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1
Bernabei, Fabio. "Moto rigido di una figura piana nel suo piano". Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2018. http://amslaurea.unibo.it/16856/.
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Lo scopo di questa tesi è lo studio delle proprietà e delle caratteristiche del moto di una figura rigida piana nel suo piano nell'ambito della cinematica classica del corpo rigido. A partire dalla nozione di corpo rigido si perviene, tramite opportuni risultati ed osservazioni, alla formula fondamentale della cinematica del corpo rigido. Questa sarà basilare per arrivare al Teorema di Mozzi, con il quale si introduce il moto rigido piano. Si prosegue quindi con un’analisi di tale moto, definendo il centro di rotazione istantaneo e le curve che questo identifica durante il moto a seconda del sistema di riferimento scelto: la base e la rulletta. A supporto sono stati inseriti un capitolo riguardante la cinematica relativa del punto e alcuni esempi.
2
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
3
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.
4
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.
5
Colettis, Mary. "Piano recital". Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/27372.
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6
Crane, Alan P. "Piano recital". Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/27373.
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7
Howard, Christopher Eugene. "Piano concerto". Thesis, University of British Columbia, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0032/NQ27166.pdf.
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8
Tan, Chee-Tick. "Piano Quintet". Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc277681/.
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The thesis is a traditional piano quintet in the manner of Bartok, incorporating compositional techniques such as golden ratio and using folk materials. Special effects on strings are limited for easy conversion to wind instruments. The piece is about 15 minutes long.
9
Wong, Kei Hong. "Piano Concerto". Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18334.
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This thirteen-minute concerto explores the concept of the "third-stream" style, a genre prevalent from the early twentieth century onward that explores the fusion of classical and the popular idioms. The piano writing, especially in the cadenza, is greatly influenced by George Gershwin's Piano Concerto in F, one of the most representative works in this style due to its jazzy syncopated rhythms and romantic pianistic writing. In addition to the traditional orchestral instrumentation, this piece includes several drum set solos, recalling some of the percussive passages from Leonard Bernstein's West Side Story, a musical theater work evoking jazz and Latin styles. This piece also draws influence from the contemporary group Bad Plus Trio, embracing the avant-garde jazz style apparent in 1972 Bronze Medalist from the album "These Are the Vistas."
10
Goulart, Yedda de Castro Brascher. "O piano". reponame:Repositório Institucional da UFSC, 2013. https://repositorio.ufsc.br/handle/123456789/106256.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Florianópolis, 1985.Made available in DSpace on 2013-12-05T19:53:32Z (GMT). No. of bitstreams: 1 321846.pdf: 4990435 bytes, checksum: 62912d61122970538205d4da7456647f (MD5)
11
Tan, Jin Jack. "Piano acoustics : string’s double polarisation and piano source identification". Thesis, Université Paris-Saclay (ComUE), 2017. http://www.theses.fr/2017SACLY014/document.
Texto completo da fonteResumo:
L’objectif de cette thèse est d’améliorer la compréhension de l’acoustique du piano dans le contexte de la synthèse sonore par modèles physiques. Le manuscrit est décomposé en trois parties principales, dont les deux premières ont pour but la compréhension de l'origine de la double polarisation de la corde de piano, tandis que la dernière se focalise sur l’identification de sources d’un piano complet.Dans la première partie, la non linéarité géométrique, intervenant lorsque les amplitudesde vibration sont grandes, est étudiée afin de comprendre si le couplage non linéaire peut transmettre de l'énergie à une polarisation non initialement excitée et mener ainsi au phénomène de double polarisation. Un développement en échelles multiples est mené sur un modèle de corde de Kirchhoff-Carrier avec les deux extrémités fixes, restreint au mode fondamental de chacune des polarisations. Les deux oscillateurs ont alors des fréquences très proches, on parle de