Relevant bibliographies by topics / Bells in piano music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Bells in piano music'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Bells in piano music"

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Kieffer, Alexandra. "Bells and the Problem of Realism in Ravel’s Early Piano Music." Journal of Musicology 34, no. 3 (2017): 432–72. http://dx.doi.org/10.1525/jm.2017.34.3.432.

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Early in his career Maurice Ravel composed two pieces that take bells as their subject: “Entre Cloches” from Sites auriculaires, composed in 1897, and “La vallée des cloches,” the final movement of the 1905 work Miroirs. Although these pieces can be contextualized within a nineteenth-century lineage of French piano pieces that depict bell peals, they also set themselves apart by virtue of their heightened attention to the particularities of bell sonorities. Relying heavily on repetitive ostinato patterns, quartal harmonies, and intense dissonances, these pieces play in the nebulous space betwe
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Hilger, Silke, and M. C. Hall. "Wolfgang von Schweinitz's impersonations of composer and poet." Tempo, no. 193 (July 1995): 15–17. http://dx.doi.org/10.1017/s0040298200004265.

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Franz & Morton Singing Together in Harmony (With the Lord Himself Enjoying His Bells) is the title of a recent chamber-music work for violin, cello and piano by Wolfgang von Schweinitz. The musically erudite will have no difficulty in identifying the persons referred to by those Christian names. They are, of course, the two composers, Schubert and Feldman – who, with Schweinitz, form a trio which combines more as a community than merely professionally.
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Belova, N. V., and O. M. Yakymchuk. "Three piano pieces of Liudmila Shukailo in the context of genre paradigm." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (2020): 61–76. http://dx.doi.org/10.34064/khnum1-57.04.

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Introduction. By Nazaikynskyi’s (2003) definition, genres are “relatively stable types, classes, kinds and sorts of music works that have been formed historically; they could be сlassified according to the following basic criteria: a) specific function (social, domestic or artistic); b) conditions and means of performing; c) the character of the content and the forms of its embodiment” (94). Besides, genre has a memory concerning its origin and existence, it absorbs whole traditions of realisation of genre types that existed during certain historical periods. In such a way it forms the field o
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Thomas, Philip. "Kevin Volans - ‘VIOLIN: PIANO’: Kevin Volans. violin: piano; Etude 9 (Eight Bells for Mary; viola: piano; Passi leggieri. Waldo Alexander (vln, vla), Jill Richards (pno). Ergodos ER20." Tempo 70, no. 277 (2016): 102–3. http://dx.doi.org/10.1017/s0040298216000115.

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Conway, Paul. "Thea Musgrave round-up." Tempo 57, no. 226 (2003): 50–51. http://dx.doi.org/10.1017/s004029820325035x.

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‘Pierrot Dreaming’. MUSGRAVE: Canta! Canta!; Ring Out Wild Bells; Threnody; Pierrot; Chamber Concerto No. 2. Victoria Soames Samek (cl), Gabrielle Byam-Grounds (fl), David Le Page (vn/va), Matthew Sharp (vc), Mark Troop (pno). Clarinet Classics CC0038.‘The Fall of Narcissus’. MUSGRAVE: Serenade; Narcissus; Impromptu for flute and cello; Wind Quintet; Impromptu No. 2 for flute, oboe and clarinet; Four Portraits for baritone, clarinet and piano. Victoria Soames Samek (cl), Members of English Serenata, David Le Page (va), Matthew Sharp (vc), Stephen Varcoe (bar), Rachel Masters (hp). Clarinet Cla
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Oleh, Klendii. "The Semantics of Virtuosity in Genre-Stylistic System of C. Saint-Saëns’s Album for Piano op. 72." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (2019): 38–52. http://dx.doi.org/10.34064/khnum1-52.03.

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Background. In recent decades an intensive development of art semiotics, which contributes to the investigation of the concept of musical compositions and their functioning in performance practice, has been observed. Music semantics and performance texture are closely interrelated, since texture elements as semantic signs are able to convey the semantic expression of the language of music. Texture depends on a lot of factors. There is a strong semantic interrelation between an individual music genre and its typical texture, which has established itself in music practice and has become its dist
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Anderson, Martin. "Norwegian Orchestral Music." Tempo 58, no. 229 (2004): 49–50. http://dx.doi.org/10.1017/s0040298204250227.

