Relevant bibliographies by topics / Pianisten

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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 'Pianisten'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 March 2023

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Journal articles on the topic "Pianisten"

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Hökelmann, Anita, Peter Blaser, and Wolfgang Ellenberger. "Musik durch Bewegung und Bewegung durch Musik." Musik-, Tanz- und Kunsttherapie 11, no. 3 (July 2000): 141–45. http://dx.doi.org/10.1026//0933-6885.11.3.141.

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Zusammenfassung. Die Theorie zur Wechselwirkung zwischen auditiven Wahrnehmung und motorischen Reaktionen bildet die Basis zur Annahme, dass zwischen musikerzeugenden Bewegungen und Bewegungsinterpretation von Musik ein existentieller Zusammenhang besteht. Durch das Bewegungsverhalten des Pianisten wird ein Klangbild erzeugt, welches die Tänzerin als motoakustische Information aufgreift. Dieses Klangbild enthält bewegungsdefinierende Merkmale und dient als Orientierungsgrundlage für die Bewegungsgestaltung. Es lassen sich Ähnlichkeiten zwischen den musikerzeugenden (Pianist) und den musikgestaltenden Bewegungsparametern (Tänzerin) in unterschiedlich definierten Räumen anhand der Körpergeometrie nachweisen. Daraus resultiert die Annahme, dass durch die “Handschrift” des Musikers eine Tanzchoreographie wesentlich geprägt wird.
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Wessel-Aas, Jon. "Ikke skyt pianisten – om pressens videreformidlingsrett." Lov og Rett 42, no. 07 (August 16, 2003): 421–26. http://dx.doi.org/10.18261/issn1504-3061-2003-07-05.

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Meile, Jakob Kyril. "Kronik." Magasin fra Det Kongelige Bibliotek 28, no. 1 (April 9, 2015): 74–78. http://dx.doi.org/10.7146/mag.v28i1.66817.

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KRONIKKEN fortæller om det forgangne kvartal på Det Kongelige Bibliotek: Begivenheder, foredrag, udstillinger, koncerter, erhvervelser m.m. Indhold: H.O. Lange-prisen til Rasmus Glenthøj for værket 1864 –Sønner af de slagne; Carl Nielsen Brevudgaven (pianisten Amalie Malling og tenoren Adam Riis samt kammerkoret Ars Nova under ledelse af Paul Hillier); Det Kongelige Bibliotek på nettet; Erhvervelser; Ræson og Vidensfestival; International Forfatterscene; Ordscenen; Koncerter
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Schøien, Kristin Solli, Bjørn-Terje Bandlien, and Anna-Lena Østern. "I nærkamp med Notefienden: skam, myndiggjøring og performativ læringa." Journal for Research in Arts and Sports Education 6, no. 3 (August 30, 2022): 27–44. http://dx.doi.org/10.23865/jased.v6.3570.

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Denne studien er et bidrag til performativ musikkforskning, med et pedagogisk utgangspunkt. Metodologisk utforsker forfatterne eksperimentelle innganger til musikkforskning gjennom performance-skriving og collageteknikk. Artikkelen er en studie av på hvilke måter en komponists nærkamp med notefienden, vanskene med å lese og skrive noter, får agens i hennes komposisjon og formidling av musikk. Musikken i studien er komponert til tekster av den norske dikteren Herman Wildenvey, og studien gjør nedslag i tre tidsperioder med et spenn på tre desennier. Gjennom performance-skriving viser forfatterne hvordan notelesingsvanskene både hindrer og utfordrer det kreative arbeidet, og gjennom diffraktiv analyse undersøkes notefiendens agens i tre diffraksjoner: (1) når komponisten skaper melodiene til Wildenveys lyrikk, (2) når sangene blir urfremført og lydfestet, og (3) når komponisten og pianisten performativt utforsker en av sangene i samspill. Studien viser at notelesingsvanskene får betydning for komponistens valg av musikkstil, selvforståelse og kroppslige tilstedeværelse i musikken, og for det musiker-metaspråket som komponist og pianist utvikler i samspillsituasjonen. Studien avdekker gjennom et postperspektiv, inspirert av Barad, hvordan erfaringer fra en tidlig musikkpedagogisk praksis setter spor som har virkning i nåtid. Artikkelen gir også et eksempel på hvordan performativ læring er agent for endring og myndiggjøring i et livslangt perspektiv.
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Loehr, Janeen D., Dimitrios Kourtis, Cordula Vesper, Natalie Sebanz, and Günther Knoblich. "Monitoring Individual and Joint Action Outcomes in Duet Music Performance." Journal of Cognitive Neuroscience 25, no. 7 (July 2013): 1049–61. http://dx.doi.org/10.1162/jocn_a_00388.

