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Статті в журналах з теми "Musical performance; Robert Schumann; piano"
Polska, I. І. "«Exegi monumentum»: the reflection of Schumann’s images in the Variations by J. Brahms on the theme by R. Schumann op. 23." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 249–61. http://dx.doi.org/10.34064/khnum2-17.16.
Повний текст джерелаFerris, David. "Public Performance and Private Understanding: Clara Wieck's Concerts in Berlin." Journal of the American Musicological Society 56, no. 2 (2003): 351–408. http://dx.doi.org/10.1525/jams.2003.56.2.351.
Повний текст джерелаNikolenko, R. "Soirées musicales, Op. 6 by Clara Schumann: compositional and dramaturgical principles of the cycle." Culture of Ukraine, no. 78 (December 23, 2022): 150–55. http://dx.doi.org/10.31516/2410-5325.078.19.
Повний текст джерелаStefaniak, Alexander. "Robert Schumann, Serious Virtuosity, and the Rhetoric of the Sublime." Journal of Musicology 33, no. 4 (2016): 433–82. http://dx.doi.org/10.1525/jm.2016.33.4.433.
Повний текст джерелаHadji, Nazfar. "Musical-aesthetic education in an adolescent psychiatric ward." Orfeu 6, no. 2 (September 10, 2021): 315–34. http://dx.doi.org/10.5965/2525530406022021315.
Повний текст джерелаRepp, Bruno H. "A Constraint on the Expressive Timing of a Melodic Gesture: Evidence from Performance and Aesthetic Judgment." Music Perception 10, no. 2 (1992): 221–41. http://dx.doi.org/10.2307/40285608.
Повний текст джерелаStefaniak, Alexander. "Clara Schumann's Interiorities and the Cutting Edge of Popular Pianism." Journal of the American Musicological Society 70, no. 3 (2017): 697–765. http://dx.doi.org/10.1525/jams.2017.70.3.697.
Повний текст джерелаSerdiuk, Ya O. "Amanda Maier: a violinist, a pianist, a composer – the representative of Leipzig Romanticism." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 232–48. http://dx.doi.org/10.34064/khnum2-17.15.
Повний текст джерелаWhite, Stephen. "Fighting the Philistines: Robert Schumann and the Davidsbündler." Musical Offerings 12, no. 1 (2021): 1–9. http://dx.doi.org/10.15385/jmo.2021.12.1.1.
Повний текст джерелаIvanova, I. L. "“3 Piano Sonatas for the Young” op. 118 in a context of last works by Robert Schumann." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 26–45. http://dx.doi.org/10.34064/khnum2-13.03.
Повний текст джерелаДисертації з теми "Musical performance; Robert Schumann; piano"
Wang, Xiao (Pianist). "First Movement of Robert Schumann's Piano Sonata Op. 14 in F Minor from the Performer's Perspective: An Analytical Study of Four Editions." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157568/.
Повний текст джерелаVezeau, Erica Ablene. "Musical messaging in the early piano correspondence between Clara Wieck and Robert Schumann." Thesis, University of Ottawa (Canada), 2005. http://hdl.handle.net/10393/27068.
Повний текст джерелаChou, Chllung-Wel. "Aspects of historical background, literary influence, form, and performance interpretation in Robert Schumann's Carnaval." Connect to resource, 1998. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1114437718.
Повний текст джерелаBragagnolo, Bibiana Maria. "Guias de execução para memorização aplicados à interpretação das Variações Abegg de Robert Schumann." Universidade Federal da Paraíba, 2014. http://tede.biblioteca.ufpb.br:8080/handle/tede/6622.
Повний текст джерелаCoordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This research tested two different applications of the performance cue s memorization model (CHAFFIN et al., 2002) in Robert Schumann s Abegg Variations. The aim of the first model s application was the memorized public performance of the piece with no memory lapses. The second application, otherwise, adopted a different view of the model and its aim was to improve musical interpretation through the utilization of the performance cues as points of attention during performance, and it purposes were: (1) to test expressive performance cues as points of attention during performance, and its influence in the resulting sound, and (2) to investigate the potentiality of timbre and timing as parameters of the expressive performance cues applied in the Abegg Variations s performances. The methodology was supported by two practice diaries and audio recorded tests of the applications in four public performances. In these performances the number of memory lapses was inexistent or almost inexistent. We also realized a comparative analysis of the timbre and timing in two recordings of these public performances, to verify the result of the use of performance cues projected in the sound. The results of this research confirmed the efficacy of the performance cue s memorization model in the Abegg Variations and also revealed the possibility of using the expressive performance cues in the refinement of the musical interpretation, mainly in the second application of the model.
