Relevant bibliographies by topics / Piano music 18th century

Academic literature on the topic 'Piano music 18th century'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Contents

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Piano music 18th century.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Piano music 18th century"

1

Danilova, Yana Yu. "The Acoustic Images of Quasi-Ensemble Music-Making in the Slow Section of Mozart’s Clavier Sonata in B-flat Major, К. 570." ICONI, no. 3 (2019): 27–37. http://dx.doi.org/10.33779/2658-4824.2019.3.027-037.

Full text
Abstract:
Music for clavier from the 18th century graphically recreates the acoustic images of the musical instruments and models of quasi-ensemble music making of that period. This tradition of “reflected musical texts” was typical for the Baroque period, when piano music presented a quasi-ensemble score condensed into two-staff notation. The acoustic features of the European practice of music-making in ensembles have also been universally reflected in the musical graphics of the piano sonatas of the Viennese Classicists – Haydn, Mozart and Beethoven. On the basis of the observations of this migration within the musical text of the slow movement of Mozart’s Sonata in B-flat minor K. 570, the article demonstrates the modifications of the structural dialogic models of Baroque practice and the process of their transformation into unfolded narrative-contextual signs, the peculiar features of the musical scores, and the acoustic images of the 18th century music-making practice.
APA, Harvard, Vancouver, ISO, and other styles
2

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
3

Tudor, Brînduşa. "The Piano, A Perfect Musical Instrument – Beginnings and Evolution (18th – 19th Centuries)." Review of Artistic Education 17, no. 1 (March 1, 2019): 100–105. http://dx.doi.org/10.2478/rae-2019-0010.

Full text
Abstract:
Abstract The 18th century and the beginning of the 19th century mark the emergence, development and affirmation of the piano as a complex instrument that shall take, in turns, the role of soloist instrument, claiming and being able to reach the sound variety of the orchestra, that of partner in chamber music assemblies or that of orchestra member. The emergence, improvement and qualitative performance acquisition adventure of the piano represents a fascinating history about human creativity and ingenuity serving art, beauty, sound expressivity refinement and improvement.
APA, Harvard, Vancouver, ISO, and other styles
4

Liu, Qing. "Problems Needing Attention in Piano Playing Teaching." Lifelong Education 9, no. 5 (August 2, 2020): 93. http://dx.doi.org/10.18282/le.v9i5.1215.

Full text
Abstract:
The piano originated in Italy in the 18th century. As an important instrument in Western classical music, it has always been known as the king of musical instruments. This article starts with the obstacles faced by piano playing classrooms in colleges and universities, looking for specific ways to solve the problems encountered in teaching activities, hoping to effectively improve students' learning initiative and playing skills, while promoting the vigorous development of piano education in my country.
APA, Harvard, Vancouver, ISO, and other styles
5

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 1." Notes Muzyczny 1, no. 9 (June 20, 2018): 43–64. http://dx.doi.org/10.5604/01.3001.0012.9898.

Full text
Abstract:
The article constitutes the first part of a cycle devoted to keyboard instruments with hammer mechanism made between 1730 and 1780. The author’s intention is presenting a wide perspective of selected topics on keyboard instrument making in the 18th century and the influence of how instruments were made on music practice at that time. The aim seems justified due to scarce publications on this subject available in Polish, among other reasons. The first chapter briefly outlines general aspects of the 18th century music culture which was the background of the development of instrument making. As far as the theory of aesthetics was concerned, despite the predominance of vocal and instrumental music which used lyrics and their meaning, it was the period when rapid development of purely instrumental genres such as symphony or instrumental concerto took place. Also the popularisation of public and concert life, as well as home music-making gave an impulse for the development of instrument making. The second chapter touches on the invention of Bartolomeo Cristofori, its earlier reception and the role of Domenico Scarlatti in the popularisation of that instrument. Attempts to construct a keyboard instrument with a mechanism making the strings vibrate by striking them date back to the 15th century. However, the turning point in the history of all family of string keyboard instruments was only when in 1698 Cristoforti constructed a technically advanced hammer action mechanism, with enabled nuancing piano e forte dynamics on the traditional cembalo. Probably, among first promoters of the new instrument was Scarlatti and it was through him that grand pianos appeared on Portuguese and Spanish courts. Despite certain stylistic features proving that he was inspired by the capacities of the new instrument, there is no explicit evidence that Scarlatti’s Sonatas were meant for the piano. Nevertheless, the name pianoforte (piano e forte) does appear on title pages of works written by two other composers of that time, i.e., Lodovico Giustini and Sebastián de Albero, and their pieces have been briefly analysed at the end of the article.
APA, Harvard, Vancouver, ISO, and other styles
6

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
7

MIRKA, DANUTA. "The Cadence of Mozart's Cadenzas." Journal of Musicology 22, no. 2 (2005): 292–325. http://dx.doi.org/10.1525/jm.2005.22.2.292.