résonance 1:1. La condition d’existence et le critère de stabilitépour l’apparition de double polarisation sont obtenus et validés numériquement sur la base des équations de Kirchhoff-Carrier, ainsi qu’avec un modèle de corde enrichi.Des expériences sont menées sur un dispositif monocorde où les angles de polarisation naturelle de la corde, le désaccord entre les deux polarisations et le comportement non linéaire son observés et identifiés.La seconde partie se concentre sur le couplage entre la corde et le chevalet. Les degrés de liberté de la corde sont couplés au chevalet dont les mouvements (translation/rotation) sont représentés par un ensemble d'oscillateurs. Les fréquences propres des différents systèmes couplés sont analysés. Des schémas numériques sont proposés et mis en {oe}uvre pour une résolution directe. Ces schémas résolvent les équations de corde par une méthode d’éléments finis d’ordre élevé et les équations du chevalet analytiquement. Les conditions de couplage entre corde et chevalet sont assurées par des multiplicateurs de Lagrange. Expérimentalement, la corde est tendue sur le chevalet dans une configuration de type zig-zag et excitée verticalement ou horizontalement. Dans les deux cas, les phénomènes de double polarisation et de double décroissance sont observés et des résultats qualitativement similaires sont obtenus avec les modèles numériques.La dernière partie s'attache à décrire quantitativement les différentes sources vibro-acoustiques d'un piano complet. Une étude est menée en utilisant une analyse des chemins de transfert (transfer path analysis en anglais) sur un piano Bösendorfer 280VC-9. Les contributions de la table d’harmonie, des parties interne et externe de la ceinture, du cadre en fonte et du couvercle sont étudiées dans le domaine fréquentiel. L’analyse montre que la table d’harmonie est le principal contributeur mais que le cadre en fonte et le couvercle jouent également un rôle significatif, en particulier à hautes fréquencesThe objective of this thesis is to improve the understanding of the acoustics of the piano in the context of physically-based sound synthesis. The manuscript is decomposed in three parts, the first two being devoted to the undertsanding of the origin of the double polarisation in piano string, while the third one is dedicated to the identification of sound sources of a complete piano.In the first part, the geometric (large-amplitude) nonlinearity is studied in order to understand if the nonlinear coupling can transfer energy to an initially non excited polarisation, thus leading to the double polarisation phenomenon. A multiple-scaleanalysis is conducted on a Kirchhoff-Carrier string model with fixed boundary conditions at both ends. Each polarisation is restrained to its fundamental mode, leading to two oscillors having nearly equal eigenfrequencies, and thus presenting a 1:1 internal resonance. The existence condition and stability criteria for double polarisation to occur are obtained and validated numerically based on the complete Kirchhoff-Carrier equations, as well as a more enriched third-order string model. Experiments are carried out on a monochord setup where the natural polarisation angles of the string, detuning between the two polarisations and its nonlinear behaviour are observed and identified.The second part is devoted to the string/bridge coupling. The degrees of freedom of the string are coupled to the bridge whose translational and rotational motions are respresented by a set of oscillators. The eigenfrequencies of various coupled systems are analysed. Numerical schemes are proposed and implemented where the string is solved via high-order finite-element method while the lumped bridge is solved analytically and coupled to the string by Lagrange multipliers. Experimentally, the string is strung over a bridge in a zig-zag configuration and excited vertically and horizontally. In both cases, double polarisation and double decay are observed and similar results are also obtained qualitatively in numerical models.The last part is devoted to a quantitative description of the vibroacoustic sources of a Bösendorfer 280VC-9 piano via operational transfer path analysis. The contribution of the soundboard, inner and outer rim, iron frame and lid are investigated in the frequency domain. It is found out that the soundboard is the primary contributor but the iron frame and the lid also play a significant role, especially at high frequencies
12
Tan, Jin Jack. "Piano acoustics : string’s double polarisation and piano source identification". Electronic Thesis or Diss., Université Paris-Saclay (ComUE), 2017. http://www.theses.fr/2017SACLY014.
