Dissertations / Theses on the topic 'Musical accompaniment'
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Rich, Carol. "A manual for the vocal accompanist /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11415.
Full textCurry, Benjamin David. "Towards a computational model of musical accompaniment : disambiguation of musical analyses by reference to performance data." Thesis, University of Edinburgh, 2003. http://hdl.handle.net/1842/809.
Full textWaggoner, Dori T. "Row construction and accompaniment in Luigi Dallapiccola's Il Prigioniero." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4957.
Full textThe entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on April 4, 2008) Includes bibliographical references.
Miles, Natasha Frances. "Approaches to accompaniment on the Baroque guitar, c.1590-c.1730." Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/5149/.
Full textSolesbee, Travis Michael. "Franz Liszt's Tarantella| An Uncommon Inclusion of a Slow and Lyrical Section Depicting Voice and Accompaniment." Thesis, California State University, Long Beach, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10977400.
Full textFranz Liszt was a famed composer who broadened the boundaries of piano technique in the nineteenth century. One of his more popular compositions, the Tarantella, found in his Années de pèlerinage , was published in 1861 within the collection Venezia e Napoli .1 Liszt admired melodies he heard during his travels in Switzerland and Italy and often arranged and composed from his ideas and experiences. Tarantellas were thought to be dances that were played by various musicians to influence dance and cure diseases. They are played at a quick tempo and contain a simple single melody with short repetitive patterns. The Italian-inspired Tarantella was similar to his other works in borrowing of melodies from other composers’ works. However, this piece is unusual. Although it is called a tarantella, it does not fully reflect the standard characteristics of a tarantella. Liszt’s Tarantella is a folk-like dance with a fast-upbeat tempo in a traditional Italian style, but contains a lyrical section in the second half which he called Canzona Napolitana. This is a departure from the traditional form of a tarantella. This paper discusses Franz Liszt’s compositional choices of style and organization in his Tarantella and how he altered the traditional tarantella folk-dance by including a Canzona Napolitana. Other tarantellas will be discussed to compare the similarities and differences between Liszt and other composers.
Tarleton, Angela Brannon. "Raven's Song: an Original Musical." Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc500310/.
Full textCao, Xiang. "Automatic accompaniment of vocal melodies in the context of popular music." Thesis, Atlanta, Ga. : Georgia Institute of Technology, 2009. http://hdl.handle.net/1853/28136.
Full textBodo, Roberto Piassi Passos. "Técnicas determinísticas para acompanhamento musical automatizado." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/45/45134/tde-22122017-164922/.
Full textAutomated musical accompaniment systems are very useful as didactic tools. With them, a music student can rehearse a musical piece being accompanied by the computer, with the freedom to play at the desired speed and, moreover, to perform accidental errors or intentional deviations from the expected (defined by a musical score). A musical accompaniment system should have the skills to analyze the live performance of a musician (input preprocessor), compare the events received with those of a preloaded score (matcher), generate the accompaniment according to the inferred tempo (accompaniment), and synthesize the sounds related to this accompaniment (synthesizer). The work presented in this text consisted of studying several techniques related to the musical accompaniment problem, implementing some algorithms based on the literature, validating the quality obtained with such algorithms, and providing a modular open source system with more than one alternative algorithm for each module. Furthermore, an additional element was developed for the system - the MetaMatcher - that combines all the tracking techniques implemented by running them in parallel and obtaining a greater reliability in the information extracted from the input, considering several different opinions about the position of the musician in the musical score.
Cianbroni, Samuel Henrique da Silva. "Perspectivas e impasses na mobilização de conhecimentos em música de graduandos em situações de colaboração pianística : estudos exploratórios." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/134043.
Full textThe present work aimed to investigate perspectives and deadlocks of musical knowledge mobilization in undergraduate at pianistic collaboration situations. Three piano bachelors were investigated in three different types of collaboration: instrumental, choral and vocal solo. Qualitative methodology relied on case study for the data description, collected through interviews, rehearses registration, classes, institutional exams and performances. Charlot’s (2000) concepts about knowledge mobilization and Santos’ (2007) model were guide references of this research. Santos’ (2007) model proved to be capable of being employed in this study, mainly for the differences pointed out about research and self-regulation cycle, which proved to be distinct among the investigated participants. The knowledge mobilization perspectives and impasses was revealed at the different ways to understand and address the collaboration activity to which the participants were involved, imbued of their beliefs and stated values. The study showed two factors: (i) the influence exercised by former experiences (already learned) and personal interest in this aspect of musical practice and (ii) the importance of investigating what is already known in terms of experienced knowledge (systematized) of undergraduate students in order to relate forms of knowledge and ways of learning.