Full text
Abstract:
ABSTRACT The cadenzas Mozart supplied for his piano concertos are designed to close with a standard schema that conforms to the cadence as it was understood by musicians of the 18th century and described by such writers as Heinrich Christoph Koch. Melodic ingredients included the note of preparation, the cadential note, and the caesura note. The cadential schema may be elongated and manipulated in diverse ways, and in extreme cases, as witnessed in Mozart's practice, manipulations of the schema may yield sophisticated strategies that encompass several phases of approaching closure. Since the cadence of the cadenza served as a crucial means of communication between soloist and orchestra, its playful handling by the soloist presumably elicited amusing behavior among the orchestral musicians as they prepared to enter for the end of the final ritornello. This factor contributed a certain visual dimension to the communication between soloist and audience, in accordance with the aesthetic of witticism ascribed to the cadenza by 18th-century writers.
APA, Harvard, Vancouver, ISO, and other styles
8

Radzetskaya, Olga V. "Educational and Methodical Literature for the Clavier and Piano in the History of Russian Music Publishing of the Second Half of the 18th — Early 20th Century." Observatory of Culture 17, no. 6 (February 10, 2021): 657–68. http://dx.doi.org/10.25281/2072-3156-2020-17-6-657-668.

Full text
Abstract:
The Russian piano school is a unique phenomenon in the global cultural space, a multifaceted and creative phenomenon, a source of creative insights and vivid interpretations. The history of Russian piano performance is deeply and comprehensively studied and is characterized by a wide semantic range. A special place in it is occupied by educational and methodical literature produced by major music publishers in Moscow and St. Petersburg during their formation and development.The appeal to this topic is connected with the need to create a primary idea of the activities of music publishers for the production of educational materials in the historical dynamics and perspective. This complex process can be perceived as a synthesis of European traditions and Russian experience — a multidimensional multifunctional landscape of the era, illustrative reflection of important events in the cultural life of the country.The specificity of the problem has an impressive demonstration volume. It includes the strategy and tactics of development of Russian music publishing companies, production of educational and scientific-methodical literature by Russian and foreign authors, stages in the development of piano art, increase in the production output, achievements of the Russian piano school and its unique pedagogical experience.“P. Jurgenson” company’s catalogues, stored in the Russian State library, reflect the trends and directions that were dominant in the educational literature for piano. They include well-established, tested methods of piano playing, collections of exercises, and anthologies that enriched the pedagogical repertoire with compositions to develop of the technical base of students and expand the arsenal of its expressive means. The study aims at a primary classification of “P. Jurgenson” publishing house’s educational resources recorded in its catalogues of the late 19th — early 20th century.
APA, Harvard, Vancouver, ISO, and other styles
9

Pereverzeva, Marina V., and Anna A. Davydova. "History of Piano Technique Development: Methodical Aspect." Uchenye Zapiski RGSU 20, no. 1 (March 30, 2021): 181–88. http://dx.doi.org/10.17922/2071-5323-2021-20-1-181-188.

Full text
Abstract:
The history of the development of piano technique has been counting down since the 17th century. The most common keyboard instruments before the invention of the piano were the harpsichord, clavicord and organ. These early instruments had much lighter keys compared to modern ones. Therefore, performers could easily press the keys without feeling much resistance. With the advent of the piano, both the playing technique and the training technique for professional pianists and amateurs began to be reviewed. Musicians, summarizing their own performing experience, wrote treatises, textbooks and manuals, looking for the most effective method of mastering the technique of playing the keyboard instrument. In history, there are two schools of piano technique: the so-called school of “high lifting of fingers” and “playing with all the weight of the hand”. This work is devoted to the history of the development of these schools and methodological approaches to piano training. The views on piano technique that developed in the 18th–20th centuries, which were reflected in the textbooks of pianistsperformers and teachers, help to understand how to perform music of a particular period and what finger technique to use for a perfect interpretation of piano works of the past.
APA, Harvard, Vancouver, ISO, and other styles
10

Wald, Melanie. "„Ein curios melancholisches Stückchen“: Die düstere Seite von Haydns fis-Moll Sinfonie Hob. I:45 und einige Gedanken zur pantomime in der Instrumentalmusik." Studia Musicologica 51, no. 1-2 (March 1, 2010): 79–90. http://dx.doi.org/10.1556/smus.51.2010.1-2.6.

