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1
Budhiono, Sofia Shieldy, and I. Dewa Made Bayu Atmaja Darmawan. "Pitch Transcription of Solo Instrument Tones Using the Autocorrelation Method." JELIKU (Jurnal Elektronik Ilmu Komputer Udayana) 8, no. 3 (January 25, 2020): 347. http://dx.doi.org/10.24843/jlk.2020.v08.i03.p18.
Повний текст джерелаАнотація:
Pitch transcription is basically identifying and copying pitch on an audio or music. In this case, the pitch of a solo instrument music is processed to find the composition of the music tones, the method used is autocorrelation. After processing, the system will produce pitch transcription results from the audio that has been processed. this research done digitalization of an old method of identifying pitches into an application that is able to transcribe pitches in an audio. This Pitch Transcription application was created using the Python programming language with Librosa library as a library for audio processing. The purpose of making this system is to facilitate the identification of pitch from a solo instrument music. This Application Feature itself besides being able to show the results of pitch transcription can also display the Onset Graph, Signal Graph play the results of the synthesis transcribed audio sounds. Testing in this study uses audio sourced from 4 single instruments, there are flute, piano, violin and acoustic guitar. The test results show that the implementation of the autocorrelation method in the solo instrument tone transcription application has an accuracy of 92.85%.
2
Știuca, Petru. "The pecularities of transcription of homofon-harmonic musical works for accordion." Akademos, no. 1(68) (June 2023): 146–49. http://dx.doi.org/10.52673/18570461.23.1-68.19.
Повний текст джерелаАнотація:
The article deals with the general and specific issues of accordion transcription development. The peculiarities of this process depend largely on the discourse of the original creations, selected for transcription. Most of them belong to the homophonic-harmonic style, usually corresponding to the period of musical classicism and romanticism, and are written for piano or violin solo, or with orchestral accompaniment. The author focuses on the specifics of the given instruments, analyses the transcription of homophonic-harmonic creations from a historical perspective. At the same time, specific features and recommendations are presented in order to create accordion versions of musical creations in this style.
3
Shaymukhametova, Liudmila N. "About the Study of the Means of Transcription of Works for Clavier by Beginning Pianists." ICONI, no. 2 (2019): 116–27. http://dx.doi.org/10.33779/2658-4824.2019.2.116-127.
Повний текст джерелаАнотація:
The methodological elaborations of the rubric of the journal “My fi rst transcriptions” will present examples from assignments from the attempts of creative work of beginning pianists with the musical text. The offered assignments carry the aim of teaching certain universal techniques of artistic transformation of the composer’s primary text. The fi rst article devoted to this subject matter examines the register allocation and the doubling which were applied in everyday music-making in the 16th and 17th centuries during the varied re-exposition of the clavier text into various ensembles. The technique of their application is simple and accessible to contemporary listeners as well; it presumes the utilization of timbral possibilities of the present-day piano and keyboard synthesizer. At the basis of the elaboration of the assignments there are fragments of J.S. Bach’s instructive compositions from such compilations as “Kleinen Preludien und Fugen,” “Klavierbüchlein für Wilhelm Friedemann Bach,” as well as the “French Suites,” all of which assume a transformation of the clavier text for performing it in various variants and instrumental ensembles. These are the introductory pieces to the cycles: the preludes, fantasies or the pieces in the dance genres.The lessons are organized in the piano classes upon the conditions of “sight-reading” either in a solo manner, or with participation of partners in the form of intonational etudes. The analysis of the semantic structures applies role playing games in the subject matter of “I am playing the organ,” “there is a rehearsal of a historical orchestra going on,” “Trio for two fl utes and cello,” etc.
4
Beirens, Maarten. "ARCHAEOLOGY OF THE SELF: MICHAEL FINNISSY'S ‘FOLKLORE’." Tempo 57, no. 223 (January 2003): 46–56. http://dx.doi.org/10.1017/s0040298203000044.
Повний текст джерелаАнотація:
The compositional output of Michael Finnissy includes several major cycles for piano solo, which stand out by reason of their dimensions and their scope. English Country-Tunes (1977/1982–85), Verdi Transcriptions (1972–92/1988–95/2002-), Gershwin Arrangements (1975–88) and Folklore (1993–94) are all long, technically demanding and full of expressive potential. Yet they have been outdone by Finnissy's most recent piano cycle: The History of Photography in Sound (1995–2001), a phenomenal endeavour, lasting over five and a half hours and employing every conceivable means of articulating musical expression and intellectual significance. Speaking of the scope of these works, however, does not merely entail their unusual length – although the extended duration, in comparison to what is considered customary for a solo piano piece, is indeed one of their prominent features. What is more significant here is their scope in terms of the wide array of ideas, concepts and statements that make up the musical text. In that respect, Folklore (like the other pieces mentioned here) is an unrelenting statement, reflecting upon or formulating a critique of many issues that are crucial to late-20th-century human existence. This article tries to demonstrate how all these layers of significance can indeed form the subject of a piece that is supposed to be ‘abstract’ (because textless, instrumental) music.
5
Зильберман Юрий. "СУРОК, соч. 52 No 7 (фр. MARMOTTE) ЛЮДВИГА ВАН БЕТХОВЕНА СТИХИ И. В. ГЁТЕ". International Academy Journal Web of Scholar, № 5(35) (31 травня 2019): 39–45. http://dx.doi.org/10.31435/rsglobal_wos/31052019/6504.
Повний текст джерелаАнотація:
In his youth Ludvig van Beethoven wrote the song "La Marmotte" on the words of J. W. Goethe. The predominant feeling in it was loneliness. The further Beethovens time drifted away, the more song transcriptions for a solo instrument became. There was a variant of the piece for piano, violin, flute, etc. All novice musicians almost must have played this piece. Author of the article, folowing the path of the song offers a method of studying the piece to beginner violinist.
6
Rimm, Robert. "Le festin d'Esope and Other Works for Solo Piano, and: Ier concerto da camera en la mineur pour piano et orchestre, op. 10, and: Zweite Ballettszene fur Klavier, op. 20, Busoni-Verz. 209, and: The Complete Elegies, the Six Sonatinas and Other Original Works for Solo Piano, and: Toccata and Fugue in D Minor and Other Bach Transcriptions for Solo Piano, and: The Godowsky Collection, and: The Complete Piano Sonatas, and: Complete Fairy Tales for Solo Piano, and: Passeggiata Variata (1981) for Piano (review)." Notes 60, no. 1 (2003): 290–95. http://dx.doi.org/10.1353/not.2003.0126.
Повний текст джерела
7
Lynnyk, M. S. "Rostislav Genika: performer, teacher, composer." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 39–54. http://dx.doi.org/10.34064/khnum1-54.03.
