Relevant bibliographies by topics / Piano music Analysis

Academic literature on the topic 'Piano music Analysis'

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 Analysis.'

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 Analysis"

1

Li, Chan. "A Deep Learning-Based Piano Music Notation Recognition Method." Computational Intelligence and Neuroscience 2022 (June 2, 2022): 1–9. http://dx.doi.org/10.1155/2022/2278683.

Full text
Abstract:
In the era of rapid development of computer technology, piano music notation and electronic synthesis system can be established using computer technology, and the basic laws of music score can be analyzed from the perspective of image processing, which is of a great significance in promoting piano improvement and research and development, etc. In this paper, the Beaulieu analysis method is used to analyze the piano music notation and electronic synthesis system module. For piano sheet music, sheet music recognition is the main problem in the whole system. Through the digital recognition method, the piano sheet music feature matrix is extracted to get the piano sheet music multiplication frequency points and the envelope function needs to be extracted for better electronic synthesis of piano sheet music. The envelope function can represent the relationship between piano sound intensity and time change and finally achieve the recognition of the piano score. We extract the music information from the digital score, thus converting the music information into MIDI files, reconstructing the score, and providing an audio carrier for the score transmission. The experimental results show that the system has a correct rate of 94.4% in extracting music information from piano scores, which can meet the needs of practical applications and provide a new way for music digital libraries, music education, and music theory analysis.
APA, Harvard, Vancouver, ISO, and other styles
2

Zhang, Yuanyuan. "Design of the Piano Score Recommendation Image Analysis System Based on the Big Data and Convolutional Neural Network." Computational Intelligence and Neuroscience 2021 (November 26, 2021): 1–9. http://dx.doi.org/10.1155/2021/4953288.

Full text
Abstract:
In the era of big data, the problem of information overload is becoming more and more obvious. A piano music image analysis and recommendation system based on the CNN classifier and user preference is designed by using the convolutional neural network (CNN), which can realize accurate piano music recommendation for users in the big data environment. The piano music recommendation system based on the CNN is mainly composed of user modeling, music feature extraction, recommendation algorithm, and so on. In the recommendation algorithm module, the potential characteristics of music are predicted by the regression model, and the matching degree between users and music is calculated according to user preferences. Then, music that users may be interested in is generated and sorted in order to recommend new piano music to relevant users. The image analysis model contains four “convolution + pooling” layers. The classification accuracy and gradient change law of the CNN under RMSProp and Adam optimal controllers are compared. The image analysis results show that the Adam optimal controller can quickly find the direction, and the gradient decreases greatly. In addition, the accuracy of the recommendation system is 55.84%. Compared with the traditional CNN algorithm, this paper uses the convolutional neural network (CNN) to analyze and recommend piano music images according to users’ preferences, which can realize more accurate piano music recommendation for users in the big data environment. Therefore, the piano music recommendation system based on the CNN has strong feature learning ability and good prediction and recommendation ability.
APA, Harvard, Vancouver, ISO, and other styles
3

Zhu, Ying. "Multimedia Recognition of Piano Music Based on the Hidden Markov Model." Advances in Multimedia 2021 (December 30, 2021): 1–8. http://dx.doi.org/10.1155/2021/2981531.

Full text
Abstract:
Piano performance is an art with rich artistic elements and unpredictable performance skills. It is an important carrier for playing beautiful piano sounds. The generation of musical tension and expression of piano performance is a vivid display of piano performance skills. In piano performance, we should pay attention to the cultivation and flexible application of performance skills. In order to ensure the richness and artistry of piano performance, it is fully based on the artistic characteristics of piano performance. Through in-depth analysis of the principle of the hidden Markov model, it is applied to the multimedia recognition process of piano playing music. In the process of obtaining the template, the fundamental frequency of the piano playing music differs greatly, and the piano playing music appears during the performance process. For the problem of low recognition rate, this paper proposes a multimedia recognition method for piano music. Finally, the analysis of experimental results shows that the method proposed in this paper has a 16% higher recognition rate than the traditional method, and it has a certain value in the multimedia recognition of piano music.
APA, Harvard, Vancouver, ISO, and other styles
4

Zhang, Yuyu. "An Empirical Analysis of Piano Performance Skill Evaluation Based on Big Data." Mobile Information Systems 2022 (August 27, 2022): 1–9. http://dx.doi.org/10.1155/2022/8566721.

