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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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Previous issue date: 2010-03-31This 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 BarroTese 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 BallesteroTese (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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Törnheden, Thomas. "Att komma ikapp : notläsning för pianister." Thesis, Kungl. Musikhögskolan, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1130.
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Jouanna, Claude. "Résonances d'Yves Nat : du pianiste-compositeur au pianiste-pédagogue : "et comme une eau entoure exactement une île"." Paris 4, 1996. http://www.theses.fr/1995PA040248.
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Monographie de l'artiste français Yves Nat qui fut à la fois pianiste, compositeur, pédagogue et poète. La correspondance du musicien avec son grand ami, le poète breton, Théophile Briant, les carnets parus à la Flûte de Pan, ainsi que les nombreux témoignages d'élèves ont permis d'éclairer la personnalité d'un interprète obsédé par les exigences de l'œuvre et totalement désintéressé par la notion de virtuosité pianistique. A travers les différentes activités de l'artiste, le biographe s'est efforce de souligner l'unité et la profonde authenticité d'une pensée musicale réunissant création et interprétation dans une même approche sonore entièrement tournée vers l'œuvre, à l'image de ce vers de Francis Jammes qu'affectionnait tant Yves Nat : "et comme une eau entoure exactement une ile"Monograph about the French artist Yves Nat, who was at one and the same time a pianist, a composer, a pedagogue and a poet. The musician's correspondence between he and his great friend, the Breton poet, Theophile Briant, as well as the numerous accounts has enabled us to recognize the personality of an interpreter who was obsessed by the demands of the work and totally disinterested in the performances of pianist virtuosity. By way of the artist's multifarious activities, the biographer tried to emphasize the unity and absolute authenticity of a musical conception combining both creation and interpretation in the same resonant approach, focused completely on the work, like this line of Francis Jammes that Yves Nat was so found of: "and as water perfectly surrounds an island”
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Persson, Johan. "Det alternativa pianot. En undersökning om estetiken inom svensk indiepop sett ur ett pianistiskt perspektiv." Thesis, Kungl. Musikhögskolan, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1009.
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Gonçalves, Marina Machado 1971. "As canções de Estércio Marquez Cunha sob o ponto de vista do pianista colaborador." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285227.
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Orientadores: Adriana Giarola Kayama, Maria José Carrasqueira Dias de MoraesTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho tem como objeto de estudo as canções para canto e piano do compositor goiano Estércio Marquez Cunha (1941). Elas foram escritas no período de 1968 a 2012 e englobam doze canções e dois ciclos, compostos de três e quatro canções cada, totalizando dezenove peças. Foram analisadas sob o ponto de vista de Stein/Spillman (1996) com o objetivo de dar subsídios para interpretações das mesmas. A escolha deste referencial teórico se deu em função da sua visão da interpretação do Lied alemão, na qual os autores propõem um estudo histórico, literário (análise da forma poética), textural, elementos de interpretação (dinâmica, timbre, métrica, conceitos de pessoas poéticas), linguagem musical (harmonia, tonalidade, melodia, motivo musical, rítmica, métrica, forma) e musicalização de poesias
Abstract: The subject of this work is the art songs for voice and piano of the Brazilian composer Estércio Marquez Cunha (1941). They were composed from 1968 to 2012 and they encompass twelve songs and two cycles, with three and four works each, totalizing nineteen pieces at all. These works were analyzed based on the principles of Stein/Spillman (1996). This theoretical reference was chosen to focus the performance of the songs, because of its approach on the interpretation of the German Lied, in which the authors propose a study of History, Literature (analysis of poetical form), texture, elements of interpretation (dynamics, tone colour, metrics, poetic personas), musical language (harmony, tonality, melody, musical motive, rhythm, metric, form) and musicalization of the poetry. We know that, even though the repertoire of German and Brazilian music are different, the way Stein/Spillman work with them, the analytical parameters ¿ poetic and musical ones ¿ are relevant to the discussion on the artsongs by Cunha
Doutorado
Praticas Interpretativas
Doutora em Música
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Zelvyte, Giusiano Indre Eugenija. "Les tendances pianistiques des années 1985-2010 à travers trois concours internationaux : Chopin de Varsovie, Long-Thibaud de Paris et Tchaïkovski de Moscou." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040003.
