Готові списки джерел за темами / Keyboard compositions

Добірка наукової літератури з теми "Keyboard compositions"

Автор: Grafiati
Опубліковано: 10 грудня 2022
Оновлено: 28 січня 2023

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Статті в журналах з теми "Keyboard compositions"

1

Bond, Ann. "[Various Keyboard Compositions]." Musical Times 128, no. 1732 (June 1987): 353. http://dx.doi.org/10.2307/1193763.

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2

Сербин, Павел Георгиевич, and Аскольд Владиславович Смирнов. "Composer Ivan Pratsch and His Instrumental Music." Научный вестник Московской консерватории, no. 1(48) (March 31, 2022): 116–49. http://dx.doi.org/10.26176/mosconsv.2022.48.1.03.

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На основе разнообразных старинных и современных источников предпринята попытка реконструкции биографии известного композитора и фортепианного педагога Ивана Прача (ок. 1750-1818). Подробно освещаются его контакты в музыкальной среде Санкт-Петербурга конца XVIII - начала XIX веков, а также клавирное и камерно-инструментальное творчество, в том числе приводятся новые сведения о трех наиболее масштабных сочинениях: Фанданго для клавира, Большой сонате для виолончели и клавира, транскрипции фортепианного квартета В. А. Моцарта Es-dur K. 493 для двух клавиров. В качестве приложения к статье впервые публикуется подробный список сочинений Прача, включающий в себя информацию обо всех обнаруженных на сегодняшний день произведениях композитора. Basing on a variety of historical and modern sources, the article seeks to reconstruct the biography of the famous composer and piano teacher Ivan Pratsсh (c. 1750-1818). His contacts in the musical circles of St. Petersburg of the late 18th and early 19th centuries, as well as little-known aspects of his activity as the author of keyboard and chamber music are covered in detail, including new data on three of his large-scale compositions: Fandango for keyboard, Grand sonata for cello and keyboard, and Transcription of Mozart’s piano quartet Es-dur K. 493 for two keyboards. As an appendix to the article, a detailed list of Pratsсh’s musical oeuvre is published for the first time, covering information on every work by the composer discovered to date.
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3

Fatianova, Elena Alekseevna. "Transcription for a synth keyboard (the case study of the work of A. Artemiev, V.Martynov, Yu. Bogdanov - the disc “Metamorphoses”)." PHILHARMONICA. International Music Journal, no. 5 (May 2021): 41–55. http://dx.doi.org/10.7256/2453-613x.2021.5.36938.

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Анотація:
The author analyzes the experience of transcription of the compositions of J. Bull, C. Monteverdi, J. Bach, C. Debussy and S. Prokofiev for a synth keyboard Synthi 100 done by the Russian composers A. Artemiev, V. Martynov, Yu. Bogdanov in 1980, and released on the disc “Metamorphoses”. The author also considers the composers’ range of artistic tasks and sound solutions and the variants of work with the texture of the original compositions. The electronic interpretations, contained in the “Metamorphoses”, not only demonstrate the examples of transcribing the original text for a synth keyboard, but also illustrate the 4 criteria of electronic music formulated by K. Stockhausen: unified temporal structuring (a common temporal field), the disintegration of sound, a multidimensional spatial composition, and the equality of the tone and the noise.  In spite of the fact that the transcription of classical music pieces for a synth keyboard was carried out by the Russian composers several decades ago, this experience hasn’t been studied yet. Probably, it is explained by the fact that the analysis and description of electronic music using traditional means is complicated, since the material under study is not noted: all transformations carried out by the interpreter are fixed only in the audiorecord.  The analysis of transcriptions is complicated by the fact that electronic instruments are regularly upgraded and transformed, and therefore their artistic capacity is increased. The change of instruments caused the transformation of approach to music art. The article analyzes the transformation of the author’s text, the transformation of a piano texture into the electronic score, and the role of the arranger as a co-author of the composition.  
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4

Owczarek-Ciszewska, Joanna. "Hammer mechanism instruments and their role in shaping the composition style of pieces written for keyboard instruments in the period of 1730-1780, part 3 – Keyboard instruments in concert halls and in the high society." Notes Muzyczny 1, no. 11 (June 28, 2019): 43–64. http://dx.doi.org/10.5604/01.3001.0013.3521.

