Journal articles: 'Flute piano'

1

Backus, Joan, Denis Bedard, Denis Gougeon, and Francois Morel. "Sonate pour flute et piano (1984)." Notes 51, no. 2 (December 1994): 757. http://dx.doi.org/10.2307/898917.

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Lee, Shinuh. "Space for Flute, Clarinet and Piano." Musical Times 134, no. 1800 (February 1993): 1. http://dx.doi.org/10.2307/1002429.

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Krusenstjerna, Mary, Joaquin Rodrigo, and James Galway. "Concierto pastoral; For Flute and Orchestra; Reduction for Flute and Piano." Notes 43, no. 4 (June 1987): 929. http://dx.doi.org/10.2307/898185.

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Whittall, Arnold, Ahmed Essyad, Pierre-Yves Artaud, Emmanuel Strosser, Ciiris Dencii, and Laura Chislett. "Le cycle de l'eau for Flute and Piano." Musical Times 134, no. 1810 (December 1993): 716. http://dx.doi.org/10.2307/1002950.

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Tannenbaum, Peter, Claude Vivier, Paul Gerrits, and Marie Levesque. "Paramirabo [For] Flute, Violin, Cello and Piano (1978)." Notes 51, no. 3 (March 1995): 1145. http://dx.doi.org/10.2307/899348.

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Mikolon, Anna. "Piano and chamber works by Jerzy Gablenz (1888-1937)." Notes Muzyczny 2, no. 10 (December 20, 2018): 123–43. http://dx.doi.org/10.5604/01.3001.0012.9815.

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The article is aimed at presenting piano and chamber music written by the forgotten composer of the period of the Young Poland. Born in Cracow to a family with rich music traditions, Jerzy Gablenz learned to play the piano, flute, cello and organ. But his main interest was to write music himself. As early as in his youthful years, he wrote songs and piano miniatures mainly dedicated to Małgorzaa Schoen, his future wife. He graduated from law school, but he also studied composition and theory of music with Władysław Żeleński, Feliks Nowowiejski and Zdzisław Jachimecki. His main occupation was managing the vinegar and mustard factory. Despite that, he found time for writing symphonic, opera, chamber, piano and vocal pieces. His piano works – due to their tunefulness, diversified texture, mysteriousness and ballroom elegance – are unquestionably worth promoting. They include: 4 Small Bagatelles op. 1 no. 1, 4 Improvisations op. 1 no. 3, 3 Improvisations op. 1 no. 4, Intermezzo a la mazurka op. 2, 2 Morceaux op. 3, Two Small Bagatelles op. 8, 2 Skizzen op. 24 Es war niemal…, or Suite op. 35. Gablenz’s chamber works cover: Canzona op. 1 no. 2 for flute and piano, Sonata op. 15 for cello and piano, 5 Waltzes op. 28 for piano 4 hands, Arabesque op. 28 no. 6 for oboe and piano, Trios for three female voices and piano to lyrics by Leopold Staff op. 4 and op. 19. Unfortunately, Gablenz’s tragic death on 11 November 1937 in a plane crash near Piaseczno made the further development of his great talent impossible. I believe that his creative output deserves promoting among music lovers not only in the Dominican Republic and Canada, but first of all in Poland, where some of his works still have not had their premiere performances, despite numerous efforts of Tomasz Gablenz, the composer’s son.

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Üstün, Emre, and Burcu Ozer. "Effects of piano accompaniment on instrument training habits and performance self-efficacy belief in flute education." Cypriot Journal of Educational Sciences 15, no. 3 (June 29, 2020): 412–22. http://dx.doi.org/10.18844/cjes.v15i3.4906.

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Education methods to be used in the emotional, mental and psychological development of instrument education are of great importance in terms of education process. In this context, the training habits and self-efficacy developments of the students with their instruments can be supported by the accompaniment education process, thus increasing the performance of the instruments. In this context, an experimental method was used in the research by using piano accompaniment training practice, individual instrument training habits and instrument performance self-efficacy belief questionnaires. Pre-test-post-test pattern of this method was preferred. The study was carried out with 9 students who studied flute in Nevsehir Hacı Bektas Veli University music department. After the experiment process, the scores of the groups were reached by using T-test. As a result of the research, it was revealed that the application of piano accompaniment in flute education has a positive effect on all sub-dimensions of both questionnaires. In addition, it was determined that students use time in a disciplined and productive way, develop themselves in terms of musicality, see themselves more adequate with the positive progress of the psychological effects of this development, and increase their love for their instrument and desire to work. Keywords: Instrument education, flute education, piano accompaniment, training habits, self-efficacy developments;

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Krusenstjerna, Mary, Francis-Paul Demillac, and Edvard Fliflet Braein. "Concertino; pour flute et orchestre a cordes. Reduction pour flute et piano par l'auteur." Notes 42, no. 1 (September 1985): 158. http://dx.doi.org/10.2307/898272.

