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1
Hill, George R. "Catalog of the Reproducing Piano Roll Collection, International Piano Archives at Maryland." Notes 41, no. 3 (March 1985): 515. http://dx.doi.org/10.2307/941168.
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Berlin, Edward A., James Dapogny, Ronny S. Schiff, and David A. Jasen. "Ferdinand "Jelly Roll" Morton: The Collected Piano Music." American Music 4, no. 1 (1986): 112. http://dx.doi.org/10.2307/3052191.
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Riley, Kathleen, Edgar E. Coons, and David Marcarian. "The Use of Multimodal Feedback in Retraining Complex Technical Skills of Piano Performance." Medical Problems of Performing Artists 20, no. 2 (June 1, 2005): 82–88. http://dx.doi.org/10.21091/mppa.2005.2016.
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Piano students working to improve technique often practice the same passage over and over to achieve accuracy, increase speed, or perfect interpretive nuance. However, without proper skeletal alignment of hands, arms, and shoulders and balance between the muscles involved, such repetition may lead to difficulties with, rather than mastery of, technique and stylistic interpretation and even physical injury. A variety of technologies have been developed to monitor skeletal alignment and muscle balance that serve to help students and teachers make needed corrections during performance by providing immediate biofeedback. This paper describes and illustrates a multimodal use of these biofeedback technologies and the powerful advantages of such a multimodal approach in making the student and teacher not only aware of improper alignments and balances in real time (or for later review) but also aware of approaches to correct them and improve musical outcome. The modalities consist of hearing playback through a Disklavier piano; simultaneous visual feedback displayed as a piano roll screen of what was played; video recording synchronized with the Disklavier and piano roll feedback; motion analysis of the arms, hands, and fingers; and electromyographic recordings of the muscle actions involved.
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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.
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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.
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Stetsiuk, Bohdan. "The origins and major trends in development of jazz piano stylistics." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 411–28. http://dx.doi.org/10.34064/khnum2-19.24.
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This article characterizes development trends in jazz piano from its origins in the “third-layer” (Konen, V., 1984) of music (ragtime and other “pre-jazz” forms) to the present time (avant-garde and retro styles of the late 20th – early 21st centuries). Main attention was devoted to the stylistic sphere, which represents an entirety of techniques and methods of jazz piano improvisation and combines genre and style parameters. In this context, the currently available information about jazz pianism and its sources (Kinus,Y., 2008; Stoliar, R., 2017) was reviewed, and sociocultural determinants, which contributed to the advent and changes of jazz piano styles were highlighted. Standing out among them at the first (traditional) stage are the schools and individual creative techniques known under generic name “stride piano” and based on the ragtime technique. At the second (contemporary) stage beginning from bebop, jazz piano stylistics gradually diverge from standardized textural formulas of homophonicharmonic type and attain fundamental diversity depending on creative attitudes of leading jazz pianists. The question of jazz piano stylistics is one of the least studied in jazz theory. The existing works devoted to this subject address mostly the sequence of the advent and changes of jazz piano styles along with the general characteristics of their representatives. Beginning from approximately the 1920s, jazz piano styles appeared and changed so fast that they left no time for their comprehension and perception (Kinus, Y., 2008). Only in the newest stylistics of the period after bebop, which divided the art of jazz into traditional and contemporary stages, did these styles attain a certain shape in new modifications and become the components of a phenomenon defined by the generic notion “jazz pianism”. It was stated that the genesis of this phenomenon is usually seen in the art of ragtime, carried in the United States of the late 19th – early 20th centuries by itinerant pianists. This variety of “third-layer” piano music playing produced a significant impact on the art of jazz in general, which is proved by its reproduction in the Dixieland and New Orleans styles as some of the first examples of jazz improvisation. The stylistics of ragtime influenced the entire first stage of jazz piano, which traces its origins back to approximately the 1910s. It combined mental features and esthetics of two traditions: European and Afro-American, which in the entirety produced the following picture: 1) popular and concert area of music playing; 2) gravitation toward demonstration of virtuosic play; 3) domination of comic esthetics; 4) objectivity of expression; 5) tendency toward the completeness of form; 6) inclination toward stage representation. In technological (texturalpianistic) aspect, ragtime, reproduced in the jazz stylistics of stride piano, demonstrated the tendency toward universalization of piano, which combined in the person of one performer the functions of solo and accompaniment, derived from the practice of minstrel banjoists related to the percussion-accented rhythmics of dance accompaniment (Konen, V., 1984). It was stated that ragtime as the transitional bridge to jazz piano existed simultaneously with other forms of “third-layer” music playing found in the Afro-American environment (unlike ragtime itself, which was an art of white musicians). These were semi-folklore styles known as “barrel house” and “honky-tonk(y) piano” cultivated in Wild West saloons. The subsequent development of jazz piano stylistic went along the lines of more vocal and specific directions related mostly to peculiarities of playing technique. Among the more global origins equal in significance to ragtime and stride pianists derivative, blues piano stylistics is worth noting. It represents an instrumental adaptation of vocal blues, which had the decisive influence over the melodics and rhythmics of the right hand party of jazz pianists (ragtime and stride piano highlighted and consolidated the typical texture of accompaniment, i.e., the left hand party). Blues piano style is a multicomponent phenomenon that shaped up as a result of efforts taken by a whole number of jazz pianists. It was developed, and continues to exist until presently, in two variants: a) as a solo piano variant, b) as a duet variant (piano and vocal). Along with blues piano, a style known as “boogie-woogie” was cultivated in jazz piano stylistics of the period before bebop as the new reminiscence of the pre-jazz era (with rock-n-roll becoming a consequence of its actualization in the 1950–1960s). A stylistic genre known as “Harlem piano style” (its prominent representatives include Luckey Roberts, James P. Johnson, Willie “the Lion” Smith, and Thomas “Fats” Waller) became a sort of compendium that combined genetic components of traditional jazz piano. This school has finally defined jazz piano as a form of solo concert music playing, which also determined the subsequent stylistic varieties of this art, the most noteworthy of which are “trumpet piano style”, “swing piano style” and “locked hands style”. Their general feature was interpretation of the instrument as a “small orchestra”, which meant rebirth at the new volute of a historical-stylistic spiral of the “image” of universal piano capable of reproducing the “sounds” of other instruments, voices and their ensembles. Outstanding pianists of various generations have been, and are, the carriers (and often “inventors”) of jazz piano styles. It should suffice to mention the names of such “legends” of jazz as Art Tatum, Oscar Peterson, Thelonious Monk, Bud Powell, Bill Evans, and also Herbie Hancock, Chick Corea, Keith Jarrett (older generation), Gonzalo Rubalcaba, Brad Mehldau, Vadim Neselovskyi, Robert Glasper (middle generation), Eldar Djangirov, Tigran Hamasyan, Cory Henry (younger generation). Conclusions. The description of the stages of development of jazz piano pianism made in this article proves that its polystylistic nature is preserved, and the main representative of certain stylistic inclinations were and remain the texture. Textured formulas serve as the main objects of stylistic interpretations for jazz pianists of different generations. These readings are represented by two vectors – retrospective (revival of jazz traditions) and exploratory, experimental (rapprochement with the academic avant-garde). Of great importance are the styles of personalities, in which polystylistic tendencies are combined with the individual playing manners and improvisation, which, in general, is the most characteristic feature of the current stage of development of jazz piano art.
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Tubb, Robert. "Controlling Rhythm in the Frequency Domain." Leonardo 48, no. 3 (June 2015): 282–83. http://dx.doi.org/10.1162/leon_a_01010.