Full text
Abstract:
Teachers often guide the rhythm and coherence of piano performance in the teaching process. It is of great significance to use computer technology to automatically evaluate piano performance skills. In this paper, computer technology is used to automatically evaluate the accuracy of piano music classification based on the high-dimensional data collaborative filtering recommendation algorithm, and the K-means model algorithm is used for comparative testing. By comparing the classification results of the high-dimensional data collaborative filtering recommendation algorithm with the piano music classification results of the K-means algorithm, the piano learning burden can be reduced and the piano learning effect can be improved. The research results of this paper show that the accuracy rate of the automatic piano performance evaluation system based on the high-dimensional data collaborative filtering recommendation algorithm reaches 95%, which has a good evaluation effect.
APA, Harvard, Vancouver, ISO, and other styles
5

Akgul, Alper. "An analysis on piano education in ınstitutions training music teachers in the context of application, teaching experience and pre-school period." Cypriot Journal of Educational Sciences 17, no. 2 (February 28, 2022): 323–42. http://dx.doi.org/10.18844/cjes.v17i2.6801.

Full text
Abstract:
Music education for the preschool age group and piano teaching in this context is generally of great interest and in demand. In Turkey, music teacher candidates take piano lessons during their undergraduate education, two of which are compulsory and six are elective. In this process, however, a course on how to teach the piano is not included in the curriculum of the music teaching department. Therefore, except specific elective courses delivered in certain universities in the previous academic years, there is not a course that includes information on how to teach the piano, which is in such high demand in general and is an introductory course in many educational institutions, to both preschool period and different age groups, and whose methods are employed during piano education on what to do about the technical teaching of the instrument. The researcher has discussed the importance of the subject by giving examples from the literature in his article and has made various suggestions regarding the issue. Therefore, in terms of its structure, this study is a comprehensive literature review that examines the studies related to music education and makes various suggestions. Keywords: Pre-school Education, Music Education, Piano Education
APA, Harvard, Vancouver, ISO, and other styles
6

Eroy, Ozan, Onur Zahal, and Engin Gürpınar. "The effect of polyphonization of Hüseyni maqam melodies within modal jazz harmony and dorian scale on success in piano educationHüseyni makamı içerikli ezgilerin modal caz armonisi ve doryen dizi kapsamında çokseslendirilmesinin piyano eğitiminde başarıya etkisi." Journal of Human Sciences 13, no. 3 (December 16, 2016): 5471. http://dx.doi.org/10.14687/jhs.v13i3.4096.

Full text
Abstract:
This research aims to determine effects of polyphonic performance of Turkish Music melodies containing Hüseyni maqam with modal jazz harmony on undergraduate piano students. Accordingly, “one group pretest-posttest pattern”,one of the weak experimental modals, has been used in the survey. In scope of the research, a piano curriculum based upon the components such as a general information about modal jazz harmony and chord setups has been applied to the students over two studies that are composed with dorian scale and two folk songs performed polyphonically in Hüseyni maqam. The effect of the applied piano curriculum on students’ piano performance has been analysed. As Hüseyni maqam in Turkish Music resembles dorian scale, the studies used for the curriculum have been made based on dorian scale. A six-week curriculum was applied to the students in the process level of the experimental period of the research. The pretest-posttest piano performance success of the students has been analysed by using piano performance rating form prepared pursuant to learned opinion. Wilcoxon Signed Rank Test and r effect size were calculated in the analysis process. As a result of the survey, it has been determined that the piano curriculum based on dorian scale and modal jazz harmony, enhances the piano performance success of the students noteworthily. Moreover, it has also been identified that the influence quantity is in a high level. ÖzetAraştırma ile Türkiye'de lisans düzeyinde piyano eğitimi gören öğrenciler için modal caz armonisi ile çokseslendirilen Hüseyni makamı içerikli Türk müziği ezgilerinin, öğrencilerin piyano performanslarına olan etkisinin belirlenmesi amaçlanmaktadır. Bu doğrultuda, araştırmada zayıf deneysel modellerden "tek grup ön test-son test desen" kullanılmıştır. Araştırma kapsamında, öğrencilere; doryen dizi ile bestelenmiş iki etüt ve çokseslendirilmiş iki hüseyni içerikli türkü üzerinden modal caz armonisine ilişkin genel bilgiler, akor kurulumları vb. öğelere dayanan bir piyano öğretim programı uygulanmıştır. Uygulanan piyano öğretim programının öğrenci piyano performanslarına olan etkisi incelenmiştir. Türk müziğindeki Hüseyni makamı dizisi ile doryen dizi benzerlik gösterdiği için öğretim programında kullanılan etütler, doryen dizi temel alınarak oluşturulmuştur. Araştırmanın deneysel sürecinin işlem evresinde öğrencilere altı haftalık piyano öğretim programı uygulanmıştır. Öğrencilerin öntest-sontest piyano performans başarıları, uzman görüşleri çerçevesinde oluşturulan piyano performans değerlendirme formu uygulanarak incelenmiştir. Analiz işlemlerinde Wilcoxon İşaretli Sıralar testi ve r etki büyüklüğü değerleri hesaplanmıştır. Araştırma sonucunda doryen dizi ile modal caz armonisine dayanan piyano öğretim programının, öğrencilerin piyano performans başarılarını anlamlı düzeyde arttırdığı tespit edilmiştir. Etki büyüklüklerinin ise yüksek düzeyde olduğu belirlenmiştir.
APA, Harvard, Vancouver, ISO, and other styles
7