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Анотація:
The present text is the third and last part of the cycle of articles devoted to keyboard instruments with hammer mechanism in the 18th century published in subsequent issues of the magazine “Notes Muzyczny”. The first two parts primarily touched on the history of keyboard instrument making in the 18th century: first pianos and other original inventions. The third part is in turn devoted to the changing position of the piano in the musical life of that period, namely – concerts, publications and compositions. The crowning of this part is the chronological and topic-related list (in a form of a reference chart) of the most significant phenomena and events discussed in the whole cycle of articles. The first mentions of a wider presence of keyboard instruments with hammer mechanism on the music market and concert life date back to the 1760s. In the 1770s there was a fast growth in the popularity of these instruments in the life of the high society, first of all in England and France (table instruments), as well as in Germany, even though there it took slightly more time because of the domination of the traditional clavichord. Due to the imprecise nomenclature used as long as until the 1780s and 1790s, it is often hard to decide which keyboard instrument was meant in a given case, hence it is impossible to assess how popular a specific instrument was. Some academics suggest that the presence of instruments with hammer mechanism in the musical life of that period was much greater than in might seem. Probably both hammer and tangent pianos and their other variants were not opposed to harpsichords but were treated as a special type within the same group of instruments. In the 1780s musical pieces written for both keyboard instruments, i.e., “for harpsichord or piano”, became the norm. Despite the increase in popularity of pianos (as compared to harpsichords) in the 1790s, such designation would remain on title pages of compositions until the end of that century. The period between the 1780s and 1790s was also the time when the first piano playing textbooks appeared. Expanding expressive capacities of keyboard instruments was the response to the changing needs of the galant and Empfindsamkeit styles. On the other hand, the presence of pianos had a significant influence on the styles of specific compositions. In order to illustrate these processes, the annex presents the analyses of two representative cycles of works from the 1760s written for the new instrument: Sonatas op. 1 by Johann Gottfried Eckard and Sonatas op. 5 by Johann Christian Bach.
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5

Bray, J. "Christopher Gibbons, Clare G. Rayner and John Caldwell eds., Keyboard compositions." Early Music XXI, no. 1 (February 1, 1993): 121–27. http://dx.doi.org/10.1093/em/xxi.1.121.

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6

Ploch, Tomasz. "PROBE-STÜCKE By Carl Philipp Emanuel Bach. The Teaching and the artistic aspects of the cycle1." Notes Muzyczny 1, no. 13 (June 9, 2020): 95–123. http://dx.doi.org/10.5604/01.3001.0014.1942.

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The article discusses the cycle of didactic pieces by Carl Philipp Emanuel Bach entitled Probe- Stücke, included in one of the most important works of that composer, i.e. Essay on the True Art of Playing Keyboard Instruments. The text, which was first published in 1753, to this day remains a valued source of knowledge about the period and a helpful support in the process of education. It seems that the cycle of compositions included with the essay is little known and there are very few sources where we can find information about it. In this respect, practical playing schools by Johann Sebastian Bach are much more popular and are used frequently in music education. It is hardly surprising as today the Leipzig cantor is duly regarded as one of the greatest composers in the history of music. However, the renaissance of the creative output of his son Carl Philipp Emanuel that we observe nowadays, seems to be the right moment to pay attention of music lovers also to the collection of didactic works of that composer. They may turn out to be the key to understand his compositions and also an important element for the field of learning to play keyboard instruments. The cycle includes a complete presentation of genres, various playing techniques, articulations, ornaments, and each part represents a diffe- rent character, a different affect. Listed elements, combined with the composer’s individual style, make the Probe-Stücke a perfect material for teaching keyboard instrument playing. In the article we will find a discussion on the works in the context of the composer’s remarks included in the theoretical part of the essay. Further on the author focuses on the analysis of the compositions in the Probe-Stücke and attempts to evaluate the usefulness of the cycle for teaching purposes as well as its artistic qualities.
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7

Bocharov, Yury S. "Voluntary and Lesson in English Music Sources of the 17th and 18th Centuries." Vestnik of Saint Petersburg University. Arts 12, no. 4 (2022): 562–90. http://dx.doi.org/10.21638/spbu15.2022.401.

