Relevant bibliographies by topics / Recorder and piano music Analysis

Academic literature on the topic 'Recorder and piano music Analysis'

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

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Journal articles on the topic "Recorder and piano music Analysis"

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Fyfe, Lawrence, Daniel Bedoya, and Elaine Chew. "Annotation and Analysis of Recorded Piano Performances on the Web." Journal of the Audio Engineering Society 70, no. 11 (December 12, 2022): 962–78. http://dx.doi.org/10.17743/jaes.2022.0057.

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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.

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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%.
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Speer, Donald R. "An Analysis of Sequential Patterns of Instruction in Piano Lessons." Journal of Research in Music Education 42, no. 1 (April 1994): 14–26. http://dx.doi.org/10.2307/3345333.

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The purpose of this study was to investigate verbal behaviors of independent piano teachers in private lessons. Forty-seven lessons from 25 teachers were recorded on audiotape, scripted, and analyzed for time spent in teacher presentation, student participation, and teacher reinforcement. Frequencies were obtained for complete/correct, complete/incorrect, and incomplete teaching patterns observed. Results indicated significant differences due to student age in presentation of musical information, teacher talk, teacher coaching, and student participation. Students perceived as “average” by teachers received significantly more directive comments than “better” students. Significant interactions were observed for verbal reinforcement by student and teacher experience. Teachers with more than 18.5 years of experience were more disapproving to students with more than 3.5 years of playing experience. Less-experienced teachers were more specific with approvals than their more-experienced colleagues. Frequencies of complete/correct patterns of teaching were significantly lower than other patterns observed.
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Hedden, Debra Gordon, and Valerie Anne Baker. "Perceptual and Acoustical Analyses of Second Graders’ Pitch-Matching Ability in Singing A cappella or with Piano Accompaniment." Bulletin of the Council for Research in Music Education, no. 184 (April 1, 2010): 35–48. http://dx.doi.org/10.2307/27861481.

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Abstract This study was a preliminary investigation of pitch-matching accuracy under two conditions: a cappella and accompanied singing of a standard song. Two classes of second-grade children (N = 26) were taught "America" on a neutral syllable ("loo"), one class learning it a cappella and the other with piano accompaniment. They rehearsed the song during three class sessions and then were recorded singing a cappella and accompanied (taped piano music via headphones). The first nine pitches of the song were utilized for the study. The recordings were analyzed perceptually for pitch accuracy by three judges and acoustically through the Multispeech software program. Results indicated that inaccurate singing occurred 70% of the time when evaluated by the judges and 80% of the time when analyzed acoustically. There was no significant difference in accuracy among the nine pitches of the song. When singing conditions were compared, the perceptual analysis suggested a significant difference in singing accuracy under the a cappella condition; acoustical analysis did not demonstrate this difference.
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Pala, Ferhat Kadir, and Pınar Mıhcı Türker. "Developing a haptic glove for basic piano education." World Journal on Educational Technology: Current Issues 11, no. 1 (February 11, 2019): 38–47. http://dx.doi.org/10.18844/wjet.v11i1.4008.

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This study aims at developing a glove with integrated haptic interface to facilitate the learning of those who have just started playing piano and allowing them to perform without a need for a piano during daily activities. The steps of the analysis, design, development, implementation, evaluation model were used in the research. In the analysis stage, students’ needs were analysed and problems were determined. At the design stage, practices oriented to resolving these problems were analysed and it was decided that haptic gloves might be appropriate for the solution to the problems revealed. At the development stage, evaluations were made directed to development of the product and formatting. The participants used the haptic glove for a while and have expressed their opinions, which are recorded by video camera. The recordings were analysed and it was found that the second version of the haptic glove increased the participants’ recall level of the music.Keywords: Music education, haptic glove, piano education, passive haptic learning.*
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Pala, Ferhat Kadir, and Pınar Mihci Turker. "Developing a haptic glove for basic piano education." World Journal on Educational Technology: Current Issues 11, no. 1 (February 6, 2019): 38–47. http://dx.doi.org/10.18844/wjet.v11i1.3985.