Meng, Xianzheng. "Analysis of CHOPPIN’s ETUDE Op.25，No.2." Learning & Education 10, no. 7 (June 7, 2022): 141. http://dx.doi.org/10.18282/l-e.v10i7.2981.

Full text
Abstract:
Choppin is one of the most influential and popular piano composers in history. He was a representative of Europe in romantic music. He composed 27 piano etudes, which took the piano art to a higher level. Op. 25, No. 2 is the second etude in Choppin’s Etude Op. 25, which is an etude in F minor.
APA, Harvard, Vancouver, ISO, and other styles
8

Gularnupong, Karn, and Ampai Buranaprapuk. "Influences of Béla Bartók’s Piano Compositions on Alberto Ginastera’s Piano Music." MANUSYA: Journal of Humanities 25, no. 1 (June 9, 2022): 41–62. http://dx.doi.org/10.1163/26659077-25010003.

Full text
Abstract:
Abstract This study seeks to reveal the musical relationship between Bartók’s and Ginastera’s piano compositions, showing stylistic conceptualizations of twentieth-century Western art music which held many interesting musical aspects, specifically in the classical piano repertoire. This musicological research employs stylistic analysis and theoretical analysis to shed some light on Bartók’s and Ginastera’s piano music vocabulary. Following this methodology, it is revealed that Ginastera’s compositional language was very much influenced by the highly unique characteristics of Bartók’s. Such characteristics include the axial system, Bulgarian peasant rhythmic dance, bi-modality, intervallic cell (Z-cell, 0167), hexachordal sets of octatonic collections, the symmetrical old Hungarian pentatonic scale, polychord, quartal chords, hammering-percussive piano style, secundal chords based on ostinato, and many others. In light of this, one may propose that Ginastera’s compositional strategies in piano music were heavily influenced by Bartók’s rhythmic and harmonic idioms, which contributed to the creation of an innovative musical craft.
APA, Harvard, Vancouver, ISO, and other styles
9

Tsybikova-Danzyn, Inessa Aleksandrovna. "Realization of ethnic traditions in piano music of the Buryat composer Y. I. Irdyneev." Человек и культура, no. 4 (April 2020): 151–61. http://dx.doi.org/10.25136/2409-8744.2020.4.33027.

Full text
Abstract:
  One of the relevant tasks of the modern science of music is the examination of ethnic cultures. The object of this research is the piano music of the Buryat composer Yuri Irineevich Irdyneev. The subject is the peculiarities of realization of ethnic traditions in his piano compositions. The article analyzes opuses for the piano created during the composer's study at the conservatory, attributed to his early period. Based on the analysis of piano compositions, which became a so-called “creative laboratory” of Y. I. Irdyneev, the author traces the evolution of his style: since the first experiments of working with folk material in the piano cycle "Six Children Musical Compositions", through the reference to a romantic genre in the cycle "Three Improvisations", to a monumental conclusion of his creative pursuits – “The Piano Sonata” (1971). For understanding the uniqueness of composer's style, the carried out a comprehensive analysis of piano compositions, which includes examination of each piece from the perspective intonation, tonal and harmonious development, peculiarities of imagery sphere and dramaturgy. Emphasis is made on the specifics of performing interpretation of the ethnic piano compositions. The novelty lies in determination of systemic correlations of Y. I. Irdyneev's piano music with the national and European music traditions. It is concluded that the uniqueness of his piano heritage consists in the profound and multifaceted realization of ethnic traditions in the piano compositions. The author underlines the defining role of Buryat folklore, traditional festivities, songs, dances, imitation of the sound of folk instruments, philosophical and worldview constants in the formation of composer's style. The piano music of Y. I. Irdyneev is known for the original palette of artistic images, which evokes rich emotions and associations. The composer employs the traditional genres along with modern compositional techniques, bringing individuality by means of intonation-thematic material, Buryat ethnic origins and modality, as well as ways of working with thematic material. Yuri Irdyneev has enriched Buryat music with a number of new techniques of musical expression (sonorous consonances, clusters, dodecaphony), and significantly contributed to the piano educational and pedagogical repertoire for the music educational institutions of Buryatia.  
APA, Harvard, Vancouver, ISO, and other styles
10

