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1
Wikström, Fanny. "Folkmusik på piano : En studie av tre folkmusikpianisters spelsätt och deras förhållningssätt till pianot som folkmusikinstrument." Thesis, Karlstads universitet, Musikhögskolan Ingesund, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-6538.
Повний текст джерелаАнотація:
Syftet med denna uppsats har varit att få en inblick i hur pianot används inom den svenska folkmusiken. Bakgrundskapitlet handlar om folkmusikgruppernas och instrumenteringens utveckling inom svensk folkmusik. Jag har intervjuat tre aktiva folkmusikpianister och lyssnat på och analyserat deras spel. Det följer även med en cd-skiva med ljudexempel från intervjutillfällena. Vi pratade om karaktärsdrag som de lyfter fram i spelet, om deras inställning till folkmusiktraditionen, pianots möjligheter och begränsningar samt vilken roll pianot har i den svenska folkmusiken. Mina slutsatser är att pianot har flera roller i ett samspel med andra musiker. Pianisten kan spela melodi, rytmik, harmonik och även alltihop samtidigt. Pianot fungerar väldigt bra som soloinstrument men också som ett samspelsinstrument. Vad som gör att pianots plats i folkmusiktraditionen är väldigt liten är bland annat dess opraktiska storlek. Jag har också kommit fram till att pianot tillför en ny klang, ett nytt sound till svensk folkmusik.<br>The purpose of this study is to acquire a glimpse of how the piano is used in Swedish folk music. The background chapter deals with folk music groups and the development of instrumentation in Swedish folk music. I have interviewed three active folk music pianists, listened to and analyzed their playing style. There is also a CD with music examples from the interview sessions. We discussed the characteristics of their own playing, their attitudes to folk music tradition, the piano's possibilities and limitations, and the role of the piano in Swedish folk music. My conclusion is that the piano functions on several levels while interacting with other musicians. Pianists can play melody, rhythm, harmony, and all of this simultaneously. The piano works very well as a solo instrument, yet also as an ensemble instrument. The small role of the piano in Swedish folk music may be due to its impractical size. I have also discovered that the piano contributes to a new sound to Swedish folk music.
2
Larsson, Daniel. "Tumregeln : En självstudie om tummen och dess roll i pianoteknik." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-78004.
Повний текст джерелаАнотація:
Syftet med denna studie är att utforska vilken roll tummen spelar inom pianoteknik, vilka metoder som kan användas för att minska ofrivilliga spänningar i tummen samt om medveten övning under en period leder till en märkbar förbättring i tumteknik. Studien utgår ifrån ett fenomenologiskt perspektiv och baseras på självobservationer med hjälp av loggbok och videodokumentation. Forskning tyder på att överansträngning av tummens muskler är vanligt bland pianister, samt att fingrarna påverkar varandra i deras rörelser. Litteratur inom pianoteknik diskuterar ofta hur tummen kan påverka spelet och att problematiken med ofrivilliga spänningar. I resultatet diskuteras min upplevda utveckling, vilka metoder jag använde och vilka fördelar jag upplevde i samband med färre spänningar i tummarna. I resultatet framgår det att jag i samband med dedikerade övningspass upplevde en förbättring i tumteknik på flera håll, att flera olika metoder för att minska ofrivilliga spänningar i tummens muskler hittades och att det fanns flera fördelar med friare tummar, exempelvis mindre trötthet och mer tillfredställande musikalisk gestaltning. Studien ställer resultatet mot tidigare litteratur och forskning och finner samband mellan bland annat använda metoder och hur trötthet i muskler infinner sig under pianospel.<br>The purpose of this study is to investigate the roll of the thumb in piano technique, what methods can be used to reduce involuntary tensions in the thumb and whether dedicated practise over a certain time period can lead to a noticeable improvement of thumb technique. The study is based on a phenomenological perspective and self-observations using a logbook and video recordings. Research suggests that excessive straining of the thumb’s muscles is common among pianists, and that fingers affect each other in their movements. Literature on piano technique regularly discuss how the thumb can affect piano playing as well as the problems of involuntary tensions. The results of this study discuss my experiences of progress, what methods I used and what advantages I experienced in relation to less tension in the thumbs. The results show that I, on account of my dedicated practising, experienced an improvement in thumb technique on several levels, that different methods to reduce the amount of tension in the thumbs were found, and that there were several advantages with freer thumbs, for example reduced fatigue and more satisfying musical performances. The study discusses the results in relation to earlier literature and research and establishes connections between, among other things, applied methods and how fatigue in the muscles is manifested during piano playing.
3
Lee, Kyung-ae. "A comparative study of Claude Debussy's piano music scores and his own piano playing of selections from his Welte-Mignon piano roll recordings of 1912." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3035961.
