." Canadian University Music Review 23, no. 1-2 (March 6, 2013): 126–44. http://dx.doi.org/10.7202/1014521ar.

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The Classical keyboard in its various forms (harpsichord, clavichord and fortepiano) typically had a modest five-octave range (FF–f3) prior to ca. 1800. This essay examines how this range influenced the tonal shape of Joseph Haydn's keyboard music written after 1765. The author explores how Haydn used registral extremes to emphasize major formal junctures, cadences and modulations. Finally, he explores how the presence or absence of the keyboard's extreme pitches contributes to key character, examining the different contexts in which Haydn uses them in three tonalities: D minor, C major and A major.
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49

Bailey, Candace Lea. "Complete Keyboard Music, and: Complete Harpsichord Music (review)." Notes 58, no. 4 (2002): 926–29. http://dx.doi.org/10.1353/not.2002.0057.

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50

Simatupang, Jaka Pranata. "TEKNIK PERMAINAN IMPROVISASI KEYBOARD PADA LAGU KIDUNG JEMAAT NO. 375 “SAYA MAU IKUT YESUS” DI GEREJA HKI HUTAGURGUR." Areopagus : Jurnal Pendidikan Dan Teologi Kristen 18, no. 1 (March 1, 2020): 39–47. http://dx.doi.org/10.46965/ja.v18i1.103.

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The purpose of this research is to add insight into the playing of keyboard instruments and what techniques can be used in playing the keyboard one of them improvised music playing techniques by playing music in whorship in the Church. The benefits of the research to explain the technique of improvised keyboard music playing in the accompaniment of processional worship at the HKI Curch Hutagurgur. Applied to this improvisation technique using the song of the Curch numbre 375 “I Want To Follow Jesus” during the procession worship at the HKI Curch Hutagurgur. The study uses qualitative research that makes direct observations and gets information from several related source. The author lifts the song “I Want To Follow Jesus”and apply it through a keyboard instrument using an improvised playing music to add some melodies that are not in the original song sheet so that the atmosphere of entering the Church is more enjoying the music. The method used for this improvised music playing yechnique through melodi scale and chord transfer called chord bridges to go to the next chord on the song I Want To Follow Jesus. In improvised playing dont have to match the writen scores, because improvisation is a spontaneous idea that is created directly unconciously and without planed.The information contained in this thesis is the method using and appliying improvised playing techniques through stages wich is explained in playing music especially in the field of instruments keyboard in the use of improvisation first know the song that will be played to in the playing of improvisation more broadly in playing the melodies wich increase through the idea appear alone on the chord song moves. Perferably inside the Church player is sick of having to practice more in music playing techniques espesially on keyboard instruments because in aChurch instrument the most importaint keyboard in accompanying Church worship.
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