Bennett, Kassidy Harriet. "The effects of musical accompaniment with read aloud stories on children's language acquisition and recall." Thesis, The University of Arizona, 2009. http://hdl.handle.net/10150/192265.
Full textKane, Lynn Marie. "The influence of basso continuo practice on the composition and performance of late eighteenth- and early nineteenth-century Lied accompaniments /." view abstract or download file of text, 2006. http://proquest.umi.com/pqdweb?did=1192183671&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.
Full textTypescript. Includes vita and abstract. Includes bibliographical references (leaves 362-387). Also available for download via the World Wide Web; free to University of Oregon users.
Costa, Jose Francisco da. "Leitura à primeira-vista na formação do pianista colaborador a partir de uma abordagem qualitativa." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284440.
Full textTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Durante sua formação, um pianista pode receber treinamento para atuar em diversos campos profissionais: concertos e recitais, música de câmara, ensino e pesquisa, entre outras. Especialmente para algumas atividades relacionadas à música feita em conjunto, o pianista precisa ter a habilidade de ler à primeira-vista com desenvoltura e conseguir, através de uma leitura eficiente, preparar repertório em pouco tempo. Entretanto, leitura à primeira-vista é considerada por muitos jovens pianistas como uma habilidade inata, exigindo grandes esforços para adquiri-la. O fato é que os estudantes de piano, em sua maioria, não recebem o devido treinamento em leitura ao longo dos anos de sua formação, criando-se uma lacuna entre o nível de dificuldade do repertório solo e o da capacidade de reconhecimento, durante a leitura à primeira-vista, das informações contidas na partitura. Esta pesquisa, dividida em três etapas, procurou, inicialmente, a constatação deste fato através de testes de leitura à primeira-vista, aplicados a estudantes de graduação em piano. A segunda etapa tratou da criação de um laboratório experimental de leitura à primeira-vista aplicada à colaboração pianística, com o intuito de fornecer subsídios para a formação dos jovens pianistas nesta área. Contando com a participação voluntária de estudantes de graduação em piano, foi possível aplicar e avaliar esta proposta, utilizando-se como base o repertório para canto e piano. Por fim, buscou-se a confirmação desta deficiência em pianistas experientes e atuantes profissionalmente na área da colaboração pianística, através de entrevistas de caráter biográfico. Diferentemente de outros trabalhos, cujo foco principal é o levantamento bibliográfico, esta pesquisa se propôs a extrair dos sujeitos suas impressões, vivências e observações, através da coleta de dados contidos em depoimentos. A metodologia que mais se adequa a este tipo de abordagem é a qualitativa, tendo como ferramenta de tratamento dos dados a análise de conteúdo, a fim de organizar, categorizar e analisar os discursos. Comprovou-se, ao mesmo tempo, a deficiência na formação dos pianistas em leitura à primeiravista e as inúmeras contribuições que este treinamento, devidamente orientado, pode trazer em sua atuação profissional, especialmente na colaboração pianística
Abstract: During their formative years pianists can receive extensive training to act in several professional fields: concerts and recitals, chamber music, teaching and research, among others. Especially in activities related to ensemble playing, pianists need to develop the ability to sight-read with ease and should be able to prepare repertoire on short notice. However, sight-reading is regarded by many young pianists as either an innate ability or a very hard skill to acquire. The fact that the majority of the students do not receive specific training in sight-reading throughout their musical education creates a gap between the level of their solo piano repertoire and their capacity to recognize musical information on the score during their sight reading. This research is divided into three parts. The first one aimed to verify this fact by applying sight-reading assessment tests to undergraduate piano students. The second step dealt with the creation of an experimental laboratory of sight-reading applied to the collaborative piano in order to provide tools to improve undergraduate piano students' sight-reading skills. Using diverse vocal repertoire, it was possible to apply and evaluate this plan with volunteer undergraduate students. Finally, we sought to confirm similar absence of specific training in experienced and professional pianists, who are active in the collaborative piano field, through biographical interviews. Unlike other studies, whose primary focus is the literature, this research set out to assimilate the impressions, experiences and observations from the respondents, by collecting data in interviews. The methodology most suited to this type of approach is the qualitative one, and as a tool for data processing, we have used the content analysis (procedures) in order to organize, categorize and analyze speeches. The research demonstrated both the deficiency in the training of pianists in sightreading and the many contributions that a well oriented training can bring in their professional practice, especially in collaborative piano
Doutorado
Fundamentos Teoricos
Doutor em Música
Mallikarjuna, Trishul. "Towards expressive melodic accompaniment using parametric modeling of continuous musical elements in a multi-attribute prediction suffix trie framework." Thesis, Georgia Institute of Technology, 2010. http://hdl.handle.net/1853/37190.
Full textGarotti, Junior Jether Benevides. "Cesar Camargo Mariano, Cristovão Bastos e Gilson Peranzzetta : uma analise musical das tecnicas de acompanhamento pianistico na musica popular brasileira no final do seculo XX." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285015.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A presente dissertação tem por propósito investigar os elementos constituintes da elaboração do acompanhamento pianístico na música popular brasileira na segunda metade do século XX, através de análises de entrevistas e de peças de piano e voz, transcritas de gravações feitas pela cantora Leny Andrade com os pianistas César Camargo Mariano, Cristóvão Bastos e com Gilson Peranzzeta. Partindo do próprio conceito de acompanhamento, de sua definição e exemplificação no cenário musical, esta pesquisa procura mostrar também seus desdobramentos no mercado de trabalho ¿ como a definição e atuação do termo ideman nos dias de hoje. Aspectos comportamentais são também analisados aqui e colocados frente à prática do acompanhamento pianístico e de seus praticantes, na medida em que todos acionam processos simultâneos de influência e respeito mútuos. Dessa forma, as conclusões desta pesquisa servirão para descrever de maneira mais detalhada e minuciosa todo o processo que envolve essa atividade musical, tão interiorizada1 para muitos que a praticam e, ao mesmo tempo, tão superficialmente compreendida por outros que tentam praticá-la
Abstract: The main purpose of the present dissertation is to investigate the elements that constitute the development of pianistic accompaniment in Brazilian popular music in the second half of the twentieth century. This will be carried out through the analysis of interviews and pieces for piano and voice, transcribed from recordings made by female singer Leny Andrade with pianists César Camargo Mariano, Cristóvão Bastos, and Gilson Peranzzeta. Based on the concept of accompaniment and its definition and exemplification in the music scene, this study aims also to show its extensions in the labor market ¿ like the definition for the term ¿sideman¿ and the sideman¿s present role. Behavioral aspects are also analyzed and applied to the practice of pianistic accompaniment and its performers, as all carry out simultaneous processes of mutual influence and respect. Therefore, the conclusions drawn from this study will help describe in more detail and more thoroughly the whole process envolved in this musical pursuit, which for many performers is so internalized, albeit so superficially understood by others who attempt to accomplish it
Mestrado
Fundamentos Teoricos
Mestre em Música
Lington, Victoria DiMaggio. "The piano as an orchestra, the accompanist and the twentieth-century orchestral reduction." Thesis, view full-text document. Access restricted to the University of North Texas campus, 2002. http://www.library.unt.edu/theses/open/20022/lington%5Fvictoria%5Fdimaggio/index.htm.
Full textAccompanied by 4 recitals, recorded Apr. 26, 1999, Apr. 17, 2000, Mar. 19, 2001, and Apr. 17, 2002. Includes bibliographical references (p. 83-86).
Ходико, В. І. "Правові засади використання музичних творів, зафіксованих у фонограмах, закладами громадського харчування". Thesis, Сумський державний університет, 2017. http://essuir.sumdu.edu.ua/handle/123456789/66284.
