Bibliografías temáticas / Piano

Literatura académica sobre el tema "Piano"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 25 de julio de 2024

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Artículos de revistas sobre el tema "Piano"

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Tunaru, Radu. "Pianele și pianinele Clujului. Pianina „Carl Bechstein”". Anuarul Muzeului Etnograif al Transilvaniei 30 (20 de diciembre de 2016): 342–51. http://dx.doi.org/10.47802/amet.2016.30.20.

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Piano restoration requires a delicate work because it is not a furniture, it is a musical instrument, complex object, requiring minimal musical knowledge to put back in use. Upright piano ”Carl Bechstein” raised multiple issues, from legs replaced with those of a table, to veneer, metalics elements, lace and felt damaged. Once complete disassembled, the hardest stage of the restoration was to consolidate the assembly with organic glue (isinglass) and fastening strap in place all elements, with clamping systems, so that piano regain functionality.
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Ma, Yao. "Feasibility Analysis of Intelligent Piano in Piano Teaching". Scientific Programming 2022 (10 de octubre de 2022): 1–8. http://dx.doi.org/10.1155/2022/5010428.

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With the rapid development of artificial intelligence, big data, blockchain, and other technologies, the impact of intelligent environment on the development of education has become more and more profound. Other developed countries have realized that education reform is urgent in the intelligent environment. So as to seize the major strategic opportunity of artificial intelligence development, my country has optimized the teaching content, teaching methods, and teaching methods of traditional piano teaching on the basis of respecting the traditional piano teaching concept. Upgrade to achieve the innovation of the relationship between teaching and learning in piano education in normal schools, and create a new situation for piano teaching in normal schools. Based on the current situation of piano education for musicology majors in normal schools, this paper takes the intelligent piano as the research object, compares the advantages and disadvantages of the application of smart pianos and traditional pianos in the environment of normal schools, combines the intelligent technology provided by smart pianos, and explores the application of technology to pianos in normal normal schools. The path of teaching reflects the value and use value of intelligent piano in piano teaching in normal schools and explores the value of intelligent piano teaching.
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Chang, Liu y Md Jais Ismail. "THE EFFECTIVE OF SMART PIANO TO ENHANCE PIANO SKILLS ON CHILDREN". International Journal of Education, Psychology and Counseling 8, n.º 52 (24 de diciembre de 2023): 416–27. http://dx.doi.org/10.35631/ijepc.852032.

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This study aims to explore the potential benefits and effectiveness of incorporating smart pianos in the piano learning process for children. The research investigates the impact of smart piano teaching on enhancing piano skills among children. The participants of this study consist of students aged 4 to 6 years old, who are enrolled in a piano learning program that incorporates smart pianos. The research examines the students' progress over a designated period, comparing it with a control group using traditional piano instruction methods. The findings of this study contribute to the understanding of the benefits and limitations of smart piano education in piano education. The results reveal that smart pianos provide interactive learning experiences, including visual feedback, practice assistance features, progress tracking, and individualized learning options. These features positively impact students' engagement, motivation, and overall piano skill development. The implications of this research suggest that smart piano can be a valuable tool in piano education, enhancing students' learning experiences and promoting their overall musical growth. The study calls for further research with larger sample sizes and longer duration to validate and extend these initial findings.
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Baker, Valerie A. "Teachers’ Perceptions on Current Piano Use in the Elementary General Music Classroom". Update: Applications of Research in Music Education 35, n.º 2 (1 de agosto de 2016): 23–29. http://dx.doi.org/10.1177/8755123315598558.

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The purpose of this study was to identify teacher opinion of piano use, the amount of piano use, and current purposes for pianos in elementary general music classrooms. A geographically diverse sample of general music teachers ( N = 189) completed a piano use survey. The data indicated that teachers felt piano was an important part of elementary music and that the piano should be used for accompaniment more than any other purpose. Pianos were most commonly used on a weekly basis. Teachers who began piano lessons at a younger age also tended to use more piano in their classrooms. Qualitative statements made about piano use were positive and enthusiastic. This study provides direction for future research in the investigation of relationships between amount of piano use and teacher variables, and the amount of a cappella singing in the elementary classroom.
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Eroy, Ozan, Onur Zahal y Engin Gürpınar. "The effect of polyphonization of Hüseyni maqam melodies within modal jazz harmony and dorian scale on success in piano educationHüseyni makamı içerikli ezgilerin modal caz armonisi ve doryen dizi kapsamında çokseslendirilmesinin piyano eğitiminde başarıya etkisi". Journal of Human Sciences 13, n.º 3 (16 de diciembre de 2016): 5471. http://dx.doi.org/10.14687/jhs.v13i3.4096.