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This study aims at developing a glove with integrated haptic interface to facilitate the learning of those who have just started playing piano and allowing them to perform without a need for a piano during daily activities. The steps of the analysis, design, development, implementation, evaluation model were used in the research. In the analysis stage, students’ needs were analysed and problems were determined. At the design stage, practices oriented to resolving these problems were analysed and it was decided that haptic gloves might be appropriate for the solution to the problems revealed. At the development stage, evaluations were made directed to development of the product and formatting. The participants used the haptic glove for a while and have expressed their opinions, which are recorded by video camera. The recordings were analysed and it was found that the second version of the haptic glove increased the participants’ recall level of the music.
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Song, Tian. "Composer – Artist: The role of pianist Hsu Fei Ping in the creative activity of Huang An Lun." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 43–60. http://dx.doi.org/10.34064/khnum1-50.04.

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Background. The article is dedicated to the creative communication of two outstanding Chinese musicians – a pianist Hsu Fei Ping and a composer Huang An Lun. Complete mutual understanding facilitated their communication. Practically in all his programs, the pianist included the music of Western European and Chinese composers. Critics especially noted that Hsu Fei-Ping had the musical penetration, brilliance and poetry of interpretations. Among many Chinese pianists, he was recognized as the best interpreter of piano works by Huang An Lun. This musician has a special role in the work of Huan An Lun, being not only the “addressee” and the first performer, but also the inspirer of many composer’s opuses. The context of the creative intercourse of Huang An Lun and Hsu Fei Ping is also interesting because some of the composer’s works were written on the initiative of the outstanding Chinese pianist. Objectives. The purpose of the article is to reveal the role of the outstanding pianist Hsu Fei Ping in the creativity of Huang An Lun and the features of his performing interpretation the composer’s piano works. Methods. The research methodology necessary for disclosure of the selected theme is based on an integrated scientific approach combining the principles of musical-theoretical and performing analysis. Results. Hsu Fei-Ping is rightfully regarded as one of the most brilliant Chinese pianists who made themselves known in the 20th century. In this paper the life and career of the musician is considered, a general assessment of his creative achievements is given. It is argued that the creative cooperation and friendship of Hsu Fei-Ping with his compatriot and peer Huang An-Lun was due to life circumstances. The fate of both musicians had many common “points of intersection”: both musicians were of the same age, both in their youth showed uncommon interest in learning national and western musical art. The Cultural Revolution became a tragic watershed in their lives, which, however, made it possible to get even closer to the folklore environment and to feel the pain and suffering of the Chinese people at that time. Both musicians left China in the 1970s, having received education and achieved success in developed western countries: Hsu Fei-Ping – in the USA, Huang An Lun – in Canada. It is quite natural that the communication of such bright individuals, who have gone through the difficult path of development, provided an opportunity for mutual creative enrichment. The pianist promoted Huang An-Lun’s piano music in Israel, the USA, Canada, Russia and other countries, recorded CDs with works by the composer. In 2001, in Shanghai, and then in Hong Kong, discs with a recording of the piano cycle of Huang An-Lun’s “30 Pieces in the Popular Cybei Style” were released. In the same year, he recorded in Moscow the disc with Third Dance Poem, op. 40, by Huang An Lun. Hsu Pei Fing played the piece at the Rubinstein International Piano Competition in Israel, where he became the winner. In 1990, the piece by Huang An Lun created a similar sensation at a festival dedicated to the music of contemporary composers at the Walter Concert Hall in Toronto. A few years later, Hsu Pei Fing performed the piece at Carnegie Hall in New York. The largest composition by Huang An-Lun dedicated to Hsu Pei-Fing was Concerto No. 2 in C minor op. 57 for piano and orchestra. Its premiere took place on June 12, 1999 at the stage of the Shanghai Music Hall. The Shanghai Symphony Orchestra was conducted by Huang An-Lun himself, the piano part was performed by Hsu Fei-Ping. With the Russian Philharmonic Orchestra conducted by Konstantin Krymets, the pianist performed the second edition of the Concerto. The poem for piano and orchestra “Gulangyuy” op. 66 was written in memory of Hsu Fei Ping. The composer embodied in music the image of the birthplace of the outstanding Chinese pianist, Gulangyu Island, also known as “Piano Island”. Conclusions. Hsu Fei-Ping was for Huang An-Lun a kind of “beacon” in the field of piano music. Most of the composer’s piano works were focused on the phenomenal pianism of his friend. Being an outstanding performer of the West European classical and romantic repertoire, Hsu Fei Ping remained in the memory of musicians, first of all, as the inspirer and the best interpreter of piano works by Huang An Lun. The image of this remarkable pianist is captured in “Dance Poem No. 3” op. 40, Concert No. 2 in C minor op. 57, Poem for piano and orchestra “Gulangyuy” op. 66. Hsu Fei Ping brilliantly embodied in his performance one of the main ideas of the work of Huang An-Lun – the theme of man’s collision with forces of reality hostile to him. At the core of his performing drama is the conflict between the sinister, aggressive and lyrically quivering human beginning. It is represented by the pianist through the sound realization of various types of melodies, rhythms, textures, and the richest timbre palette. Hsu Fei Ping’s deep interpretations of Huang An Lun’s music, built on maximum polarization of images and expressive means, are the best confirmation of the mutual enrichment of the artistic worlds of two musicians, whose creative ways and convictions evolved in a similar way, which allowed them to understand each other completely.
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Comeau, Gilles, Yuanyuan Lu, and Mikael Swirp. "On-site and distance piano teaching: An analysis of verbal and physical behaviours in a teacher, student and parent." Journal of Music, Technology and Education 12, no. 1 (August 1, 2019): 49–77. http://dx.doi.org/10.1386/jmte.12.1.49_1.