Full textSilva, Nathália Yuri Kato da 1987. "O desenvolvimento técnico-artístico do pianista colaborador através do repertório de Lied." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284503.
Full textDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O objetivo deste trabalho é abordar o desenvolvimento técnico-artístico do pianista através do gênero da canção de câmara romântica. Para isso, a metodologia utilizada foi a seleção de parte do repertório de Lied organizada de acordo com as dificuldades técnicas. Durante o trabalho, são sugeridas soluções para as dificuldades apontadas baseadas em princípios da Escola pianística de Dorothy Taubman. Neste trabalho, também são abordadas qualidades e habilidades artísticas baseadas na acepção de Martin Katz. Ao final do trabalho, pôde-se observar que as canções de câmara apresentam diversas dificuldades técnico-artísticas, demonstrando-se que é possível se desenvolver pianisticamente também através de outro repertório que não seja o solístico
Abstract: The objective of this work is to address the pianist's technical-artistic development through the genre of the romantic Lied. For this, the methodology used was the selection of examples from the Lied repertoire organized according to pianistic difficulties. Solutions to the difficulties found are suggested based on principles of Dorothy Taubman's Approach. In this work, artistic qualities and abilities demanded from the pianists are discussed using the writings of Martin Katz. As a conclusion, it was observed that the songs have various technical and artistic difficulties, thus, demonstrating that it is possible to develop as a pianist through other than the solo repertoire
Mestrado
Praticas Interpretativas
Mestra em Música
Ferreira, Marcos Rossetti. "O processo inventivo dos 25 solfejos de Muzico e moderno systema para solfejar de Luís Álvares Pinto e de 34 peças selecionados do calendário do som de Hermeto Pascoal - aproximações estético-poéticas e questões editoriais." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-29062015-144852/.
Full textOur thesis approaches two interrelated issues: 1) we discuss poetic analogies in compositional procedures that appear in two cycles of compositions by two different authors of distinct periods, Luís Álvares Pinto and Hermeto Pascoal; 2) We prepare a critical edition of these pieces with their harmonic accompaniment worked out in inventive interventions that make them accessible to a larger number of interpreters-performers. First, we work with confluent questions and analogous compositional elements that arise as we approach the 25 solfeggios in two voices by Luís Álvares Pinto and the 34 lead sheets retrieved from the Calendário do som . The 25 solfeggios belong to the final part of the didactic treaty Muzico e Moderno Systema para Solfejar, from 1776. The Calendário do som is a manuscript of 366 pieces composed by Hermeto Pascoal between 23 June 1996 and 23 June 1997, covering the composition of one piece a day along a year. We aim, thus, to inquire about the compositional procedures that transcend different historic realities. Secondly, we prepare a critical edition of the scores of the works that have been researched, and that contain realizations of the open elements. Thus, the practical application of the thesis: to make their performance feasible to a larger range of interested musicians, from within or outside the Academy. We understand that this last part of our thesis represents an effective and meaningful result of our research, playing in this way the academic role - besides teaching and research - of extending the knowledge produced at the university to the community, as a service provision. The work pertains to the research line: Brazilian Music: history, interpretation-performance, compositional and editorial processes of the CNPq Research Group: Poíesis, Práxis and Theoria in Music, coordinated by our supervisor.
Kane, Lynn Marie 1977. "The Influence Of Basso Continuo Practice On The Composition And Performance Of Late Eighteenth- And Early Nineteenth-Century Lied Accompaniments." Thesis, University of Oregon, 2006. http://hdl.handle.net/1794/3057.