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We investigated whether people monitor the outcomes of their own and their partners' individual actions as well as the outcome of their combined actions when performing joint actions together. Pairs of pianists memorized both parts of a piano duet. Each pianist then performed one part while their partner performed the other; EEG was recorded from both. Auditory outcomes (pitches) associated with keystrokes produced by the pianists were occasionally altered in a way that either did or did not affect the joint auditory outcome (i.e., the harmony of a chord produced by the two pianists' combined pitches). Altered auditory outcomes elicited a feedback-related negativity whether they occurred in the pianist's own part or the partner's part, and whether they affected individual or joint action outcomes. Altered auditory outcomes also elicited a P300 whose amplitude was larger when the alteration affected the joint outcome compared with individual outcomes and when the alteration affected the pianist's own part compared with the partner's part. Thus, musicians engaged in joint actions monitor their own and their partner's actions as well as their combined action outcomes, while at the same time maintaining a distinction between their own and others' actions and between individual and joint outcomes.
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Kremer, Joachim. "„Précurseur de toute la musique française moderne“? Die Rezeption Franz Liszts als Komponist in Frankreich zwischen 1844 und 1925." Studia Musicologica 48, no. 3-4 (September 1, 2007): 257–98. http://dx.doi.org/10.1556/smus.48.2007.3-4.2.

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Franz Liszts Wahrnehmung in Frankreich als Komponist setzte ab 1869 ein und erweiterte das bis dahin gewohnte Bild vom Pianisten. Liszts Orchesterwerke wurden zunächst im Lichte der Bewertung der Neudeutschen Schule gesehen, und auch die Kontroversen um die Programmmusik und das dahinterstehende Problemfeld ‚Klassizismus vs. Romantik‘ schufen erschwerte Rezeptionsbedingungen. Behindert wurde die Wahrnehmung zudem durch die selektive und verzögerte Aufführung der Werke. Bis zum aufwändig gefeierten Centenaire im Jahre 1911 war Liszt somit der ‚geborene‘ Vorläufer. Der Versuch einer Rehabilitierung kam angesichts der selektiven Wahrnehmung auf der einen und der rasanten Musikentwicklung nach 1900 auf der anderen Seite — zu denken ist an Ravel oder Strawinsky — sehr spät.
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Fu, Xi, Kateryna Cherevko, and Oksana Pysmenna. "Performing skills of Li Yundi in the context of China's leading trends in the piano art development." Revista Amazonia Investiga 10, no. 46 (October 25, 2021): 42–50. http://dx.doi.org/10.34069/ai/2021.46.10.4.

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The article examines how the performing skills of the outstanding Chinese pianist Li Yundi have been formed. Chinese piano art in a short time has reached the significant success. As Chinese performers have made a rapid rise in their skills, we can speak about the formation of special musical-performing principles, based on a strong national basis. Li Yundi's career success owed not only to a successful teaching methodology, but also to a deliberate state policy. The formation of Chinese piano pedagogy lies in the assimilation of European pianist-teachers' experience and the preservation of ancient Chinese national traditions. Chinese pedagogues-pianists often use elements of ancient art ‘Qigong’. The use of teaching methods in the two performing styles of "Wen" and "Wu" traditionally established in Chinese culture is also important. This work is intended to identify the leading developmental trends in Chinese piano performing and their role in the formation of young Chinese pianist Li Yundi's performing skills.The article reveals the peculiarities of Chinese piano performing, with its integration of European piano school performing traditions. Emphasis is placed on the performing problems of Chinese pianists' interpretation of European composers' piano works. Li Yundi, one of the finest performers of Frideric Chopin's works, is a notable example of Chinese piano pedagogy's successes in the multifaceted development of the pianist's personality.
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Bedina, Katarina. "Dve pismi Franca Šturma." Musicological Annual 43, no. 2 (December 1, 2007): 245–50. http://dx.doi.org/10.4312/mz.43.2.245-250.