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The article focuses on the use Voluntary and Lesson as terms in the English musical practice in the 17th and 18th centuries. Based on the unique example of the interpretation of these terms as synonyms in edition of Carl Trinks’s organ pieces in 1810 (this fact is remained unnoticed in musicology), the author compares Voluntary and Lesson, noting, first of all, significant differences in the use of these specific names of musical compositions and also paying attention to the reflection of this practice in the general and musical lexicographic sources of that time. The author also criticizes a number of ideas that have already been established in Western musicology. For example, he does not agree with the interpretation of a small fragment from the “Mulliner Book” entitled Voluntarye as an independent keyboard piece by R. Farrant, and he doubts the real existence of the 12-movement J. Ch. Pepush’s Voluntary (published only in 1988) as a single musical work. But most importantly, he opposes spread of the Voluntary concept to all polyphonic organ works by English composers of the 17th and 18th centuries (including organ compositions from M. Locke’s “Melothesia”, many Th. Roseingrave’s fugues, etc.). The author notes the term Lesson was used more variously than modern musicology interprets, extending not only to solo (mainly keyboard) music, but also compositions for melodic instruments with basso continuo and even ensembles, as well as instructive exercises and simple compositions for beginners.
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8

Dean, Roger Thornton, and Marcus Thomas Pearce. "Algorithmically-generated Corpora that use Serial Compositional Principles Can Contribute to the Modeling of Sequential Pitch Structure in Non-tonal Music." Empirical Musicology Review 11, no. 1 (July 8, 2016): 27. http://dx.doi.org/10.18061/emr.v11i1.4900.

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We investigate whether pitch sequences in non-tonal music can be modeled by an information-theoretic approach using algorithmically-generated melodic sequences, made according to 12-tone serial principles, as the training corpus. This is potentially useful, because symbolic corpora of non-tonal music are not readily available. A non-tonal corpus of serially-composed melodies was constructed algorithmically using classic principles of 12-tone music, including prime, inversion, retrograde and retrograde inversion transforms. A similar algorithm generated a tonal melodic corpus of tonal transformations, in each case based on a novel tonal melody and expressed in alternating major keys. A cognitive model of auditory expectation (IDyOM) was used first to analyze the sequential pitch structure of the corpora, in some cases with pre-training on established tonal folk-song corpora (Essen, Schaffrath, 1995). The two algorithmic corpora can be distinguished in terms of their information content, and they were quite different from random corpora and from the folk-song corpus. We then demonstrate that the algorithmic serial corpora can assist modeling of canonical non-tonal compositions by Webern and Schoenberg, and also non-tonal segments of improvisations by skilled musicians. Separately, we developed the process of algorithmic melody composition into a software system (the Serial Collaborator) capable of generating multi-stranded serial keyboard music. Corpora of such keyboard compositions based either on the non-tonal or the tonal melodic corpora were generated and assessed for their information-theoretic modeling properties.
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9

Pilch, Marek. "Harpsichord or piano? Different concepts in the 18th century keyboard music." Notes Muzyczny 1, no. 9 (June 20, 2018): 65–87. http://dx.doi.org/10.5604/01.3001.0012.9899.

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Анотація:
The article touches on the problem musicians come across while referring to compositions without a specified instrument they were meant for. This problem is particularly noticeable in the harpsichord music from the end of the 18th century when there were numerous keyboard instruments. Some of them, so to say, were at the end of their career (harpsichord, clavichord), others only at the beginning (piano). The author of the article is primarily interested in the dependency between the piano and the harpsichord, so he asks himself whether keyboard music from the Classical period can still be part of the harpsichord repertoire and to what degree harpsichord performances of Classical compositions can be justified in performance practice. The problem is discussed especially in reference to music by W.A. Mozart. The article presents the history of views on the possibility of Mozart’s works to be performed on historical instruments. It also provides the most up-to-date information on the position of the harpsichord at the end of the 18th century. The last part of the article discusses this instrument’s role in the creative output of W.A. Mozart. It is mainly based on the latest knowledge Siegbert Rampe acquired in recent years.
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Woolley, Andrew. "From Arrangements to New Compositions: Seventeenth-Century French Dance Music in Portuguese and Spanish Keyboard Sources to 1720." De musica disserenda 16, no. 1 (March 10, 2020): 9–35. http://dx.doi.org/10.3986/dmd16.1.01.