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This article describes a way to approach music sequencing, with particular focus on the generation of dynamic rhythm patterns. In contrast to the well known “step sequencer” or “piano roll” style interfaces that specify note pitches and amplitudes as values located at points in time, the device described here calculates note patterns from the sum of a series of discrete sinusoids. When these patterns trigger velocity sensitive percussion sounds, useful rhythms can be generated and transformed with very few controls.
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Leikin, Anatole. "Piano‐roll recordings of Enrique Granados: A study of a transcription of the composer's performance." Journal of Musicological Research 21, no. 1-2 (January 2002): 3–19. http://dx.doi.org/10.1080/01411890208574796.
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LEIKIN, ANATOLE. "Piano-Roll Recordings of Enrique Granados: A Study of a Transcription of the Composer's Performance." Journal of Musicological Research 21, no. 1-2 (January 1, 2002): 3–19. http://dx.doi.org/10.1080/01411890290024333.
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Dunsby, Jonathan, and Yannis Rammos. "Onset asynchrony in Western art music." Quodlibet. Revista de Especialización Musical, no. 76 (December 17, 2021): 126–58. http://dx.doi.org/10.37536/quodlibet.2021.76.1465.
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Melodic onset asynchrony, whereby the upper or some component of a musical simultaneity may strike the ear ahead of other sounds, is a common feature in the performance of Western art music. It seems to be of high aesthetic value in the history of pianism, often harnessed to the seemingly contradictory “bass lead” that prevailed in the early 20th century, though in fact the two are far from exclusive. Departing from an application of Brent Yorgason’s taxonomy of “hand-breaking” (2009) to canonical, composed examples of onset asynchrony from Beethoven, Schumann, and Liszt, we examine timbral, organological, and aesthetic continuities that underly distinct practices of asynchrony. We consider the physical nature of such normally non-notated “microtiming”, ranging in performance from a few ms of melodic onset asynchrony to about 100ms, above which it is generally agreed that even the casual listener may perceive it. A piano-roll recording by Claude Debussy, of “The Little Shepherd”, illustrates the mix of melodic onset asynchrony, bass lead, and apparent simultaneity that may be applied in a single interpretation. We then discuss the concept of “audibility” and the question of to what extent, and in what ways, the combined transients of piano attacks may interact. We consider with reference to 20th century Russian piano pedagogy why onset asynchrony seems to have been a little documented, rather than an explicit playing technique, even though certain sources, such as a 1973 treatise by Nadezhda Golubovskaya, show it to be ubiquitous and well theorised. Finally, regarding the thinking that has predominated in musical performance studies in recent decades, with its emphasis on average practices and “ordinary” listeners, we suggest that a new emphasis will be fruitful, that is, research on what is particular about the embodied creativity of expert musicians.
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Martin, Sarah. "The Case of Compensating Rubato." Journal of the Royal Musical Association 127, no. 1 (2002): 95–129. http://dx.doi.org/10.1093/jrma/127.1.95.
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Rubato has for centuries been linked with the idea of compensating tempo modulation. Despite the wealth of references to this idea in writings by famous performers and teachers over the ages, scholars investigating the idea have so far emphatically dismissed the notion as a myth, or at best a rationalization. In this article, I take as a starting-point these performers' writings, and show that it is scholars rather than performers who have reduced the idea of compensation to an abstract principle. Using Debussy's 1913 piano-roll recordings as examples, I show with the aid of empirical timing data and close listening that compensating rubato is far from a myth in the performance practice of the early twentieth century.
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Chauhan, Chris, Bhavesh Tanawala, and Mosin Hasan. "Multi-Genre Symbolic Music Generation using Deep Convolutional Generative Adversarial Network." ITM Web of Conferences 53 (2023): 02002. http://dx.doi.org/10.1051/itmconf/20235302002.
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Music is an art that uses sound to convey emotions and ideas. It is a universal language that transcends cultural boundaries and can move and inspire individuals of all ages and cultures. As with every art form, the generation of music is a complex and challenging task. Despite the challenges, music generation has made considerable strides in recent years, owing to the application of artificial intelligence and machine learning. However, most research was focused on the generation of only one genre of music, i.e., classical, jazz, etc., while there are more than 40 genres of music, each with sub-genres. This paper proposes a model for multi-genre music generation using Generative Adversarial Networks (GAN). Considering symbolic music, MIDI tracks were converted into piano-roll form after the extraction of musical information. Subsequently, a GAN based model was trained to learn the distribution of training data, and it generates new data using the learned parameters. Generated music was evaluated based on a survey of musicians and professionals. The survey results validate the GAN’s ability to generate music of multiple genres.
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Wang, Xiuqin, Jun Geng, and Zhiyuan Li. "Using a Solution Construction Algorithm for Cyclic Shift Network Coding under Multicast Network to the Transformation of Musical Performance Styles." Complexity 2021 (April 26, 2021): 1–11. http://dx.doi.org/10.1155/2021/9993396.
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This paper presents a theoretical framework of the circular shift network coding system through the study of nonmultiple clustered interval music performance style conversion and the analysis of music conversion by using circular shift topology, and a series of basic research results of circular shift network coding is obtained under this framework. It reveals the essential connection between scalar network coding based on finite domain and cyclic shift network coding, designs a solution construction algorithm for cyclic shift network coding under multicast network, and portrays the multicast capacity of cyclic shift network coding. It overcomes the problem that the piano roll-curtain representation cannot distinguish between a single long note and multiple consecutive notes of the same pitch, describes musical information more comprehensively, extracts musical implicit style from the note matrix based on autoencoder, and better eliminates the potential influence of musical content on musical performance style. A two-way recurrent neural network based on the gated recurrent unit is used to extract a sequence of note feature vectors of different styles, and a one-dimensional convolutional neural network is used to predict the intensity of the extracted note feature vector sequence for a specific style, which better learns the intensity variation of different styles of MIDI music.
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Pike, Pamela D. "Improving music teaching and learning through online service: A case study of a synchronous online teaching internship." International Journal of Music Education 35, no. 1 (June 23, 2016): 107–17. http://dx.doi.org/10.1177/0255761415613534.
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This case study explored the potential for using a synchronous online piano teaching internship as a service-learning project for graduate pedagogy interns. In partnership with the university, a local music retailer, and a local middle school, three pedagogy interns taught beginning piano to underprivileged teenaged students for 8 weeks. All instruction took place in the synchronous online environment using acoustic Disklavier pianos, Internet MIDI, Facetime, and traditional method books. As a result of the experience, the students demonstrated musical understanding and the pedagogy interns developed teaching techniques, displayed improved comprehension of course content, learned about current distance teaching technology, and considered the role of music education in society. Based on these results, it might be feasible to provide piano lessons to underserved populations in remote locations while offering meaningful internship experiences to pedagogy students through distance service-learning projects.
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Trevino, Jorge, Fusako Ishimura, Masaru Tanaka, and Yasuo Shiozawa. "Generating 3-D auditory stimuli for the evaluation of spatial impression in musical instruments." Journal of the Acoustical Society of America 154, no. 4_supplement (October 1, 2023): A280—A281. http://dx.doi.org/10.1121/10.0023526.
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Spatial hearing plays an important, but not well understood, role in the perception of musical instruments and audio equipment. Psychophysical experiments are necessary to elucidate the processes which convey the spatial impression of sound sources. To this end, we propose a way to generate virtual stimuli for research on the spatial impression of musical instruments, specifically pianos. Our proposal, based on acoustical holography, takes a series of measurements over a dense grid and designs a virtual vibrating plate with the same directivity as the piano, as observed from the measuring grid. The number of active modes in the left-right and front-back directions of this virtual source can be controlled to reduce the radiation pattern complexity and generate a wide range of virtual stimuli. The resulting sound fields are rendered using binaural Ambisonics, using the position of the piano player as the spherical harmonic expansion center. The proposal was used in actual psychophysical experiments looking to shed light into the spatial impression of digital and acoustic pianos. The results show that the proposal does generate spatial sound signals which are consistently associated with different degrees of richness in the spatial impression.