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V prispevku, za življenjski jubilej profesorice Marije Bergamo, objavljamo dve pismi skladatelja Franca Šturma (1912–1943) slovenski pianistki Nedi Kozina, s katero se je spoprijateljil v Pragi, kjer sta oba študirala. Nanašata se na njun načrt, da bi organizirala koncert modernih čeških in slovenskih skladb v Mariboru. Tam je nekaj časa bivala naša pianistka, njun skupni češki prijatelj, pianist in skladatelj Karel Reiner je pomagal priskrbeti note čeških skladateljev. Prvo pismo štejemo kot dokument, na kako boren način je v Maribor prihajala tik pred drugo svetovno vojno sodobna misel v glasbi. Objavo drugega pisma utemeljuje malo znani Šturmov prispevek o glasbi kot socialnem dejavniku (Sodobnost, 1935). Sociologija (skupaj z estetiko) glasbe sodi v filozofsko disciplino. Beseda o njiju zaokroža bežen pogled v tradicijo teh predmetov na Oddelku za muzikologijo Filozofske fakultete v Ljubljani.
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Knickmann, Tobias. ""Strolche" der Reichsmusikkammer." Die Musikforschung 71, no. 1 (September 22, 2021): 33–42. http://dx.doi.org/10.52412/mf.2018.h1.324.

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Zwischen 1933 und 1940 "streunten" die Berliner Kontrolleure täglich als vermeintliche Musikexperten durch die Reichshauptstadt. Dabei verfügten sie zwar über geringe offizielle Befugnisse und gerieten deshalb oftmals in Konflikt mit offenbar untätigen Polizeiorganen. Doch sollte dies keineswegs darüber hinwegtäuschen, dass sie durch ihre Nachprüfungen, Diffamierungen und Berichte Hunderte, insbesondere jüdische Musiker*Innen im geringsten Fall in deren Berufsausübung einschränkten, im schlimmsten Fall in lebensbedrohliche Situationen brachten. Aus diesem Grund ist ihr Einfluss als bedeutend einzuschätzen. Indem sie die kulturpolitischen Bestimmungen im persönlichen Kontakt zu den Betroffenen rigoros umzusetzen versuchten, trugen sie erheblich zur alltäglichen Verfolgung der im NS-Regime unerwünschten Personen bei. - Die bisherigen Forschungen werden erweitert: erstens um eine bisher geleistete rudimentäre Chronologie der deutschlandweiten Abteilungen, genauer deren Befügnisse und Konflikte in der Zusammenarbeit mit der Polizei zwischen 1933 und 1940; sowie zweitens um eine Darstellung der Berliner Kontrolleure, deren biographische Hintergründe und Motivationen. Zudem erhöhen die Recherchen die Anzahl der bisher bekannten Personen, bei denen die Kontrollen teils schwerwiegende Folgen nach sich zogen. Exemplarisch wird der Fall des Kapellmeisters und Pianisten Fritz Lachs dargestellt.
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Lee, Sang-Hie. "Hand biomechanics in skilled pianists playing a scale in thirds." Medical Problems of Performing Artists 25, no. 4 (December 1, 2010): 167–74. http://dx.doi.org/10.21091/mppa.2010.4034.

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Pianists, who attend to the integral relationship of their particular musculoskeletal characteristics to the piano technique at hand, discover an efficient path to technical advancement and, consequently, to injury prevention. Thus, a study of pianist's hand biomechanics in relation to different piano techniques is highly relevant, as hand features may influence various techniques in different ways. This study addressed relationships between pianists' hand biomechanics and the performance of a scale in thirds, as a part of an ongoing series of studies examining relationships between hand biomechanics and performance data of primary techniques. The biomechanics of hand length and width, finger length, hand span, hand and arm weights, and ulnar deviation at the wrist were compared with tempo, articulation, and dynamic voicing (tone balance between two notes of the thirds). Pearson correlation analysis showed a positive association between ulnar deviation and tempo; the other biomechanical features showed no relationships with any of the performance criteria. Qualitative cross-sectional observation of individual profiles showed that experienced pianists perform with a higher degree of synchrony in two-note descent while pianists with organ training background play with a lesser degree of synchrony. All biomechanical features were closely related among one another with one exception: wrist ulnar deviation was not associated with any other biomechanical features; rather, data suggest possible negative associations. This study underscores the importance of wrist mobility in piano skills development. Further research using a complete set of prototype piano techniques and multiple-level pianist-subjects could provide substantive biomechanical information that may be used to develop efficient pedagogy and prevention strategies for playing-related injuries as well as rehabilitation.
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Dissertations / Theses on the topic "Pianisten"

