Bibliografías temáticas / Piano music

Literatura académica sobre el tema "Piano music"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 30 de julio de 2024

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Artículos de revistas sobre el tema "Piano music"

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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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Ma, Lita. "Bentuk dan Elemen Musik Akustik dalam Piano Kover Lagu ‘DNA’ karya BangtanSonyeondan (BTS)". PROMUSIKA 9, n.º 2 (17 de marzo de 2022): 78–83. http://dx.doi.org/10.24821/promusika.v9i2.5435.

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Perpaduan antara musik elektronis dan musik populer menghasilkan aliran musik baru, yaitu Electronic Dance Music (EDM). EDM merupakan genre musik elektronis perkursif dengan menggunakan peralatan berteknologi tinggi. Salah satu tempat yang mulai mengeksperimen EDM adalah Korea Selatan, yaitu Kpop atau lebih dikenal sebagai Korean Pop. Kpop menggunakan perpaduan antara musik Korea dengan musik Barat, salah satu contoh yang menggunakan EDM adalah lagu ‘DNA’ karya grup BTS. Masyarakat sekarang suka mengkover lagu ke bentuk vokal ataupun instrument, salah satunya adalah piano kover. Permasalahan yang diteliti adalah mengetahui bentuk dan elemen musik EDM dalam bentuk piano kover. Penelitian ini bertujuan untuk mengetahui bentuk dan elemen musik lagu ‘DNA’ karya BTS dalam piano kover. Penelitian ini menggunakan metode kualitatif dengan pengambilan data berupa studi literatur, studi diskografi, dan observasi. Hasil penelitian menunjukkan bahwa bentuk musik yang diterapkan dalam piano kover tetap sama, tetapi terdapat perbedaan dalam elemen musik, yaitu poliritmik, harmoni, dan warna nada.AbstractForms and Elements of Acoustic Music in Bangtansonyeondan (BTS)'s Piano Cover of 'DNA'. Electronic music and popular music combined resulted in a new genre of music, namely Electronic Dance Music (EDM). EDM is a percussive electronic music genre using high-tech equipment. One of the places that started experimenting with EDM was South Korea, namely Kpop or Korean Pop. Kpop uses a mix of Korean music with Western music. One example that uses EDM is the song 'DNA' by the BTS group. People now like to cover songs to vocals or instruments, one of which is a piano cover. The problem under study is knowing the form and elements of EDM music in a piano cover. This study aims to determine the form and musical elements of the song 'DNA' by BTS on the piano cover. This study uses qualitative methods with data collection in literature studies, discography studies, and observations. The results showed that the musical form applied to the piano cover remained the same, but there were differences in the musical elements, namely polyrhythmic, harmony, and tone colour.Keywords: electronic music; music popular; EDM; Kpop; piano cover
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Napitupulu, Rachel Yohana Adriana y Andre Indrawan. "Pembelajaran Online Piano di Concertino Music School Medan: Kajian Kualitatif Pendidikan Non-Formal pada Masa Pandemik". PROMUSIKA 10, n.º 1 (30 de abril de 2022): 13–23. http://dx.doi.org/10.24821/promusika.v10i1.6839.

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Sejak awal munculnya pandemi Covid 19 di Indonesia, produktivitas kegiatan pembelajaran musik khususnya piano di lembaga nonformal menurun drastis. Penelitian ini bertujuan untuk mengkaji strategi mengajar guru piano dalam menjalankan profesinya di lembaga tersebut agar siswa dapat bertahan belajar. Penelitian ini menggunakan metode kualitatif. Populasi sampel penelitian ini adalah praktisi pendidikan dan partisipannya, khususnya guru dan siswa di Concertino Music School. Penelitian ini mengumpulkan data melalui observasi partisipatif terbatas dengan pendekatan partisipan sebagai observer. Namun, dalam pengamatan ini, seorang guru yang dipilih dan siswanya akan mewakili populasi. Prosedur penelitian meliputi penetapan data, observasi data sebagai pengamat, analisis data, dan penarikan kesimpulan. Hasil penelitian menunjukkan bahwa pembelajaran piano online bergantung pada ketersediaan dan kesiapan teknologi informasi dan komunikasi baik guru maupun siswa. Selain jaringan yang tidak stabil, kelemahan pendidikan online dalam proses belajar piano terkendala oleh petunjuk teknis akurasi bermain piano, terutama keterbatasan layar. Kesimpulannya, untuk mengatasi target kurikulum yang tidak dapat terpenuhi seluruhnya pada siswa karena keterbatasan fasilitas teknologi, guru mengintensifkan pengarahan dan pemberian motivasi untuk meningkatkan kemandirian siswa dalam belajar. Proses pembelajaran piano online ini akan berkontribusi pada pengembangan metode pengajaran musik online di lembaga non-formal dan meningkatkan studi pendidikan musik jarak jauh.AbstractOnline Piano Learning at Concertino Music School Medan: A Qualitative Study of Non-Formal Education During the Pandemic. Since the initial rise of the Covid 19 pandemic in Indonesia, the productivity of music learning activities, especially pianos, in non-formal institutions has drastically decreased. This research aims to examine the piano teacher teaching strategies in carrying out their profession in the institution so that students can survive learning. This study utilizes qualitative methods. The sample population of this research encompasses educational practitioners and their participants, especially teachers and students at Concertino Music School. This study collects data through limited participatory observation with the participant's approach as an observer. However, in this observation, a selected teacher and her student will represent the population. The research procedure includes establishing data, observing data as an observer, analyzing data, and drawing conclusions. The results showed that online piano learning relies on information and communication technology availability and readiness in teachers and students. In addition to unstable networks, the weakness of online education in the piano learning process is hindered by technical instructions on piano playing accuracy, especially by screen limitations. In conclusion, to overcome curriculum targets that Canada is fulfilled entirely by the student due to the limitations of technology facilities, teachers increase direction with motivation to improve students' self-independence in learning. This online piano learning process will contribute to the development of online music teaching methods in non-formal institutions and improve distance music education studies.Keywords: non-formal education; qualitative studies; online learning; piano
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Latifah, Diah. "EVALUASI MATA KULIAH PIANO UNTUK MENGHASILKAN GURU MUSIK DI SEKOLAH". Jurnal Penelitian dan Evaluasi Pendidikan 16, n.º 2 (14 de enero de 2013): 457–73. http://dx.doi.org/10.21831/pep.v16i2.1127.

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Studi ini bertujuan untuk mengevaluasi mata kuliah instrumen pilihan wajib piano dan relevansinya terhadap tujuan kurikulum Jurusan Pendi-dikan Seni Musik Universitas Pendidikan Indonesia yang berkomitmen untuk menghasilkan pendidik musik profesional. Untuk memenuhi tuntut-an ini, metode penelitian yang digunakan adalah studi kasus sosial inkuiri. Instrumen penelitian yang digunakan adalah pedoman observasi, pedoman wawancara, lembar pertanyaan lanjutan hasil informasi, dan kajian doku-men serta dokumentasi. Hasil Penelitian menyatakan bahwa partisipan ma-ta kuliah ini belum mampu untuk mengggunakan piano sebagai pengantar pembelajaran musik umum. Informasi ini ditindaklanjuti dengan rekomen-dasi, penyempurnaan silabus dan implementasi pembelajaran mata kuliah instrumen pilihan wajib piano, seyogyanya dilengkapi dengan subjek peng-gunaan piano sebagai pengantar pembelajaran musik di sekolah.Kata kunci: ketidaksesuaian kurikulum, evaluasi, rekomendasi______________________________________________________________ COURSE EVALUATION IN PIANO SUBJECT TO PRODUCE MUSIC TEACHERS IN SCHOOLS Abstract This study was aimed at evaluating “piano as compulsary course” and its relevancy toward the objectives of the curriculum of music edu-cation department of UPI that stated a commitment to provide proffesio-nals music educators. To meet this demand, the research methode used is Case Study In Social Inquiry. The research instruments are observation manual, interview manual, information question, and documentation. The research result shows that participants of this course have not shown capability of using piano as introduction to general music instruction. This information is followed up by the recommendations, syllabus improve-ments, and instruction implementation on the subject. It is recommended that ”piano as compulsary course” is equiped with subject of piano usage as introduction of music instruction at schools.Keywords: inappropiate curriculum, evaluation, recommendation
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Mandel, Alan, Elie Siegmeister y Kenneth Boulton. "Piano Music". American Music 21, n.º 4 (2003): 532. http://dx.doi.org/10.2307/3250581.

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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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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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Kilic, Deniz Beste Cevik. "An Investigation of Music Teacher Candidates’ Performance Anxiety Levels in Piano Examinations". Journal of Education and Learning 7, n.º 1 (19 de enero de 2018): 299. http://dx.doi.org/10.5539/jel.v7n1p299.

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Examination anxiety in piano education, one of the important courses in music education, can negatively affect both success in examinations and the education of students. This study aimed to determine the anxiety levels of students in the music education departments of universities in western Turkey regarding their piano examinations and their significance according to different variables. The study sample consisted of 174 female and 107 male students. The study found the students’ performance anxiety levels related to piano examinations to be moderate. There were no statistically significant differences in their anxiety levels by gender or age. Students with their own pianos were less likely to have performance concerns regarding piano examinations than those without. It was also found that the students’ year of study had a significant effect on their performance anxiety levels in piano examinations.
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Gunawan, Sailendra Bedantara. "Analyzing micro-level changes and minimalist techniques in Steve Reich’s "Piano Phase’"". Interlude: Indonesian Journal of Music Research, Development, and Technology 2, n.º 1 (25 de noviembre de 2022): 26–37. http://dx.doi.org/10.17509/interlude.v2i1.68195.

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In the historical development of Western music in the 20th century, a related interesting phenomenon of the minimalist music genre developed in America. Minimalist music is a style of music based on limited materials and micro changes in those materials. Among the composers who fall into this musical genre category iscomposer Steve Reich, who wrote a work for two pianos entitled "Piano Phase." This writing aims to reveal the limitations of musical material and changes at a micro level that occur in the work "Piano Phase" throughmusical analysis. The method used is content analysis based on two documents: sheet music and examplesof audio recording. From the analysis results, there are short melodic sentences with micro changes throughrhythm shifts using the accelerando technique. The changes made occur in three parts that have a pleasanttexture difference. The work "Piano Phase" has a unique composition technique, namely through Accelerandotempo changes can cause changes in the melody texture indirectly expected.
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Dharane, Vedant, Sriaansh Sahu, Rithik Kalla y Chetana Badgujar. "Piano Music Transcriber". International Journal of Engineering Research in Computer Science and Engineering 9, n.º 4 (25 de abril de 2022): 8–12. http://dx.doi.org/10.36647/ijercse/09.04.art003.

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Sheet music is a transcribed or printed type of melodic documentation that portrays the rhythms, harmonies, pitches of music with the assistance of melodic images. Printed music is the most essential instrument for artists to learn and play music. An educated musician can, from this sheet, play an entire grand composition. However, making sheet music from scratch is a very long and intricate process. A lot of musical experience is required for making sheet music from music one hears and even experts tend to make mistakes. This makes it almost impossible for beginners who are unable to distinguish between different chords to play the music that they hear. We aim to create a system that would provide the user with the needed sheet music by taking the input from the user in the form of an audio mp3 file. The proposed system automatically generates sheet music directly from recorded songs. This system proposed is mainly composed of estimation of chords then converting it into MIDI file which is a computer understandable language, and eventually into sheet music. All stereo audio recordings are converted into mono which further resampled to 16 kHz. Music generation is also applied which gives a priming sequence to the model in the types of a MIDI file and then predicts the further notes to help musicians form further melody while the composition of music is taking place. Beginners and lesser experienced musicians also struggle with procuring sheet music for melodies and are limited to only what is available from other professional transcribers. For professional musicians, it helps to lay the foundations and automates a major part of the creation process. Professionals can further improve the automatically generated sheet music without the burden of starting from scratch
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Tesis sobre el tema "Piano music"

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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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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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Winterbach, Veranza. "Stylistic characteristics of Gabriel Fauré's piano quartets and piano quintets". Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/7979.

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Gabriel Fauré has been neglected as composer in terms of international recognition. It is indeed true that the art of his music is not revealed at first sight: one must take time to discover the beauty and authentic meaning concealed in the depths thereof. While it is relatively true that musicians recognize the originality of his melodies, there seems to be a lack of appreciation of his contributions in the field of chamber music.
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De, Val Dorothy Jean. "Gradus ad Parnassum the pianoforte in London, 1770-1820 /". Online version, 1991. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.308701.

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Lopez, Richard C. "The piano concertos of Carl Maria von Weber : precursors of the romantic piano concerto". Connect to resource, 1989. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1228836117.

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Daly, Shawn Timothy. "Abram Chasins: A Study of Selected Works for Solo Piano and Two Pianos". University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1180706349.

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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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Kolesnikov, Inna. "Master's piano recital". Manhattan, Kan. : Kansas State University, 2007. http://hdl.handle.net/2097/477.

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Colton, Glenn David. "The piano music of Jean Coulthard". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ32739.pdf.

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Metaxaki, Maria. "Considerations for pedalling Debussy's piano music". Thesis, City University London, 2005. http://openaccess.city.ac.uk/8449/.

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The importance of the pedals in Debussy's piano music has been emphasised in a wide range of literature concerning Debussy and French piano music in general. However, and despite the obvious absence of pedalling indications in Debussy's piano scores, no dedicated study has been made in identifying a possible meaning behind their absence. This study will attempt in developing suggestions for pedalling Debussy's piano music based on written as well as sound sources directly associated with the composer. This attempt is developed in two stages: firstly, by providing evidence that Debussy was always seeking to extract a continuous sonority from the piano, feasible only through the application of the pedal and secondly, by making cross reference of this evidence and Debussy's own use of the pedals in his piano roll recordings. Ultimately, it is revealed that Debussy was making extensive use of both the unacorda as well as of the damper pedal. Any obvious conclusions in this study are not meant to be used as a guide for pedalling but as a source of reference that may assist the informed performer in his/her continuous search into Debussy's musical world.
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Libros sobre el tema "Piano music"

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musikkinformasjon, Norsk, ed. Piano: Contemporary Norwegian piano music. Oslo, Norway: Norwegian Music Information Centre, 1996.

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Moszkowski, Moritz. Music for piano. [United States]: G. Schirmer, 1990.

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Nixon, Roger. Music for piano. Berkeley, Calif: Fallen Leaf Press, 1995.

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Grainger, Percy. Music for two pianos. Mainz: Schott, 1997.

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Dutilleux, Henri. Blackbird: Pour piano = for piano. Paris: G. Billaudot, 1998.

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2021 Greatest Pop Hits Piano Sheet Music: Piano Book - Piano Music - Piano Books - Piano Sheet Music - Keyboard Piano Book - Music Piano - Sheet Music Book - Adult Piano - the Piano Book. Independently Published, 2021.

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Piano, J. S. Piano Books : : 2 Manuscrips: Piano Music, Piano Sheet Music. Independently Published, 2020.

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Piano Music: Piano Solo. Edward B. Marks Music Company, 1996.

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Piano Music. Serving House Books, 2020.

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Piano Music. C.R. Gibson Company, 1993.

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Capítulos de libros sobre el tema "Piano music"

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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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Riddle, Ronald. "Novelty Piano Music". En Ragtime, 285–93. London: Palgrave Macmillan UK, 1985. http://dx.doi.org/10.1007/978-1-349-08401-2_20.

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Riddle, Ronald. "Novelty Piano Music". En Ragtime, 285–93. London: Palgrave Macmillan UK, 1985. http://dx.doi.org/10.1007/978-1-349-08404-3_20.

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Tibbetts, John C. "The Romantic Piano". En Performing Music History, 159–75. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92471-7_6.

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Dorf, Samuel N., Heather MacLachlan y Julia Randel. "Classical-Period Piano Music". En Anthology to Accompany Gateways to Understanding Music, 114–20. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-27.

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Dorf, Samuel N., Heather MacLachlan y Julia Randel. "Romantic-Period Piano Music". En Anthology to Accompany Gateways to Understanding Music, 165–68. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-31.

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Pike, Pamela D. "The Music Major". En Dynamic Group-Piano Teaching, 69–83. New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315280370-6.

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Toft, Robert. "Soloists With Piano Accompaniment". En Recording Classical Music, 129–33. New York, NY: Routledge, 2020.: Focal Press, 2019. http://dx.doi.org/10.4324/9781351213783-13.

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King, Richard. "Recording Solo Piano". En Recording Orchestra and Other Classical Music Ensembles, 162–69. 2a ed. New York: Focal Press, 2024. http://dx.doi.org/10.4324/9781003319429-26.

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Kennan, Kent y Donald Grantham. "Problems in Transcribing Piano Music". En The Technique of Orchestration Workbook, 63–70. 7a ed. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003130697-5.

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Actas de conferencias sobre el tema "Piano music"

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Bargar, Robin. "Music for unprepared piano". En ACM SIGGRAPH 98 Electronic art and animation catalog. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/281388.281942.

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Hsieh, MingChih. "Piano Music of Claude Debussy". En 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.074.

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Liu, Jinge y Shuyu Wang. "Piano4Play: An Automated Piano Transcription and Keyboard Visualization System using AI and Deep Learning Techniques". En 8th International Conference on Control, Modeling and Computing (CMC 2022). Academy and Industry Research Collaboration Center (AIRCC), 2022. http://dx.doi.org/10.5121/csit.2022.120502.

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Piano keyboard visualization was very popular right now, but there are very few virtual piano keyboard visualizations right now [1]. I was using unity to show the virtual piano keyboard and then they can play piano pieces by themselves or play a recording online [2]. After that you can listen and see how the recording pieces play it on the visual keyboard to give them a clear idea about how the songs played on a keyboard2 [3]. For those who played by themselves it can let them heard and know also when the visual piano play for them, they can tell if they have offbeat playing or they missing not. Piano4Play is an automated piano transcription and keyboard visualization system using AI and deep learning techniques. The user could upload a recorded piece of music, and our app would visualize the music on a digital piano keyboard. The user could see how the music is played visually in order to help piano beginners to see how the music will be played on piano in order to help them learn more quickly and easier, and advanced players could use the app to see whether they made any mistake when they are playing so they can get some improvement. Our app uses wav and MIDI files, repl, real-time database, google Collab and Unity.
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Barbancho, Ana M., Isabel Barbancho, Beatriz Soto y Lorenzo J. Tardon. "SIC receiver for polyphonic piano music". En ICASSP 2011 - 2011 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2011. http://dx.doi.org/10.1109/icassp.2011.5946419.

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Kobzantsev, A., D. Chazan y Y. Zeevi. "Automatic transcription of piano polyphonic music". En 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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Valiente, Pablo Miranda, Giacomo Squicciarini y David Thompson. "Modeling the interaction between piano strings and the soundboard". En Fourth Vienna Talk on Music Acoustics. ASA, 2022. http://dx.doi.org/10.1121/2.0001685.

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Mehta, Apurva A. y Malay S. Bhatt. "Optical music notes recognition for printed piano music score sheet". En 2015 International Conference on Computer Communication and Informatics (ICCCI). IEEE, 2015. http://dx.doi.org/10.1109/iccci.2015.7218061.

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Simanjuntak, Hendrik, Lono Simatupang y Viktor Ganap. "Indonesian Piano Composition In History Of Music". En Proceedings of the First Nommensen International Conference on Creativity & Technology, NICCT, 20-21 September 2019, Medan, North Sumatera, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.20-9-2019.2296601.

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Wang, Tong. "Image Aesthetics Characteristics of Chinese Piano Music". En 2014 International Conference on Education, Management and Computing Technology (ICEMCT-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icemct-14.2014.34.

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Nadyrova, Damilya. "MUSIC AND MOVEMENT: FROM PIANO TEACHING EXPERIENCE". En Arts & Humanities Conference, Venice. International Institute of Social and Economic Sciences, 2016. http://dx.doi.org/10.20472/ahc.2016.001.011.

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Informes sobre el tema "Piano music"

1

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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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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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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