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Cette thèse permet de mettre en lumière divers aspects de l’interprétation pianistique contemporaine. Pour cela, trois concours internationaux ont été choisis – Chopin de Varsovie, Long-Thibaud de Paris et Tchaïkovski de Moscou – de façon à exposer au mieux, à travers des épreuves de ce genre, la situation de l’art pianistique à une échelle mondiale sous des rapports divers : social et historique en relation avec chacune de ces compétitions, technique dans la chaîne compositeur-interprète-auditeur, et artistique sur la base de l’étude des interprétations des finalistes durant la période 1985-2010, sans oublier les enjeux de l’évaluation dans ce cadre.L’analyse générale de la situation actuelle a mis en évidence l’utilité de ces concours dans la vie musicale contemporaine. Si les valeurs esthétiques du monde actuel ne stimulent pas réellement la formation de personnalités d’une grande force et d’une réelle profondeur, un certain nombre de signes positifs semblent toutefois se dégager de ces manifestationsThe scientific work reveals various aspects of contemporary piano performance. Three international piano competitions were chosen – Chopin in Warsaw, Long-Thibaud in Paris and Tchaikovsky in Moscow – because it is through events like these ones that is exposed to its best the situation of pianistic art on a global scale. Given the complexity of our questions, we have shared our research in several areas: social and historical related to each analyzed musical competition, technical according to the chain composer-performer-listener, and artistic based on the study of interpretations of the finalists during the period 1985-2010, preceded by issues evaluation in this context.The general analysis of the current situation has highlighted the need of these competitions in contemporary musical life. If the aesthetic values of the modern world do not actually stimulate the formation of deep and strong personalities, a number of positive signs, however, seem to emerge from these events
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Cotton, André. "Virtuosité des pianistes de jazz américains, de Jelly Roll Morton à Brad Mehldau : histoire parallèle et héritage du Romantisme européen." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE2071/document.
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L’objectif de cette thèse est de s’interroger sur la prégnance éventuelle de paradigmes romantiques chez les pianistes improvisateurs solistes issus du jazz. Du modèle de la virtuosité soliste au style et plus généralement à l’esprit romantique,est-il possible de déceler, chez eux, une part d’héritage assumée ou non ? Concernant des pianistes aussi différents que les virtuoses de la musique savante romantique du XIXe siècle en Europe et les pianistes de jazz américains du siècle suivant, le terme d’héritage pourrait sembler inadapté voire abusif. Or il ne faut pas sous-estimer l’apport de la musique savante écrite aux musiques improvisées, en particulier dans le domaine pianistique. Tous les pianistes improvisateurs se sont plus ou moins trouvés confrontés à des pages extraites des répertoires classique, romantique ou contemporain, tout au moins pendant leurs études pianistiques qui pour certains, ont été extrêmement approfondies. Peut-on discerner dans le jeu de certains virtuoses les influences des deux grands génies romantiques au caractère si différent que furent Chopin l’intimiste et Liszt l’extraverti au travers de cette virtus latine reliant habileté et transcendance, apanage du héros prométhéen qui vole le feu pour l’offrir à l’humanité ? La musique improvisée est fréquemment une entité de partage, le récital de soliste restant l’exception. C’est à l’occasion de ce moment privilégié que les rares élus, dont la relation à l’instrument sur lequel ils jouent est à chaque fois nouvelle, accèdent au statut de héros en valorisant énergie, action et savoir humain. De Jelly Roll Morton, autoproclamé « inventeur » du jazz à l’improvisation totale de l’ère post-bop, en passant par les pianistes de stride et Art Tatum, la représentation du romantisme revêt des aspects protéiformes allant de l’émancipation des aspects fonctionnels liés à la danse aux préoccupations programmatiques d’un Brad Mehldau se remémorant SchumannThe aim of this thesis is to question the possible impact of romantic paradigms for soloist improviser pianists coming from the jazz scene. From the soloist virtuosity to the style and more generally to the romantic spirit, is it possible to find in their work a certain heritage, whether it is overtly admitted or not? However, 19th century classical music virtuosi and jazz pianists from the following century are so different that it seems natural to wonder whether the word ‘heritage’ is the proper one to use. Yet, the contribution of written classical music to improvised music pieces shouldn’t be overlooked, especially when examining thepianistic domain. Every improviser pianists have been faced with pieces from the classical, romantic or contemporary repertoire to some extent, at the very least during their piano studies which, for some of them, were extremely advanced. Through the Latin virtus connecting dexterity and transcendence – the prerogative of the Promethean hero stealing fire as a present for humanity - could it be possible to find in the playing of certain virtuosi the influence of the two great romantic geniuses, Chopin the intimist and Liszt the extrovert, whose characters were so different? Improvised music is frequently a moment of sharing (soloists’ recitals being the exception) and it is the moment when a few chosen ones can reach the status of heroes, emphasizing energy, action and human knowledge. From Jelly Roll Morton, self-proclaimed “inventor” of jazz music, the stride pianists and Art Tatum,to the complete improvisation of the post-bop era, romanticism is represented through many different protean aspects such as the emancipation of functional aspects connected to dance or again the programmatic concerns of a certain Brad Mehldau, reminiscing about Schumann
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Kaddour, Fériel. "Le geste du pianiste : étude sur le jeu musicien." Lille 3, 2009. http://www.theses.fr/2009LIL30002.
