Готові списки джерел за темами / Facture de piano

Добірка наукової літератури з теми "Facture de piano"

Автор: Grafiati
Опубліковано: 22 червня 2024

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Зміст

  1. Статті в журналах
  2. Дисертації
  3. Книги
  4. Частини книг
  5. Тези доповідей конференцій

Статті в журналах з теми "Facture de piano":

1

Martynenko, N. N. "PECULIARITIES OFORCHESTRA FACTURE IN CONCERT FOR PIANO WITH ORCESTRA F.POULENC (CIS-MOLL)." National Association of Scientists 3, no. 27(54) (May 14, 2020): 9–14. http://dx.doi.org/10.31618/nas.2413-5291.2020.3.54.201.

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The article considers a concert for piano and orchestra by F. Poulenc in the context of the musical aesthetics of thecomposer and features of the orchestra texture as key components of the author s creative method. The basic principles of orchestral writing are analyzed. Using specific examples from individual parts of the concerts, interesting distinctive properties inherent in the orchestration jf the composer are examined.
2

Didi, Amer. "Ziad Kreidy. 2018. La facture du piano et ses métamorphoses. Château-Gontier (Fr) : Éditions Aedam Musicae, coll. « Musiques xxe–xxie siècles », 128 p. ISBN 978-2-919046485." Book Review 37, no. 1 (May 17, 2019): 221–24. http://dx.doi.org/10.7202/1059896ar.

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3

Vélez Tobón, Gabriel Jaime, and Victoria Estrada Orrego. "Deformaciones y contagios. La lucha contra el pian en Colombia en la primera mitad del siglo XX." Trashumante. Revista Americana de Historia Social, no. 18 (July 19, 2021): 28–51. http://dx.doi.org/10.17533/udea.trahs.n18a02.

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El pian es una enfermedad contagiosa prácticamente olvidada en la actualidad. Este trabajo analiza las campañas que el gobierno colombiano puso en marcha para combatirla durante la primera mitad del siglo XX y examina las dimensiones que la enfermedad alcanzó a lo largo del país. La alta contagiosidad del pian era bien conocida, pero los factores biológicos no son suficientes para explicar su expansión. El análisis pone en evidencia las condiciones sociodemográficas de la población, los factores sociales y culturales que contribuyeron a la diseminación de la enfermedad y las vicisitudes administrativas y de diseño que enfrentaron estas campañas sanitarias.
4

Chi, Ju-Yang, Mark Halaki, and Bronwen J. Ackermann. "Ergonomics in violin and piano playing: A systematic review." Applied Ergonomics 88 (October 2020): 103143. http://dx.doi.org/10.1016/j.apergo.2020.103143.

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5

Fuentes López, Martha Elena, José Alberto García Salazar, and Juvencio Hernández Martínez. "Factores que afectan el mercado de madera aserrada de pino en México." Madera y Bosques 12, no. 2 (August 31, 2016): 17–28. http://dx.doi.org/10.21829/myb.2006.1221240.

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Con el objetivo de evaluar el comportamiento de la producción y el consumo de madera aserrada de pino, ante variaciones en los precios, se calcularon las elasticidades de la oferta y la demanda en un período de 23 años (1980-2003). Se ajustó un modelo de ecuaciones simultáneas compuesto de una ecuación de oferta, una de demanda, una de transmisión de precios y una de identidad. Los resultados indican que la producción de madera aserrada responde de manera inelástica (0 ,0748) a las variaciones en los precios, y que los factores que más afectan la oferta de madera aserrada de pino son la capacidad utilizada y la capacidad instalada en las industrias forestales, el salario mínimo y la tasa de interés real. La cantidad demandada de madera aserrada de pino también es inelástica (-0,1743) a los cambios en los precios, tanto en el corto como largo plazo, y los factores que más afectan el consumo de madera aserrada de acuerdo con sus elasticidades son el consumo rezagado y el ingreso real disponible.
6

Loewe Muñoz, Verónica Francisca, Claudia Delard R., Marlene Verónica González González, and Verónica Carolina Fuentes Díaz. "Introducción del pino piñonero (Pinus pinea L.) en Chile." Ciencia & Investigación Forestal 18, no. 2 (July 12, 2012): 39–52. http://dx.doi.org/10.52904/0718-4646.2012.386.

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Se analiza el comportamiento de 6 procedencias europeas de pino piñonero (Lombardía, Toscana, Eslovenia, Meseta Castellana, Andalucía Occidental y Sierra Morena) en un sector de la zona central de Chile, y se relaciona su desarrollo con clases de sitio españolas. También se analiza el impacto de factores climáticos y de diferentes prácticas de manejo. Los resultados muestran que las procedencias españolas presentan una mejor adaptación, y que la especie presenta una gran potencialidad en la zona estudiada.
7

Lai, Kuan-Yin, Shyi-Kuen Wu, I.-Ming Jou, Hsiao-Man Hsu, Mei-Jin Chen Sea, and Li-Chieh Kuo. "Effects of hand span size and right-left hand side on the piano playing performances: Exploration of the potential risk factors with regard to piano-related musculoskeletal disorders." International Journal of Industrial Ergonomics 50 (November 2015): 97–104. http://dx.doi.org/10.1016/j.ergon.2015.09.011.

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8

GRIECO, A., E. OCCHIPINTI, D. COLOMBINI, O. MENONI, M. BULGHERONI, C. FRIGO, and S. BOCCARDI. "Muscular effort and musculoskeletal disorders in piano students: electromyographic, clinical and preventive aspects." Ergonomics 32, no. 7 (July 1989): 697–716. http://dx.doi.org/10.1080/00140138908966837.