Full textA print copy of this title is available through the UO Libraries under the call number: MUSIC MT49 .K36 2006
The use of basso continuo in the performance of many late eighteenth- and early nineteenth-century genres is well documented, yet the influence of this practice on the Lieder during that time has never been fully explored. This dissertation analyzes Lied accompaniments of the period in relation to the recommendations found in contemporary thorough bass treatises in order to demonstrate that continuo practice did have an effect both on what composers were writing and how the songs were being performed. The majority of written-out Lied accompaniments from the late eighteenth-century conform to the recommendations given by treatise authors on matters of texture, distribution of the notes between the hands, octave doublings, parallel intervals, embellishments, and relationship of the keyboard part to the solo line. Furthermore, figured basses were still printed in some songs into the early part of the nineteenth century. Well-known nineteenth-century Lied composers, such as Schubert, Mendelssohn, and Brahms also frequently use these simple, continuo-like keyboard parts, and incorporate common continuo techniques for filling out chords into their more complex accompaniments. The fact that continuo practice, a tradition in which improvisation played a large role, continued to have such a pervasive influence on the printed Lied suggests that additions and embellishments can be made to what is written on the page. Furthermore, evidence from secondary sources, statements by musicians of the period, and clues in the music itself confirm that composers did not always intend for performers to play exactly what is notated. In this dissertation, I argue that in many of these songs the musical score should be viewed as only a basic outline, which can then be adapted depending on the skill level of the performers, the available keyboard instruments, and the context of the performance. Principles from the continuo treatises serve as a guide for knowing what additions to make, and I offer suggestions of possible applications. Appendices detail the contents of 50 continuo treatises published between 1750 and 1810.
Adviser: Dr. Anne Dhu McLucas Committee: Dr. Marc Vanscheeuwijck, Dr. Marian Smith, Dr. Kenneth Calhoon
Couteiro, Clidney de Amorim. "O violão de 8 cordas como instrumento acompanhador do canto popular brasileiro." Universidade Federal de Goiás, 2012. http://repositorio.bc.ufg.br/tede/handle/tede/5500.
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The purpose of this research is the elaboration of four arranges for the 8-strings guitar, aiming the demonstration and exploration of the potentialities of this instrument in the accompaniment of popular singing. In order to compose this article transcriptions of the songs “Consolação” by Baden Powell and Vinicius de Moraes (1913-1980) and “Capitu” by Luiz Tatit were used, which provided the base for the creation of the four arranges. Besides that, the forms of utilization of the 7-strings guitar in “choro” and “samba” were investigated, as well as the use of the bass beat in MPB, among other musical constructions typical of the guitar role in the tradition of MPB as a way of subsidize the proposed arranges.
Esta pesquisa tem como proposta a elaboração de quatro arranjos para o violão de 8 cordas, objetivando demonstrar e explorar as potencialidades desse instrumento no acompanhamento do canto popular. Para a realização deste artigo foram utilizadas transcrições das canções “Consolação” de Baden Powell e Vinicius de Moraes (1913-1980) e “Capitu” de Luiz Tatit (1951), que forneceram a base para a criação dos quatro arranjos. Além disso, foram investigadas as formas de utilização do violão de 7 cordas no choro e no samba, bem como o uso das “levadas” do contrabaixo na MPB, entre outras construções musicais típicas do papel do violão na tradição da MPB como forma de subsidiar os arranjos propostos. !!
Hardin, Philip Tad Bridger Carolyn Mozart Wolfgang Amadeus. "Effective orchestral accompaniment at the keyboard An evaluation and comparison of piano reductions for Mozart's clarinet concerto /." Diss., 2006. http://etd.lib.fsu.edu/theses/available/etd-05082006-180649/.
Full textAdvisor: Carolyn Bridger, Florida State University, College of Music. Title and description from dissertation home page (viewed 6-26-07). Document formatted into pages; contains 60 pages. Includes biographical sketch. Includes bibliographical references.
Schoombee, Willemina J. C. "'n Ondersoek na die funksionele opleiding van begeleiers in Suid-Afrika (Afrikaans)." Diss., 2000. http://hdl.handle.net/2263/26978.
Full textDissertation (MMus(Chamber Music))--University of Pretoria, 2007.
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Perigo, Valle Amy. "Training the Church Pianist: Piano Pedagogy in Southern Baptist Church Music from the Era of the Broadman Hymnal (1940) through that of the Baptist Hymnal (1975)." Diss., 2014. http://hdl.handle.net/10392/4619.
Full textYoung, Margaret 1983. "The use of functional piano skills by selected professional musicians and their implications for group piano curricula." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-08-1894.
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LEITKEPOVÁ, Eliška. "Žákovské doprovody vybraných lidových písní na 1. stupni ZŠ." Master's thesis, 2018. http://www.nusl.cz/ntk/nusl-385160.
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