Relevant bibliographies by topics / Guitar and piano music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
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Academic literature on the topic 'Guitar and piano music'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "Guitar and piano music"

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Sutaryo, Haris Natanael, and Alexander Dewanta Candra Yogatama. "Bagatelle: Penciptaan Musik Dalam Format Duet Biola Dan Gitar." PROMUSIKA 8, no. 1 (2020): 36–41. http://dx.doi.org/10.24821/promusika.v1i1.3604.

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Bagatelle berarti sebuah komposisi musik yang pendek untuk piano. Namun demikain, dalam perkembangannya komposisi bagatelle tidak terbatas hanya digubah untuk piano saja, melainkan juga sudah digubah untuk instrumen selain piano. Bentuknya komposisinya adalah AB atau ABA. Pemakaian bentuk ABA biasanya untuk mewakili dua mood yang kontras antara yang ritmis A dengan yang B. Dengan kembalinya ke A karya ini bersifat melingkar, membuatnya balans dan simetris. Ide dalam penciptaan musik bagatelle ini muncul terinspirasi dari ketertarikan penulis dalam menyaksikan Ujian kompentesi di auditorium musik Fakultas Seni Pertunjukan ISI Yogyakarta. Salah satu repertoar yang dibawakan Bagatelle untuk piano op. 3, op. 119 karya Beethoven. Menurut pengamatan penulis bentuk musik bagatelle dari segi komposisinya sangat menarik, terdapat kebebasan dalam mengungkapan ide-ide kreatif dan imajinatif komponisnya. Perancangan komposisi bagatelle ini intinya menuangkan ide penulis dalam memadukan dua karakter instrument musik Biola dan Gitar, dengan penekanan pada penggarapan ritme, melodi dan harmoni sehingga menjadi sebuah integritas. Hasil karya ini nantinya selain sebagai apresiasi musik di multimedia, juga sebagai salah satu materi mata kuliah komposisi 1 pada prodi penciptaan musik FSP ISI Yogyakarta.AbstractBagatelle: The Creation of Music in Violin and Guitar Duet Format. Bagatelle is a short musical composition for piano. However, nowadays Bagatelle wrote not only for piano but for other instruments. The musical form of Bagatelle, either binary or ternary form. In the binary form of Bagatelle usually represents two contrasting rhythmic features which called A and B. This composition is a rondo, and it makes balance and symmetry. The idea of this Bagatelle inspired by Beethoven’s Bagatelle for solo piano Op. 119, no. 3. Bagatelle is an interesting musical composition because there is a freedom to representing the creative idea and imagination form the composer. The essence of its musical composition is representing the composer’s idea about two different characters of musical instruments: Violin and Guitar with emphasized the integration in rhythm, melody, and harmony. This Bagatelle not only can be used as a music appreciation but also as a material for Composition subject in Prodi Penciptaan Musik, Fakultas Seni Pertunjukan, Institut Seni Indonesia Yogyakarta.Keywords: Bagatelle; violin and guitar; multimedia
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Jin, Cong, Tao Wang, Shouxun Liu, et al. "A Transformer-Based Model for Multi-Track Music Generation." International Journal of Multimedia Data Engineering and Management 11, no. 3 (2020): 36–54. http://dx.doi.org/10.4018/ijmdem.2020070103.

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Most of the current works are still limited to dealing with the melody generation containing pitch, rhythm, duration of each note, and pause between notes. This paper proposes a transformer-based model to generate multi-track music including tracks of piano, guitar, and drum, which is abbreviated as MTMG model. The proposed MTMG model is mainly innovated and improved on the basis of transformer. Firstly, the model obtains three target sequences after pairwise learning through learning network. Then, according to these three target sequences, GPT is applied to predict and generate three closely related sequences of instrument tracks. Finally, the three generated instrument tracks are fused to obtain multi-track music pieces containing piano, guitar, and drum. To verify the effectiveness of the proposed model, related experiments are conducted on a pair of comparative subjective and objective evaluation. The encouraging performance of the proposed model over other state-of-the-art models demonstrates its superiority in musical representation.
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Murcahyanto, Hary. "Aransemen Lagu Lembaga Kita Dalam Ansambel Campuran." PROMUSIKA 8, no. 1 (2020): 30–35. http://dx.doi.org/10.24821/promusika.v1i1.4196.