Повний текст джерела
4
Hoogland, Anna. "Tangenttradition : En kvalitativ intervjustudie om musiklärarstudenters syn på pianots roll i sångundervisning." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-78878.
Повний текст джерелаАнотація:
Föreliggande studies syfte är att undersöka hur musiklärarstudenter med inriktning sång i de olika genrerna jazz, folkmusik och klassisk musik ser på pianots roll i sångundervisning. Tidigare litteratur och forskning berör pianots användande inom ramen för instrumentalundervisning och hur det kan påverka olika undervisningssituationer. Studien har en kvalitativ forskningsansats och utgår från det sociokulturella perspektivet på lärande. Semistrukturerade, kvalitativa intervjuer har använts som metod för att undersöka de individuella uppfattningar som finns hos musiklärarstudenterna angående pianots roll i sångundervisning. Materialet har sedan analyserats med hjälp av tematisk analys. Resultatet visar att pianot har en kulturell betydelse, vilket gestaltas genom erfarenheter av hur pianot har använts inom olika genrer och allmänna förväntningar på att använda pianot. Dessutom framkommer att musiklärarstudenterna har ambivalenta förhållningssätt till pianots roll, vilket skildras i beskrivningar av vilka möjligheter och svårigheter pianots olika användningsområden kan föra med sig. I diskussionen lyfts frågor angående innebörden av att ta efter sin lärares didaktiska val gällande förhållningssätt till pianot i sångundervisning, men även frågor som berör musiklärarutbildningen som traditionsinriktad respektive nytänkande. Slutligen diskuteras sångundervisning med eller utan piano, med utgångspunkt i pianots möjligheter och svårigheter.<br>The purpose of this study is to examine how music teacher students specialized in the different genres jazz, folk music and classical music view the function of the piano in singing lessons. Previous research refers to the use and influence of the piano regarding instrumental teaching. The study is qualitative and is based on the sociocultural perspective on learning. Semi structured interviews have been used as a method to investigate what individual perceptions the music teacher students have on the functions of the piano in singing lessons. To analyse the material, thematic analysis has been used as a method. The result shows that the piano is culturally associated, which is seen in the different use of the piano within different genres. The piano as an instrument associated with general expectations has also been observed. Furthermore, it appears that the music teacher students have ambivalent approaches to the function of the piano, which is depicted in descriptions of the possibilities and difficulties that can occur in different ways of using the piano. In the discussion, questions about the ability to adopt the teacher’s didactic choices is mentioned. Also, the role of the music teacher program based on tradition and rethinking is discussed. Additionally, the consequences of teaching singing students with or without the piano is discussed, based on the possibilities and difficulties of the use of the piano.
5
Romero-García, Gonzalo. "Mathematical Morphology for the Analysis and Generation of Time-Frequency Representations of Music." Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUS554.
Повний текст джерелаАнотація:
Cette thèse explore l'application de la Morphologie Mathématique à l'analyse et la génération de musique, en se concentrant sur deux représentations en temps-fréquence : les spectrogrammes et les piano rolls. La morphologie mathématique est un outil de traitement des images non linéaire qui sert à considérer des notions topologiques de l'image. Nous présentons trois applications. La première est d'analyser des spectrogrammes avec des outils morphologiques pour obtenir des paramètres avec lesquels synthétiser un son d'instrument de musique. La deuxième est de générer des piano rolls avec deux paramètres musicaux, la texture et l'harmonie, en les disposant grâce à la dilatation morphologique. La troisième est d'appliquer des opérateurs morphologiques pour analyser des piano roll à l'aide de la théorie des graphes. La thèse propose donc de nouvelles approches pour des problèmes d'analyse sonore et musicologie computationnelle<br>This thesis explores the application of Mathematical Morphology to the analysis and generation of music, focusing on two time-frequency representations: spectrograms and piano rolls. Mathematical Morphology is a nonlinear image processing tool that serves to consider topological notions of the image. We present three applications. The first is to analyze spectrograms with morphological tools to obtain parameters with which to synthesize a musical instrument sound. The second is to generate piano rolls with two musical parameters, texture and harmony, by arranging them through morphological dilation. The third is to apply morphological operators to analyze piano rolls using graph theory. The thesis thus proposes new approaches for problems in sound analysis and computational musicology
6
Seah, Tsu Tham Tommy. "Exploring historical Russian pianism in Sergei Lyapunov’s Twelve Transcendental Études, Op. 11: The development of a performance edition." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2131.
Повний текст джерелаАнотація:
The genre of the Étude emerged with the increased popularity of the piano in the nineteenth century. It was often composed to provide practice material for perfecting a particular performance technique. Frederic Chopin (1819 – 1849) and Franz Liszt (1811 – 1886) are among the earliest composers whose Études are well established in the canon of concert piano repertory. Later emerged the new genre of Études that are considered worthy of the concert platform – the Concert Étude.