Повний текст джерелаАнотація:
Under consideration are various facets of the creative work of Rostislav Genika, a comprehensively educated musician, universally gifted personality, one of the founders of the Kharkov piano school. The research is based on the study of critical reviews of R. Genika’s and his students’ concerts. Under analysis is the main genre of R. Genika as a composer and pianist – a transcription represented by the piece “Concert Paraphrase” to the motive of “Kupava’s Complaints” from P. Tchaikovsky’s music to the play “The Snow Maiden” by A. Ostrovsky. Rostislav Genika (1859 – 1942?) focused on piano art, which can be considered the key basis of all his theoretical, historical and musical-critical generalizations and conclusions, as well as practical activities as a performer, teacher and composer. The education received by R. Genika in the class of N. Rubinstein at the Moscow Conservatory prompted the Kharkov musician to pay tribute to piano performance in the early stages of his career. The information about the pianist R. Genika, which came to us from publications in the press and the memoirs of his colleagues, gives an opportunity to reconstruct, although not in full, the style of his piano playing as a soloist, ensemble performer and accompanist. All this together constituted the subject of a comprehensive review and the relevance of this article. The research material includes reviews of R. Genika’s concerts and an example of his composer’s heritage in the field of piano music – a transcription “Concert Paraphrase” to the motive “Kupava’s Complaints” from P. Tchaikovsky’s music to the play “The Snow Maiden” by A. Ostrovsky. The purpose of the paper is to reveal the universalism of the composer’s talent, the scale of his work, which was mainly focused on piano performance, through the analysis of various aspects of Rostislav Genika’s creative work. It would be wrong to call R. Genika a concert pianist in the traditional sense of the word. He had few solo concerts in his practice and they refer to the very beginning of his work career in Kharkov. As a concertist, he mostly performed works mastered in the class of N. Rubinstein, as well as piano parts in various ensembles, learnt by him when playing with “K. Gorsky Quartet” and other ensemble performers. The piano repertoire of R. Genika included pieces by I. S. Bach, G. Handel, D. Scarlatti, L. van Beethoven, K. M. Weber, F. Liszt, F. Chopin, R. Schumann, M. Mussorgsky, P. Tchaikovsky and others. Raised on the best examples of piano music, R. Genika appreciated such an interpretation that would meet not only the criteria of "accuracy", but would also be spiritually filled, sublimely emotional, and not outwardly ostentatious. Since the first days of working in Kharkov R. Genika, was able to combine lecturing, performing and correspondent activities with piano pedagogy. The sphere of pedagogy was one of the prevailing and time-consuming in his life. There is quite little information about R. Genika as a teacher and it can be found mainly in the reviews of his students’ concerts, in the notes of the local press as well as in the reports on academic concerts and exams at Kharkov Music College and Conservatory. The personal pianistic experience of R. Genika and the pedagogical style of his teacher N. Rubinshtein affected the choice of virtuoso programs and concert programs for his students. R. Genika’s composing experiments are closely related to his concert-pianistic and pedagogical work, as well as to the study of piano music history. The circle of his genre interests in this area was quite symptomatic. As an ardent supporter of concert pianism traditions R. Genika considered the genre of transcriptions and arangementds in the Liszt-Talberg spirit to be a new wave in piano literature of that time, a promising direction. This is how his transcriptions to the motives from “Parsifal” by R. Wagner, a piano arrangement of the “Arabic Dance” from the “Nutcracker” by P. Tchaikovsky, a fantasy “Abyss” to the motive of E. Grieg appeared. R. Genika also wrote short pieces intended for his concerts, as well as for educational practice. Unfortunately, the score of these works are still either not found or not preserved. An exception is the “Concert Paraphrase” to the motive of “Kupava’s Complaints” from P. Tchaikovsky’s music to the play “Snow Maiden” by A. Ostrovsky (author’s handwritten text dedicated to the pianist V. Timanova). Being a pianist was very important for R. Genika. Understanding pianism as a musical aesthetic phenomenon resulted in a multifaceted and deep understanding of the essence of musical art, which was characteristic of R. Genika as a music educator. The musician thought of himself precisely as a “generalist” who could handle any music profession – a performer’s, teacher’s, or researcher’s one. Hence, further study of the creative and critical heritage of R. Genika will invariably affect the spheres of other areas of musical art (opera, chamber, etc.). Such universal personalities as R. Genika have always been an engine for the musical-historical process, idea generator of the era. Nowadays such universal musicians, who would be a kind of "litmus test" of their time and faithfully served the art, are still in need. One of such outstanding figures in Ukraine, a universal personality was Valerii Oleksandrovych Bohdanov (07/13/1939 㶹– 10/10/2017) – performer, teacher, scientific researcher, composer. His multifaceted activities encompassed a wide range of musical art and were reflected in many years of pedagogical work, a large number of research works, transcriptions, and composer’s experiments. We would like to hope that this anniversary collection dedicated to V. Bogdanov will serve as a prelude to a deep and comprehensive study of the life and work of this bright and extraordinary musician.
8
Loya, Shay. "Recomposing National Identity: Four Transcultural Readings of Liszt's Marche hongroise d'après Schubert." Journal of the American Musicological Society 69, no. 2 (2016): 409–76. http://dx.doi.org/10.1525/jams.2016.69.2.409.
Повний текст джерелаАнотація:
Liszt's Mélodies hongroises d'après Schubert, a solo piano transcription of Schubert's four-hand Divertissement à l'hongroise, provides an interesting example of the complex relationship between centers and peripheries, and between personal patriotism and public nationalism. The first transcription (S. 425, 1838–39) stands at the very beginning of Liszt's career as a “national composer,” the most significant aspect of this rather overlooked fact being Liszt's transformation of the second movement—a naive, dance-like march—into “republican” heroic music driven toward an apotheosis à la Beethoven. This heralded a new type of national genre, and Liszt deemed the march movement important enough to be published on its own in numerous versions between 1838 and 1883. Yet this Marche hongroise was not merely nationalist: it related to other, non-Hungarian identities, most notably French and Austrian. Later versions (from 1859 onward) allowed Liszt to express a progressive, liberal Hungarian identity in the face of a rising tide of chauvinism. Four transcultural readings of the work, both complementary and conflicting, follow Liszt's revisions in roughly chronological order, interpreting the work as, in turn, a nationalist reclamation of Hungarian music, a republican response to the political status quo, the construction of an Austro-Hungarian identity, and a discontinuous text in which new, modernist ideas often merge or conflict with older ones, forcing a fresh renegotiation of national identity.
9
Zhou, Daping. "The Theoretical Background for the Chinese Composers Piano Music Genre Peculiarities Research." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 180–206. http://dx.doi.org/10.34064/khnum2-14.13.
Повний текст джерелаАнотація:
Introduction. The given paper is devoted to questions, which make up the dissertation research section upon the genre semantics of the Chinese composers’ solo piano creations. The general theoretic background for the vast amount of the musical artifacts studying is specified in the current section. Theoretical background. In his studying of the Chinese composers’ piano creative work the author follows the research trend, originated by G. Schneerson, Lui Ji, Wei Tinge, Liu Fuan, Zhang Xiaohu, Zhang Qian and others. In particular, the current research is based upon the works by Bu Li, Bian Meng, Wang Ango, Wang Yuhe, Cheng Xu and other authors, devoted to the problem of the European and national music traditions interaction in the Chinese composers’ piano artifacts. The insufficient readiness of this thesis is mentioned. Namely, it is still the point of discussion and analyzing, to what extend and in what quality the genre system of European piano music is mastered by the Chinese composers. It is another point of investigation if their compositions are the result of the surface signs borrowing, taken from the most widely spread European genres or the Chinese composers were able to comprehend the genre semantics profoundly and develop some genres creatively, basing on the national musical tradition. Objectives. The main objective of the current article is the essential theoretical background specification for the Chinese composers’ piano creations genre peculiarities