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Lagu Lembaga Kita karya TGKH. Muhammad Zainuddin Abdul Majid sebelumnya berbentuk musik kasidah kemudian diaransemen dalam musik electon. Lagu Lembaga Kita memiliki bentuk musik dan pola akor yang sederhana, tetapi cukup dikenal dan popular dikalangan masyarakat khusunya kalangan masyarakat Nahdlatul Wathan. Seiring perkembangan zaman dan sudah beberapa tahun belum ada bentuk aransemen yang baru, maka peneliti bertujuan untuk mengaransemen lagu tersebut dengan mendeskripsikan bentuk, struktur dan pola aransemen lagu Lembaga Kita dalam ansambel campuran. Jenis penelitian ini menggunakan metode deskriftif kualitatif, sedangkan tekhnik pengumpulan data dilakukan dengan tekhnik triangulasi data yaitu observasi wawancara, dan pengumpulan data dengan dokumen. Data yang didapat kemudian dikaji dan diaransemen atau digubah kedalam bentuk ansambel campuran. Dari hasil penelitian yang dilakukan maka dapat ditarik kesimpulan sebagai berikut: Lagu Lembaga Kita termasuk ke dalam struktur homophony, dilihat dari tekstur musiknya dan dilihat dari struktur aransemennya. Terdapat 88 birama pada lagu Lembaga Kita secara keseluruhan oleh beberapa instrument biola 1, biola 2, biola3, piano, bass, guitar elektrik, guitar klasik, drum dan paduan suara dan dimainkan dalam tangga nada E minor atau tangga nada 1# yang berarti G mayor.AbstractArrangement of Lembaga Kita Songs in Mixed Ensembles. Lembaga Kita song creat by TGKH. Muhammad Zainuddin Abdul Majid was previously in the form of Kasidah music then arranged in electone music. Lembaga Kita song has a simple form of music and chord pattern, but it is well known and popular among the people, especially the Nahdlatul Wathan people. Along with the times and there have been no new arrangements for several years, the researchers aim to arrange the song by describing the shape, structure and pattern of the arrangements of the Lembaga Kita song in a mixed ensemble. This type of research uses qualitative descriptive methods, while data collection techniques are carried out with data triangulation techniques, namely interview observation, and data collection with documents. The data obtained is then reviewed and arranged or changed into a mixed ensemble. From the results of the research conducted it can be concluded as follows: Lembaga Kita song is included in the structure of homophony, seen from the texture of the music and viewed from the structure of the arrangement. There are 88 bars on the Lembaga Kita song as a whole by several violin instruments 1, violin 2, violin 3, piano, bass, electric guitar, classical guitar, drums and choir and played on the E minor scale which means G majorKeywords: arrangement; Lembaga Kita Song; mixed ensemble
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Askenfelt, Anders, and Erik V. Jansson. "On Vibration Sensation and Finger Touch in Stringed Instrument Playing." Music Perception 9, no. 3 (1992): 311–49. http://dx.doi.org/10.2307/40285555.

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The vibration levels in four traditional stringed instruments during playing have been investigated, including the double bass, violin, guitar, and the piano. The vibration levels, which were measured at several positions and at different dynamic levels, were evaluated with respect to reported thresholds for detection of vibrotactile stimuli. The results show that the vibration levels are well above threshold for almost all positions on the instruments in normal playing. It is concluded that the perceived vibrations may be of some assistance with regard to intonation in ensemble playing, in particular for the bass instruments. The finger forces exerted when playing the bowed strings, as well as the touch forces in piano playing were studied briefly. It was concluded that the kinesthetic forces perceived in playing may assist the timing in performance.
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Deonarinesingh, Anastasia. "Climate Change and Caribbean Coral Reefs." Caribbean Quilt 1 (November 18, 2012): 24. http://dx.doi.org/10.33137/caribbeanquilt.v1i0.19043.