Born in 1859 in Yaroslavl, Russia, Sergei Mikhailovich Lyapunov (1859 – 1924) was a highly regarded composer, pianist, conductor, editor, and teacher of his time. Lyapunov’s ‘Douze Études d’Execution Transcendantes’, Op. 11, was composed by between 1897 and 1905, in the memory of Franz Liszt, and is considered to be one of Lyapunov’s most significant compositional achievements. The influence of Liszt and composers of the Russian Mighty Five are evidently present in Op. 11. Overshadowed by his younger contemporaries whom experimented with new styles and techniques, Lyapunov and his music are largely forgotten today.
This research project explores the performance practice of three Russian pianists – with a focus on pianists associated with the Moscow Conservatory at the turn of the twentieth century – with an aim to quantify aspects of style of Russian pianism of the time. The methodology employed in this research includes both qualitative discourse of literary sources, and a series of systematic computational tempo analyses of reproducing piano roll recordings by pianists that fit the research criteria. Results revealed a number of stylistic aspects such as unnotated arpeggiation, notes inégales, and other aspects of rubato. These aspects of style, alongside historiographical findings, are both corroborated, reconsidered through reflexive pratice, and finally compiled in a performance edition of Lyapunov’s ‘Douze Études d’Execution Transcendantes’, Op. 11.
7
Phillips, Peter. "Piano Rolls and Contemporary Player Pianos: The Catalogues, Technologies, Archiving and Accessibility." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/16939.
Повний текст джерелаАнотація:
Reproducing piano rolls have been of great interest to me for nearly 40 years, yet despite their significant potential in a number of research areas, they remain largely untapped. In my thesis I seek to discover why this vast historical library of music and interpretations is not more widely acknowledged and utilised. Reproducing piano rolls provide a valuable evidence of nineteenth-century performing practices, as well as offering unique pathways to other forms of research. The substantive catalogues of art music alone prove the musical worth of these rolls. Numerous commentators have chosen either to ignore or to consciously dismiss reproducing piano roll recordings as a valid representation of the art of the pianist. Clearly, in the majority of cases, their opinions have been formed through hearing rolls replayed on poorly adjusted instruments; the piano rolls themselves are not the problem. To dispel the myths that have taken hold as a result, I examine how three major piano roll companies made their recordings, and test the common criticism that these recordings were subjected to invasive editorial change. Accessing faithful piano roll recordings is an acknowledged problem. My viewpoint is that if piano roll recordings are made as accessible as early sound recordings, many rich research opportunities will present themselves. Archiving piano rolls remains an area desperately in need of further research. In this thesis I present the philosophy underpinning my methodology for developing the means to record piano rolls as raw MIDI files. Making the raw files compatible with contemporary MIDI instruments provides the sought-after accessibility, a topic that has so far attracted minimal academic interest.
8
Damm, Bernt W. "The development of a piano-recorder system." Thesis, Cape Technikon, 1993. http://hdl.handle.net/20.500.11838/1155.
Повний текст джерелаАнотація:
Thesis (Masters Diploma (Electrical Engineering)--Cape Technikon, Cape Town, 1993<br>This thesis describes the development and design of a pianorecorder
system. This system makes it possible to record the
notes played on a piano onto a computer disk. The records can
then be used for the manufacturing of pianola rolls.
9
Simones, Lilian Lima. "The role of gesture in piano teaching and learning." Thesis, Queen's University Belfast, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.676714.
Повний текст джерелаАнотація:
The experience of engaging with music through listening, teaching and learning would be impossible without a bodily interface, through which movement and music can be physically produced, experienced and understood. Physical gestures form a central part of the communication established between the teacher-student dyad in the communication of symbolic and functional musical knowledge. Factors such as gesture types (forms and meanings) and their specific outcomes in the teaching and learning processes have been consistently overlooked in the instrumental music pedagogical context. This thesis prioritises such undervalued topics, focusing its enquiry upon piano teachers' hand gestures used to communicate with students during the teaching process and incorporates theoretical frameworks from disciplines such as: music-psychology, psycholinguistics, gesture studies, gesture-led educational research, imitation and observational motor-learning. Three investigations were carried out to investigate the role of teachers' gestures in piano teaching and learning. The first two combined qualitative and quantitative approaches - the results of which were used in establishing the first known categorisation of piano teachers' gestures. Amongst the most intriguing findings were the relationship between teachers' didactic intent and the forms of gesture they employed, and 'gestural scaffolding' (when teachers adapted particular gestural communicative channels to suit specific student skill levels). In the third investigation an experimental setting was used to observe and evaluate the role of teaching gestures in one-to-one instrumental tuition. Here different gestural teaching and learning conditions yielded multiple levels of learning effectiveness, implying a need for empirical understanding and establishment of gestural performance as a concept that can be applied to enhance learning across specific pedagogical contexts. As well as building a case for future investigations in this research area, this thesis opens a debate within studies of pedagogical practice in instrumental music teaching, whilst contributing more generally to discussions of how the body impacts upon music understanding.
