Journal articles on the topic 'Piano music Analysis'
To see the other types of publications on this topic, follow the link: Piano music Analysis.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research 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.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
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 textAbstract:
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.
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 textAbstract:
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.
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 textAbstract:
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.
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 textAbstract:
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.
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 textAbstract:
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
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 textAbstract:
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.
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 textAbstract:
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.
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 textAbstract:
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.
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 textAbstract:
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.
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 textAbstract:
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.
11
Chen, Ruoxu. "Memorization of Piano Music: A Challenge for Chinese Piano Students." Asian Social Science 12, no. 3 (February 23, 2016): 112. http://dx.doi.org/10.5539/ass.v12n3p112.
Full textAbstract:
<p class="a">As many Chinese piano students have encountered various kinds of problem to memorize the music, which negatively influences their musical development, this paper reports a comprehensive study on the memorization of piano music and introduces the efficient ways to accomplish the memorization. Correlative analysis demonstrate that 1) like any other ability, the ability to memorize piano music needs a lot of practice; 2) for pianists who are making great efforts to fulfill their inevitable memorization task, it is important to persistently have a positive attitude towards the goal through the entire memorizing process; 3) rather than regarding memorization as a time-consuming and must-do tradition that has been handed down from the piano predecessors, it is more reasonable to regard the memorization process as an opportunity to wholly free the performers from the written page and to truly own the piece. Hopefully, this study can provide some assistance to both Chinese piano teachers and students to conquer the issue.</p>
12
Setiawan, Erick, and Erfan Erfan. "METODE PEMBELAJARAN PIANO DI PURWACARAKA MUSIK STUDIO PADANG." Jurnal Sendratasik 9, no. 4 (December 5, 2020): 89. http://dx.doi.org/10.24036/jsu.v9i1.109555.
Full textAbstract:
This study aims to describe how the piano learning methodsare used in Purwacara Music Studio Padang. It is seen in terms of objective, material, method, and evaluation. This research used a Qualitative approach which produced descriptive data about Piano Instruction in Purwacara Music Studio Padang.T he data were collected through observation, interview, documentation, and interactive data analysis consisting of data reduction, data presentation, and conclusion drawing. The results show that the piano learning process in Purwacara Music Studio is in accordance with the determined curriculum whose learning objective is students are able to play piano in right fingeringand sitting attitude. In the learning process, the methods implemented are lecture method, questions and answers, demonstration, drill, and assignment. Meanwhile, thelearning materialsare divided into two materials: music theory and music practice. In addition, evaluation is always held in every course meeting, and final evaluation as well as a test for improvement levelis held every 6 months. To get more tangible and use fulbenefits, based onthe results of research and discussion about piano instruction in Purwacara Music Studio, forming a special team for designing piano learning materials in an guidebook is a suggestion the writer gives. This is due to the fact that available materials are not neatly arranged in a guidebook. Thus, the existence of the arranged materials in a guidebook can further enhance the process of learning.Keywords: method, learning, piano
13
Demirci, Sirin A., and Eda Nergiz. "The Elements of Contemporary Turkish Composers’ Solo Piano Works Used in Piano Education." International Education Studies 14, no. 3 (February 24, 2021): 105. http://dx.doi.org/10.5539/ies.v14n3p105.
Full textAbstract:
It is thought that to be successful in piano education it is important to understand how composers composed their solo piano works. In order to understand contemporary music, it is considered that the definition of today’s changing music understanding is possible with a closer examination of the ideas of contemporary composers about their artistic productions. For this reason, the qualitative research method was adopted in this study and the data obtained from the semi-structured interviews with 7 Turkish contemporary composers were analyzed by creating codes and themes with “Nvivo11 Qualitative Data Analysis Program”. The results obtained are musical elements of currents, styles, techniques, composers and genres that are influenced by contemporary Turkish composers’ solo piano works used in piano education. In total, 9 currents like Fluxus and New Complexity, 3 styles like Claudio Monteverdi, 5 techniques like Spectral Music and Polymodality, 5 composers like Karlheinz Stockhausen and Guillaume de Machaut and 9 genres like Turkish Folk Music and Traditional Greek are reached. It is thought that the results will contribute to the field because it will cause a better understanding in the artistic viewpoints of contemporary composers, as well as being a step for the piano and music educators and the students who have studied academic piano education in order for them to be able to understand the contemporary music.
14
A.R., Sharipova, and Sidikova A.M. "Creating Space For The Piano (Barriers And Permeability Of Social Space)." American Journal of Social Science and Education Innovations 2, no. 09 (September 26, 2020): 264–72. http://dx.doi.org/10.37547/tajssei/volume02issue09-41.
Full textAbstract:
The article is devoted to the issue of the formation and development of piano art in Uzbekistan. The material characterizes the interaction between composers, interpreters and listeners of piano music. Using such methods as comparative-historical, theoretical-analytical, musical-critical, performing, the analysis of the state of the piano art of Uzbekistan is carried out. The topic under consideration will be of interest to specialists working in the field of music education. The issue of the state of the piano art in Uzbekistan requires further study.
15
Jelen, Birsen. "The Relationships Between Music Performance Anxiety and the Mindfulness Levels of Music Teacher Candidates." International Education Studies 14, no. 10 (September 26, 2021): 116. http://dx.doi.org/10.5539/ies.v14n10p116.
Full textAbstract:
In this study the relationships between the Music Performance Anxiety (MPA) levels and mindfulness levels of Music Teacher Candidates (MTC) were investigated. A large sample of undergraduate students (N = 524) from seven different universities from around Turkey took place in the study. The data was collected with both Kenny’s MPA inventory and the Five Facets Mindfulness Questionnaire. The Pearson Moments Correlation Coefficient was used in determining the relationships between the MPA and mindfulness levels of the MTC. To determine whether the MPA of students and mindfulness differ in terms of piano lesson achievement and daily piano practice time (DPPT) variables, a variance analysis (ANOVA) and a Kruskal Wallis H test analyses were used. Students’ mindfulness levels were negatively correlated with their MPA levels. Their piano lesson achievement levels had positive relationship with mindfulness and a negative relationship with their MPA. Similarly, their DPPT had a positive relationship with mindfulness and a negative relationship with MPA.
16
Adamyan, Anna. "Music Education Issues for Adult Beginners in Armenia: Specifically the Analysis of the Difficulties of Piano Playing." British Journal of Music Education 35, no. 2 (February 12, 2018): 191–202. http://dx.doi.org/10.1017/s0265051717000249.
Full textAbstract:
This paper reveals contemporary issues of music education in post-soviet Armenia. The author analyses the state of music education and draws special attention to the music education of adult beginners, which is a new challenge for the educational system of Armenia. In particular, the author reveals new problems in the performing arts, especially piano playing by adults, which brings with it many questions about new methodical approaches.The author details ideas with respect to the psychological aspects of adults who wish to play piano and presents results of her tests on students from the chair of Music Education, Armenian State Pedagogical University after Khachatur Abovyan. She also provides observations and a number of recommendations for even more productive work.
17
Turan, Hamza Serdar, and Sirin Akbulut Demirci. "Usage of Ulvi Cemal Erkin’s ‘Duyuşlar’ Compositions in Music Education Departments, According to the Opinions of Piano Educators." Journal of Education and Training Studies 6, no. 11 (October 9, 2018): 186. http://dx.doi.org/10.11114/jets.v6i11.3553.
Full textAbstract:
Piano lessons which take place in music education departments involve example works of Turkish and world composers, education music examples, piano literature and learning-teaching techniques. Within this context, Ulvi Cemal Erkin, who is a member of The Turkish Five, wrote a composition called Duyuşlar, which consists of 11 pieces and is used in piano training. In this study, it was aimed to determine the usage of the composition Duyuşlar in the programs of institutions teaching music education in piano lessons in terms of technique, musical, and style characteristics. In accordance with this purpose, interviews are carried out by asking semi-structured interview questions to piano instructors who are using this work in their education process and working in Music Education Departments. The results of the interviews are determined into themes and codes using the qualitative research analysis program NVivo11. As a result, it is observed that the usage frequency in the direction of the themes and the recommended levels to use in the students vary, but the works contribute to piano education in terms of piano techniques, aksak measures, nuances, expressions, tempo and polyphonic techniques. It has also been proposed to increase the frequency of usage of Duyuşlar. It is thought that this study will contribute to the field of piano education in terms of the limited literature about this composition.