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Anastasia, a student at the University of Toronto, St. George, is pursuing a Bachelor of Science Double Major in Physics and Caribbean Studies and a Minor in Mathematics. She is a pianist, plays the guitar and steelpan and spends her free time arranging music. Her love for soca music and steelpan in no way takes away from her passion for classical piano and physics. As a person of the Trinidadian Diaspora with many interests, Ana has decided to look at the Caribbean from a different perspective by combining her love for science and the region.
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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 (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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Pastore, M. Torben, and Nikhil Deshpande. "The evolution and maturation of the electric guitar as a system." Journal of the Acoustical Society of America 151, no. 4 (2022): A182. http://dx.doi.org/10.1121/10.0011034.

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The electric guitar came to its initial prominence in the 1940s when its volume allowed jazz guitarists like Charlie Christian to step out in front of the rhythm section like other soloists, competing with the brass, wind, and piano. Further changes in the playing and design of the instrument came with exploitation of the interaction of the electric guitar, tube amplifiers, and analog effects as a larger system. Especially in the rock and funk idioms, the playing and construction of the overall instrument evolved and expanded rapidly with the mainstream embrace of digital technology. This talk will consider the evolution of the electric guitar as a system up through today and consider why it seems the instrument has fully evolved and is unlikely to experience further seismic shifts, especially as the overall thrust of music has shifted to digitally-manipulated sound that is often entirely independent of the physical playing of any instrument.
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Heiderscheit, Annie, Stephanie J. Breckenridge, Linda L. Chlan, and Kay Savik. "Music Preferences of Mechanically Ventilated Patients Participating in a Randomized Controlled Trial." Music and Medicine 6, no. 2 (2014): 29. http://dx.doi.org/10.47513/mmd.v6i2.177.

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Mechanical ventilation (MV) is a life-saving measure and supportive modality utilized to treat patients experiencing respiratory failure. Patients experience pain, discomfort, and anxiety as a result of being mechanically ventilated. Music listening is a nonpharmacological intervention used to manage these psychophysiological symptoms associated with mechanical ventilation. The purpose of this analysis is to examine music preferences of 107 MV patients enrolled in a randomized clinical trial that implemented a patient-directed music listening protocol to help manage the psychophysiological symptom of anxiety. 1 Music data presented heretofore includes the music genres and instrumentation patients identified as their preferred music. Genres preferred include: classical, jazz, rock, country, and oldies. Instrumentation preferred include: piano, voice, guitar, music with nature sounds, and orchestral music. The analysis of three patients’ preferred music received throughout the course of the study is illustrated to demonstrate the details and complexity involved in assessing MV patients, which substantiates the need for an ongoing assessment process.
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Clark, Walter. "Of Self and Circumstance: Music and Representation in the Works of Rodrigo." Soundboard Scholar 7, no. 1 (2021): 1–17. http://dx.doi.org/10.56902/sbs.2021.7.5.

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Though Joaquín Rodrigo (1901-99) is renowned for his guitar works, especially the Concierto de Aranjuez, less well known is the fact that his compositions embrace a wide variety of genres, styles, and media, from piano solos to art songs and from orchestral tone poems to film scores. This article proposes a novel way of organizing and comprehending the roughly 200 works in his catalogue. Rather than the standard method of organization by chronology or medium, it surveys his oeuvre through multiple lenses, including literary, folkloric, virtuosic, sacred, historical, theatrical and descriptive. Each of these categories represents the salient dimension of a particular work, though it allows for the presence of two or more such traits. We are then in a position to make some generalizations about his basic stylistic orientation, which follows in the footsteps of Falla’s neoclassicism by incorporating national elements to produce a style often referred to as neocasticismo. The article concludes with a bibliography of writings, published and unpublished, about Rodrigo's guitar music, beginning with a general overview and proceeding to those devoted to the Aranjuez.
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Corrigall, Kathleen A., Barbara Tillmann, and E. Glenn Schellenberg. "Measuring Children’s Harmonic Knowledge with Implicit and Explicit Tests." Music Perception 39, no. 4 (2022): 361–70. http://dx.doi.org/10.1525/mp.2022.39.4.361.