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Ek, Sara. "Den nervösa pianisten : Övningsmetoder för att förbygga och hantera nervositet under uppträdanden." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-68823.

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Att uppträda på konsert är en stor del av att vara musiker. Det är därför viktigt att kunna hantera en sådan situation utan att nerverna tar över, men det är inte alltid självklart hur detta ska gå till. Jag har själv upplevt situationer där min nervositet har varit ett problem, därav valde jag att i detta arbete utforska denna problematik. I det här arbetet har jag testat olika övningsmetoder avsedda att förebygga uppkomsten av nervositet under konsert. Jag har arbetat med två sonater av W. A. Mozart och Sergei Prokofiev som utgångspunkt. Jag har därefter spelat in dessa i olika sammanhang under arbetets gång. Detta för att kunna mäta och reflektera över de olika övningsmetodernas effekt.  Resultatet blev att jag hittade många bra metoder som effektiviserade min övning och gjorde att jag i slutet av arbetets gång kände mig mer säker och därav mindre nervös. Jag har också upptäckt att det finns många olika sätt att arbeta på och att det finns mycket kvar som jag kan fördjupa mig i.
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Strübing, Felix Ludwig [Verfasser], and Eckart [Akademischer Betreuer] Altenmüller. "Der neuronale Prozess der Fehlerüberwachung bei gesunden Pianisten und Pianisten mit Musikerdystonie / Felix Ludwig Strübing. Institut für Musikphysiologie und Musikermedizin der Hochschule für Musik, Theater und Medien. Betreuer: Eckart Altenmüller." Hannover : Bibliothek der Medizinischen Hochschule Hannover, 2013. http://d-nb.info/1043591001/34.

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Strübing, Felix [Verfasser], and Eckart [Akademischer Betreuer] Altenmüller. "Der neuronale Prozess der Fehlerüberwachung bei gesunden Pianisten und Pianisten mit Musikerdystonie / Felix Ludwig Strübing. Institut für Musikphysiologie und Musikermedizin der Hochschule für Musik, Theater und Medien. Betreuer: Eckart Altenmüller." Hannover : Bibliothek der Medizinischen Hochschule Hannover, 2013. http://nbn-resolving.de/urn:nbn:de:gbv:354-20130403249.

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Gärtner, Hanna [Verfasser]. "Struktur und Plastizität des Gehirns bei Pianisten und Nicht-Musikern mittleren Alters / Hanna Gärtner." Düsseldorf : Universitäts- und Landesbibliothek der Heinrich-Heine-Universität Düsseldorf, 2016. http://d-nb.info/1104931826/34.

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Gasser, Mark. "Ronald Stevenson, composer-pianist : an exegetical critique from a pianistic perspective." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/694.

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This exegetical critique makes a conceptual summation of Ronald Stevenson’s life’s work for the piano and his contributions as a composer‐pianist. Chapters one and two provide a profile of Stevenson as a pianist, examining the aesthetic and musical concerns that defined his long career, as well as precedents and antecedents of his pianism. Of particular interest are the ways that Stevenson coalesces aspects of the ‘grand manner’ and his obsession with a pianistic bel canto style. Chapter three examines Stevenson’s remarkable output in terms of piano transcriptions. His conceptualization of this as ‘capturing the essence’ of the original composer is used to mount a defense of this erstwhile unfashionable genre, examining the ways that Stevenson’s output blurs the line between transcription and composition. Chapter four offers a detailed examination of the art of pedalling in Stevenson’s own work, particularly the use of the sostenuto pedal, and the ways that he exploited more complex forms of combination pedalling in his compositions and transcriptions. Chapter five examines the ways that Stevenson’s works abound with socio‐political referencing and historical allusions, with particular attention to the Passacaglia on DSCH—a work that constituted such a political provocative act that it resulted in a police raid. Chapter six further interrogates aspects of the Passacaglia, its embodiment of the miniature and the monumental, and the ways that it personifies the culmination and summation of Stevenson as both a pianist and composer.
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MUNIZ, Franklin Roosevelt Silva. "O pianista camerista, correpetidor e colaborador: as habilidades nos diversos campos de atuação." Universidade Federal de Goiás, 2010. http://repositorio.bc.ufg.br/tede/handle/tde/2729.