Chen, Xu, and Jun Tang. "Research on Piano Music Signal Recognition Based on Short-Time Fourier Analysis." Advanced Materials Research 853 (December 2013): 680–85. http://dx.doi.org/10.4028/www.scientific.net/amr.853.680.

Full text
Abstract:
This paper starts with the basic process of music recognition to complete the study on extraction and realization of seven musical characteristics of the music features characterization, at the same time, the paper in-depth studies the pitch value duration, tonality characteristic extraction unit. Fourier analysis method based on short-time uses the computer programming for audio signal automatic analysis and processing, implements the characteristics recognition of the piano music playing, Experimental data show that the average recognition rate of algorithm is above 95% with the strong recognition ability, which provides the core technology support for developing the evaluation system of piano performance.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Piano music Analysis"

1

STEVENS, DAMON BRIAN. "INTRODUCING THE PIANO MUSIC OF SAMUEL BARBER TO THE UNDERGRADUATE PIANO MAJOR." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1194288770.

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

Park, Jinha. "Piano music of Elisenda Fabregas| A stylistic analysis." Thesis, University of South Carolina, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3561836.

Full text
Abstract:

The purpose of this study is to present a stylistic analysis of the piano music by American-Spanish composer and pianist Elisenda Fábregas (b.1955). Fábregas' compositional output includes more than forty works for solo, chamber ensemble, vocal, chorus and orchestra; her large-scale piano works consist of Mirage (1997), Portraits I (2000), Homenatge a Mompou (2006), and Hommage à Mozart (2006). Chapter I consists of an introduction, including the purpose of the investigation and a literature review. Chapter II covers brief biographical information, compositional genre and style, and compositional output of piano, vocal and chamber music. Chapter III provides a stylistic analysis of the four concert piano works of Fábregas: Mirage (1997), Portraits I (2000), Homenatge a Mompou (2006) and Hommage à Mozart (2006). Chapter IV consists of a summary, conclusion, and recommendations for further research.

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

Pace, Cynthia Margaret. "Ruth Crawford's final solo piano works : an analysis of FOUR PRELUDES FOR PIANO and PIANO STUDY IN MIXED ACCENTS /." Access Digital Full Text version, 1989. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10903598.

Full text
Abstract:
Thesis (Ed.D.)--Teachers College, Columbia University, 1989.
Typescript; issued also on microfilm. Sponsor: Lenore M. Pogonowski. Dissertation Committee: Harold F. Abeles. Bibliography: leaves 322-324.
APA, Harvard, Vancouver, ISO, and other styles
4

Dellinger, Michael Eldon. "An analysis of Frank Martin's Second Piano Concerto /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487259125218152.

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

Telesco, Paula Jean. "A HARMONIC ANALYSIS OF SELECTED PIANO MUSIC OF EMMANUEL CHABRIER." Thesis, The University of Arizona, 1985. http://hdl.handle.net/10150/275317.

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

Nakagawa, Eri. "A stylistic analysis of the piano trios of Saint-Sa�ens and Ravel." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1063301.