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We used implicit and explicit tasks to measure knowledge of Western harmony in musically trained and untrained Canadian children. Younger children were 6–7 years of age; older children were 10–11. On each trial, participants heard a sequence of five piano chords. The first four chords established a major-key context. The final chord was the standard, expected tonic of the context or one of two deviant endings: the highly unexpected flat supertonic or the moderately unexpected subdominant. In the implicit task, children identified the timbre of the final chord (guitar or piano) as quickly as possible. Response times were faster for the tonic ending than for either deviant ending, but the magnitude of the priming effect was similar for the two deviants, and the effect did not vary as a function of age or music training. In the explicit task, children rated how good each chord sequence sounded. Ratings were highest for sequences with the tonic ending, intermediate for the subdominant, and lowest for the flat supertonic. Moreover, the difference between the tonic and deviant sequences was larger for older children with music training. Thus, the explicit task provided a more nuanced picture of musical knowledge than did the implicit task.
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Dissertations / Theses on the topic "Guitar and piano music"

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Handel, Amanda Jane. "Music of balance : circles and squares." Thesis, View thesis View thesis, 2004. http://handle.uws.edu.au:8081/1959.7/26753.

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Music of balance is a portfolio of eight compositions, all of which bear the concealed influence of mandalas in their conception - these are made manifest musically in cycle structures with shifting drones, pedals and tonal ambiguities.The compositional process maximises minimal materials - circles and squares - symbolically. Organising thought, feeling and knowledge into a balanced acoustic music form of expression is the objective of this creative project - which is carried out under the influence of symbols. Whilst the compositional processes are intuitive, they involve a disciplinary measure which employs the circle and the square as tools. Acting symbolically these tools imbue the music with deeper meaning than the obvious listening surface, and provide a rich substance of sound. Programmatic influences have been absented; replaced instead by the language of symbols - namely the mandala symbol. A range of apparent opposites arising from circles and squares - physical/ephemeral matter, chronological/eternal time and form/expression - are investigated for musical reconciliation. The compositional exploration is guided and focused by the circle in a square image understood as a universal symbol (grounded in the ancient Indian Arts, Tibetan Buddhism, Sufism and Jungian psychology), and active in representing, and thus restoring the natural balance of the soul in the universe.
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Vidal, Adolfo C. "Antonio Lauro: An Analytical Study and Piano Transcriptions of his Suite Venezolana and Eight Waltzes for Solo Guitar." Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_dissertations/235.

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The term nationalism in music usually refers to a movement from the nineteenth and early twentieth centuries, and is most often employed to describe the various European national schools that included folk elements in their music and consciously tried to separate themselves from the standards set in the Classical period by the French, Italian and especially the German traditionalists. In Latin America there was also a development of nationalism in music in the twentieth century. Countries from this continent, once politically independent, became interested in solidifying and glorifying their national identities. This essay will discuss the history and tradition of Venezuelan folk and academic music through the guitar compositions of Antonio Lauro, who was best known for his nationalistic trend to rescue and to celebrate the Venezuelan nation's musical traditions. I have also chosen eight waltzes and the Suite Venezolana for guitar by the same composer, which are both representative works of Venezuelan academic and folklore music, and I have created a piano transcription. Aiming a new inclusion and expansion of the stagnant Venezuelan piano repertoire, with my hope they become useful compositions for the pianists' personal study and aid.
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Handel, Amanda Jane. "Music of balance circles and squares /." View thesis View thesis, 2004. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20041022.170632/index.html.

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Thesis (M.A. (Hons.)) -- University of Western Sydney, 2004.<br>Presented in fulfilment of the requirements for the degree of Master of Arts Honours to the School of Contemporary Arts, University of Western Sydney, April 2004. Includes bibliography.
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Schryer, Claude. "A kindred spirit : (1985) : for flute, bass clarinet, cello, guitar, percussion and piano [and tape]." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61257.