18
XANKIŞIYEVA, İlhame. "A LOOK AT AZER DADASHOV’S PIANO WORK." IEDSR Association 6, no. 15 (September 20, 2021): 1–10. http://dx.doi.org/10.46872/pj.302.
Full textAbstract:
The article we presented is devoted to the analysis of A.Dadashov's piano music. Although some of the composer's piano works have been examined in various studies, this heritage has not been examined in its entirety. The images created by A.Dadashov include the relationship between man and the universe, the desire for the creation of the individual world, as well as aspects related to the inner world of man. Piano music, which is an important part of A.Dadashov's work, is represented by various genres, large and small. Here you can find all kinds of genres, from piano and orchestral concerts to small preludes. Thus, the composer's piano music offers a wide choice for pianists of different ages. Azer Dadashov's piano works include three concerts written for piano and camera orchestra, as well as a series of small miniatures and independent plays. The composer composed three concerts for piano and orchestra. The first concert took place in 2004, the second in 2009 and the third in 2010. Miniature genres dominate Azer Dadashov's piano music. The series for young pianists is particularly noteworthy here. A.Dadashov’s “Six Preludes”, “Six Miniatures”, “For the Flower” consisting of seven dances, as well as four sonatinas, pastoral, etc. There are piano works. Taking into account the technical abilities of the young pianist, who has mastered the art of performance, the composer tried to portray the children's colorful dance power, the world of bright images and create interesting musical panels. The composer's piano series “Six Preludes” (1966), “Six miniatures” (1968), “Six melancholy miniatures” (1985), “For Flowers” (1986), and “Atmacalar” (2001) are included in the children's music teaching repertoire. These miniatures are widely included in the concert program of school and young pianists. As the name suggests, most of these sequences are programmed. In sequences of a particular genre, each instance has its own image-emotional content and is ordered within the sequence according to a certain linking principle. Azer Dadashov's piano music is also characteristic of independent plays of different volume and content. These include “Poema” (2012), “Space song” (2015), “Bagatel” (2010), “Praise”, “Funny dance” (2009), four sonatas, “Three almonds and a walnut” for piano and chamber orchestra. ”, “Sacrifice of God”, “My Flag”, “Trial”, “Grace” and others. Although the use of modern means of expression and the writing techniques of the composer are observed in A.Dadashov's piano music, the composer prefers classical traditions to embody the form. In the composer's music, each motif serves to embody the main idea down to the smallest detail, depending on its general content.
19
Csüllög, Judit, and Krisztina Várady. "Contemporary Voices from Eger. A Cross-section from the Piano Works of László Kátai." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (December 21, 2020): 143–72. http://dx.doi.org/10.24193/subbmusica.2020.2.11.
Full textAbstract:
"The main purpose of the article is introducing the Hungarian contemporary composer, László Kátai. He is a retired associate professor who worked for almost 30 years at the Music Department of Eszterházy Károly College (Eger, Hungary). His compositions are strongly connected to Hungarian folk music and his musical language is based on Béla Bartók’s style amongst some other influences. The analysis of four piano compositions is the essence of the study. Keywords: László Kátai, Bartók’s style, piano pieces, musical analysis, Hungarian folk music"
20
Zhang, Nan. "Piano Teaching Improvement Based on Machine Learning and Artificial Intelligence." Security and Communication Networks 2022 (August 24, 2022): 1–11. http://dx.doi.org/10.1155/2022/9672068.
Full textAbstract:
With the development of modern piano and the increasing demand of people for music hobbies, the traditional piano teaching mode had exposed more and more problems. Artificial intelligence accelerated the development of music education to a certain extent and effectively improved the teaching effect of teachers to piano lovers. If artificial intelligence and machine learning were organically integrated, the application of intelligent piano can be more wide. Therefore, this paper proposed a piano teaching model based on machine learning and artificial intelligence, which aimed to provide support for improving the quality of piano teaching. Firstly, based on the analysis of machine learning-related theories, this paper expounded the characteristics of neural network in data processing and gave the process of the integration of machine learning and artificial intelligence and its application advantages in music teaching. Secondly, according to the interactive needs between intelligent piano and learners, this paper put forward intelligent piano teaching assistance methods and constructed an intelligent piano teaching service management system by improving the teaching information resource base. Finally, it analyzed the influence of artificial intelligence on piano teaching from different angles. In order to test the effectiveness of the piano teaching mode proposed in this paper, the piano learners under different teaching modes were investigated and counted. From the piano teaching effect and the evaluation results of the piano practitioners on the teaching mode, it was known that compared with the traditional piano teaching mode, the piano teaching mode proposed in this paper had achieved remarkable results in both theoretical teaching and practical operation. It can significantly improve the quality of piano teaching and promote the enthusiasm of learners.
21
Zhornikova, Mariia. "EMBODIMENT OF THE PRINCIPLES OF SONOR WRITING IN THE CREATIVE WORKS OF E. VILLA-LOBOS (on the example of the piano suite “Dolls”)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (March 10, 2021): 158–81. http://dx.doi.org/10.34064/khnum1-58.10.
Full textAbstract:
Introduction. E. Villa Lobos (1887–1957) is a classic the 20th century music. For Ukrainian musicology, the piano legacy of E. Villa-Lobos is relevant in terms of substantiating the innovation of the composer’s thinking in world creative practice at the beginning of the 20th century. In particular, the performers of the piano suite “Dolls” are faced with the problem of understanding the content of sonor-textural music. Оbjectives. To identify the distinctive features of E. Villa-Lobos’ use of elements of the sonority,which are based on the synthesis with Brazilian folk melos (on the example of the analysis of the piano suite “Dolls”). The subject. The piano suite (“Dolls”) (1918) as an example of the composer’s early creative style, which embodies the principles of sonorism typical for impressionist aesthetics. Theoretical Background. The novelty of the artistic tasks set by E. Villa-Lobos to the performers of his music in the early period of his creative activity required the study of the fundamental works of Yu. Kholopov, V. Tsenova, V. Kholopova, in which the meaning of the concepts “sonority”, “harmonic colouristics” and “texture”. Analysis of recent publications on the topic. The master’s work by A. Sotnikova (2010) raises questions on the formation of professional Brazilian music, the author focuses on the analysis of the piano composition of the composer. In her article V. Fedotova (2016) in the article examined the distinctive principles of the work of the Brazilian composer, in particular the specifics of his piano compositions. Results and Discussion. Music of the 20th century became a reflection of new artistic tasks that required adequate means of expression, and one of such means was sonoristics. It was this type of writing that E. Villa-Lobos addressed when writing the piano suite “Dolls” (1918). In the composer’s writing of E. Villa-Lobos there is sonoristics, harmonic colouristics, developed texture, due to which nationally coloured sound images are created. This confirms not only the stylistic, but also the comparative-interpretative analysis of the suite. Conclusions. The piano suite “Dolls” embodies the innovative interpretation of the instrument in the early 20th century. The theoretical ideas about the colouristics functions of the chord in its interconnections with the piano texture, timbre, and metro rhythm are systematized. A functional analysis of the piano pieces by Villa-Lobos from the early “Dolls” suite combined the new European style and writing techniques (such as colouring, sonoristics) with the national Brazilian melos reflecting the true spirit and worldview of Brazilians.
22
Zheng, YunDan, Tian Tian, and Ai Zhang. "Training Strategy of Music Expression in Piano Teaching and Performance by Intelligent Multimedia Technology." International Transactions on Electrical Energy Systems 2022 (August 29, 2022): 1–14. http://dx.doi.org/10.1155/2022/7266492.
