653 research outputs found
Chants d'Espagne / Manolo Montez, chant ; accompagné par F. Betoret, p
No full textComprend : Te le juro yo - Los chumbeles - Copla sevillana - Maria DoloresBnF-Partenariats, Collection sonore - BelieveContient une table des matière
Two-piano performance : its classification, history, and challenges, with a compilation of a detailed catalogue of works
No full textResearch into the art of duo piano playing has been severely neglected. Repertoire is generally incorporated into books on solo piano playing and is often omitted from chamber work listings. With the exception of one outdated, out-of-print book by Hans Moldenhauer, I no author has attempted to submit a recent repertoire listing or a complete examination of the complications of duo pianism. The growth in the number of duos and the increasing number of concerts devoted to their repertoire indicates a previously unmatched public interest in the genre. The aim of this thesis is to serve as a reference guide for educators and pianists, in understanding the classification problems of the duo piano genre and how it relates to other pianistic combinations, an examination of the history of two-piano works until 1950, a look at professional and artistic challenges of duo piano playing, and a catalogue of works written for the medium. Confusion exists about the meaning of the word duet. At issue is whether the genre refers to two pianists at one keyboard exclusively, or whether it incorporates two pianists at two keyboards. Various sources were consulted to show that no uniform definition is available. In this initial chapter background to the study is given, available literature is reviewed and research methodology is explained
The Prepared Piano Music of John Cage: Towards an Understanding of Sounds and Preparations
No full textThe subject for this thesis is the prepared piano music of John Cage with particular attention focussed on the preparations that create the varying sonic pallets in this music. The thesis is divided into six chapters, each chapter fulfilling one of two tasks. Firstly they will provide for pianists an examination of ways in which Cage‟s instructions in the scores for preparing the piano can be interpreted, and it will highlight the difficulties that become apparent (and should be considered) when performing Cage‟s prepared piano music. The second function to be fulfilled will be to musicologists who wish to trace the development of Cage‟s prepared piano music with relation to his later chance determined music.
Chapter one traces the historical and aesthetic influences that were relevant to Cage in the creation of the prepared piano, and places it in an historical context.
Chapter two looks at John Cage‟s compositions for prepared piano and provide a thorough inventory of John Cage‟s prepared piano pieces. Chapter two also examines the possibilities for making suggestions for the recreation of Cage‟s preparations.
Chapter three examines the physical relationships between piano, strings and preparations.
Chapter four analyses the solo prepared piano pieces and highlights the compositional techniques that Cage used in the composition of the prepared piano pieces.
Chapter five looks at the reasoning for performer choice in relation to ambiguity discussed in chapter three
Chapter six explores the six movement work The Perilous Night, and uses it as a case study to identify and explain all of the issues discussed within this thesis
Performing practices in late-nineteenth-century piano playing
No full textEarly piano recordings provide audible evidence of the style of late- nineteenth and early twentieth century pianists. These clearly exhibit an approach to piano playing which differs radically from the present. The relationship between the practices preserved in the
recordings and their description in contemporaneous written texts is the focus of attention here. The investigation shows that the important features of recordings are not faithfully conveyed by the written texts. Therefore, the recordings reveal a manner of execution and interpretation that could seldom have been envisaged from the written texts alone.
The recordings examined here include those of a generation of pianists who were trained, in some cases, 150 years ago. These include Carl Reinecke, Theodor Leschetizky,Camille Saint-Satins, and Johannes Brahms, and those of a later generation have also been considered. Their recordings preserve vital information about general performing
practices of the second half of the nineteenth century, as well as the idiosyncrasies of their playing.
The significance of early recordings and their importance
as a means of appreciating lost traditions is outlined in the Introduction. Chapter 1 explores the early recording processes and draws conclusions about the value of the recordings as preserved evidence. The following chapters investigate practices that are prevalent in the recordings. These include dislocation (asynchrony of the hands), unnotated chordal arpeggiation, metrical rubato and various types of rhythmic alteration, and tempo modification. Each chapter compares contemporaneous and historical written references with numerous recorded examples provided on the accompanying compact discs. This process reveals, in many
cases, striking inconsistencies, and highlights the gulf between theory and practice. It also suggests that descriptive language and musical notation have hidden meanings for which the recordings provide an indispensable key.