Texto completo da fonteResumo:
L’objectif de cette thèse est d’améliorer la compréhension de l’acoustique du piano dans le contexte de la synthèse sonore par modèles physiques. Le manuscrit est décomposé en trois parties principales, dont les deux premières ont pour but la compréhension de l'origine de la double polarisation de la corde de piano, tandis que la dernière se focalise sur l’identification de sources d’un piano complet.Dans la première partie, la non linéarité géométrique, intervenant lorsque les amplitudesde vibration sont grandes, est étudiée afin de comprendre si le couplage non linéaire peut transmettre de l'énergie à une polarisation non initialement excitée et mener ainsi au phénomène de double polarisation. Un développement en échelles multiples est mené sur un modèle de corde de Kirchhoff-Carrier avec les deux extrémités fixes, restreint au mode fondamental de chacune des polarisations. Les deux oscillateurs ont alors des fréquences très proches, on parle de résonance 1:1. La condition d’existence et le critère de stabilitépour l’apparition de double polarisation sont obtenus et validés numériquement sur la base des équations de Kirchhoff-Carrier, ainsi qu’avec un modèle de corde enrichi.Des expériences sont menées sur un dispositif monocorde où les angles de polarisation naturelle de la corde, le désaccord entre les deux polarisations et le comportement non linéaire son observés et identifiés.La seconde partie se concentre sur le couplage entre la corde et le chevalet. Les degrés de liberté de la corde sont couplés au chevalet dont les mouvements (translation/rotation) sont représentés par un ensemble d'oscillateurs. Les fréquences propres des différents systèmes couplés sont analysés. Des schémas numériques sont proposés et mis en {oe}uvre pour une résolution directe. Ces schémas résolvent les équations de corde par une méthode d’éléments finis d’ordre élevé et les équations du chevalet analytiquement. Les conditions de couplage entre corde et chevalet sont assurées par des multiplicateurs de Lagrange. Expérimentalement, la corde est tendue sur le chevalet dans une configuration de type zig-zag et excitée verticalement ou horizontalement. Dans les deux cas, les phénomènes de double polarisation et de double décroissance sont observés et des résultats qualitativement similaires sont obtenus avec les modèles numériques.La dernière partie s'attache à décrire quantitativement les différentes sources vibro-acoustiques d'un piano complet. Une étude est menée en utilisant une analyse des chemins de transfert (transfer path analysis en anglais) sur un piano Bösendorfer 280VC-9. Les contributions de la table d’harmonie, des parties interne et externe de la ceinture, du cadre en fonte et du couvercle sont étudiées dans le domaine fréquentiel. L’analyse montre que la table d’harmonie est le principal contributeur mais que le cadre en fonte et le couvercle jouent également un rôle significatif, en particulier à hautes fréquencesThe objective of this thesis is to improve the understanding of the acoustics of the piano in the context of physically-based sound synthesis. The manuscript is decomposed in three parts, the first two being devoted to the undertsanding of the origin of the double polarisation in piano string, while the third one is dedicated to the identification of sound sources of a complete piano.In the first part, the geometric (large-amplitude) nonlinearity is studied in order to understand if the nonlinear coupling can transfer energy to an initially non excited polarisation, thus leading to the double polarisation phenomenon. A multiple-scaleanalysis is conducted on a Kirchhoff-Carrier string model with fixed boundary conditions at both ends. Each polarisation is restrained to its fundamental mode, leading to two oscillors having nearly equal eigenfrequencies, and thus presenting a 1:1 internal resonance. The existence condition and stability criteria for double polarisation to occur are obtained and validated numerically based on the complete Kirchhoff-Carrier equations, as well as a more enriched third-order string model. Experiments are carried out on a monochord setup where the natural polarisation angles of the string, detuning between the two polarisations and its nonlinear behaviour are observed and identified.The second part is devoted to the string/bridge coupling. The degrees of freedom of the string are coupled to the bridge whose translational and rotational motions are respresented by a set of oscillators. The eigenfrequencies of various coupled systems are analysed. Numerical schemes are proposed and implemented where the string is solved via high-order finite-element method while the lumped bridge is solved analytically and coupled to the string by Lagrange multipliers. Experimentally, the string is strung over a bridge in a zig-zag configuration and excited vertically and horizontally. In both cases, double polarisation and double decay are observed and similar results are also obtained qualitatively in numerical models.The last part is devoted to a quantitative description of the vibroacoustic sources of a Bösendorfer 280VC-9 piano via operational transfer path analysis. The contribution of the soundboard, inner and outer rim, iron frame and lid are investigated in the frequency domain. It is found out that the soundboard is the primary contributor but the iron frame and the lid also play a significant role, especially at high frequencies
13
Poon, Letty. "Piano culture in Hong Kong from City Hall to Harbour City /". Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B38711163.
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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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Includes bibliographical references.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.
15
Morenus, Carlyn Gay. "An analysis of advanced pianists' use of damper pedal, finger legato, and finger touch to achieve legato performance of two Beethoven excerpts /". Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
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Fairlie, Cheryl Lynn. "Graduation piano recital". Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26150.