10
Hill, Juliet E. "The 'conjunto' piano in 1940s Cuba : an analysis of the emergence of a distinctive piano role and style." Thesis, SOAS, University of London, 2008. http://eprints.soas.ac.uk/26210/.
Повний текст джерелаАнотація:
By the early 1940s, the piano was an established part of the Cuban conjunto in the performance of son montuno, one of the great 20th century Cuban dance musics. Its role, however, has been given little attention by scholars. This thesis documents the emergence of an idiomatic and highly influential piano style during the 1940s in the new context of the conjunto. It argues that the piano represents a challenge to accepted views of the continuation of African musical practices in Cuba. Popular and academic perceptions of the African heritage in Cuba are directly related to the country's historical position as a former plantation slave society, in which African cultural forms were seen to survive within specific parameters, and in which the recreation of African musical instruments was a key feature. This has resulted in an over-simplification and binary categorisation of European and African musical elements. The perception of the piano as European has precluded it from the study of the broader application of African musical principles in the Americas, and discussions of African influence in Cuban piano style concentrate on the instrument's percussive qualities rather than a change in function. The conjunto piano style contests this paradigm, and the transformation that it embodies is more complex than a rhythmic or percussive touch. Although drawing on the role of the piano in other types of ensemble, conjunto pianists also recreated the musical function of the tres, a Cuban variant of the guitar, which had been the predecessor of the piano in the playing of son montuno. It is this that links the conjunto piano style with a wider musical world. Although elements such as call and response and the prominence given to improvisation have been seen in the literature as part of son montuno''s African legacy, only Sublette (2004) has made the connection between African musical structures and the piano montuno, the repeated rhythmic ostinato which underscores instrumental and vocal improvisation. My approach draws on both detailed musical analysis and the wider study of African music. Working from commercial recordings from the period, I argue that the construction and function of this ostinato can be linked to wider African musical principles. The practice of interlocking - the creation of harmony by means of a continuing stream of interlocked notes rather than block chords, and using motion to establish a harmonic centre - is characteristic of many African musical forms and is a key part of the piano montuno. Illustrated with extensive transcriptions from 1940s recording and present day performance, this analysis of the multiple functions of the conjunto piano provides insights into deeper principles of musical organisation that are at the heart of Cuban musical identity.
11
Hwang, Yeeun. "The Role of the Affect and the Key Characteristics in Chopin's Piano Music." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1620169641612711.
Повний текст джерела
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Weaver, Jeffery L. "The Role of Goals and Practice Steps in Piano Practice Assignments." Bowling Green State University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1124721584.
Повний текст джерела
13
Furneaux, Sophia-Louise Maria. "The role of eye movements during music reading." Thesis, University of Sussex, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.360499.
Повний текст джерела
14
Rust, Henning Jacobus. "Die ontwikkeling van die vroeë klaviertrio met spesifieke verwysing na die rol van die klavier / H.J. Rust." Thesis, North-West University, 2011. http://hdl.handle.net/10394/8996.
Повний текст джерелаАнотація:
Studies concerning the development of the piano trio primarily cultivate analyses of the
musical structures found in this genre. Few of these studies deal in depth with the
socio-historical aspect of the development of the piano trio. Such a neglected process
can only lead to the loss of valuable information. It is important to pay careful attention
to our ever-changing environment and how this phenomenon impacts upon music.
The study of the development of the early piano trio (because of the social nature of
chamber music) requires greater attention to the social history associated with this
genre. This development can be traced as an integral part of the Germanic culture,
more specifically that of eighteenth century Germany and Austria. Both societies' love
for the piano led to the full blossoming of the piano trio.
The question arises: to which degree did the early development of the piano and the
changing society- as it mostly appeared during the eighteenth century in Germany
and Austria- have an impact on the development of the early piano trio?
This hypothesis holds that the development of the early piano trio depended (among
other aspects) on the early development of the piano and the changing society of
eighteenth century Germany and Austria. Thus, a mutual connection exists between
all three factors.<br>Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2011
15
Phillips, Nicholas Scott Everett William A. "Mendelssohn's Songs without words revisited: culture, gender, literature, and the role of domestic piano music in Victorian England /." Diss., UMK access, 2007.
Знайти повний текст джерелаАнотація:
Thesis (D.M.A.)--Conservatory of Music. University of Missouri--Kansas City, 2007.<br>"A dissertation in performance." Typescript. Advisor: William A. Everett. Vita. Title from "catalog record" of the print edition Description based on contents viewed Feb. 08, 2008 Includes bibliographical references (leaves 123-136). Online version of the print edition.