Full text
Abstract:
Haydn’s symphony no. 45, especially the final Farewell -Andante, has been looked at puzzlingly twofold: More recent understandings emphasize the wit and humour of the finale, while reports of the late 18th and early 19th century tend to notice a gloomier, even melancholic tint. This perception here is taken as a starting point for an interpretation of that symphony in terms of the 18th-century notion of melancholy as noble suffering of princes, intellectuals, and artists. Since musical works of melancholy are normally for piano or a soloist to allow for an identification of the player and the melancholic, a symphony leads us to ask anew for the melancholy persona of that orchestral piece. Answers are tried that highlight the respective roles of the orchestra, Haydn, and his most eminent listener, Prince Esterházy, within that game of deciphering melancholy. In addition, the different anecdotes concerning the Farewell -finale are analysed as tokens of an aesthetic irritation that try to tame the bewildering musical language of that symphony by linking it with extra-musical narratives. Finally, the often mentioned pantomimic aspect of the finale is taken into account and is interpreted as an important aspect of Haydn’s effort to produce meaning in the instrumental genres.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Piano music 18th century"

1

Hernandez, Alberto Hector. "Puerto Rican piano music of the nineteenth century /." Access Digital Full Text version, 1990. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10936671.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Ceballos, Sara Gross. "Keyboard portraits performing character in the eighteenth century /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1619148891&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Telesco, Paula Jean. "Enharmonicism in theory and practice in 18th-century music /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu148784688577955.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Ong, Siew Yuan. "The piano prelude in the early twentieth century : genre and form /." Connect to this title, 2005. http://theses.library.uwa.edu.au/adt-WU2006.0052.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Jou, Jonathan Jeng-Jong. "Bel canto : its effect on piano repertoire of the nineteenth century /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/11375.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Bang, Keum Ju. "The study of representative twentieth century piano compositions appropriate for use in contemporary college piano literature classes /." Access Digital Full Text version, 1987. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10778391.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Ong, Siew Yuan. "The piano prelude in the early twentieth century : genre and form." University of Western Australia. School of Music, 2006. http://theses.library.uwa.edu.au/adt-WU2006.0052.

Full text
Abstract:
This thesis focuses on a group of keyboard pieces composed in the first half of the twentieth century entitled ‘prelude’, and explores the issue of genre, investigating the significance in the application of this generic title, and the development of the piano prelude in this period. The application of a generic title often invokes the expectation of its generic features its conventional and formal characteristics. Though the prelude is one of the oldest genres in the history of keyboard music, it has relatively few conventions, and hence, with the abandonment of its primary function the prefatory role in the nineteenth century, it has been considered an indeterminate genre. Rachmaninoff, however, asserted that a generic title should carry with it appropriate generic manifestations, which parallelled similar generic concepts in literature. This expectation of generic traits is like setting up a ‘generic contract’, offering an invitation to either conform or reform, and thus affecting its course of development. A survey of the prelude’s historical development points to six rather consistent generic conventional and formal characteristics: (i) tonality, (ii) pianistic/technical figuration, (iii) thematic treatment and formal structure, (iv) improvisatory style, (v) mood content, and (vi) brevity. Though these general characteristics may overlap with other genres, it is their collective characteristics that have contributed to the genre’s unique identity. These features form the basis for an exploration of the conformity to, or further evolution of, these characteristics in the preludes of the early twentieth century. From the substantial number of piano preludes composed in this period, selected sets, representative of the various stylistic manifestations of the period, are analysed in relation to the identified generic characteristics. The examination reveals that these preludes, though apparently diversified in style and outlook, exhibit affinity in one form or another to the generic characteristics. Each example exhibits different treatments of the generic characteristics reflective of twentieth-century developments, whilst retaining its generic identity. The prelude is thus an amalgamation of a tonal, technical and affective piece, which may be considered a combination of a tonal essay, a study/toccata, and a character piece; and collectively, a sequence of tonalities, a collection of pianistic technical studies, and a compendium of musical styles/genres in miniature.
APA, Harvard, Vancouver, ISO, and other styles
8