Full textAbstract:
Teaching using a multimedia technology in the 21 s t century affords the possibility of developing novel instructional strategies and paves the way for the all-around extension of musical educational functions. The importance of multimedia teaching technology in piano instruction has started to emerge in our country and society due to the ongoing development of this kind of technology in music educational institutions here. The conventional method of teaching piano has several drawbacks that may be mitigated by using one of the several alternative methods of instruction for the instrument, especially in light of the ongoing advancements in science and technology. A pianist’s methods of expression are the tools they use to convey their thoughts and emotions about a piece of music to the audience. Teachers may demonstrate their musical skills to students and they must immediately focus on a musical expression which is vital for performers. In this paper, the Multimedia-based Piano Teaching Model (MPTM) has been proposed to improve the piano teaching quality. Traditional piano instruction is improved and developed using multimedia technology in this article. The Internet education model is used for teacher assessment, and the systematic way representing piano teaching combines different music educational materials. It begins building a sufficiently broad music network infrastructure resource sharing framework and benefits society’s amateur music literacy. The use of machine learning in students’ concrete piano instruction has the potential to thoroughly promote contemporary piano instruction and enhance the overall quality of instruction. To begin, an explanation of the intelligent piano’s features and capabilities is provided. The neural network is used to suggest a technique for detecting a piano note on a set. The network can assess the input piano music signal’s time frequency by translating the original time-domain waveform into the time-varying frequency distribution. Intelligent piano instruction analysis can effectively achieve the overall optimization of piano performance. The test results show that MPTM has a significant role in boosting the desire to learn to play the instrument. The experimental results show that the proposed MPTM achieves a learning skills ratio of 97.6%, a learning activity ratio of 98.5%, a student performance ratio of 93.8%, a teaching evaluation ratio of 90.3%, and a learning behavior ratio of 94.2% when compared to other methods.
23
Bellman, Jonathan, and David Witten. "Nineteenth-Century Piano Music: Essays in Performance and Analysis." Notes 55, no. 2 (December 1998): 393. http://dx.doi.org/10.2307/900195.
Full text
24
Toda, Yukiko, Yosuke Nakayama, Takuya Okura, Naoto Yasuda, and Shigeki Okawa. "An analysis of note deviation manner in piano music." Journal of the Acoustical Society of America 120, no. 5 (November 2006): 3005. http://dx.doi.org/10.1121/1.4787012.
Full text
25
Qian, Jie. "Analysis of the Similarities between the Third Movement of Beethoven: Piano Sonata "Passion"(OP.57) and the Third Movement of the Piano Concerto NO 5 "Emperors" (OP.73)." Highlights in Art and Design 1, no. 3 (November 13, 2022): 15–18. http://dx.doi.org/10.54097/hiaad.v1i3.2706.
Full textAbstract:
Ludwig van Beethoven (1770-1827) was a representative composer in the European classical period. His Piano Sonata "Passion" (OP.57) and Piano Concerto NO.5 "Emperor" (OP.73) are masterpieces in Beethoven's piano music literature. This article will explore the commonness of these two works, which were created in Beethoven's mature period, in terms of creative techniques, musical style, historical status, etc., and strive to deepen the understanding of Beethoven's piano works in his mature period.
26
Csüllög, Judit. "Zoltán Kodály, Seven Piano Pieces OP. 11." Studia Universitatis Babeş-Bolyai Musica 67, no. 2 (December 20, 2022): 143–61. http://dx.doi.org/10.24193/subbmusica.2022.spiss2.10.
Full textAbstract:
"Zoltán Kodály is mostly known for his pedagogical concept, however he was also a respected composer. The Seven Piano Pieces is one of his most popular series amongst piano teachers. The compositions are very colourful following different trends of the early 20th century such as the styles of Debussy and Bartók and take inspiration from Hungarian folk music. This article focuses on the presentation and analysis of each piece and points out the connections between them based on the style in which they were written. Keywords: Zoltán Kodály, piano pieces, 20th century, Béla Bartók, Hungarian folk music, impressionism "
27
Yang, Fan, and Yu Shi. "Brief Analysis on the Present Situation and Future Development of Piano Education in China." Lifelong Education 9, no. 6 (September 28, 2020): 81. http://dx.doi.org/10.18282/le.v9i6.1305.
Full textAbstract:
Piano originated in Europe. It is a keyboard instrument invented by Italian Bartolomeo Cristofori in 1709, known as the king of musical instruments. It is often used in solo, accompaniment, ensemble and other performances. The piano came into China at the end of the 19th century and the beginning of the 20th century. At first, the appreciation and acceptance of the piano by Chinese people was not high. Later, foreign missionaries often used the piano in the church. As time went by, people’s acceptance of piano increased day by day. After the founding of new China, China’s pianists won many awards in international piano competitions. After the reform and opening up, China’s economy has developed rapidly, and it has also absorbed the culture from all over the world. More and more Chinese people begin to appreciate piano music and learn to play. Piano education has also entered the public’s vision. In higher education, many art colleges and universities have set up piano learning related courses. Piano is no longer a rare thing hundreds of years ago, but gradually integrated into Chinese culture. At present, China’s piano education has been orderly popularized, occupying a place in art education, but at the same time there are also some aspects worth thinking about the piano education in the cultivation of aesthetic and artistic accomplishment. From the current situation and development of China’s piano education this paper gives the corresponding countermeasures.
28
Perry, Jeffrey. "Cage'sSonatas and Interludesfor Prepared Piano: Performance, Hearing and Analysis." Music Theory Spectrum 27, no. 1 (April 2005): 35–66. http://dx.doi.org/10.1525/mts.2005.27.1.35.
Full text
29
Mukhamedova, Feruza. "Panorama of The Genres of Piano Miniatures in The Works of Composers of Uzbekistan." Eurasian music science journal, no. 2 (August 6, 2021): 1–12. http://dx.doi.org/10.52847/eamsj/vol_2021_issue_2/56.
Full textAbstract:
Piano miniature is the most popular genre among composers and performers, since it is in a small form that the most subtle emotional experiences or various scenes from life are reflected. This paper analyzes various forms and types of piano miniatures of the composer's creativity of Uzbekistan. The purpose of the study is to analyze the processes of formation and development of the miniature genre in the piano creativity of Uzbekistan of the XX-XXI centuries, to identify genre features, as well as the semantics of performing interpretations.
The objectives of this study are to reveal the originality of piano music, as well as the performing analysis of the most significant piano compositions of the miniature genre, reflecting the national thinking and originality of the composer;
To achieve the research goals, such scientific methods as system-analytical, theoretical-historical and music-critical were used.
30
Eyvazzade, Gunel. "Research on the Problems of Piano Creative Work by A. Arensky in the Scientific Papers of Professor N. Usubova." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 4, no. 1 (June 4, 2021): 89–100. http://dx.doi.org/10.31866/2616-7581.4.1.2021.233341.
Full textAbstract:
The article examines the scientific work of one of the prominent representatives of the 20th century Azerbaijani piano performing school, Honored Art Worker, Professor Nigar Usubova (1914–1994). N. Usubova devoted an important part of her life to pedagogical activity, raising a generation of talented pianists. She made an exceptional contribution to the development of the Azerbaijani piano school and the definition of its future directions. N. Usubova’s pedagogical principles are reflected in her dissertation work and methodical manual. As it is known, N. Usubova studied in the class of A. Goldenweiser and wrote these scientific works under the guidance of the prominent pianist. An important part of these scientific works is devoted to the study of A. Arensky’s piano creative activity. Here, the musician touched upon the features of the composer’s piano performing, as well as the characteristic features of his music. The research also provides performing characteristics of the works analyzed and covering various genres. The purpose of the research is to study the fundamental results and main performing principles in the scientific works dedicated to A. Arensky’s piano creative work by Nigar Usubova, a brilliant representative of the Azerbaijani piano school of the twentieth century. In these scientific research works, N. Usubova touched upon the features of the prominent composer’s piano creative work, performing principles, circle of images; moreover, analyzed the form, genre, tone and other aspects and conducted research on the background of characteristic features of Russian music. We would like to bring to your attention that N. Usubova’s scientific works have not been published. This raises the scientific significance and relevance of the topic more. These scientific works are the first research work dedicated to the study of A. Arensky’s piano music in the Azerbaijani science of music. The research methodology is based on analytical and theoretical analysis, as well as on the source research method (work with archival materials). The main principle is the study and analysis of the fundamental results obtained by N. Usubova in the study of piano music by A. Arensky The scientific novelty of the research is that for the first time the scientific works of the outstanding pianist Nigyar Usubov are studied, their scientific significance, as well as the issues reflected in those works, are revealed. We would like to bring to your attention that these scientific works reflect N. Usubova’s method of approach to A. Arensky’s piano pieces as a pianist. For this reason, these scientific works are a valuable recommendation for every pianist who turns to A. Arensky’s piano creative work. Conclusions. Nigar Usubova is the author of two scientific works and her scientific creative activity is devoted to the definition of performing features of A. Arensky’s piano creative work. Each of these scientific-methodical works was written under the guidance of a prominent representative of the Russian piano school, pedagogue A. Goldenweiser. In these works, N. Usubova worked on A. Arensky’s creative work in a comprehensive and detailed way. According to the author, A. Arensky’s piano creative work is characterized by the clarity of form and texture, the richness of melodic material, which brings him closer to Tchaikovsky’s chamber music. Although the composer prefers miniature forms in his piano creative work, it is also possible to find virtuoso pieces, etudes, scherzos and capriccios. These works, in particular, influenced the formation of S. Rakhmaninov’s and A. Scriabin’s creative activity. The main characteristic features here are polyphonism, polymelodism and polyrhythmics of the piano texture. Simultaneously, N. Usubova thoroughly studied the influence of Western European composers on the formation of A. Arensky’s creative activity.