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Focussing on four keyboard manuscripts, this article discusses the dissemination, arrangement and adaptation of French-style dance music in Portugal and Spain in the late seventeenth and early eighteenth centuries. It highlights the importance of short scores in facilitating its transmission and discusses how adaptations accorded with local tastes and practices.
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Дисертації з теми "Keyboard compositions"

1

Sublett, Virginia. "A recital of twentieth century compositions for voice and keyboard /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9804536.

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Thesis (D.M.A.--Music)--University of California, San Diego, 1997.
Recital performed on May 18, 1997 at UCSD. Vita. Videocassette is sound only in Beta format. Includes bibliographical references (leaves 55-56).
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2

Kelly, E. M. "'A more beautiful era of art' : figurenlehre, style brisé and other baroque elements in Brahms' piano compositions : Brahms' involvement as a scholar, performer and editor of baroque keyboard music and the effect it exerted on his compositional style." Thesis, Queen's University Belfast, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268385.

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3

Sherlock, James Francis. "Cognitive processes involved in recognizing compositional style in keyboard music." Thesis, Coventry University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.402669.

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4

Kim, Hae-Jeong. "The Keyboard Suites of Matthew Locke and Henry Purcell." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc501040/.

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Анотація:
This work largely concerns the roles of Matthew Locke and Henry Purcell in the history of English keyboard music as reflected in their keyboard suites. Both, as composers of the Restoration period, integrated the French style with the more traditional English techniques--especially, in the case of Purcell, the virginalist heritage-- in their keyboard music. Through a detailed examination of their suites, I reveal differences in their individual styles and set forth unique characteristics of each composer. Both composers used the then traditional almain-corant-saraband pattern as the basis of the suite, to which they added a variety of English country dances. At the same time they modified the traditional dances with a variety of French and Italian idioms, thereby making distinctive individual contributions to the genre.
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5

Ramacciotti, Paolo. "Elektron Elohim : a cosmic oratorio for soloists, chamber choir, electric guitars and keyboard synthesisers." Thesis, University of West London, 2016. https://repository.uwl.ac.uk/id/eprint/2961/.

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The doctoral composition concerned by this document is a contemporary oratorio of 95 minutes: it involves seven solo singers (two sopranos, a mezzo, two altos, a tenor and a bass), a polyphonic chamber choir (divided in three to sixteen parts) and an electroacoustic quartet of guitars and synthesisers. The title refers to the otherworldly guardians of the Jewish canon (Tanakh) and speculates on the energetic appearance of the Elohim, reflected by the timbral qualities of the electronic instruments. The narrative, built around four angelic characters (Seraphim) and a female earthling counterpart, outlines in seven movements a fictional cosmogony, and the evolution of human society overseen by astral mentors. The libretto has been written on purpose by the composer himself, mostly in Italian: some multi-linguistic fabrics blend poetry with Christian fragments in Greek and Latin.
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6

Ouyang, Jing. "The influence of the English pianoforte on keyboard technique and composition from 1790 to 1826." Thesis, Manchester Metropolitan University, 2017. http://e-space.mmu.ac.uk/620029/.