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This study was designed to examine how distance piano teaching might affect the verbal behaviours and physical actions of a teacher, a student and a parent. Weekly 30-minute piano lessons over a year-long period were taught to a 5-and-a-half-year-old on-site student and a 6-year-old distance student. All lessons were delivered by the same teacher who followed the Suzuki programme. All sessions were recorded and then analysed using Simple Computer Recording Interface Behaviour Evaluation (SCRIBE), a video analysis software that provides frequencies and durations of pre-coded events. The observation of recorded lessons showed that distance teaching did not slow down student progress. In addition, behavioural analysis revealed that in most aspects, distance and on-site delivery were remarkably similar. The most striking difference was the interaction between the teacher and the parent. During on-site teaching, most of the teacher’s instructions were directed to the student while the parent was listening and observing attentively; during distance teaching, half of the teacher’s instructions were addressed to the student and the other half to the parent. The distance student also tended to relate more to the parent than to the teacher. In the distance environment, when interacting with a young beginner student, the role of the parent becomes very central to the success of the lessons.
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Hamond, Luciana, Evangelos Himonides, and Graham Welch. "The nature of feedback in higher education studio-based piano learning and teaching with the use of digital technology1." Journal of Music Technology & Education 13, no. 1 (August 1, 2020): 33–56. http://dx.doi.org/10.1386/jmte_00015_1.

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The aim of the current research was to investigate the nature of feedback when a digital technology system was introduced in the higher education (HE) piano studio alongside three teacher and student pairs in Brazil. Data were collected by using video-recorded observations of lessons, participant interviews, and also data related to the use of a specific technology. A thematic analysis of the resultant data suggests that participants used verbal and non-verbal feedback in three areas of lesson focus: music (score), performance (e.g. dynamics, articulation), and technology (Musical Instrument Digital Interface [MIDI] parameters). The application of technology seems to allow the focus of the lesson to become clearer, making students more aware of their performances and their learning processes. Data suggest that the engagement with technology varied across the three observed cases. There seems to be a valuable use for technology-mediated feedback; this could, in turn, optimize more traditional pedagogical approaches in HE piano learning and teaching, and also enrich private practice.
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Nikolenko, R. "Soirées musicales, Op. 6 by Clara Schumann: compositional and dramaturgical principles of the cycle." Culture of Ukraine, no. 78 (December 23, 2022): 150–55. http://dx.doi.org/10.31516/2410-5325.078.19.