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Vriend, Jan. "Heterostase. Trio for Flute, Bassclarinet and Piano 1980/81." Interface 16, no. 1-2 (January 1987): 97–111. http://dx.doi.org/10.1080/09298218708570490.

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Truelove. "Transformations for Flute, B♭ Clarinet, Violin, and Piano." Perspectives of New Music 58, no. 1 (2020): 245. http://dx.doi.org/10.7757/persnewmusi.58.1.0245.

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Truelove, Stephen. "Transformations: For Flute, B♭ Clarinet, Violin, and Piano." Perspectives of New Music 58, no. 1 (2020): 245–55. http://dx.doi.org/10.1353/pnm.2020.0008.

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Choo, Sanghee, and Jinho Choi. "Analysis of Musical Characteristics and Methods in Frank Martin’s Ballade for flute and piano, 1939." Journal of Humanities and Social sciences 21 12, no. 3 (June 30, 2021): 2437–48. http://dx.doi.org/10.22143/hss21.12.3.169.

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Hromchenko, Valerii. "Vocal instrumentality as the ethno-cultural feature of V. Martyniuk's composer style (the case of compositions for wind instruments)." Culturology Ideas, no. 20 (2'2021) (2021): 99–106. http://dx.doi.org/10.37627/2311-9489-20-2021-2.99-106.

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The article discloses the instrumental language nature of Dnipro composer Valentina Martyniuk from the perspective of the ethno-cultural features for master's author style. The investigation is being carried out on the basis of compositions for wind instruments, namely "Interview on a given topic" for clarinet solo, Vocalize for flute and piano, as well as Melody for horn (or flute) and piano. The investigation has established the defining foundation of the vocal of the composer's instrumental language to be the phenomenon of folk singing style of artistic instrumental creations. This phenomenon is born on the productive basis of national genre, namely Ukrainian solo singing. V. Martyniuk realizes artistic creative potential in the singing expressive melody, improvisation, priority of solo representation of musical compositions, the composer removes the assignment of a certain instrument for a specific musical composition, creates the priority for secondo-third interval connections. The author of the article affirms the contemporary conception of Ukrainian instrumental solo singing in the academic instrumental music.

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Taran, Vladimir. "CREATIONS WITH THE PARTICIPATION OF THE BASSOON SIGNED BY VLADIMIR ROTARU." Akademos 60, no. 1 (June 2021): 134–36. http://dx.doi.org/10.52673/18570461.21.1-60.18.

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Vladimir Rotaru is one of the famous composers from the Republic of Moldova, whose compositions include both orchestral and chamber-instrumental works. In this article, the author made a brief analysis of the repertoire for bassoon that includes both solo and chamber compositions, such as Suite for flute, oboe, clarinet, and bassoon; Monothematic metamorphoses; Sonata-dialogue for bassoon and piano; Caprice for bassoon and piano. The aim of the article concerned is reviewing the creations for bassoon signed by Vladimir Rotaru, being in a succinct language features and architectonic creations componentistic concerned.

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Yoon, Moonyoung, and Jiyoung Yoon. ""A Musical Analysis of Sonata for Flute and Piano by Paul Hindemith -Focusing on Neoclassical Characteristics "." Journal of Humanities and Social sciences 21 12, no. 4 (August 31, 2021): 1493–504. http://dx.doi.org/10.22143/hss21.12.4.106.

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Cardy, Patrick. ""Spells": Jack Behrens: Fiona's Flute. Dialogue. Peter Racine Fricker: Two Spells for Solo Flute. Ballade for Flute and Piano, Op. 68. Bagatelles for Clarinet and Piano, Op. 83. Jack Behrens, piano; Robert Riseling, clarinet; Tsuyoshi Tsutsumi, violoncello; Fiona Wilkinson, flute. Orion Master Recordings ORS 83455." Canadian University Music Review, no. 6 (1985): 349. http://dx.doi.org/10.7202/1014080ar.

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Olúrántí, Ayọ̀. "African Rhythms for flute, clarinet, violin, cello, percussion and piano." Journal of the Musical Arts in Africa 14, no. 1-2 (July 3, 2017): 87–93. http://dx.doi.org/10.2989/18121004.2017.1415659.

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Miller, Malcolm. "Jerusalem, Music Centre: Andre Hajdu." Tempo 67, no. 264 (April 2013): 78. http://dx.doi.org/10.1017/s004029821300017x.