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Swithinbank, Christopher. "INTO THE LION'S DEN: HELMUT LACHENMANN AT 75." Tempo 65, no. 257 (July 2011): 52–61. http://dx.doi.org/10.1017/s004029821100026x.
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In April 2010, the Guildhall School of Music recognized German composer Helmut Lachenmann's expertise in extended instrumental techniques, inviting him to give the keynote speech at a research day dedicated to contemporary performance practice; in May, he had a Fellowship of the Royal College of Music conferred upon him for his achievements as a composer; in June, the London Symphony Orchestra performed Lachenmann's Double (Grido II) for string orchestra, in doing so becoming the first non-BBC British orchestra to have performed his music; and in October, the Southbank Centre presented two days of Lachenmann's music including performances by the Arditti String Quartet and a much expanded London Sinfonietta, the latter broadcast on Radio 3. Outside London, Birmingham Contemporary Music Group gave a performance of his most recent work, Got Lost for soprano and piano, and the University of Manchester presented a mini-festival dedicated to his music. This roll call of events might be seen then as the celebration to be expected as a noted composer passes a milestone, but Lachenmann is a composer who – despite his age – could until recently have escaped such attention in Britain. In 1995, Elke Hockings wrote in these pages that, while enjoying ‘an exalted reputation among a small circle of English contemporary music enthusiasts, […] to the wider English music public he [Lachenmann] is little known’ and critical reception has been mixed, often extremely negative. Introducing Lachenmann to an audience at the Southbank Centre in October, Ivan Hewett described him as ‘a composer we don't know well in this country, an omission we are gradually repairing’.
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Owczarek-Ciszewska, Joanna. "Hammer mechanism instruments and their role in shaping the composition style of pieces written for keyboard instruments in the period of 1730-1780, part 3 – Keyboard instruments in concert halls and in the high society." Notes Muzyczny 1, no. 11 (June 28, 2019): 43–64. http://dx.doi.org/10.5604/01.3001.0013.3521.
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The present text is the third and last part of the cycle of articles devoted to keyboard instruments with hammer mechanism in the 18th century published in subsequent issues of the magazine “Notes Muzyczny”. The first two parts primarily touched on the history of keyboard instrument making in the 18th century: first pianos and other original inventions. The third part is in turn devoted to the changing position of the piano in the musical life of that period, namely – concerts, publications and compositions. The crowning of this part is the chronological and topic-related list (in a form of a reference chart) of the most significant phenomena and events discussed in the whole cycle of articles. The first mentions of a wider presence of keyboard instruments with hammer mechanism on the music market and concert life date back to the 1760s. In the 1770s there was a fast growth in the popularity of these instruments in the life of the high society, first of all in England and France (table instruments), as well as in Germany, even though there it took slightly more time because of the domination of the traditional clavichord. Due to the imprecise nomenclature used as long as until the 1780s and 1790s, it is often hard to decide which keyboard instrument was meant in a given case, hence it is impossible to assess how popular a specific instrument was. Some academics suggest that the presence of instruments with hammer mechanism in the musical life of that period was much greater than in might seem. Probably both hammer and tangent pianos and their other variants were not opposed to harpsichords but were treated as a special type within the same group of instruments. In the 1780s musical pieces written for both keyboard instruments, i.e., “for harpsichord or piano”, became the norm. Despite the increase in popularity of pianos (as compared to harpsichords) in the 1790s, such designation would remain on title pages of compositions until the end of that century. The period between the 1780s and 1790s was also the time when the first piano playing textbooks appeared. Expanding expressive capacities of keyboard instruments was the response to the changing needs of the galant and Empfindsamkeit styles. On the other hand, the presence of pianos had a significant influence on the styles of specific compositions. In order to illustrate these processes, the annex presents the analyses of two representative cycles of works from the 1760s written for the new instrument: Sonatas op. 1 by Johann Gottfried Eckard and Sonatas op. 5 by Johann Christian Bach.
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Maszczyńska, Dominika. "Nannette and Johann Andreas Streicher - their role in shaping musical life in Vienna in the early 19th century." Notes Muzyczny 1, no. 13 (June 9, 2020): 49–80. http://dx.doi.org/10.5604/01.3001.0014.1937.
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Nannette and Andreas Streicher were important figures in the musical life of Vienna in the early 19th century. The article introduces their profiles, describes the history of their company, their social, cultural and teaching activity as well as different types of artistic activity. It also explains how keyboard instruments shaped sound and aesthetics-related piano ideals at the turn of the 19th century. The versatile activity of the Streichers, which first of all included instrument building, piano play- ing, composition, teaching and organisation of musical life, made a great contribution to Europe’s cultural heritage. We can notice their numerous connections with outstanding figures of musical life of that time, one that deserves particular attention is their acquaintance with Beethoven. Nannette Streicher was an extremely talented builder who not only coped with the typically masculine craft at that time, but she was also significantly successful in that field. Her instruments were popular, earning general recognition, and the innovative solutions introduced by her also influenced the work of other builders and further development of the piano. Their marriage became the basis for a very fruitful cooperation. Andreas’s numerous connections and his familiarity with the community became an important part of the activity of the company and contributed to its development. Nannette and Andreas shared their passion and passed it on to their son Johann Baptist, who successfully continued their piano making tradition and introduced further improvements, earning a great reputation as well. Social, cultural and teaching activities of the Streichers also played an important role in the musical life of Vienna. Andreas Streicher taught his students the secrets of piano technique and apart from that he shaped their musical and aesthetical awareness. His Kurze Bemerkungen are a valuable source of knowledge also for modern-time performers who can – thanks to this text – learn more about the piano playing aesthetics at the turn of the 19th century as well as a number of universal music and performance topics, which remain accurate to this day. Concerts organised in their house had an educational function too, on the one hand they shaped the tastes of music lovers and supported composers, allowing them to present their latest pieces, and on the other hand they contributed to the promotion of young performers for whom concerts there were often the first step leading towards Vienna’s professional musical stage. The development of the topic of the article in this issue of “Notes Muzyczny” is the trans- lation of the text by Andreas Streicher entitled: Some observations on the playing, tuning and maintenance of pianos built in Vienna by Nannette Streicher nee Stein.
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Dombi, Erzsébet Józsefné. "The Role of Piano Pieces in Kodály’s Life." Studia Universitatis Babeş-Bolyai Musica 68, no. 1 (June 30, 2023): 57–66. http://dx.doi.org/10.24193/subbmusica.2023.1.04.
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"This study summarizes the composer’s piano works for the occasion of Kodály’s 140th anniversary. It introduces the role of the piano in Kodály’s life, the works he became acquainted with during his studies, and whether he had the opportunity to perform them in concert during his lifetime. Other questions include which study trips could have influenced the composition of his piano pieces, in which period were the piano pieces written, and who were the performers of the first performances. The research method is documentary analysis. As a result of the research, it can be concluded that Kodály had no formal piano teacher. He acquired his knowledge through lessons from his sister. He was driven by curiosity to become acquainted with all of Bach’s Well-Tempered Clavier. He later used the instrument in his composing. We also found examples of him accompanying his songs in concerts. The piano pieces were influenced by his study trip to France. The piano pieces were composed in 3 periods. Keywords: Kodály, piano study, piano pieces, dawn, performers"
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Li, Yanjing, and Xinyuan Liu. "An Intelligent Music Production Technology Based on Generation Confrontation Mechanism." Computational Intelligence and Neuroscience 2022 (February 10, 2022): 1–10. http://dx.doi.org/10.1155/2022/5083146.