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9

Cuentas Peralta, Marco Sadiel. "La música de Alejandro Núñez Allauca." Antec: Revista Peruana De Investigación Musical 7, no. 1 (June 28, 2023): 38–48. http://dx.doi.org/10.62230/antec.v7i1.176.

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Este artículo explora la influencia y contribución del compositor peruano Alejandro Núñez Allauca a la música contemporánea de su país durante la segunda mitad del siglo XX. Fue un músico de la generación de los 60 y 70, inició su carrera como acordeonista antes de estudiar violoncello y composición, explorando una amplia gama de estilos, desde música tonal con elementos del folclore andino hasta técnicas de música electrónica y concreta. Se analizan brevemente tres de sus obras: Gravitación Humana (1970), que combina sonidos electrónicos y música concreta; Moto ornamentale e perpetuo (1970), una pieza para piano que refleja su experiencia como solista de acordeón; y Sonrisa de Jesús (1999), una obra con temática religiosa que incorpora ritmos y escalas de la música andina. A pesar de su talento y versatilidad, Núñez Allauca no ha recibido el reconocimiento adecuado en el Perú, su música es raramente interpretada y sus partituras no suelen ser usadas en la formación de músicos. Se sugiere que esto puede deberse a diversos factores históricos, sociales y culturales, y se ofrecen argumentos que sustentan la importancia del legado de Núñez Allauca para la cultura peruana contemporánea.
10

Rodríguez García, Mariela Yulissa. "COMPOSICIÓN DE ZOOPLANCTON EN LA LAGUNA EL PINO, BARBERENA, SANTA ROSA." Agua, Saneamiento & Ambiente 10, no. 1 (November 30, 2015): 50–57. http://dx.doi.org/10.36829/08asa.v10i1.1454.

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El presente artículo plantea la evaluación de la contaminación en la Laguna El Pino, Barberena, Santa Rosa, Guatemala, mediante la utilización del plancton animal como indicador y la relación con los factores ambientales determinantes para su desarrollo, en el periodo de noviembre 2014 a febrero del 2015. Se identificaron 13 especies pertenecientes a tres clases: 4 protozoos, 3 rotíferos, 6 crustáceos (2 cladóceros, 4 copépodos). La especie más frecuente durante el estudio fue Achanthocyclops vernales, presente en la mayoría de muestras alcanzando una densidad de 54 org/ml. Entre los cladóceros se encontró como especie más frecuente a la Daphnia (47 org/ml). Entre los rotíferos la especie con mayores densidades fue la Polyarthra (54 org/ml). En los protozoos la especie más frecuente y de mayores densidades fue Strobilidium (93 org/ml). La mayor abundancia de zooplancton se registra al iniciar el estudio en noviembre del año 2014. Este cuerpo de agua está catalogado como mesotrófico, con temperaturas entre 27.0 – 23.0 °C, con una transparencia que oscila entre 1.60m.- 5.55m. El sistema lacustre presenta una buena calidad de agua, con buena producción de peces y crustáceos, razón por la cual poblados cercanos practican la pesca que representa una buena fuente de ingresos.
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Статті в журналах Дисертації Книги

Дисертації з теми "Facture de piano":

1

Vandervellen, Pascale. "La facture du piano dans les provinces belges des origines à 1851." Doctoral thesis, Universite Libre de Bruxelles, 2007. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210716.

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L’étude fournit un panorama exhaustif de la facture du piano dans les provinces belges. Elle s’étend de 1761, année de la première référence écrite au piano, à 1851, date jalon marquée par l’industrialisation progressive des techniques et la standardisation des modèles. Entre ces deux dates, le dépouillement des almanachs permet de dénombrer plus d’une centaine de facteurs, majoritairement actifs à Bruxelles. Ils possèdent, suivant les registres des patentables, de petits ateliers. L’examen des instruments conservés montre que la production est de qualité. Elle relève à part entière de l’artisanat et est centrée sur les modèles domestiques – pianos carrés et pianos droits. En 1850, elle avoisine 1 750 instruments par an. Une cinquantaine de brevets d’invention liés au piano sont déposés. Ils témoignent, tout comme la participation croissante des facteurs aux expositions des produits de l’industrie, de la formidable énergie qui mobilise la facture du piano durant la période considérée.
Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished
2

Somma, Antonio. "Acoustique de la pratique musicale sur instruments historiques : étude transdisciplinaire de l’interprétation historiquement informée au piano." Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUS069.