16
Ng, Lok. "Modern Chinese Piano Composition and Its Role in Western Classical Music: A Study of Huang An-lun's Piano Concerto No. 2 in C minor, Op. 57." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/Dec2006/Open/ng_lok/index.htm.
Повний текст джерелаАнотація:
Thesis (D.M.A.)--University of North Texas, 2006.<br>System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 21, 2003, Oct. 11, 2004, Oct. 24, 2005, and July 12, 2006. Includes bibliographical references (p. 33-35).
17
Marable, Ingrid. "The Women of August Wilson and a Performance Study and Analysis of the Role of Grace in Wilson's The Piano Lesson." Master's thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3875.
Повний текст джерелаАнотація:
In the fall of 2007, I was cast in the University of Central Florida's production of The Piano Lesson. My thesis will examine my performance in the role of Grace, as well as understudying the role of Berniece under the direction of Professor Belinda Boyd. In addition to the performance components, my thesis materials will include historical and cultural character research and a reflective journal documenting my rehearsal and production process. My character research and journal will address questions about the characters "choices" and the relationship of their environment to views of personal responsibility and obligations in the play. I will examine the characters' relationships and situations in the play, investigating some of the decisions that these characters make in response to their cultural and social landscapes. The second part of my thesis will include research on three additional female characters from August Wilson's dramatic canon: Aunt Ester Tyler from Gem of the Ocean, Ma Rainey from Ma Rainey's Black Bottom, and Rose from Fences, which will inform my character explorations of Grace and Berniece, and the choices that I make during the rehearsal process in developing their journeys. By reading other plays by Wilson, I endeavor to deepen my understanding of the struggles of African-American women in the twentieth century, and explore how the social and economic status of black women was affected by America's changing political and social climate over several decades. In addition, I will document how my visceral experience of performing the roles of Grace and Berniece relates to my intellectual process of exploring the journeys of Aunt Ester Tyler, Ma Rainey, and Rose.<br>M.F.A.<br>Department of Theatre<br>Arts and Humanities<br>Theatre MFA
18
Kounadi, Anna. "Scriabin Sonata-Fantasy op. 19 n. 2 on record : a comparative study of sound recordings and piano rolls." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/18522/.
Повний текст джерелаАнотація:
Since the advent of the record, more than forty recordings of the Scriabin Sonata-Fantasy op. 19 n. 2 have been produced, as well as two piano rolls, with Igumnov (1911) and the composer himself performing the work (1910). This thesis sets out to analyse the evolution of performance style of this work within the last two centuries, using numerical values and music analysis software, in search of a verifiable analysis of performance traits. This study aims to detect strategies and techniques that performers of the work have used to form their performances. Observation is oriented to register long-scale and short-scale performance details, which are equally valuable in one’s preparation when practising a musical work. The actual sound of the sonata has been primarily assessed. The sonata is secondarily viewed as music text (Belaieff edition) and simultaneously compared to Scriabin’s own recorded performance on piano roll, which is valid only to a certain extent, due to recording technical impediments. The final goal of this research is to bring to light some neglected or merely underrated pianistic techniques, so as to inform the contemporary performer on different possibilities of expression. This experimentation could result in a richer musical language.
19
Plath, Niko [Verfasser], and Rolf [Akademischer Betreuer] Bader. "From Workshop to Concert Hall : Acoustic Observations on a Grand Piano under Construction / Niko Plath ; Betreuer: Rolf Bader." Hamburg : Staats- und Universitätsbibliothek Hamburg, 2020. http://d-nb.info/1215292341/34.
Повний текст джерела
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Marable, Ingrid A. "The women of August Wilson and a performance study and analysis of the role of Grace in Wilson's The piano lesson." Orlando, Fla. : University of Central Florida, 2009. http://purl.fcla.edu/fcla/etd/CFE0002676.
Повний текст джерела
21
Taylor, Robert Louis. "The Role of Analysis and Comparison in the Performance of Selected Single-Movement Compositions for Trumpet and Piano by Joseph Turrin with an Interview of the Composer, a Lecture Recital, Together with Three Recitals of Selected Works by Handel, Honegger, Tomasi, and Others." Thesis, connect to online resource, 2005. http://www.unt.edu/etd/all/Dec2005/taylor%5Frobert%5Flouis/index.htm.
Повний текст джерелаАнотація:
Thesis (D.M.A.)--University of North Texas, 2005.<br>System requirements: Adobe Acrobat Reader. Accompanied by 5 recitals, recorded July 1, 1996, June 22, 1998, June 24, 2002, Sept. 8, 2003, and Oct. 27, 2005. Includes bibliographical references (p. 56).
22
Unruh, Amy Elizabeth. "Louis Moreau Gottschalk (1829-1869) the role of early exposure to African-derived musics in shaping an American musical pioneer from New Orleans /." [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1257865487.