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An 80th birthday concert full of the spirit of youthful exploration reflected the innovative interactive aesthetic of Andre Hajdu, the Hungarian-Israeli composer, whose oeuvre is gradually gaining wider international exposure. Presented by the Jerusalem Music Centre on 29 March 2012, the programme featured works from the last quarter of a century for chamber duo and solo piano, including two premières, culminating in an improvisational interactive jam session by an array of students and colleagues, joined by the composer himself at the piano. To begin was Hajdu's Sonatine for Flute and Cello (1990) ‘in the French style’ performed with panache by the flautist Yossi Arnheim and cellist Amir Eldan. It is an elegantly written work radiating the spirit of Hajdu's teachers Milhaud and (less overtly) Messiaen, with whom he studied in Paris in the 1950s and 60s. Beneath the light-hearted veneer of polyphonic textures is a serious, plangent expressiveness. The first movement, libre et gai, moves from the chirpy, Poulenc-like delicacy of a cat-and-mouse imitative chase, building tension towards a final stretto. In the second movement, molto moderato, Arnheim wove a lyrical cantilena for flute over gentle cello accompaniments, giving way to rarified high cello registers shadowed by eloquent lower lines of the flute. An exuberant dance-like finale, Libre mais un peu rythmé, increased in drama before receding to a tranquil conclusion.

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Rickards, Guy. "Icarus Soaring: the music of John Pickard." Tempo, no. 201 (July 1997): 2–5. http://dx.doi.org/10.1017/s0040298200005763.

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Although John Pickard's music has received a good many performances and radio broadcasts over the past decade, it was the relay of his dazzling orchestral tone poem The Flight of Icarus (1990) during the 1996 Proms1 which brought him to the notice of the wider concert–going and –listening public. There is some justice in that piece attracting such attention, as it is one of his most immediate in impact, while completely representative of his output at large. That output to date encompasses three symphonies (1983–4, 1985–7, 1995–6) and five other orchestral works, three string quartets (1991, 1993, 1994; a fourth in progress), a piano trio (1990), sonatas for piano (1987) and cello and piano (1994–5), vocal and choral works, pieces for orchestral brass (Vortex, 1984–5) and brass band – the exhilarating Wildfire (1991), which crackles, hisses and spits in ferocious near–onomatopoeia, and suite Men of Stone (1995), celebrating four of the most impressive megalithic sites in Britain, one to each season of the year. There are other works for a variety of solo instruments and chamber ensembles, such as the intriguing grouping of flute, clarinet, harpsichord and piano trio in Nocturne in Black and Gold (1983) and the large–scale Serenata Concertante for flute and six instruments of a year later. Still in his mid-thirties – he was born in Burnley in 1963 – Pickard has already made almost all the principal musical forms of the Western Classical tradition his own, with only opera, ballet and the concerto as yet untackled.

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Laws, Catherine. "Beckett in New Musical Composition." Journal of Beckett Studies 23, no. 1 (April 2014): 54–72. http://dx.doi.org/10.3366/jobs.2014.0086.

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The musical legacy of Samuel Beckett is evident in the large number of compositions inspired by his work. Moreover, Beckett's influence has endured beyond the associations with musical modernism from the 1960s onwards. How, then, do the approaches of younger composers relate to and differ from those working during Beckett's lifetime, and what are the implications for performance? This article explores these questions in relation to two recent compositions: Damien Harron's what is the word (2011) for flute, percussion, piano and electronics, and Martin Iddon's head down among the stems and bells (2009) for amplified prepared piano.

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Schenker, Boris, Wesley Fuller, and Thomas DeLio. "20th Century American Music for Piano, Violin, Flute, Percussion, and Computer." Computer Music Journal 21, no. 3 (1997): 104. http://dx.doi.org/10.2307/3681024.

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Luyendijk-Crankshaw, Amy. "From the Valley of Desolation, for flute, cello and prepared piano." Journal of the Musical Arts in Africa 12, no. 1-2 (July 3, 2015): 89–91. http://dx.doi.org/10.2989/18121004.2015.1129152.

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Stefanovic, Ana. "Traditional vocal music as a reference in contemporary Serbian art song." Muzikologija, no. 20 (2016): 151–70. http://dx.doi.org/10.2298/muz1620151s.

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The article examines the relation between traditional vocal music and contemporary compositional poetics in Serbian art song, created in the last two decades. The special relationship between the ?eastern? Balkans inheritance and ?western? compositional practices which characterized Serbian music throughout the 20th century is considered in a contemporary, post-modern context and within a particular genre framework. The status of the reference itself, as well as of referential relationships, are examined through examples taken from three works: Dve tuzbalice (1997) for soprano, viola and piano by Djuro Zivkovic (1975), Da su meni oci tvoje (2008) for soprano, flute and piano by Ivan Brkljacic (1977) and Rukoveti (2000) for soprano and orchestra by Isidora Zebeljan (1967).

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Inglis, Brian. "FRUITS OF SORABJI'S INDIAN SUMMER: ‘IL TESSUTO D'ARABESCHI’ AND ‘FANTASIETTINA ATEMATICA’." Tempo 64, no. 254 (October 2010): 41–49. http://dx.doi.org/10.1017/s0040298210000410.