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In recent years, with the development of deep neural network becoming more and more mature, especially after the proposal of generative confrontation mechanism, academia has made many achievements in the research of image, video and text generation. Therefore, scholars began to use similar attempts in the research of music generation. Therefore, based on the existing theoretical technology and research work, this paper studies music production, and then proposes an intelligent music production technology based on generation confrontation mechanism to enrich the research in the field of computer music generation. This paper takes the music generation method based on generation countermeasure mechanism as the research topic, and mainly studies the following: after studying the existing music generation model based on generation countermeasure network, a time structure model for maintaining music coherence is proposed. In music generation, avoid manual input and ensure the interdependence between tracks. At the same time, this paper studies and implements the generation method of discrete music events based on multi track, including multi track correlation model and discrete processing. The lakh MIDI data set is studied. On this basis, the lakh MIDI is pre-processed to obtain the LMD piano roll data set, which is used in the music generation experiment of MCT-GAN. When studying the multi track music generation based on generation countermeasure network, this paper studies and analyzes three models, and puts forward the multi track music generation method based on CT-GAN, which mainly improves the existing music generation model based on GAN. Finally, the generation results of MCT-GAN are compared with those of Muse-GAN, so as to reflect the improvement effect of MCT-GAN. Select 20 auditees to listen to the generated music and real music and distinguish them. Finally, analyze them according to the evaluation results. After evaluation, it is concluded that the research effect of multi track music generation based on CT-GAN is improved.
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Kornblith, Gary J. "The Craftsman as Industrialist: Jonas Chickering and the Transformation of American Piano Making." Business History Review 59, no. 3 (1985): 349–68. http://dx.doi.org/10.2307/3114003.
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Master craftsmen played a critical role in launching the Industrial Revolution in America. In this case study of artisan entrepreneurship, Professor Kornblith analyzes the career of Jonas Chickering (1798–1853), the foremost American piano manufacturer before the emergence of the Steinways. By revolutionizing the way in which pianos were made, Chickering—with the help of others—turned a modest craft operation into a major industrial enterprise. Yet, Kornblith contends, he remained true to the craftsman's goal of artistic excellence and won the respect of his employees as well as of the public at large. By the force of his example, Chickering contributed to the acceptance of technological change within the trade and, more broadly, to the legitimation of industrial capitalism within American culture.
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Silva, Nilce da, and Hélène Carbonneau. "Self-actualization and Self-efficacy in the Elderly in a Ludic Italian Language Learning Program." LICERE - Revista do Programa de Pós-graduação Interdisciplinar em Estudos do Lazer 24, no. 1 (March 17, 2021): 78–105. http://dx.doi.org/10.35699/2447-6218.2021.29496.
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This article presents the conceptual framework developed for the study “Self-actualization and self-efficacy in the elderly in a ludic foreign language program.” We explicate the theoretical grounds for the ludic teaching approach used in the Italian language learning program Pian, piano si va lontano. Based on the concept of ludicity, this serious leisure activity is a form of social participation that fosters self-actualization and hence feelings of self-efficacy in older learners. We conclude with some research avenues to gain a deeper understanding of the protective effects of bilingualism on cognitive functioning in the elderly and the role of a ludic teaching approach in enhancing these protective effects from a gerontagogical perspective.
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Lu, Hao, Nataporn Rattachaiwong, and Lingling Liu. "A Study on the Application of Folk Song Style in Chinese Children's Piano music." Journal of Education, Humanities and Social Sciences 20 (September 7, 2023): 255–60. http://dx.doi.org/10.54097/ehss.v20i.11632.
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With China's economic development and emphasis on quality education and art education, the cultivation and education of children's music literacy has been widely popularized in every family, and the piano, as an important music education tool, plays a vital role in children's music cultivation and the development of comprehensive ability. In the context of the development of piano music in China, Chinese children's piano works have a unique and important position in piano teaching. In this paper, we will discuss the importance of Chinese children's piano works in piano teaching, the correlation between folk song style piano works and children's piano teaching, and discuss the important role and influence of folk song style piano works in children's piano teaching, as well as put forward corresponding teaching methods and strategies.
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Consumi, Francesco, Giovanni Montini, Falcioni Duccio, and Nicola Cempini. "Modellazione numerica dell'acquifero della Piana di Empoli." Rendiconti Online della Società Geologica Italiana 48 (July 2019): 85–95. http://dx.doi.org/10.3301/rol.2019.01.
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Owczarek-Ciszewska, Joanna. "Hammer mechanism instruments and their role in shaping the composition style of pieces written for keyboard instruments in the period of 1730-1780, part 1." Notes Muzyczny 1, no. 9 (June 20, 2018): 43–64. http://dx.doi.org/10.5604/01.3001.0012.9898.
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The article constitutes the first part of a cycle devoted to keyboard instruments with hammer mechanism made between 1730 and 1780. The author’s intention is presenting a wide perspective of selected topics on keyboard instrument making in the 18th century and the influence of how instruments were made on music practice at that time. The aim seems justified due to scarce publications on this subject available in Polish, among other reasons. The first chapter briefly outlines general aspects of the 18th century music culture which was the background of the development of instrument making. As far as the theory of aesthetics was concerned, despite the predominance of vocal and instrumental music which used lyrics and their meaning, it was the period when rapid development of purely instrumental genres such as symphony or instrumental concerto took place. Also the popularisation of public and concert life, as well as home music-making gave an impulse for the development of instrument making. The second chapter touches on the invention of Bartolomeo Cristofori, its earlier reception and the role of Domenico Scarlatti in the popularisation of that instrument. Attempts to construct a keyboard instrument with a mechanism making the strings vibrate by striking them date back to the 15th century. However, the turning point in the history of all family of string keyboard instruments was only when in 1698 Cristoforti constructed a technically advanced hammer action mechanism, with enabled nuancing piano e forte dynamics on the traditional cembalo. Probably, among first promoters of the new instrument was Scarlatti and it was through him that grand pianos appeared on Portuguese and Spanish courts. Despite certain stylistic features proving that he was inspired by the capacities of the new instrument, there is no explicit evidence that Scarlatti’s Sonatas were meant for the piano. Nevertheless, the name pianoforte (piano e forte) does appear on title pages of works written by two other composers of that time, i.e., Lodovico Giustini and Sebastián de Albero, and their pieces have been briefly analysed at the end of the article.
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Górska-Kołodziejska, Agata. "The role of transcription in a didactic process on the examples of chamber works scored for piano for four hands and for two pianos." Konteksty Kształcenia Muzycznego 7, no. 1(11) (December 31, 2020): 11–42. http://dx.doi.org/10.5604/01.3001.0014.6462.
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The aim of the article is to demonstrate the need for employing transcriptions of well-known musical works in the teaching of piano performance for four hands and for two pianos. The origins of the concept of transcription is presented, development of transcription in the context of the history of musical forms is traced back, as well as performance-related aspects of a transcription are analysed. The article shows advantages of a transcription as an arrangement developing the pianist’s technique and art of interpretation. The publication also includes a list of the transcribed pieces available from the Petrucci Online Library, as well as a list of original transcriptions of the 19th-century Polish composers scored for four hands. The article also features a link to the recordings of selected transcriptions of popular operatic, symphonic and chamber works, made by the author of the article together with Agata Kalińska-Bonińska.
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Vavryk, Ruslana. "Role of piano training in a future military conductor’s professional development." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 217–22. http://dx.doi.org/10.32461/2226-3209.2.2021.240068.