Full text
Abstract:
Both Camille Saint-Saens (1835-1921) and Maurice Ravel (1875-1837) were outstanding composers of the late nineteenth century and the early twentieth century who followed and transmitted the specifically French tradition. Ravel studied at the Paris Conservatoire with Gabriel Faure (1845-1924), who was a student of Saint-Satins. SaintSaens's Trio No. 1, Op. 18, was written in 1863, while he was teaching a the Ecole Niedermeyer. As one of the earliest works by the composer, it reveals his conservative style in the well-defined four-movement structure, particularly characterized by classical periodization and clarity of texture. Saint-Sadns's Trio No. 2, Op. 92, was written in 1892, when he was more mature and better known as both composer and performer. Written twenty-nine years after the first trio, the second trio is more ambitious and complicated than the first trio. The second trio exhibits elaborate harmonies and extensive sonata structure, including a fugue within an unusual five-movement framework.Ravel's trio was completed in 1914, shortly after the start of the First World War, at Saint-Jean-de-Luz in Basque country. I The trio displays new sonorities and expression achieved by brilliant string techniques and powerful, vertical piano writing, as well as the employment of various kinds of non-traditional scales. Within a four-movement structure, the second movement, entitled Pantown, a poetic form of Malayan origin, is most original, including the middle section in polymeter.The analyses of these three trios reveal significant similarities in stylistic and formal characteristics. All three trios preserve the outline framework of the traditional sonata concept. Saint-Sa&ns's second trio and Ravel's trio include passacaglia movements, based on the Baroque form. All three trios employ folk elements: the modal style of certain themes, and certain rhythms; e.g., the Basque dance rhythm, zoriko, appears in Saint-Saans's second trio and Ravel's trio. The use of quintuple time in both trios also shows the Basque influence. Among other common characteristics are rhythmic ostinato and thematic juxtaposition. All three trios represent trends in French music between the late nineteenth century and the early twentieth century: nationalism and neoclassicism.
School of Music
APA, Harvard, Vancouver, ISO, and other styles
7

Tentser, Alexander 1965. "The Second Piano Sonata by Dimitrii Shostakovich: A style analysis." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290631.

Full text
Abstract:
Dmitrii Shostakovich is widely recognized as one of the most significant composers of the twentieth century. A prolific composer, he left an important mark in virtually every genre, most notably in the string quartet and the symphony. His Second Piano Sonata, a work of grandiose dimensions and great originality, is the hallmark of his mature creative period, along with works such as the Seventh "Leningrad" Symphony and the Second Piano trio. This study explores the mature piano style of Shostakovich evident in the Second Piano Sonata. It examines harmony, melody and texture as signifiers of style in this Sonata, and compares these stylistic traits with those in his earlier compositions as well as contemporaneous works by other composers, most notably, Sergei Prokofiev. The craftsmanship, broad outlines, and significance of the Second Piano Sonata earn it a place among the major works of twentieth century piano repertoire.
APA, Harvard, Vancouver, ISO, and other styles
8

Mahoney, J. Jeffrey. "The Elements of Jazz Harmony and Analysis." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500764/.

Full text
Abstract:
This study develops a method for analyzing jazz piano music, primarily focusing on the era 1935-1950. The method is based on axiomatic concepts of jazz harmony, such as the circle of fifths and root position harmonies. 7-10 motion between root and chordal seventh seems to be the driving force in jazz motion. The concept of tritone substitution leads to the idea of a harmonic level, i.e., a harmony's distance from the tonic. With this method in hand, various works of music are analyzed, illustrating that all harmonic motion can be labelled into one of three categories. The ultimate goal of this analytic method is to illustrate the fundamental harmonic line which serves as the harmonic framework from which the jazz composer builds.
APA, Harvard, Vancouver, ISO, and other styles
9

Kiatvongcharoen, Usa. "Analytical approaches to three of Debussy's preludes for piano." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20665635.

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

Odendaal, Andries Albertus. "The piano music of Peter Klatzow : a stylistic analysis of selected works." Master's thesis, University of Cape Town, 2001. http://hdl.handle.net/11427/11716.

Full text
Abstract:
The piano music of Peter James Leonard Klatzow forms an integral part of his musical output. An analysis of these works may provide useful insight into the compositional style of this South African composer. Jan LaRue's theory of stylistic analysis formed the inspiration for the analytical approach of the thesis, and the main focus of this analysis is the 1994 composition, From the Poets. This work is analysed in terms of use of sound, harmony and melody in order to attempt an understanding of how these elements impact and contribute to the sense of structure. Other works that have been completed since 1980 are analysed in terms of the main motivic and harmonic material, with occasional reference to other musical parameters that are important for an understanding of the musical discourse.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Piano music Analysis"

1

Schumann piano music. London: British Broadcasting Corporation, 1986.

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

Câmara, J. M. Bettencourt da. A música para piano de Francisco Lacerda. Lisboa: Instituto de Cultura e Língua Portuguesa, 1987.