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Cette thèse est motivée par la volonté de repositionner la facture instrumentale dans l’histoire de la technique pianistique. À l'intersection de l'acoustique musicale et de la musicologie, une approche unifiée est proposée, tirant parti de la tendance des deux disciplines à confronter plus directement leurs démarches de recherche avec la pratique musicale. En acoustique musicale, les propriétés mécaniques et vibro-acoustiques particulières des pianos historiques, appelés par convention fortepianos ou pianofortes pour les distinguer de leurs homologues modernes, suscitent un intérêt croissant. Cependant, la description physique de la production sonore nécessite de mettre en lumière le rôle indissociable des musiciens. Sur le plan musicologique, les performance studies examinent les styles d’interprétation et les techniques de jeu du point de vue de leur histoire. En complément de leurs observations, ces études peuvent s’intéresser à la démarche authentiquement artistique à travers laquelle l’interprétation historiquement informée ou HIP (Historically Informed Performance) a revisité l’exécution musicale sur les instruments historiques. Parmi les sources mobilisées par la HIP musicale pianistique, les fortepianos ont occupé historiquement une place centrale, étant perçus comme indiquant eux-mêmes le chemin pour la reformulation de leur jeu. En revanche, cette thèse met les pianistes au centre de l’étude, s’articulant autour du piano mais ne le considérant que du point de vue de leur interaction. Des discours de pianistes sont recueillis et analysés, montrant que le médium de cette interaction est pour eux le geste musical. Cet objet cognitif rassemble, d’une part, l’action des musiciens en situation de jeu, qui incarne leurs intentions musicales, et, d’autre part, leur perception, qui en est informée. Les actions ancillaires de pianistes en situation de jeu sont capturées et analysées, mettant en évidence la prévalence de comportements idiosyncratiques sur ceux qui dépendent de l’instrument joué, notamment au niveau de l’angle formé par le poignet. Ces observations ouvrent une nouvelle voie dans l’étude de l’interprétation musicale basée sur la signature cinématique de chaque instrumentiste, reflet de sa conception interprétative singulière. Finalement, une analyse mécano-acoustique de pianos est conduite, soulignant les avantages d’une intégration explicite dans son élaboration des paramètres de contrôle instrumental, notamment la masse engagée pour enfoncer les touches. Cela permet d’associer l’influence de la conception que se fait l’instrumentiste du rapport entre le style d’interprétation de l’œuvre et la technique de jeu de l’instrument
Historically Informed Performance (HIP) is an artistic approach aimed at executing works or practices from a specific era while imbuing them with the aesthetic and expressive ambitions as well as the stylistic codes of that time. Among the sources used in pianistic HIP, there are instruments whose construction principles date back to the relevant period, such as fortepianos or pianofortes, conventionally named to distinguish them from their modern counterparts. In the field of musical acoustics, the pianoforte is gaining increasing interest, typically focused on its unique mechanical and vibro-acoustic properties. However, the evolution of this discipline is marked by a tendency to elucidate the inseparable role of the musician in shaping scientific approaches. From a musicological perspective, historically informed performance has opened a new research field dedicated to the execution from a historical standpoint, known as performance studies. This innovative domain studies interpretation styles and playing techniques of historical instruments that HIP revisits in an authentically artistic approach. Motivated by the desire to reposition the role of instrumental craftsmanship in the history of pianistic technique, this thesis revolves around the instrument, specifically the piano, as the intersection point of musical acoustics and performance studies, placing the pianist at the center of experimentation. The observations made, on one hand, pave the way for a new analysis of musical interpretation based on musical gestures as a reflection of each performer’s unique interpretative conception. On the other hand, they highlight the benefits of an explicit integration of musical action in the acoustic and mechanical analysis of musical instruments, incorporating the influence of the performer’s conception of the relationship between the work and the instrument
3

Margerit, Pierre. "Caractérisation large bande du comportement dynamique linéaire des structures hétérogènes viscoélastiques anisotropes : application à la table d'harmonie du piano." Thesis, Paris Est, 2018. http://www.theses.fr/2018PESC1151/document.

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Le présent travail, réalisé dans le cadre du projet ANR MAESSTRO, concerne le remplacement des tables d’harmonie de piano traditionnellement constituées d’épicéa par des structures composites stratifiées. Cette démarche suppose une connaissance fine des matériaux à remplacer et des matériaux de remplacement. La contribution de la thèse consiste donc en le développement d’outils de caractérisation du comportement dynamique de structures viscoélastiques anisotropes hétérogènes sur une large bande de fréquence. Dans une première partie, l’étude théorique de la propagation des ondes planes dans ces structures est étudiée. Contrairement à une approche modale classique, les conditions aux limites et chargements sont écartés du problème. Les surfaces de dispersion obtenues contiennent la signature de l’anisotropie, de l’hétérogénéité des propriétés mécaniques ou encore du comportement dissipatif de la structure. La deuxième partie est dédiée au développement d’un moyen de mesure plein-champ robotisé. Celui-ci permet la mesure du champ de vitesse tridimensionnel instantané d’une structure soumise à un chargement dynamique répétable. La définition de l’expérience est intégrée dans un environnement CAO, permettant la prise en compte des problématiques liées à l’utilisation d’un bras robot, ainsi que l’automatisation complète de la mesure. La troisième partie est consacrée à la formulation de procédures d’identification basées sur les mesures obtenues. Les paramètres d’un modèle réduit de la mesure sont identifiés par le biais d’une méthode ESPRIT originale, intégrant des développements spécifiques aux mesures plein-champ. Ces paramètres sont ensuite utilisés pour exprimer un problème aux valeurs propres inverse permettant l’identification des propriétés de la structure mesurée. La démarche est mise en œuvre dans le cadre de l’analyse modale (régime transitoire) et l’analyse en vecteurs d’onde proposée (régime permanent). Des validations expérimentales sur des poutres homogènes et plaques anisotropes sont présentées. Le manuscrit conclut par l’application des méthodes proposées à l’identification des propriétés matériau d’une table d’harmonie de piano à queue Stephen Paulello Technologies SP190//
The present work, as part of the MAESSTRO ANR project, is motivated by the replacement of wood by composite material in the design of the piano soundboard. The main focus is on the characterization of the mechanical properties of both replaced and replacement materials in a wide frequency range, taking into account anisotropy, heterogeneous and viscoelastic behavior. First, the wave propagation in such structures is investigated; boundary conditions and loads are discarded to focus on the mechanisms responsible for the energy transmission in the media. The footprint of the complex behavior of the studied structures is represented and interpreted via the dispersion surfaces. Second, a robotized setup is proposed, allowing for the measurement of the full-field instantaneous 3D velocity along the surface of structures submitted to a repeated dynamic load. Third, identification methods using this experimental data are proposed. Based on the parameters of a reduced signal model of the measurement identified with an original ESPRIT method, inverse eigenvalue problems are formulated. Both transient and steady regime are investigated, respectively through modal analysis and the proposed wavevector analysis. The proposed methods are validated through applications on homogeneous beams and anisotropic plates. Finally, the overall proposed procedure is applied for the identification of the material properties of the soundboard of the Stephen Paulello technologies SP190// grand piano
4