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Quaglio, Grace Claudia Charlotte. "Graduate piano recital". Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/27382.
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Park, Adrienne Claire. "A piano recital". Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/28881.
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Pauls, Cheryl Irene. "Graduate recital : piano". Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/29768.
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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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21
Martinson, Benjamin. "Sonata for Piano". University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337287364.
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22
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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Phillips, Peter. "Piano Rolls and Contemporary Player Pianos: The Catalogues, Technologies, Archiving and Accessibility". Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/16939.
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Reproducing piano rolls have been of great interest to me for nearly 40 years, yet despite their significant potential in a number of research areas, they remain largely untapped. In my thesis I seek to discover why this vast historical library of music and interpretations is not more widely acknowledged and utilised. Reproducing piano rolls provide a valuable evidence of nineteenth-century performing practices, as well as offering unique pathways to other forms of research. The substantive catalogues of art music alone prove the musical worth of these rolls. Numerous commentators have chosen either to ignore or to consciously dismiss reproducing piano roll recordings as a valid representation of the art of the pianist. Clearly, in the majority of cases, their opinions have been formed through hearing rolls replayed on poorly adjusted instruments; the piano rolls themselves are not the problem. To dispel the myths that have taken hold as a result, I examine how three major piano roll companies made their recordings, and test the common criticism that these recordings were subjected to invasive editorial change. Accessing faithful piano roll recordings is an acknowledged problem. My viewpoint is that if piano roll recordings are made as accessible as early sound recordings, many rich research opportunities will present themselves. Archiving piano rolls remains an area desperately in need of further research. In this thesis I present the philosophy underpinning my methodology for developing the means to record piano rolls as raw MIDI files. Making the raw files compatible with contemporary MIDI instruments provides the sought-after accessibility, a topic that has so far attracted minimal academic interest.
24
Flanagan, Beavan. "Turning over, for 13 instruments, piano, electronic microtonal piano and electronics". Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116997.
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Turning Over is a 13-minute composition for 13 instruments, piano, electronic piano and pre-recorded electronics. A strong emphasis on harmony, representing the result of two years of research into various intonation theories of the 17th, 18th and 20th centuries, is reflected in the subtle variations in intonation between the equal-tempered acoustic instruments and the just-intonation tuning of the electronics as well as the electronic piano. The musical discourse reflects philosophical concerns regarding the concept of essence in music and its illusive nature – this translates into a musical form that is in a constant state of transformation.Turning Over ('ressasser') est une composition pour 13 instruments, piano, piano électronique et sons électroniques d'une durée de 13 minutes. Un fort accent sur l'harmonie, qui est le résultat de deux années de recherche sur les théories du tempérament musical du 17e, 18e et 20e siècle, est reflété dans les variations subtiles de tempérament entre les instruments acoustiques et les éléments électroniques. Le discours musical reflète des préoccupations philosophiques concernant le concept de l'essence dans la musique et de sa nature illusoire – ceci se traduit dans une forme musicale qui est toujours en état de transformation.
25
Xu, Ying. "Piano teaching in Hong Kong : portraits of four outstanding piano pedagogues". HKBU Institutional Repository, 2004. http://repository.hkbu.edu.hk/etd_ra/542.
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Pace, Cynthia Margaret. "Ruth Crawford's final solo piano works : an analysis of FOUR PRELUDES FOR PIANO and PIANO STUDY IN MIXED ACCENTS /". Access Digital Full Text version, 1989. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10903598.
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Thesis (Ed.D.)--Teachers College, Columbia University, 1989.Typescript; issued also on microfilm. Sponsor: Lenore M. Pogonowski. Dissertation Committee: Harold F. Abeles. Bibliography: leaves 322-324.
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Innis, Joy Anne. "Black and white in color : the technical procedures involved in the production of two computer multimedia projects based on music for two pianos". Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1026702.