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

Bitsch, Marcel. Claude Debussy, Préludes pour piano, livre 1. Paris: Combre, 1995.

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

J. M. Bettencourt da Câmara. A música para piano de Francisco Lacerda. Lisboa: Instituto de Cultura e Língua Portuguesa, Ministério da Educação e Cultura, 1987.

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

The piano works of Serge Prokofiev. Metuchen, N.J: Scarecrow Press, 1994.

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

Luethi, Geraldine Gant. Beethoven, solo piano literature. Boulder, Colo: Maxwell Music Evaluation, 1992.

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

The piano sonority of Claude Debussy. Lewiston: E. Mellon Press, 1994.

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

The player-piano music of Conlon Nancarrow: An analysis of selected studies. Brooklyn, N.Y: Institute for Studies in American Music, Conservatory of Music, Brooklyn College of the City University of New York, 1988.

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

Olivier, Messiaen. Ravel: Analyses des œuvres pour piano de Maurice Ravel. Paris?]: Durand, 2003.

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

Olivier, Messiaen. Ravel: Analyses of the piano works of Maurice Ravel. [Paris]: Durand, 2005.

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

Book chapters on the topic "Piano music Analysis"

1

Jensen, Kristoffer, and Søren R. Frimodt-Møller. "Multimodal Analysis of Piano Performances Portraying Different Emotions." In From Sounds to Music and Emotions, 469–79. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-41248-6_27.

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

Kato, Hirokazu, and Seiji Inokuchi. "A Recognition System for Printed Piano Music Using Musical Knowledge and Constraints." In Structured Document Image Analysis, 435–55. Berlin, Heidelberg: Springer Berlin Heidelberg, 1992. http://dx.doi.org/10.1007/978-3-642-77281-8_20.

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

Montiel, Mariana. "Manuel M. Ponce’s Piano Sonata No. 2 (1916): An Analysis Using Signature Transformations and Spelled Heptachords." In Computational Music Science, 189–97. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-47337-6_19.

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

Liddle, Jamie. "The Sublime as a Topic in Beethoven’s Late Piano Sonatas." In Music, Analysis, Experience, 301–14. Leuven University Press, 2015. http://dx.doi.org/10.2307/j.ctt180r0s2.25.

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

Brister, Wanda, and Jay Rosenblatt. "The Lady Composer Steps Out." In Madeleine Dring, 115–49. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979312.003.0006.

Full text
Abstract:
Dring’s early career is traced through her commissions for BBC radio and television broadcasts, of which the most significant is The Fair Queen of Wu, a ballet for singers and chamber ensemble with choreography by Felicity Gray. During these years, her first publications appeared, with an emphasis on piano music (for solo piano and two pianos) and her Three Shakespeare Songs. Dring’s music was also performed in recitals, including her recently published piano works and a selection of her songs (published and unpublished). The most favorable reviews are found for her Festival Scherzo (“Nights in the Gardens of Battersea”), written to commemorate the Festival of Britain. Also discussed is her one-act opera, Cupboard Love, the music written for the Christmas plays produced by Angela Bull’s Cygnet Company, and her first performance as a singer at the RCM’s Union “At Home.” A fine example of Dring’s cabaret style is found in the discussion and analysis of her song, “The Lady Composer.” In her personal life, the chapter documents her marriage to Roger Lord, his career as a musician (principal oboe in the London Symphony Orchestra for thirty-three years), and the birth of her son, Jeremy.
APA, Harvard, Vancouver, ISO, and other styles
6

Straus, Joseph N. "Shulamit Ran, Soliloquy for violin, cello, and piano (1997)." In The Art of Post-Tonal Analysis, 132–37. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197543979.003.0024.

Full text
Abstract:
This passage begins on an A major triad and gradually adds notes until the aggregate of all twelve notes has been completed. Along the way, the music can be interpreted as a succession of major, minor, and augmented triads. These triads can be related via the familiar triadic transformations, and the progression can be mapped on a musical space called Cube Dances, in which large harmonic regions are defined by hexatonic and enneatonic collections.
APA, Harvard, Vancouver, ISO, and other styles
7

Cizmic, Maria, and Adriana Helbig. "The Piano and the Performing Body in the Music of Arvo Pärt." In Arvo Pärt, 177–94. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823289752.003.0010.