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This research aims to determine effects of polyphonic performance of Turkish Music melodies containing Hüseyni maqam with modal jazz harmony on undergraduate piano students. Accordingly, “one group pretest-posttest pattern”,one of the weak experimental modals, has been used in the survey. In scope of the research, a piano curriculum based upon the components such as a general information about modal jazz harmony and chord setups has been applied to the students over two studies that are composed with dorian scale and two folk songs performed polyphonically in Hüseyni maqam. The effect of the applied piano curriculum on students’ piano performance has been analysed. As Hüseyni maqam in Turkish Music resembles dorian scale, the studies used for the curriculum have been made based on dorian scale. A six-week curriculum was applied to the students in the process level of the experimental period of the research. The pretest-posttest piano performance success of the students has been analysed by using piano performance rating form prepared pursuant to learned opinion. Wilcoxon Signed Rank Test and r effect size were calculated in the analysis process. As a result of the survey, it has been determined that the piano curriculum based on dorian scale and modal jazz harmony, enhances the piano performance success of the students noteworthily. Moreover, it has also been identified that the influence quantity is in a high level. ÖzetAraştırma ile Türkiye'de lisans düzeyinde piyano eğitimi gören öğrenciler için modal caz armonisi ile çokseslendirilen Hüseyni makamı içerikli Türk müziği ezgilerinin, öğrencilerin piyano performanslarına olan etkisinin belirlenmesi amaçlanmaktadır. Bu doğrultuda, araştırmada zayıf deneysel modellerden "tek grup ön test-son test desen" kullanılmıştır. Araştırma kapsamında, öğrencilere; doryen dizi ile bestelenmiş iki etüt ve çokseslendirilmiş iki hüseyni içerikli türkü üzerinden modal caz armonisine ilişkin genel bilgiler, akor kurulumları vb. öğelere dayanan bir piyano öğretim programı uygulanmıştır. Uygulanan piyano öğretim programının öğrenci piyano performanslarına olan etkisi incelenmiştir. Türk müziğindeki Hüseyni makamı dizisi ile doryen dizi benzerlik gösterdiği için öğretim programında kullanılan etütler, doryen dizi temel alınarak oluşturulmuştur. Araştırmanın deneysel sürecinin işlem evresinde öğrencilere altı haftalık piyano öğretim programı uygulanmıştır. Öğrencilerin öntest-sontest piyano performans başarıları, uzman görüşleri çerçevesinde oluşturulan piyano performans değerlendirme formu uygulanarak incelenmiştir. Analiz işlemlerinde Wilcoxon İşaretli Sıralar testi ve r etki büyüklüğü değerleri hesaplanmıştır. Araştırma sonucunda doryen dizi ile modal caz armonisine dayanan piyano öğretim programının, öğrencilerin piyano performans başarılarını anlamlı düzeyde arttırdığı tespit edilmiştir. Etki büyüklüklerinin ise yüksek düzeyde olduğu belirlenmiştir.
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Micelli, Ezio. "Modelli di perequazione tra piano strutturale e operativo". ARCHIVIO DI STUDI URBANI E REGIONALI, n.º 96 (septiembre de 2010): 113–32. http://dx.doi.org/10.3280/asur2009-096005.

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L'obiettivo dello studio č di considerare l'effetto della nuova articolazione del piano urbanistico in piano strutturale e operativo sul metodo perequativo. Alcuni piani pongono l'enfasi sulla componente strategica del piano strutturale, delegando alla parte operativa i compiti legati allo sviluppo della principio perequativo; altri, al contrario, promuovono la centralitŕ del piano strutturale e in esso collocano le scelte rilevanti in tema di perequazione. Entrambi i modelli presentano limiti significativi. La soluzione puň essere cercata in scelte capaci di coniugare norme flessibili, capaci di adeguarsi all'evoluzione delle domande collettive, e tuttavia in grado di fissare i capisaldi del metodo perequativo.
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Loncar, Sonja y Andrija Pavlovic. "Hybrid duo". Muzikologija, n.º 24 (2018): 111–21. http://dx.doi.org/10.2298/muz1824111l.