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The Anglo-Indian composer Kaikhosru Shapurji Sorabji (1892–1988) is best known for his virtuosic, highly decorative and complex style of piano music and vast post-Romantic scale, as typified by his magnum opus, Opus Clavicembalisticum. In his last creative period (post-1973), however, he composed a number of more concise works which depart from the idiom of the piano. This article examines two of these works, Il tessuto d'arabeschi (1979) for flute and string quartet, and Fantasiettina Atematica (1981) for wind trio. It looks primarily at the place of these two works in Sorabji's oeuvre as a whole, but also the wider issues of Sorabji's compositional approach and musical attitudes in later life.

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Boldurescu, Yulia V. "Diverting Etudes in the Flute Class." ICONI, no. 3 (2020): 98–106. http://dx.doi.org/10.33779/2658-4824.2020.3.098-106.

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One of the most crucial tasks for educating the beginner musician is the development of his artistic imagination. A decisive role in this process is played by the formation of the musicians’ attitudes towards the skills of interaction of their relationship with the composer’s music: the creation of the performer’s text, i.e., its interpretation (the problematic situation “If I were the editor…”), or its transcription or arrangement (“I wish to become a composer”). The solution of the indicated aims (which, essentially, relate to the musicians’ inventiveness) and the participation in the problem situations becomes manageable even for especially gifted students only upon the condition of a correctly elaborated technology of interaction with the musical text. Such experience is well-known in Russia and in other countries, specimens of assignments and tutorial manuals directed at the possibility of application of innovational technologies in work with beginner pianists have been developed. In this article the author offers to instructors of fl ute performance her technology of work on unfolding the primary authorial musical text on the basis of horizontal and vertical dialogue expounded in E.G. Shcherbakova’s textbook “Neskuchnye etyudy” [“Diverting Etudes”] in her piano class.

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Brooks, Richard, Paul Carr, James Collorafi, Trygve Madsen, Nigel Osborne, Malcolm Arnold, Leslie Bassett, Dominic Muldowney, Buxton Orr, and Aulis Sallinen. "Concertino; For Descant Recorder or Flute or Oboe, and Strings. Piano Reduction." Notes 45, no. 1 (September 1988): 153. http://dx.doi.org/10.2307/941409.

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Warburton, Thomas, Simon Bainbridge, Morton Feldman, Bent Lorentzen, and Wolfgang Rihm. "Concertante in Moto Perpetuo (1983) [Solo Oboe, Flute, Clarinet, Horn, Piano, Strings]." Notes 43, no. 1 (September 1986): 178. http://dx.doi.org/10.2307/897862.

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Önder, Gülten Cüceoğlu. "Analysis of Carl Joachim Andersen Op.15 Flute Etudes Used in Flute Education." International Education Studies 14, no. 4 (March 24, 2021): 57. http://dx.doi.org/10.5539/ies.v14n4p57.

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In this study, it was aimed to examine C. J. Andersen’s op.15 etude book used in flute education in terms of measurement units, vocalization techniques, technical studies, nuance terms, speed terms, tonality. Thus it is aimed to reveal the gains that the etudes can provide for the student. Document analysis method was used in the study. The summary of results as follows. Etudes are mostly written in 4/4 unit of measure. It was found that mostly legato and staccato was used a great extent in the etudes. Interval was run the most in the etudes. Also etudes include technical studies such as arpeggio, chromatic scale, scale studies, and tonality. The terms crescendo and decrescendo nuances were used in all of the etudes. Mezzoforte, forte and piano nuances were also included in the etudes. Allegro and its varieties have been used as the term of speed in most of the etudes. In the etudes, 24 different tones were used, 12 of them in major tones and 12 of them in minor tones. Tone, measure and tempo changes were made in some etudes. Considering the results, Andersen’s op.15 etude book systematically covers many issues in terms of flute education. Etudes can provide to the student in flute education both in technical and musical gains; legato, tongue technique, articulation, interval, arpeggio, intonation, chromatic scale, phrasing, good breathing technique, a quality tone and a correct blowing angle. Instead of playing a etude book from the beginning to the end, the student’s difficulties can be eliminated by conducting etudes on whatever subject he/she has inadequate or difficulty. With this analysis, the topics in the etudes can be classified and presented in line with the needs of the students.

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Boldurescu, Yulia V. "Creative Flute Playing in Work with Beginners." ICONI, no. 1 (2020): 76–87. http://dx.doi.org/10.33779/2658-4824.2020.1.076-087.