Early piano recordings capture an expressive style alien to modern taste. The implications of this study are that any attempt at historically informed performances must
acknowledge the gulf between current aesthetics of performance and those of the late nineteenth and early-twentieth centuries
Six Overtures Composed by C. F. Abel. Adapted for the Harpsichord or Piano Forte : being Opera First / By the Author
No full textSIX OVERTURES COMPOSED BY C. F. ABEL. ADAPTED FOR THE HARPSICHORD OR PIANO FORTE : BEING OPERA FIRST / BY THE AUTHOR
Six Overtures Composed by C. F. Abel. Adapted for the Harpsichord or Piano Forte : being Opera First / By the Author (1)
Cover (1)
Titelseite (2)
Overture I. (3)
Overture II. (8)
Overture III. (12)
Overture IV. (16)
Overture V. (20)
Overture VI. (24
Economic Impact of Rural Development Plan 2007 2013 in Tuscany
No full textIn 2007 in every European Union region, involved in the planning of Rural Development Plan (RDP), an independent evaluator should asses the impact of the plan in term of value added and productivity. Each region has adopted different methodologies but few of them have followed the indications of Common and Monitoring Evaluation Framework (CMEF) to evaluate the net value deriving by direct and indirect effect. IRPET, the Independent evaluator of Tuscany, utilising REMI-IRPET model has assed the impact of RDP on the main economic variables until 2020. Among 30 different measures it has been chosen only 5 of them that cover more than 54% of total amount of public and private investments. The economic impacts are also evaluated at provincial level.evaluation, regional model, rural development, Community/Rural/Urban Development,
Strange Attractors: A Commentary on Applications of Indeterminacy in my Recent Music
No full textThis commentary reflects on how indeterminacy has been used in the music I have written over the period of my doctoral studies, 2005-2008. Non-musical ideas play a major role in my compositional language and this is reflected in the use of 'strange attractors' as a metaphor for the philosophical and aesthetic stance behind composing with indeterminacy. After a brief introduction chapter, the links between strange attractors—and chaos theory in general—and indeterminate music are discussed. And applications of indeterminacy to pitch organisation techniques such as spectral modelling and frequency modulation are examined as part of a frequency-based harmonic continuum. Different methods of generating ambiguous pitch percepts that sit at the boundaries of the harmony/timbre duality are considered In pieces with text processes
W. A. Mozart 「Fantasia in d minor, K. 397」, L. v. Beethoven 「Piano Sonata in F# Major, Op. 78」, M. Ravel 「Sonatine pour Piano」, R. Schumann 「Piano Sonata in f# minor, Op. 11」
No full text본 논문은 본인의 석사과정 졸업연주 곡목인 W. A. Mozart의 「Fantasia in d minor, K. 397」, L. v. Beethoven의 「Piano Sonata in F# Major, Op. 78」, M. Ravel의 「Sonatine pour Piano」, R. Schumann의 「Piano Sonata in f# minor, Op. 11」에 대한 작품해설이다.
모차르트(Wolfgang Amadeus Mozart, 1756-1791)는 짧았던 생애 동안에 다양한 장르의 작품들을 작곡한 고전시대의 천재 음악가이다. 그의 생애는 그의 작품 활동에 따라 세 개의 시기로 분류할 수 있다. 「Fantasia in d minor, K. 397」은 1782년에 작곡된 그의 마지막 작곡 시기의 작품으로, 이 곡은 독립된 세 개의 부분으로 구성되어 있으며, 템포 변화가 많은 것이 특징이다.
베토벤(Ludwig van Beethoven, 1770-1827)은 고전주의의 대표적인 작곡가로서, 고전주의와 낭만주의를 잇는 역할을 했다. 그는 총 32개의 피아노 소나타를 작곡했으며, 그의 소나타는 1기, 2기, 3기로 구분할 수 있다. 「Piano Sonata in F# Major, Op. 78」은 1809년, 제 2기에 작곡된 작품으로 2악장 구성의 소나타이다. 베토벤의 연인이었던 테레제에게 헌정된 이 작품은 서정적이고 아름다운 선율이 돋보이는 곡이다.
라벨(Maurice Ravel, 1875-1937)은 인상주의 작곡가인 동시에 전통적인 형식을 고수한 프랑스 작곡가이다. 그의 작품 「Sonatine pour Piano」는 인상주의적인 요소와 고전주의적인 특징이 잘 융화되어 나타나는 곡으로, 제 1악장의 주제가 2, 3악장에 걸쳐 나타나 통일감을 준다.
슈만(Robert Schumann, 1810-1856)은 19세기 낭만주의의 작곡가로, 피아노곡과 예술가곡에 있어서 뛰어난 작곡가이다. 그의 대표적인 피아노 소나타는 세 개이며, 그 중 가장 규모가 큰 「Piano Sonata in f# minor, Op. 11」은 네 개의 악장으로 이루어져 있다. 곡의 길이가 길고 전체적으로 반복이 많으며, 기교적으로도 어려운 작품에 속한다.;The purpose of this thesis is to examine pieces performed at the author's graduation recital for the master's degree. The musical works are W. A Mozart's 「Fantasia in d minor, K. 397」, L. v. Beethoven's 「Piano Sonata in F# Major, Op. 78」, M. Ravel's 「Sonatine pour Piano」, and R. Schumann's 「Piano Sonata in f# minor, Op.11」.