Esta pesquisa testou duas aplicações do modelo de memorização através de guias de execução, proposto por Chaffin et al. (2002), nas Variações Abegg de Schumann. A primeira aplicação do modelo teve como fim a memorização da peça e a execução da mesma em público, visando uma performance sem falhas de memória. A segunda aplicação adotou uma visão diferenciada do modelo e buscou aprimorar a interpretação da peça através da utilização dos guias de execução como focos de atenção durante a performance, tendo como objetivos: (1) testar os guias de execução expressivos como focos de atenção durante a performance e a sua influência na produção do som e (2) investigar a potencialidade do timbre e da manipulação temporal como fonte de guias de execução expressivos nas Variações Abegg, de Schumann. A metodologia contou com o suporte de dois diários de estudo e testes das aplicações em quatro apresentações públicas. Nestas apresentações o número e falhas de memória por parte da intérprete e autora deste trabalho foi praticamente nulo. Realizamos também uma análise comparativa de aspectos de manipulação do tempo e timbre entre duas gravações de performances públicas das Variações Abegg, realizada através do software Sonic Visualiser, com o intuito de verificar o resultado sonoro efetivo da utilização dos guias. Os resultados desta pesquisa, além de comprovar a eficácia do modelo a partir de guias de execução na memorização da peça, revelaram a possibilidade de utilização dos guias expressivos no aprimoramento da interpretação musical, principalmente na segunda aplicação do modelo.
Musca, Lisa Ann. "The piano fragment and the decomposing of the musical subject from the Romantic to the postmodern." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1459906541&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Повний текст джерелаPei, Yushu. "An Analysis of the Attempted Amalgamation of Western and Chinese Musical Elements in Huang Anlun's Piano Concerto in G Minor, Opus 25b, a Lecture Recital, Together with Three Recitals of Selected Works by Bach, Beethoven, Chopin, Liszt, Mozart, Schubert, and Schumann." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc935793/.
Повний текст джерелаLively, Judy Sharon. "Extra-Musical Associations in Selected Pieces From Années de Pélerinage, Troisième Année, by Franz Liszt: A Lecture Recital, Together with Three Recitals of Selected Works of D. Scarlatti, F.J. Haydn, L.v. Beethoven, F. Schubert, F. Chopin, J. Brahms, R. Schumann, and Others." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc332359/.
Повний текст джерелаRickard-Ford, Paul. "Portfolio of recorded performances and exegesis: the late piano works of Robert Schumann." Thesis, 2010. http://hdl.handle.net/2440/63083.
Повний текст джерелаThesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2010
García, Ana Lucía. "Estrategias de estudio : claves para la construcción de una interpretación musical." Bachelor's thesis, 2018. http://hdl.handle.net/11086/5942.
Повний текст джерелаКниги з теми "Musical performance; Robert Schumann; piano"
Gooley, Dana. Fantasies of Improvisation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190633585.001.0001.
Повний текст джерелаGooley, Dana. Schumann and the Economization of Musical Labor. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190633585.003.0005.
Повний текст джерелаSchumann's virtuosity: Criticism, composition, and performance in nineteenth-century Germany. 2016.
Знайти повний текст джерелаShrock, Dennis. Johannes Brahms – Ein deutsches Requiem. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469023.003.0008.
Повний текст джерелаManieson, Victor. Accelerated Keyboard Musicianship. Noyam Publishers, 2021. http://dx.doi.org/10.38159/npub.eb20211001.
Повний текст джерелаЧастини книг з теми "Musical performance; Robert Schumann; piano"
Leong, Daphne. "Reception and Structure." In Performing Knowledge, 332–62. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190653545.003.0011.
Повний текст джерелаТези доповідей конференцій з теми "Musical performance; Robert Schumann; piano"
Kim, Ji Young. "Clara Schumann and Jenny Lind in 1850." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.85.
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