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The purpose of this research is to define the significant elements of influence of the English piano regarding the style of piano playing and composing from 1790 to 1826. This study will focus on repertoire written by the group of composers labelled by Nicholas Temperley as the London Pianoforte School, which included Clementi, Cramer and Dussek. There is currently no systematic study or published scholarly discussion on this topic, which takes account of the full diversity of both the repertoire itself and the pianistic techniques and documented performance style of the London Pianoforte School. This study is to investigate the possible ways of performing the music on the pianofortes in the eighteenth and nineteenth centuries, in order to help performers in the present day to produce variety of tone production and a historically informed performance on a modern piano. In the late eighteenth and early nineteenth centuries, the compositional and performance style in London changed in accordance with the rapid development of English pianos. An examination of the music written by composers of the London Pianoforte School shows that producing a singing tone; the favour of mixing harmonies; the variety of touches and extensive utilisation of embellishments in fast movements were significant characteristic elements of performance in London at the time. These features encouraged a new way of notating the scores in composition and of producing sound in performance. This study is led by my own practice as a performer in a series of representative works, interpreted critically on modern and historical instruments with a written commentary. The methodology I have used includes study of treatises on performance practice in the eighteenth and nineteenth centuries; reception history through contemporary reviews; autograph and original editions of musical scores and my own video demonstrations accompanied by annotated scores.
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7

Bouska, Katelyn. "UNDER THE PARTY FAÇADE: MILOSLAV IŠTVAN AND THE INNOVATIONS OF THE BRNO SCHOOL IN THE CZECHOSLOVAK SOCIALIST REPUBLIC." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/369550.

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Music Performance
D.M.A.
The innovative compositions of Miloslav Ištvan (1928-1990) and his influential theoretical writings contributed to the creation of the modern composition school in Brno, capitol of Moravia in the present Czech Republic. Through the vehicle of his three piano sonatas (unpublished, but composed in 1954, 1959, and 1979), this monograph places Ištvan and his music against the political background of ideological repression in the Czechoslovak Socialist Republic. The unique blend of Moravian folk music and fierce pride in Czech culture are clearly evident throughout Ištvan’s compositional oeuvre and specifically in his piano music. In particular, his sheer creativity and courage to create his own voice under severe artistic deprivation combine to create a body of work that remains one of the most prominent influences in the present-day compositional scene in Brno. Each of the six chronological sections in this monograph employs a single year as a frame of reference. These years were selected both for their political significance and to represent an important event in Ištvan’s personal or musical life. In addition to the biographical details, political context and analysis of the piano sonatas, other significant compositions and contemporary writings are considered to trace the developmental thread of Moravian music. Ištvan’s search for artistic expression brings the lineage of his direct predecessor, Brno compositional giant Leoš Janáček, into the avant-garde New Music movement of the 1960s. Ištvan’s further work as a composition professor and writer of theoretical texts in the 1970s and 80s continues to influence the current generation of composers in the Czech Republic. This monograph calls attention to a composer and his rich body of work, created during politically turbulent times, that remains virtually unknown outside his country of origin.
Temple University--Theses
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8

Tanner, Paul. "The 'marimba-vibe' double keyboard: An explorative investigation of a nascent solo percussion idiom." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2612.

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The development of the concert marimba and invention of the vibraphone in the twentieth century was accompanied by a concomitant growth in repertoire for each instrument. Both belong to the core instrumentation of many new music groups, and percussionists are at times required to perform the instruments simultaneously, combining their distinct timbral personalities. However, the number of solos for the ‘marimba-vibe’ (the term I use to describe a marimba and vibraphone arranged in close proximity to each other in order to be performed by one player) without additional percussion instruments, is minimal. This gap in keyboard percussion repertoire and research remains to be thoroughly examined. While a large body of performers, repertoire, research, and pedagogical material exists for each instrument, this research makes an examination of musical and non-musical challenges involved in the nascent solo marimba-vibe idiom, aiming to explore its potential and develop strategies to overcome technical limitations. The project involved the composition and commissioning of new works, whilst also creating annotational tools and notational approaches. These works were researched through reflexive practice as they were developed, performed, and recorded. The project aims to contribute to repertoire, technical understandings, and pedagogy for the marimba-vibe, thereby broadening the scope of the ever-expanding field of solo percussion literature.
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9

ZHU, DI. "PROKOFIEV'S PIANO TRANSCRIPTIONS: A COMPARATIVE STUDY OF HIS TRANSCRIBING TECHNIQUES." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1153173318.

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10

Zhao, Qiaoyue. "The influence of Bartok's approach to keyboard compositions on contemporary Chinese solo piano music: a portfolio of recorded performances and exegesis." Thesis, 2013. http://hdl.handle.net/2440/84426.