research; in particular, the polygenicity, the borrowed material usage principle, the composer’s genre stylization method. Methods. The task setting and developing is based upon the functional and morphological approaches to the musical genre comprehension, on the terminological analysis of the musical genres and styles understanding, on the upto-date philological and musicological conceptions of composition poetics, artistic genre and stylization method. Results and discussion. The concept of musical genre is defined as the type of the creation or the musical creative activity. Here the category of genre involves not only the formal but also the substantial musical compositions properties, their typical semantics. The musical genre genesis is specified by three factors: 1) the functional creations similarity, the identity of their assignment; 2) the similarity of the conditions of the composition creating and performing; 3) artistic and contextual affinity. The given factors specify the occurance of common musical form properties among several compositions, and these properties are defined as genre style. The composition style properties quite definitely “indicate” some kind of genre “prototype”, and in this sense they are the sign-index of the genre. The typical artisticcontent properties of musical creations and performing are also the index of the genre. These typical properties and designated as genre image (or genre semantics). The genre style and the corresponding images reflect the real type relations of the musical practice phenomena. It enables the composers to use the formal signs of a certain genre as an artistic attribute well recognized by the audience. In the musical genres system, the areas of interactive and independent music are conventionally separated. The first group includes the numerous kinds of every day musical performing, where music interacts with the riot, dance, poetic verbal speech, theatre performance and other types of a person’s artistic activity. Meanwhile, the main and specific function of the independent music is its being the object of artistic perception. The independent music artifacts don’t need any interaction with the expressive means of other arts. The piano music can belong to both spheres. A lot of independent sphere piano music compositions are bear the names of the genres belonging to the folklore, theatre music, church rituals, urban life. We mean such as piano “lullabies”, “ballads”, “minuets”, “waltzes”, “marches”, “arias”, ”love songs” etc. there is still another phenomenon: the piano music pieces, the name of which is not connected with the interactive music genres, are often profoundly connected with them on the levels of the language and artistic text. Quite often, the piano pieces are built on certain composition, borrowed from the sphere of folklore, popular or church music. In all the alike cases we can notice the artistically justified synchronous (non consequent) interaction of several musical genres signs and properties in the form of the definite composition. This phenomenon is characterized as polygenicity. Two main approaches to achieve the polygenre artistic expressive effect are defined: a) the use of the “exterior” (non native, another’s, alien) musical material; b) the genre style characteristic properties reproduction (genre stylization). The given work gives the definitions for the methods of different musical genres properties combination by means of borrowing and of the “exterior” material use in the frames of the original composition: quotations, arrangements, edited versions, fantasies and transcriptions. The genres, originated by these composing methods, are characterized. The essence of the genre stylization method in the Chinese composers’ creations is revealed. It is the reproduction of tonal and compositional peculiarities of the certain traditional Chinese music genre style into the composition text belonging to the European piano music genre system. The wide range of this method implementation is mentioned: from total style imitation to allusion. Conclusions. The existence of the great amount of the piano music compositions in the today’s Chinese musical culture motivates the overall and profound scientific analysis of this phenomenon, in particular, it stimulates the given sphere genre features revelation in both synchronous and diachronic (historic-evolutionary) aspects. The piano music genre sphere researcher needs the clearly formulated, capacious and non-contradictory categories of musical genre, genre style, genre system, genre semantics, as well as of the notions, derivative and connected with them. As it was mentioned by numerous specialists, the Chinese piano music distinctive feature consists in its lasting connection with the national music tradition. The task, set for the musicologists, is to define the nature, the principles, the variants of the interaction between the European piano music genres and styles and the traditional Chinese music genres and styles ( folklore, theatre, popular song). The given article states that the first artistic method, leading to the combination of the European and Chinese traditions in the frames of one composition consists of the composer’s borrowing and using some “alien” material, a fragment of the famous musical creation in his artifact. Thus, using serves as a general notion, embracing a number of certain musical text composing methods, which include quoting, arranging, creating versions, fantasies and transcription. The second artistic approach, leading to European piano music and the Chinese traditional music interaction, consists in the artistic method of stylization. This method implies the reproduction of tonal and compositional peculiarities of the certain traditional Chinese music genre style into the composition text belonging to the European piano music genre system. This method reveals the unlimited possibilities to create the bright vivid effects for genre dialogue, conflicts, interaction, as well as very delicate conceptual modus, allusions, hints, promoting the remarkable enrichment of the compositions genre figurativeness. Basing on the given theoretical background the author is going to analyze the genre-style contents of the seven-volume edition “A century of Piano Solo Works by Chinese Composers”. This content may serve as a working model for the studying of the whole thesaurus of piano music artifacts, created by the Chinese composers.
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Zakharbekova, Irina S. "Georges Bizet in the Service of the Opera: More than “Just” a Composer?" Contemporary Musicology 8, no. 4 (2024): 64–90. https://doi.org/10.56620/2587-9731-2024-4-064-090.
Повний текст джерелаАнотація:
Georges Bizet occupies an important place in the history of French musical theatre thanks to his works such as Carmen and Les pêcheurs de perles. However, the musical career of this bright and original composer includes not only his own compositional oeuvre, which is relatively modest in terms of the number of works he created, but also his work in adjacent spheres. The article discusses the editorial and correction work on the works of other authors, which Bizet began to carry out in the mid-1850s and was especially active in the 1860s and early 1870s. Bizet worked on transcriptions (piano-vocal reductions, arrangements for solo piano and duets for 4 hands, orchestration and additional compositions) of opera works by other composers for French music publishing houses — primarily Choudens and Heugel. The article also examines Bizet’s participation in the rehearsal and production process of opera performances by his colleagues and friends — in particular, Charles Gounod and Ernest Reyer. By turning to the composer’s epistolary legacy and the memoirs of his contemporaries, as well as by analysing some of the available operatic arrangements made by Bizet, we gain the opportunity to take a closer look at French musical and theatrical life of the second half of the 19th century as well as the private work of a musician of that time: work that was not always socially or legally recognised, but which nevertheless demonstrated the quality and professionalism of its producer. Moreover, a discussion of Bizet’s piano arrangements is important both in the context of the existence of this kind of music, as well as from the point of view of the educational and development functions that it fulfilled. No less significant for Bizet’s career was his assistance and participation in rehearsals of his compatriots’ performances in Parisian and other theatres: acting as an accompanist and “assistant composer”, Bizet could observe the opera “kitchen” from the inside and thus avail himself of the opportunity to prepare the ingredients for his own musical and theatrical masterpieces.
11
Rimm, Robert. "The Alexander Siloti Collection: Editions, Transcriptions, and Arrangements for Piano Solo, and: 53 Studies on Etudes of Frederic Chopin and Other Chopin Arrangements (review)." Notes 61, no. 2 (2004): 561–65. http://dx.doi.org/10.1353/not.2004.0160.
Повний текст джерела
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Klendiy, O. M. "Interpretative aspect of C. Saint‑Saëns’s piano music." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 136–53. http://dx.doi.org/10.34064/khnum1-56.09.