Chi, Ju-Yang. "Musical Instrument Ergonomics in Violin and Piano Performance." Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/30064.

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The compatibility of the instrument with human physical abilities and characteristics is one of the principles in ergonomics. Inadequate instrument set-ups and sizes that mismatch the player’s physical attributes is frequently cited as one of the risk factors contributing to the development of playing-related musculoskeletal disorders (PRMDs) in violin and piano performers. For violinists, playing in a sustained asymmetric posture is inevitable and it has been observed that the left upper limb, which is the side that supports the instrument, is predominantly symptomatic in upper string players (violinists and violists). The use of adaptive accessories, such as a chin rest and/or a shoulder rest, has been proposed to be a way to improve the interface between the instrument and the player. For pianists, a “one-size-fits-all” keyboard has been the available industry standard with respect to the size of the keyboard in modern piano manufacturing, teaching and performing. However, recent demographic evidence proposes that this standardised piano keyboard discriminates against many pianists who have relatively smaller hand sizes. Controversies persist in best methods to ergonomically fit the instrument to the player among players and pedagogues of both these instruments, and no reviews to date have been conducted to determine whether a collection of evidence to support ergonomic ideals exists. This doctoral thesis presented the synthesis of work on investigating ergonomics in violin and piano performance and addressing knowledge gaps regarding optimising the interface between the instrument and the player. A systematic review of this topic was undertaken in Chapter 2. The results revealed that only scarce evidence with heterogeneity and low quality of methodology available on instrumental ergonomics in violin and piano performance. An observational study on interaction between hand span and different sizes of keyboards on muscle activity in pianists was conducted in Chapter 3 to investigate the biomechanical responses under ergonomic modifications, while hand size was identified as a potential risk factor for PRMDs (Chapter 2). The results of this experiment showed less muscular loads in pianists while they were playing on a matched size of keyboard regarding their hand spans, suggesting a compatible interface between the player and instrument can enhance performance biomechanics. Chapter 4 and 5 presented an interview study conducted to explore the factors that contribute to optimising the instrument-player interface in violin playing while the lack of comprehensive understanding of violin set-up was shown in Chapter 2. In Chapter 4, interview data was extracted in a way to present how the violin instrument should fit to a player. The results suggested there were fundamental inconsistencies in the use of physical elements (e.g. violin accessories and position the violin instrument) and the attitudes and beliefs towards instrument set-up while participants held onto different sources of knowledge. On the other hand, comfort and budget were commonly seen as the considerations in selecting the ergonomic set-up. Chapter 5 presents the findings from the aspect of how violinists should fit with their instruments, showing the biomechanics greatly varies but having a neutral posture may be the common aim in violin playing. It is also revealed the phenomenon that violinists tended to prioritise musical performance over monitoring their own posture and movement. Results in both Chapter 4 and 5 showed teacher plays an important role in either pedagogically providing ergonomic suggestions or working with body health professionals on improving a performance interface in violinists, and the process can be time-consuming. The data presented in this thesis showed the complexity of optimising the interface between the musical instrument and the player. From the investigations on violinists and pianists, interdisciplinary collaborations and crossover trainings in the professionals are recommended so that musicians are able not only to be trained with adequate ergonomic supports but to sustain their desirable musical outcomes. Future research building upon the findings of this thesis will further facilitate the inclusion of ergonomics in the industry of musical performance.
5

Dyal, Edith Irene Colvin. "An examination of factors which associate with a successful outcome in piano lessons /." Access Digital Full Text version, 1991. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11169643.

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Thesis (Ed.D.) -- Teachers College, Columbia University, 1991.
Typescript; issued also on microfilm. Sponsor: Robert Pace. Dissertation Committee: Lenore Pogonowski. Includes bibliographical references: (leaf 124).
6

Yee, Susan. "A comparison between junior and senior university piano students' health factors." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0013/MQ42116.pdf.

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7

Yoshimura, Eri. "Risk factors for piano-related pain among college students and piano teachers solutions for reducing pain by using the ergonomically modified keyboard /." Thesis, connect to online resource. Recital, recorded Apr. 14, 2006, in digital collections. Access restricted to the University of North Texas campus, 2009. http://digital.library.unt.edu/ark:/67531/metadc1469.

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8

Lewis, Lisa Michele. "Twelve nouvelle impressions : historical and cultural factors relating to the performance of Isaac Albeniz's Iberia Suite /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/11222.

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9

Miniotas, Donatas. "Karvių aplinkos veiksnių įtaka pieno kokybei." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130618_095939-58864.