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Анотація:
Although Béla Bartók never visited China, his music was widely performed and accepted in China after 1949 because of his significant contributions to the combination of western compositional techniques and national music elements. Many Chinese composers of different generations have been inspired by his achievement. This research focuses on the study of selected contemporary Chinese solo piano music after 1980 and investigates Bartók’s influence on these works. Besides repertoire practice, which occupied most research time, the research methods included a literature review, analysis of compositions and interviews with composers. This research discusses Bartók’s treatment of Hungarian folk music on three levels in keyboard compositions, and explores their influence on selected contemporary Chinese piano music. Furthermore, it develops performance techniques and approaches to interpretation of these selected works, especially the specific techniques which are related to the playing of traditional instruments and folk singing. This research highlights not only how the composers combine their national musical language with western compositional techniques, but also how pianists can deliver this national musical idiom and the spirit of folk music through performance. The outcomes of this project are two 60-minute recital recordings and this supporting exegesis.
Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2013
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Книги з теми "Keyboard compositions"

1

Bariolla, Ottavio. Keyboard compositions. [S.l.]: American Institute of Musicology, 1986.

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2

Composing at the electronic keyboard. Harlow: Longman, 1988.

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3

Haines, Nicholas. Composing at the electronic keyboard. Cambridge: Cambridge University Press, 1996.

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4

Key + board = keyboard. Edina, Minn: Abdo Pub., 2004.

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5

Miller, Mary Anne. Communication skills at the keyboard. London: Pitman, 1986.

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6

Kaye, Robert. The classical method: Classical improvisation & compositional theory and harmony. 4th ed. Blomington, IN: AuthorHouse, 2004.

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7

The classical method: Classical improvisation & compositional theory and harmony. Blomingtin, IN: AuthorHouse, 2004.

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8

Kaye, Robert. The classical method: Classical improvisation & compositional theory and harmony. Blomingtin, IN: AuthorHouse, 2004.

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9

Sweelinck's keyboard music: A study of English elements in seventeenth-century Dutch composition. 3rd ed. Leiden: E.J. Brill, 1987.

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10

Jonathan, Feist, ed. The songwriter's workshop. Boston: Berklee Press, 2005.

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Частини книг з теми "Keyboard compositions"

1

Masschelein, Anneleen. "Introduction: Literary Advice from Quill to Keyboard." In New Directions in Book History, 1–43. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53614-5_1.

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AbstractThis chapter presents a brief history of the dominant, Anglo-American literary advice tradition from the nineteenth century to the present as well as a state of the art of the existing scholarship on literary advice. We focus on several key moments for literary advice in the USA and in the UK: Edgar Allan Poe’s “Philosophy of Composition” (1846), the debate between Sir Walter Besant and Henry James surrounding “The Art of Fiction” (1884), the era of the handbook (1880s–1930s), the “program era” (McGurl 2009) and postwar literary advice, the rise of the “advice author” in the 1980s and 1990s, and finally advice in the “digital literary sphere” (Murray 2018). The overview captures both the remarkable consistency and the transformations of advice, against the background of changes in the literary system, the rise of creative writing, changes in the publishing world, and the rise of the Internet and self-publishing. It highlights the role of some specific actors in the literary advice industry, such as moguls, women, and gurus, and draws attention to a number of subgenres (genre handbooks, self-help literary advice, and the writing memoir), as well as to counter-reactions and resistance to advice in literary works and in avant-garde manuals. Advice is regarded both in the context of the professionalization of authorship in a literary culture shaped by cultural and creative industries, and of the exponential increase of amateur creativity.
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2

Schulenberg, David. "Bach the Organist." In Bach, 43–72. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190936303.003.0005.

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Bach’s duties as a Lutheran church organist included “preluding” on chorale (hymn) melodies and maintaining instruments. At Arnstadt Bach must also have been expected to accompany singers both at court and in church, and during these years he also carried out organ “tests.” It is unknown whether he wrote any vocal compositions at Arnstadt, but he doubtless wrote much keyboard music and developed his organ technique during these years. Compositions examined in this chapter include chorale preludes and praeludia (preludes and fugues), as well as the great Passacaglia for organ and several vocal works (cantatas) probably performed at Mühlhausen, including the so-called Actus tragicus.
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3

Schulenberg, David. "Bach the Concertmaster." In Bach, 92–129. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190936303.003.0007.