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This study presents a discussion and research on the fields of expertise and skills developed by professional ensemble pianists, evaluating their role and acquisition of the area‟s specific knowledge. It also proposes a definition to the terms correpetidor, collaborator and chamber musician. The first chapter deals with the role, importance and function of these ensemble musicians since its first performance manifestations in music history. The second chapter traces the outline of each field of activity showing the routines and skills inherent to each field. For conducting this study was submitted a semi-structured questionnaire to professional pianists in each area, which provided information about their work routines and developed skills. In the conclusion the author offers a curriculum for a graduate course addressing subjects that involve the skills discussed.
Este estudo apresenta uma discussão e investigação sobre os campos de atuação e habilidades desenvolvidas por pianistas profissionais de conjunto, avaliando suas funções e aquisição de conhecimento específico da área. Também propõe definições para utilização dos termos colaborador, correpetidor e camerista. O primeiro capítulo trata da atuação, importância e função dos músicos acompanhadores desde suas primeiras manifestações na história da música. O segundo capítulo traça o perfil de cada campo de atuação de pianistas de conjunto evidenciando as rotinas e habilidades inerentes a cada campo. Para a realização deste estudo foi encaminhado questionário semi-estruturado a pianistas atuantes das áreas, os quais forneceram informações acerca do seu trabalho e das aptidões comuns a esta classe de pianistas. Na conclusão o autor oferece uma grade curricular para um curso Lato Sensu de especialização contemplando disciplinas que envolvem as habilidades discutidas.
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Fernandes, Luciane Fernanda Rodrigues Martinho. "Analise das alterações nos padrões de preensão palmar em pianistas." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/275219.

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Orientador: Ricardo Machado Leite de Barro
Tese doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: Este trabalho teve como objetivo a análise quantitativa dos padrões de preensão palmar de pianistas durante a realização de tarefas em função do tipo de preensão e da velocidade de execução. Vinte e cinco voluntários (11 pianistas e 14 não pianistas) realizaram 4 tipos de tarefas com a mão direta: Preensão grossa em velocidade rápida (T1); Preensão grossa em velocidade lenta (T2); Preensão em gancho em velocidade rápida (T3) e Preensão em gancho em velocidade lenta (T4). No dorso da mão foram colocados 16 marcadores nas extremidades proximais e distais dos ossos metacarpianos e falanges proximais do 2° ao 5° dedos. Para a captura das imagens foram utilizadas quatro câmeras de vídeo digital, conectadas a quatro microcomputadores. A medição das coordenadas e a reconstrução tridimensional dos marcadores foram realizadas através do sistema ¿Dvideow ¿ Digital Vídeo for Biomechanics¿, desenvolvido no Laboratório de Instrumentação para Biomecânica da Faculdade de Educação Física da UNICAMP. Os ângulos de flexão e extensão das articulações metacarpofalangeanas foram calculados a partir da medida das coordenadas dos marcadores. Foram utilizados diagramas de fase para caracterização do padrão e da regularidade das repetições. A Análise por Componentes Principais foi utilizada para quantificar o padrão e a regularidade dos ciclos de movimento e a correlação entre as curvas dos ângulos das articulações dedos foi utilizada para avaliar sinergia dos dedos durante a tarefa. A partir dos resultados, foram observados que as diferenças mais evidentes entre os grupos controle e pianista foram identificadas na regularidade da curva para tarefa T2, através da Análise por Componentes Principais e para todas as tarefas na análise da correlação entre os ângulos das articulações metacarpofalangeanas. Na comparação entre as tarefas foram encontradas diferenças significativas entre as realizadas com a preensão grossa e gancho, em todas as análises. Através da metodologia empregada e das análises foi possível caracterizar os padrões de preensão palmar de pianistas e evidenciar diferenças entre pianistas e não pianistas
Abstract: This work describes an experimental study that aimed to quantitatively analyze the palmer gripping patterns of pianists during the execution of function tasks relating to gripping and speed of execution. Twenty-five subjects (11 pianists and 14 non-pianists) carried out 4 tasks with their right hand: Gross gripping at fast speed (T1); Gross gripping at low speed (T2); Hook gripping at fast speed (T3); Hook gripping at low speed (T4). Sixteen markers were put on the dorsal surface of the hand, on the proximal and distal extremities of the metacarpian bones and proximal phalanges of the 2nd and 5th fingers. Four digital video cameras connected to two microcomputers were used to capture the images. The measurement of the coordinates and the three-dimensional reconstruction of the markers were carried out through the ¿Dvideow ¿Digital Video for Biomechanics¿ system, developed at the Instrumentation Laboratory for Biomechanics at the Physical Training College at UNICAMP. The flexion and extension angles of the metacarpophalangeal articulations were calculated from the measurement of the marker coordinates. The phase diagram movement cycles were used to analyze the alteration in the palmer gripping patterns in pianists. The Principal Components Analysis was used to quantify the movement patterns and the regularity of the the phase diagram movement cycles which were built from the position and angular speed curves; the correlation between the angle curves of finger joints was used to evaluate the finger synergy during the task. With these results as a starting point, it was possible to observe that the most evident differences between the control and pianist groups were identified in the regularity of the curve for the second task (T2) through the Principal Components Analysis, and for all the tasks, in the analysis of the correlation between the angles of the metacarpophalangeal joints. In the comparison between the tasks, a difference was observed among those carried out in gross and hook gripping in all the analysis.Through the methodology employed and the form of analysis, it was possible to estimate the alterations in the palmer gripping patterns of pianists and compare pianists with non-pianists
Doutorado
Biodinamica do Movimento Humano
Doutor em Educação Física
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Cutting, Brieley Anne. "The Chamber Music Pianist: An Exploration of the Skills Required by Pianists Working in Small Ensembles." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/366439.

