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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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Li, Chan. "A Deep Learning-Based Piano Music Notation Recognition Method". Computational Intelligence and Neuroscience 2022 (2 de junio de 2022): 1–9. http://dx.doi.org/10.1155/2022/2278683.
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In the era of rapid development of computer technology, piano music notation and electronic synthesis system can be established using computer technology, and the basic laws of music score can be analyzed from the perspective of image processing, which is of a great significance in promoting piano improvement and research and development, etc. In this paper, the Beaulieu analysis method is used to analyze the piano music notation and electronic synthesis system module. For piano sheet music, sheet music recognition is the main problem in the whole system. Through the digital recognition method, the piano sheet music feature matrix is extracted to get the piano sheet music multiplication frequency points and the envelope function needs to be extracted for better electronic synthesis of piano sheet music. The envelope function can represent the relationship between piano sound intensity and time change and finally achieve the recognition of the piano score. We extract the music information from the digital score, thus converting the music information into MIDI files, reconstructing the score, and providing an audio carrier for the score transmission. The experimental results show that the system has a correct rate of 94.4% in extracting music information from piano scores, which can meet the needs of practical applications and provide a new way for music digital libraries, music education, and music theory analysis.
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Roland-Silverstein, Kathleen. "Music Reviews". Journal of Singing 80, n.º 3 (enero de 2024): 361–63. http://dx.doi.org/10.53830/sing.00016.
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Abstract: Four new song cycle publications are reviewed for this September 2023 submission: Michael Ching’s Arrangements and Derangements: Interpretations of Schubert for Soprano, Cello, and Piano ; Reinaldo Moya’s Ciudad Perdida ; Lori Laitman’s Into Eternity: A Letter by Vilma Grunewald , for mezzo-soprano and piano; and Marion von Tilzer’s Into Eternity , for mezzo soprano, solo cello, string quartet, and piano.
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Svard, Lois y Samuel Barber. "Complete Piano Music". Notes 42, n.º 3 (marzo de 1986): 645. http://dx.doi.org/10.2307/897355.
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McMorrow, Kathleen, Elaine Keillor y Clifford Ford. "Piano Music I". Notes 43, n.º 4 (junio de 1987): 918. http://dx.doi.org/10.2307/898174.
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Gillespie, John y Elaine Keillor. "Piano Music II". American Music 7, n.º 4 (1989): 472. http://dx.doi.org/10.2307/3051920.
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Wilhite, Charles, Amy Beach y Arthur Foote. "Music for Piano". American Music 7, n.º 2 (1989): 230. http://dx.doi.org/10.2307/3052216.
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Bye, Antony y Stephan Moller. "Wagner: Piano Music". Musical Times 134, n.º 1802 (abril de 1993): 223. http://dx.doi.org/10.2307/1002502.
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Thomson, Andrew, Alfredo Catalani y Pietro Spada. "Complete Piano Music". Musical Times 136, n.º 1828 (junio de 1995): 313. http://dx.doi.org/10.2307/1004113.
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Lee, Douglas A. y Bennett Lerner. "American Piano Music". American Music 6, n.º 1 (1988): 118. http://dx.doi.org/10.2307/3448361.
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Peggie, Andrew. "Music for piano". British Journal of Music Education 3, n.º 1 (marzo de 1986): 101–7. http://dx.doi.org/10.1017/s0265051700005167.
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Jefferson, Meriel. "Piano Music Surveyed". British Journal of Music Education 7, n.º 2 (julio de 1990): 167–68. http://dx.doi.org/10.1017/s0265051700007713.
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Rapoport, Paul. "Sorabji Piano Music". Tempo 59, n.º 232 (abril de 2005): 55–56. http://dx.doi.org/10.1017/s0040298205250155.
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SORABJI: Two Piano Pieces; Fantaisie espagnole; Valse-Fantaisie: Hommage à Johann Strauss; Three Pastiches; Le jardin parfumé; Nocturne Jami; Gulistan; Introito and Preludio corale from Opus clavicembalisticum; Prelude, Interlude, and Fugue; Fragment for Harold Rutland; Fantasiettina sul nome illustre dell'egregio poeta Christopher Grieve ossia Hugh M'Diarmid; Quære reliqua hujus materiei inter secretiora; St. Bertrand de Comminges: ‘He was Laughing in the Tower’. HABERMANN: À la manière de Sorabji: ‘Au clair de la lune’. Michael Habermann (pno). BMS 427CD–429CD (3-CD set).SORABJI: Piano Sonata No. 4. Jonathan Powell (pno). Altarus AIR-CD-9069(1)–9069(3) (3-CD set priced as 2).
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MacDonald, Calum. "British Piano Music". Tempo 60, n.º 235 (enero de 2006): 44–49. http://dx.doi.org/10.1017/s0040298206310042.
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KENNETH LEIGHTON: Sonatinas Nos. 1 and 2, op.1; Sonata No.1 op.2; Sonata No.2 op.17; Five Studies op.22; Fantasia Contrappuntistica (Homage to Bach) op.24; Variations op.30; Nine Variations op.36; Pieces for Angela op.47; Conflicts (Fantasy on Two Themes) op.51; Six Studies (Study-Variations) op.56; Sonata (1972) op.64; Household Pets op.86; Four Romantic Pieces op.95; Jack-in-the-Box; Study; Lazy-bones. Angela Brownridge (pno). Delphian DCD 34301-3 (3-CD set).PATRICK PIGGOTT: Fantasia quasi una Sonata; 8 Preludes and a Postlude (Third Set). Second Piano Sonata. Malcolm Binns (pno). British Music Society BMS 430CD.SORABJI: Fantasia ispanica. Jonathan Powell (pno). Altarus AIR-CD-9084.ROWLEY: Concerto for piano, strings and percussion, op.49. DARNTON: Concertino for piano and string orchestra. GERHARD: Concerto for piano and strings. FERGUSON: Concerto for piano and string orchestra, op.12. Peter Donohoe (pno and c.), Northern Sinfonia. Naxos 8.557290.Severnside Composers’ Alliance Inaugural Piano Recital. GEOFFREY SELF: Sonatina 1. IVOR GURNEY:Preludes, Sets 1, 2 and 3. JOLYON LAYCOCK: L’Abri Pataud. RICHARD BERNARD: On Erin Shore. STEVEN KINGS: Fingers Pointing to the Moon. SUSAN COPPARD: Round and Around. JOHN PITTS: Aire 1; Fantasies 1, 5. JAMES PATTEN: Nocturnes 3, 4. SULYEN CARADON: Dorian Dirge. RAYMOND WARREN: Monody; Chaconne. Peter Jacobs (pno). Live recording, 23 February 2005. Dunelm DRD0238.Severnside Composers’ Alliance – A Recital by two pianists. MARTINŮ: Three Czech Dances. BEDFORD: Hoquetus David. JOHN PITTS: Changes. HOLLOWAY: Gilded Goldbergs Suite. JOLYON LAYCOCK: Die! A1 Sparrow. POULENC: Élégie. LUTOSLAWSKI: Paganini Variations. Steven Kings, Christopher Northam (pnos). Live recording, 14 May 2005. Dunelm DRD0243.‘Transcendent Journey’. FOULDS: Gandharva-Music, op.49; April-England, op.48 no.1. CORIGLIANO: Fantasia on an Ostinato. PROKOFIEV: Toccata, op.11. With works by BACH-CHUQUISENGO, HANDEL, BEETHOVENLISZT, BACH-BUSONI, SCHUMANN. Juan José Chuquisengo (pno). Sony SK 93829.
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Ham, Ina. "A Study on Music Teacher’s Perceptions of Piano Accompanying for Preservice Music Teacher". Korean Society of Music Education Technology 30 (16 de enero de 2017): 161–82. http://dx.doi.org/10.30832/jems.2017.30.161.
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This study investigates music teacher’s perceptions of the need, contents, and methods of piano accompanying education for preservice music teacher. The questionnaire was made based on the preceding research of piano accompanying and reviewed by three experts. A total 101 questionnaires were distributed out to music teachers and 85 were returned back. Numerical data were stored using SPSS software. Five more music teachers, not given questionnaire, and two piano accompanying instructors of university are interviewed for complement findings from questionnaire in depth. Findings reveal that high rate of those questioned perceives piano accompanying is one of the crucial education courses for preservice music teacher, though those questioned are not assured with the contents and methods of piano accompanying education. As a result, three suggestions are preposed. First, piano accompanying education needs to focus on practices and exercises during the courses. Second, piano accompanying and other music courses are needed to integrate in order to achieve the purpose of music education. Third, music teacher’s understanding towards piano accompanying needs to be changed.
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Liguang, Zhou. "A NEW APPROACH IN PIANO TEACHING: WE TEACHERS CAN COMPOSE REPERTOIRE IN MINIMALISM FOR STUDENTS". Academic Notes Series Pedagogical Science 1, n.º 195 (2021): 46–48. http://dx.doi.org/10.36550/2415-7988-2021-1-195-46-48.
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Patterns and repetitions are the essence of studies and exercises for piano. In music history, among composers, Carl Czerny (1791–1857) composed a great number of easy pieces for piano pedagogy that widely employed patterns and repetitions. Nowadays, minimalistic music is a new style but overlaps with the traditional repertoire of piano pedagogy on this emphasis. To employ minimalistic music in piano teaching is a new approach. Further, piano teachers can even compose pedagogical repertoire in minimalism for students. Here, I introduced my own experiences of composing such music for my students. The result was proved satisfactory in teaching. Many piano teachers composed music for their students, which was a convention in piano teaching in music history. They contributed huge amount of repertoire to piano. In the meanwhile, they were dedicated to teaching as well. Nowadays, this practice is still shining in A New Approach in Piano Teaching 6 piano pedagogy. There is a great number of piano teachers who compose music for piano pedagogy. They naturally make the music collections and published them. Undoubtedly, music composition is a specific major study in music schools and conservatories. However, the twenty-first century is an era of free style, like you can mix drinks of different flavors from a beverage machine. Further, minimalism naturally brings a solution for achieving your own piano pedagogical pieces. You can have a try! It is so fun and joyful, when you teach your students your own pieces and then enjoy progresses your students make. Ultimately, this practice will bring you such happiness when they can even memorize and perform your music. Of course, it will be fantastic if you publish your music for piano pedagogy.
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Lee, Jisun y Joonho Kim. "Ethnic Musical Elements of Andalusia, Spain, Reflected in Turina’s Piano Dance Music". Korean Society of Culture and Convergence 44, n.º 12 (31 de diciembre de 2022): 413–25. http://dx.doi.org/10.33645/cnc.2022.12.44.12.413.
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This study investigated the ethnic musical elements of Andalusia, southern Spain, reflected in Turina’s piano dance pieces. Turina integrated the traditional music style and impressionism music technique in Paris with the national music of Andalusia, implementing it in piano music. Turina, a composer who occupies a major position in Spanish nationalist piano music, produced the most piano works of any Spanish composers of his time. The dance suite, a large portion of his piano work list, preserves the identity of flamenco as a complex art with dance, a representative music of the Andalusia, and recreates it within the framework of traditional European music. This study analyzed Andalusian national music elements in Turina’s piano dance pieces by dividing into melodic, harmonic, and rhythmic elements. Turina’s piano dance have gained musical universality by fusion with the mainstream music trends of Western Europe beyond the limits of Andalusia, Spain.
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Maunder, Richard. "J. C. Bach and the Early Piano in London". Journal of the Royal Musical Association 116, n.º 2 (1991): 201–10. http://dx.doi.org/10.1093/jrma/116.2.201.
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A study of Johann Christian Bach's keyboard music prompts the obvious and important question: which of his sonatas and concertos were composed for harpsichord, and which for the piano? (Indeed, did he think of them as two distinct instruments at all?) And what sort of pianos did he have available on the occasions when he played them in public? Did he really play his ‘Solo on the Piano Forte’ at the Thatched House on 2 June 1768 (in a concert that consisted mainly of orchestral music) on a little Zumpe square, or was he already using a prototype English grand? When were these various models of piano first made in London, and what musical use did other composers and performers, as well as J. C. Bach, make of them?
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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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Lu, Hao, Nataporn Rattachaiwong y Lingling Liu. "A Study on the Application of Folk Song Style in Chinese Children's Piano music". Journal of Education, Humanities and Social Sciences 20 (7 de septiembre de 2023): 255–60. http://dx.doi.org/10.54097/ehss.v20i.11632.
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With China's economic development and emphasis on quality education and art education, the cultivation and education of children's music literacy has been widely popularized in every family, and the piano, as an important music education tool, plays a vital role in children's music cultivation and the development of comprehensive ability. In the context of the development of piano music in China, Chinese children's piano works have a unique and important position in piano teaching. In this paper, we will discuss the importance of Chinese children's piano works in piano teaching, the correlation between folk song style piano works and children's piano teaching, and discuss the important role and influence of folk song style piano works in children's piano teaching, as well as put forward corresponding teaching methods and strategies.
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Liu, Yaqin. "Exploration of the Integration of Ethnic Music Elements into Modern Piano Art Creation". Journal of Contemporary Educational Research 8, n.º 6 (3 de julio de 2024): 216–20. http://dx.doi.org/10.26689/jcer.v8i6.7128.
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Piano originated in Western countries, so a large number of Western cultural elements are used in piano art creation, mainly to present Western humanistic thoughts and spiritual cultural cores to the audience. In recent years, with the modernization of piano art and culture in China, many Chinese listeners have begun to demand more ethnic and folk piano pieces with Chinese characteristics. In order to meet the audience’s pursuit of modern Chinese piano art, more and more creators are integrating ethnic music elements into modern piano art creation. This article explores the integration significance of ethnic music elements in modern piano art creation and the current situation of Chinese modern piano art creation, and finds that ethnic music elements have positive help in enhancing the novelty, ethnic characteristics, and timeliness of piano art creation. Based on this, this article proposes several strategies for integrating traditional ethnic music elements into modern piano art creation, including adapting traditional ethnic music elements, creating pentatonic tunes, and modifying work titles. The aim is to provide references and inspiration for the development of Chinese piano art creation and culture.
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Yu, Linna y Zhifan Luo. "The Use of Artificial Intelligence Combined with Wireless Network in Piano Music Teaching". Wireless Communications and Mobile Computing 2022 (4 de abril de 2022): 1–18. http://dx.doi.org/10.1155/2022/7989620.
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Artificial intelligence (AI) development gives a new development direction to the traditional education model. The education reform in the intelligent environment is urgent. Under this background, the theory, methods, and characteristics of intelligent music education are expounded based on traditional piano music education. AI and Internet-based smart piano education is introduced. The characteristics of smart piano and its methods of assisting music teaching are analyzed. Moreover, literature review and questionnaire are adopted based on intelligent music education and smart piano theory. With two universities A and B in Nanjing as the research object, the questionnaire is designed to investigate and analyze the related problems of smart piano-assisted piano basic teaching in detail. The results show that smart piano positively improves skill training and psychological training in piano teaching. Piano major learners believe that smart piano can obviously help beginners and people with low piano levels. However, smart piano is not as good as traditional piano for high-level learners. In actual teaching, teachers should use different strategies for different levels of learners. Regarding curriculum quality, teachers have not fully played the role of the smart piano, and the curriculum of smart piano-assisted basic piano teaching still needs improvement. Finally, corresponding countermeasures and suggestions for the development direction of smart piano in piano music education are put forward according to the current situation of the smart piano. The results can reflect the current situation of smart piano-assisted basic piano teaching, provide a reference for researchers in related industries, and promote the related development of smart piano.
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Zhu, Ying. "Multimedia Recognition of Piano Music Based on the Hidden Markov Model". Advances in Multimedia 2021 (30 de diciembre de 2021): 1–8. http://dx.doi.org/10.1155/2021/2981531.
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Piano performance is an art with rich artistic elements and unpredictable performance skills. It is an important carrier for playing beautiful piano sounds. The generation of musical tension and expression of piano performance is a vivid display of piano performance skills. In piano performance, we should pay attention to the cultivation and flexible application of performance skills. In order to ensure the richness and artistry of piano performance, it is fully based on the artistic characteristics of piano performance. Through in-depth analysis of the principle of the hidden Markov model, it is applied to the multimedia recognition process of piano playing music. In the process of obtaining the template, the fundamental frequency of the piano playing music differs greatly, and the piano playing music appears during the performance process. For the problem of low recognition rate, this paper proposes a multimedia recognition method for piano music. Finally, the analysis of experimental results shows that the method proposed in this paper has a 16% higher recognition rate than the traditional method, and it has a certain value in the multimedia recognition of piano music.
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Medić, Ivana. "Parenting the piano: Miroslav Miša Savić's 'St. Lazarus Waltz'". New Sound, n.º 49 (2017): 123–38. http://dx.doi.org/10.5937/newso1749123m.
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This article deals with a work by a contemporary Serbian composer Miroslav Miša Savić (b. 1954): St. Lazarus Waltz for one or two grand pianos, with or without children's toy pianos. Since St. Lazarus is a children's holiday, the composer's idea was to depict children by toy pianos, while the grand pianos are 'parents'. The waltz exists in several versions: from the first one, where the children pianos are quite small and their musical parts very restricted, to the version for two 'adult' pianos, which describes the moment in life when children have grown up and left their parental home. Aside from exploring these musical 'family ties', Savić implements a simple yet ingenious constructive principle in all versions of this waltz. The structure of the piece is based on the exploitation of the system of equal temperament and on the Fibonacci row, and this frame is filled with several layers of musical references, including: Johann Sebastian Bach and other composers who wrote 'well-tempered' piano music; repetitive/processual minimalism, a style that Savić and his peers brought into Serbian music, but have since evolved in different directions; the Serbian tradition of romantic salon piano pieces; finally, the Orthodox tradition, but referenced in a way very different from the 'NEO-Orthodox' trend that has been present in Serbian art music since the late 1980s.
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Liu, Xueying. "Research on Piano Performance Optimization Based on Big Data and BP Neural Network Technology". Computational Intelligence and Neuroscience 2022 (22 de febrero de 2022): 1–10. http://dx.doi.org/10.1155/2022/1268303.
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At present, there are many chess styles in piano education, but there is a lack of comprehensive, scientific, and guiding teaching mode. It highlights many educational problems and cannot meet the development requirements of piano education at this stage. However, the piano scoring system can partially replace teachers’ guidance to piano players. This paper extracts the signal characteristics of playing music, establishes the piano performance scoring model using Big Data and BP neural network technology, and selects famous works to test the effect of the scoring system. The results show that the model can test whether the piano works fairly. It can effectively evaluate the player’s performance level and accurately score each piece of music. This not only provides a reference for the player to improve the music level but also provides a new idea for the research results and the application of new technology in music teaching. This paper puts forward reasonable solutions to the problems existing in piano education at the present stage, which is helpful to cultivate high-quality piano talents. Experiments show that the application of Big Data technology and BP neural network to optimize the piano performance scoring system is effective and can score piano music accurately. This paper studies the performance scoring system and gets the model after training, which can replace music teachers and alleviate the shortage of music teachers in the market.
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Pasaribu, Ayu Sarah Yanty. "Efektivitas Pembelajaran Piano Secara Daring Bagi Anak-Anak Di Purwacaraka Music Studio Yogyakarta". Grenek Music Journal 11, n.º 2 (30 de diciembre de 2022): 119. http://dx.doi.org/10.24114/grenek.v11i2.39198.
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Pandemi Covid-19 masih belum berakhir, kegiatan pendidikan masih dilaksanakan secara daring dan disertai dengan penerapan protokol kesehatan yang ketat. Maka dari itu, model pembelajaran secara daring hingga kini masih tetap dilaksanakan. Penelitian ini bertujuan untuk mengkaji efektivitas pembelajaran musik secara daring, khususnya pembelajaran piano di lembaga kursus musik. Metode penelitian adalah kualitatif bersifat deskriptif. Penelitian ini mengumpulkan data melalui observasi partisipatif. Sampel penelitian adalah pengajar dan siswa di Purwacaraka Music Studio Yogyakarta. Hasil penelitian menunjukkan bahwa proses pembelajaran piano secara daring membutuhkan peralatan teknologi dan media sosial untuk memudahkan pengajar menyampaikan isi materi pembelajaran. Pengajar piano Purwacaraka Music Studio Yogyakarta menggunakan metode pembelajaran secara daring dalam synchronous bi-directional, yaitu pengajar dan siswa melakukan tatap muka secara daring di waktu yang bersamaan. Metode pembelajaran piano adalah metode ceramah dan imitasi. Namun, terdapat pula kendala yang dihadapi ketika melakukan proses pembelajaran secara daring ialah, durasi waktu Zoom yang sedikit dan jaringan internet yang tidak stabil. Hal tersebut beberapa kali menghambat proses pembelajaran piano bagi siswa secara daring. Permasalahan spesifik yang sering dijumpai dalam pembelajaran secara daring adalah minimnya interaksi antara pengajar dan pendidik, sehingga menyebabkan terjadinya kesalahpahaman perbedaan dalam teknik permainan musik antara pengajar dan siswa karena tidak adanya proses pembelajaran secara tatap muka.
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Pike, Pamela D. "Improving music teaching and learning through online service: A case study of a synchronous online teaching internship". International Journal of Music Education 35, n.º 1 (23 de junio de 2016): 107–17. http://dx.doi.org/10.1177/0255761415613534.
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This case study explored the potential for using a synchronous online piano teaching internship as a service-learning project for graduate pedagogy interns. In partnership with the university, a local music retailer, and a local middle school, three pedagogy interns taught beginning piano to underprivileged teenaged students for 8 weeks. All instruction took place in the synchronous online environment using acoustic Disklavier pianos, Internet MIDI, Facetime, and traditional method books. As a result of the experience, the students demonstrated musical understanding and the pedagogy interns developed teaching techniques, displayed improved comprehension of course content, learned about current distance teaching technology, and considered the role of music education in society. Based on these results, it might be feasible to provide piano lessons to underserved populations in remote locations while offering meaningful internship experiences to pedagogy students through distance service-learning projects.
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Zhao, Yingna. "Harmonizing Tradition and Innovation: Exploring Cross-cultural Elements in Contemporary Chinese Piano Compositions". Pacific International Journal 7, n.º 2 (20 de abril de 2024): 80–84. http://dx.doi.org/10.55014/pij.v7i2.571.
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With the globalization of music education, the piano has emerged as a universally embraced instrument, serving as a conduit for cultural exchange. Chinese piano music, a fusion of traditional Chinese and Western cultures, occupies a crucial position in global music education. This study investigates the cultural significance, impact on cultural identity, cross-cultural elements, and pedagogical approaches associated with contemporary Chinese piano compositions. Through qualitative analysis of survey data collected from 30 music majors at Yunnan University of the Arts Wenhua College, several key findings emerged. Chinese piano music plays a vital role in representing contemporary Chinese culture on a global stage, harmonizing traditional elements with innovative approaches. Engagement with this genre positively influences cultural identity and pride among students, fostering a deeper connection to their heritage. The study identifies cross-cultural elements and innovative techniques in Chinese piano compositions, providing insights for educators and composers. Furthermore, it highlights the need for a more balanced representation of Chinese piano music in music education curricula, addressing gaps and biases in current pedagogical approaches. Overall, this study contributes to a deeper understanding of contemporary Chinese piano music's cultural significance and its implications for music education, cultural diplomacy, and compositional innovation.
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SKOWRONECK, TILMAN. "FORTE/PIANO: A FESTIVAL CELEBRATING PIANOS IN HISTORY". Eighteenth Century Music 13, n.º 1 (11 de febrero de 2016): 151–54. http://dx.doi.org/10.1017/s1478570615000627.
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Keeling, Geraldine. "Liszt at the Piano: Two American Pianos and Two American Artists". Studia Musicologica 55, n.º 1-2 (junio de 2014): 145–56. http://dx.doi.org/10.1556/6.2014.55.1-2.10.
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The image of Liszt at the piano has been a favorite with artists. This article examines two paintings: an 1868 painting of Liszt at a Chickering piano by G. P. A. Healy and a 1919 painting of Liszt at a Steinway piano by John C. Johansen. Due to recent publications, the Chickering painting and its story are fairly well-known. In contrast, the Steinway painting is almost unknown. Healy’s portrait (1868) was done in his studio in Rome as Liszt sat playing for him. While Healy had seen Liszt’s Chickering piano, the instrument in his studio was not that piano and, despite the name “Chickering” on the fallboard, the painting does not faithfully convey the details of Liszt’s Chickering. Johansen’s portrait (1919) was done by an artist who had never met Liszt and almost certainly had never seen his Steinway piano. Because of the Chicago connection, this article proposes that Johansen took his inspiration from Healy.
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Palmer, Peter. "Swiss Music". Tempo 57, n.º 226 (octubre de 2003): 54–56. http://dx.doi.org/10.1017/s0040298203290355.
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NORBERT MORET: TriptyquepourlesFêtes1; Gastlosen2; Mendiant du Ciel bleu3. 1The Tallis Scholars; 2Fritz Muggler organ); 3Béatrice Haldas (sop), Philippe Huttenlocher (bar), Nederlandse Omroep Stichting of Hilversum, Maitrise de St-Pierre aux Liens of Bulle, Düdingen Women's Choir; Heiner Kühner, Catherine Moret, Claudia Schneuwly (organs), Basle Radio Symphony Orchestra c. Armin Jordan. Musiques Suisses MGB CD 6199.ROLF LIEBERMANN: Furioso for orchestra1; Geigy Festival Concerto2; Medea-Monolog3; Les Echanges4; Concerto for Jazz Band and Symphony Orchestra5. 3Rachael Tovey (sop), 3Darmstadt Concert Choir; 2Alfons Grieder (perc); 1,2,5Simon Nabatov (pno); 5NDR Big Band, 1–5Bremen Philharmonic Orchestra c. Günter Neuhold. Naxos 8.555884.BETTINA SKRZYPCZAK: Scène1; Miroirs2; Fantasie for oboe3; SN 1993 J4; Toccata sospesa5; Concerto for Piano and Orchestra6. 1Noemi Schindler (vln), Christophe Roy (vlc); 2Mireille Capelle mezzo-sop), Ensemble Contrechamps of Geneva; 3Matthias Arter (oboe); 4Bohuslav Martinu Philharmonia of Zlin c. Monica Buckland Hofstetter; 5Verena Bosshart (fl), Riccardo Bologna, Eduardo Leandro (perc); 6Massimiliano Damerini (pno), Philharmonische Werkstatt Schweiz c. Mario Venzago. Musikszene Schweiz Grammont Portrait MGB CTS-M 78.RICHARD DUBUGNON: Piano Quartet1; Incantatio for cello and piano2; Trois Evocations finlandaises3; Cinq Masques for oboe4; Canonic Verses for Oboe, Cor Anglais and Oboe d'Amore5; Frenglish Suite for Wind Quintet6. 4,5Nicholas Daniel (ob), 5Emma Fielding (cor ang), 5Sai Kai (ob d'amore), 1Viv McLean (pno), 2Dominic Harlan (pno), 1Illka Lehtonen (vln), 1Julia Knight (vla), 1,2Matthew Sharp (vlc), 3Richard Dubugnon (db), 6Royal Academy Wind Soloists. Naxos 8.555778.
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Jones, Michael. "Piano Music by Erik Chisholm". Tempo 59, n.º 231 (enero de 2005): 72. http://dx.doi.org/10.1017/s004029820524007x.
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Piano music of Erik Chisholm and his friends. BARTÓK: With Drums and Pipes. SORABJI: Fantasiettina sul nome illustre dell'Egregio poeta Hugh MacDiarmid ossia Christopher Grieve. CHISHOLM: Piano Sonata in A, An Riobain Dearg. STEVENSON: A Threepenny Sonatina. BUSONI: Fantasia Contrappuntistica. Murray McLachlan (pno). Dunelm DRD0219.CHISHOLM: Music for piano Volume 1. Straloch Suite; Scottish Airs for Children; Piano Sonata in A (abridged version 2004). Murray McLachlan (pno). Dunelm DRD0222.
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Bezborodko, Oleg. "Chinese National Piano Style in “Two Poem Classics of The Tang Dynasty” by Xu Zhenmin". Studia Universitatis Babeş-Bolyai Musica 67, n.º 2 (20 de diciembre de 2022): 21–32. http://dx.doi.org/10.24193/subbmusica.2022.spiss2.02.