Full text
Abstract:
This chapter examines references to the piano in existing literature on Pärt and articulates a perspective on the piano’s role in his music. Pärt’s compositional output for the piano is relatively small; but, as his primary instrument, the piano has played an important role in the development of his sonic world. Musicians’ physical relationships with their instruments over time generate an archive of embodied knowledge and memories; bodily performance then becomes an important way in which music creates meaning for composers and performers alike. Thus, this chapter draws on representations of Pärt composing at the piano as captured in cinema, analyzing the bodies of composer and instrument in dynamic engagement. It also features a close observational analysis of performing Für Alina, Pärt’s inaugural tintinnabuli work from 1976, and what a phenomenological experience of learning and performing this piece might tell us about the expressive nature of tintinnabuli music.
APA, Harvard, Vancouver, ISO, and other styles
8

Pace, Ian. "Sources, Aesthetics, and Performance in Rădulescu’s Piano Sonatas." In The Oxford Handbook of Spectral Music, C6S1—C6N74. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780190633547.013.6.

Full text
Abstract:
Abstract This chapter constitutes a form of analysis, both based upon the scores and coming out of and reflecting back upon practice, from one who has regularly performed Horaţiu Rădulescu’s six piano sonatas for almost two decades. The chapter considers the sonatas from various angles—their titles, musical borrowings, textures, harmonic language, form (especially the use of sonata form), use of mensuration canons—and considers the implications for touch, rhythm, tempo, rhetoric, rubato, virtuosity, while also adding observations on how particular approaches to various of these parameters can affect the projection of various possible conceptions of the work. Focusing in particular upon the Third and Sixth Sonatas, the chapter also situates these relatively late works in the context of the composer’s wider aesthetic developed since the late 1960s, and considers his use of Byzantine chant and consequent implied musical provenance in the context of the cultural and political milieu in which he grew up, in communist Romania. It also compares his use of Romanian melodies, most of which were collected by Béla Bartók, with the older composer’s own settings of some of the same melodies. It draws upon, but modifies, the analytical strategies developed for engaging with the works’ harmonic language developed by Bob Gilmore, while arguing for a greater consideration of linear progression. Rejecting a prescriptive approach to the relationship between analysis and performance, the chapter elucidates some of the range of creative but intelligent possibilities available for interpreting these works.
APA, Harvard, Vancouver, ISO, and other styles
9

Straus, Joseph N. "Tania León, Rituál (1987)." In The Art of Post-Tonal Analysis, 114–25. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197543979.003.0022.

Full text
Abstract:
This passage is a fleet, light-footed scherzo that gradually works its way upward in register from the lowest note of the piano keyboard. It uses only seven different pitch events (each consisting of just a few notes), but their endlessly inventive recombination provides direction and vitality. The music traces hexatonic pathways that run through and beneath the seemingly improvisatory musical surface.
APA, Harvard, Vancouver, ISO, and other styles
10

Hare, John. "Kant, Aesthetic Judgement, and Beethoven." In Theology, Music, and Modernity, 42–65. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198846550.003.0003.

Full text
Abstract:
This chapter explores Kant’s conception of the relation of the beautiful and the sublime to freedom and to moral theology. It then turns to Beethoven’s conception of the sublime, and illustrates this by an analysis of the slow movement of his early piano sonata Op. 2, No. 2, and an analysis of the first movement of the Eroica. The thesis of the chapter is that a Kantian ‘optimistic’ account of the sublime fits these pieces better than some other accounts of the sublime that the chapter describes, namely ‘the uncanny sublime’, ‘the authoritarian sublime’ and ‘the solipsistic sublime’. The chapter ends with a brief remark about the relation between Kantian freedom and the Christian faith.
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Piano music Analysis"

1

Kobzantsev, A., D. Chazan, and Y. Zeevi. "Automatic transcription of piano polyphonic music." In Proceedings of the 4th International Symposium on Image and Signal Processing and Analysis. IEEE, 2005. http://dx.doi.org/10.1109/ispa.2005.195447.

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

Zhang, Junzhong. "Analysis of Debussy Piano Music qFireworksq Performance." In 2nd International Conference on Civil, Materials and Environmental Sciences. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/cmes-15.2015.141.

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

Cheng, Yingjie. "The Music Analysis of Beethoven 's Piano Sonata qFarewellq." In 2017 3rd International Conference on Economics, Social Science, Arts, Education and Management Engineering (ESSAEME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/essaeme-17.2017.75.