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KLEIBERG: Lamento: Cissi Klein in memoriam1; Symphony No. 1, The Bell Reef2; Kammersymfoni (Symphony No. 2).3 Trondheim Symphony Orchestra c. 1Eivind Aadland, 2Rolf Gupta, 3Christian Eggen. Aurora ACD 5032FLEM: Piano Concerto; Solar Wind; Ultima Thule per Orchestra.1 Sergei Ouryvaev (pno), St Petersburg State Symphony Orchestra c. Alexander Kantorov; 1Bergen Philharmonic Orchestra c. Terje Boye Hansen. Aurora ACDPERSEN: Over Kors og Krone. Oslo Philharmonic Orchestra c. Christian Eggen. Aurora ACD 5029NYSTEDT: Apocalypsis Joannis, op. 115. Mona Julsrud (soprano), James Gilchrist (tenor), Oslo
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Satz, Aura. "Music of Its Own Accord." Leonardo Music Journal 20 (December 2010): 73–78. http://dx.doi.org/10.1162/lmj_a_00015.

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The disembodied hands of spiritualist sittings touched people and levitated objects but also strummed guitars, rang bells, played closed pianos and accordions in cages. Likewise, the mechanical music machines of the time (orchestrions, pianolas, etc.) seemed animated by invisible fingers. Highlighting the historical and haptic parallels between these manifestations, the author addresses the lack of a visible performing body, which remains implicit through the invisible animating agency. She looks at the moment before music became abstracted into the grooves of the gramophone, when music still
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Fedorniak, Khrystyna. "BELLS IN THE PIANO MUSIC OF CHINA (BASED ON THE WORK OF CHINESE COMPOSER WANG JIANZHONG'S "THREE VARIATIONS ON A PLUM BLOSSOM MELODY”)." Ukrainian music 32, no. 2 (2019): 111–17. http://dx.doi.org/10.33398/2224-0926-2019-32-2-111-117.

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Fedorniak, Khrystyna. "BELLS IN THE PIANO MUSIC OF CHINA (BASED ON THE WORK OF CHINESE COMPOSER WANG JIANZHONG'S "THREE VARIATIONS ON A PLUM BLOSSOM MELODY”)." Ukrainian music 32, no. 2 (2019): 111–17. http://dx.doi.org/10.33398/2224-0926-2019-32-2/111/117.

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Dissertations / Theses on the topic "Bells in piano music"

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Kozlova, Yulia V. "Sources of inspiration in selected piano works by Sergei Slonimsky." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1117574266.

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Thesis (Ph. D.)--Ohio State University, 2005.<br>Title from first page of PDF file. Document formatted into pages; contains xi, 103 p.; also includes graphics. Includes bibliographical references (p. 100-103). Available online via OhioLINK's ETD Center
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Albasini, Garaulet Olga. "Piano and memory : Strategies to memorize piano music." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3331.

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This study was carried out in order to discover new strategies to memorize piano music. There are six different types of memory involved in performing: auditory, kinesthetic, visual, analytical, nominal and emotional. There are two main ways of practicing: playing practice and non-playing practice. I tried to find out if the order in which we use these two kinds of practice affects the quality of the memorization. During one week I practiced three different pieces following three different methods: 1 Using only playing practice; 2 using first playing practice and then non-playing practice; 3 u
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Winterbach, Veranza. "Stylistic characteristics of Gabriel Fauré's piano quartets and piano quintets." Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/7979.

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Includes bibliographical references.<br>Gabriel Fauré has been neglected as composer in terms of international recognition. It is indeed true that the art of his music is not revealed at first sight: one must take time to discover the beauty and authentic meaning concealed in the depths thereof. While it is relatively true that musicians recognize the originality of his melodies, there seems to be a lack of appreciation of his contributions in the field of chamber music.
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Lopez, Richard C. "The piano concertos of Carl Maria von Weber : precursors of the romantic piano concerto." Connect to resource, 1989. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1228836117.