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Research on the musical language as well as the technical realisation of the tape part to a kindred spirit, for ensemble and tape, was realised at the Electronic Music Studio of McGill University from September, 1984 to September, 1986.<br>The following excerpt from the programme note in the score summarizes the 'spirit' of the composition.<br>"The computer generated sounds on tape form a large body in which instrumental sounds float and from which they appear, like weeds oscillating on a sometimes calm and often turbulent sea of sound.<br>'You're afraid, in the mirror, of the sea, in front of, you're afraid ... ' and 'searching, for a common pulse, to sustain, to carry on, searching ... ' are circular phrases in the text which reflect elements of both doubt and courage. Mourning that which can never return. Celebrating that which will always be with us."
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Griffeath-Loeb, Brian Griffeath-Loeb Brian Griffeath-Loeb Brian Griffeath-Loeb Brian. "Three pieces." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453364.

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Thesis (M.A.)--University of California, San Diego, 2008.<br>The 2nd work for piano, amplified guitar, baritone saxophone, and tuba. Accompanying disc is DVD-ROM, and contains sound files of recordings of works. Title from first page of PDF file (viewed June 25, 2008). Available via ProQuest Digital Dissertations. Durations: ca. 8:00 ; ca. 6:00 ; ca. 11:00-12:00. Explanatory or program notes precede each work.
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Ginder, Jon. "The Fields We Watched." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1459292665.

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Lourenço, Junior Lourival 1988. "O violonismo e a canção de câmara brasileira /." São Paulo, 2019. http://hdl.handle.net/11449/183235.

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Orientador(a): Achille Guido Picchi<br>Banca: Wladimir Fatto Contesini de Mattos<br>Banca: Humberto Amorim Neto<br>Resumo: Neste trabalho buscamos compreender a relação que o violão estabelece com a voz e o texto na canção de câmara brasileira do século XX, e a maneira como essa relação constrói uma unidade discursiva indivisível. A forma como o violão atua nesta tridimensionalidade traz consigo um lastro histórico-sócio-cultural, e transcende o idiomático do violão. Essa categoria de atuação, a qual chamamos de violonismo, passa por processos de simbolização e representação, e permite certas atribuições de sentido. Para amparar esta discussão buscamos, no primeiro capítulo, traçar um percurso histórico dos instrumentos de cordas dedilhadas com ênfase na sua relação com a voz. Veremos no segundo capítulo que tal percurso levou o violão a um posicionamento, no qual seu repertório escrito para voz e violão, evidencia um uso específico e exclusivo do instrumento. As implicações deste uso são discutidas no terceiro e último capítulo, no qual, sem buscar respostas definitivas, descortina questionamentos fundamentais acerca das possibilidades do violonismo<br>Abstract: In this work, we seek to understand the relationship that the guitar establishes with the voice and text of Brazilian chamber song of the 20th century and the way in which this relationship builds an indivisible discursive unit. The way in which the guitar acts in this three-dimensionality brings with it historical and sociocultural weight and transcends the idiomatic characteristic of the guitar. This type of action which we call guitarism, goes through processes of symbolization and representation, and allows certain sense assignments. To support this discussion we seek, in the first chapter, to trace a historical trajectory of plucked string instruments, emphasising in their relationship with the voice. In the second chapter we will observe that this trajectory has taken the guitar to a position in which its repertoire written for voice and guitar, demonstrates a specific and exclusive usage of the instrument. The implications of this usage are discussed in the third and last chapter, which without seeking definitive answers, unveils fundamental questions about the possibilities of guitarism<br>Mestre
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McCallum, Clinton McCallum Clinton McCallum Clinton McCallum Clinton. "Three pieces." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453675.