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Cette étude s'ouvre sur une observation progressive du geste musicien (chapitre I). Images, films, écrits d'interprètes, écrits musicologiques, expériences de répétitions sont convoqués pour en faire apparaître les principaux enjeux : relation à l'écoute, au corps, au temps, et à la forme. Ce premier chapitre se clôt sur une interrogation : où les geste prend-il son appui ? Sur les techniques du corps, qui nouent l'œuvre musicale à la présence historicisée des gestes ? Sur la partition, qui assigne au geste son exécution ? De là, deux pistes s'ouvrent. L'une entraîne la compréhension du geste vers l'histoire des techniques (chapitre II), l'autre tentera de penser la geste à sa source abstraite : le code notationnel des partitions. Un dernier chapitre (IV) nous permet de reconsidérer la relation du geste à l'œuvre. Elle se décrit comme relation immanente : jeu des signes à tenir ensemble, dans un devenir partagé avec celui de la forme. Par là, on repense les structures qui encadrent le jeu musicien : le travail, l'instrument, l'enregistrementThe following study begins with a progressive observation of the musical gesture (chapter I). Pictures, movies, writings from interpreters, musicological writings and experiences of rehearsals are called forth to make the main issues emerge : the connection with the listening process, with the body, with time, and with form. The first chapter ends with a question : what does gesture lean on ? Is it on body techniques, that bind a musical masterpiece to a historicized presence of gestures ? Is it on the score, that assigns the execution to the gesture ? Two paths can be taken at this point. The first one brings the gesture and its understanding closer to the history of techniques (chapter II). The second one attempts to bring down movement to its abstract source : the notation code on the scores (chapter III). The last chapter (IV) wishes to reconsider the connection between gesture and the work of art. It is described as immanent : holding together a set of signs, in a a future shared with the form. The structures that frame the musical play are rethought : the work, the instrument, the recording
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Kim, Jinie. "Physical problems prevalent among pianists /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/11260.
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Tapanen, Eeva. "Pianist med små händer." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2803.
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Hur går det att spela på en modern flygel, vars tangenter med tiden blivit bredare och tyngre, om man inte har Rachmaninovs, Liszts eller ens Chopins spännvidd? Den här uppsatsen avhandlar ämnet ”Små händer i pianospel”. Syftet med följande uppsats är att undersöka vad den med ringa spännvidd kan göra för att optimalt kunna använda de verktyg ̶ fingrar, händer och hela kroppen ̶ som hon eller han är född med. Vid början av detta arbete, fanns det överraskande lite lösningsinriktat material tillgängligt för pianister med små händer. Det har därför känts viktigt att grundläggande diskutera och framhäva ämnets olika sidor rörande såväl historia, problematik som möjliga lösningar. Små händer och korta fingrar ställer stora krav på en pianist inom flera olika delområden. Att övervinna de utmaningar som pianister med små händer konfronterar handlar inte enbart om arbetet vid pianot utan även det arbete som utförs med den egna kroppen. Efter att fysiologiska hörnstenar står på en fast grund, rör det sig företrädesvis om sakkunskap. I vilket fall behöver en ringa spännvidd inte kännas som en stor begränsning när det gäller valet av repertoar; pianorepertoaren är väldigt bred. Därtill finns det speltekniska ”strategier” som den med små händer kan utnyttja för att kompensera sin korta spännvidd. Om en pianist, trots stora ackord och långa avstånd på tangenterna, på olika sätt lär sig bevara handens neutrala position, erbjuder denne sin kropp och hela systemet en nyckel till hälsosamt och kraftigt pianospel.