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Pienininkystė – nuo seno Lietuvos respublikoje sparčiai besivystanti gyvulininkystės šaka, nes čia yra palankios gamtinės sąlygos. Pieno kokybė dažniausiai priklauso nuo gyvulio sveikatos ir žinoma nuo jam sudarytų laikymo sąlygų. Pieninių galvijų laikymo sąlygos turi atitikti jų biologines ir etologines reikmes. Respublikoje nuolat atliekami tyrimai siekiant užtikrinti ne tik produkcijos kiekybę, bet ir kokybę. Šiuo metu vis dažniau vyrauja reikalavimai, bei teiginiai, kad geriausiai galvijus laikyti nepririštus. Gyvulininkystės patalpų mikroklimatas įtakoja galvijų fiziologinių rodiklių normas. Būtina apibrėžti ir kiekybiškai įvertinti kiekvieno aplinkos komponento svarbą, kas gali leisti išvengti didžiausią žalą gyvuliams darančių veiksnių. Daugelio mokslo darbuotojų pastebėjimais dėl blogų karvių laikymo salygų primelžiama iki 15 proc. mažiau pieno. Be to, tokio pieno kokybė bus prasta, iš jo nebus galima pagaminti aukštos kokybės produktų. Valstybė kiekvienais metais praranda šimtus milijonų litų, dėl blogos kokybės pieno. Lietuvoje yra mažai atlikta tyrimų apie aplinkos veiksnių įtaką gyvulių produktyvumui, tame tarpe ir pieno kokybei. Būtina didinti tokių tyrimų kiekį Lietuvoje. Kadangi Lietuvoje nėra nuosekliai tyrinėta laikymo sąlygų įtaka pieno galutinei produkcijai, todėl iškeltas darbo tikslas: įvertinti skirtingomis sąlygomis laikomų karvių aplinką bei pieno kokybės kitimus. Darbo uždaviniai: 1. Įvertinti karvių laikymo sąlygų skirtumus. 2. Nustatyti pieno... [toliau žr. visą tekstą]
Object and tasks of work: The aim of this work was to evaluate the various conditions the cows are housed, and how that change the quality of the milk. Tasks of work : 1. To evaluate the cow housing conditions. 2. To investigate the differences in milk quality indicators. 3. To investigate the possible influence of cow housing conditions of milk qualitative indicators. 4. To analyze the negative factors affecting the quality of milk. Results and conclusions: It was found that there is a connection (p <0.05) between: 1. indoor air temperature and the total number of bacteria in milk; 2. indoor air humidity, and the total number of bacteria in milk; 3. bearing surface temperature and the total number of bacteria in milk; 4. indoor air temperature and somatic cell count in milk; 5. bearing surface temperature and somatic cell count in milk. With increasing microclimatic parameters, increasing the total number of bacteria in milk, and somatic cell count in milk. In the investigated farms, the best microclimate indicators were where cows was loose. It was the same with the milk quality indicators. The most negative factor affecting milk quality indicators, is housing temperature in the barn, because it encourages the other negative factors, like indoor air humidity and bearing surface temperature.
10

Adamavičiūtė, Deimantė. "Pieno ir kefyro mikrobiologinių rodiklių analizė." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2006. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2006~D_20060316_101049-88281.

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The aim of this work is to research milk and kefir microbiological indicators according to microbiological risk factors in the milk processing company A. Work tasks: to analyze drinking milk, ultra high temperature pasteurized milk and kefir descriptions and factors of the risk in technological process schemes; microbiological factors of the risk control schemes; samples of these products microbiological indicators according to company’s self-control plan. Conclusion: The main microbiological risk factors in drinking milk is total bacterial count, coliform bacteria, Salmonella; in the kefir – coliform bacteria, yeasts and moulds. Principals control points in drinking milk, ultra high temperature pasteurized milk and kefir technological schemes are: reception of the raw cow’s milk; freezing of the raw cow’s milk, storage and keeping; pasteurization of milk and freezing, pasteurized milk compound storage and keeping; milk warming, deaeration, homogenization, sterilization and refreshing (only for ultra high temperature pasteurized milk); repeated thermal treatment, cooling up to inoculation temperature (only for kefir); inoculation and incubation (only for kefir); storage. In the company’s A self-control plan preview principal control points microbiological risk factors are controlled by keeping a check of heating and freezing stages temperature and duration, monitoring of microbiological parameters are made not less than 4 times per year. Coliform bacteria and total bacteria... [to full text]
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Книги з теми "Facture de piano":

1

Rainer & Kloss (Firm), ed. Rainer & Kloss, piano-forte manufacturers, warerooms, Whitby, C.W. [S.l: s.n., 1986.

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2

Co, Mendelssohn Piano, ed. Compliments of Mendelssohn Piano Co., 110 Adelaide St. West, Toronto. [S.l: s.n., 1987.

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3

Senise, Daniel. The piano factory. Rio de Janeiro: Andre Jakobsson Estúdio, 2002.

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4

Davies, Jonathan. The piano factory. Rothley, Leics: W. F. Howes, 2004.

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5

Senise, Daniel. Daniel Senise: The piano factory. Rio de Janeiro: Andrea Jakobsson Estúdio, 2002.

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6

Co, Morris Feild Rogers, ed. We do one thing and do it well: We make upright pianos only : the Morris, Feild, Rogers Co., Listowel, Ontario. [S.l: s.n., 1987.

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7

Weber, Marie-Christine. J.K. Mercken: Premier facteur parisien de forte-piano. Paris: Flûte de Pan, 1986.