31
Gromko, Joyce Eastlund, and Christine Russell. "Relationships among Young Children's Aural Perception, Listening Condition, and Accurate Reading of Graphic Listening Maps." Journal of Research in Music Education 50, no. 4 (December 2002): 333–42. http://dx.doi.org/10.2307/3345359.
Full textAbstract:
The purpose of our study was to explore relationships among children's aural perception, music listening condition, and the accuracy of children's reading of listening maps. The aural discrimination skills of 41 elementary children were tested using the Intermediate Measures of Musical Audiation (IMMA). The children were then systematically assigned to one of three listening conditions: passive, unstructured active, or structured active. After listening to European art music according to their assigned condition, every child traced a graphic listening map while listening to the music a second time. Results of an ANCOVA with accuracy of map reading as the dependent variable, listening condition as factor, and IMMA as covariate, showed a significant effect for the IMMA [F (1, 37) = 8.86, p < .01], but no significant effect for listening condition. In a separate analysis, IMMA scores were shown to be related to piano experience. When group means for accuracy of map reading were compared by piano experience, children with piano experience had a significantly higher mean accuracy score of 48.25, SD = 18.75 (n = 16) compared to children with no piano experience, M = 32.44, SD = 17.39 (n = 25), t = 2.76, p < .01. Our results support previous research in which investigators found that music experience explained accuracy of music-reading ability in children and adults.
32
Lin, Mengqian, and Rui Zhao. "A Study of Piano-Assisted Automated Accompaniment System Based on Heuristic Dynamic Planning." Computational Intelligence and Neuroscience 2022 (May 23, 2022): 1–11. http://dx.doi.org/10.1155/2022/4999447.
Full textAbstract:
In this paper, a piano-assisted automated accompaniment system is designed and applied to a practical process using a heuristic dynamic planning approach. In this paper, we aim at the generation of piano vocal weaves in accompaniment from the perspective of assisting pop song writing, build an accompaniment piano generation tool through a set of systematic algorithm design and programming, and realize the generation of recognizable and numerous weaving styles within a controlled range under the same system. The mainstream music detection neural network approaches usually convert the problem into a similar way as image classification or sequence labelling and then use models such as convolutional neural networks or recurrent neural networks to solve the problem; however, the existing neural network approaches ignore the music relative loudness estimation subtask and ignore the inherent temporality of music data when solving the music detection task. However, the existing music generation neural network methods have not yet solved the problems of discrete integrability brought by piano roll representation music data and the still-limited control domain and variety of instruments generated in the controllable music generation task. To solve these two problems, this paper proposes a controlled music generation neural network model for multi-instrument polyphonic music. The effectiveness of the proposed model is verified by conducting several sets of experiments on the collected MIDICN data set, and the experimental results show that the model achieves better performance in the aspects of negative log-likelihood value, perplexity, musicality measure, domain similarity analysis, and manual evaluation.
33
Lavengood, Megan. "What Makes It Sound ’80s?" Journal of Popular Music Studies 31, no. 3 (September 2019): 73–94. http://dx.doi.org/10.1525/jpms.2019.313009.
Full textAbstract:
Popular music of the 1980s is remembered today as having a “sound” that is somehow unified and generalizable. The ’80s sound is tied to the electric piano preset of the Yamaha DX7 synthesizer. Not only was this preset (E. PIANO 1) astonishingly prevalent—heard in up to 61% of #1 hits on the pop, country, and R&B Billboard charts in 1986—but the timbre of E. PIANO 1 also encapsulates two crucial aspects of a distinctly ’80s sound in microcosm: one, technological associations with digital FM synthesis and the Yamaha DX7 as a groundbreaking ’80s synthesizer; and two, cultural positioning in a greater lineage of popular music history. This article analyzes the timbre of E. PIANO 1 by combining ethnographic study of musician language with visual analysis of spectrograms, a novel combination of techniques that links acoustic specificity with social context. The web of connections created by the use and re-use of DX7 presets like E. PIANO 1, among hundreds or maybe thousands of different tracks and across genres, is something that allows modern listeners to abstract a unified notion of the “’80s sound” from a diverse and eclectic repertoire of songs produced in the 1980s.
34
Domagała, Jarosław. "Teaching qualities in piano works by Henryk Pachulski in the context of the development of piano technique in children and youth. Part 1." Notes Muzyczny 2, no. 16 (December 30, 2021): 59–86. http://dx.doi.org/10.5604/01.3001.0015.5488.
Full textAbstract:
Henryk Pachulski (1852-1921) – a Polish composer, pianist, and teacher. He graduated from the Warsaw Institute of Music, having studied piano with Rudolf Strobl. His harmony and counterpoint teachers were Stanisław Moniuszko and Władysław Żeleński. After that, he studied piano at the Moscow Conservatory with Nicolai Rubinstein and then Pawel Pabst. He learnt harmony from E. L. Langer, then Anton Arensky with whom he also had a special course in counterpoint. In 1886 he started his teaching career at the Moscow Conservatory, which lasted over 30 years. He also performed as a pianist in Moscow, Petersburg, and Warsaw. Pachulski was acknowledged for his technical aptitude, but he gained the greatest recognition as a teacher and a composer. He created over a hundred piano works, including three sonatas, two cycles of variations, two polonaises, two mazurkas, three waltzes, preludes, studies, impromptus, and more. He also wrote chamber, vocal and orchestra compositions, as well as piano transcriptions for orchestra and chamber pieces. This article presents the composer’s music and teaching activity, it also touches on teaching qualities of his piano works. It pays special attention to technical aspects, and the analysis also covers the formal side of these compositions. While preparing the text, the author used information included in the Polish music press from the turn of the 20th century, music collection of the National Library in Warsaw, archive documents, and foreign sources.
35
Belova, N. V., and O. M. Yakymchuk. "Three piano pieces of Liudmila Shukailo in the context of genre paradigm." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 61–76. http://dx.doi.org/10.34064/khnum1-57.04.