HÖHMANN, REIKO CHRISTINE. "FOUR TWENTIETH-CENTURY SONATINAS FOR VIOLIN AND PIANO." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1171310483.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Forward, David William. "The keyboard repertory as a reflector of art nouveau in music /." Title page, contents and introduction only, 1993. http://web4.library.adelaide.edu.au/theses/09PH/09phf745.pdf.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Tithecott, Christine. "Canadian contemporary music and its place in 21st century piano pedagogy." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/2018.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Piano music 18th century"

1

Walter, Käte, and Eva Rieger. Frauen Komponieren: 22 Klavierstücke des 18.-20. Jahrhunderts = Female composers : 22 piano pieces from the 18th-20th century. Mainz: Schott, 1985.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

London und der Klassizismus in der Musik: Die Idee der "absoluten" Musik und Muzio Clementis Klavierwerk. Stuttgart: J.B. Metzler, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Sewen, Marek. 18th century Polish symphonies. London: Olympia, 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Burge, David. Twentieth-century piano music. New York: Schirmer Books, 1990.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Burge, David. Twentieth-century piano music. New York: Schirmer Books, 1990.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Larry, Todd R., ed. Nineteenth-century piano music. 2nd ed. New York: Routledge, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Satanowski, Robert. Polish 18th century symphonies. Southwater, West Sussex, England: Olympia, 1988.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Goethe and Schubert: The unseen bond. Portland, Ore: Amadeus Press, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Sewen, Marek. Musica antiqua polonica: 18th century Polish symphonies. London: Olympia, 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Haczewski, A. Musica antiqua Polonica: Polish 18th century symphonies. Southwater, W. Sussex, England: Olympia, 1988.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Piano music 18th century"

1

Golding, Rosemary. "Anon., ‘The Ancient Music of Ireland Adapted to the Piano Forte’." In Music in Nineteenth-Century Britain, 345–47. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003003915-41.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Golding, Rosemary. "Eleanor Geary, Musical Education; with Practical Observations on the Art of Piano-Forte Playing." In Music in Nineteenth-Century Britain, 279–84. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003003908-32.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Zavlunov, Daniil. "Alexander Mosolov’s Piano Sonata No. 1 and Its Synthetic Modernism." In Analytical Approaches to 20th-Century Russian Music, 132–54. New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003000808-10.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Clarke, Sabrina. "Synaesthetic Associations and Gendered Nature Imagery: Female Agency in the Piano Music of Amy Beach." In A Century of Composition by Women, 27–51. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-95557-1_2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Scimemi, Benedetto. "The Use of Mechanical Devices and Numerical Algorithms in the 18th Century for the Equal Temperament of the Musical Scale." In Mathematics and Music, 49–63. Berlin, Heidelberg: Springer Berlin Heidelberg, 2002. http://dx.doi.org/10.1007/978-3-662-04927-3_3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Popa, Florinela. "Music During the Cold War: A Romanian Story." In The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century), 141–54. Belgrade ; Ljubljana: Institute of Musicology SASA ; University of Ljubljana, Faculty of Social Sciences, 2020. http://dx.doi.org/10.18485/music_diplomacy.2020.ch9.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Popa, Florinela. "Music During the Cold War: A Romanian Story." In The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century), 141–54. Belgrade ; Ljubljana: Institute of Musicology SASA ; University of Ljubljana, Faculty of Social Sciences, 2020. http://dx.doi.org/10.18485/music_diplomacy.2020.ch9.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Milikić, Ratomir. "Petar Bingulac, Musicologist and Music Critic in the Diplomatic Service." In The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century), 53–62. Belgrade ; Ljubljana: Institute of Musicology SASA ; University of Ljubljana, Faculty of Social Sciences, 2020. http://dx.doi.org/10.18485/music_diplomacy.2020.ch4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Milikić, Ratomir. "Petar Bingulac, Musicologist and Music Critic in the Diplomatic Service." In The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century), 53–62. Belgrade ; Ljubljana: Institute of Musicology SASA ; University of Ljubljana, Faculty of Social Sciences, 2020. http://dx.doi.org/10.18485/music_diplomacy.2020.ch4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Kolaković, Aleksandra. "Music and Cultural Diplomacy: Presentation of the “New Yugoslavia” in France After 1945." In The Tunes of Diplomatic Notes: Music and Diplomacy in Southeast Europe (18th–20th century), 167–83. Belgrade ; Ljubljana: Institute of Musicology SASA ; University of Ljubljana, Faculty of Social Sciences, 2020. http://dx.doi.org/10.18485/music_diplomacy.2020.ch11.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Piano music 18th century"

