Relevant bibliographies by topics / Orchestral resonance on the piano

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

Academic literature on the topic 'Orchestral resonance on the piano'

Author: Grafiati
Published: 15 February 2025
Last updated: 31 July 2025

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Journal articles on the topic "Orchestral resonance on the piano"

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Rusin, Anna. "Reprezentacje karnawału w fantazjach na fortepian z orkiestrą Dariusa Milhauda i Heitora Villi-Lobosa." Kwartalnik Młodych Muzykologów UJ, no. 54 (3) (December 7, 2022): 43–70. http://dx.doi.org/10.4467/23537094kmmuj.22.013.16813.

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The Representations of Carnival in Fantasias for Piano and Orchestra by Darius Milhaud and Heitor Villa-Lobos In the 1920s, Frenchman Darius Milhaud (1892–1974) and Brazilian Heitor Villa-Lobos (1887–1959), inspired by the carnival, created works that resemble each other in genre and scoring. These are the fantasias for piano and orchestra: Mômoprecóce by Villa-Lobos and Le Carnaval d'Aix, Op. 83b by Milhaud. The article presents an attempt to analyse the pieces in the context of carnivalesque aesthetics as well as musical representation (as described by Peter Kivy and Lawrence Kramer) and see
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Rupprecht, Philip. "ABOVE AND BEYOND THE BASS: HARMONY AND TEXTURE IN GEORGE BENJAMIN'S ‘VIOLA, VIOLA’." Tempo 59, no. 232 (2005): 28–38. http://dx.doi.org/10.1017/s0040298205000136.

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George Benjamin's rich harmonic imagination was apparent from his earliest published works. A distinctive chordal sensibility is already evident in the 1978 Piano Sonata, with its glittering streams of five- or six-pitch clusters; in the hollow bell-chords punctuating the 1979 orchestral score, Ringed by the Flat Horizon; and in the supreme stasis of the A-minor pedal chord (a six-three triad) unveiled by the icy glissandi lines opening A Mind of Winter (1981). All three pieces share a fascination with degrees of chordal resonance – the interplay of upper partials above a fundamental – and a s
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Rumiantseva, A. "The concept of spirituality in V. Ptushkin’s compositional, particularly piano creativity: on the 75th anniversary of the Master." Culture of Ukraine, no. 85 (September 25, 2024): 46–52. http://dx.doi.org/10.31516/2410-5325.085.05.

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The relevance of the article conditioned by the modern immediacy of the problem of maintenance of spiritual values, by the necessity of the research of regional features of composer’s schools and specifics of embodiment of spiritual instructions in V. Ptushkin’s compositional, particularly piano creativity, that hasn’t got an exhaustive coverage in modern national musicology. The purpose of the article is to highlight the specifics of the concept of spirituality as the worldview and axiological center of V. Ptushkin’s compositional, particularly piano creativity. The methodology of the article
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Babcock, David. "Cyril Scott's orchestral music." Tempo 59, no. 233 (2005): 78–79. http://dx.doi.org/10.1017/s0040298205250258.

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Stronko, Boryslav. "Orchestration of Proper Piano Pieces as a Self-Interpretation." Studia Universitatis Babeş-Bolyai Musica 68, no. 2 (2023): 115–28. http://dx.doi.org/10.24193/subbmusica.2023.2.08.

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"The study is focused on the problem of composers’ self-interpretation in the orchestrations of their own piano pieces. This specific case of a creative re-thinking contains not only adaptation of a piano score to orchestral instruments, but also adding new semantic meaning, sound atmosphere and texture principles as well as further development of initial music idea. For the analysis two pieces of Maurice Ravel and Borys Lyatoshinsky – two prominent masters of orchestration and piano miniature of 20th century, were chosen. Their approaches are distinguishably different: (a) the detailed reorde
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Zakharbekova, Irina S. "Ravel the arranger: transcriptions of piano and orchestra music." Contemporary Musicology, no. 3 (2019): 44–72. http://dx.doi.org/10.56620/2587-9731-2019-3-044-072.

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It is common practice for composers to make arrangements and transcriptions of their own or other composers’ music. However, Maurice Ravel stands out by his piano and orchestral transcriptions which constitute a prominent part of his works and reveal certain creative purposes and techniques. This shapes the subject of the article which, inter alia, also focuses on terminology not typical for Russian musicology. The study is novel as it examines Ravel’s transcriptions that have been virtually out of research or performance scope in Russia, namely, Debussy’s “Danse” and “Sarabande”, Chabrier’s “
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Biednyi, Serhii. "Setting of Orchestral Works for Bayan Duo: Theory and Practice." Bulletin of KNUKiM. Series in Arts, no. 44 (June 25, 2021): 43–53. https://doi.org/10.31866/2410-1176.44.2021.235306.

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The purpose of the article is to consider the key features for orchestral works’ setting for the bayan duo. Having achieved the objectives we solved the following: 1) to summarise the characteristics of bayan’s technical options; 2) to determine the principles of orchestral works’ setting for two bayans. The research methodology is based on the use of general scientific methods of cognition and musicological methods: source studies, practical, analytical, which allowed analysing the key features of orchestral works’ setting for the bayan duo. The scientific novelty of t
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Anderson, Martin. "Norwegian Orchestral Music." Tempo 58, no. 229 (2004): 49–50. http://dx.doi.org/10.1017/s0040298204250227.

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KLEIBERG: Lamento: Cissi Klein in memoriam1; Symphony No. 1, The Bell Reef2; Kammersymfoni (Symphony No. 2).3 Trondheim Symphony Orchestra c. 1Eivind Aadland, 2Rolf Gupta, 3Christian Eggen. Aurora ACD 5032FLEM: Piano Concerto; Solar Wind; Ultima Thule per Orchestra.1 Sergei Ouryvaev (pno), St Petersburg State Symphony Orchestra c. Alexander Kantorov; 1Bergen Philharmonic Orchestra c. Terje Boye Hansen. Aurora ACDPERSEN: Over Kors og Krone. Oslo Philharmonic Orchestra c. Christian Eggen. Aurora ACD 5029NYSTEDT: Apocalypsis Joannis, op. 115. Mona Julsrud (soprano), James Gilchrist (tenor), Oslo
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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, 1
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Jones, Daniel A. "Paul Hindemith's Symphonic Metamorphosis of Themes by Carl Maria von Weber for Orchestra: A Historical and Analytical Perspective." Musicology Today 17, no. 1 (2020): 60–71. http://dx.doi.org/10.2478/muso-2020-0005.

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Abstract A now standard component of orchestral and wind band repertoire, Symphonic Metamorphosis of Themes by Carl Maria von Weber was originally intended to be ballet music. This study examines the history and background surrounding Paul Hindemith's orchestral piece and demonstrates how Hindemith crafted each movement based off Weber's original piano duets and incidental orchestral music. The study was undertaken as limited information exists about the piece in its entirety, and much of what has been written primarily concerns itself with grammatical and contextual aspects of Hindemith's tit
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Dissertations / Theses on the topic "Orchestral resonance on the piano"

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Liu, Hongye. "Interpréter les symphonies de Beethoven dans les transcriptions de Franz Liszt." Electronic Thesis or Diss., Strasbourg, 2024. http://www.theses.fr/2024STRAC022.

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Les transcriptions des symphonies de Beethoven pour piano seul par Liszt sont considérées comme les transcriptions les plus proches de l'original. Liszt a nommé ces transcriptions « partition de piano », signifiant spécifiquement reproduire ainsi la résonance orchestrale au piano. Liszt a également encouragé les jeunes pianistes du conservatoire à apprendre ces transcriptions. Cependant, les recherches existantes se limitent à l'étude des sources historiques et à l'analyse sur les partitions, ignorant la description de Liszt quant aux effets sonores résultant de l'interprétation orchestrale su
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O'Meara, Connor. "Selected Orchestral Excerpts for Bass Clarinet with Piano Reduction." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984170/.

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The idea of reducing popular and musically satisfying operatic or orchestral works to smaller instrumental forces is not uncommon, but the idea of reducing large scores for the exclusive use of orchestral excerpt pedagogy is. Although there are a multitude of excellent resources detailing how select excerpts from both the clarinet and bass clarinet orchestral repertoire should be performed, no resources for clarinetists or bass clarinetists provide a piano reduction of orchestral scores. Through piano reduction of orchestral scores, bass clarinetists have access to a resource that simulates th
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Hsu, Yu-Ching. "The Orchestral Mentality of Johannes Brahms' Piano Sonata No. 3." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011840/.

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Although the current, exhaustive studies of Brahms' works have covered many aspects of the composer's art, it is still surprising that his large-scale, five-movement Piano Sonata No.3 has in many ways been insufficiently studied by scholars who have emphasized the genre of the piano sonata and the aspect of performance practice over the work's more diverse features. Another reason that this early work has been understudied could in fact be that his later compositions in other genres, such as his symphonies, chamber music or choral music, have been perceived by scholars to represent best his mo
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Kim, Grace Jisoo. "Functional Orchestral Collaboration Skills for Wind Band Pianists: A Study Guide." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862795/.

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As opportunities to perform as a soloist diminish, more pianists consider chamber and orchestral playing as an alternative solution. By so doing, ample performance opportunities are introduced. Although most university music programs offer ensemble courses for pianists and have begun to offer degrees with an emphasis in accompaniment, their curriculum lacks instructions specifically designed to train and prepare pianists for playing in large ensembles, especially wind bands. This dissertation addresses the difficulties, which one might encounter in large ensemble collaboration, and recommends
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Carson, Benjamin Leeds. "The self and its pleasures : a collection of music for piano and music for orchestra /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2001. http://wwwlib.umi.com/cr/ucsd/fullcit?p3013702.

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Yun, Hee Sun. "An Orchestral Approach to Johannes Brahms' "Variationen und Fuge über ein Thema von Händel," Op. 24: Orchestral Transcription as an Interpretive Tool." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752377/.

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This dissertation provides an interpretive guide to Variationen und Fuge über ein Thema von Händel, Op. 24, written in 1861 by Johannes Brahms (1833–1897), in orchestral terms, using as basis the orchestral transcription by Edmund Rubbra (1901–1986), published as his Op. 47 in 1938. Not only does Brahms' Variationen present players with considerable pianistic difficulties, its intense harmonic and polyphonic structures make the music sound symphonic. The English composer Edmund Rubbra, a great Brahms enthusiast, transcribed the work for orchestra. The transcription in effect represents Rubbra'
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Delespaul, Caroline. "Le piano-orchestral en France entre 1835 et 1849 : une écoute de l'oeuvre pianistique." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE2087.

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En France, l’idée d’un piano-orchestral voit le jour durant la première moitié du XIXe siècle. Dès les premières décennies, de nombreux commentateurs reconnaissent dans l’instrument à clavier la capacité de restituer en son sein l’ensemble symphonique. Les écrits instaurent une relation étroite entre le piano et l’orchestre. Dans l’inconscient collectif, le piano ne tarde pas à devenir un « petit-orchestre complet » comme tend à le prouver le discours qui utilise ce qualificatif en tant que référence commune. Dans l’ombre de cette pensée s’élabore l’idée de la pénétration d’une « figure orches
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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.

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Thesis (D.M.A.)--University of North Texas, 2002.<br>Accompanied by 4 recitals, recorded Apr. 26, 1999, Apr. 17, 2000, Mar. 19, 2001, and Apr. 17, 2002. Includes bibliographical references (p. 83-86).
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Chang, Liang-Fang. "The orchestral elements in Franz Schubert's Wanderer fantasy-with implications for piano performance." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/2680.

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Most pianists and music scholars consider Schubert's Wanderer Fantasy his most virtuosic piano work. The piece was written in November 1822 when the composer was twenty-five. By that time, Schubert was known for his lieder and some four-hand piano works, which were written in a very lyrical style. In comparison to these works, the Fantasy was written with a demanding technique requiring a richer, orchestral sound. The technical demands of the Wanderer Fantasy at times cause pianists to injure their arms. Even if this does not happen, the instrument, nonetheless, can sound harsh. This type of t
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Jeoung, Ko Eun. "Bohuslav Martinů's Oboe Concerto, H. 353: A New Piano Reduction of the Orchestral Score." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752395/.

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Bohuslav Martinů's "Concerto for Oboe and Small Orchestra" is one of the most frequently played pieces in the oboe repertoire. For this reason, it is often played with the piano reduction instead of the orchestra in oboe recitals. However, the existing piano reductions include many errors and discrepancies from the orchestral score, misrepresent the orchestration, sometimes fail to make the oboe entries clear, and tend to be unplayable for pianists. Moreover, the scores were published after the composer's death without him supervising the final editing. I have prepared a new, playable piano r
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Books on the topic "Orchestral resonance on the piano"

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1833-1897, Brahms Johannes, Zimerman Krystian 1956-, Bernstein Leonard 1918-, and Wiener Philharmoniker, eds. Piano concertos nos.1 & 2. Deutsche Grammophon, 1988.

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Dorff, Daniel, Michael Parloff, and Martha Rearick. Opera excerpts for flute: With piano accompaniment. T. Presser, 2000.

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Bohnke, Robert-Alexander. Classical romance. Point Productions, 1990.

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Debussy, Claude. Debussy for daydreaming: Music to caress your innermost thoughts. Philips, 1995.

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Santi, Nello, and Niklaus Stoss. Nello Santi. Kranich-Verlag, 2001.

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Beethoven, Ludwig van. Masters of classical music: Vol. 3 : Ludwig van Beethoven. LaserLight, 1988.

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Bach, Johann Sebastian. Classical naptime for tots. Telarc, 2008.

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Sitsky, Larry. Busoni and the piano: The works,the writings, and the recordings. Greenwood Press, 1985.

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Strauss, Richard. Salome: Musikdrama in einem Aufzug. De Nederlandse Operastichting, 1988.

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Strauss, Richard. Salome: Richard Strauss ; Textbuch : Einführung und Kommentar von Kurt Pahlen unter Mitarbeit von Rosmarie [sic] König. Schott, 1995.

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Book chapters on the topic "Orchestral resonance on the piano"

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"Ravel Piano Concerto." In Orchestral Masterpieces under the Microscope. Boydell and Brewer, 2023. http://dx.doi.org/10.1515/9781800106611-024.

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"Mozart Piano Concertos." In Orchestral Masterpieces under the Microscope. Boydell and Brewer, 2023. http://dx.doi.org/10.1515/9781800106611-019.

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"Orchestral Images and Piano Préludes:." In Claude Debussy. Boydell & Brewer, 2019. http://dx.doi.org/10.2307/j.ctvb4bvz2.27.

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Bruhn, Siglind. "Piano Poems and Orchestral Recitations." In Word and Music Studies: Defining the Field. BRILL, 1999. http://dx.doi.org/10.1163/9789004649217_018.

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"Busoni Piano Concerto, op.39." In Orchestral Masterpieces under the Microscope. Boydell and Brewer, 2023. http://dx.doi.org/10.1515/9781800106611-008.

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Katz, Martin. "More about Orchestral Playing." In The Complete Collaborator. Oxford University PressNew York, NY, 2009. http://dx.doi.org/10.1093/oso/9780195367959.003.0009.

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Abstract Let us assume the homework on studying scores and listening to recordings has been done, the instrumentation has been marked on the pianist’s music, and, as always, the words have been translated. Our imagination has been ignited, we know which sounds we are intent on imitating—the time has come to sit at the piano and learn the piece in question. I would suggest now that the process for learning something for orchestra differs significantly from that of learning something originally written for piano. With a keyboard accompaniment, we know from the outset that we must play our part—e
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Musgrave, Michael. "Orchestral Music." In The Music of Brahms. Oxford University PressOxford, 1994. http://dx.doi.org/10.1093/oso/9780198164012.003.0005.

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Abstract The status of the Piano Quartet in C minor in spanning an entire era and symbolising Brahms’s struggle for mastery of the formal treatment of powerfully expressive ideas finds a striking parallel in the history, key and moods of the First Symphony. Although we cannot be sure that its earliest part, the first Allegro, was conceived at the same time as the Quartet - the familiar ‘1855’ derives from Kalbeck’s view only1 - the overtly Beethovenian spirit does not contradict a possible date in the 1850s: and the final resolution likewise took until the 1870s. Further, it was not Brahms’s f
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"Orchestral Images and Piano Préludes: 1910." In Claude Debussy. Boydell and Brewer Limited, 2019. http://dx.doi.org/10.1017/9781787444515.025.

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"Liszt Piano Concerto No.1 in E flat." In Orchestral Masterpieces under the Microscope. Boydell and Brewer, 2023. http://dx.doi.org/10.1515/9781800106611-015.

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Watson, Derek. "Original piano music." In Liszt. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164999.003.0011.

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Abstract Three works published in Paris in 1824-5 were principally designed to show Liszt’s grasp of keyboard technique: Allegro di bravura (of which he sketched an orchestral arrangement), Rondo di bravura and Huit Variations. They are otherwise of no great value except for signs that show the young composer’s already wideranging sense of tonality and harmonic adventure. The Allegro, which has an improvisatory quality, is particularly restless in key: its 37-bar slow introduction encompasses E flat minor, G flat major, D flat minor, D major, D minor and again E flat minor, before reaching E f
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Conference papers on the topic "Orchestral resonance on the piano"

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Li, You, Christoph M. Wilk, Takeshi Hori, and Shigeki Sagayama. "Automatic Piano Reduction of Orchestral Music Based on Musical Entropy." In 2019 53rd Annual Conference on Information Sciences and Systems (CISS). IEEE, 2019. http://dx.doi.org/10.1109/ciss.2019.8693036.

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Synofzik, Thomas. "„Würde Sie’s zu sehr ermüden zu begleiten?“ – Clara Schumann als Lied- und Kammermusikpartnerin." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.82.

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80 percent of Clara Schumann‘s playbills in her complete collection of concert programmes (Robert-Schumann-Haus Zwickau) include vocal participation of solo singers, choirs or actors. The question is to which extent Clara Schumann used to accompany these vocal contributions herself on the piano. Only rarely are other accompanists named on the concert playbills, but evidence from concert reviews suggests that these vocal contributions normally served as rests for the solo pianist. Sometimes separate accompanists are named in the concert reviews. In orchestral concerts it was usually the conduct
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Cosciug, Svetlana, and Victoria Melnic. "Excentric dances by Vitaly Verhola: a young composer in search of his own style." In International scientific conference "Valorization and preservation by digitization of the collections of academic and traditional music from the Republic of Moldova". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/ca.06.

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The Eccentric Dances No.1 and No.2 by Vitaly Verhola present a piano cycle for four hands. Original in their own way, contrasting in tempo, character, and artistic content, both miniatures show the influence of Igor Stravinsky's music (the ballets The Rite of Spring and Petrushka, intonations of the Concerto for piano and wind instruments). At the same time, thanks to the use of techniques such as ostinato, dissonant multiphonic chords, rhythm overlays, timbre harmonies, combination of heterogeneous stylistic elements, etc., the music of the two dances is infused with a personal spirit and elo
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Li, Yuwei, Minye Wu, Yuyao Zhang, Lan Xu, and Jingyi Yu. "PIANO: A Parametric Hand Bone Model from Magnetic Resonance Imaging." In Thirtieth International Joint Conference on Artificial Intelligence {IJCAI-21}. International Joint Conferences on Artificial Intelligence Organization, 2021. http://dx.doi.org/10.24963/ijcai.2021/113.

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Hand modeling is critical for immersive VR/AR, action understanding, or human healthcare. Existing parametric models account only for hand shape, pose, or texture, without modeling the anatomical attributes like bone, which is essential for realistic hand biomechanics analysis. In this paper, we present PIANO, the first parametric bone model of human hands from MRI data. Our PIANO model is biologically correct, simple to animate, and differentiable, achieving more anatomically precise modeling of the inner hand kinematic structure in a data-driven manner than the traditional hand models based
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Liang, Beici, Gyorgy Fazekas, and Mark Sandler. "Piano Legato-Pedal Onset Detection Based on a Sympathetic Resonance Measure." In 2018 26th European Signal Processing Conference (EUSIPCO). IEEE, 2018. http://dx.doi.org/10.23919/eusipco.2018.8553341.

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POP, Ioan. "My musical affective interferences with Eminescu’s poem Se bate miezul nopţii (Bell chimes midnight)." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2024. https://doi.org/10.35218/icds-2024-0003.

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My work for piano Bell chimes midnight... is a sincere tribute to Mihai Eminescu and his poetic universe, with insertions and subtle echoes reminiscent of George Enescu's solo piano piece Carillion nocturne. The work, built on three interchangeable sections, chains traditional chords with clusters and symmetrical, geometric chords and harmonic constructions and combines the harmonic world with lyrical moments and movement passages. Based on resonance, the piece pays pious tribute to some professors I studied with, who recently passed away. Eminescu's poem, through its poetic images, represents
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Amiranashvili, Tamta. "THE FUNCTION OF MUSIC IN ANTHONY BURGESS’S A CLOCKWORK ORANGE." In Proceeding of the Thirteenth International Conference at the Faculty of Foreign Languages. Alfa BK University Belgrade, 2024. https://doi.org/10.46793/lld24.168a.

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English writer and composer Anthony Burgess, world-famous for his dystopian novel A Clockwork Orange (1962), skillfully incorporates music in his several artistic works, such as The Earthly Powers (1980), The Piano Players (1986), Mozart and Wolf Gang (1991). Due to the author’s frequent reference to Beethoven’s Ninth Symphony in A Clockwork Orange, its use in the novel cannot be accidental. This article aims to explore the multifaceted role of music in A Clockwork Orange, analyze its influence on character development, narrative structure, and thematic resonance. The fact that Alex, the bruta
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Reports on the topic "Orchestral resonance on the piano"

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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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