Повний текст джерелаАнотація:
Thesis (Ph.D.)--Kent State University, 2009.<br>Title from PDF t.p. (viewed April 9, 2010). Advisor: Terry E. Miller. Keywords: Louis Moreau Gottschalk; Gottschalk; Amy Unruh; music; piano; African; Bamboula; night; tropics; New Orleans; Louisiana; American; composer. Includes bibliographical references (p. 308-323).
23
Russek, Mathieu Lia Ananda. "El rol de la vegetación acompañante en el movimiento de Ceroglossus chilensis en las plantaciones de pino adultas, jóvenes y bosque maulino." Tesis, Universidad de Chile, 2016. http://repositorio.uchile.cl/handle/2250/150958.
Повний текст джерелаАнотація:
Memoria para optar al título profesional de Ingeniera en Recursos Naturales Renovables<br>El movimiento de individuos en paisajes fragmentados depende de la complejidad estructural del ambiente ajeno, la que en matriz forestal dependería de la presencia de vegetación acompañante (VA) en las plantaciones que la conforman. La presencia de VA generaría un menor desplazamiento y movimientos más circulares, los que resultan en una mayor permanencia en un hábitat que ofrece mayor estabilidad microclimática, mayor oferta de recursos y mayor disponibilidad de micro-sitios para oviposición, hibernación y refugios. El bosque Maulino de Chile central es un ecosistema único por su gran endemismo y biodiversidad. Hoy se encuentra altamente reducido y fragmentado, rodeado principalmente por plantaciones de pino radiata (Pinus radiata D. Don).
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Williams, Nicholas Mark. "A study on performing the Hungarian Rhapsodies in the Liszt tradition." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2020. https://ro.ecu.edu.au/theses/2360.
Повний текст джерелаАнотація:
Franz Liszt’s Hungarian Rhapsodies (1851, 1853) have long been among the most popular collections of piano music. They have also long garnered a reputation for “superficial brilliance and effect” which seems to have influenced the way that famous pianists play the works in public. But would a performer immersed in the Liszt tradition have approached them differently? This dissertation aims to promote a re-evaluation of the Hungarian Rhapsodies from this perspective: considering Liszt’s own ideas on music and performance, the writings and recordings of his pupils, and Liszt’s book Des Bohémiens et de leur musique en Hongrie (1859).
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Williamson, Deborah. "A Performer's Analysis of Lili Boulanger's Clairières dans le ciel: Song Cycle for High Voice and Piano; a Lecture Recital Together with the Role of Blanche in Dialogues of the Carmelites by F. Poulenc and Two Recitals of Selected Works by H. Purcell, F. Schubert, S. Prokofieff, E. Chausson, W. A. Mozart, R. Schumann and G. Fauré." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc3022/.
Повний текст джерелаАнотація:
Lili Boulanger was an important composer of early twentieth century French music. Her compositional style represents a development and mastery of musical techniques of the great composers of her time including Fauré, Debussy and Wagner combined with her own creative expression. The result is a compelling musical language that was uniquely her own. She held an important place among her contemporaries in Paris and her accomplishments were considered newsworthy during her lifetime (1893- 1918). She obtained a much sought-after publishing contract with Ricordi. Her more famous sister, Nadia Boulanger, felt that Lili was the better composer of the two, and her peers and music professors clearly felt that both her musical and personal qualities were extraordinary. Evidence of her intelligence, creativity, and artistic growth can be seen in her music. As the first woman to win the Prix de Rome (July 5, 1913), Lili Boulanger, unlike Clara Schumann, Fanny Mendelssohn, or Alma Mahler, was acknowledged and acclaimed during her lifetime for her skill as a composer. Yet, nearly a century later the music of this talented French composer is not as well known as it deserves to be. In an effort to discover the reasons for this relative anonymity, this document will examine Lili Boulanger's life including her family and childhood influences, musical training, preparation for the Prix de Rome and the influence of Claude Debussy and other composers. This document will discuss her mature compositional style, specifically as it is reflected in her song cycle, Clairières dans le ciel. The text will be examined in conjunction with the literary movement of symbolism in 20th century France and the symbolist poet, Francis Jammes, with special attention to the composer's personal identification with the poetry. Considerations of the musical setting of the cycle will include the melodic style as it relates to the text, the harmonic idiom and its relation to the poetry, rhythmic and metrical devices used, formal devices and the relationship of the piano accompaniment and the voice. Performance considerations for this cycle include the recommended transpositions if performed by soprano rather than the tenor voice for which it was originally composed and the level of difficulty from an interpretative as well as technical standpoint.