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The article is addressed to faculty members of departments of wind and percussion instruments in children’s music schools and children’s schools for the arts for collaborative work with beginners in elementary fl ute classes. The article proceeds to describe and formulate questions and playing assignments with utilization of the repertoire of folk melodies for bringing out the instructor’s and pupil’s artistic approaches in working with original musical texts and cognizing its content-related side on the early stages of studies in children’s music schools and children’s schools for the arts. The term “playing assignments” presume role playing in the dialogues of two fl utes or fl ute and piano with a revision and transformation of the primary musical text (the arrangement). Due to the technique of semantic analysis, the instructor may demonstrate to children the secrets of arrangements; they will understand how to make use of various means of transformation of the musical texts, as well as the semantic fi gures involved, acquaint themselves with the peculiarities of construction of folk song melodies and learn to disclose the boundaries of musical retorts in musical dialogues.

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Зильберман Юрий. "СУРОК, соч. 52 No 7 (фр. MARMOTTE) ЛЮДВИГА ВАН БЕТХОВЕНА СТИХИ И. В. ГЁТЕ." International Academy Journal Web of Scholar, no. 5(35) (May 31, 2019): 39–45. http://dx.doi.org/10.31435/rsglobal_wos/31052019/6504.

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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.

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Christensen, Jean, Bent Lorentzen, and Ivar Lunde. "Paradiesvogel, for 7 Instruments: Flute/Piccolo, Clarinet, Violin, Cello, Guitar, Percussion, Piano (1983)." Notes 46, no. 1 (September 1989): 241. http://dx.doi.org/10.2307/940787.

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Lasocki, David, Giovanni Platti, Gregory Hayes, Thomas Vincent, George Pratt, Johann Christoph Pepusch, Himie Voxman, et al. "Sonata in C Minor; For Oboe (Violin, Flute) and Basso Continuo (Harpsichord, Piano)." Notes 45, no. 3 (March 1989): 622. http://dx.doi.org/10.2307/940829.

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Conway, Paul. "Thea Musgrave round-up." Tempo 57, no. 226 (October 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 Classics CC0039.MUSGRAVE: Memento Vitae; Helios; Night Music; The Seasons. Nicholas Daniel (ob), Scottish Chamber Orchestra c. Nicholas Kraemer; BBC Symphony Orchestra c. Jac van Steen. NMC (ANCORA+) D074.‘Oriental Landscapes’. MUSGRAVE: Journey Through a Japanese Landscape. CHEN YI: Percussion Concerto. ZHOU LONG: Out of Tang Court. HOVHANESS: Fantasy on Japanese Wood Prints. Evelyn Glennie (perc), Singapore Symphony Orchestra c. Lan Shui. BIS CD 1222.

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Anderson, Julian. "HARMONIC PRACTICES IN OLIVER KNUSSEN'S MUSIC SINCE 1988: PART II." Tempo 57, no. 223 (January 2003): 16–41. http://dx.doi.org/10.1017/s0040298203000020.

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Songs without Voices, composed in 1991–2, is a set of four pieces for small instrumental ensemble comprising flute, cor anglais, clarinet, horn, piano, violin, viola and cello, lasting about eleven minutes. It follows on naturally from Knussen's Whitman Settings which preceded it, as three of its four movements derive their main melodic lines from purely instrumental settings of Whitman texts from the collection Leaves of Grass. Indeed the first movement's source text, Soon shall the winter's foil be here, is placed by Whitman in the collection immediately after The Voice of the Rain, the final text of Knussen's Whitman Settings.

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Kassel, Richard M., Chester Biscardi, and Ursula Mamlok. "Di Vivere, for Clarinet in A and Piano, with Flute, Violin, and Violoncello (1981)." Notes 46, no. 1 (September 1989): 240. http://dx.doi.org/10.2307/940786.

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Riva, Douglas, and Rodolfo Halffter. "... Huesped de las nieblas... (... Guest from the Mists...) for Flute and Piano, op. 44." Notes 46, no. 2 (December 1989): 507. http://dx.doi.org/10.2307/941097.

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Schwartz, Elliott, Earle Brown, and Morton Feldman. "Centering; For Solo Violin, Flute, Clarinet, Bassoon, Horn, Trumpet, Trombone, Piano, Violin, Viola, Cello." Notes 44, no. 3 (March 1988): 596. http://dx.doi.org/10.2307/941563.

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Perlove, Nina. "Inherited Sound Images: Native American Exoticism in Aaron Copland's Duo for Flute and Piano." American Music 18, no. 1 (2000): 50. http://dx.doi.org/10.2307/3052390.

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URHAL, Necla, and Ümit Kubilay CAN. "ANALYSIS OF CELLO, PIANO, VIOLIN, VIOLA AND FLUTE SHEET MUSIC BOOKS PUBLISHED IN TURKEY." Online Journal of Music Sciences 3, no. 1 (July 15, 2018): 56–89. http://dx.doi.org/10.31811/ojomus.436905.

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Afanasieva, E. Yu. "THE CHARACTERISTIC FEATURES OF THE ENSEMBLE PERFORMANCE OF BAROQUE MUSIC FOR FLUTE AND PIANO." Innovate Pedagogy 18, no. 1 (2019): 9–12. http://dx.doi.org/10.32843/2663-6085-2019-18-1-1.

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Ikeda, Tsunagu, and Masanao Morishita. "How Are Audiovisual Simultaneity Judgments Affected by Multisensory Complexity and Speech Specificity?" Multisensory Research 34, no. 1 (July 28, 2020): 49–68. http://dx.doi.org/10.1163/22134808-bja10031.

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Abstract While stimulus complexity is known to affect the width of the temporal integration window (TIW), a quantitative evaluation of ecologically highly valid stimuli has not been conducted. We assumed that the degree of complexity is determined by the obviousness of the correspondence between the auditory onset and visual movement, and we evaluated the audiovisual complexity using video clips of a piano, a shakuhachi flute and human speech. In Experiment 1, a simultaneity judgment task was conducted using these three types of stimuli. The results showed that the width of TIW was wider for speech, compared with the shakuhachi and piano. Regression analysis revealed that the width of the TIW depended on the degree of complexity. In the second experiment, we investigated whether or not speech-specific factors affected the temporal integration. We used stimuli that either contained natural-speech sounds or white noise. The results revealed that the width of the TIW was wider for natural sentences, compared with white noise. Taken together, the width of the TIW might be affected by both the complexity and speech specificity.

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Wright, David, Nicholas Daniel, Jane Manning, Jane's Minstrels, and Roger Montgomery. "William Alwyn: Concerto for Flute and Eight Wind Instruments; Suite for Oboe and Harp; Naiades: Fantasy for Flute and Harp; Music for Three Players; Trio for Flute, Cello and Piano." Musical Times 134, no. 1807 (September 1993): 524. http://dx.doi.org/10.2307/1002755.

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Petri-Preis, Axel. "EMILY HOWARD'S LOVELACE TRILOGY: A MUSICAL HOMAGE TO A MATHEMATICAL PIONEER." Tempo 67, no. 265 (July 2013): 28–36. http://dx.doi.org/10.1017/s0040298213000442.

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AbstractWithAda Sketches, for mezzo-soprano, flute, clarinet and percussion,Mesmerism, for solo piano and chamber orchestra, andCalculus of the Nervous System, for large orchestra, in 2011 the young British composer Emily Howard completed a triptych of works in which she drew decisively on the life and thoughts of Ada Lovelace for inspiration. Today, Lovelace is recognized as a pioneer of 19th-Century mathematics, who in her lifetime attempted to bring together art and mathematics in Charles Babbage's Analytical Engine. She was convinced of the power of mesmerism and believed that there was a possible mathematical calculation for the human nervous system. This article shows how Emily Howard took up and developed musically these central threads of Lovelace's work in her ‘Lovelace Trilogy’.

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Doğan, Tekin, and Barış Erdal. "Which one is your the favoritte instrument? A Study on the demographic and socio-cultural factors that affect the instrument preferenceSenin favori çalgın hangisi? Çalgı tercihini etkileyen demografik ve sosyo-kültürel faktörler üzerine bir araştırma." Journal of Human Sciences 13, no. 3 (December 29, 2016): 6050. http://dx.doi.org/10.14687/jhs.v13i3.4122.