Full textAbstract:
Introduction. By Nazaikynskyi’s (2003) definition, genres are “relatively stable types, classes, kinds and sorts of music works that have been formed historically; they could be сlassified according to the following basic criteria: a) specific function (social, domestic or artistic); b) conditions and means of performing; c) the character of the content and the forms of its embodiment” (94). Besides, genre has a memory concerning its origin and existence, it absorbs whole traditions of realisation of genre types that existed during certain historical periods. In such a way it forms the field of meaning around genre concept itself. We have chosen three pieces of L. Shukailo for our analysis. They have been written in Scherzo, Toccata and Rhapsody genres, tightly linked with different historical traditions, and also with the works of the greatest composers. That’s why we concider the analysis of Shukailo’s music in the context of genre tradition as an interesting and fertile perspective. Theoretical Background. There are no studies, dedicated to L. Shukailo’s works nowadays. So, this one has inevitably been a pioneering work in the sphere. At the same time, a considerable amount of literature is available about different explanations of the conception of genre. Notwithstanding these multiple treatises, we prefer to base our research on Nazaikynskyi’s genre definition. The latest studies, concerning the specificity of some music genres also serve for us as valuable sources of information. These are: the thesis and the papers of E. Belash, where Scherzo is characterized as a genre; the thesis of T. Prodma and O. Bondarenko about Toccata; the article of G. Bazyken, dedicated to Rhapsody genre. The objective of the article is to identify the characteristic features of L. Shukailo’s piano pieces (“Scherzo” (1992), “Toccata-Campana” (1994), and “Rhapsody” (1996)) in the context of the genre paradigm and also – to reveal the specific nature of “the image of the genre” in the composer’s music. Methods. The article explores three concert pieces for piano by contemporary Ukrainian composer L. Shukailo in the context of the genre paradigm. The general genre specificity of the works conerning “the image of the genre”, as well as the characteristic style traits of L. Shukailo’s music, has been revealed. The peculiarities of the texture of each of the pieces regarding the “piano image” are analyzed. The reasons why L. Shukaylo’s works in the genres of Scherzo, Toccata and Rhapsody have been selected for analysis are: their connection with the broad historical context, European and national piano tradition, abundant allusions to the music of the predecessors. The expressions “the image of the piano” and “the image of the genre” need some additional explanation. The concept “the image of the piano” had been used for the first time by L. Gakkel in his book “The 20th Century Piano Music” (1990). Then it was further developed by other scholars (for instance, by E. Belash (2015). It means the specificity and the timbre of the instrument that is an integral part of the stylistic complex of the piece of music, created by a composer and represented by a performer. We are convinced that the images of the genres emerged simultaneously with the image of the piano, especially if these genres had a marked piano specificity. It can be fully applied to Scherzo and Toccata genres, and partly – to Rhapsody. The image of the genre is tightly linked to the image of the piano when it сomes to piano music. Results and Discussion. Scherzo is the most versatile genre among others because of its wide range of expressive opportunities. Thus, E. Belash considers Scherzo as a genre, related to the image of the piano, and also to the conception of virtuosity. She assumes that the desire to demonstrate mastery of the piano different explanations of the conception of genre. Notwithstanding these multiple treatises, we prefer to base our research on Nazaikynskyi’s genre definition. The latest studies, concerning the specificity of some music genres also serve for us as valuable sources of information. These are: the thesis and the papers of E. Belash, where Scherzo is characterized as a genre; the thesis of T. Prodma and O. Bondarenko about Toccata; the article of G. Bazyken, dedicated to Rhapsody genre. The objective of the article is to identify the characteristic features of L. Shukailo’s piano pieces (“Scherzo” (1992), “Toccata-Campana” (1994), and “Rhapsody” (1996)) in the context of the genre paradigm and also – to reveal the specific nature of “the image of the genre” in the composer’s music. Methods. The article explores three concert pieces for piano by contemporary Ukrainian composer L. Shukailo in the context of the genre paradigm. The general genre specificity of the works conerning “the image of the genre”, as well as the characteristic style traits of L. Shukailo’s music, has been revealed. The peculiarities of the texture of each of the pieces regarding the “piano image” are analyzed. The reasons why L. Shukaylo’s works in the genres of Scherzo, Toccata and Rhapsody have been selected for analysis are: their connection with the broad historical context, European and national piano tradition, abundant allusions to the music of the predecessors. The expressions “the image of the piano” and “the image of the genre” need some additional explanation. The concept “the image of the piano” had been used for the first time by L. Gakkel in his book “The 20th Century Piano Music” (1990). Then it was further developed by other scholars (for instance, by E. Belash (2015). It means the specificity and the timbre of the instrument that is an integral part of the stylistic complex of the piece of music, created by a composer and represented by a performer. We are convinced that the images of the genres emerged simultaneously with the image of the piano, especially if these genres had a marked piano specificity. It can be fully applied to Scherzo and Toccata genres, and partly – to Rhapsody. The image of the genre is tightly linked to the image of the piano when it сomes to piano music. Results and Discussion. Scherzo is the most versatile genre among others because of its wide range of expressive opportunities. Thus, E. Belash considers Scherzo as a genre, related to the image of the piano, and also to the conception of virtuosity. She assumes that the desire to demonstrate mastery of the piano technique is inherent in the nature of the genre. Quick tempo, passages, shifting of the sounds from one extreme register to another – all these virtuoso techniques of playing are characteristic of the piano Scherzo. Almost the entire arsenal of virtuoso techniques could be found in L. Shukailo’s “Scherzo”. The piece has a traditional, historically-formed, threepart recurring structure, where the contrast is not on the verge of the parts but in the very process of music development. The great potential of the instrument unfolds itself in the Scherzo. Almost the whole diapason of the piano is covered. The composer uses melodious interweaving as well as the “bell” of chords. The instrument reveals both hammering and singing nature of its sound. L. Shukailo employs rather chamber and playful type of Scherzo, characteristic of Chopin, than concert and symphonic one, typical of Liszt. Although the name of L. Shukailo’s piece is of a genre-generalizing character, the Scherzo has a striking imagery. On creating this music, the author might have been referring to some concrete content or image, but it seems she rather gave the audience complete freedom to interpret the music. The Toccata genre tightly relates to the Scherzo genre. Both genres are based on the principles of the Etude, that is, on the same vigorous movement. It is combined with hammering key-touch in Toccata. The unique feature of the “Toccata-Campana” is that, in addition to all conventional traits of the genre such as hammering key-touch, the way of the unfolding of musical material, and virtuosity, the imitation of the bell takes place here. The name of the piece itself tells us about it. The Italian word “Campana” stands for “the bell”. In its turn, it reminds the listeners of “Campanella”, the piece where the sound of the bells is imitated. The idea of the piano as of a percussion is realized in the piece in a very interesting way. It alludes to the percussion of another kind – the sound of the bell. Naturally the sound of the piano and that of the bells are different, but the piano here not only imitates the timbre of another instrument but it expresses those strong emotions the sound of bells usually evokes. Unlike the previous two genres, the Rhapsody genre is associated not with vigorous movement, typical for the Etude, but with folk music and singing. As a rule, quotations of folk music or its stylization have been used in Rhapsody. It usually consists of several contrasting episodes. Rhapsody, with its narrative character, is a detailed story, told by the singerrhapsod. We can see that the idea of instrumental mastery, virtuosity is also characteristic of this genre. Rhapsody is based on the folk songs. L. Shukayilo’s “Rhapsody” has folk components, too, but its genre affiliation can be defined rather as that of a dance. Characteristic repetitions of the same sound are associated with the percussion instrument that accompanies oriental dance. These three concert pieces for piano were created especially for V. Krainev contest. On the one hand, L. Shukailo continues the traditions of piano music, and on the other – creates its own, recognizable piano style, characterized by deep insight into the specificity of the instrument. Obviously, this explains in a great measure the repeated appeals of the organizers of the music contests to the composer for writing the pieces especially for the contests. Conclusions.The analysis of the three L. Shukailoʼs piano works, made in the article, enables us to do the following conclusions: – the pieces analyzed entirely correspond to their genre specificity that has been marked by the composer in the titles; – each of the genres has been interpreted in specific way that tells us of the author’s ingenious view of the genre; thus, in the “Scherzo” the idea of playing is embodied as a symbol of virtuosity; imitation of bell sound has been used in the “Toccata-Campana” with the purpose of emphasizing of the strike effect; and the “Rhapsody” has absorbed a lot of oriental folk dance style; – creating the sound image of piano, the composer in the same time also creates the sound image of genre in all the pieces analyzed.
36
Herrera, Miriam, and Roberto Cremades. "The Study of Memorisation in Piano Students in Higher Education in Mexico." Musicae Scientiae 24, no. 3 (October 18, 2018): 330–41. http://dx.doi.org/10.1177/1029864918805312.
Full textAbstract:
This paper describes how Mexican piano students enrolled in higher education music courses memorise scores, which is necessary to increase their capacity for memorisation and to prepare a repertoire of higher complexity. We also analysed the different types of memory in the musical practice of the students, investigating what they emphasise the most to memorise musical pieces. Interest in this topic arose because it was observed that piano syllabi in the different participating institutions do not include a specific memorisation development process for piano repertoire; however, piano students are required to present a memorised repertoire at the end of each semester. We distributed a questionnaire to 545 students from 18 Higher Artistic Education institutions with a degree in music, with piano as the main instrument, in 13 states of Mexico. The results indicate that the development of analytical memory through musical analysis is fundamental and essential while learning memorisation skills to achieve a better understanding of the score and its piano performance. We also found that there are significant differences between the variables of age range and gender.
37
Chang, Xunyun, and Liangqing Peng. "Intelligent Analysis and Classification of Piano Music Gestures with Multimodal Recordings." Computational Intelligence and Neuroscience 2022 (June 13, 2022): 1–12. http://dx.doi.org/10.1155/2022/8232819.