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8

McElroy, Gil. Pianoworks: Imagining the R.S. Williams Piano Factory : Murray Favro, Alexander Graham, Ryan Legassicke, Carl Zimmerman. Oshawa, Ont: Robert McLaughlin Gallery, 2003.

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9

Company, Cornish. The Cornish Company: Established over fifty years, makers of high-grade pianos and organs and direct dealers between factory and home. Deansboro, NY: Reed Organ Society, 1992.

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10

New York (N.Y.). Landmarks Preservation Commission. Sohmer & Company Piano Factory Building, 31-01 Vernon Boulevard (a.k.a 11-02 to 11-16 31st Avenue), Borough of Queens: Built c. 1886 (Berger & Baylies, architects), addition: c.1906-07 (attributed to Franklin Baylies). New York, N.Y.]: Landmarks Preservation Commission, 2007.

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Частини книг з теми "Facture de piano":

1

Clinkscale, Martha Novak, and John R. Watson. "S." In Makers Of The Piano, 321–71. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198166252.003.0019.

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Abstract Sachmeister. See Sakmeister, Charles S. Sachs (Sax), Conrad (fl. c.1820-21). Piano maker in Vienna. (Ottner/Wien, 125) Sachsossky. Maker in Kassel. (Dolge/Pianos) Saether, R. E. (fl. 1844-1880s). Maker of upright pianos at Mø llergt. 15 in Christiania (Oslo), Norway. He might be the partner Saether in the firm Srether & Koch, listed in the Norwegian Hande!skalendar of 1866— 67 as proprietors of a piano factory in Thv. Meyers gt. in Christiania. Another partnership, that of Srether og Berg, were connected to the firm of the Brndrene (Brothers) Hals.
2

Clinkscale, Martha Novak, and John R. Watson. "A." In Makers Of The Piano, 3–12. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198166252.003.0001.

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Abstract Aarestrup, Jens Peder Smidt (b 1827-d Bergen?, 1893). Maker of upright pianos at Smaastrandgaden 9 in Bergen, Norway. Aarestrup’s factory was established in 1857 and sold to H. S. Riisna:s in 1886. (Kjeldsberg/ PIANO, 85) Abate, Stefano (fl. late 1830s to c.1853). Dealer and maker in Milan. In the late 1830s Abate and Caspar Lorenz held a patent for soundboard improvement.
3

Cole, Michael. "The Upright Pianoforte: The Genesis of Upright Forms." In The Pianoforte In The Classical Era, 254–71. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198166344.003.0015.

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Abstract It1s Easyto imagine that the development of upright pianos is merely an answer to the need to save space in a domestic environment. During the twentieth century such a perception was plainly evident: the best type of piano was the grand, but for those who needed to save space or expense, the upright must suffice. In former times it was different.Throughout the period covered by this study the pianoforte came principally in two forms: the square piano and the grand. Economy was effected by choosing the square. When such an instrument cost as little as one-third of the cost of the grand, it is quite obvious that an upright, however cheaply manufactured, could yield no advantage in terms of price. In terms of floor space, the five-octave square piano was so unobtrusive that any small reduction that the upright might offer would not be a significant factor.
4

"The Piano in a Factory." In China's Cinema of Class, 127–45. Milton Park, Abingdon, Oxon ; New York, NY : Routledge, 2017. | Series: Routledge studies on China in transition ; 51: Routledge, 2017. http://dx.doi.org/10.4324/9781315393988-7.

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5

Smallan, Basil. "Introduction." In The Piano Trio, 1–15. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780193183070.003.0001.

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Abstract It seldom happens that the ongms of an artistic form can be assigned with confidence to a particular date or identified with a specific creative artist; usually such beginnings are obscured by the number and variety of the factors that contribute to them, or by the inconsistencies which appear inseparable from the evolutionary process. In the case of the piano trio, however, the criteria applicable to its fully fledged form are sufficiently precise to make the pin-pointing of a date, or at least a narrow period of origin, more than usually feasible. The genre represents, as we shall see, the culmination of an extended process of development, during which a great deal of music was written for the trio ensemble (usually in the earlier stages, harpsichord, violin or flute, and bass) under the guise of the so-called accompanied sonata. It was not, however, until the end of the eighteenth century that the conditions were gradually created for it to adapt fully to the ideals associated with classical chamber music. In order for this to happen three specific criteria had necessarily to be accepted as paramount: that the strings (and most crucially, for historical reasons, the cello) should be granted near-equal partnership with the keyboard; that the scoring should be unequivocally for the piano rather than the harpsichord,1 and most importantly, that all three instruments should be accorded, as nearly as possible, an equal share in the sonata argument through the exchange and alternation of thematic material.
6

Clinkscale, Martha Novak, and John R. Watson. "I." In Makers Of The Piano, 198–201. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198166252.003.0009.

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Abstract Ibach. A distinguished firm of German piano manufacturers; founded in 1794 byJohannes Adolph Ibach (b Lüittringhausen near Barmen, 20 Oct. 1766-dBarmen, 14 Sept. 1848) in Barmen, near Di.isseldorf. According to Dolge/PIANOS, 222 £, Johannes Adolph was educated at the monastery in Beyenburg (later Barmen). He learned his craft and worked apparently independently in Beyenburg in 1794, in Rittershausen in 1801, and Wupperfeld in 1806. In 1816 he had expanded by opening a new shop on the Alleestraße in Unterbarmen. His sons, Carl Rudolflbach (b 22 Feb. 1804—d Barmen, 26 Apr. 1863) and Richard Ibach (b 1812—d 24 Oct. 1889), continued as heads of the factory. In 1869 Richard concentrated on the organ division. Carl Rudolf’s son Rudolf (b 30 Jan. 1843-d 31July 1892) was early in his career employed by his uncle, Richard, but from 1869 he alone was responsible for bringing the firm to international prominence under the name Rudolf Ibach Sohn.
7

Novosiadla, Iryna. "Piano art of composers in the Ukrainian diaspora: genre-stylistic, educational and personological aspects." In Art Spiritual Dimensions of Ukrainian Diaspora, 126–64. Primedia eLaunch LLC, 2020. http://dx.doi.org/10.36074/art-sdoud.2020.chapter-6.