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Music, which is a part of the cultural expression, can be seen in all of the communities or societies of the world. Undoubtedly, instruments are among the most important elements that put music into being. Every culture from past to present has produced numerous musical instruments depending on the geography inhabited, production format, level of access to the technology, their varied customs and traditions. This diversity was also contribute to the formation of various kinds of music in a sense. Especially during the last fifty years research on the diversity of music preferences/tastes gained great momentum but it is amazing that there is limited research on musical instrument taste. In this study, people's musical instrument tastes were examined in accordance with certain demographic and social variables. Research was conducted among participants of 130 female and 102 male who are 18-27 years old (n = 232). Participants were asked to evaluate the selected 10 different instruments from four different continents (Pan Flute, Violin, Sitar, Kavala, Morin Khuur, Classical Guitar, Flute, Erhu, Lute, and Piano) with four predetermined simple melodies. The melodies used were selected of 4 different audio systems (tonal, modal, modal, pentatonic). In addition, the instruments were also evaluated with authentic melodies of culture each one belongs to. As a result of the study, a significant relationship has emerged between the levels of musical instrument tastes of the participants and their age, gender, income level and choice of music genre. Based on the relationship between gender and the music genre listened to, it has been identified that women prefer more pop music, while men choose to listen to Turkish music. In addition, while most women prefer the Calssical Guitar, the Flute and Piano, the men chose the lute. The instrument that men and women have preferred least was Morin Khuur. The low-income participants preferred more piano, the middle-income participants preferred Classical Guitar, while high-income participants preferred Oud mostly. At the same time, across all income levels, Morin Khuur was the least popular instrument. As the average age of participants decreases, like for the guitar grows, but as the average age increases, like for the Kavala grows. Özetİfade kültürünün bir parçası olan müzik bütün dünya topluluk ya da toplumlarında görülebilir. Bunun yanı sıra kuşkusuz müziğe varlık kazandıran en önemli öğelerden biri de çalgılardır. Geçmişten günümüze her kültür, yaşadığı coğrafyaya, üretim biçimine, erişmiş olduğu teknolojik düzeye, birbirinden farklı adet, örf ve geleneklere bağlı olarak sayısız çalgı üretmiştir. Bu çeşitlilik bir anlamda bir çok müzik türünün oluşmasına da katkı sağlamıştır. Özellikle son elli yılda müzik tercihi/beğenisi üzerine yapılan araştırmaların büyük bir ivme ve çeşitlilik kazanmasına rağmen çalgı beğenisine yönelik araştırmaların sınırlı olması şaşırtıcıdır. Bu çalışmada, insanların çalgı beğenileri belirli demografik ve sosyal değişkenler çerçevesinde incelenmiştir. Araştırma 18-27 yaş arasında 102 erkek 130 kadın (n=232) katılımcı ile gerçekleştirilmiştir. Katılımcılardan belirlenmiş dört yalın ezgiyi, dört farklı kıtadan seçilen 10 farklı çalgı ile (Pan Flüt, Keman, Sitar, Kaval, Morin Khuur, Klasik Gitar, Yan Flüt, Erhu, Ud, Piyano) değerlendirmeleri istenmiştir. Kullanılan ezgiler 4 farklı ses sisteminden (tonal, modal, makamsal, pentatonik) seçilmiştir. Ayrıca çalgıların her biri ait olduğu kültürün otantik ezgileriyle de değerlendirilmiştir. Çalışma sonucunda katılımcıların çalgı beğeni düzeyleriyle yaş, cinsiyet, gelir düzeyi ve dinlenen müzik türü arasında anlamlı ilişkiler olduğu ortaya çıkmıştır. Dinlenilen müzik türü ve cinsiyet arasındaki ilişkiye göre kadınların daha çok Pop müzik, erkeklerin ise daha çok Türk müziği dinlemeyi tercih ettikleri tespit edilmiştir. Buna ek olarak kadınlar en çok Gitar, Yan Flüt ve Piyano’yu tercih ederken, erkekler Ud’u tercih etmiştir. Toplamda erkek ve kadınların en az tercih ettiği çalgı ise Morin Khuur olmuştur. Gelir düzeyi düşük katılımcılar daha çok Piyano’yu, orta gelir düzeyindeki katılımcılar daha çok Klasik Gitar’ı, yüksek gelir düzeyindeki katılımcılar ise daha çok Ud’u tercih etmiştir. Aynı zamanda tüm gelir düzeyleri arasında en az beğenilen çalgı Morin Khuur olmuştur. Katılımcıların yaş ortalaması küçüldükçe Gitar beğenisi, yaş ortalaması büyüdükçe Kaval beğenisi artmıştır.

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Pramudya, Nicolas Agung. "Penciptaan Karya Komposisi Musik Sebagai Sebuah Penyampaian Makna Pengalaman Empiris Menjadi Sebuah Mahakarya." Gelar : Jurnal Seni Budaya 17, no. 1 (August 6, 2019): 14–23. http://dx.doi.org/10.33153/glr.v17i1.2597.

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ABSTRAK Komposisi Musik “Katur Ibu” adalah komposisi musik yang ide penggarapannya berangkat dari sebuah cinta, pengorbanan dan kasih sayang yang dikemas dengan format tradisi dan modern menghadirkan warna baru dalam komposisi penciptaan, yang membentuk sebuah karya musik yang utuh. Jenis karya seni tidak menata pada kejadian menurut alur yang sebenarnya akan tetapi lebih kepada suasana yang mendukung. Komposisi musik “Katur Ibu” terdiri dari 5 bentuk utama dengan menggunakan tempo Allegro, moderato, adagio, andante, dan vivance, yang dapat menggambarkan suasana tenang, sedih, gembira dan semangat, pengkarya maknai sebagai guratan sisi pandang terhadap realita yang terlintas dalam fikiran pengkarya seperti emosi penyesalan, kegamangan, ketulusan dan impian. Penyajian komposisi musik “Katur Ibu” memakai beberapa instrument pokok dan intrumen pendukung yaitu, Piano sebagai melodi utama, flute, bass elektrik, drum pad DTX, saron, bonang, kendang Sunda dan keyboard sebagai Accompainement dalam komposisi musik yang dikemas dalam konsep pertunjukan ini. Kata kunci: Komposisi, pengalaman empiris, Katur Ibu. ABSTRACT “Katur Ibu” Music Composition is a musical composition which the cultivation ideas depart from a love, sacrifice and affection that is packaged in a traditional and modern format presenting a new color in the composition of creation, which forms a complete musical work. types of artworks do not arrange the events according to the actual plot but rather to the atmosphere that supports it. The musical composition “Katur Ibu” consists of 5 main forms using tempo Allegro, moderato, adagio, andante, and vivance, which can describe the atmosphere of calm, sadness, joy and enthusiasm. The composer means as a side view of reality that comes to mind such as emotions of regret, anxiety, sincerity and dreams. The presentation of “Katur Ibu” music composition uses several basic instruments and accompanying instruments, including, Piano as the main melody, flute, electric bass, DTX drum, saron, bonang, Sundanese drum and keyboard as Accompainement in the musical composition that is packaged for the show. Keywords: Composition, empirical experience, Katur Ibu.

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Dyka, Nina. "STYLISTIC FEATURES OF GENRE OF “MINIATURE I” FOR FLUTE, OBOE, PERCUSSION AND PIANO OF I. M. SONEVYTSKYI." Ukrainian music 31, no. 1 (May 2019): 86–94. http://dx.doi.org/10.33398/2224-0926-2019-31-1-86-94.

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Mottershead, Tim. "Manchester University: Psappha in Klas Torstensson's Violin Concerto." Tempo 67, no. 265 (July 2013): 80–81. http://dx.doi.org/10.1017/s0040298213000545.

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You're probably wondering why a violin concerto was given its UK première by the chamber ensemble Psappha? An informative programme note by Paul Griffiths for the 15 February concert revealed that Swedish composer Klas Torstensson (b. 1951) had in fact written a much longer, though still compactly scored, work in 2010 and had ‘squashed it down’ in length and further reduced the number of players. The work's full title is Pocket Size Violin Concerto – scored for soloist with unconducted accompaniment from piano, flute, and cello. Whilst compression of this kind is not uncommon in other branches of the arts, and concision is a noble artistic aim, one's fear was that such drastic pruning might have short-circuited the music's arguments. Happily this proved unfounded; and whilst the original half-hour's duration might have been pushing it a bit, the modified version (at a whisker under 17 minutes) seemed just about right.

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Milin, Melita. "Ancient Greek mythology mediated by Latin culture: On Vlastimir Trajkovic’s arion and Zephyrus returns." Muzikologija, no. 12 (2012): 165–82. http://dx.doi.org/10.2298/muz120130008m.

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Vlastimir Trajkovic (b. 1947) is a prominent Serbian composer with a strong inclination towards subjects from ancient Greek mythology. Among his most important achievements may be counted Arion - le nuove musiche per chitarra ed archi (1979) and Zephyrus returns for flute, viola and piano (2003). Two important aspects of those works are discussed in the present article: 1. the line that connects them to ancient Greek culture via French Modernism (Debussy, Ravel, Messiaen) and Renaissance poetry and music (Petrarch, Caccini, Monteverdi); 2. modality, which has proved its vitality through long periods of the history of European music, beginning with ancient Greek modes, reaching its high point in the 16th century, and re-emerging at the beginning of the 20th century in different hybrid forms. Trajkovic is seen as a composer who has shaped his creative identity by exploring the rich musical heritage of the Latin European nations, especially the contributions of Debussy and Ravel.

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Ordoñana, Jose A., and Ana Laucirica. "Lerdahl and Jackendoff's Grouping Structure Rules in the Performance of a Hindemith Sonata." Spanish journal of psychology 13, no. 1 (May 2010): 101–11. http://dx.doi.org/10.1017/s113874160000370x.

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In the last decades, musical cognitive psychology has intervened to build a bridge towards the comprehension of musical structures. The present paper studies the behavior of several students and music professionals in relation to grouping structure and it does so through the performance analysis of the first movement of Hindemith's sonata for flute and piano, according to the rules formulated by Lerdahl and Jackendoff, movement chosen because of its tonal ambiguity. The participants of this experiment are three medium level female Conservatory students. They performed the aforementioned piece after studying it for a whole trimester. The performance of the same piece by three professional musicians was also analyzed, using the appropriate commercial recordings for this purpose. This analysis includes the choice of group limits used in performance by both professionals and students and the comparison of both groups' results. Differences were observed in the placement of said limits by the different groups but all of them respected the set of rules formulated by Lerdahl and Jackendoff.

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Richmond, Sam W., Burrill Phillips, Alberta Phillips, Elinor Armer, and Ursula K. Le Guin. "Letters from Italy Hill: Landscape with Figures; For Soprano Solo, Flute, B[flat] Clarinet, 2 Violins, Viola, Cello, Piano." Notes 43, no. 4 (June 1987): 930. http://dx.doi.org/10.2307/898187.

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Journal articles on the topic 'Flute piano'

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