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As members of the LP Duo, for the past 14 years we have experimented with various possibilities of playing on two pianos. Our artistic curiosity and the desire to gain new knowledge and freedom led to our involvement with the Quantum Music project and the creation of a new instrument - the hybrid piano. In this paper we elaborate on our experience with using the new hybrid pianos within the Quantum Music project, but also discuss our ensemble as an artistic embodiment of duality, entanglement and other quantum phenomena. Hybrid piano is a combination of a traditional piano and digital synthesizer with analogue controls that allows different processing of acoustic and digital signals in real time and enables the pianists to continue to use concert pianos whilst equipping them with new colours and new, hitherto unexlplored expressive possibilities.
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Huang, Huicheng. "Exploration of Tonal Stability of New Pianos". Journal of Education and Educational Research 6, n.º 2 (10 de diciembre de 2023): 74–76. http://dx.doi.org/10.54097/jeer.v6i2.14963.

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Accurate intonation is the first element of piano quality. A piano with good intonation can cultivate people's emotions and give listeners a good sense of music, and it is also a symbolic symbol for performers to express their musical emotions and playing standards. This will cause all the beauty of piano music to be distorted, and in serious cases, even affect the human ear hearing organs. As the structure and string tension of new pianos are extremely unstable, the factors affecting the stability of piano intonation are also multifaceted, so it is an inevitable requirement for the pursuit of musical beauty to change the string tension and adjust the structure of the piano in a stable state through the intonation debugging in a timely manner.
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Sitorus, Eritha Rohana, Kustap Kustap y Alief Aditya Subekti. "Penerapan Sistem Equal Temperament pada Penalaan Piano di Yogyakarta". PROMUSIKA 7, n.º 2 (30 de septiembre de 2019): 93–105. http://dx.doi.org/10.24821/promusika.v7i2.3628.

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This study examines the equal temperament theory on the piano strings tuning methods and their application. The problem raised in this study is how the theory is applied in tuning the pianos in Yogyakarta? To uncover the problem, this study utilizes a theoretical method by confirming the approaches that have been used by two piano tuners in Yogyakarta to the theories about piano tuning. The purpose of this study was to obtain knowledge about the application of the equal temperament principles in piano tuning in Yogyakarta. This study concludes that although all piano tuners were based their tuning on the theory of equal temperament with varied approaches and techniques ear sensitivity has a very important role.Penelitian ini menguji teori equal temperament pada metode penalaan dawai piano dan aplikasinya. Permasalahan yang diangkat dalam penelitian ini adalah bagaimana teori tersebut diterapkan dalam penalaan piano di Yogyakarta? Untuk mengungkap masalah tersebut, penelitian ini menggunakan metode teoritikal, yaitu dengan mengkonfirmasi pendekatan yang telah digunakan oleh dua orang penala piano di Yogyakarta dengan teori-teori tentang penalaan piano. Tujuan dari penelitian ini adalah untuk memperoleh pengetahuan tentang penerapan prinsip-prinsip equal temperament dalam penalaan piano di Yogyakarta. Penelitian ini menyimpulkan bahwa meskipun semua piano tuner mendasarkan penalaan mereka pada teori temperamen yang sama dengan berbagai variasi pendekatan dan teknik, pada kenyataannya sensitivitas telinga memiliki peran yang sangat penting.
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Lawless, Patrick y Amnon Wolman. "Concerto for Piano, Pianos and Orchestra". Computer Music Journal 15, n.º 2 (1991): 72. http://dx.doi.org/10.2307/3680918.

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Tesis sobre el tema "Piano"

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Bernabei, Fabio. "Moto rigido di una figura piana nel suo piano". Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2018. http://amslaurea.unibo.it/16856/.