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Williamson, Deborah. "A performer's analysis of Lili Boulanger's Clairières dans le ciel song cycle for high voice and piano : a lecture recital together with the role of Blanche in Dialogues of the Carmelites by F. Poulenc and two recitals of selected works by H. Purcell, F. Schubert, S. Prokofieff, E. Chausson, W.A. Mozart, R. Schumann and G. Fauré /." connect to online resource, 2001. http://www.library.unt.edu/theses/open/20013/williamson%5Fdeborah/index.htm.
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Lee, Kyung-Ae. "A comparative study of Claude Debussy's piano music scores and his own piano playing of selections from his Welte-Mignon piano roll recordings of 1912." 2001. http://hdl.handle.net/2152/10669.
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Whitehead, Laura Lynn. "Transcendent Sounds: The Early Piano Music of Alexander Scriabin." Thesis, 2014. http://hdl.handle.net/1828/5223.
Повний текст джерелаАнотація:
Studies of Alexander Scriabin (1871-1915) have traditionally focused on his middle- and late-period music after 1902. Discussions of his personal philosophy and its impact on his music also concentrate on these two periods. This thesis examines Scriabin’s philosophy and piano music from a sub-section of his early period—1892 to 1897—that I designate his “formative” period. I argue that Scriabin’s eccentric belief in transcendence through music was already developing and influencing his music during his formative period. Evidence to support this theory is found in three areas: context, performance practice and analysis. A contextual evaluation of Scriabin’s formative years is compared against his late ideologies from his opera and the Mysterium. Scriabin’s performance practices, as seen in both first-hand documentation and his piano roll recordings, reveal possible philosophical performance traits. Analyses of selected formative compositions expose philosophical and performance related elements, demonstrating the interaction between composer, pianist and philosopher.<br>Graduate<br>0413<br>lauralwhitehead@hotmail.com
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"The Imitation of Orchestral Effects and the Expressive Role of the Piano in Richard Strauss's Sonata for Violin and Piano in E-flat Major, Op. 18." Doctoral diss., 2014. http://hdl.handle.net/2286/R.I.25074.
Повний текст джерелаАнотація:
abstract: The Sonata for Violin and Piano in E-flat Major, Op. 18 (1888), was the last major work of chamber music by Richard Strauss (1864-1949). Although for only two instruments, the Sonata reflects Strauss's growing interest in symphonic writing both in his tone poems and orchestral songs, anticipating his style of orchestration and his expressive use of tone colors. This study examines instances of orchestral writing in the piano and makes suggestions for their performance. An overview of Strauss's compositions, from his early chamber music to the `heroic' symphonic works, places the Sonata in context. An analytical description of each of the Sonata's three movements shows the structure and content of this large work and provides the framework for examination of the orchestral effects in the piano. Comparison of excerpts from the Sonata with passages from Strauss's orchestral writing in Don Juan (1889), "Cäcilie," "Morgen!," and "Lied der Frauen" leads to suggestions for the collaborative pianist of ways to re-create the various orchestral effects.<br>Dissertation/Thesis<br>D.M.A. Music 2014
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Jheng, Yi-Ru, and 鄭臆如. "The Pianists’ Innovative Thinking:The Documentary Film of Lina Yeh and Rolf-Peter Wille’s \"Piano Theater\" Concert Series." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/jkt4mn.
Повний текст джерелаАнотація:
碩士<br>國立臺灣師範大學<br>民族音樂研究所<br>107<br>Lina Yeh and Rolf-Peter Wille are famous due-pianists in Taiwan. Their music often brings out new thoughts across fields. This study first organized their past concert programs and video/audio data by years for the purpose of identifying their creativity changes in their concert productions. Then, this study analyzed their music history, concert models, and contents based on the “Piano Theater” concert series. Lastly, this study conducted an interview with Lina Yeh, in which she shared her journey of producing this series. The interview was recorded as a video.
In addition, on June 10th, 2018, Lina Yeh and Rolf-Peter Wille worked with the National Symphony Orchestra (NSO) to hold a concert combining music, readings, and stories. Two of the songs performed, “Carnival of the Taiwanese Animals” and “Little Red Riding Hood and the Big Black Piano”, are from the “Piano Theater” concert series. The author of this article had the honor to participate in the three rehearsals and filmed them with the authorization of the organizer and the performers.
Communicating messages through visuals has become a trend. An event can be better preserved in its original form through video and audio recordings can preserve than text, especially when people’s body languages and tones in interviews are involved. Lina Yeh provided plenty of historical video/audio data and photos. Therefore, besides text descriptions, the author also tried to recount the two pianists’ experiences through videos, presenting in a more vivid way the paths Lina Yeh and Rolf-Peter Wille had walked in relation to the concert series, so that others can “see” their courses of innovation.
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Bowen, Nellie. "Stylistic principles in three chamber works by Bela Bartok with particular reference to the role of the piano." Thesis, 1990. http://hdl.handle.net/10413/8917.