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The purpose of the article is to reveal some aspects of the importance of the role of piano training in a future military conductor’s professional development while studying piano works. The research methodology consists of a comparative approach, as well as, empirical and general scientific (analysis, synthesis) methods. Scientific novelty. For the first time, this paper shows the organic relationship between piano training and a future military conductor’s professional development. The poly-functional capabilities of the piano instrument and their influence on the formation of the musical-performing experience of the future conductor are revealed. Conclusions. In the context of a military conductor’s professional development, the author considers the essence and significance of a military conductor’s piano training as an integral part of improving various aspects of performing skills. The specificity and expediency of the didactic repertoire is substantiated, taking into account the functional capabilities of the piano instrument for the development of a future conductor’s musical performance experience, the formation and use of sound extraction techniques, the mastery of the expressive capabilities of the instrument using the entire set of methods and means necessary for the implementation of figurative and artistic intentions and the musical thinking upbringing.
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Palmer, Peter. "Swiss Music." Tempo 57, no. 226 (October 2003): 54–56. http://dx.doi.org/10.1017/s0040298203290355.
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NORBERT MORET: TriptyquepourlesFêtes1; Gastlosen2; Mendiant du Ciel bleu3. 1The Tallis Scholars; 2Fritz Muggler organ); 3Béatrice Haldas (sop), Philippe Huttenlocher (bar), Nederlandse Omroep Stichting of Hilversum, Maitrise de St-Pierre aux Liens of Bulle, Düdingen Women's Choir; Heiner Kühner, Catherine Moret, Claudia Schneuwly (organs), Basle Radio Symphony Orchestra c. Armin Jordan. Musiques Suisses MGB CD 6199.ROLF LIEBERMANN: Furioso for orchestra1; Geigy Festival Concerto2; Medea-Monolog3; Les Echanges4; Concerto for Jazz Band and Symphony Orchestra5. 3Rachael Tovey (sop), 3Darmstadt Concert Choir; 2Alfons Grieder (perc); 1,2,5Simon Nabatov (pno); 5NDR Big Band, 1–5Bremen Philharmonic Orchestra c. Günter Neuhold. Naxos 8.555884.BETTINA SKRZYPCZAK: Scène1; Miroirs2; Fantasie for oboe3; SN 1993 J4; Toccata sospesa5; Concerto for Piano and Orchestra6. 1Noemi Schindler (vln), Christophe Roy (vlc); 2Mireille Capelle mezzo-sop), Ensemble Contrechamps of Geneva; 3Matthias Arter (oboe); 4Bohuslav Martinu Philharmonia of Zlin c. Monica Buckland Hofstetter; 5Verena Bosshart (fl), Riccardo Bologna, Eduardo Leandro (perc); 6Massimiliano Damerini (pno), Philharmonische Werkstatt Schweiz c. Mario Venzago. Musikszene Schweiz Grammont Portrait MGB CTS-M 78.RICHARD DUBUGNON: Piano Quartet1; Incantatio for cello and piano2; Trois Evocations finlandaises3; Cinq Masques for oboe4; Canonic Verses for Oboe, Cor Anglais and Oboe d'Amore5; Frenglish Suite for Wind Quintet6. 4,5Nicholas Daniel (ob), 5Emma Fielding (cor ang), 5Sai Kai (ob d'amore), 1Viv McLean (pno), 2Dominic Harlan (pno), 1Illka Lehtonen (vln), 1Julia Knight (vla), 1,2Matthew Sharp (vlc), 3Richard Dubugnon (db), 6Royal Academy Wind Soloists. Naxos 8.555778.
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Gorobets, Svetlana V. "The Role of A.I. Ziloti in the Formation of the Creative Personality of S.V. Rachmaninoff-Pianist." Общество: философия, история, культура, no. 9 (September 20, 2023): 162–66. http://dx.doi.org/10.24158/fik.2023.9.23.
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The article distinguishes and describes important moments of S.V. Rachmaninoff’s creative biography. It is emphasized that the key role in the process of his personal and professional development as a musician and composer was played by his cousin A.I. Ziloti – pianist, musical and public figure, organizer of the legendary entreprise “A. Ziloti’s Concerts”, comparable in its national significance to European events of the XIX – early XX centuries, focused on contemporary music and premieres of works by the latest schools of composers. The motives behind A. Ziloti’s actions are analyzed, as well as his role in the culture of St. Petersburg-Petrograd in the early XX century. A brief overview of the entreprise’s concert programs is given. It is stated that Sergei Rachmaninoff’s works – “Second Piano Concerto” and “Second Suite for Two Pianos” – were announced in the program of each concert season. Conclusion dwells upon the fact that A. Ziloti and S. Rachmaninoff's names are iconic in the history of musical art, mutually inseparable, as are the destinies of their bearers.
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Magistrali, Carlo. "Monte Piana: Museo Storico all’aperto della Grande Guerra." Rendiconti Online della Società Geologica Italiana 36 (September 2015): 86–89. http://dx.doi.org/10.3301/rol.2015.150.
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Parakilas, James. "Chopin’s Pedalling on Chopin’s Pianos – and Ours." Chopin Review, no. 3 (April 27, 2023): 14–41. http://dx.doi.org/10.56693/cr.119.
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Pianos had been equipped with damper mechanisms for the better part of a century before Chopin came on the scene. Nevertheless, Chopin’s generation created a revolution in composing with the damper pedal. To some extent, that revolution can be described as a change in notational practice: composers before Chopin’s time rarely marked where the damper mechanism should be employed, except in cases where they wanted some extraordinary effect from it. Composers of Chopin’s generation, by contrast, called for it liberally – or in Chopin’s case, meticulously. That indicates a change in roles: instead of composers leaving the use of the damper pedal (as of other pedals) largely up to the performers, they now more or less dictated its use to those performers. It also indicates a change from the use of the damper pedal as a special effect within a generally unpedalled sound world to a sonorous landscape in which the damper pedal was used to create constant shifts in colour. (But certainly not to the modern practice whereby the damper pedal is employed so regularly – contrary to Chopin’s notation – that unpedalled sound becomes the special effect).Although the damper mechanism itself did not change much once its controls migrated from a knee-lever to a pedal around the beginning of the nineteenth century, the piano changed drastically in other ways that influenced how Chopin incorporated damper pedaling into his compositional thought. The increased compass (roughly, from six octaves to six and a half), concentrated in the bass, increased the richness of sound of the whole instrument, as did other changes in material and design. But cross-stringing was not yet used in grand pianos, so that each octave of the compass still had a much more distinct colour than on later pianos. The instrument therefore offered composers both rich, blended sonorities combining notes across its compass and striking contrasts of colour between one part of that compass and another. What is most remarkable in Chopin’s notation for the damper pedal is how it harnesses both of those capacities of the instrument. There are hardly any works by Chopin in which he calls for the damper pedal either throughout or not at all. Almost always he draws the listener’s attention to the difference between pedalled and unpedalled sound, from one section to another, from one register to another, from one phrase to another, and – marvellously – between different parts of a single, continuous phrase. Often he pauses on a sonority or a harmony and asks us to relish its particular ring; in the opening of the E major Scherzo, he does this four times, the first two times sustaining unpedalled chords, and the third time sustaining the same chord as the first time, but differently spaced and pedalled, so that we can notice both the equivalence and the change. His notes and his pedaling are always made for each other, not in the sense that the notes are unplayable without the pedal (that is true at only a very few moments), but in the sense that the work is laid out as a sequence of pedalled and unpedalled sonorities. To play all the notes of a Chopin work while disregarding his pedal indications is in a real sense not to play the work at all. So too, his pedalling art and his pianos were made for each other, and the best way to explore the role of the damper pedal in any Chopin work is to test that work on pianos (or replicas of pianos) from the 1830s or 1840s. But then what? How do we apply the lessons learned to performance on pianos of our era? To assume that because pianos have changed, Chopin’s pedal indications no longer make sense would be to risk blurring or obliterating the extraordinary progression of sonorities that constitute a Chopin work. A better starting point is to study what effect, or what nest of effects, each indicated application or release of the damper pedal could produce and to see how to make that effect come across on our modern pianos. In the process, we may need to turn away from the experience of Chopin played on a concert Steinway or Bösendorfer in the Warsaw Philharmonic Concert Hall or Carnegie Hall and learn to listen for the magic that can emerge from this music in more intimate settings. There is reason to believe that even a modern piano can provide what we’re seeking. After all, Chopin’s particular use of the damper pedal to produce mercurial transformations of sonority was idiosyncratic in his own era and little imitated by later piano composers, despite his incalculable influence in other respects. But a study of Chabrier’s Bourrée fantasque shows a later composer who, writing in 1891 for pianos still like those of Chopin’s day in some respects, created a remarkably Chopinesque progression of contrasting sonorities (he himself joked: ‘I have counted about 113 sonorities’ in it) using a remarkably Chopinesque specification of pedalling.