Повний текст джерелаАнотація:
Background, the objective of the research. From the perspective of interpretative discourse, C. Saint-Saëns’s heritage widens the contemporary views of his performance career and explains the nature of his pianoforte mentality. Moreover, an interpretative approach is becoming an important part of its investigation methodology, which makes it possible to state the aim of the paper, which is to determine the priorities of C. Saint-Saëns as being an outstanding virtuoso performer of his historical era (what is necessary to understand his artistic mentality). According to the aim of the paper, the following practical tasks have been solved: 1) lay down the requirements for a pianist when performing C. Saint-Saëns’s pianoforte cycles; 2) determine the artist’s most performed solo pianoforte works nowadays (namely the cycles). The methodological basis of the research is a comprehensive approach based on the unity of historical biographical, genre-style and performance research methods that emphasize the importance of the piano work of a unique French artist for modern generations of performers. The results of the research. The analysis of the performances of young C. Saint-Saëns has become obvious that at the beginning of his performance career, he was far from the traditional image of a pianist-virtuoso typical for the first half of the 19th century and has represented the model of a pianist-interpreter of classical music pieces, according to new cultural tendencies. In the middle of the 1860s C. Saint-Saëns shifted his genre-style priorities in his concert performance and widened the geography of his audience outside France to Germany, England and Russia. The French virtuoso improved his repertoire by performing the works of contemporary composers. However, the tendency towards romantic repertoire did not prevent him from including of J.-Ph. Rameau’s and J. S. Bach’s works into his concert program. Beginning from the 1890s to the end of C. Saint-Saëns’s performance career (1921), his own works made the basis of his concert programs also. Having systematized of C. Saint-Saëns’s repertoire, four performance preferences have been distinguished: 1) interest in the works of Baroque composers and French national culture of pre-classical period; 2) returning to Viennese classicists as the basis of a pianist’s concert repertoire in the new historical era; 3) having romanticists’ works serving as the example of modern performer’s repertoire in the second half of the 19th century; 4) producing his own music pieces and transcriptions. Based on summarizing the repertoire preferences, in terms of their stylistics and the increase in the significance of the historical interpretation of other composers’ works, which can be traced in C. Saint-Saëns’s statements and recommendations, it has been concluded that at the beginning of the 20th century his performance style corresponded to the one typical for new post-romantic performers – “interpreters-generalists” (according to O. Kandynskyi-Rybnikov, 1991). The comparison of C. Saint-Saëns’s solo concert programs of different years and the genre and style orientation of the piano compositions created by him in the corresponding periods shows a noticeable interconnection of two major areas of his creative activity – concert and composing. In his early period, he interpreted, as a pianist, mainly the classical music pieces (especially Beethoven’s). And his own Op. 3, Bagatelli, was created under the influence of the Viennese classicism music. In his mature period (starting from the middle of the 1860s), which was connected with C. Saint-Saëns’s concert tours outside France and the enrichment of his repertoire with the works by F. List, F. Chopin, F. Mendelssohn, R. Schumann, there was a shift of the composer’s genre and style priorities: he composed the concert etudes of the Op. 52, program pieces of the Album Op. 72. Finally, in his late period (from the 1890s), except for his own music pieces, the basis of C. Saint-Saëns’s concert programs consists of the works of classicists. At those times, his Suite Oр. 90, Six Etudes op. 135 for left hand and Six Fugues Op. 61 were created, which shows the author’s interest in the genre models of European Baroque. The fundamental principles of C. Saint-Saëns’s pianoforte mentality has been distinguished: virtuosity and simultaneous accuracy of applying expressive means; clarity and accuracy of instrument sound together with the delicacy and flexible manner of intoning; in terms of the interpretation of historically remote composers’ pieces (pre-classical, classical and early-romantic periods), the attempts to approximate the tone to the authentic sound pattern. Taking into account the composer’s performance style and the tasks set in the score of his works, the requirements for a pianists needed for the interpretation of C. Saint-Saëns’s pianoforte cycles have been laid down: high level of performance technical preparation; analytical skills, wide kit of mental sound patterns that integrates the features of various historical and style eras, from Baroque to PostRomanticizm. As for the panorama of the interpretative versions of C. Saint-Saëns’s piano works, every cycle has quite rich performance history, which is proved by numerous professional recordings. Over the last decade, more and more recordings of C. Saint-Saëns’s pianoforte cycles have been appearing, which contributes to the popularization of the pianoforte heritage of the French artist. Most of them have been created by French pianists. However, the geography of the recordings is quite wide: Italy, the USA, Switzerland, Hungary, Austria, Russia, Germany. Unfortunately, in Ukraine the piano cycles are almost unknown and are rarely performed; there are no known audio recordings of their performance by outstanding Ukrainian pianists. Conclusion. In search of a starting point in mastering the principles of interpretation of French piano culture, the study of the creative activity by C. Saint-Saëns today has advantages over the study of other French composers of the mid XIX – early XX century, because there is a large amount of material available that reveals its artistic, in particular performing, priorities. All the above indicates the need to popularize the piano heritage of C. Saint-Saens in the modern globalized world and proves the importance of an interpretological approach to its understanding. The latter reveals the essence of the piano style of a unique artist who, in his creative evolution, has gone from classicromantic attitudes to examples of his own nео-stylistic thinking, which dominates the art of the twentieth century.
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Nikolenko, R. V. "M.-A. Hamelin’s composing and performing style in the context of postmodern aesthetics." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 168–80. http://dx.doi.org/10.34064/khnum2-14.12.
Повний текст джерелаАнотація:
Background. The peculiarities of the worldview and philosophy of modern contradictory era put forward before the art new requirements and benchmarks, which the Postmodern aesthetics embodies. The phenomenon of «Postmodernism» covers different levels of contemporary life. In philosophy, this concept was first introduced by J.-F. Lyotard in his report «The status of postmodernism». The French philosopher revealed the essence of Postmodernism consisting in «awareness of diversity and pluralism of forms of rationality, activity of life, as well as the recognition of this diversity as a natural positive state» [2], and defined Postmodernism as «the general direction of modern European culture, formed in 1970–80-es» [2]. Now there is no single definition of «postmodern», probably, due to the incompleteness, continuity of formation of this phenomenon. Some philosophers, in particular, J. Habermas, D. Bell and Z. Bauman, consider postmodernism as the result of politics and ideology of neo-conservatism, which is characterized by aesthetic eclecticism [3]. Italian philosopher and writer U. Eco understands postmodernism as a process of changing one cultural era to another, perceiving it as «... the answer to modernism: since the past cannot be destroyed, because its destruction leads to dumbness, it needs to be rethought, ironically, without naivety» [5: 77]. This approach most accurately reveals the essence of postmodern art. In the field of aesthetics, the work of F. Jameson, «Postmodernism or The cultural logic of late capitalism», where postmodernism is represented as a «cultural dominant» is quite indicative. The philosopher defines such typical phenomenon of postmodern culture as a simulacrum, weakening of affects, the consequence of which is «the replacement of alienation of the subject by its fragmentation» [1: 105], the disappearance of the individual subject and the emergence on this basis of the practice of pastiche [1: 108], the loss of historicity. In musicology, the question of the essence of postmodernism has not yet received a sufficient scientific basis. From the latest works of Ukrainian researchers, in our opinion, it is disclosed most complete in the D. Ruzhinsky’s article “Specificity of the manifestation of postmodernism in musical creativity” [4]. The object of presented research is the specificity of postmodernism manifestations in an art; the subject of research are the postmodern landmarks in the individual style of outstanding Canadian pianist and composer M.-A Hamelin. The purpose of the article is to reveal the interrelation of the composer’ and performing style by M.-A. Hamelin with the aesthetic paradigms of Postmodernism. The methodological basis of the research consists of the concepts of postmodern philosophy and aesthetics presented in the works of J. Habermas, D. Bell, Z. Bauman. U. Eco, F. Jameson. For more full understanding of specificity of the postmodern traits implementation in M.-A. Hamelin’s activity, the “creative portrait” genre as well as analyses of some fragments of his music was used. Presenting the main material. The art of postmodernism reflects a fundamentally new attitude to the process of creativity, which includes of such typical features as 1) quoting or using famous plots, which are the realities of the culture of previous eras; 2) intertextuality; 3) the prevalence of the audience interpretation over the composer’s idea, when the author’s position is not decisive (according to M. Foucault, “the death of the author”); 4) syncretism; 5) the irony and the parody-game designing of works. The creativity of Marc-André Hamelin (b.1961) – the world-renowned Canadian virtuoso pianist and composer – is one of the brightest personifications of these principles, as well as their individual understanding. In 1985, he won the First prize at the competition at Carnegie hall, with which he began his ascent to the musical Olympus as a performer. To date, M.-A. Hamelin, an outstanding pianist and soloist, performs with many leading world orchestras, and his discography total more than 60 albums, including both his own works and the works of many composers of different genres and eras. In addition to intensive performance and interpretation activities, the Canadian artist is also engaged in composition, and his artistic search is concentrated mainly within the framework of piano music, which is quite natural. Among the works for piano solo the transcriptions can be identified, such as the “Etude-fantasy ‘Flight of the bumblebee’” by Rimsky-Korsakov (1987), “Waltz-minute, in seconds” (transcription of Chopin’s waltz). Another group of works ‒ miniatures are, for example, the “Little Nocturne” (2007), “Preamble to the imaginary piano Symphony” (1989), “My impressions about chocolate” (2014); the cycles of miniatures – “Con intimissimo sentimento” (1986–2000); the larger-scale pieces – “Barcarolle” (2013), “Chaconne” (2013). The composer wrote the three cycles of variations and the cadenzas for piano concertos by Mozart (K453 and 491), for the Fourth piano Concerto by Beethoven, the Third and Fourth Concertos by Haydn and The second Hungarian Rhapsody by Liszt. In addition to the solo piano music, the composer turned to the chamber genre (“Fanfare” for three trumpets, “Passacaglia”» for piano quintet, «Four perspectives» for cello and piano). His style is characterized by the frequent using of thematic material from the works by other composers of different eras. From the very beginning, Hamelin rethinks this material, not introducing it in its original form, but transforming it. For example, in the “Variations on The theme of Paganini” the theme of the Twenty-fourth Caprice is already “modernized”: maintaining the harmonic basis of it, the author adds the non-chords sounds and the remark to tempo, which notes that the theme should be played “with a groove”, as it is typical for salsa, rock and fusion style. Interpretations of the quoted material are not in the original, but in its creative processing can see although in the Seventh variation with the theme of the Third variation of Sonata No. 30 by Beethoven. Another typical feature of postmodernism of the Canadian artist’s work is manifested in a certain game with the listener, because to catch all the allusions, to understand the quotes and styles of different eras, he must be intellectually well prepared. Some of the noted features of the composer’s creation find their direct projection in the performing pianistic style of M.-A. Hamelin. For example, virtuosity, which is present in his works in both explicit and veiled form, fully manifests itself in the interpretation of the works of other composers. Another characteristic feature of the performing style of M.-A. Hamelin is his aspiring to end-to-end development and cyclicity. In his discography, there are many different cycles, sometimes quite voluminous, performed by him as a whole. In practice of composition this is manifested at the level of the musical form (cycles, parts of which often follow directly one after another, and sometimes even the final harmony of one of the parts becomes the beginning of the next part). Conclusion. The results of the research confirm the idea of the relationship of Hamelin’s individual creative style with the basic ideas of postmodernism aesthetics. Quite typical for the manner of writing of the Canadian artist is the attraction to the throughness of development, to the creation of micro-cycles (as well as to the performing of cyclic works of other composers); the combination of ironic rethinking of thematic material with virtuosity; the playing with the listener on the basis of the introduction of quotation material and work with it; the combination of different styles within one work. Such manner requires a prepared, meaningful perception, that is, to paraphrase U. Eco, the «ideal listener».