Wolfgang Amadeus Mozart(1770-1827) is a composer of the Classical period who composed works of various genres during his short life. His music can be divided into three periods, and 「Fantasia in d minor, K. 397」 is the work of the late period. This work consists of three parts, and is characterized by frequent tempo changes.
Ludwig van Beethoven(1770-1827) is a significant figure in the Classicism, and he played a transitional role in connecting Classicism and Romanticism. He wrote 32 piano sonatas and they were divided into three periods. His 「Piano Sonata in F# Major, Op. 78」, written in 1809, belongs to the second period, and this sonata is cast in two-movement structure. This work was dedicated to his lover, Therese. This music is lyrical and beautiful.
Maurice Ravel(1875-1937) is a French composer of Impressionism who sticks to the traditional form. In 「Sonatine pour Piano」, Ravel combines impressionistic musical elements with the classical features. The consistent use of the thematic motive of the 1st movement in the other movements gives a unity on the whole.
Robert Schumann(1810-1856) is a representative composer of Romantic period, and particularly, he was outstanding in songs and piano works. There are 3 piano sonatas, and among them,「Piano Sonata in f# minor, Op.11」 is the largest, in a four-movement structure. The length of the work is long and there are many repetitions.Ⅰ. 서론 1
Ⅱ. W. A. Mozart 「Fantasia in d minor, K. 397」 3
A. 작품 배경 3
B. 작품 분석 5
Ⅲ. L. v. Beethoven 「Piano Sonata in F# Major, Op. 78」 9
A. 작품 배경 9
B. 작품 분석 11
Ⅳ. M. Ravel 「Sonatine pour Piano」 21
A. 작품 배경 21
B. 작품 분석 23
Ⅴ. R. Schumann 「Piano Sonata in f# minor, Op. 11」 33
A. 작품 배경 33
B. 작품 분석 35
Ⅵ. 결론 50
참고문헌 52
ABSTRACT 5
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Ignacy F. Dobrzynski: His Life and Contributions to Piano Pedagogy
No full textIgnacy F. Dobrzyński was a Polish Romantic-era composer and pedagogue who had a considerable compositional output and received high acclaim during his lifetime, especially for his chamber and orchestral works. Unfortunately, the sociopolitical atmosphere of twentieth-century Poland ultimately led to the obscurity of this great composer. This essay is comprised of a chronicle of Dobrzyński’s personal and professional events based on a biography written by his son, Bronisław, while contextualizing his output for the piano, as well as a detailed discussion of his piano compositions to reveal some of Dobrzyński’s pedagogical predilections. As a native Polish speaker, the author provides the first translation of Dobrzyński’s piano method book Szkoła na Fortepian in the appendix for the English reader’s reference. The study seeks to present the pedagogical merit of Dobrzyński’s piano compositions and how his works are suitable for preparing performers for more technically and harmonically demanding pieces by composers such as Chopin. Dobrzyński’s connection to Chopin is also noteworthy, as both studied under the tutelage of Józef Elsner in their formative years at the conservatory in Warsaw and composed works that reflect the Polish genres of music.</p
Ignacy F. Dobrzynski: His Life and Contributions to Piano Pedagogy
No full textIgnacy F. Dobrzyński was a Polish Romantic-era composer and pedagogue who had a considerable compositional output and received high acclaim during his lifetime, especially for his chamber and orchestral works. Unfortunately, the sociopolitical atmosphere of twentieth-century Poland ultimately led to the obscurity of this great composer. This essay is comprised of a chronicle of Dobrzyński’s personal and professional events based on a biography written by his son, Bronisław, while contextualizing his output for the piano, as well as a detailed discussion of his piano compositions to reveal some of Dobrzyński’s pedagogical predilections. As a native Polish speaker, the author provides the first translation of Dobrzyński’s piano method book Szkoła na Fortepian in the appendix for the English reader’s reference. The study seeks to present the pedagogical merit of Dobrzyński’s piano compositions and how his works are suitable for preparing performers for more technically and harmonically demanding pieces by composers such as Chopin. Dobrzyński’s connection to Chopin is also noteworthy, as both studied under the tutelage of Józef Elsner in their formative years at the conservatory in Warsaw and composed works that reflect the Polish genres of music.</p
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