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Kolesnikov, Inna. "Master's piano recital." Manhattan, Kan. : Kansas State University, 2007. http://hdl.handle.net/2097/477.

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De, Val Dorothy Jean. "Gradus ad Parnassum the pianoforte in London, 1770-1820 /." Online version, 1991. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.308701.

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Wu, Shih-Ying. "A graduate piano recital." FIU Digital Commons, 2003. http://digitalcommons.fiu.edu/etd/1752.

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PROGRAM The Well-Tempered Clavier, Book I..............Johann Sebastian Bach (1685-1750) Prelude and Fugue XXI in B flat major Prelude and Fugue XXII in b flat minor Sonata N. 11 in A major, K.331.......Wolfgang Amadeus Mozart (1756 - 1791) Theme and Variations Menuetto Allegretto Intermission Images Series II................................Claude-Achille Debussy (1862-1918) Poission d' or (Goldfish) Rhapsodies Op. 79 .................................Johannes Brahms (1833-1897) No. 1 in b minor No. 2 in g minor Etude in A flat Major, Op. 1, No. 2.....................Paul de Schlozer (1841-189
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Catalan, Ramon E. "A graduate piano recital." FIU Digital Commons, 2005. http://digitalcommons.fiu.edu/etd/2084.

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The extended program notes include historical background on the composers and pieces being performed, as well as the analytical form regarding the works: Variations on "Ah vous dirai-je-maman," K. 265 by Wolfgang Amadeus Mozart; Sonata in C minor, op. 13 "Pathétique," by Ludwig van Beethoven; Consolation No. 3 and Funerailles by Franz Liszt; Fantasie in F minor, op. 49 by Frédéric Chopin.
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Nicolls, Sarah Louise. "Interacting with the piano : absorbing technology into piano technique and collaborative composition : the creation of 'performance environments', pieces and a piano." Thesis, Brunel University, 2010. http://bura.brunel.ac.uk/handle/2438/5511.

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This thesis explores the expansion of the piano performance environment, using technology to augment the sound, the playing area of the piano and its surroundings, and/or the performer's own body in controlling electronic elements of the music. In particular I examine the extension of piano technique and how this is affected by adding technology. I also discuss collaborative compositional processes in creating co-authored musical works and have given a critical appraisal of the different technological systems used in all of these pieces. I have also introduced ideas about developing the struct
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Colton, Glenn David. "The piano music of Jean Coulthard." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ32739.pdf.

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Books on the topic "Bells in piano music"

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Mayer, William. Abandoned bells: For piano solo. Gaudia Music and Arts, 1991.

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Guilmartin, Kenneth K., and Lili M. Levinowitz. Music together: Bells. Music Together, 2003.

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Trapani, Iza. Jingle bells. Charlesbridge, 2005.

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Trapani, Iza. Jingle bells. Scholastic, Inc., 2007.

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Jingle bells. Scholastic, 2001.

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1822-1893, Pierpont James, ed. Jingle bells. HarperCollins Publishers, 2017.

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Muldrow, Diane. Jingle bells. Golden Books, 1998.

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Sweet, Melissa. Jingle bells. HarperFestival, 2002.

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Finnish piano music. Foundation for the Promotion of Finnish Music, Finnish Music Information Centre, 1997.

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Nixon, Roger. Music for piano. Fallen Leaf Press, 1995.

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Book chapters on the topic "Bells in piano music"

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Toft, Robert. "Solo Piano." In Recording Classical Music. Focal Press, 2019. http://dx.doi.org/10.4324/9781351213783-12.

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Riddle, Ronald. "Novelty Piano Music." In Ragtime. Palgrave Macmillan UK, 1985. http://dx.doi.org/10.1007/978-1-349-08401-2_20.

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Riddle, Ronald. "Novelty Piano Music." In Ragtime. Palgrave Macmillan UK, 1985. http://dx.doi.org/10.1007/978-1-349-08404-3_20.

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Tibbetts, John C. "The Romantic Piano." In Performing Music History. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92471-7_6.