Full textAbstract:
In the traditional recording system, recording any music includes a sizeable instrumental setup and allocates space for the music players. Lighter and fewer devices are replacing larger instruments due to technological advancement and epidemic environmental conditions. This research focuses on text, but audio and video types are also considered. Multiple signal classification with a 5G-based wireless communication network algorithm is implemented to perform the automatic recording and classification of the music data. In this research, a multi-modal gesture recognition dataset is considered for analysis. The dataset was obtained using sensor networks and an intelligent system to record the musical gestures and classify the recorded gestures. The development of machine learning algorithms is not limited to similar technological concepts. Still, it extends to almost all other technical resources such as the 5G network, signal processing, networking, and all other technical resources. This would lead to additional engineering challenges that are utilized in most cases, such as the development of gestures with multi-mode recording. This research has proposed MSA with WCN algorithm to perform intelligent analysis and classification of piano music gestures and is compared with the existing K-Means algorithm and achieved an accuracy of 99.12%.
38
Kuncoro, Zelika Alin. "The One Smart Piano Classroom: Integrasi Teknologi dalam Sekuen Belajar Piano." INVENSI 5, no. 2 (November 27, 2020): 113–27. http://dx.doi.org/10.24821/invensi.v5i2.3944.
Full textAbstract:
Sebagai salah satu cara alternatif yang berperan membentuk keterampilan bermain piano, konsep kelas pintar The One Smart Piano Classroom dinilai mempunyai keuntungan kompetitif yang mempunyai fungsi triggering, accelerating, dan sharpening. Triggering karena penggunaan teknologi membuat lompatan masuk ke dunia musik dari titik manapun seseorang belajar. Accelerating mempercepat pengembangan musikalitas murid, dan sharpening karena mampu mempertajam pedagogi musik konvensional sehingga lebih berorientasi dengan dunia nyata. Tulisan ini bertujuan untuk mengevaluasi integrasi The One dalam sekuen belajar piano dan kemudian berimplikasi pada skill pianistik yang terbentuk. Ditandai dengan adanya substitusi skor piano cetak dengan skor piano digital, teknologi diintegrasikan dalam setiap tahap dalam sekuen. Dengan kata lain, seluruh sekuen tidak lepas dari keberadaan jaringan berkabel dan nirkabel dalam teknologi The One. Dengan menggunakan pendekatan studi kasus, analisis dilakukan dengan mengoperasionalkan kerangka pemikiran Ruben Puentedura tentang teori integrasi teknologi pendidikan SAMR. Hasil menunjukkan adanya integrasi The One berimplikasi pada beberapa hal di antaranya peralatan, perlengkapan, infrastruktur, hingga skill pianistik meliputi pemahaman dan pengaplikasian konten tonal, konten ritme, aural, asosiasi verbal. Diketahui pula jika ditinjau dari prosesnya menuju target hasil belajar, integrasi dalam The One Smart Piano Classroom berlangsung hingga tahap redefinisi dengan beberapa catatan pergeseran makna. The One Smart Piano Classroom: Integration of Technology in Piano Learning ABSTRACT As an alternative way that plays a role in shaping pianistic skills, the concept of The One Smart Piano Classroom is considered to have a competitive advantage that has the functions of triggering, accelerating, and sharpening. Triggering because of the use of technology makes the leap into the world of music from any point someone learns. Accelerating, accelerating the development of student musicality, and sharpening because it is able to sharpen conventional music pedagogy so that it is more oriented to the real world. This paper aims to evaluate The One's integration in piano learning sequences and then have implications for the formed pianistic skills. Characterized by the substitution of printed piano scores with digital piano scores, technology is integrated at each stage in the sequence. In other words, the whole sequence is inseparable from the existence of wired and wireless networks in The One technology. Using a case study approach, the analysis was carried out by operationalizing Ruben Puentedura's framework of the theory of integration of SAMR education technology. The results show the integration of The One has implications for several things including equipment, equipment, infrastructure, to pianistic skills including understanding and applying tonal content, rhythmic content, aural, verbal associations. It is also known that when viewed from the process towards the target of learning outcomes, integration in The One Smart Piano Classroom goes to the redefinition stage with some notes of shifting meaning.
39
Mingalyov, Pavlo. "Evolution of piano miniature in the early 20th century (exemplified by V. Rebikov's piano work)." Ukrainian musicology 46 (October 27, 2020): 152–65. http://dx.doi.org/10.31318/0130-5298.2020.46.234614.
Full textAbstract:
Relevance of the study. One of the features of the piano music of the early 20th century is traditions overcoming of the romantic style and search for opportunities to go beyond it. Numerous composers of a new generation have experimented with musical language, form and phonic visualization. At the same time, the genre of musical miniature did not lose its relevance, on the contrary, it became one of those piano genres where many musical innovations were tested. The study of piano miniature allows us to consider the evolution of small forms in piano music, the process of style and genre transformation, a gradual transition from the established romantic tradition (including the national one) to a new era, marked by the search for contemporary expressive means. The work study of V. Rebikov, an innovative composer who wrote more than 30 cycles of piano pieces and who made a significant contribution to the development of small forms of piano music, is an important stage on the way to a comprehensive understanding of the musical art evolution of the 20th century. Numerous ideas that were tested in his works found their development in the music of next generations of composers and still remain instant and modern. The study of some of V. Rebikov's miniatures key-cycles, which were important stages in the formation of the unique image of the composer, in the context of the figurative and stylistic genesis trends in the art of the first third of the 20th century, allows, with some assumptions, talk about his work as an example of stylistic and harmonic transformations of their time. Main objective of the study is to identify the fundamental elements of V. Rebikov composer's style, which are manifested in his piano works of small forms, in the context of the patterns development of piano miniature at the beginning of the 20th century. The methodological baseline is the methods of historical, systemic, harmonic, style and performance analysis. Results and Conclusions. Analysis of V. Rebikov's musical heritage, as well as of other composers who did not gain great popularity at their time, proved that there are no composers, whose work can be dispensed with, setting the task of identifying the historical stages in the deve-lopment of musical art, since the value of a particular contribution is determined and will be determined by future generations. Therefore, the study of the work of all composers of the early 20th century is necessary for understanding historical formation of musical art, including piano, as well as for identifying the origins and principles that fed the music of the 20th and early 21st centuries.
40
Ma, Songqing, and Yuhe Liu. "Psychological Adjustment and Emotional Health Care Strategies in the Teaching Process of College Music Teachers Based on Big Data Analysis." Mathematical Problems in Engineering 2022 (September 16, 2022): 1–10. http://dx.doi.org/10.1155/2022/4501189.
Full textAbstract:
In music teaching in high schools, teachers should not only impart corresponding music knowledge to students but also focus on cultivating students’ comprehensive quality and quality. In the process of music teaching in universities, we should focus on students’ psychological adjustment and emotional health care. In order to quantify the application effect of big data technology in music teaching reform, this paper takes piano teaching in universities as an example to conduct research and mainly analyzes the physiological and psychological prediction effects involved in the teaching process. This paper introduces three typical big data technologies to predict and analyze the data involved in the existing piano teaching in universities. The analysis results show that the prediction effect based on the fuzzy neural inference system is the best. In addition, the three-dimensional display of the prediction data shows that the prediction effect obtained by big data technology shows good consistency and continuity, which indicates that the prediction method based on big data technology is suitable for psychological adjustment and emotional health care in music teaching in universities.
41
Huang, Nansong, and Xiangxiang Ding. "Piano Music Teaching under the Background of Artificial Intelligence." Wireless Communications and Mobile Computing 2022 (January 24, 2022): 1–13. http://dx.doi.org/10.1155/2022/5816453.
Full textAbstract:
The work is aimed at solving the problems of easy trapping into local extremes and slow convergence speed of the traditional music teaching evaluation system on Backpropagation Neural Network (BPNN). The traditional note recognition methods are susceptible to high noise complexity. Firstly, the Levenberg Marquardt (LM) algorithm is used to optimize the BPNN; secondly, an improved endpoint detection algorithm is proposed by short-term energy difference, which can accurately identify the time value of each note in the piano playing audio. By the traditional frequency domain analysis method, a radical frequency extraction algorithm is proposed by the improved standard harmonic method, which can accurately identify the note’s pitch. Finally, a piano performance evaluation model by BPNN is implemented, and the model is implemented by the Musical Instrument Digital Interface (MIDI) system. This evaluation model can be used to correct the errors of students’ performances in the piano music teaching process and to perform overall evaluation, rhythm evaluation, and expressive evaluation. Teachers and students play minuet to collect experimental samples to train BPNN and test the performance of the evaluation model. The practical result shows that (1) after 3000 times of training, the neural network error is less than 0.01, and the network converges; (2) the evaluation results of the piano performance evaluation model designed are basically in line with the actual level of the performer and have specific feasibility; and (3) the optimized BPNN is used to correct errors during performances with an accuracy rate of 94.3%, which is 5.25% higher than the traditional method. The error correction accuracy rate for pitch is 92.9%, which is 5.21% higher than the traditional method. The optimized BPNN has significantly improved the error correction accuracy of the notes and pitches played by the player. The model can effectively help piano beginners correct errors and improve the accuracy and efficiency of the practice. The purpose of this study is to alleviate the scarcity of piano teachers, reduce the work intensity of piano teachers, realize automatic error correction and objective evaluation of playing, and provide necessary technical support for improving the efficiency of piano music teaching.