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Bach’s title as concertmaster was new in the early eighteenth century; at Weimar it implied direction of the court music ensemble, at least in the new vocal works that Bach was now expected to produce every four weeks. Beginning in 1714 he composed several dozen church cantatas on a regular basis, including BWV 182, 12, and 31. These were preceded by a handful of significant vocal works, among them the “Hunt Cantata” (BWV 208). But the greatest number of compositions from this period are for organ and keyboard, including the “Great Eighteen” chorales, the “Dorian” toccata and fugue, transcriptions of concertos, and the Chromatic Fantasia, all discussed in this chapter. Also considered is the influence of Telemann on Bach and his compositions.
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4

Townsend, Peter. "Musical Development Assisted by Technology." In The Evolution of Music through Culture and Science, 17–30. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198848400.003.0002.

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In Europe, the first millennium life and music were tightly controlled by religion. Instruments were limited, with major differences between folk music for the masses, the aristocracy, and the church. Much early music was just a single line sung in unison. Progressions to several lines, chords, and the complexity of polyphony developed in parallel with written works and printing of religious and secular music. This liberating feature stimulated a wide range of new types of composition. By around 1600, there was an Italian explosion into opera and a major demand for secular music. Mathematicians devised a scheme of equal temperament tuning, which replaced the earlier ‘natural’ musical scales and this enabled keyboard instruments to play in any key. Low-cost printed music was widely available. Despite the volume of compositions, a relatively small fraction has survived as performance music in the present day and the reasons for this are mentioned.
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5

Schulenberg, David. "Bach the Capellmeister." In Bach, 149–93. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190936303.003.0009.

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As Capellmeister, Bach was in charge of all musical matters at the court of Cöthen. Although the prince’s Reformed religious faith ruled out the performance of church cantatas, Bach did compose occasional vocal works for special occasions. His chief works of this period, however, were suites, sonatas, and concertos for the court instrumental ensemble, as well as keyboard music for his family and pupils. Among the famous compositions composed or completed at Cöthen and discussed in this chapter are the inventions, Well-Tempered Clavier, organ sonatas, cello suites, sonatas and partitas for violin and flute, and Brandenburg Concertos.
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6

Leonard, Kendra Preston. "Women at the Pedals." In Over Here, Over There, 149–73. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042706.003.0009.

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Women played many musical roles in the film industry. They accompanied silent films at the organ with existing repertoire, made new compositions of incidental music and songs, and improvised accompaniments at the keyboard; they constructed and disseminated cue sheets and educated their fellow musicians and the public in trade journals and newspapers; and they were inventors: Alice Smythe Jay created a mechanism to synchronize piano rolls with films, while Carrie Hetherington invented and promoted the Fotoplayer. In World War I, with men serving abroad, women were increasingly vital to the industry, advancing the cause of professional women throughout the music industry.
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7

Adolphe, Bruce. "Piano Puzzler Preparation." In The Mind's Ear, 175–90. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197576311.003.0007.

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This section, newly created for the third edition, is a response to the many private piano teachers and classroom music teachers who have suggested that it should be possible to create a fun and useful curriculum based on the Piano Puzzler segment of public radio’s Performance Today, which has been broadcast weekly since 2002. These exercises are necessarily for pianists and composers who play the piano because they require keyboard skills and a working knowledge of modes, harmony, and other compositional vocabulary and grammar. All of the exercises may be approached as improvisations and/or compositions to be notated. The penultimate exercise in this book, “Be a Private Ear,” provides a detailed checklist of the main compositional features that go into composing a piano puzzler. The Private Ear Checklist is a kind of shopping list that reminds you of what ingredients you need to cook something that Chopin, Brahms, Debussy, or Stravinsky might prepare. The final exercise is to use the skills developed in the preceding exercises to compose one’s own piano puzzler.
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8

Deutsch, Diana. "Strange Loops and Circular Tones." In Musical Illusions and Phantom Words, 61–70. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190206833.003.0005.