Повний текст джерелаАнотація:
The thesis discusses the following three works composed by Bartok
between 1922 and 1938 : Sonata no. 2 for Violin and Piano,
Rhapsody no. 1 for Violin and Piano and "Contrasts" for Violin,
Clarinet and Piano.
Details relating to Bartok's compositional style in the three
chamber works are investigated, with particular reference to the
role of the piano. The piano writing is not innovative, but the
traditional boundaries are extended by means of the melodic
idiom, harmonies and rhythms. The thesis considers traceable
musical influences viz. folk music and the influence of other
composers; form and the tonal-contrapuntal fabric, rhythm and
meter, and performance considerations. The value of Bartok's own
recordings is addressed with regard to a critical evaluation of
Bartok's own interpretation, the importance of the precisely
notated scores, the controversial Bartok tempi, the application
of rubato and broken chord figurations and Bartok's views on
pedalling, articulation and ornamentation. Examples of all the
above-mentioned aspects are traced in the three works concerned,
and the pianistic style and dynamics and the interaction between
the piano and the other instruments are discussed.
The three works are compared and Bartok's development as composer
of chamber music is traced through this comparison.
The existence of Bartok's own interpretation of the Sonata,
Rhapsody and "Contrasts", is of particular value to the study and
serves as a main point of reference regarding the performance
aspect. Using these recordings as a basis, the thesis considers
the works from a pianist's point of view and insights are offered
into possible problematic areas in performance, in relation to
the piano part as well as the ensemble. The knowledge acquired
through the preceding analysis of the works assists in a better
understanding of the works and ensures an ultimately more
successful performance.<br>Thesis (M.Mus.)-University of Natal, Durban, 1990.
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Embry, Jessica L. "The Role of Organicism in the Original and Revised Versions of Brahms's Piano Trio in B Major, Op. 8, Mvt. I: A Comparison by Means of Grundgestalt Analysis." 2007. https://scholarworks.umass.edu/theses/28.
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Agopian, Vartan. "The Role of Self-Regulation, Quantity of Practice and Self-Efficacy in Self-Assessment and Improved Performance among Lebanese and Czech Piano Students." Doctoral thesis, 2019. http://www.nusl.cz/ntk/nusl-405740.
Повний текст джерелаАнотація:
This work studies the role of self-regulation and self-efficacy during piano practice in improved self-assessment and performance, since in the last couple of decades, research has shown that number of hours of practice is not the only predictor of improved performance. Piano students at the Beirut and Prague conservatories wrote weekly journals assessing their self-regulation during practice for nine months and then performed in an exam, in addition to filling an online questionnaire. Results showed that students self-regulated mostly using the method and social factors dimension. Moreover, although students in Prague performed a harder repertoire, they were not better in self-regulation compared to the students in Beirut, except for the time dimension of self-regulation. A list of self-regulatory behaviors is presented at the end of the work, in addition to the implications for music educators and piano students and the contributions to the field of music education in terms of preparation for performance in the absence of a teacher. Keywords piano pedagogy, practice, self-assessment, self-efficacy, self-regulation
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Candido, Marcio Andre. "The sonata for violin and piano in A Major, Op. 14 by Leopoldo Miguéz (1850–1902): analysis, influences, and its role in the violin literature." Thesis, 2017. https://hdl.handle.net/2144/23362.
Повний текст джерелаАнотація:
The sonata for Violin and Piano in A Major, Op.14 by Leopoldo Américo Miguéz is the first Romantic-period sonata composed in the Brazilian violin-piano literature, and arguably one of the most important sonatas in the genre. The sonata was composed in 1885, one year after Miguéz’s return from a short period of study in Europe. This period saw a prolific output of the most essential pieces of this repertory in the late 19th century—the Brahms, Franck, Strauss, and Fauré sonatas. The Miguéz sonata demonstrates a decidedly European taste, completely lacking the sense of nationalism that Villa-Lobos would later pursue.
Miguéz’s compositional style may be best understood being associated with the Wagnerian aesthetic. One of his most significant pieces, the symphonic poem Parisina, Op. 15, (1888), most clearly exemplifies this statement. When specifically examining the sonata, however, we can perceive that this particular work lies outside of the Wagnerian sphere, sharing many similarities with Fauré, Franck, Saint-Saëns, Schumann, Schubert, and Mendelssohn. The sonata also displays thematic transformation and the concept of “developing variations,” especially showing the influence of Brahms. In addition to being a composer, Miguéz was also a violinist. He studied with Nicolau Ribas who was a student of Charles de Beriot, the great icon of the Franco-Belgian violin school, whose influence is notable throughout the sonata. There are currently four recordings of the work, with two editions now available.
The purpose of this dissertation is to establish a scholarly approach to the analysis and contextualization of such a significant piece from the Brazilian violin repertory. Additionally, this research aims to further place this piece inside the larger context of violin artistry.