1

Synofzik, Thomas. "„Würde Sie’s zu sehr ermüden zu begleiten?“ – Clara Schumann als Lied- und Kammermusikpartnerin." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.82.

Full text
Abstract:
80 percent of Clara Schumann‘s playbills in her complete collection of concert programmes (Robert-Schumann-Haus Zwickau) include vocal participation of solo singers, choirs or actors. The question is to which extent Clara Schumann used to accompany these vocal contributions herself on the piano. Only rarely are other accompanists named on the concert playbills, but evidence from concert reviews suggests that these vocal contributions normally served as rests for the solo pianist. Sometimes separate accompanists are named in the concert reviews. In orchestral concerts it was usually the conductor who accompanied solo songs on the piano, not the solo pianist. The Popular Concerts in St. James’s Hall in London were chamber concerts, which had a regular accompanist who was labelled as „conductor“ though there was no orchestra participating. These accompanists sometimes also performed with instrumentalists, e. g. basso continuo music from the 18th century or piano reductions of orchestral concerts.
APA, Harvard, Vancouver, ISO, and other styles
2

Shkolina, Marina Sergeevna. "Ornamenting of Music Texture in Russian Piano Pieces in 19th – Early 20th Century." In All-Russian Scientific Conference with International Participation, Chair Zivar Makhmudovna Guseinova. Publishing house Sreda, 2021. http://dx.doi.org/10.31483/r-99579.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Qi, Ling. "Explanation of Chinese Piano Music National Character in the First Half of the 20th Century." In 2016 2nd International Conference on Education Technology, Management and Humanities Science. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/etmhs-16.2016.97.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Adamyan, Anna. "DEVELOPMENT OF THE ARMENIAN PIANO MUSIC IN THE SECOND HALF OF THE 19TH CENTURY: FIRST ARMENIAN VIRTUOSO CONCERT PIECES IN DIKRAN TCHOUHADJIANS PIANO HERITAGE." In SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s14.032.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

NII, YOKO. "THE JESUIT JEAN-JOSEPH-MARIE AMIOT AND CHINESE MUSIC IN THE EIGHTEENTH CENTURY." In Europe and China: Science and the Arts in the 17th and 18th Centuries. WORLD SCIENTIFIC, 2012. http://dx.doi.org/10.1142/9789814390446_0004.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Kim, Ji Young. "Clara Schumann and Jenny Lind in 1850." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.85.

Full text
Abstract:
Clara Schumann’s 1850 tour of northern Germany with her husband officially ended with a successful concert in Altona where Jenny Lind made a surprise appearance. Immediately thereafter, one more concert featuring the pianist, singer, and Robert’s music was added at the last minute to take place in Hamburg. This too was a success. But a detail that made it especially memorable was Lind’s position behind the piano lid so that, as Clara recounted in her diary, many audience members could hardly catch a glimpse of her. This paper explores the rationales and implications of this singular and fleeting moment, and teases out aspects of the two star performers’ relationship both on and off the stage. In the process, the paper draws attention to hitherto neglected variables in the performance practice of Lieder and seeks to expand our lines of inquiry with regards to the 19th-century Lied as cultural practice.
APA, Harvard, Vancouver, ISO, and other styles
7

Huber, Annegret. "Die Pianistin spricht. Überlegungen zur Epistemologie von Vertonungsanalysen und ihrer Funktion in musikwissenschaftlicher Forschung." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.83.