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The relevance of the article. Clara Wieck-Schumann is one of the most famous female composers today, an outstanding artist of the XIX century. A significant amount of musicological researches has been devoted to her performance and compositional activities, and the recognized interpreter of the music of Robert and Clara Schumann, the Belgian pianist Joseph de Benhouwer, recorded all of her piano opuses. However, some certain issues related to the specifics of C. Schumann’s compositional work still require scientific research. The purpose of the article. Determination of the specifics of the compositional and dramaturgical solution of the program cycle of C. Schumann’s piano miniatures Soirées musicales, Op.6, which turns out to be one of the bright examples of this genre in the artist’s work and currently requires a comprehensive scientific research. The methodology. It is based on an integrative approach, and involves the use of analytical, systematic, structural-functional, comparative and inductive methods. The results. The cycle of piano miniatures Soirées musicales, Op. 6 is distinguished not only by its scale but also by its more pronounced programming. Unlike the other two piano cycles by C. Schumann, namely Quatre pièces characteristiques Op. 5, Quatre pièces fugitives Op. 15, which are rather a collection of diverse pieces united only by a common name, Op. 6 shows a certain dramaturgical line of development. The dramaturgy of the cycle is united with the help of a tonal arch, which is formed by a common tonality for 1 and 6 pieces. The miniatures represented in the cycle are quite diverse in their figurative structure. Conclusions. Among the important compositional and dramaturgical principles of building a cycle are the unification of diverse material from a thematic point of view with the help of intonation relationships or certain rhythmic formulas, comparison within miniatures of the same tonality, in which the middle sections of the form are usually written, stand out. The practical significance. The material of the article can be used in the further study of the specifics of C. Schumann’s compositional style, as well as in the study of the artist’s works in special piano classes, passing theoretical courses on the history of music and analysis of musical works.
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Dissertations / Theses on the topic "Recorder and piano music Analysis"

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Damm, Bernt W. "The development of a piano-recorder system." Thesis, Cape Technikon, 1993. http://hdl.handle.net/20.500.11838/1155.

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Thesis (Masters Diploma (Electrical Engineering)--Cape Technikon, Cape Town, 1993
This thesis describes the development and design of a pianorecorder system. This system makes it possible to record the notes played on a piano onto a computer disk. The records can then be used for the manufacturing of pianola rolls.
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Hansson, Clare. "Marian McPartland, jazz pianist : an overview of a musical career." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16621/1/Clare_Hansson_Thesis.pdf.

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This, the first study at doctoral level of any white female jazz instrumentalist, provides an overview to the long, active and enduring musical career of British-born, New York-based jazz pianist, Marian McPartland (born 1918). For over six decades, besides being a pianist and a composer, she has been prominent in the professional roles of educator, writer, record producer and recording artist, radio broadcaster and advocate. The scope and impact of this multi-layered career are conveyed through the medium of a Website profiling significant aspects of her professional life through textual, aural and visual presentation. Although not claiming to be exhaustive, this Website brings together a comprehensive collection of data covering all aspects of Marian McPartland's career. Data have been gathered and collated from material in the public domain, and all such sources are acknowledged and referenced. The Website is navigable through three links at the bottom of the Home Page - 1) Historical Perspective; 2) Selected Analyses; and 3) Marian McPartland In Context. Part One of the Website provides access to Marian McPartland's various professional roles in jazz, as well as public profiles, and is consolidated by listings of support material. Part Two of the Website contains formal analyses of four of her compositions, each preceded by a short introduction. The analyses are based on scores transcribed from her recorded improvisations. A discussion of her stylistic approach follows the analyses. Part Three of the Website contextualizes Marian McPartland as a woman in jazz during its major historical and stylistic movements. An Introduction and a Conclusion provide the academic framework for this study. The Introduction outlines the rationale for the study, the dimensions of the study, the methodologies used, and the research process. The Conclusion provides critical commentary on Marian McPartland's musical career, and deductions are made about her significance in and contribution to jazz, based on the evidence presented in the Website. A CD of the entire Website completes the presentation of this thesis, included under Supplementary Material in the back pocket of the thesis. This overview of Marian McPartland's entire career makes an original contribution to knowledge on this jazz artist, and, in a broader sense, provides an important resource for future research in the area of jazz music and musicians.
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Pace, Cynthia Margaret. "Ruth Crawford's final solo piano works : an analysis of FOUR PRELUDES FOR PIANO and PIANO STUDY IN MIXED ACCENTS /." Access Digital Full Text version, 1989. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10903598.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1989.
Typescript; issued also on microfilm. Sponsor: Lenore M. Pogonowski. Dissertation Committee: Harold F. Abeles. Bibliography: leaves 322-324.
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Park, Jinha. "Piano music of Elisenda Fabregas| A stylistic analysis." Thesis, University of South Carolina, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3561836.