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Yeh, Tsu-Hsin. "Sextet with Soloistic Pianist." Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1366888355.
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Miranda, Simone de. "A formação do pianista no curso de bacharelado em piano da Universidade Federal de Goiás." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/4740.
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This dissertation aims to verify how does the formation of the pianist in the course of Bachelor of Music Qualification in Instrument - Piano, the School of Music and Performing Arts at the Federal University of Goiás (EMAC/UFG), keeping in view the demands of the current job market. For this, some issues that permeate the main theme have been described, including: the contemporary musician labor market, the various Pianist possibilities of action and competencies/skills, the objectives of higher education in music and some specific information about course in question, such as: history of the institution, physical space, Political Pedagogical Project, faculty evaluation to enter the course and graduate's profile. In addition to the literature was carried out field research, with questionnaires and observation of some subjects in order to see how the musical education of these students happens in practice throughout the course. This step included the participation of teachers and students of Bachelor of Music Qualification in Instrument - Piano EMAC/UFG. It was found that the labor market for the pianist is increasingly expanded, since these professionals can come to work in different ways and many different contexts to be in as a performer and/or as a teacher. In addition, it was observed that the course in question is also aware of demand in this market, however some changes in the performance of the student and the teacher will be necessary for the proposal of the Pedagogical Project politico does occur.
Esta dissertação de mestrado tem por objetivo verificar como ocorre a formação do pianista no curso de Bacharelado em Música Habilitação em Instrumento – Piano, da Escola de Música e Artes Cênicas da Universidade Federal de Goiás (EMAC/UFG), tendo em vista as demandas do mercado de trabalho atual. Para isso, alguns assuntos que permeiam o tema principal foram explanados, entre eles: o mercado de trabalho do músico contemporâneo, as diversas possibilidades de atuação do pianista e suas competências/habilidades, os objetivos do ensino superior em música e algumas informações específicas sobre o curso em questão, tais como: história da instituição, espaço físico, Projeto Político Pedagógico, corpo docente, avaliação para ingressar no curso e perfil do egresso. Além do levantamento bibliográfico foi realizada uma pesquisa de campo, com a aplicação de questionários e a observação de algumas disciplinas, com o intuito de verificar como a formação musical destes alunos acontece na prática ao longo do curso. Tal etapa contou com a participação de professores e alunos do curso de Bacharelado em Música Habilitação em Instrumento - Piano da EMAC/UFG. Foi possível constatar que o mercado de trabalho para o pianista está cada vez mais expandido, já que este profissional pode vir a atuar de diversas maneiras e nos mais diversos contextos, seja como performer e/ou como professor. Além disso, observou-se que o curso em questão também está atento a demanda deste mercado, entretanto, algumas mudanças na atuação do aluno e do professor serão necessárias para que a proposta do Projeto Político Pedagógico ocorra de fato.
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Herrojo, Ruiz María del Carmen. "Electrophysiological Correlates of Motor Control and Error-Monitoring in Healthy Pianists and Pianists with Musician's Dystonia." Hannover Bibliothek der Tierärztlichen Hochschule Hannover, 2009. http://d-nb.info/1000116883/34.
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Roldán, Sánchez José David. "Luis Carlos Figueroa (1923) : parcours d'un compositeur et pianiste colombien." Paris, EHESS, 2016. http://www.theses.fr/2016EHES0118.