Full text
Abstract:
There is nothing fundamentally wrong with the premise that a pianist like Clara Wieck/Schumann ‘speaks’ in her song compositions. This, however, raises a number of epistemological questions that will be discussed in this article. First of all, an explicit distinction is made between the examination of the ‘technical’ aspects of her compositional practice – in German: Praktik – (which may allow conclusions to be drawn about the pianist’s implicit knowledge) on the one hand, and the social aspects of her discursive practice – in German: Praxis – on the other. Thus, it is also necessary to discuss the criteria that the structural-analytical methodology must satisfy, as well as to consider to whom the pianist is actually speaking: to us music researchers of the 21st century? Or should we ask ourselves whether our analysis is not rather a “reading of traces” in the sense of Sybille Krämer, through which we invent the ‘producer’ of the analyzed ‘trace’ in the first place? Or to put it another way epistemologically: how do we make the pianist speak? What function does our ‘speaking’ of her compositions – namely the piano parts in her songs – have in scholarly argumentations?
APA, Harvard, Vancouver, ISO, and other styles
8

Haiawi, Maryam. "Das Oratorium im Spannungsfeld der Konfessionen: Zum interkonfessionellen Austausch von Oratorien im 18. Jahrhundert." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.55.

Full text
Abstract:
The present study deals with interconfessional exchange of oratorios in German-speaking countries during the 18th century. In doing so, it pursues the goal of focusing on the question of the denominational or non-denominational nature of the sacred music genre, a question that has so far been insufficiently discussed in musicological and literary research. It analyses selected oratorios between 1715 and 1781 which were written at important contemporary musical locations and were received interdenominationally (Hamburg, Leipzig, Brunswick, Catholic imperial court of Vienna, Catholic Saxon court at Dresden). The study comes to the conclusion that the oratorio of the 18th century was not defined solely by its denominational orientation, but influenced by a number of other factors reflecting the intellectual-historical upheavals of the Age of Enlightenment: contemporary musical aesthetics, socio-cultural developments (middle-class concert business), and fundamental religious-historical dynamics that led to a distancing from dogma and to a change in piety practice.
APA, Harvard, Vancouver, ISO, and other styles
9

Nivat, Georges. "“TRACTS OF RUSSIAN MEMORY” OR THE MAIN “NESTS” OF MEMORY IN RUSSIA." In 49th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2022. http://dx.doi.org/10.21638/11701/9785288062353.02.

Full text
Abstract:
In this text, are given the plan and main contributions that are gathered in a collective work directed by Prof. Georges Nivat, Les sites de la mémoire russe. The first volume, Géographie de la mémoire russe, was published in 2007, the second one, Histoire et mythes de la mémoire russe, in 2019. The word “site” is meant as a prominent detail in the landscape and translated into Russian as “Uročišča”. The aim is to give a view of the main “sites” and debates that have arisen along Russian historiography since the 18th century. The “invention” of the “Chronicles” is one spectacular example. It goes from the first publication in 1846 to our days. Literature, painting, and music have constructed the Russian memory in the 18th century. Mussorgsky himself researched in the archives who were the Old believers, before writing his opera “Khovanshchina”. Ethnography appeared in the first half of the 19th century, the came great museums at the two extremities of the Empire, and a great number of ethnographical local museums are innumerable in Russia, have saved a lot of artefacts during the Soviet vandalistic period. Folklore was studied and local troubadours were registered until the end of the Soviet era. Emperor Peter the Great was keenly aware of the importance of creating his own myth during his lifetime, and succeeded, his role is still the main debate of Russian historiography and a very prominent site of memory. Loss of memory began early in the Soviet regime, loss of proletarian memory and as well as of peasant memory. Refs 9.
APA, Harvard, Vancouver, ISO, and other styles
10

Sahnov, A., A. Klyuev, and Yuliya Litvinova. "SCOTLAND AND ITS GEOGRAPHICAL NAMES THROUGH LINGUISTICS." In Manager of the Year. FSBE Institution of Higher Education Voronezh State University of Forestry and Technologies named after G.F. Morozov, 2022. http://dx.doi.org/10.34220/my2021_281-286.

Full text
Abstract:
The article is devoted to Scotland, describes its geographical location, and also gives the most general information on the modern large cities and other settlements of Scotland as well as their most famous attractions. A brief overview of the history of Scotland, presented after a modern description of the country, gives the best idea on the creating the Scots as a nation and their national character and their national language. Some characteristic features of education, music and musical instruments, and clothing are also described in the article. The linguistic aspect explores toponyms, i.e. the major cities in Scotland, its capital Edinburgh, Aberdeen, Perth, a small but famous historical city, on the information from the dictionaries of the English language of the 18th century. The analysis of the linguistic material indicates a close connection between the language, history and culture of the nation.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Piano music 18th century' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography