Books on the topic 'Piano Integrato'

Il volume, che raccoglie gli atti del seminario di studio svoltosi a Firenze il 12 aprile 2013 a conclusione di un Progetto di ricerca di rilevanza nazionale finanziato dal Miur, esamina la strategia ‘integrata’ di contrasto alla corruzione adottata dalla legge ‘anticorruzione’ n. 190 del 2012 sia sul versante della prevenzione amministrativa che della repressione penale, con particolare attenzione alle conseguenze che le nuove misure comportano sul piano applicativo.

Negli ultimi anni numerose riflessioni hanno insistito sull’importanza dei parchi agricoli come strumenti in grado di contribuire alla ricreazione di rapporti di reciprocità tra urbano e rurale, giocati sulla valorizzazione della loro prossimità. I parchi possono inoltre costituire l’occasione per sperimentare nuove forme di progettualità alla scala territoriale, orientate verso la costruzione di scenari unitari e coerenti sul piano morfologico, funzionale, ambientale. Il volume offre una riflessione su questi temi restituendo gli esiti di un’esperienza di progettazione che ha coinvolto la scuola territorialista di Empoli (CdL in Pianificazione della Città e del Territorio) e quella dell’ingegneria territoriale di Clermont Ferrand (AgroParisTech ENGREF). Gli scenari che ne sono derivati operano una sintesi tra questi due approcci, integrando l’interpretazione patrimoniale con i processi di diagnostic territorial e con la costruzione di territorialità condivise.

For teachers of piano pedagogy, this book provides tools to transform college piano students into professional piano teachers. It is not simply a book about teaching piano—instead, it is a book about how piano students learn to teach. It helps teachers develop pedagogy course curricula, design and facilitate practicum-teaching experiences, and guide research projects in piano pedagogy. After an introduction to the history of the domain, to its related topics, and to course materials, the book gives unique perspectives on how pedagogy teachers can introduce students to course concepts and then how to help them put those concepts into practice. To facilitate easy integration into the curriculum, it provides example classroom exercises and assignments throughout the text, which are designed to help students understand and practice the related topics and skills.

Abstract This Very Short Introduction takes an expansive and inclusive approach meant to broaden and challenge traditional views of music and technology. In its most common use, “music technology” tends to evoke images of twentieth and twenty-first century electronic devices: synthesizers, recording equipment, music notation software, and the like. This volume, however, treats all tools used to create, store, reproduce, and transmit music—new or old, electronic or not—as technologies worthy of investigation. All musical instruments can be considered technologies. The modern piano, for example, is a marvel of keys, hammers, strings, pedals, dampers, and jacks; just the sound-producing mechanism, or action, on a piano has dozens of parts. In this broad view, technology in music encompasses instruments, whether acoustic, electric, or electronic; engraving and printing; sound recording and playback; broadcasting; software; and much more. This volume challenges the view that technology is unnatural, something external to music. It was sometimes said in the early twentieth century that so-called mechanical music (especially player pianos and phonographs) was a menace to “real” music; alternatively, technology can be freighted with utopian hopes and desires. Positive or negative, these views assume that technology is something that acts upon music. By contrast, this volume characterizes technology as an integral part of all musical activity and portrays traditional instruments and electronic machines as equally technological.

Music is an integral part of African society and the life of an African revolves around music. Musical instrument play is part and parcel of African music. Thus, learning a musical instrument is part of the African culture. The piano although not African in origin, has been adopted in Africa through globalization and glocalization. This book introduces the learner to piano playing using African rhythm as its theme. It introduces the learner to basic rhythms and basic finger positions to play the simple pieces that are in the book. This book is a result of the author’s many years of teaching piano to beginners. The author hopes that this book forms a foundation for students to learn African rhythms and to love African music for further progression.

El presente libro relata experiencias desarrolladas en la enseñanza del piano y la guitarra en el Departamento de Música del Bachillerato de Bellas Artes de la Universidad Nacional de La Plata. Resulta un intento de sistematización de marcos de referencia teóricos, de una praxis instrumental integrada y de materiales, con el objetivo de crear una herramienta de trabajo, tanto para ser usada en el interior de la institución como para ser transferida a otros ámbitos. El Bachillerato de Bellas Artes es uno de los cinco colegios que conforman el sistema de pregrado de la UNLP. Sistema que tiene como finalidad la enseñanza, la innovación, la experimentación, la investigación, la extensión y la transferencia. Que promueve una educación integral histórica y socialmente contextualizada: la formación de ciudadanos democráticos, libres, responsables, críticos, solidarios y respetuosos de las diferencias. El Bachillerato de Bellas Artes sostiene el carácter experimental en sus prácticas y compromete su accionar a la generación de conocimiento. Presenta un marco teórico basado en el desarrollo de competencias comunicativas del cual se desprende un proyecto institucional acorde, donde confluyen distintas áreas de trabajo con objetivos compartidos.

Entrega un importante avance en la propuesta de Sistema Integral de Mitigación del Riesgo de Plagas en productos forestales primarios de exportación (trozas, madera aserrada y astillas) de pino, eucalipto, coigue y tepa.

Entrega protocolos sanitarios de procesos productivos basándose en el concepto y objetivo de los Sistemas Integrados de Mitigación de Riesgo de Plagas. Constituye un documento guía para la certificación sanitaria de productos forestales primarios de exportación (trozas, madera aserrada y astillas) de pino, eucalypto, coigue y tepa.

Chapter 8 integrates the adaptive strategies outlined in previous chapters and presents tables that small-handed pianists can use to diagnose and resolve commonly encountered problems. These tables focus on broad categories where obstacles encountered by pianists with small hands can be found—chords, arpeggios, leaps, octaves, broken intervals, legato, and voicing. The tables outline solutions drawn from throughout the book, thus integrating a variety of approaches to each problem. The effectiveness of these tools in a particular context should be evaluated on the basis of sound, comfort, reliability, and ease of execution. Examples from the intermediate and advanced piano literature are used to demonstrate a synthesized approach to problem solving.

Durante la segunda mitad del siglo XIX, diferentes compañías viajeras europeas presentaron óperas y zarzuelas en Bogotá. José María Ponce de León (1845-1882), compositor bogotano, escribió tres grandes obras líricas: dos óperas sobre libretos del poeta Rafael Pombo, Ester (1874) y Florinda (1880), y la zarzuela El castillo misterioso (1876). Considerada como la primera ópera escrita por un compositor colombiano, Ester, ópera bíblica en tres actos fue estrenada en 1874 en el Coliseo Maldonado de Bogotá por una compañía italiana. Desde entonces, y pese a la revisión de la obra por parte del compositor, la ópera nunca volvió a ser representada y cayó en el olvido. La presente edición crítica, basada en los manuscritos autógrafos conservados en diferentes archivos en Bogotá, es la primera edición integral de esta ópera colombiana. Esta publicación se hace junto con la reducción para canto y piano.