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" “Two Poem Classics of the Tang Dynasty” by Xu Zhenmin is a bright example of the Chinese national piano style. We analyze its main features using S. Tyshko’s theory of national style and the concept of the sound image of the instrument by L. Gakkel as the theoretical and methodological basis of our research. We introduce and define the concept of the national sound image of the instrument. Chinese piano music is characterized by the purposeful activity of composers both in stylistic adaptation and in stylistic generation. The European historical and stylistic sound images of the piano are adapted and act as the “foreign” material. The “native” material is generated both from folk and traditional Chinese music, its mode, intonation, and instrumental specifics, as well as from the rich artistic, philosophical and historical heritage of China. Keywords: National music style, piano music, Chinese piano music, Chinese national piano style, sound image of the instrument, Chinese national sound image of the piano "
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Pearsall, Edward. "George Crumb piano music". Tempo 58, n.º 230 (octubre de 2004): 78–79. http://dx.doi.org/10.1017/s0040298204240335.
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GEORGE CRUMB: The Complete Piano Music. Makrokosmos 1; Makrokosmos 2; Five Pieces for Piano; Gnomic Variations; Processional; A Little Suite for Christmas Philip Mead (pno). Metier MSV CD92067 (2-CD Set).
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Ehrlich, Cyril. "Piano". Musical Times 126, n.º 1709 (julio de 1985): 414. http://dx.doi.org/10.2307/964364.
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Rochester, Marc. "Piano". Musical Times 126, n.º 1709 (julio de 1985): 415. http://dx.doi.org/10.2307/964366.
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Rochester, Marc. "Piano". Musical Times 127, n.º 1716 (febrero de 1986): 95. http://dx.doi.org/10.2307/964571.
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Hodges, Nicholas, Berio, Stevenson, Crumb y Stevens. "Piano". Musical Times 133, n.º 1797 (noviembre de 1992): 582. http://dx.doi.org/10.2307/1002594.
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Chang, Chialun. "The Design and Implementation of the Curriculum for the Collegiate Group Piano Course at the Comprehensive Universities in China". Journal of Higher Education Research 3, n.º 4 (5 de agosto de 2022): 356. http://dx.doi.org/10.32629/jher.v3i4.956.
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The music education in China is unevenly distributed. Well known music conservatories in cosmopolitan cities offers high quality training both in theory and performance. On the other hand, general comprehensive universities, especially in the rural areas have limited resources and qualified teachers, and often require students a minimum of music training prior to college admission. Piano is the most versatile instrument to train music fundamentals, consequently, piano become mandatory course for a music degree in a comprehensive university. Many music departments offer group piano course to accommodate as many students. This essay will evaluate the course design of the collegiate group piano in China, and offer suggestions for implementation.
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Csüllög, Judit. "The Proportion and Importance of Folk Music in Piano Method Volume 1 and 2". Studia Universitatis Babeş-Bolyai Musica 68, n.º 2 (30 de diciembre de 2023): 353–81. http://dx.doi.org/10.24193/subbmusica.2023.2.26.
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"The study focuses on the folk music aspect of Piano Method Volume 1 and 2, which are still widely used in Hungarian piano teaching. It examines the proportion and function of Hungarian folk songs in the volumes. It sheds light on folk songs appearing in different phases of piano teaching and their methodological possibilities of use. Keywords: Hungarian folk music, Piano Method, piano teaching, piano methodology"
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Anggraini, Raden Roro Anggita, Ni Wayan Ardini y Ketut Sumerjana. "PROSES PEMBELAJARAN ALAT MUSIK PIANO PADA ANAK USIA DINI DI AMABILE MUSIK STUDIO". MELODIOUS : JOURNAL OF MUSIC 1, n.º 2 (10 de abril de 2023): 64–73. http://dx.doi.org/10.59997/melodious.v1i2.2169.
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Penelitian ini membahas tentang observasi pembelajaran alat musik piano pada anak usia dini di Amabile Music Studio. Penelitian ini bertujuan untuk menggambarkan perencanaan, pelakasanaan serta pembelajaran melalui musik dalam proses pembelajaran antara pengajar dan murid di Amabile Music Studio. Dampak penelitian yang dilaksanakan di Amabile Music Studio adalah meningkatnya kualitas pembelajaran yang lebih memotivasi, inspirasi, dan meningkatkan minat dan bakat di bidang seni, khususnya di bidang musik.