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

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

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

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

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Dmitrii Shostakovich is widely recognized as one of the most significant composers of the twentieth century. A prolific composer, he left an important mark in virtually every genre, most notably in the string quartet and the symphony. His Second Piano Sonata, a work of grandiose dimensions and great originality, is the hallmark of his mature creative period, along with works such as the Seventh "Leningrad" Symphony and the Second Piano trio. This study explores the mature piano style of Shostakovich evident in the Second Piano Sonata. It examines harmony, melody and texture as signifiers of style in this Sonata, and compares these stylistic traits with those in his earlier compositions as well as contemporaneous works by other composers, most notably, Sergei Prokofiev. The craftsmanship, broad outlines, and significance of the Second Piano Sonata earn it a place among the major works of twentieth century piano repertoire.
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Nakagawa, Eri. "A stylistic analysis of the piano trios of Saint-Sa�ens and Ravel." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1063301.

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Both Camille Saint-Saens (1835-1921) and Maurice Ravel (1875-1837) were outstanding composers of the late nineteenth century and the early twentieth century who followed and transmitted the specifically French tradition. Ravel studied at the Paris Conservatoire with Gabriel Faure (1845-1924), who was a student of Saint-Satins. SaintSaens's Trio No. 1, Op. 18, was written in 1863, while he was teaching a the Ecole Niedermeyer. As one of the earliest works by the composer, it reveals his conservative style in the well-defined four-movement structure, particularly characterized by classical periodization and clarity of texture. Saint-Sadns's Trio No. 2, Op. 92, was written in 1892, when he was more mature and better known as both composer and performer. Written twenty-nine years after the first trio, the second trio is more ambitious and complicated than the first trio. The second trio exhibits elaborate harmonies and extensive sonata structure, including a fugue within an unusual five-movement framework.Ravel's trio was completed in 1914, shortly after the start of the First World War, at Saint-Jean-de-Luz in Basque country. I The trio displays new sonorities and expression achieved by brilliant string techniques and powerful, vertical piano writing, as well as the employment of various kinds of non-traditional scales. Within a four-movement structure, the second movement, entitled Pantown, a poetic form of Malayan origin, is most original, including the middle section in polymeter.The analyses of these three trios reveal significant similarities in stylistic and formal characteristics. All three trios preserve the outline framework of the traditional sonata concept. Saint-Sa&ns's second trio and Ravel's trio include passacaglia movements, based on the Baroque form. All three trios employ folk elements: the modal style of certain themes, and certain rhythms; e.g., the Basque dance rhythm, zoriko, appears in Saint-Saans's second trio and Ravel's trio. The use of quintuple time in both trios also shows the Basque influence. Among other common characteristics are rhythmic ostinato and thematic juxtaposition. All three trios represent trends in French music between the late nineteenth century and the early twentieth century: nationalism and neoclassicism.
School of Music
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Telesco, Paula Jean. "A HARMONIC ANALYSIS OF SELECTED PIANO MUSIC OF EMMANUEL CHABRIER." Thesis, The University of Arizona, 1985. http://hdl.handle.net/10150/275317.

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

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

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

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Paganini, Nicolò. Moto perpetuo : for descant recorder and piano. Copenhagen: W. Ḥansen, 1988.

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Schickele, Peter. Music for Mary: For flute (or alto recorder) and piano. Bryn Mawr, Pa: Elkan-Vogel, 1990.

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

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

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

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

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

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

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

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Book chapters on the topic "Recorder and piano music Analysis"