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Yanan, Chen. "The Historical Role of Foreign Piano Schools in the Development of Chinese Pianism." Musical Art and Education 8, no. 1 (2020): 90–103. http://dx.doi.org/10.31862/2309-1428-2020-8-1-90-103.
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The article reviews the influence’s features of foreign piano traditions on the establishment of the piano school of the People’s Republic of China, which are allowed comprehend possible means of integrating adopted foreign experience and Chinese national originality. Analyzing scientific research of numerous periodizations of the development of Chinese piano culture we have reviewed the international influence within three periods: 1) the first half of the XX century; 2) the 1950s – 70s of the XX century; 3) from 1978 to the present. The conclusion is made about the positive assimilation of foreign experience for the formation of the basic characteristics of the modern Chinese piano school: a thorough technical training of young pianists, an analytical approach to work with music pieces, a scientific and theoretical basis for teaching, a deep study of outstanding examples of world piano skills. It is noted, the need for further improvement of theoretical and methodological approaches for the assimilation of foreign professional achievements in the development of Chinese piano education that will give system character of foreign influences and qualitatively integrate the gained experience in the modernity teaching practice of China.
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Shaymukhametova, Liudmila N. "Role Playing in Piano Instruction." ICONI, no. 1 (2021): 160–67. http://dx.doi.org/10.33779/2658-4824.2021.1.160-167.
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The article presents innovative forms of work with musical texts during piano lessons applied in work with beginning students in all conditions of teaching: in the academic educational process, as well as in private teaching practice of self-employed specialists. The reader shall be acquainted with concrete methodological elaborations of role playing which may be useful for the teacher in his or her practical work. The elaborations are carried out within the framework of one of the leading contemporary directions developed by the academic school of practical musical semantics. The presented homework assignments may serve as specimens for the creation of analogous elaborations by the teacher himself with substitutions of the musical material and with consideration of the pupils’ age-related capabilities. The author of the project, Liudmila Nikolayevna Shaymukhametova aspires to draw attention not only to new approaches to work with the musical text and to practical semantics as the most important direction in teaching music, but also to the question of what the contemporary textbook for the beginner musician should look like. The materials are addressed, among others, to upgrade training courses and professional retraining of teachers of schools, methodologists and teachers of general and professional education, as well as for application in practical work of private school teachers
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Leiken, Anatole. "The Performance of Scriabin's Piano Music: Evidence from the Piano Rolls." Performance Practice Review 9, no. 1 (1996): 97–113. http://dx.doi.org/10.5642/perfpr.199609.01.08.
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Yiran, Feng. "role of the Chinese piano school in the formation of the Chinese piano art." Linguistics and Culture Review 5, S4 (October 22, 2021): 44–55. http://dx.doi.org/10.21744/lingcure.v5ns4.1548.
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The relevance of the study is that the integrative role of compulsory piano learning in music education acquires the knowledge and skills of conscious work, which is considered the mainstream of the formation of the art of pianism in China. Most of it is conducted and implemented in territorially different environments of music schools to acquire knowledge, themes of perception of musical text, recognizing the degree of use of inherent potential of additional piano features related to increasing the effectiveness of learning activities. In the context of piano schools, a large number of students perceive the subject only as a hobby. For them, these measures are often reduced to the implementation of appropriate programmes. The piano, like any other subject, develops musicality and promotes reflection on the music piece. For some, the musical art of pianism acts as the only way to stimulate the harmonious imagination through which it is possible to learn to listen to chords. The piano is a unique source of inspiration for further musical development. The aim of the study is to reveal and examine the role of the Chinese piano school in the formation of Chinese art of pianism.
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Yu, Linna, and Zhifan Luo. "The Use of Artificial Intelligence Combined with Wireless Network in Piano Music Teaching." Wireless Communications and Mobile Computing 2022 (April 4, 2022): 1–18. http://dx.doi.org/10.1155/2022/7989620.
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Artificial intelligence (AI) development gives a new development direction to the traditional education model. The education reform in the intelligent environment is urgent. Under this background, the theory, methods, and characteristics of intelligent music education are expounded based on traditional piano music education. AI and Internet-based smart piano education is introduced. The characteristics of smart piano and its methods of assisting music teaching are analyzed. Moreover, literature review and questionnaire are adopted based on intelligent music education and smart piano theory. With two universities A and B in Nanjing as the research object, the questionnaire is designed to investigate and analyze the related problems of smart piano-assisted piano basic teaching in detail. The results show that smart piano positively improves skill training and psychological training in piano teaching. Piano major learners believe that smart piano can obviously help beginners and people with low piano levels. However, smart piano is not as good as traditional piano for high-level learners. In actual teaching, teachers should use different strategies for different levels of learners. Regarding curriculum quality, teachers have not fully played the role of the smart piano, and the curriculum of smart piano-assisted basic piano teaching still needs improvement. Finally, corresponding countermeasures and suggestions for the development direction of smart piano in piano music education are put forward according to the current situation of the smart piano. The results can reflect the current situation of smart piano-assisted basic piano teaching, provide a reference for researchers in related industries, and promote the related development of smart piano.
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Fanti, Riccardo. "Earth Sciences and STEM initiatives: the Geology Project in the framework of "Piano Lauree Scientifiche"." Rendiconti Online della Società Geologica Italiana 49 (November 2019): 94–98. http://dx.doi.org/10.3301/rol.2019.57.
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Nalyvaiko, Oleksii, and Anastasiya Bondarenko. "Role of intrinsic motivation in the process of mastering the piano." Per Musi, no. 42 (September 19, 2022): 1–16. http://dx.doi.org/10.35699/2317-6377.2022.39891.
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The article presents the results of a study aimed at analyzing the role of intrinsic motivation in the process of mastering the piano. The study used various methods to identify the facts of the influence of intrinsic motivation on the process of mastering the piano for students of music educational institutions and for people who chose a different path in further education. The study revealed a number of interesting facts that will help to look at the problem of motivation in the context of internal motives for mastering such a musical instrument as the piano.
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Kaplan, Gilbert E., and Hans W. Schmitz. "The Mahler Piano Rolls. Gilbert E. Kaplan and Hans W. Schmidt Unearth Mahler's Piano Rolls." Musical Times 134, no. 1803 (May 1993): 252. http://dx.doi.org/10.2307/1002433.
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Li, Ying. "Application of Composite Nanomaterials in the Teaching of Piano Touch Technology and Timbre Expressiveness." Advances in Materials Science and Engineering 2022 (August 24, 2022): 1–9. http://dx.doi.org/10.1155/2022/9966275.