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Särg, Taive. "Millise lauliku lapsepõli? Laulu „Kui ma olin väiksekene” allikatest ja autoritest." Keel ja Kirjandus 67, no. 12 (December 2024): 1088–116. https://doi.org/10.54013/kk804a2.
Повний текст джерелаАнотація:
The childhood of which songster? On the origins and authors of a beloved song Keywords: folklore, ethnomusicology, choral music, runosong, orality and literacy One of the most iconic and seminal musical works of Estonian culture, the song Lauliku lapsepõli (“Childhood of the Songster”), often referred to by its opening words, “Kui ma olin väiksekene” (“When I Was Little”), was composed on the basis of Estonian folk songs in collaboration between Aino Tamm (1864–1945), one of the first professionally trained Estonian singers, and Miina Härma (1864–1941), the first Estonian female composer. The song has been performed in various formats – including choir, solo, and social singing – published in numerous songbooks, and even reintroduced into oral tradition. Drawing on the collections of the Estonian Folklore Archives, earlier publications, and prior research, this article identifies the origins of the folk song lyrics and melodies used in Härma and Tamm’s composition more precisely than previous studies, revealing a blend of folk melodies – specifically, shepherds’ calling tunes – from Tarvastu parish and the lyrics of a folk song from Põlva parish. The choir and solo arrangements (the latter with piano accompaniment) reflect the influence of European modern art music. The study also considers the broader role of imitation and recreation in the intersection of Estonian oral and written traditions within the song’s development. The lyrics and structure of Tamm and Härma’s Lauliku lapsepõli are based on Ado Grenzstein’s song cycle of the same name, written in the traditional regilaul (runosong) style. Grenzstein’s work was first published in his Kooli laulmise raamat (“School Singing Book”, 1878) and subsequently included in several songbooks and reprints. Grenzstein’s version featured a melody adapted from a traditional regilaul tune from Tõstamaa parish and four original melodies in regilaul style, paired with translated and adapted regilaul lyrics. The same text can be found in the Võro language in the first volume of Vana kannel (“Old Harp” or “Old Psaltery”), a collection of songs from Põlva parish, published and edited by Jakob Hurt. In this publication, the lyrics are a part of a longer regilaul titled Mille mull palʹlʹo sõnno suuh? (“Why Do I Have So Many Words in My Mouth?”), compiled by Hurt from two different manuscripts (1854–1875). For Lauliku lapsepõli, Tamm and Härma composed a melody based on shepherds’ calling tunes (karjasehelletused) featuring the refrain “alle-a, alle-la”, which Tamm remembered from her childhood in Tarvastu. Härma arranged these melodies into a solo song with piano accompaniment, likely in 1891, which was first performed in 1892 and published in 1923. She later created a multi-voice choir arrangement, printed in 1895 and first performed in 1896. The melody with the original lyrics and refrain was published in 1934, though the original manuscript has not been found. Two overlapping transcriptions of the melody (without the lyrics) and the lyrics (with Grenzstein’s melody) of Lauliku lapsepõli are preserved in a manuscript of folk melodies by Miina Härma in the Estonian Folklore Archives. This manuscript was compiled in 1895–1896 when Härma was collecting folk melodies for the Finnish Literature Society. However, the arrangement of Lauliku lapsepõli predates Härma’s folk melody manuscript, suggesting that the song was composed before the fieldwork, based on personal communication with Tamm. A textual and melodic analysis demonstrates how, within the sphere of written culture, Lauliku lapsepõli has undergone gradual transformations comparable to those usually seen in oral tradition. The article argues that imitation, recreation, and reimagining were common creative practices during the formative period of Estonian written culture, suggesting that the human urge for recreation is perhaps universal, transcending cultural systems.
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Pidporinova, K. V. "Laughter as a direction of Marc-André Hamelin’s composer searches." Aspects of Historical Musicology 15, no. 15 (September 15, 2019): 158–80. http://dx.doi.org/10.34064/khnum2-15.08.