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

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

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

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

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

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Abstract This chapter constitutes a form of analysis, both based upon the scores and coming out of and reflecting back upon practice, from one who has regularly performed Horaţiu Rădulescu’s six piano sonatas for almost two decades. The chapter considers the sonatas from various angles—their titles, musical borrowings, textures, harmonic language, form (especially the use of sonata form), use of mensuration canons—and considers the implications for touch, rhythm, tempo, rhetoric, rubato, virtuosity, while also adding observations on how particular approaches to various of these parameters can affect the projection of various possible conceptions of the work. Focusing in particular upon the Third and Sixth Sonatas, the chapter also situates these relatively late works in the context of the composer’s wider aesthetic developed since the late 1960s, and considers his use of Byzantine chant and consequent implied musical provenance in the context of the cultural and political milieu in which he grew up, in communist Romania. It also compares his use of Romanian melodies, most of which were collected by Béla Bartók, with the older composer’s own settings of some of the same melodies. It draws upon, but modifies, the analytical strategies developed for engaging with the works’ harmonic language developed by Bob Gilmore, while arguing for a greater consideration of linear progression. Rejecting a prescriptive approach to the relationship between analysis and performance, the chapter elucidates some of the range of creative but intelligent possibilities available for interpreting these works.
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Straus, Joseph N. "Shulamit Ran, Soliloquy for violin, cello, and piano (1997)." In The Art of Post-Tonal Analysis, 132–37. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197543979.003.0024.

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This passage begins on an A major triad and gradually adds notes until the aggregate of all twelve notes has been completed. Along the way, the music can be interpreted as a succession of major, minor, and augmented triads. These triads can be related via the familiar triadic transformations, and the progression can be mapped on a musical space called Cube Dances, in which large harmonic regions are defined by hexatonic and enneatonic collections.
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Cizmic, Maria, and Adriana Helbig. "The Piano and the Performing Body in the Music of Arvo Pärt." In Arvo Pärt, 177–94. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823289752.003.0010.

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This chapter examines references to the piano in existing literature on Pärt and articulates a perspective on the piano’s role in his music. Pärt’s compositional output for the piano is relatively small; but, as his primary instrument, the piano has played an important role in the development of his sonic world. Musicians’ physical relationships with their instruments over time generate an archive of embodied knowledge and memories; bodily performance then becomes an important way in which music creates meaning for composers and performers alike. Thus, this chapter draws on representations of Pärt composing at the piano as captured in cinema, analyzing the bodies of composer and instrument in dynamic engagement. It also features a close observational analysis of performing Für Alina, Pärt’s inaugural tintinnabuli work from 1976, and what a phenomenological experience of learning and performing this piece might tell us about the expressive nature of tintinnabuli music.
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Straus, Joseph N. "Tania León, Rituál (1987)." In The Art of Post-Tonal Analysis, 114–25. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197543979.003.0022.

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This passage is a fleet, light-footed scherzo that gradually works its way upward in register from the lowest note of the piano keyboard. It uses only seven different pitch events (each consisting of just a few notes), but their endlessly inventive recombination provides direction and vitality. The music traces hexatonic pathways that run through and beneath the seemingly improvisatory musical surface.
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DeLapp-Birkett, Jennifer. "Dialogue without Words." In Rethinking American Music, 247–78. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042324.003.0012.

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In Jennifer DeLapp-Birkett’s analysis, the “identities and dichotomies” of her title concern a single piece of music, Aaron Copland's Piano Quartet (1950) but also a number of extramusical issues that preoccupied the composer at the time. She places Copland’s work, including his Hollywood film score for “The Heiress” and the efforts of his contemporaries (such as Schoenberg, Virgil Thomson), within the complex political landscape post-World War II, the Red Scare in the United States, and the Cold War. Several incidents in Copland’s career circa 1950 indicate that he, with good reason, felt vulnerable to the forces of reaction at work. DeLapp-Birkett demonstrates conclusively that in his public statements and in his compositional development Copland was responding consciously to the pressures from a variety of sources.
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Hascher, Xavier. "Music as Poetry: An Analysis of the First Movement of Schubert's Piano Sonata in A Major, D. 959." In Drama in the Music of Franz Schubert, 257–82. Boydell and Brewer Limited, 2019. http://dx.doi.org/10.1017/9781787444393.013.