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Thesis (M.A.)--University of California, San Diego, 2008.<br>Accompanying disc is DVD-ROM and contains sound files of recordings of the pieces. Title from first page of PDF file (viewed June 25, 2008). Available via ProQuest Digital Dissertations. Durations: ca. 21:00-25:00 ; ca. 10:00 ; ca. 9:00. Performance instructions precede each score The 2nd work reproduced from holograph.
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McIntyre, Scott. "Folio of compositions 2008-2009." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7046.

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Binder, Fernando Pereira. "Profissionais, amadores e virtuoses: piano, pianismo e Guiomar Novaes." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-13092018-153941/.

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Esta pesquisa estuda a atividade pianística no século XIX e início do século XX no Rio de Janeiro e em São Paulo. Inscrito no campo da história social da música, o trabalho problematiza a afirmação segundo a qual a disseminação do piano, seu ensino e seu cultivo foram resultado de uma exigência social imposta às mulheres em função do matrimônio e da maternidade. Como, então, uma atividade descrita como mero verniz cultural produziu uma pianista como Guiomar Novaes? Os objetivos da pesquisa foram investigar as práticas musicais pianísticas amadoras em São Paulo e desvendar a mobilização de mulheres, estrangeiros e repertórios musicais como ferramenta de modernização cultural durante a Belle Époque paulista. Como ferramenta analítica uso o conceito de mundo artístico de Howard Becker, cujo objetivo é compreender a complexidade das redes de cooperação que produzem obras de arte. Para Becker, a arte é fruto do trabalho coletivo feito de maneira rotineira que produz padrões de atividade coletiva. Ao analisar a reputação de um artista poderemos reconstruir os padrões de funcionamento e a atuação dos diferentes participantes daquele mundo artístico na criação daquela reputação. Logo, o exame da criação da reputação de artista de Guiomar Novaes alcançada em 1915 deve revelar o modo de funcionamento do mundo do piano paulistano. O trabalho organiza-se em duas partes: a primeira trata do surgimento do mundo do piano no Rio de Janeiro. Nela estudo as convenções musicais embutidas no próprio piano, sua ligação com a assimilação da cultura letrada europeia, o papel dos comerciantes e impressores de música, e também estudo como raça, gênero e classe ajudaram a conformar o amadorismo e profissionalismo na primeira metade do século XIX, e o papel da Igreja e do Estado nesse processo. A segunda parte conta a história do pianismo paulistano. Nos dois primeiros capítulos retomo os temas do comércio do instrumento, seus espaços de difusão e seus participantes e analiso o repertório de Guiomar Novaes entre os anos de 1902 a 1915. Os dois últimos capítulos analisam a operação do mundo do piano na criação da reputação de Guiomar Novaes. A análise da reputação de Guiomar Novaes revelou o funcionamento do mundo do piano paulistano. A análise também revela atores e relações sociais mais complexas do que amadoras frustradas e concertistas internacionais. A exigência do aprendizado musical criou um mercado para professoras e professores, estimulou o comércio, a crítica e o periodismo musical. Ao dar caráter público à apresentação de suas alunas, o italiano Luigi Chiaffarelli, professor de Guiomar Novaes, conseguiu criar um público regular, especializado e socialmente influente. Enquanto a menina estudava, seu professor e o jornalista Gelásio Pimenta mobilizaram recursos humanos e materiais, públicos e privados necessários ao desenvolvimento da carreira dela. A consagração de Guiomar no exterior provava à elite da Belle Époque paulistana o sucesso do seu projeto de modernização, São Paulo rivalizava com as nações \"civilizadas\". No Brasil, os recitais de Guiomar criavam oportunidades para a plateia experimentar sentimentos patrióticos de forma pessoal, fortalecendo laços com uma nova identidade nacional.<br>This research explores pianistic activity in Rio de Janeiro and Sao Paulo in the nineteenth and early twentieth centuries. Pertaining to the social history of music, this study problematizes the assertion that the dissemination of the piano, its teaching and its cultivation were the result of a social requirement imposed on women by marriage and maternity. How, then, could an activity described as mere \"cultural veneer\" produce a pianist like Guiomar Novaes? The objectives of this research were to investigate the amateur pianistic musical practices in Sao Paulo and unveil the mobilization of women, foreigners and musical repertory as implements for cultural modernization during the Belle Epoque of Sao Paulo. As an analytical tool, I use Howard Becker\'s concept of the \"artistic world,\" the objective being to understand the complexity of the cooperation networks that produce works of art. For Becker, art is the fruit of collective work done routinely, which, in turn, produces patterns of collective activity. In analyzing the reputation of an artist, we can reconstruct the role-patterns and actions of the different participants of a particular artistic sphere in the creation of his or her reputation. Therefore, the examination of the creation of Guiomar Novaes\' reputation, as firmly established already in 1915, should certainly reveal the workings of the pianistic realm of Sao Paulo. The work is organized in two parts: the first deals with the emergence of the piano and its cultivation in Rio de Janeiro. Here, I examine the musical conventions surrounding the piano itself, its connection with the assimilation of the literate culture of Europe, the role of music merchants, editors and printers, and also the roles of race, gender and class which helped to form both amateurism and professionalism in the first half of the nineteenth century. I also study the participation of the church and government in this process. The second part tells the story of the piano in Sao Paulo. In the first two chapters of this section I return to the themes of the piano and commerce, the spreading of the piano\'s popularity and its performers. I also analyze the repertory performed by Guiomar Novaes from 1902 to 1915. The last two chapters analyze the contribution of the piano\'s cultivation in the creation of Guiomar Novaes\' reputation. The analysis of her reputation, in turn, reveals the mechanisms of the piano\'s cultivation in Sao Paulo. It also reveals complex social roles and relationships that are more than mere descriptions of frustrated amateurs and international performers. The demand for musical learning created a market for teachers and stimulated trade, criticism and musical journalism. Through the public performances of his students, the Italian Luigi Chiaffarelli, one of Guiomar Novaes\' teachers, was able to create a consistent, specialized and socially influential audience. Even as the young Guiomar practiced, her teacher and journalist Gelasio Pimenta mobilized human and material resources, both public and private, which were critical for the development of her career. Guiomar\'s consecration abroad was held as proof to Sao Paulo\'s Belle Epoque elite of the success of its modernization project, showing that Sao Paulo rivalled \"civilized\" countries. In Brazil, Guiomar\'s recitals created opportunities for audiences to experience deep and personal patriotic feelings, thus strengthening the bond with a new national identity.
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Books on the topic "Guitar and piano music"