Повний текст джерелаАнотація:
Background. Contemporary musical art is an open stage for collision and coexistence of various artistic ideas, landmarks, styles, etc. The work of the recognized Canadian pianist-composer Marc-André Hamelin (born in 1961) raises a particular interest. The fact that the peculiarities of the musician’s performing and composing style are insuffi ciently covered in Ukrainian musicology determines the research rationale. It is also caused by the need to identify the specifi c features of the author’s inheritance, ensuring its consistency with the present time, where the laughter phenomenon becomes an important component of the picture of life. Objectives of the study are the comprehension of Marc-André Hamelin’s composer searches in the aspect of laughing cultural tradition and the defi nition of the author’s proposed ways of its embodiment in music. Methods. The research is based on the principles of complex approach, which involves using the biographical, the systematic, the genre and style, the structural and functional, and the comparative methods, etc. Results. M.-A. Hamelin appears to be a universal personality. He implements his creative intentions in various performing incarnations – as a soloist-pianist, a distinct interpreter and recognized virtuoso and intellectual; a performer who actively collaborates with the orchestra; a piano duo participant; a chamber ensemble participant and a studio musician. The repertoire palette he chose includes world-famous works, opuses of transcendental complexity, rarely performed music, and his own music works. His choosing some of the original works outlines the sphere of laughter as he searches new performing techniques, which has an infl uence on him as a composer. The original style of M.-A. Hamelin aims to create a special “rebus” fi eld, where the multiplicity of artistic perception is related to the degree of immersion into a given playing situation. The piano cycle “12 Études in all minor keys” was intended to be hommage to the samename work by Charles-Valentin Alkan. The iconic ceremoniousness of the title forms a special fi eld of culture, which creates a laughter background. Most of the cycle items correspond to the creativity of a particular artist whose musical image appears through the original style of writing. The synthesizing type of composer’s thinking contributes to the combining the music and the colorifi c etude, that is, the virtuoso music piece and the exercise at the same time, and a graphic sketch-drawing, and to the creation of a musical portrait “gallery” (F. Chopin, N. Paganini, F. Liszt, Ch. Alcan, D. Scarlatti , P. Tchaikovsky, J. Rossini, V. Goethe and the author himself). Using masks, theatrical techniques, bright characters is manifested at all levels and serve as markers of a carnival. The existing playing mode ensures the importance and essentiality of laughter. M.-A. Hamelin refers to the established palette of the piano techniques and formulas, while demonstrating new algorithms of interpreting the existing traditions. A musical rebus is the leading idea. To embody this idea, it is required to use not only artistic ingenuity, but also the competition elements. These are “Triple” etudes Nr. 1 (after Chopin) and Nr. 4 (after Alkan), where counterpoint techniques are enriched by the principle of combination. The other side of “rebusness” is demonstrated in the Etude Nr. 8, where the plot of “The Elf King” ballad by Goethe is very accurately reproduced through the piano means of expressiveness. Competitive ingenuity presides in the Etude Nr. 7 for the left hand (“The Lullaby” by P. Tchaikovsky) and Nr. 3 – an alternative transcription of “La campanella” by N. Paganini, which turns into an evil joke compared to Liszt’s interpretation. This is another side of laughter, a dark one, an enhancement of grotesque imagery. Etude Nr. 5, “Toccata grottesca”, looks similarly. Here, the grotesque images are represented by transcendental pianism, unceasing “drive”, change of metric pulsation and rhythmic groups, and wide dynamic amplitude. The lookalike expressive complex is also used in another music piece – toccata “L’Homme armé”. Another variant of laugher is the creation of a musical “shapeshifter” – re-interpretation of an original source to the point where it is hardly recognized. For example, Etude Nr. 9 (after Rossini) and Nr. 10 (after Chopin), where the principle of transformation is prevailing. The presence of a highly-intellectual play allows us to draw a parallel with baroque inventory. In the latest etudes of the cycle, M.-A. Hamelin uses such genres as “Minuetto” (Nr. 11) and “Prelude and Fugue” (Nr. 12). Therefore, using a certain genre model, the composer places it in different context conditions, creating a special laughter-playing space, where all the main sources of comic elements are involved: a parody, implemented through the stylization or the style dialogue-collision; daily mode of like, which is refl ected in a festive-carnival worldview, and fantasy, which determines the composer’s inventiveness. M.-A. Hamelin chose the same creative strategy when composing “Variations on the theme of Paganini” for piano solo. A playful piece “Waltz-Minute” is another example of the laughter potency. It resembles either a relative transcription of the famous work by F. Chopin, or a music sketch, or a fi xed improvisation. In the reprise, the graceful and airy waltz turns into a friendly caricature through using the dissonant seconds, the change of touche and an excellent artistic presentation. This creates the effect of distance in time, in epochal or individual style, even in the own “Me”. Another area of the laughter direction employment is the actualization of the playing sound image of the instrument. These are music pieces designed for a player piano. It is signifi cant that the composer tends to the theme of circus, which echoes with carnival, stunts, and fun. Conclusions. Being a universal personality, the artist determines the predominance of combinatorics as a guiding principle of author’s thinking. The key to understanding the composer’s style is the laughter tradition. The main artistic ideas are: portrait, character, mask, “rebus”, competition, creation of “shapeshifting” music pieces, “duality”. Talking about the level of musical stylistics, these features appear through the usage of a quoted material, stylization, grotesque, caricature and pamphlet elements. They are also expressed through the transformation of the original themes, re-interpretation, using multiple rhythmic layers, redesign of modes and counterpoint ingenuity.
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Nikolenko, R. "The specifics of the ironic in the Marc-André Hamelin’s creativity on the example of “Variations on a Theme of Paganini”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 132–44. http://dx.doi.org/10.34064/khnum1-52.09.
Повний текст джерелаАнотація:
Background. From the era of romanticism to the present day there is a stable interest of world-renowned virtuoso musicians to such kind of creativity as transcription, which makes it possible to speak not only as a performer, but also to express themselves in the composer’s perspective. Many prominent pianists of different eras have made a significant contribution to this branch of musical art, we need only recall the names of F. Liszt, K. Tausig G. von Bulow, F. Busoni, L. Godowsky, Vladimir Horowitz, Glenn Gould. Among artists of our time, it should be noted the Canadian piano virtuoso and composer Marc-Andre Hamelin, for which transcriptions are characterized by a harmonious combination of technical complications and modernization of the selected thematic material, which provides his music a wide audience. A striking confirmation of this are the thousands of views of his transcriptions on the channel in YouTube. Perhaps one of the secrets of such popularity is not only the actualization of the musical language of the original, but also The article is devoted to the specifics of the ironic, as one of the manifestations of the comic, in creative heritage of the world-famous Canadian pianist and composer Marc-André Hamelin On material Of “Variations on a Theme of Paganini”, which are the most illustrative example in this perspective, the features of the artist’s work with a quote thematic material. Identifies certain dominants of the composer’s style, among them: the destruction elected canons, their modification and approach to the aesthetics of the modern world perception through the use of the musical language of the XX–XXI centuries, as well as the desire for harmonious unification, combining styles of different eras within one work. Objectives. The object of research is a musical composition; its subject of research is the identification of the specifics of the irony in the composer’s style. The purpose of the article is to consider the trends of manifestation of irony and the stylistic orientations in the composer’s work of Hamelin, referring to the most indicative in this aspect of the work “Variations on a Theme of Paganini”. Methodology. Structural-functional and genre-style methods are applied in the consideration of the compositional and stylistic specificity of “Variations on a Theme of Paganini”. To identify the peculiarities of the composer’s work with quotations, the method of comparative analysis was used. The methodological basis consists of the concepts of postmodern citation put forward by such leading researchers and representatives of postmodernism as Umberto Eco and Sigmund Bauman. Presenting the main material. The figure of Niccolo Paganini, enveloped in a mysterious halo, attracted the attention of contemporaries and many artists of subsequent generations, and his creative heritage found a significant response in the musical environment. One of the most famous works of N. Paganini has a cycle “Twenty-four capris” for solo violin, among which the most frequently used for a variety of composer’s interpretations was the theme of Caprice No. 24. Interesting is the fact that it remains relevant, continuing even in the twenty-first century to attract attention. A striking example of this is the Hamelin’s “Variations on a Theme of Paganini” (2011). This work, written for solo piano, is a dedication to the American composer, pianist, conductor, teacher Yehud Weiner and his wife Susan Dewen-Weiner. In his interpretation of Caprice 24, the composer chooses a free interpretation of his figurative and substantial side. This is evidenced not only by the increase in the number of variations (14 instead of 11), but also many other aspects that appear at different levels of composition of the whole. It turns out the specificity of the composer’s work with the quote material, which permeates the whole work, the tendency to its ironic interpretation, as well as harmonious coexistence within the work of styles of different eras, their combination. Results. This work is one of the most striking embodiments of the ironic in the work of the Canadian artist. Here is typical for his style work with the used material quote, the basis of which – the destruction of the selected sample, bringing atypical for the original harmonic, melodic, rhythmic turns. Most often such “curvature” is used at the first posted quote topics. The composer tends to synthesize several styles within the framework of the work, this is often achieved by combining one of the styles of past eras with the styles of modernity, while not contrasting, isolating, contrasting them, but creating a melodic, tonal-harmonic and compositional integrity. Conclusion. Hamelin’s “Variations on a Theme of Paganini” represent a vivid manifestation of the ideas of postmodern worldview in music, which is based on the ironic attitude to the sample of the past.
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Hamilton, Kenneth. "Franz Liszt, Free Arrangements and Transcriptions for Piano Solo, New Liszt Edition Series II vol. XV, edited by Istvan Kassai and Imre Sulyok (Budapest: Editio Musica Budapest, 2003). 172pp. £24.95." Nineteenth-Century Music Review 2, no. 2 (November 2005): 231–33. http://dx.doi.org/10.1017/s1479409800002469.
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Peyrefitte, Christel. "Piano solo." Commentaire Numéro 49, no. 1 (March 21, 1990): 200–201. http://dx.doi.org/10.3917/comm.049.0200.
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Svard, Lois, Samuel Adler, Jane Brockman, Robert Muczynski, and Dan Welcher. "Sonatina; For Piano Solo." Notes 43, no. 2 (December 1986): 417. http://dx.doi.org/10.2307/897408.