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Lo scopo di questa tesi è lo studio delle proprietà e delle caratteristiche del moto di una figura rigida piana nel suo piano nell'ambito della cinematica classica del corpo rigido. A partire dalla nozione di corpo rigido si perviene, tramite opportuni risultati ed osservazioni, alla formula fondamentale della cinematica del corpo rigido. Questa sarà basilare per arrivare al Teorema di Mozzi, con il quale si introduce il moto rigido piano. Si prosegue quindi con un’analisi di tale moto, definendo il centro di rotazione istantaneo e le curve che questo identifica durante il moto a seconda del sistema di riferimento scelto: la base e la rulletta. A supporto sono stati inseriti un capitolo riguardante la cinematica relativa del punto e alcuni esempi.
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Frieling, Randall Jay. "A guide to transcriptions and arrangements for two pianos". Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1019473.

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A Guide to Transcriptions and Arrangements for Two Pianos was designed as a reference tool for the pianist and duo-pianist. 1378 entries are catalogued in this dissertation. Each entry contains information from the following list: Composer name; Birth and death dates; Country; Title of work; Date arrangement written; Publisher; Publisher identification number; Date of publication; Arranger name; Number of pages; Length in minutes; Library or source where found; Origin of work; Editor; Comments and level of difficulty.The writer read music for the research of this dissertation at number of libraries including the Library of Congress. Additionally, an original questionnaire was sent to 393 pianists who are listed as Master Teacher or College Faculty in the 1995 Directory of Nationally Certified Teachers of Music. The results are printed from the 219 replies.
School of Music
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Lim, Jihyeon. "UNSUK CHIN’S PIANO MUSIC: 6 PIANO ETUDES (1995-2003) AND PIANO CONCERTO (1996-97)". Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/20403.

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Unsuk Chin (b. 1961) is the most internationally recognised living Korean-born composer. She has received numerous awards including the prestigious 2004 Grawemeyer Award for her Violin Concerto, the 2005 Arnold Schoenberg prize, the 2010 Prince Pierre Foundation Music Award, and the 2012 Ho-Am Prize, and her works are performed worldwide by major orchestras and contemporary ensembles. The 6 Piano Etudes (1995-2003) and Piano Concerto (1996-1997) are important pieces of Chin’s, because these are her only compositions involving solo piano up to this point. They include many of the elements of her musical world as well as her various compositional styles and approaches to writing for the piano. In Chapter 1 of this Doctoral dissertation I provide a brief introduction to my research. In Chapter 2, Chin’s biography is outlined and an overview is given of her 6 Piano Etudes and Piano Concerto. Following this are in-depth analyses of the 6 Piano Etudes and Piano Concerto in Chapters 3 and 4 respectively, examining form and structure, harmony, rhythm, and Chin’s unique compositional methods. Chapters 3 and 4 focus on the influences and models for Chin’s music: gamelan ensemble, Olivier Messiaen (1908-1992), and Chin’s teachers, György Ligeti (1923-2006) and Sukhi Kang (b. 1934) as well as aspects of Korean music. In examining the synthesis of these influences along with her mature compositional approaches, I hope to add to the growing body of knowledge and understanding of Chin’s significance and of her work, the piano works in particular.
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Albasini, Garaulet Olga. "Piano and memory : Strategies to memorize piano music". Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3331.

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This study was carried out in order to discover new strategies to memorize piano music. There are six different types of memory involved in performing: auditory, kinesthetic, visual, analytical, nominal and emotional. There are two main ways of practicing: playing practice and non-playing practice. I tried to find out if the order in which we use these two kinds of practice affects the quality of the memorization. During one week I practiced three different pieces following three different methods: 1 Using only playing practice; 2 using first playing practice and then non-playing practice; 3 using first non-playing practice and then playing practice. The second method had a much better result than the other two. The whole process was registered with a video camera and a logbook.

The exam concert is archived for copyright reasons until 2023.

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Colettis, Mary. "Piano recital". Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/27372.

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Crane, Alan P. "Piano recital". Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/27373.

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Howard, Christopher Eugene. "Piano concerto". Thesis, University of British Columbia, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0032/NQ27166.pdf.

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Tan, Chee-Tick. "Piano Quintet". Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc277681/.

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The thesis is a traditional piano quintet in the manner of Bartok, incorporating compositional techniques such as golden ratio and using folk materials. Special effects on strings are limited for easy conversion to wind instruments. The piece is about 15 minutes long.
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Wong, Kei Hong. "Piano Concerto". Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18334.