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Toft, Robert. "Soloists With Piano Accompaniment." In Recording Classical Music. Focal Press, 2019. http://dx.doi.org/10.4324/9781351213783-13.

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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "Classical-Period Piano Music." In Anthology to Accompany Gateways to Understanding Music. Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-27.

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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "Romantic-Period Piano Music." In Anthology to Accompany Gateways to Understanding Music. Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-31.

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Pike, Pamela D. "The Music Major." In Dynamic Group-Piano Teaching. Routledge, 2017. http://dx.doi.org/10.4324/9781315280370-6.

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Vargas, Alejandro Alberto Téllez. "Overcoming narratives and piano performance." In Disability and Music Performance. Routledge, 2018. http://dx.doi.org/10.4324/9781315109374-6.

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Granieri, Niccolò, James Dooley, and Tychonas Michailidis. "Harnessing Ancillary Microgestures in Piano Technique." In Innovation in Music. Routledge, 2019. http://dx.doi.org/10.4324/9781351016711-17.

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Conference papers on the topic "Bells in piano music"

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Bargar, Robin. "Music for unprepared piano." In ACM SIGGRAPH 98 Electronic art and animation catalog. ACM Press, 1998. http://dx.doi.org/10.1145/281388.281942.

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Hsieh, MingChih. "Piano Music of Claude Debussy." In 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.074.

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Kobzantsev, A., D. Chazan, and Y. Zeevi. "Automatic transcription of piano polyphonic music." In Proceedings of the 4th International Symposium on Image and Signal Processing and Analysis. IEEE, 2005. http://dx.doi.org/10.1109/ispa.2005.195447.

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Barbancho, Ana M., Isabel Barbancho, Beatriz Soto, and Lorenzo J. Tardon. "SIC receiver for polyphonic piano music." In ICASSP 2011 - 2011 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2011. http://dx.doi.org/10.1109/icassp.2011.5946419.

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Mehta, Apurva A., and Malay S. Bhatt. "Optical music notes recognition for printed piano music score sheet." In 2015 International Conference on Computer Communication and Informatics (ICCCI). IEEE, 2015. http://dx.doi.org/10.1109/iccci.2015.7218061.

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Nadyrova, Damilya. "MUSIC AND MOVEMENT: FROM PIANO TEACHING EXPERIENCE." In Arts & Humanities Conference, Venice. International Institute of Social and Economic Sciences, 2016. http://dx.doi.org/10.20472/ahc.2016.001.011.

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Cogliati, Andrea, and Zhiyao Duan. "Piano music transcription modeling note temporal evolution." In ICASSP 2015 - 2015 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2015. http://dx.doi.org/10.1109/icassp.2015.7178005.

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Simanjuntak, Hendrik, Lono Simatupang, and Viktor Ganap. "Indonesian Piano Composition In History Of Music." In Proceedings of the First Nommensen International Conference on Creativity & Technology, NICCT, 20-21 September 2019, Medan, North Sumatera, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.20-9-2019.2296601.

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Zhang, Junzhong. "Analysis of Debussy Piano Music qFireworksq Performance." In 2nd International Conference on Civil, Materials and Environmental Sciences. Atlantis Press, 2015. http://dx.doi.org/10.2991/cmes-15.2015.141.

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Wang, Tong. "Image Aesthetics Characteristics of Chinese Piano Music." In 2014 International Conference on Education, Management and Computing Technology (ICEMCT-14). Atlantis Press, 2014. http://dx.doi.org/10.2991/icemct-14.2014.34.

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Reports on the topic "Bells in piano music"

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Mayas, Magda. Creating with timbre. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.686088.

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Unfolding processes of timbre and memory in improvisational piano performance This exposition is an introduction to my research and practice as a pianist, in which I unfold processes of timbre and memory in improvised music from a performer’s perspective. Timbre is often understood as a purely sonic perceptual phenomenon. However, this is not in accordance with a site-specific improvisational practice with changing spatial circumstances impacting the listening experience, nor does it take into account the agency of the instrument and objects used or the performer’s movements and gestures. In m
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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of
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