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Fox, Christopher. "More Light. Solo Piano." Musical Times 139, no. 1863 (1998): 1. http://dx.doi.org/10.2307/1004217.
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Weirich, Robert, David Maves, Nancy van de Vate, Joep Straesser, George Perle, and William Bergsma. "Sonata No. 1; Piano Solo." Notes 41, no. 3 (March 1985): 598. http://dx.doi.org/10.2307/941200.
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Smith, Joseph, George Gershwin, and Artis Wodehouse. "Gershwin's Improvisations for Solo Piano." Notes 45, no. 4 (June 1989): 858. http://dx.doi.org/10.2307/941245.
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Burge, David, Ross Lee Finney, Charles Wuorinen, Chester Biscardi, Francois Rosse, and Stella Sung. "Narrative in Retrospect, Piano Solo." Notes 48, no. 1 (September 1991): 300. http://dx.doi.org/10.2307/941844.
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Goldray, Martin, Ruth Shaw Wylie, Peter Inness, and Jacques Casterede. "The White Raven; Piano Solo." Notes 42, no. 4 (June 1986): 855. http://dx.doi.org/10.2307/897811.
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Hannigan, Barry, William Albright, and Michael Finnissy. "Three Original Rags; Piano Solo." Notes 43, no. 4 (June 1987): 925. http://dx.doi.org/10.2307/898180.
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Nicholls, David, and Donald Martino. "Solo Piano and Chamber Works." American Music 20, no. 1 (2002): 127. http://dx.doi.org/10.2307/3052248.
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Gladkova, O. I. "Four perspectives on solo piano." Vestnik of Saint Petersburg State University of Culture, no. 1 (30) (March 2017): 187–88. http://dx.doi.org/10.30725/2619-0303-2020-3-187-188.
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Fine, Vivian. "Momenti, for Piano Solo (1978)." Perspectives of New Music 23, no. 2 (1985): 144. http://dx.doi.org/10.2307/832720.
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Barbancho, I., A. M. Barbancho, A. Jurado, and L. J. Tardón. "Transcription of piano recordings." Applied Acoustics 65, no. 12 (December 2004): 1261–87. http://dx.doi.org/10.1016/j.apacoust.2004.05.007.
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Babayeva, Minakhanim. "AYAZ GAMBARLİ’ NİN PİYANO İÇİN “OBRAZLAR” ESERİ." SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, no. 33 (September 15, 2022): 34–42. http://dx.doi.org/10.31567/ssd.743.
Повний текст джерелаАнотація:
The given article provides extensive information about the creativity of the composer A. Gambarli who is the laureate of International Competitions. Here we take a look at the examples of piano music which composer wrote in different years, especially the "Images" series. He tried his talent in several genres and forms of music. Piano music occupies a special place in the composer's career. A number of his works have been successfully performed at International Music Festivals and in many countries around the world. "Six Sketches" (piano, 2003), "Resistance of the Elements" (piano trio, 2013-2014), Suprematistic Figures" (piano trio, 2014), "Resonance" (solo piano, 2015), "September Clouds" (solo) piano, 2015), "Illusion" (solo piano, 2018), "Sadness" (solo piano, 2019), "Riga in the rain" (solo piano, 2020) enriches the composer's piano creativity. The article analyzes the "Images" series written by A.Gambarli in 2015-2018 and explains the modern writing techniques that are touched upon here. A. Gambarli is known in the music community as a composer who is constantly working on himself and sets serious goals. We should note that A. Gambarli was a student of A. Malikov's class and learned many secrets of composition from his great teacher. The modernity observed in his works and he demonstrates a well-thought-out, measured writing style on the subject. In the "Images" series analyzed in the presented article, the composer mainly uses the variety of register capabilities as much as possible. Dynamic signs, changing meter-rhythm, breaks (pauses), different timbres, modern writing techniques, clusters, wide possibilities of the piano, etc. are the features that attract attention in the series. The programmatic idea given by the composer to the title of the work arouses great interest in the listener. Our main goal in the article is to reveal some points related to the application of new writing methods by the 21st century composer. Keywords: Ayaz Gambarli, music, modern writing, registration, Timbre, young composers, international competition, festival, talent, piano music.
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Christheo Purwanto, Farrell. "Aransemen Lagu Bengawan Solo menjadi Aransemen Solo Piano Jazz oleh Christheo Music School." Repertoar Journal 4, no. 1 (July 13, 2023): 117–30. http://dx.doi.org/10.26740/rj.v4n1.p117-130.
Повний текст джерелаАнотація:
Penelitian ini berisi tentang proses aransemen lagu Bengawan Solo menjadi aransemen Solo Piano Jazz. Pengertian aransemen adalah penyesuaian komposisi musik dengan jenis suara penyanyi atau instrumen musik yang didasarkan atas sebuah komposisi yang telah ada sehingga esensi musiknya tidak berubah. Penelitian ini menggunakan metode penelitian kualitatif. Objek penelitian dalam penelitian ini adalah Partitur Aransemen Solo Piano Jazz lagu Bengawan Solo oleh Christheo Music School. Data penelitian ini diperoleh melalui observasi, wawancara, studi pustaka, dan dokumentasi. Teknik analisis data yang digunakan adalah reduksi data, penyajian data, dan kesimpulan. Hasil dan pembahasan dalam penelitian ini akan diurai secara ringkas kemudian dipaparkan secara deskriptif. Tujuan dari penelitian ini yaitu, (1) Untuk mendapatkan gambaran lengkap bagaimana sebuah lagu keroncong bisa diaransemen menjadi permainan solo piano dengan genre Jazz, (2) Menganalisa secara teoritis aransemen yang digunakan, (3) Memberi wawasan kepada musisi Indonesia sebagai salah satu referensi dalam mengaransemen lagu. Alasan peneliti memilih lagu Bengawan Solo yaitu, (1) Lagu ini sudah sangat dikenal di Indonesia lintas generasi, (2) Mulai dikenal di dunia internasional, (3) Bergenre Keroncong sehingga akan menarik untuk dibahas karena diaransemen ulang menjadi aransemen Jazz. Hasil penelitian ini terdapat hal – hal penting dalam membuat aransemen lagu yang bergenre Pop atau Keroncong menjadi genre Jazz, antara lain : (1) Memberikan nuansa atau suasana baru dalam melodi sebuah lagu yang terdapat pada aransemen solo Piano Jazz, (2) Reharmonisasi pada akor lagu asli menjadi akor Jazz, (3) Penggunaan ritme yang bervariasi, (4) Menambahkan teknik improvisasi solo Piano Jazz diluar melodi dan akor asli lagu Bengawan Solo. Kesimpulan dari penelitian ini adalah menerapkan progresi akor dan Melody Embellishment Jazz menjadi teknik penting yang dapat diaplikasikan dalam mengaransemen sebuah genre Pop atau Keroncong menjadi suatu lagu yang bergenre Jazz sehingga membuat aransemen lagu menjadi lebih luas dan berbeda.
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Martins, Denise Andrade de Freitas, and Luciana Monteiro De Castro. "Piano contemporâneo em Ituiutaba." Per Musi 25 (March 25, 2024): 1–17. http://dx.doi.org/10.35699/2317-6377.2024.45888.
Повний текст джерелаАнотація:
Buscamos neste artigo compartilhar os principais processos e resultados de trabalhos que envolveram a edição e a publicação de partituras e a gravação fonográfica de obras inéditas para piano solo e piano a 4 mãos compostas por quinze reconhecidos compositores brasileiros da atualidade, destinadas à interpretação como peças de confronto nos Concursos de Piano “Prof. Abrão Calil Neto”, da cidade mineira de Ituiutaba, realizados naquela cidade, de 2004 a 2019. Esse material foi preparado para publicação em quatro cadernos de partituras (dois de piano solo e dois de piano a 4 mãos), tendo sido feita também uma gravação de CD (Compact Disc) com peças selecionadas de cada autor e realizados recitais-palestra, ações que visaram registrar e difundir a música brasileira contemporânea para piano. Espera-se que este texto estimule a realização de ações semelhantes. Palavras-chave: Música para piano; Concurso de piano; Música contemporânea brasileira para piano; Gravação e edição de partituras.