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This thirteen-minute concerto explores the concept of the "third-stream" style, a genre prevalent from the early twentieth century onward that explores the fusion of classical and the popular idioms. The piano writing, especially in the cadenza, is greatly influenced by George Gershwin's Piano Concerto in F, one of the most representative works in this style due to its jazzy syncopated rhythms and romantic pianistic writing. In addition to the traditional orchestral instrumentation, this piece includes several drum set solos, recalling some of the percussive passages from Leonard Bernstein's West Side Story, a musical theater work evoking jazz and Latin styles. This piece also draws influence from the contemporary group Bad Plus Trio, embracing the avant-garde jazz style apparent in 1972 Bronze Medalist from the album "These Are the Vistas."
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Goulart, Yedda de Castro Brascher. "O piano". reponame:Repositório Institucional da UFSC, 2013. https://repositorio.ufsc.br/handle/123456789/106256.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Florianópolis, 1985.
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Libros sobre el tema "Piano"

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Piano, piano, pieno: Authentic food from a Tuscan farm. New York: Overlook/Rookery Press, 2008.

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Davide et Eric Hľiot Call. Piano Piano. S.l: Editions Sarbacane, 2005.

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Calì, Davide. Piano, piano. Watertown, MA: Charlesbridge, 2007.

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Calì, Davide. Piano, piano. Watertown, MA: Charlesbridge, 2007.

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Curtis, Quentin. Piano forte: The Piano. [S.L.]: [S.N.], 1993.

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Piano glass/glass piano. Huntington Beach, Calif: Tebot Bach, 2010.

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Tomosha, Ongaku no. Piano & pianisuto =: Piano & pianist. Tōkyō: Ongaku no Tomosha, 1987.

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Phillips, Matt. Matt Phillips: Piano, piano. Trento: Studio d'arte Raffaelli, 2017.

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Booth, George W. Pianos, piano tuners and their problems. London: Janus, 1996.

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Kentner, Louis. Piano. London: Kahn & Averill, 1991.

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Capítulos de libros sobre el tema "Piano"

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Fletcher, Neville H. y Thomas D. Rossing. "The Piano". En The Physics of Musical Instruments, 305–44. New York, NY: Springer New York, 1991. http://dx.doi.org/10.1007/978-1-4612-2980-3_12.

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Manzocco, Roberto. "Piano B". En Esseri Umani 2.0, 157–83. Milano: Springer Milan, 2014. http://dx.doi.org/10.1007/978-88-470-5208-6_5.

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Haigh, Caroline, John Dunkerley y Mark Rogers. "The piano". En Classical Recording, 66–89. Abingdon, Oxon ; New York, NY : Routledge, 2021. | Series: Audio Engineering Society presents...: Focal Press, 2020. http://dx.doi.org/10.4324/9780429316852-7.

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Patel, Aditi, Abhishek Satpute, Mital Pattani y V. Venkataramanan. "Virtual Piano". En Lecture Notes on Data Engineering and Communications Technologies, 265–72. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-8339-6_29.

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Fletcher, Neville H. y Thomas D. Rossing. "The Piano". En The Physics of Musical Instruments, 352–98. New York, NY: Springer New York, 1998. http://dx.doi.org/10.1007/978-0-387-21603-4_12.

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Olsson, Tony. "Piano Tie". En Arduino Wearables, 115–40. Berkeley, CA: Apress, 2012. http://dx.doi.org/10.1007/978-1-4302-4360-1_7.

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Toft, Robert. "Solo Piano". En Recording Classical Music, 125–28. New York, NY: Routledge, 2020.: Focal Press, 2019. http://dx.doi.org/10.4324/9781351213783-12.

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Uno, Roberta, Kristen Adele Calhoun, Daniela Alvarez y Kassandra L. Khalil. "Cardboard Piano". En Contemporary Plays by Women of Color, 3–26. Second edition. | Milton Park, Abingdon, Oxon: New York: Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315641584-2.

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Affolter, Tara L. "Piano Lessons". En White Women Getting Real About Race, 101–14. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003448716-9.

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Leslie Johnson, Donald y Donald Langmead. "Renzo Piano". En Makers of 20th-Century Modern Architecture, 251–54. New York: Routledge, 2013. http://dx.doi.org/10.4324/9780203059210-86.