42
Rut Gudmundsdottir, Helga. "Pitch error analysis of young piano students’ music reading performances." International Journal of Music Education 28, no. 1 (February 2010): 61–70. http://dx.doi.org/10.1177/0255761409351342.
Full text
43
Janosy, Zoltan. "Computer Analysis of Player Piano Rolls." Computer Music Journal 18, no. 3 (1994): 9. http://dx.doi.org/10.2307/3681176.
Full text
44
Castellano, Ginevra, Marcello Mortillaro, Antonio Camurri, Gualtiero Volpe, and Klaus Scherer. "Automated Analysis of Body Movement in Emotionally Expressive Piano Performances." Music Perception 26, no. 2 (December 1, 2008): 103–19. http://dx.doi.org/10.1525/mp.2008.26.2.103.
Full textAbstract:
EMOTIONAL EXPRESSION IN MUSIC PERFORMANCE includes important cues arising from the body movement of the musician. This movement is related to both the musical score execution and the emotional intention conveyed. In this experiment, a pianist was asked to play the same excerpt with different emotionally expressive intentions. The aim was to verify whether different expressions could be distinguished based on movement by trying to determine which motion cues were most emotion-sensitive. Analyses were performed via an automated system capable of detecting the temporal profiles of two motion cues: the quantity of motion of the upper body and the velocity of head movements. Results showed that both were sensitive to emotional expression, especially the velocity of head movements. Further, some features conveying information about movement temporal dynamics varied among expressive conditions allowing emotion discrimination. These results are in line with recent theories that underlie the dynamic nature of emotional expression.
45
Ryzhova, O. "Installations of interpretation B. Ljatoshinsky's piano preludes in musical-pedagogical preparation of the student." Educational Dimension 18, no. 2 (May 10, 2007): 306–17. http://dx.doi.org/10.31812/educdim.5988.
Full textAbstract:
The article deals with possibilities of interpretive outputs to concert-performance and pedagogic activity under conditions of music and pedagogic training of students based on piano prelusions by B. Lyatoshinsky. A stylistic factors analysis of the composer’s prelusions piano cycles is of special attention as the basis for personal interpretation «strategies» formation.
46
Dong, FangJian. "Analysis of the Composition Techniques of Chopin Fantasy Polonaise in A-Flat Major." Art and Society 1, no. 2 (October 2022): 16–22. http://dx.doi.org/10.56397/as.2022.10.03.
Full textAbstract:
During the romantic period, Chopin made great contributions to the development of piano music. While absorbing the nutrients of classicism, he had the courage to innovate, and endowed Bora News and other genres with his own personalized music language. Starting from the three aspects of the theme structure, the writing techniques and the variation principle, this paper analyzes and studies the music “fantasy Polonaise in A-flat major”, and then goes to reveal the composer’s late writing style and composition techniques.
47
Oleh, Klendii. "The Semantics of Virtuosity in Genre-Stylistic System of C. Saint-Saëns’s Album for Piano op. 72." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 38–52. http://dx.doi.org/10.34064/khnum1-52.03.
Full textAbstract:
Background. In recent decades an intensive development of art semiotics, which contributes to the investigation of the concept of musical compositions and their functioning in performance practice, has been observed. Music semantics and performance texture are closely interrelated, since texture elements as semantic signs are able to convey the semantic expression of the language of music. Texture depends on a lot of factors. There is a strong semantic interrelation between an individual music genre and its typical texture, which has established itself in music practice and has become its distinctive feature. The typical examples are chant chords, which is a typical accompaniment of a waltz, and toccata martellato as an articulation technique. There is an interdependence of music styles and texture elements at historical, national and individual composer’s levels. For example, there is exquisite embellishment in French clavecinists’ works and Alberti bass in Viennese classics’ works. An unexpected outburst of virtuoso style in performance art has become a cultural heritage of Romantic era. In the 19th century the semantics of virtuosity, which is evident in the choice of the mediums of expression in piano works, was of significant importance more than ever before. Texture was in focus and tempo-rhythm, articulation, dynamics and agogics created tonal variations (clarity of Chopin’s jeu perlé, bravura octaval passage works by Liszt). Together with the main meaning-making mechanisms of genre and style in piano works of the 21st century, there is program music. In Baroque era it was closely connected with oratory and the theory of affects. Romanticists gained a better understanding of the potential of music art as a universal language. As a result, during the last two centuries, a “dictionary” of texture semantic signs connected with program music was in the process of its creation. Its demonstrative and wide-spread example is the onomatopoeia of bells (indexical sign by V. Kholopova), which provided for using chords, a broad range of registers and polyrhythm (F. Liszt, O. Borodin, S. Rachmaninoff, C. Debussy). C. Saint-Saëns is one of the most brilliant representatives of French piano school, who personifies the phenomenon of a “composer-virtuoso”. That is why, among all the kinds of conceptual-music and conceptual-word signs (by V. Kholopova), which make up the texture of C. Saint-Saëns’s piano music, virtuosity signs are of great importance and their scientific apprehension reveals the principles of his piano style better. Album for piano op. 72 was written in the years of C. Saint-Saëns’s intensive creative work as a performer and as a composer and it emphasizes the main trends in mature pianoforte mentality. Objectives. The paper covers the determination of the style basics of C. Saint-Saëns’s piano music in terms of the influence of a virtuoso performance practice, which was developed in Western European art. Methods. Research methodology is based on the unity of style, genre, intonation and system analysis types, which highlight the significance of the piano music heritage of the great artist for contemporary performers. Results. A genre and stylistic system of the miniature cycle of Album for piano op. 72 is complex and various. There is a principle of genre interrelation, which manifests itself in the use of folk genres of Italian music culture as a national tradition of this country and the combination of prelude genres of Baroque and Romantic eras (Baroque principles of composition in creating a romantic character). The composition of Album can be roughly divided into two “small cycles”, which are characterized, first of all, by the presence of motor (motor-dance) genres in the final parts and, secondly, by the contrast in the middle part, namely a sound representing one and a cantilena one. The first cycle contains Prélude, Carillon, and Toccata and the second one includes Valse, Chanson Napolitaine and Finale. As for the virtuosity, three main semantic complexes, through which it is manifested, can be distinguished. Their differentiation depends on the dominating expressive means. A high tempo, loud dynamics (ff, fff) and a high level of articulation clarity (non legato, marcatissimo, rinforzando) are the most significant ones in the first cycle. The second cycle is characterized by a multilayer texture with a complex metro-rhythm organization and the elements of a polyphonic notation, which compensates a medium tempo. The third complex represents the semantic values, which are opposite to the first one. They are reached due to a clear light texture, fine finger action combined with articulatory leggiero and dynamics (p, pp). C. Saint-Saëns’s Album for piano op. 72 requires the performer to have the whole set of technical skills. The works of this cycle contain not only a creative synthesis of the piano music of Baroque, Classicism and Romantic era, which is heritable for the artist, but also new ideas of a thematic organization followed by the appearance of music impressionism stylistics in future. Conclusions. C. Saint-Saëns’s piano music style combines the fundamentals of common European instrumental music and mental evidences of French national tradition. The main principles of the composer’s pianoforte mentality include polygenre, stylization, onomatopoeia in program music and virtuosity that were brilliantly embodied in the original authenticated forms of piano music. The virtuosity signs, which were determined in the process of the semantic analysis of Album, bring French instrumental miniature to the whole new level of artistic music creation. Being a virtuoso, C. Saint-Saëns further developed miniature poetics, and thus, contributed to the understanding of the virtuosity style of piano music performance.
48
Zhou, Daping. "The Theoretical Background for the Chinese Composers Piano Music Genre Peculiarities Research." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 180–206. http://dx.doi.org/10.34064/khnum2-14.13.