Approaches towards the formal learning of piano playing with respect to musicianship is one that demands the understanding of musical concepts and their applications. Consequently, it requires the boldness to immerse oneself in performance situations while trusting one’s instincts. One needs only to cultivate an amazing ear and a good understanding of music theory to break down progressions “quickly”. Like an alchemist, one would have to pick their creative impulses from their musical toolbox, simultaneously compelling their fingers to coordinate with the brain and the music present to generate “pleasant sounds”. My exploration leading to what will be considered Keyboard Musicianship did not begin in a formal setting. Rather it was the consolidation of my involvement in playing the organ at home, Sunday school, boarding school at Presec-Legon, and playing at weekly gospel band performances off-campus and other social settings that crystalized approaches that can be formally structured. In fact, I did not then consider this lifestyle of musical interpretation worthy of academic inclusivity until I graduated from the national academy of music and was taken on the staff as an instructor in September, 1986. Apparently, what I did that seemed effortless was a special area that was integral to holistic music development. The late Dr. Robert Manford, the then director of the Academy, assigned me to teach Rudiments and Theory of Music to first year students, Keyboard Musicianship to final year students, and to continue giving Piano Accompaniment to students – just as I have been voluntarily doing to help students. The challenge was simply this; there was no official textbook or guide to use in teaching keyboard musicianship then and I was to help guide especially non-piano majors for practical exams in musicianship. What an enterprise! The good news though was that exemplifying functionalism in keyboard, organ, piano, etc. has been my survival activity off campus particularly in church and social settings.Having reflected thoroughly and prayerfully, it dawned on me that piano literacy repertoires were crafted differently than my assignments in Musicianship. Piano literacy repertoires of western music were abundant on campus but applied musicianship demanded a different approach. Playing a sonata, sonatina, mazurka, and waltzes at different proficiency levels was different from punching chords in R&B, Ballard style, Reggae, Highlife or even Hymn playing. However, there are approaches that can link them and also interpretations that can categorize them in other applicable dimensions. A “Retrospective Introspection” demanded that I confront myself constructively with two questions: 1. WHAT MUSICAL ACTIVITIES have I already enjoyed myself in that WARRANT or deserve this challenging assignment? 2. WHAT MUSICAL NOURISHMENT do l believe enriched my artistry that was so observable and Measurable? The answers were shocking! They were: 1. My weekend sojourn from Winneba to Accra to play for churches, brass bands, gospel bands and teaching of Choirs – which often left me penniless. 2. Volunteering to render piano accompaniment to any Voice Major student on campus since my very first year. 3. Applying a principle, I learnt from my father – TRANSFER OF LEARNING – I exported the functionalism of my off-campus musical activities to compliment my formal/academic work. 4. The improvisational influences of Rev. Stevenson Alfred Williams (gospel jazz pianist), Bessa Simmons (band director & keyboardist) and at Ghana Broadcasting Corporation, Mr. Ray Ellis “Afro Piano Jazz Fusion Highlife” The trust and support from lecturers and students in the academy injected an overwhelming and high sense of responsibility in me which nevertheless, guided me to observe structures of other established course outlines and apply myself with respect to approaches that were deemed relevant. Thus, it is in this light that I selected specific concepts worth exploring to validate the functionalism of what my assignment required. Initially, hymn structures, chords I, IV, V and short highlife chordal progressions inverted here and there were considered. Basic reading of notes and intense audiation were injected even as I developed technical exercises to help with the dexterity of stiff fingers. I conclude this preface by stating that, this “Instructional guide/manual” is actually a developmental workbook. I have deliberately juxtaposed simple original piano pieces with musicianship approaches. The blend is to equip learners to develop music literacy and performance proficiencies. The process is expected to compel the learner to immerse/initiate themselves into basic keyboard musicianship. While it is a basic book, I expect it to be a solid foundation for those who commit to it. Many of my former and present students have been requesting for a sort of guide to aid their teaching or refresh their memories. Though not exhaustive, the selections presented here are a response to a long-awaited workbook. I have used most of them not only in Winneba, but also at the Callanwolde Fine Arts Center (Atlanta) and the Piano Lab (Accra). I found myself teaching the same course in the 2009 – 2013 academic year in the Music Department of the University of Education, Winneba when Prof C.W.K Merekeu was Head of Department. My observation is that we still have a lot of work to do in bridging academia and industry. This implies that musicianship must be considered as the bloodline of musicality not only in theory but in practice. I have added simplified versions of my old course outlines as a guide for anyone interested in learning. Finally, I contend that Keyboard Musicianship is a craft and will require of the learner a consistent discipline and respect for: 1. The art of listening 2. Skill acquisition/proficient dexterity 3. Ability to interpret via extemporization and delivery/showmanship. For learners who desire to challenge themselves in intermediate and advanced piano, I recommend my book, “African Pianism. (A contribution to Africology)”

En el presente trabajo se integran resultados de estudios tecnológicos relacionados con el secado, aserrío y clasificación visual estructural de la madera de pino ponderosa, con la determinación de tensiones admisibles de la madera, con la caracterización mecánica de muros fabricados con ella y con la determinación de parámetros de habitabilidad de soluciones constructivas (aislación térmica y acústica, y resistencia al fuego). Se entrega además la base técnica para la incorporación de la madera aserrada de la especie en la normativa chilena del Instituto Nacional de Normalización (INN) que regula el uso de la madera en la construcción en el país (NCh 1198, NCh 789-1; NCh 1207) y se proporcionan todos los antecedentes técnicos de la construcción de una vivienda piloto en la ciudad de Coyhaique.