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Actas de conferencias sobre el tema "Piano"

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Rigby, Liam, Burkhard C. Wünsche y Alex Shaw. "piARno - An Augmented Reality Piano Tutor". En OzCHI '20: 32nd Australian Conference on Human-Computer-Interaction. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3441000.3441039.

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Sun, Chung-Hsuan y Pei-Ying Chiang. "Mr. Piano: A Portable Piano Tutoring System". En 2018 IEEE XXV International Conference on Electronics, Electrical Engineering and Computing (INTERCON). IEEE, 2018. http://dx.doi.org/10.1109/intercon.2018.8526423.

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Paulino, Dennis, Duarte Amaral, Mariana Amaral, Arsénio Reis, João Barroso y Tânia Rocha. "Professor Piano". En DSAI 2016: 7th International Conference on Software Development and Technologies for Enhancing Accessibility and Fighting Info-exclusion. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/3019943.3019982.

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De La Cruz, Sharon y Aatish Bhatia. "Paper piano". En IDC '18: Interaction Design and Children. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3202185.3210768.

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Donahue, Chris, Ian Simon y Sander Dieleman. "Piano Genie". En IUI '19: 24th International Conference on Intelligent User Interfaces. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3301275.3302288.

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Mora, Javier, Won-sook Lee, Gilles Comeau, S. Shirmohammadi y A. Saddik. "Assisted Piano Pedagogy through 3D Visualization of Piano Playing". En 2006 IEEE International Workshop on Haptic Audio Visual Environments and Their Applications. IEEE, 2006. http://dx.doi.org/10.1109/have.2006.283791.

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Yan, Nan. "Study on Application of Piano Duet in Piano Teaching". En 2015 3rd International Conference on Education, Management, Arts, Economics and Social Science. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icemaess-15.2016.53.

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"PIANO STUDENTS' PERSPECTIVES AND EXPERIENCES WITH REMOTE PIANO INSTRUCTION". En International Conferences Mobile Learning 2021 (ML 2021) and Educational Technologies 2021 (ICEduTech 2021). IADIS Press, 2021. http://dx.doi.org/10.33965/ml_icedutech2021_202102l021.

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Ji, Yi. "The Effective Application of Digital Piano in Piano Teaching". En 2016 International Conference on Contemporary Education, Social Sciences and Humanities. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/iccessh-16.2016.18.

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Molloy, Will, Edward Huang y Burkhard C. Wunsche. "Mixed Reality Piano Tutor: A Gamified Piano Practice Environment". En 2019 International Conference on Electronics, Information, and Communication (ICEIC). IEEE, 2019. http://dx.doi.org/10.23919/elinfocom.2019.8706474.

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Informes sobre el tema "Piano"

1

Burkhard, N. R. Containment Prospectus for the PIANO Experiment. Office of Scientific and Technical Information (OSTI), marzo de 2001. http://dx.doi.org/10.2172/15007239.

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Moltó Doncel, JL. La enseñanza de piano en España. Revista Latina de Comunicación Social, 2015. http://dx.doi.org/10.4185/cba44.

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Mayas, Magda. Creating with timbre. Norges Musikkhøgskole, agosto de 2018. http://dx.doi.org/10.22501/nmh-ar.686088.

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Unfolding processes of timbre and memory in improvisational piano performance This exposition is an introduction to my research and practice as a pianist, in which I unfold processes of timbre and memory in improvised music from a performer’s perspective. Timbre is often understood as a purely sonic perceptual phenomenon. However, this is not in accordance with a site-specific improvisational practice with changing spatial circumstances impacting the listening experience, nor does it take into account the agency of the instrument and objects used or the performer’s movements and gestures. In my practice, I have found a concept as part of the creating process in improvised music which has compelling potential: Timbre orchestration. My research takes the many and complex aspects of a performance environment into account and offers an extended understanding of timbre, which embraces spatial, material and bodily aspects of sound in improvised music performance. The investigative projects described in this exposition offer a methodology to explore timbral improvisational processes integrated into my practice, which is further extended through collaborations with sound engineers, an instrument builder and a choreographer: -experiments in amplification and recording, resulting in Memory piece, a series of works for amplified piano and multichannel playback - Piano mapping, a performance approach, with a custom-built device for live spatialization as means to expand and deepen spatio-timbral relationships; - Accretion, a project with choreographer Toby Kassell for three grand pianos and a pianist, where gestural approaches are used to activate and compose timbre in space. Together, the projects explore memory as a structural, reflective and performative tool and the creation of performing and listening modes as integrated parts of timbre orchestration. Orchestration and choreography of timbre turn into an open and hybrid compositional approach, which can be applied to various contexts, engaging with dynamic relationships and re-configuring them.
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4

Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, agosto de 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.
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Havrilova, Liudmyla H., Olena Ye Ishutina, Valentyna V. Zamorotska y Darja A. Kassim. Distance learning courses in developing future music teachers’ instrumental performance competence. [б. в.], septiembre de 2019. http://dx.doi.org/10.31812/123456789/3265.

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The scientific and methodological background of creation and development of the distance learning courses for the future music teachers is substantiated. The components and structure of future music teachers’ instrumental performance competence are defined; the content of the course is revealed. The materials are based on the authors’ teaching experience within the distance learning course “Basic Musical Instrument (Piano)”. The main blocks of the distance course design and development are considered among them to be theoretical, practical, individual work, and control blocks. The specificity of distance learning methods in the future music teachers’ instrumental and performance training is substantiated and three main methods are distinguished. The method of involving information and communication technologies, including multimedia; project method, and features of knowledge and skills controlling are elaborated. The results of implementation and experimental research of using distance learning courses for developing future music teachers’ instrumental performance competence are described. The influence of different methods use on students’ success is explored.
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6

Perwak, Lindsay. Gritos en el Desierto: Denuncia y Resistencia en las Obras de las Escritoras Wayuu Estercilia Simanca Pushaina y Vicenta Marí­a Siosi Pino. Portland State University Library, enero de 2000. http://dx.doi.org/10.15760/etd.3002.

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Emmerson, Stephen. Modulations through time. Norges Musikkhøgskole, agosto de 2018. http://dx.doi.org/10.22501/nmh-ar.530427.

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This article explores the rationale behind a performance given by the authors at the Unfolding the Process symposium held in Oslo in November 2015. For this occasion, the authors devised a new version of Bach’s Goldberg Variations that builds upon Emmerson’s arrangement of the work for two pianos in 2012. A shortened version of the work (c.30 minutes) was designed that aimed nonetheless to maintain the original work’s sense of structural balance and coherence. This version involved the transposition of a number of variations into different keys to explore the possibility of adding a satisfying tonal structure to our experience of the work, in a context where both performers see potential communicative value in 'playing with' dimensions of original masterworks with a view to giving fresh perspective to the listener experience. The article is written from the alternating perspectives of the authors; one of which is primarily concerned with the rationale and process of devising the arrangement while the other reflects upon the performative aspects and implications arising from it.
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Actualización del Plan Estratégico de Ciencia, Tecnología, e Innovación del sector Agropecuario PECTIA 2017 - 2027 : Departamento de Vichada 2022. Corporación colombiana de investigación agropecuaria - AGROSAVIA, 2022. http://dx.doi.org/10.21930/agrosavia.boletin.2022.28.

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Tradicionalmente, el principal uso del suelo del Vichada ha sido la ganadería extensiva, la cual, según datos de la ENA (DANE, 2019), representa el 88% del total de uso del suelo, mientras que la actividad agrícola representa tan solo un 0,357 % y el 10,7 % restante es cobertura boscosa. En cuanto a la producción agrícola y forestal, en los municipios de La Primavera y Puerto Carreño se ha promovido el desarrollo de cultivos de marañón, y especies forestales de caucho natural, Acacia mangium, Pino caribea y eucalipto con fines comerciales. Por su parte, en el municipio de Santa Rosalía se viene desarrollando actividades agroindustriales de la palma aceitera y en el municipio de Cumaribo se presentan actividades agrícolas a gran escala, principalmente en cultivo de maíz. Con relación al sector pecuario, cuya principal actividad es la Ganadería, se reporta un total de 256.954 cabezas de ganado bovino, en aproximadamente 1.762 predios ganaderos.
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