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The piano art of the Ukrainian diaspora is a unique and interesting phenomenon. It is a component of the educational and cultural system abroad, an embodiment of performance mastery and compositional talent, where the key factor is the attraction to Ukrainian traditions. Thanks to the universality of the expressed forms, the piano art of the diaspora contributes to the entry of Ukrainian national culture into the global cultural space.
8

Tarchynska, Yulia. "WAYS OF FORMING THE TECHNIQUE OF SOUND PRODUCTION IN THE INTERPRETATION OF MULTI-STYLE PIANO MUSIC." In Integration of traditional and innovative scientific researches: global trends and regional as. Publishing House “Baltija Publishing”, 2020. http://dx.doi.org/10.30525/978-9934-26-001-8-1-9.

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The article discusses the ways of the optimal formation of sound production techniques in the interpretation of multi-style piano music. The research methodology is based on the use of the historical method to highlight the evolution of methodological approaches to the formation of piano performing technique; analytical - to study the problem in scientific research in psychology, psychophysiology, musical pedagogy, piano performance; musicological method of analysis of piano styles; method of generalizing the piano performing experience of leading artists to substantiate the peculiarities of performing intonation of multi-style piano music. The purpose of this study is to identify the integral direction of improving the process of the formation of instrumental and performing technique, to concretize the sound forms of the embodiment of key pianistic skills, and to outline their typical motor characteristics. For the purpose of the study, methodological approaches to the formation of performing technique in the history of piano pedagogy are analyzed. The evolution of views on the technical development of the performer in different piano schools appears as a transition from empirical methods to scientifically grounded ones, as a change in the subject of the direction of the pianist's consciousness: identification of the most advanced forms of playing techniques, maximum attention to the sound result with the intuitive establishment of auditory-motor connection, conscious processing of auditory-motor coordination. The conditions for the optimal development of piano playing technique are considered, taking into account scientific achievements in the field of physiology, psychophysiology, and musical pedagogy. The circle of those skills of the pianist is determined, the acquisition of which optimizes the technical development of the performer: the skills of style-like sound production and sound science, which make up the technique of style-like sound formation. The content of the process of conscious mastering of interdependent and mutually conditioned components of such playing techniques is specified: generalized understanding of the common factors of the musical and linguistic environment of a certain piano style; creation of vivid sound-like performances based on emotional and intellectual comprehension of musical compositions, coordination of auditory-motor representations of such "mobile" expressive means as articulation, dynamics, agogics and timbre; improvement of motor skills from the point of view of physical convenience with the help of associations with previously acquired relevant performance experience, as well as life motor experience of economical expedient use of motor activity. The main stylistic features of sound production techniques in the interpretation of the piano heritage of Ludwig van Beethoven, Fryderyk Chopin, Serhiy Prokofiev are characterized on the basis of an analysis of their aesthetic ideals, "stable" and "mobile" expressive means of the composers' music, and the performing styles of the artists themselves. The examples of effective mastering by specific ways of combining tones that are appropriate in the style of composers are given. The described playing techniques are primarily a reference point in the art of sound production, a generalization of the rich scale of the pianistic initial touch. In practice, certain changes, combinations of techniques and movements can and do occur. In order to render the specific content of a piece of music, it is often necessary to deviate from the "textbook" way of playing with "exemplary" movements. At the same time, mastering the relationship and interdependence of stylistically conditioned sound tasks and expedient motor skills will make it possible to variably apply the playing techniques mastered in the embodiment of many nuances of the soundest images of highly artistic pieces of piano music.
9

Wooqfield, Ian. "The Calcutta Piano Trade in the Late Eighteenth Century." In Music and British Culture, 1785–1914, 1–22. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198167303.003.0001.

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Abstract A significant factor in the trading strategy of London music retailers during the eighteenth century was their growing awareness of the demand for musical instruments among the inhabitants of the British overseas settlements. The early focus of this incipit colonial market lay along the as seaboard of Nonh America and in the West Indies, but profitable trading opportunities were also beginning to emerge in the East, fo1lowing the growth of British interests in the region.’ The transformation of India into a lucrative market for European instruments stemmed from the political earthquake that struck in the 1760s.
10

"The Piano in a Factory Class, in the Name of the Father." In After the Post–Cold War, translated by JIE LI, 91–106. Duke University Press, 2018. http://dx.doi.org/10.2307/j.ctv1134g9d.10.

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Тези доповідей конференцій з теми "Facture de piano":

1

Adli, Alexander, Zensho Nakao, Toshiaki Yokoda, and Yasunori Nagata. "Piano Sound Characteristics: a Study on Some Factors Affecting Loudness in Digital and Acoustic Pianos." In Second International Conference on Innovative Computing, Informatio and Control (ICICIC 2007). IEEE, 2007. http://dx.doi.org/10.1109/icicic.2007.453.