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The piano is a western musical instrument. The art of piano performance has made great progress in China. Education is essential for the inheritance and development of the arts, including the piano. Piano lessons play an important role in music education and are the foundation of music education. Teachers play a leading role in the learning process. The comprehensive quality of teachers, including ideological and moral accomplishment, cultural accomplishment, work level, teaching theory, and artistic aesthetic level, directly or indirectly affects the teaching level and the growth, learning, attitude, and concept of students. Through the research and experiment on the application of composite nanomaterials in the teaching of piano touch and timbre expressiveness, the experimental data showed that after the improvement of piano touch and timbre performance by nanomaterials, the students’ interest in the piano improvisational accompaniment course has greatly increased. There were 86 people who were interested, accounting for 86.13%. There were 13 people who were not interested and indifferent, accounting for 13.87%. Compared with the increase of 36 people who were interested before the improvement, the number of people, who were not interested and indifferent, was decreased by 36 people. From the abovementioned data, it can be seen that the application of nanomaterials in piano teaching, it has made an indispensable contribution to the development of piano teaching.
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Liao, Yvonne. "Coiled Colonialities: Pianos and Place Signification in Shanghai’s Treaty Port History." Chopin Review, no. 4-5 (March 2, 2023): 30–55. http://dx.doi.org/10.56693/cr.6.
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Pianos find resonance in Shanghai’s treaty port history through their constant and changing inflections of coloniality, here understood as a deep-rooted historical condition replaying itself in strange, latent ways. Accordingly, this article explores the piano’s role as subject, enmeshed as it is within the treaty port as a peculiar plural setting, within the treaty port’s workings of music, power and place, and within the treaty port’s multiple entanglements with coloniality – in situ and over time. The piano, in a sense, lives vicariously through its allusions to colonialism’s hangover codes and structures. In turn, I conceptualise and investigate the piano (as) subject by cross-examining colonialities in and across French Shanghai of the 1930s and Chinese Nationalist Shanghai of the 1940s. Significantly, this discussion extends through temporal significations of place, revealing inner paradoxes of enclosure and experience, for one thing, and their regulatory manifestations across Shanghai’s treaty[1]port and post-treaty-port years, for another. Indeed, Shanghai’s French Concession in the 1930s, along with its incorporation back into the city’s Chinese Nationalist municipality from the mid to the late 1940s, are especially pertinent moments of inquiry, for these identified areas expose an underlying process of continuity-in[1]change, amid and despite the post-war resumption of sovereignty. Further such particularities help to eschew the rigidity of a foreign/indigenous dichotomy. Through observations of social order and ordering, as derived from the piano subject and its place signification, I explore the coiled workings of coloniality in Shanghai’s treaty port history, as well as interlocked meanings of power and perplexity, territory and ambience across licensed and taxable venues in the French Concession and the Chinese Nationalist municipality. Finally, from the treaty port setting, wider reflections follow on what I term ‘colonialities without recourse’, by which colonialities in the plural beget non-conclusive colonialities – in themselves awkward, yet telling, narratives of musical lives.
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Janosy, Zoltan. "Computer Analysis of Player Piano Rolls." Computer Music Journal 18, no. 3 (1994): 9. http://dx.doi.org/10.2307/3681176.
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Kučinskas, Darius. "Lithuanian Piano Rolls: Collections and Research." Fontes Artis Musicae 65, no. 1 (2018): 1–12. http://dx.doi.org/10.1353/fam.2018.0000.
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Colmenares, Gustavo, René Escalante, Juan F. Sans, and Rina Surós. "Computational Modeling of Reproducing-Piano Rolls." Computer Music Journal 35, no. 1 (March 2011): 58–75. http://dx.doi.org/10.1162/comj_a_00040.
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KANDEMİR, Özlem, and Tuba YOKUŞ. "Öğrenme Stratejilerinin Piyano Performansı Öz Yeterlik Düzeyi ve Performans Başarısına Etkisi." Cukurova University Faculty of Education Journal 52, no. 2 (August 31, 2023): 446–70. http://dx.doi.org/10.14812/cuefd.1265516.
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This study aimed to determine the effect of using learning strategies on piano performance self-efficacy levels and performance success among piano students. The study group comprised first year students (n = 20) receiving piano course in the fall semester of the 2019–2020 academic year in the Muğla Sıtkı Koçman University, Faculty of Education, Department of Fine Arts, Program of Education Music Education. The study used an experimental research design and data were collected using the Self-Efficacy Scale of Piano Performance and an observation form. The study results indicated that there were significant differences in favor of the experimental group regarding piano performance success, comparing the post-test scores of the experimental group, in which activities were performed for the use of learning strategies in piano course, and the control group, which received education in a regular process. However, no statistically significant difference was found between piano performance self-efficacy levels of the experimental and control groups. The study revealed that the use of learning strategies in piano education did not play a role in the piano performance self-efficacy level, but that it was much more effective in increasing students’ piano performance success than the existing process-based education.
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Andrievska-Bodenchuk, Tetyana. "Karmella Tsepkolenko’s Concert-Drama for Piano with the Orchestra: Performance and Interpretation Aspect." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(56-57) (December 26, 2022): 113–26. http://dx.doi.org/10.31318/2414-052x.3-4(56-57).2022.278209.
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The author of the study considered the performance and interpretation aspects of the Concerto-drama for piano and orchestra (1987) by the Ukrainian composer Karmella Tsepkolenko. After analyzing the musical form of the given work, it became possible to describe the correspondence of the logic involved in the development of the musical material applied in the Concerto-drama for piano with orchestra to the literary program and scenario designed by the author. The main performance and interpretation means of reflecting the author's idea are singled out, namely: piano texture; techniques of sound production; dynamic construction of musical form; spatio-temporal organization of melodic and intonation lines, etc. The peculiarities of the piano texture, which are characterized by romantically rich complex chordal structures and virtuosic passages, were also determined. It is noted that the lyrical parts of Karmella Tsepkolenko's Concerto-drama for piano and orchestra require subtle linear polyphonic thinking from the pianist, creating a special sound color. The role of interpretative and expressive means for creating a convincing performance and artistic image is clarified. The specificity of the interpretation of five solo piano cadenzas is substantiated. The role of cadences for the manifestation of the unique individual thinking of the pianist in the process of concert and stage interpretation of the specified piano piece by Karmella Tsepkolenko is highlighted. The relationship and influence of the author's scenario development on the emotional creative space of the performer and on the formation of a convincing artistic and performing version have been established. The special role of the piano in the work of Karmella Tsepkolenko as a tool for new compositional searches and innovations is emphasized. It has been proven that the performance style of Karmella Tsepkolenko's piano music requires creativity, artistry, creative imagination, flexibility of thinking, and an emotional response to the script-plot layers of the work. Emphasis is placed on the expediency of establishing empathetic connections between the composer and the performer in the process of live implementation of the author's idea.
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Chang, Xunyun, and Liangqing Peng. "Evaluation Strategy of the Piano Performance by the Deep Learning Long Short-Term Memory Network." Wireless Communications and Mobile Computing 2022 (June 26, 2022): 1–10. http://dx.doi.org/10.1155/2022/6727429.