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The purpose of this study was to create two multimedia projects using computer software that combined a soundtrack with an interpretive visualization of music written for two pianos, and to document the technical procedures involved in the creation of the multimedia projects.This study was a collaborative undertaking between the author and the other member of PALENAI Piano Duo, Adrienne Shannon. A companion to the current dissertation has been submitted by Ms. Shannon, titled Black and White in Color: The Creative Aspects Involved in the Production of Two Computer Multimedia Projects Based on Music for Two Pianos.The goal of the multimedia projects was to produce visualizations of the musical elements and compositional devices found in the selected compositions. The two pieces selected for these visualizations were "Le Cygne", from Le Carnaval des Animaux by Camille Saint-Satins, and the Prologue from the Sonata for Two Pianos by Francis Poulenc. The SWAN project is visualized by means of realistic photography and the PROLOGUE project makes use of abstract imagery.This study examines the technical procedures in all stages of the projects, including the creation of the source photographs and the scanning procedures, the image editing and manipulation stage that was carried out in Adobe Photoshop, the composition of the project using Adobe Premiere, and the output to a computer-based presentation by compiling the project into a QuickTime movie.The projects in this study are intended to express the music by visual means as a creative endeavour, as an educational tool, and as a demonstration of the capabilities of two Adobe software programs within a Macintosh environment.School of Music
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Shannon, Adrienne White. "Black and white in color : the creative aspects involved in the production of two computer multimedia projects based on music for two pianos". Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1026701.
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The purpose of this study was to create two multimedia projects using computer software that combined a soundtrack with an interpretive visualization of music written for two pianos, and to document the creative factors involved in the creation of the multimedia projects.This study was a collaborative undertaking between the present writer and the other member of PALENAI Piano Duo, Joy Innis. A companion to the current dissertation has been submitted by Ms. Innis, titled Black and White in Color: The Technical Procedures Involved n the Production of Two Computer Multimedia Projects Based on Music for Two Pianos.The goal of the multimedia projects was to produce visualizations of the musical elements and compositional devices found in the selected compositions. The two pieces selected for these visualizations were "Le Cygne", from Le Carnaval des Animaux by Camille Saint-Satins, and the Prologue from the Sonate pour deux pianos by Francis Poulenc.The study begins with a traditional analysis of the works followed by a description of the images that were selected from the image pool for the visualizations (the image pool is described in detail in the companion dissertation); an explanation of the criteria for image enhancement and manipulations that were carried out in the Adobe Photoshop program; and a detailed outline of the composition stage of the projects using the Adobe Premiere program.The projects in this study are intended to express the music by visual means as a creative endeavour, as an educational tool, and as a demonstration of the capabilities of two Adobe software programs within a Macintosh environment.School of Music
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STEVENS, DAMON BRIAN. "INTRODUCING THE PIANO MUSIC OF SAMUEL BARBER TO THE UNDERGRADUATE PIANO MAJOR". University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1194288770.
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McAuley, Evan James. "Musical Thought and Piano Pedagogy: Pancho Vladigerov's Early Piano Compositions, 1915-1934". Ohio University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou161884421993399.
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Brissenden, P. G. "The reverse action Piano Harp : innovation and adaptation from Piano and Autoharp". Thesis, University of Salford, 2015. http://usir.salford.ac.uk/37557/.
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The piano is capable of controlling significant polyphony through the detail of voicing and sustain; a unique ability. However it remains a limited and frustrating instrument in terms of its ability to manipulate timbre. Contact with the strings is remote, and timbre inflection limited to note-onset within the capability of its mechanism; its musical output is often likened to visual studies in black and white. From the standpoint of design all musical instruments compromise musical capability in one form or another in order to align with human physical and sensory capability. A full range of expression may be sought by developing expertise on different instruments, but this is frustrating; in terms of expert performance interfaces such as guitar and piano are mutually exclusive — common theoretical structure must be relearned for comparable performance expression. This study explores the potential to create an instrument comprising a set of musical compromises comparable to that of the guitar, whilst remaining adaptive to pianistic technique. It begins with exploration of the autoharp and posits a keyboard variant of this instrument. Practice based research has been undertaken in the form of a prototype series and musical engagement upon the resulting instruments. Five prototypes have been developed, practice engages with aspects of automated design and manufacture, and in the latter stages, working with an exceptional industry based luthier. The resulting instrument has been patented. Musical practice encompasses genres from gypsy-jazz to contemporary experimental music. New works have been commissioned for the instrument and other musicians have played and studied it. Practice is supported through analysis of related forms of musical instrument (which influence the developing design) and the nature of change within musical technology. The result is a new, versatile instrument, with demonstrated capacity to gain traction and to propagate within the musical community.