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2

Yuksel, Beste F., Kurt B. Oleson, Lane Harrison, Evan M. Peck, Daniel Afergan, Remco Chang, and Robert JK Jacob. "Learn Piano with BACh." In CHI'16: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2858036.2858388.

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3

Labrou, Katerina, Cagri Hakan Zaman, Arda Turkyasar, and Randall Davis. "Following the Master’s Hands: Capturing Piano Performances for Mixed Reality Piano Learning Applications." In CHI '23: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3544549.3585838.

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4

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

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The development of information technology and devices has made it easier for everyone to take and share videos and photos, and many number of information has become available in the world. For example, when learning how to play a musical instrument, a game, or a household appliance, they can effectively understand it from videos and images on YouTube or Instagram, instead of reading an instruction manual or a reference book. Whereas the piano is difficult to practice efficiently because repetition and reading music are said to be the two most important elements needed to acquire the skill. Therefore, continuous practice is essential, but many people give up halfway. Focusing on reading music, we have to process multiple pieces of information on the score simultaneously in a short period of time while playing the piano. However, for beginners, it’s difficult to keep reading the necessary information from a score where information is concentrated in many symbols at the tempo of the performance. This research examines how to make it easier for beginners to recognize and remember information about music notation and how to use the information obtained more naturally. To this end, we clarified the process by which beginners learn and recognize information about musical notation in piano learning activities and clarified the characteristics that are expressed when they perform using the recognized knowledge.Firstly, we investigated whether learners would get support in an application whose purpose was to support reading practice. We found that the support could be categorized into three types, and that learning about pitch, rhythm, and keyboard position was important for beginners. To clarify the differences in these learning procedures depending on the level of proficiency, we conducted behavioral observations of beginners and experienced pianists practicing reading music, summarized their behavioral procedures into ordinal data, and conducted a Dematel analysis. As a result, we’re able to classify the level of proficiency into three levels: beginners (subjects with no piano experience), experienced (subjects with less than one year of piano study), and proficient (subjects with more than seven years of piano study). Based on the results of the questionnaire and interviews, we’re able to discover common issues such as beginners (1) not being able to practice smoothly because they couldn’t establish a procedure, (2) taking a long time to read the pitch of notes from the score, and (3) finding it difficult to read the rhythm from the score. From the above research, we examined new information display methods and innovations for the three types of information in music notation: pitch, rhythm, and sequence. In the case of pitch, it’s thought that information can be recognized efficiently by using the properties of color. For rhythm, we extracted information from the score and organized it in a new way, which reduced the error rate and led to more efficient practice. Also, with the information organized, even beginners were able to efficiently find the regularities and similarities in the score, which led to smooth read music.
5

Kilian, Annika, Jakob Karolus, Thomas Kosch, Albrecht Schmidt, and Paweł W. Paweł. "EMPiano: Electromyographic Pitch Control on the Piano Keyboard." In CHI '21: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3411763.3451556.

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6

Zonco, Audrey, Bastiaan Göttgens, Kieran O'Riordan, Che Liu, and Dominique Rat. "Exploring circularity: Europengineers on piano." In IABSE Congress, Ghent 2021: Structural Engineering for Future Societal Needs. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2021. http://dx.doi.org/10.2749/ghent.2021.0141.

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<p>Europengineers organized a design sprint on the theme of reuse, which took place at Setec’s headquarters from the 20th to 22nd February 2020. This was based on a study case: how could the 80 steel frames in the Thales factory be saved from the foundry and reused in another project? What barriers and difficulties would be encountered in such a project?</p><p>The teams of twenty engineers shed light on the design stages (find the client, use and shape), the technical challenges (Structural diagnosis and reliability, dismantling, storage) and marketing issues (marketplace, insurability).</p>
7

Zonco, Audrey, Bastiaan Göttgens, Kieran O'Riordan, Che Liu, and Dominique Rat. "Exploring circularity: Europengineers on piano." In IABSE Congress, Ghent 2021: Structural Engineering for Future Societal Needs. Zurich, Switzerland: International Association for Bridge and Structural Engineering (IABSE), 2021. http://dx.doi.org/10.2749/ghent.2021.0141.

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<p>Europengineers organized a design sprint on the theme of reuse, which took place at Setec’s headquarters from the 20th to 22nd February 2020. This was based on a study case: how could the 80 steel frames in the Thales factory be saved from the foundry and reused in another project? What barriers and difficulties would be encountered in such a project?</p><p>The teams of twenty engineers shed light on the design stages (find the client, use and shape), the technical challenges (Structural diagnosis and reliability, dismantling, storage) and marketing issues (marketplace, insurability).</p>
8

Lipton, Lenny. "Factors Affecting "Ghosting" In Time-Multiplexed Piano-Stereoscopic Crt Display Systems." In OE LASE'87 and EO Imaging Symp (January 1987, Los Angeles), edited by David F. McAllister and Woodrow E. Robbins. SPIE, 1987. http://dx.doi.org/10.1117/12.940123.

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9

Qi, Ling. "On the Ethnic Factors in the Piano Works of Jiang Wenye." In 2016 International Conference on Economy, Management and Education Technology. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icemet-16.2016.138.

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10

Liu, Ruofan, Erwin Wu, Chen-Chieh Liao, Hayato Nishioka, Shinichi Furuya, and Hideki Koike. "PianoHandSync: An Alignment-based Hand Pose Discrepancy Visualization System for Piano Learning." In CHI '23: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3544549.3585705.

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