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This document is submitted in conjunction with a creative portfolio of audio recordings for the Doctorate of Musical Arts program at Griffith University. An analysis of chamber music production from a practicing pianist’s perspective is at the core of this research. From a personalised viewpoint it explores the unique set of skills that a chamber music pianist calls upon for their work, specifically those distinct from the pianist in the role of soloist or accompanist. This practice-led project combines self-reflexive writing with data drawn from semi-structured interviews with fourteen international professional pianists. Overall, this research was driven by a desire to induce appreciation of the complex and demanding occupation of the chamber music pianist and the skills required to master this role. It aims to add to the currently limited information available on the subject and demonstrate why focused, distinct study of the skills needed for the preparing, rehearsing and performing of chamber music should be seen as an indispensable part of any pianist’s education.
Thesis (Professional Doctorate)
Doctor of Musical Arts (DMA)
Queensland Conservatorium
Arts, Education and Law
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Grønbeck, Erlend. "Utøveren og musikken : en belysning av sider ved det å utøve musikk." Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for musikk, 2012. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-17504.

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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.

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Orientadores: Ricardo Goldemberg, Luiz Ricardo Basso Ballestero
Tese (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
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Books on the topic "Pianisten"

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Me of all people: Alfred Brendel in conversation with Martin Meyer. Ithaca, N.Y: Cornell University Press, 2002.

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Elyse, Mach, ed. Great contemporary pianists speak for themselves. New York: Dover Publications, 1991.

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Kaiser, Joachim. Grosse Pianisten in unserer Zeit. 4th ed. München: R. Piper, 1997.

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Nesheim, Elef. En fullblods musikant: Pianisten Kjell Bækkelund. Oslo: Orion, 1999.

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Linsenmeyer, Klaus. Wilhelm Kempff: Lebensskizzen eines grossen Pianisten. Wilhelmshaven: Noetzel, 2006.

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Dahm, Cecilie. Agathe Backer Grøndahl: Komponisten og pianisten. Oslo: Solum, 1998.

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Carsten, Dürer, ed. Gespräche mit Pianisten: 69 Interviews und Porträts. Düsseldorf: Staccato, 2002.