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Huang, Fang Ting. "Preschool piano methods and developmentally appropriate practice". Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4721.
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Thesis (Ph. D.)--University of Missouri-Columbia, 2007.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on November 27, 2007) Vita. Includes bibliographical references.
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Skroch, Diana. "A descriptive and interpretive study of class piano instruction in four-year colleges and universities accredited by the National Association of Schools of Music with a profile of the class piano instructor /". Full-text version available from OU Domain via ProQuest Digital Dissertations, 1991.
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Brewer, Ferhiz. "Case study examinations of independent piano instruction in India /". Full-text version available from OU Domain via ProQuest Digital Dissertations, 1999.
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Brown, Sandra L. "Being a female concert pianist : the problems of the body /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2004. http://wwwlib.umi.com/cr/ucsd/fullcit?p3130415.
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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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Santos, Rogério Lourenço dos. "Uma proposta de método para ensino de piano em grupo destinado ao curso de piano complementar nas universidades brasileiras". Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-22082013-141410/.
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A presente tese teve como motivação inicial a confecção de um método de ensino de piano em grupo para utilização nos cursos de piano complementar das universidades brasileiras. Neste trabalho, relatam-se as etapas e processos reflexivos percorridos por este autor durante esta empreitada. Primeiramente, foi feita uma pesquisa histórica a respeito do surgimento do piano em grupo na Europa e nos Estados Unidos, chegando-se até às tecnologias utilizadas atualmente, assim como uma análise do cenário relativo ao ensino do piano em grupo e da disciplina de piano complementar nas universidades brasileiras. No segundo capítulo, apresenta-se uma análise crítica e comparativa dos mais importantes métodos de ensino em grupo existentes atualmente. O capítulo final descreve a organização do método considerada ideal para uma proposta de método de ensino de piano em grupo nas universidades brasileiras e apresenta parte dos exercícios confeccionados para o desenvolver cada uma das habilidades funcionais que são trabalhadas nos diversos capítulos do método elaborado ao longo desta pesquisa, assim como o porquê das escolhas envolvidas em sua confecção.This thesis had as its impetus the development of a group piano method designed for college level piano classes in the universities of Brazil. The purpose of this work is to reflect upon the process used in this endeavor. The first chapter presents a historical background from the beginnings of group piano instruction in Europe and the United States until its culmination in the technological era. It also examines group piano teaching in the secondary piano courses among Brazilian universities. The second chapter is a comparative analysis of the most important group piano methods currently in use. The final chapter describes the format and function considered ideal as a basis for the method of group piano teaching in Brazilian universities. Furthermore, it presents a sample of the exercises composed to develop each of the piano skills that are presented throughout the chapters of the method produced alongside with this research, as well as the rationale involved in its creation.
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Wu, Shih-Ying. "A graduate piano recital". FIU Digital Commons, 2003. http://digitalcommons.fiu.edu/etd/1752.
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PROGRAM
The Well-Tempered Clavier, Book I..............Johann Sebastian Bach (1685-1750) Prelude and Fugue XXI in B flat major Prelude and Fugue XXII in b flat minor
Sonata N. 11 in A major, K.331.......Wolfgang Amadeus Mozart (1756 - 1791) Theme and Variations Menuetto Allegretto
Intermission
Images Series II................................Claude-Achille Debussy (1862-1918) Poission d' or (Goldfish)
Rhapsodies Op. 79 .................................Johannes Brahms (1833-1897)
No. 1 in b minor No. 2 in g minor
Etude in A flat Major, Op. 1, No. 2.....................Paul de Schlozer (1841-1898)
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Catalan, Ramon E. "A graduate piano recital". FIU Digital Commons, 2005. http://digitalcommons.fiu.edu/etd/2084.
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The extended program notes include historical background on the composers and pieces being performed, as well as the analytical form regarding the works: Variations on "Ah vous dirai-je-maman," K. 265 by Wolfgang Amadeus Mozart; Sonata in C minor, op. 13 "Pathétique," by Ludwig van Beethoven; Consolation No. 3 and Funerailles by Franz Liszt; Fantasie in F minor, op. 49 by Frédéric Chopin.