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Conference papers on the topic "Recorder and piano music Analysis"

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

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

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

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

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

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

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

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

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The development of information technology and devices has made it easier for everyone to take and share videos and photos, and many number of information has become available in the world. For example, when learning how to play a musical instrument, a game, or a household appliance, they can effectively understand it from videos and images on YouTube or Instagram, instead of reading an instruction manual or a reference book. Whereas the piano is difficult to practice efficiently because repetition and reading music are said to be the two most important elements needed to acquire the skill. Therefore, continuous practice is essential, but many people give up halfway. Focusing on reading music, we have to process multiple pieces of information on the score simultaneously in a short period of time while playing the piano. However, for beginners, it’s difficult to keep reading the necessary information from a score where information is concentrated in many symbols at the tempo of the performance. This research examines how to make it easier for beginners to recognize and remember information about music notation and how to use the information obtained more naturally. To this end, we clarified the process by which beginners learn and recognize information about musical notation in piano learning activities and clarified the characteristics that are expressed when they perform using the recognized knowledge.Firstly, we investigated whether learners would get support in an application whose purpose was to support reading practice. We found that the support could be categorized into three types, and that learning about pitch, rhythm, and keyboard position was important for beginners. To clarify the differences in these learning procedures depending on the level of proficiency, we conducted behavioral observations of beginners and experienced pianists practicing reading music, summarized their behavioral procedures into ordinal data, and conducted a Dematel analysis. As a result, we’re able to classify the level of proficiency into three levels: beginners (subjects with no piano experience), experienced (subjects with less than one year of piano study), and proficient (subjects with more than seven years of piano study). Based on the results of the questionnaire and interviews, we’re able to discover common issues such as beginners (1) not being able to practice smoothly because they couldn’t establish a procedure, (2) taking a long time to read the pitch of notes from the score, and (3) finding it difficult to read the rhythm from the score. From the above research, we examined new information display methods and innovations for the three types of information in music notation: pitch, rhythm, and sequence. In the case of pitch, it’s thought that information can be recognized efficiently by using the properties of color. For rhythm, we extracted information from the score and organized it in a new way, which reduced the error rate and led to more efficient practice. Also, with the information organized, even beginners were able to efficiently find the regularities and similarities in the score, which led to smooth read music.
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Чэнь, Янань. "SOME PROBLEMS OF CHINESE PROFESSIONAL PIANO EDUCATION ON THE EXAMPLE OF ALL 3 CATEGORIES OF CHINESE UNIVERSITIES." In Научные исследования в современном мире. Теория и практика: сборник избранных статей Всероссийской (национальной) научно-практической конференции (Санкт-Петербург, Октябрь 2021). Crossref, 2021. http://dx.doi.org/10.37539/nitp321.2021.69.44.005.

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В статье с целью выявления комплекса проблем, ограничивающих дальнейшее развитие китайского пианизма, предложен анализ китайских музыкальных вузов, готовящих профессиональных пианистов. Делается вывод о наличии общих для всех 3-х категорий вузов проблем, не смотря на различие целей и средств обучения будущих специалистов. In order to find a set of problems limiting the further development of Chinese pianism, the article offers an analysis of Chinese music universities that train professional pianists. It is concluded that there are problems common to all 3 categories of universities, despite the difference in goals and means of training future specialists.
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Huber, Annegret. "Die Pianistin spricht. Überlegungen zur Epistemologie von Vertonungsanalysen und ihrer Funktion in musikwissenschaftlicher Forschung." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.83.

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

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Kiv, Arnold E., Vladyslav V. Bilous, Dmytro M. Bodnenko, Dmytro V. Horbatovskyi, Oksana S. Lytvyn, and Volodymyr V. Proshkin. The development and use of mobile app AR Physics in physics teaching at the university. [б. в.], July 2021. http://dx.doi.org/10.31812/123456789/4629.

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This paper outlines the importance of using Augmented Reality (AR) in physics education at the university as a valuable tool for visualization and increasing the attention and motivation of students to study, solving educational problems related to future professional activities, improving the interaction of teachers and students. Provided an analysis of the types of AR technology and software for developing AR apps. The sequences of actions for developing the mobile application AR Physics in the study of topics: “Direct electronic current”, “Fundamentals of the theory of electronic circuits”. The software tools for mobile application development (Android Studio, SDK, NDK, Google Sceneform, 3Ds MAX, Core Animation, Asset Media Recorder, Ashampoo Music Studio, Google Translate Plugin) are described. The bank of 3D models of elements of electrical circuits (sources of current, consumers, measuring devices, conductors) is created. Because of the students’ and teachers’ surveys, the advantages and disadvantages of using AR in the teaching process are discussed. Mann-Whitney U-test proved the effectiveness of the use of AR for laboratory works in physics by students majoring in “Mathematics”, “Computer Science”, and “Cybersecurity”.
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