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Kochsiek, Ernst C. Konzertstimmungen: Erlebnisse und Begegnungen mit berühmten Pianisten. Frankfurt am Main: E. Bochinsky, 2002.

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Richard, Kwakkel, ed. Wildernis sonate. Vianen: The House of Books, 2004.

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Margulis, Vitalij. Bagatellen op. 5: Aphorismen und Gedanken eines Pianisten. Freiburg im Breisgau: Rombach, 1999.

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Book chapters on the topic "Pianisten"

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May, Friedrich W. "Heinrich Heine und die Pianisten seiner Zeit." In Heine-Jahrbuch 2006, 115–41. Stuttgart: J.B. Metzler, 2006. http://dx.doi.org/10.1007/978-3-476-00202-0_7.

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Kontou, Tatiana, Victoria Mills, and Richard Menke. "Pianista." In Victorian Material Culture, 285–89. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315400303-66.

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Schipperges, Thomas. "Klavierspiel als Lebensaufgabe - Romantik als Lebenswerk - Virtuosität als Lebenslast. Michael Ponti – dem fabelhaften Pianisten und frühen Archäologen der Musik des 19. Jahrhunderts zum 80. Geburtstag." In Musik in Baden-Württemberg. Jahrbuch 2017/18, 303–9. Stuttgart: J.B. Metzler, 2018. http://dx.doi.org/10.1007/978-3-476-04682-6_25.

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Bastin, Bruce. "Atlanta Strut: The Pianists." In Red River Blues, 87–95. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-09343-4_6.

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Granieri, Niccolò, James Dooley, and Tychonas Michailidis. "Retaining pianistic virtuosity in #MIs." In Innovation in Music, 146–61. New York: Routledge, 2021. | Series: Perspectives on music production: Focal Press, 2020. http://dx.doi.org/10.4324/9780429345388-11.

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Wild, Gerhard. "Vázquez Montalbán, Manuel: El pianista." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_18247-1.

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Harrington, James. "Auditions, Rep Books, and Pianists." In Building a Career in Opera from School to Stage, 115–31. [1.] | New York: Routledge, 2020. | Series: CMS emerging fields in music: Routledge, 2020. http://dx.doi.org/10.4324/9780367822224-15.

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Edler, Arnfried. "2. Vom Pianisten zum Komponisten." In Robert Schumann, 12–25. C.H.Beck, 2009. http://dx.doi.org/10.17104/9783406615597-12.

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Stoff, Franziska. "„Die jüdischen Schüler dürfen nur an zwei … an gewissen Tagen kommen.“ – Ein Interview mit dem Pianisten Walter Hautzig." In Eine Institution zwischen Repräsentation und Macht, 339–54. Mille Tre, 2017. http://dx.doi.org/10.2307/j.ctvdjrpbb.15.

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Schmidt, Russell A. "Jazz Piano." In Teaching School Jazz, 199–208. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190462574.003.0018.

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Performing as a pianist in a jazz ensemble can be very rewarding. But to ensure participation is satisfying for both the individual and the group, requisite skill sets for performance must be learned, and musical responsibilities to fellow performers must be understood. This chapter presents useful harmonic theory and practical jazz piano exercises to help developing jazz pianists build a strong foundation. In addition, various harmonic exercises are presented that educators can provide to assist their pianists’ development, including an overview of basic, flexible voicings that are useful in many different jazz styles. The latter portion of the chapter provides a general philosophy regarding the role of the piano within the jazz ensemble, providing teachers with the perspective necessary to offer their pianists the most effective instruction.
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Conference papers on the topic "Pianisten"

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Kelley, Jace D., Heather D. Benoit, Joel D. White, Jane Abbott-Kirk, Brian A. Garner, and Carolyn P. Skurla. "Comparison of Two Piano Playing Methods Using Motion Capture." In ASME 2010 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2010. http://dx.doi.org/10.1115/sbc2010-19512.

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A motion capture study was performed to quantify differences between two piano playing methods. Reflective markers were placed on the hands, arms, and torsos of 10 pianists. Cameras positioned around the pianist captured and recorded the motion of the markers for post-processing analysis.
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Huber, Annegret. "Die Pianistin spricht. Überlegungen zur Epistemologie von Vertonungsanalysen und ihrer Funktion in musikwissenschaftlicher Forschung." 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/10.25366/2020.83.