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Bartman, Kristopher M. Mobberley James. "Piano concerto no. 1". Diss., UMK access, 2004.
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Thesis (M.M.)--Conservatory of Music. University of Missouri--Kansas City, 2004."A thesis in music composition." Advisor: James Mobberley. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 12, 2007. Online version of the print edition.
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Jones, Jesse Benjamin. "Piano concerto no. 1 /". Connect to online version of this title in UO's Scholars' Bank, 2007. http://hdl.handle.net/1794/6041.
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Patch, Marc. "L.U.K.L.O.V.: concerto pour piano". Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61132.
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林逸婷. "A Content Analysis of Bestien Piano Basics, Faber's Piano Adventures and Glover Piano Library". Thesis, 2013. http://ndltd.ncl.edu.tw/handle/70808060181620540993.
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碩士臺北市立教育大學
音樂學系碩士班
101
The purpose of this study is to analyze the contents of the piano teaching materials including Bastien Piano Basics, Faber’s Piano Adventures and Glover Piano Library. Through content analysis, this study compares and contrasts the essence of the teaching materials and the ways of curriculum engagement. The subjects of this study are: 8 volumes of Bastien Piano Basics, 14 volumes of Faber’s Piano Adventures and 12 volumes of Glover Piano Library, altogether 34 volumes, 646 songs. Based upon literature review, the researcher has developed the research instrument “Content Analysis Table of the contents of the piano teaching materials”. Qualitative as well as quantitative analyses are both adopted to accomplish the research. Conclusions of this study are as follows： 1. The Bastien Piano Basics’ “piano book” and “piano songs ” of dynamics are mostly mezzo forte, forte, and mezzo piano; the signs of articulation are mostly legato, staccato and accent; the tonality are mostly major and minor; the forms are mostly simple binary form, ternary form and strophic form. The pentatonic scale is often used in the “piano book”. 2. The Faber’s Piano Adventures’ “piano book” of dynamics are mostly mezzo forte, piano, and forte; the “piano songs ”of dynamics are mostly mezzo forte, piano, and crescendo. Both of two materials the signs of articulation are mostly legato, staccato and accent; the tonality are mostly major, minor and; the forms are mostly ternary form, simple binary form and strophic form. 3. Glover Piano Librarys’ “piano book” of dynamics are mostly mezzo forte, forte, and mezzo piano; the “piano songs ” of dynamics are mostly mezzo forte, crescendo, and sforzando. Both of two materials the signs of articulation are mostly legato, staccato and accent; the tonality are mostly major, and minor ;the forms are mostly ternary form, simple binary form and strophic form The pentatonic scale is often used in the “piano book”. 4、The similarity of dynamic marks in “piano book” and “piano song” of the three method books are mostly piano, mezzo piano, mezzo forte and forte-piano don’t exist; the signs of articulation are mostly legato, staccato and accent, mezzo staccato, marcato and tenuto don’t exist; the tonality are mostly major, minor and pentatonic scale; the forms are mostly ternary form, simple binary form, and strophic form. But the rondo form and sonata form don’t often used in the “piano songs”. 5、The difference of “piano book” and “piano song” of the three method books in dynamic marks of material engagement are types and proportion. The material engagement of the Bastien Piano Basics and the Faber’s Piano Adventures are more conscientious and better engagement in dynamic. 6、The difference of “piano book” of the three method books in articulation marks of material engagement are types and proportion. The material engagement of the Bastien Piano Basics is more conscientious, secondly are Glover Piano Library and Faber’s Piano Adventure in articulation. 7、The difference of “piano book” of the three method books in tonality of material engagement is the proportion of major and minor. Furthermore, pentatonic scale don’t exist in “ Faber’s Piano Adventures“. The material engagement of Glover Piano Library and Faber’s piano Adventure are more conscientious in tonality. 8、The difference of “piano book” of the three method books in form of material engagement is that sonata form is not used in Bastien Piano Basics, while variation is not used in “piano song” of Bastien Piano Basics and Faber’s Piano Adventures. The material engagement of Glover Piano Library and Glover Piano Library are more conscientious in form.
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Chen, Yi. "Piano concerto". 1993. http://catalog.hathitrust.org/api/volumes/oclc/68799778.html.