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Chapter 4 explores a class of musical illusions and paradoxes that involve the circular dimension of pitch. Pitch can be described in terms of two dimensions. The first is called pitch height, which can be experienced by sweeping one’s hand from left to right up a piano keyboard. The second is a circular dimension known as pitch class, which defines the position of a tone within the octave. Circularity effects in music are analogous to many of the visual works of M. C. Escher, and have been employed in music for hundreds of years. However, with the advent of computer music, striking pitch circularities became possible. The circular scales invented by Roger Shepard (based on Shepard tones) and circular glides invented by Jean-Claude Risset are explored. These remarkable illusions of ever-increasing (or ever-decreasing) pitch are presented as sound examples. They have powerful emotional effects, and their influence in musical compositions, such as the soundtracks and sound design of The Dark Knight and Dunkirk, is described. A new way of producing pitch circularity, which was invented by the author, is also discussed. This new algorithm can be used with natural instrument sounds, and so opens the door to new compositional opportunities.
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9

Varwig, Bettina. "Embodied Invention." In Rethinking Bach, 115–40. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190943899.003.0006.

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This chapter develops a historical account of Bach’s musicking body, and those of early-eighteenth-century keyboardists more generally, as a way to rethink how Bach’s keyboard music was conceived and performed. It synthesizes aspects of contemporaneous medical, scientific, and theological discourses about the human faculties of touch, memory, and invention, and brings these into dialogue with the inventive and performative dimensions of Bach’s keyboard practice. The chapter unearths historical conceptions of memory as physiologically grounded and distributed across the body, of touch as a corporeal-spiritual faculty, and of human bodies as purposive and intelligent. These notions of a bodily kind of intelligence suggest the need to ascribe much greater agency to the embodied aspects of early-eighteenth-century modes of composing and performing. The chapter thus offers a somatic alternative to the customary focus on mental, disembodied patterns of invention in understanding Bach’s compositional and improvisatory practices at the keyboard.
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10

Remeš, Derek. "Bach’s Chorale Pedagogy." In Rethinking Bach, 271–88. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190943899.003.0012.

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Largely because of the proselytizing efforts of J. P. Kirnberger, J. S. Bach’s four-part vocal chorales (Choralgesänge) have come to be viewed as idealized microcosms of Baroque composition. For this reason, the Choralgesänge have enjoyed pride of place in compositional instruction for over two centuries. Yet recent archival discoveries have begun to problematize this hallowed pedagogical patrimony. A growing number of manuscript sources originating from Bach’s circle contain chorales melodies with multiple figured basslines. This focus on outer voices and thorough bass at the keyboard aligns quite well with C. P. E. Bach’s account of his father’s teaching, in which pupils first composed inner voices to a given outer-voice framework, and later learned to compose their own basslines. These findings suggest that our image of the “Bach chorale” should be broadened to include such Choralbuch settings with multiple basslines—a reframing that in turn has potential ramifications for historically informed teaching today.
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Тези доповідей конференцій з теми "Keyboard compositions"

1

Campbell, Jeffrey D., and Christine Naclerio. "Instant messaging comprehension with non-keyboard composition." In CHI '06 extended abstracts. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1125451.1125581.

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2

Pramartha, Cokorda Rai Adi, and I. B. Gede Dwidasmara. "The composition approach non-QWERTY keyboard for Balinese script." In 2014 IEEE Canada International Humanitarian Technology Conference (IHTC). IEEE, 2014. http://dx.doi.org/10.1109/ihtc.2014.7147554.

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3

Ghosh, Soumalya, Sayan Sarcar, and Debasis Samanta. "Designing an efficient virtual keyboard for text composition in Bengali." In the 3rd International Conference. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/2407796.2407809.

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4

Ogozalek, V., and J. Van Praag. "Comparison of elderly and younger users on keyboard and voice input computer-based composition tasks." In the SIGCHI conference. New York, New York, USA: ACM Press, 1986. http://dx.doi.org/10.1145/22627.22372.

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