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Arnold, Ben, and Havergal Brian. "The Complete Music for Solo Piano." Notes 44, no. 3 (March 1988): 577. http://dx.doi.org/10.2307/941547.
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Gugelot, Frederic. "L'oeuvre pour piano solo d'olivier Messiaen." Vingtième Siècle. Revue d'histoire, no. 74 (April 2002): 171. http://dx.doi.org/10.2307/3771822.
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Barela, Margaret Mary, Edward MacDowell, and Charles T. Griffes. "Solo Piano Music, vols. 1-4." American Music 5, no. 2 (1987): 231. http://dx.doi.org/10.2307/3052177.
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Truesdell, F. Donald, and Leonard Bernstein. "The Complete Works for Solo Piano." American Music 4, no. 1 (1986): 120. http://dx.doi.org/10.2307/3052195.
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Nonken, Marilyn. "Solo for Piano by David Tudor." Notes 78, no. 3 (2022): 462–66. http://dx.doi.org/10.1353/not.2022.0030.
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Wan, Yu Long, Zhi Gang Wu, Ruo Hua Zhou, and Yong Hong Yan. "Automatic Transcription of Piano Music Using Audio-Vision Fusion." Applied Mechanics and Materials 333-335 (July 2013): 742–48. http://dx.doi.org/10.4028/www.scientific.net/amm.333-335.742.
Повний текст джерелаАнотація:
Over the last decade many sophisticated and application-specific methods have been proposed for transcription of polyphonic music. However, the performance seems to have reached a limit. This paper describes a high-performance piano transcription system with two main contributions. Firstly, a new onset detection method is proposed using a specific energy envelope matched filter, which has been proved very suitable for piano music. Secondly, a computer-vision method is proposed to enhance audio-only piano music transcription, using the recognition of the player's hands on the piano keyboard. We carried out comparable experiments respectively for onset detection and overall system based on the MAPS database and the video database. The results were compared with the best piano transcription system in MIREX 2008, which still kept the best performance in piano subset till MIREX 2012. The results show that the system outperforms the state-of-art method substantially.
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Nettheim, Nigel. "A new derivation shows Schubert learning thematic work from a Beethoven sonata." Revista Vórtex 10, no. 2 (September 29, 2022): 1–21. http://dx.doi.org/10.33871/23179937.2022.10.2.7098.
Повний текст джерелаАнотація:
A newly discovered derivation of Schubert from Beethoven is presented: the piano sonata in B major D.575 IV from the piano sonata in A-flat major Op.26 II. A method for finding thematic derivations is first outlined. The present derivation shows Schubert learning to compose thematic material by following Beethoven’s example. The article increases our knowledge of Schubert after his early mastery of vocal composition, as he earnestly worked to learn the piano solo side of his craft. He needed to master three main areas: logical manipulation of abstract musical material rather than text-based expression, sonata-allegro and related forms rather than song forms, and writing for the physical technique of solo piano performance rather than for voice with piano accompaniment. He had apparently received little or no training in those areas, and it is very instructive to see him making his own way.
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Kiefer, Bruno. "Oscar Lorenzo Fernandez: Musica para Piano Solo, Cancoes para Voz e Piano." Latin American Music Review / Revista de Música Latinoamericana 7, no. 1 (1986): 81. http://dx.doi.org/10.2307/780188.
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Pickard, John. "Bernard Stevens." Tempo 58, no. 229 (July 2004): 57–58. http://dx.doi.org/10.1017/s0040298204340222.
Повний текст джерелаАнотація:
BERNARD STEVENS: Piano Trio op.3; Sonata for violin and piano op.1; Trio for horn, violin and piano op.38; Fantasia on a theme of Dowland for violin and piano op.23; Improvisation for solo violin op.48a. The Academy of St. Martin-in-the-Fields Chamber Ensemble – Kenneth Sillito (vln), Stephen Orton (vlc), Hamish Milne (pno), Timothy Brown (hn). Albany Records TROY 572.
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DeVoto, Mark, Roger Nichols, and Maurice Ravel. "Gaspard de la nuit, for Piano Solo." Notes 49, no. 2 (December 1992): 799. http://dx.doi.org/10.2307/897968.
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Paccione, Paul. "Stations-To Morton Feldman for Solo Piano." Perspectives of New Music 27, no. 1 (1989): 174. http://dx.doi.org/10.2307/833266.
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Prosseda, Roberto. "Aldo Clementi: The Works for Solo Piano." Contemporary Music Review 30, no. 3-4 (June 2011): 299–315. http://dx.doi.org/10.1080/07494467.2011.647284.
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Abedi, Gabriel. "Agbadza (2021) for piano solo." Journal of the Musical Arts in Africa 21, no. 1-2 (July 2, 2024): 95–101. https://doi.org/10.2989/18121004.2024.2437727.
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Pishdadian, Fatemeh, and Jill K. Nelson. "Automatic transcription of monophonic piano music." Journal of the Acoustical Society of America 132, no. 3 (September 2012): 1885. http://dx.doi.org/10.1121/1.4754915.
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Ortiz-Berenguer, Luis I., and Francisco J. Casajus-Quiros. "Approaching polyphonic transcription of piano sounds." Journal of the Acoustical Society of America 122, no. 5 (2007): 2990. http://dx.doi.org/10.1121/1.2942664.
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Roland-Silverstein, Kathleen. "Music Reviews." Journal of Singing 80, no. 3 (January 2024): 361–63. http://dx.doi.org/10.53830/sing.00016.
Повний текст джерелаАнотація:
Abstract: Four new song cycle publications are reviewed for this September 2023 submission: Michael Ching’s Arrangements and Derangements: Interpretations of Schubert for Soprano, Cello, and Piano ; Reinaldo Moya’s Ciudad Perdida ; Lori Laitman’s Into Eternity: A Letter by Vilma Grunewald , for mezzo-soprano and piano; and Marion von Tilzer’s Into Eternity , for mezzo soprano, solo cello, string quartet, and piano.
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Terefenko, Dariusz. "Valentine: For Piano = Für Klavier, and: Three Character Studies: For Piano Solo, and: Saloon Songs: For Solo Piano, and: 24 Variations on a Bach Chorale: Piano Solo (review)." Notes 68, no. 3 (2012): 670–73. http://dx.doi.org/10.1353/not.2012.0026.
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Demirci, Sirin A., and Eda Nergiz. "The Elements of Contemporary Turkish Composers’ Solo Piano Works Used in Piano Education." International Education Studies 14, no. 3 (February 24, 2021): 105. http://dx.doi.org/10.5539/ies.v14n3p105.
Повний текст джерелаАнотація:
It is thought that to be successful in piano education it is important to understand how composers composed their solo piano works. In order to understand contemporary music, it is considered that the definition of today’s changing music understanding is possible with a closer examination of the ideas of contemporary composers about their artistic productions. For this reason, the qualitative research method was adopted in this study and the data obtained from the semi-structured interviews with 7 Turkish contemporary composers were analyzed by creating codes and themes with “Nvivo11 Qualitative Data Analysis Program”. The results obtained are musical elements of currents, styles, techniques, composers and genres that are influenced by contemporary Turkish composers’ solo piano works used in piano education. In total, 9 currents like Fluxus and New Complexity, 3 styles like Claudio Monteverdi, 5 techniques like Spectral Music and Polymodality, 5 composers like Karlheinz Stockhausen and Guillaume de Machaut and 9 genres like Turkish Folk Music and Traditional Greek are reached. It is thought that the results will contribute to the field because it will cause a better understanding in the artistic viewpoints of contemporary composers, as well as being a step for the piano and music educators and the students who have studied academic piano education in order for them to be able to understand the contemporary music.