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Schimmel, Carl William. "Piano Concerto". Diss., 2008. http://hdl.handle.net/10161/625.
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The dissertation consists of a Piano Concerto, written for first performance in Fall 2008 by Blair McMillen, piano, and the Raleigh Civic Symphony conducted by Randolph Foy. The three movement work is scored for piccolo, 2 flutes (1 doubling piccolo), 2 oboes, English horn, 2 clarinets in B-flat, bass clarinet in B-flat, 2 bassoons, 4 horns in F, 3 trumpets in C, 2 tenor trombones, bass trombone, tuba, timpani, 3 percussionists, strings, and piano solo. The work is approximately twenty minutes in duration.
The first movement, "Fantod," employs a neo-Romantic idiom, featuring the soloist as both aggressive virtuoso and as a subtle residual resonance which emerges from the orchestral texture. The second movement, "Lament," serves as a simple, pensive, and sorrowful aftermath to the frenzied first movement. In the third movement, "Rondoburlesque," the mood of the work becomes considerably more lighthearted, and moments of the first two movements are caricatured.
The Concerto's harmonic and melodic organization derives from a set theoretical design. The first movement uses the harmonic minor scale and its inversion, the second movement uses the melodic minor scale, and the last movement uses the natural minor scale (the major scale). Important and unique subsets of these scales are used to provide both contrast and interrelatedness between movements. In particular, the main melodic theme of the first movement returns at the end of the last movement.Dissertation
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Tsai, Shih-Hao, e 蔡世豪. "Piano Recital". Thesis, 1996. http://ndltd.ncl.edu.tw/handle/47862515571434120047.
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"Piano Quintet". Master's thesis, 2014. http://hdl.handle.net/2286/R.I.24906.
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abstract: Piano Quintet> is a three movement piece, inspired by music of Eastern Europe. Sunrise in Hungary starts with a legato song in the first violin unfolding over slow moving sustained harmonics in the rest of the strings. This is contrasted with a lively Hungarian dance which starts in the piano and jumps throughout all of the voices. Armenian Lament introduces a mournful melody performed over a subtly shifting pedal tone in the cello. The rest of the voices are slowly introduced until the movement builds into a canonic threnody. Evening in Bulgaria borrows from the vast repertoire of Bulgarian dances, including rhythms from the horo and rachenitsa. Each time that the movement returns to the primary theme, it incorporates aspects of the dance that directly preceded it. The final return is the crux of the piece, with the first violin playing a virtuosic ornaments run on the melody.Dissertation/Thesis
M.M. Composition 2014
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Schimmel, Carl. "Piano Concerto". Diss., 2008. http://hdl.handle.net/10161/625.
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Kohls, Shauna. "Piano recitals". Thesis, 1993. http://hdl.handle.net/2429/1890.
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chiao-hui, Chang, e 張喬惠. "A Content Analysis of Alfred's Basic Piano Library and Faber's Piano Adventure Elementary Piano Method Series". Thesis, 2011. http://ndltd.ncl.edu.tw/handle/13195062019566026387.
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碩士國立臺灣師範大學
音樂學系
99
The objective of this research is to analyze the content of eleven different levels of piano lesson books from “Alfred’s Basic Piano Library” and “Faber’s Piano Adventure,” two elementary piano method series, while comparing the structure of the content within these books at the same time. This research employed content analysis only qualitatively. By utilizing uniquely created comparison charts as research tools, thorough analysis and comparison were made on musical knowledge, piano playing techniques, and piece arrangement in these piano lesson books. The main findings of this research are as followed: 1.In terms of musical knowledge, piano method series from both Alfred and Faber exhibit very rich content, and both begin with introduction to various musical notes as well as length of rests, followed by introduction to pitch and staff and many other contents. The two versions differ from one another in that Alfred’s lesson books tend to progress more rapidly than Faber’s. 2.In terms of piano playing techniques, both Alfred and Faber’s start with easy techniques and become progressively harder. However, Alfred’s series emphasize more on finger techniques where as Faber’s series focus more on the posture of various key-touches. 3.In terms of piece arrangement, both piano method series tend to select original pieces or transcriptions covering various styles of music written by the authors. Finally, recommendations were made base on the results of this research for editors of teaching materials, teachers, and also for future research. These results could also serve as a reference for elementary piano pedagog