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There is nothing fundamentally wrong with the premise that a pianist like Clara Wieck/Schumann ‘speaks’ in her song compositions. This, however, raises a number of epistemological questions that will be discussed in this article. First of all, an explicit distinction is made between the examination of the ‘technical’ aspects of her compositional practice – in German: Praktik – (which may allow conclusions to be drawn about the pianist’s implicit knowledge) on the one hand, and the social aspects of her discursive practice – in German: Praxis – on the other. Thus, it is also necessary to discuss the criteria that the structural-analytical methodology must satisfy, as well as to consider to whom the pianist is actually speaking: to us music researchers of the 21st century? Or should we ask ourselves whether our analysis is not rather a “reading of traces” in the sense of Sybille Krämer, through which we invent the ‘producer’ of the analyzed ‘trace’ in the first place? Or to put it another way epistemologically: how do we make the pianist speak? What function does our ‘speaking’ of her compositions – namely the piano parts in her songs – have in scholarly argumentations?
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Thompson, Charles L., David D. Langan, and Michael V. Doran. "Pianist style." In the 43rd annual southeast regional conference. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1167350.1167375.

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Nurzamsyah, Fitrohza Gilang, and Suma Riella Rusdiarti. "Erika’s Self-Defence Mechanisms in La Pianiste." In 3rd International Conference on Language, Literature, Culture, and Education (ICOLLITE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200325.068.

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Kashkovskaia, Elena Sergeevna. "Kontsertmeisterskii klass -- vazhneishaia sostavliaiushchaia vospitaniia pianista." In International Scientific and Practical Conference. TSNS Interaktiv Plus, 2022. http://dx.doi.org/10.21661/r-555742.

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Eloul, Shaltiel, and Gil Zissu. "42Percent Noir - Animation by Pianist." In Proceedings of the 30th International BCS Human Computer Interaction Conference. BCS Learning & Development, 2016. http://dx.doi.org/10.14236/ewic/hci2016.50.

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Batula, Alyssa M., and Youngmoo E. Kim. "Development of a mini-humanoid pianist." In 2010 10th IEEE-RAS International Conference on Humanoid Robots (Humanoids 2010). IEEE, 2010. http://dx.doi.org/10.1109/ichr.2010.5686330.

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Sotirios, Manitsaris, and Pekos Georgios. "Computer vision method for pianist's fingers information retrieval." In the 10th International Conference. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1497308.1497421.

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Lee, Jangwon, Bardia Doosti, Yupeng Gu, David Cartledge, David Crandall, and Christopher Raphael. "Observing Pianist Accuracy and Form with Computer Vision." In 2019 IEEE Winter Conference on Applications of Computer Vision (WACV). IEEE, 2019. http://dx.doi.org/10.1109/wacv.2019.00165.

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Чэнь, Янань. "PROFESSIONAL TRAINING OF PIANISTS IN CHINA, CONSIDERED IN THE FRAMEWORK OF THE SYSTEMS APPROACH: EXPERIENCE OF THE ANALYSIS OF THE APPROACH AND MODELING OF SYSTEMS." In Образование. Культура. Общество: сборник избранных статей по материалам Международной научной конференции (Санкт-Петербург, Октябрь 2021). Crossref, 2021. http://dx.doi.org/10.37539/ecs299.2021.59.80.008.

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В статье дается характеристика особенности системного подхода в исследовании по искусствоведению и в частности, при описании китайского пианизма как целостной системы, состоящей из элементов с множественными связями. Предлагается модель системы фортепианного искусства Китая, представленная через призму анализа профессиональной подготовки пианистов. Делается вывод о применимости предложенной модели для выявления системных проблем профессионального образования китайских пианистов и нахождения путей их разрешения. The article describes the peculiarities of the systemic approach in the study of art history and, in particular, when describing Chinese pianism as an integral system consisting of elements with multiple connections. A model of the Chinese piano art system is proposed, presented through the prism of analyzing the professional training of pianists. The conclusion is made about the applicability of the proposed model for identifying the systemic problems of professional education of Chinese pianists and finding ways to solve them.
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Reports on the topic "Pianisten"

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Mayas, Magda. Creating with timbre. Norges Musikkhøgskole, August 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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