Full textAbstract:
Introduction. The given paper is devoted to questions, which make up the dissertation research section upon the genre semantics of the Chinese composers’ solo piano creations. The general theoretic background for the vast amount of the musical artifacts studying is specified in the current section. Theoretical background. In his studying of the Chinese composers’ piano creative work the author follows the research trend, originated by G. Schneerson, Lui Ji, Wei Tinge, Liu Fuan, Zhang Xiaohu, Zhang Qian and others. In particular, the current research is based upon the works by Bu Li, Bian Meng, Wang Ango, Wang Yuhe, Cheng Xu and other authors, devoted to the problem of the European and national music traditions interaction in the Chinese composers’ piano artifacts. The insufficient readiness of this thesis is mentioned. Namely, it is still the point of discussion and analyzing, to what extend and in what quality the genre system of European piano music is mastered by the Chinese composers. It is another point of investigation if their compositions are the result of the surface signs borrowing, taken from the most widely spread European genres or the Chinese composers were able to comprehend the genre semantics profoundly and develop some genres creatively, basing on the national musical tradition. Objectives. The main objective of the current article is the essential theoretical background specification for the Chinese composers’ piano creations genre peculiarities research; in particular, the polygenicity, the borrowed material usage principle, the composer’s genre stylization method. Methods. The task setting and developing is based upon the functional and morphological approaches to the musical genre comprehension, on the terminological analysis of the musical genres and styles understanding, on the upto-date philological and musicological conceptions of composition poetics, artistic genre and stylization method. Results and discussion. The concept of musical genre is defined as the type of the creation or the musical creative activity. Here the category of genre involves not only the formal but also the substantial musical compositions properties, their typical semantics. The musical genre genesis is specified by three factors: 1) the functional creations similarity, the identity of their assignment; 2) the similarity of the conditions of the composition creating and performing; 3) artistic and contextual affinity. The given factors specify the occurance of common musical form properties among several compositions, and these properties are defined as genre style. The composition style properties quite definitely “indicate” some kind of genre “prototype”, and in this sense they are the sign-index of the genre. The typical artisticcontent properties of musical creations and performing are also the index of the genre. These typical properties and designated as genre image (or genre semantics). The genre style and the corresponding images reflect the real type relations of the musical practice phenomena. It enables the composers to use the formal signs of a certain genre as an artistic attribute well recognized by the audience. In the musical genres system, the areas of interactive and independent music are conventionally separated. The first group includes the numerous kinds of every day musical performing, where music interacts with the riot, dance, poetic verbal speech, theatre performance and other types of a person’s artistic activity. Meanwhile, the main and specific function of the independent music is its being the object of artistic perception. The independent music artifacts don’t need any interaction with the expressive means of other arts. The piano music can belong to both spheres. A lot of independent sphere piano music compositions are bear the names of the genres belonging to the folklore, theatre music, church rituals, urban life. We mean such as piano “lullabies”, “ballads”, “minuets”, “waltzes”, “marches”, “arias”, ”love songs” etc. there is still another phenomenon: the piano music pieces, the name of which is not connected with the interactive music genres, are often profoundly connected with them on the levels of the language and artistic text. Quite often, the piano pieces are built on certain composition, borrowed from the sphere of folklore, popular or church music. In all the alike cases we can notice the artistically justified synchronous (non consequent) interaction of several musical genres signs and properties in the form of the definite composition. This phenomenon is characterized as polygenicity. Two main approaches to achieve the polygenre artistic expressive effect are defined: a) the use of the “exterior” (non native, another’s, alien) musical material; b) the genre style characteristic properties reproduction (genre stylization). The given work gives the definitions for the methods of different musical genres properties combination by means of borrowing and of the “exterior” material use in the frames of the original composition: quotations, arrangements, edited versions, fantasies and transcriptions. The genres, originated by these composing methods, are characterized. The essence of the genre stylization method in the Chinese composers’ creations is revealed. It is the reproduction of tonal and compositional peculiarities of the certain traditional Chinese music genre style into the composition text belonging to the European piano music genre system. The wide range of this method implementation is mentioned: from total style imitation to allusion. Conclusions. The existence of the great amount of the piano music compositions in the today’s Chinese musical culture motivates the overall and profound scientific analysis of this phenomenon, in particular, it stimulates the given sphere genre features revelation in both synchronous and diachronic (historic-evolutionary) aspects. The piano music genre sphere researcher needs the clearly formulated, capacious and non-contradictory categories of musical genre, genre style, genre system, genre semantics, as well as of the notions, derivative and connected with them. As it was mentioned by numerous specialists, the Chinese piano music distinctive feature consists in its lasting connection with the national music tradition. The task, set for the musicologists, is to define the nature, the principles, the variants of the interaction between the European piano music genres and styles and the traditional Chinese music genres and styles ( folklore, theatre, popular song). The given article states that the first artistic method, leading to the combination of the European and Chinese traditions in the frames of one composition consists of the composer’s borrowing and using some “alien” material, a fragment of the famous musical creation in his artifact. Thus, using serves as a general notion, embracing a number of certain musical text composing methods, which include quoting, arranging, creating versions, fantasies and transcription. The second artistic approach, leading to European piano music and the Chinese traditional music interaction, consists in the artistic method of stylization. This method implies the reproduction of tonal and compositional peculiarities of the certain traditional Chinese music genre style into the composition text belonging to the European piano music genre system. This method reveals the unlimited possibilities to create the bright vivid effects for genre dialogue, conflicts, interaction, as well as very delicate conceptual modus, allusions, hints, promoting the remarkable enrichment of the compositions genre figurativeness. Basing on the given theoretical background the author is going to analyze the genre-style contents of the seven-volume edition “A century of Piano Solo Works by Chinese Composers”. This content may serve as a working model for the studying of the whole thesaurus of piano music artifacts, created by the Chinese composers.
49
Kim, Misook, and Gowoon Lee. "A Study on the Analysis of Piano Audition Pieces for the Admission of the Music College by Applying the Principle of Comprehensive Musicianship." Korean Society of Culture and Convergence 44, no. 8 (August 31, 2022): 323–34. http://dx.doi.org/10.33645/cnc.2022.8.44.8.323.
Full textAbstract:
The purpose of this study is to analyze the presentation patterns of piano audition pieces for the admission of the music college by the past 5 years and to examine their meaning in terms of ‘comprehensive musicianship’. The presentation of piano audition pieces over the past five years has shown several changes, and this has the following meaning in terms of comprehensive musicianship. First, meaningful changes have occurred in the direction of promoting the principle of creativity. Second, since it did not have a significant effect on the principle of synthesis, a study on the piano audition pieces should be conducted to promote synthesis. Third, there were a remarkable changes in the expanded repertory. It can be seen that there is a diversification by composer, period, and genre. Fourth, since the aspect of musical function is still insufficient, concrete measures should be sought so that the presentation of audition pieces for the music college and the form of exams can be evaluated across various fields.
50
Yang, Daniel, Arya Goutam, Kevin Ji, and TJ Tsai. "Large-Scale Multimodal Piano Music Identification Using Marketplace Fingerprinting." Algorithms 15, no. 5 (April 26, 2022): 146. http://dx.doi.org/10.3390/a15050146.
Full textAbstract:
This paper studies the problem of identifying piano music in various modalities using a single, unified approach called marketplace fingerprinting. The key defining characteristic of marketplace fingerprinting is choice: we consider a broad range of fingerprint designs based on a generalization of standard n-grams, and then select the fingerprint designs at runtime that are best for a specific query. We show that the large-scale retrieval problem can be framed as an economics problem in which a consumer and a store interact. In our analogy, the runtime search is like a consumer shopping in the store, the items for sale correspond to fingerprints, and purchasing an item corresponds to doing a fingerprint lookup in the database. Using basic principles of economics, we design an efficient marketplace in which the consumer has many options and adopts a rational buying strategy that explicitly considers the cost and expected utility of each item. We evaluate our marketplace fingerprinting approach on four different sheet music retrieval tasks involving sheet music images, MIDI files, and audio recordings. Using a database containing approximately 375,000 pages of sheet music, our method is able to achieve 0.91 mean reciprocal rank with sub-second average runtime on cell phone image queries. On all four retrieval tasks, the marketplace method substantially outperforms previous methods while simultaneously reducing average runtime. We present comprehensive experimental results, as well as detailed analyses to provide deeper intuition into system behavior.