1

Aerosmith. Big Ones - Piano/ Vocal/ Guitar. Hal Leonard, 1995.

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Presley, Elvis. Elvis Presley anthology: Piano/vocal/guitar. Wise Publications, 1995.

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Wallen, Joanne Moore. Journey Piano Sheet Music: Piano/ Vocal/ Guitar. Independently Published, 2022.

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andrade, mario. Coldplay Piano Music Book: Piano/Vocal/Guitar. Independently Published, 2022.

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McTucker, Matthew. Music Notebook: Guitar/Piano Manusctipt. Independently Published, 2019.

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Horan, Niall. Flicker: Piano, vocal, guitar. 2018.

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Staff, Alfred Publishing. Journey -- Piano Sheet Music Anthology: Piano/Vocal/Guitar. Alfred Publishing Company, Incorporated, 2012.

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Modern Worship Christmas for Piano: Piano/Vocal/Guitar. Alfred Publishing Company, Incorporated, 2015.

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(CRT), Prince. Prince Anthology (Piano/Vocal/Guitar). HAL LEONARD CORPORATION, 2007.

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(CRT), Prince. 1999 (Piano/Vocal/Guitar). HAL LEONARD CORPORATION, 2007.

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Book chapters on the topic "Guitar and piano music"

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Clauhs, Matthew, Bryan Powell, and Ann C. Clements. "Guitar." In Popular Music Pedagogies. Routledge, 2020. http://dx.doi.org/10.4324/9780429294440-4.