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With the development of society and the progress of technology, the piano education industry has a large market. In view of the problem of high payment fees in the piano education industry, the scientific and automatic nature of piano performance evaluation has attracted people’s attention. However, since most of the piano performance evaluation schemes are based on rules, the continuity of the piano music and the accuracy of playing are ignored. Therefore, the purpose is to design a scientific piano performance evaluation scheme that can play a certain role in the sustainable development of the piano education industry. Firstly, long short-term memory in deep learning is explored. Secondly, the musical characteristics of piano performance are analyzed according to the musical instrument digital interface. The piano music features are extracted, and a long short-term memory-based musical instrument digital interface piano performance evaluation model is constructed. Finally, it analyzes the number of hidden layers implemented in the long short-term memory model for piano performance evaluation. The accuracy of piano performance evaluation under different models is analyzed. Under the bidirectional long short-term memory network model, different piano performance levels are evaluated to realize the study of piano performance evaluation strategies. Compared with the accuracy of the recurrent neural network and the long short-term memory model with different hidden layers, the bidirectional long short-term memory model has the highest test accuracy, with an average of 69.78%. When the hidden layer of the bidirectional long short-term memory model is 3, the loss function L value is the smallest, which is 0.11. Different levels of piano skills are evaluated, and the results of the systematic evaluation are consistent with the performance of different levels. This shows that the BLSM model is feasible for the piano performance evaluation strategy system. This study not only conducts an in-depth analysis of the deep learning long short-term memory model but also proposes a long short-term memory-based musical instrument digital interface piano performance evaluation model. Additionally, the flaws such as the incomplete consideration of musical continuity and expressiveness when evaluating piano performance pieces have been compensated. Finally, through different model validations, the bidirectional long short-term memory model is concluded with good accuracy in piano performance evaluation. These conclusions provide theoretical research and practical significance for the accuracy of piano performance evaluation.
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Franceschi, Ivana, and Ina Ercegovac. "Personal and motivational determinants of piano student performance in the context of self-determination theory." Humanities and Cultural Studies 3, no. 2 (July 26, 2022): 37–53. http://dx.doi.org/10.55225/hcs.377.
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The aim of this study was to examine the contribution of personality traits and different types of motivation to explaining individual differences in piano student performance and satisfaction of basic psychological needs in an academic context. The research was conducted in 2017 on a sample of piano students (N = 92) attending four music academies (Music Academy in Zagreb, Arts Academy in Split, Music Academy in Osijek, and Music Academy in Pula), making up about 90% of the whole piano-student population in Croatia. Self-assessment instruments were used to examine five personality traits from the Big Five Model, types of motivation according to the continuum of self-determination, the satisfaction of three psychological needs according to the self-determination theory in the context of music academies, and three categories of performance – piano success in the academic year, piano competition achievements, and public performances. The results showed that personality traits and motivational determinants could not predict piano success at the academy. Still, conscientiousness and emotional stability do play a significant role in public performances and piano competitions. Identified motivation proved to be important for these criteria as well. The relationship between psychological needs, motivation, and personality traits pointed to the significant role of the intellect, agreeableness, and intrinsic motivation, which proved to be important for satisfying the needs for relatedness and autonomy.
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Keller, Peter E., and Mirjam Appel. "Individual Differences, Auditory Imagery, and the Coordination of Body Movements and Sounds in Musical Ensembles." Music Perception 28, no. 1 (September 1, 2010): 27–46. http://dx.doi.org/10.1525/mp.2010.28.1.27.
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The Role of Anticipatory Auditory Imagery in musical ensemble performance was investigated by examining the relationship between individual differences in auditory imagery and temporal coordination in piano duos. Vividness of imagery for upcoming sounds was assessed in 14 pianists using a task that required the production of rhythmic sequences with or without auditory feedback. Ensemble coordination was assessed by examining temporal relations between body movements (recorded by a motion capture system) and sound onsets (triggered by key strokes on two MIDI pianos) in seven duos playing two contrasting pieces with or without visual contact. Sound synchrony was found to be related to anterior-posterior body sway coordination in a manner that depended upon leader/follower relations between pianists assigned to 'primo' and 'secondo' parts. Furthermore, the quality of coordination, which was not affected markedly by whether pianists were in visual contact, was correlated with individual differences in anticipatory auditory imagery. These findings suggest that auditory imagery facilitates interpersonal coordination by enhancing the operation of internal models that simulate one's own and others' actions during ensemble performance.
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Kutluieva, Dar’ia. "PIANO QUARTETS OF L. BEETHOVEN: MOZART’S PROTOTYPES AND AUTHOR’S INITIO." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (March 10, 2021): 9–22. http://dx.doi.org/10.34064/khnum1-58.01.
Full textAbstract:
Background. The article provides an analysis of L. Beethoven’s piano quartets through the prism of the ensemble writing and composition experience by W. A. Mozart. The disclosure of the successive ties between the two great Viennese classics in the field of chamber instrumental music contributes to the scientific understanding of the history of this genre, which is not sufficiently covered in musicology. The analysis revealed that the four piano quartets of L. Beethoven are focused on Mozart’s prototypes, or rather, on sonatas for violin and piano. It was found that the formative principles of Beethoven’s piano quartets grow from the above-mentioned compositions by W. A. Mozart, but the content and the ensemble-dramatic solution reflect the independence and originality of the young composer’s thinking, revealing the sprouts of a future mature style. The purpose of this article is to disclose the ways of rethinking the prototypes of Mozart in the piano quartets of L. Beethoven. The piano quartets of the latter serve as the musical material of the article: No. 1 Es-dur, No. 2 D-dur, No. 3 C-dur WoO 36, and No. 4 Es-dur op. 16. Results. L. Beethoven changes the algorithm of ensemble events contained in Mozart’s opuses, where the theme is presented in turn by piano, violin, followed by the conversation of the two. The composer immediately includes all members of the quartet in the presentation of the leading material, which specifies this genre, revealing its “intermediateness” between the intimacy of the trio and the “representativeness” of the concerto. Since the genetic origins of the genre of the piano quartet are the trio sonata, the string quartet and the clavier concerto with the accompaniment of a string ensemble, these genres influenced the type of Beethoven’s piano quartets. Thus, Beethoven’s Bonn quartets resemble in their writing a string quartet; and the piano quartet Es-dur op. 16 resembles a clavier concerto with orchestra. These compositions are related to the first of the above mentioned prototypes by the consistent application of the trio principle, which is expressed in various combinations of ensemble voices. In the timbre refraction, the trio-principle underlies the pairing of stringed instruments, where the bowed instruments form a strictly homophonic vertical with the traditional functional relationship according to the “upper voice ‒ bass ‒ middle” model. Another dimension of the trio principle arises when one of the string parts of the piano is displaced, as a result of which a multi-timbre sound field is formed. There is an obvious desire of the composer for the equality of four voices in the piano quartet. At the same time, the timbre uniqueness of the piano and the virtuosity of its part make it possible to recognize in it the leader of the ensemble union. Conclusion. The leading role of the piano in L. Beethoven’s piano quartets brings this genre closer to a piano concerto. At the same time, the piano has a variety of role functions: it can act as an equal partner, being one of the voices of the quartet score; as a concert instrument demonstrating its virtuoso capabilities; as a leader of an ensemble, a kind of conductor, giving impetus to performance, initiative in ensemble play. Similar functions can be observed in W. A. Mozart’s sonatas for violin and piano, which L. Beethoven was guided by.
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Turea, Elena. "The role of the piano part in Franz Schubert’s vocal cycles." Akademos, no. 1(68) (June 2023): 150–55. http://dx.doi.org/10.52673/18570461.23.1-68.20.
Full textAbstract:
The article examines F. Schubert’s vocal cycles The Pretty Miller and Winter Journey from the point of view of the piano part performance. We are talking about the role of these works in the composer’s vocal creation, as well as in the history of Western European Romanticism. The means of musical expression are analyzed, recommendations are offered to pianists and vocalists in their ensemble work. It is concluded that the piano part in F. Schubert’s vocal cycles is an integral component of a synthetic artistic phenomenon.