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

Liu, Lu. "Analysis on Interpretation of Humanistic Implication by Schubert's Piano Music ''Based on Piano Impromptus Playing." In 2015 International Conference on Education Technology and Economic Management. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icetem-15.2015.40.

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

"Analysis of the Function of Music Hearing in Piano Playing." In 2017 International Conference on Humanities, Arts and Language. Francis Academic Press, 2018. http://dx.doi.org/10.25236/humal.2017.45.

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

Akiba, Misato, and Wonseok Yang. "Learning to Read Music by Differences in Perception of Information." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001754.

Full text
Abstract:
The development of information technology and devices has made it easier for everyone to take and share videos and photos, and many number of information has become available in the world. For example, when learning how to play a musical instrument, a game, or a household appliance, they can effectively understand it from videos and images on YouTube or Instagram, instead of reading an instruction manual or a reference book. Whereas the piano is difficult to practice efficiently because repetition and reading music are said to be the two most important elements needed to acquire the skill. Therefore, continuous practice is essential, but many people give up halfway. Focusing on reading music, we have to process multiple pieces of information on the score simultaneously in a short period of time while playing the piano. However, for beginners, it’s difficult to keep reading the necessary information from a score where information is concentrated in many symbols at the tempo of the performance. This research examines how to make it easier for beginners to recognize and remember information about music notation and how to use the information obtained more naturally. To this end, we clarified the process by which beginners learn and recognize information about musical notation in piano learning activities and clarified the characteristics that are expressed when they perform using the recognized knowledge.Firstly, we investigated whether learners would get support in an application whose purpose was to support reading practice. We found that the support could be categorized into three types, and that learning about pitch, rhythm, and keyboard position was important for beginners. To clarify the differences in these learning procedures depending on the level of proficiency, we conducted behavioral observations of beginners and experienced pianists practicing reading music, summarized their behavioral procedures into ordinal data, and conducted a Dematel analysis. As a result, we’re able to classify the level of proficiency into three levels: beginners (subjects with no piano experience), experienced (subjects with less than one year of piano study), and proficient (subjects with more than seven years of piano study). Based on the results of the questionnaire and interviews, we’re able to discover common issues such as beginners (1) not being able to practice smoothly because they couldn’t establish a procedure, (2) taking a long time to read the pitch of notes from the score, and (3) finding it difficult to read the rhythm from the score. From the above research, we examined new information display methods and innovations for the three types of information in music notation: pitch, rhythm, and sequence. In the case of pitch, it’s thought that information can be recognized efficiently by using the properties of color. For rhythm, we extracted information from the score and organized it in a new way, which reduced the error rate and led to more efficient practice. Also, with the information organized, even beginners were able to efficiently find the regularities and similarities in the score, which led to smooth read music.
APA, Harvard, Vancouver, ISO, and other styles
7

Xue, Ming. "Analysis on the Performing Techniques of Chinese-style Piano Music Take the adapted piano music “Flute and Drum at Sunset” of Li Yinghai as Example." In 2015 International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icadce-15.2015.30.

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

ZHANG, Juan. "A Brief Analysis of the Piano Music, lOn the Mountain the Red Flowers are All Openr." In 2018 4th Annual International Conference on Modern Education and Social Science (MESS 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/mess-18.2018.65.

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

Чэнь, Янань. "SOME PROBLEMS OF CHINESE PROFESSIONAL PIANO EDUCATION ON THE EXAMPLE OF ALL 3 CATEGORIES OF CHINESE UNIVERSITIES." In Научные исследования в современном мире. Теория и практика: сборник избранных статей Всероссийской (национальной) научно-практической конференции (Санкт-Петербург, Октябрь 2021). Crossref, 2021. http://dx.doi.org/10.37539/nitp321.2021.69.44.005.

Full text
Abstract:
В статье с целью выявления комплекса проблем, ограничивающих дальнейшее развитие китайского пианизма, предложен анализ китайских музыкальных вузов, готовящих профессиональных пианистов. Делается вывод о наличии общих для всех 3-х категорий вузов проблем, не смотря на различие целей и средств обучения будущих специалистов. In order to find a set of problems limiting the further development of Chinese pianism, the article offers an analysis of Chinese music universities that train professional pianists. It is concluded that there are problems common to all 3 categories of universities, despite the difference in goals and means of training future specialists.
APA, Harvard, Vancouver, ISO, and other styles
10

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
You might also be interested in the extended bibliographies on the topic 'Piano music Analysis' 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