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Weekhout, Hans. "Mixing | Guitar." In Music Production. Routledge, 2019. http://dx.doi.org/10.4324/9780429459504-22.

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Weekhout, Hans. "Advanced Mixing Techniques | Guitar." In Music Production. Routledge, 2019. http://dx.doi.org/10.4324/9780429459504-31.

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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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Williams, Tom. "Distorting Jazz Guitar." In Distortion in Music Production. Focal Press, 2023. http://dx.doi.org/10.4324/9780429356841-19.

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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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Abeßer, Jakob. "Automatic String Detection for Bass Guitar and Electric Guitar." In From Sounds to Music and Emotions. Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-41248-6_18.

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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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Conference papers on the topic "Guitar and piano music"

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Zhang, Jiaxuan, and Yu Sun. "An Intelligent System to Assist Piano Composition and Chords Generation using AI and Machine Learning." In 7th International Conference on Software Engineering and Applications (SOFEA 2021). Academy and Industry Research Collaboration Center (AIRCC), 2021. http://dx.doi.org/10.5121/csit.2021.111615.

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As a musician and producer, I’ve always struggled with finding chords when I first started writing music [5]. It sometimes goes to the extent of me forgetting my melody because I take so long trying to figure out the chords. So I came up with an idea for this app, that will help amateur and beginner musicians save time and provide chord suggestions to them as a booster to start writing songs [6]. It features a recording or a midi input feature, then the app will carefully analyze the given melody and give a selection of the best chord progressions using intelligent AI. As an output, it is able to present it as guitar chords, piano chords, and ukulele chords, enabling more different musicians to use this app.
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Alcabasa, Lance, and Nelson Marcos. "Automatic Guitar Music Transcription." In 2012 International Conference on Advanced Computer Science Applications and Technologies (ACSAT). IEEE, 2012. http://dx.doi.org/10.1109/acsat.2012.78.

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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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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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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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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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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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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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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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Reports on the topic "Guitar and 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 my practice, I have found a concept as part of the creating process in improvised music which has compelling potential: Timbre orchestration. My research takes the many and complex aspects of a performance environment into account and offers an extended understanding of timbre, which embraces spatial, material and bodily aspects of sound in improvised music performance. The investigative projects described in this exposition offer a methodology to explore timbral improvisational processes integrated into my practice, which is further extended through collaborations with sound engineers, an instrument builder and a choreographer: -experiments in amplification and recording, resulting in Memory piece, a series of works for amplified piano and multichannel playback - Piano mapping, a performance approach, with a custom-built device for live spatialization as means to expand and deepen spatio-timbral relationships; - Accretion, a project with choreographer Toby Kassell for three grand pianos and a pianist, where gestural approaches are used to activate and compose timbre in space. Together, the projects explore memory as a structural, reflective and performative tool and the creation of performing and listening modes as integrated parts of timbre orchestration. Orchestration and choreography of timbre turn into an open and hybrid compositional approach, which can be applied to various contexts, engaging with dynamic relationships and re-configuring them.
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Havrilova, Liudmyla H., Olena Ye Ishutina, Valentyna V. Zamorotska, and Darja A. Kassim. Distance learning courses in developing future music teachers’ instrumental performance competence. [б. в.], 2019. http://dx.doi.org/10.31812/123456789/3265.

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The scientific and methodological background of creation and development of the distance learning courses for the future music teachers is substantiated. The components and structure of future music teachers’ instrumental performance competence are defined; the content of the course is revealed. The materials are based on the authors’ teaching experience within the distance learning course “Basic Musical Instrument (Piano)”. The main blocks of the distance course design and development are considered among them to be theoretical, practical, individual work, and control blocks. The specificity of distance learning methods in the future music teachers’ instrumental and performance training is substantiated and three main methods are distinguished. The method of involving information and communication technologies, including multimedia; project method, and features of knowledge and skills controlling are elaborated. The results of implementation and experimental research of using distance learning courses for developing future music teachers’ instrumental performance competence are described. The influence of different methods use on students’ success is explored.
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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 the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.
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