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Le XXe siècle en Amérique Latine est marqué par une volonté des compositeurs de trouver des voix qui puissent refléter l'identité des jeunes nations américaines en essayant, en même temps, de se détacher du continent européen. Paradoxalement, cette quête se fera à travers d'une amalgame de traditions folkloriques et autochtones, et de traditions des musiques savantes européennes. L'œuvre musicale de Luis Carlos Figueroa (né à Cali, Colombie, en 1923) est la « colonne vertébrale » de cette thèse. Dans la deuxième moitié du XXe siècle, il peut être considéré comme le successeur de son professeur le compositeur et pianiste Antonio Maria Valencia (1902-1952). En suivant ses conseils, Figueroa séjourna à Paris entre 1950 et 1959, pour compléter sa formation musicale. Ensuite, il s'installa définitivement à Cali et continua l'action culturelle initiée par son mentor. Notre travail de recherche, caractérisé par son interdisciplinarité, se divise en deux axes de travail : d'une part, un travail d'analyse d'un parcours biographique, où on mobilise des notions et des outils d'études propres aux sciences sociales, pour comprendre le développement d'une carrière de compositeur et de pianiste en relation aux contextes sociaux, culturels et politiques dans lequel ce parcours se développe. D'autre part, un travail de redécouverte, de revalorisation et d'analyse musicale de l'œuvre de Luis Carlos Figueroa, pour comprendre son langage musical, son évolution et les différents styles et influences qu'on trouve dans son œuvreThe Twentieth Century in Latin America is marked by a willingness of composers to find voices that can reflect the identity of the young American nations in trying, at the same time, to detacl themselves from the European continent. Paradoxically, this quest will be through a mix of folk traditions and and traditions of Western classical music. The musical work of Luis Carlos Figueroa (Born in Cali, Colombia, in 1923) is the "vertébral column" of this thesis. In the second half of the Twentieth Century, he can be regarded as the successor of his profesor, the composer and pianist Antonio Maria Valencia (1902-1952). Following his advice, Figueroa lived in Paris between 1950 and 1959, to complète his musical training; and then he settled permanently in Cali and continued the cultural action initiated by his mentor. Our research work, characterized by its interdisciplinarity, is divided in two working axes: On one hand, a work of analysis of a biography, where we mobilize some concepts and tools from the social sciences, to understand the development of a composer and pianist career in relation to his many contexts (social, cultural and political). On the other hand, a work of rediscovery and musical analysis of the work of Luis Carlos Figueroa, to understand his musical language, its évolution and the différent styles and influences that can be found in his work
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Tsekova-Zapponi, Daniela. "Les interprètes face à la Sonate en si mineur de Liszt." Thesis, Strasbourg, 2015. http://www.theses.fr/2015STRAC014/document.
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Notre recherche porte sur une analyse comparative des interprétations de la Sonate en si mineur de Liszt. Nous avons analysé vingt-cinq enregistrements de pianistes regroupés en cinq écoles :hongroise, française, russe, américaine et allemande. Nous avons comparé les déviations des interprètes par rapport à la partition et les divergences entre les différentes interprétations, en sélectionnant sept paramètres qui nous ont permis de caractériser chaque interprétation. Une double analyse a été effectuée : « à l'oreille » et à l'aide d'un logiciel informatique. Notre recherche a démontré l'importance de plusieurs facteurs d'influence complémentaires : l'enseignement reçu, l'époque où l'on vit et l'on crée, le tempérament et l'individualité artistique. Au terme de notre recherche, nous avons démontré l'existence de spécificités qui se manifestent au sein de chacune des écoles pianistiques nationales, et également de particularités caractérisant le mode de jeu des différentes générationsOur research focuses a comparative analysis of the performances of Liszt's Sonata in b minor. We analysed twenty-five recordings by pianists grouped into five piano schools : Hungarian, French, Russian, American and German. We compared the deviations of the performers from the score and the differences between the individual performances, based on a selection of seven parameters that allowed us to characterise each of them. A double analysis was made: "by ear" and with the aid of acomputer. Our research has shown the importance of several complementary factors of influence : education, the period during which the pianists lived and created, the artists' temperaments and their artistic individualities. At the end of our research, we demonstrated the existence of specific features within each of the national piano schools, and also of some features that characterise the performing style of each generation
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Sorley, Rebecca McKinney. "Dorothy Munger : pianist and pedagogue." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1026703.
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Since 1939, Dorothy Munger's career has encompassed many roles-piano teacher, accompanist, soloist and ensemble performer. Munger's early piano training included study with Karin Dayas, Rosina and Josef Lhevinne, and Guy Maier. Munger's professional performing career has included work with the Indianapolis Symphony Orchestra, solo concerto performances with orchestras around the Midwest, and accompanying for members of the Metropolitan Opera in solo recitals. Honors bestowed upon Dorothy Munger include an endowed chair with the Indianapolis Symphony Orchestra, being named a Steinway Artist, and having a performance hall named for her at Meridian Music Company in Indianapolis.Munger has served on the faculties of Jordan College of Fine Arts (now part of Butler University) and Indiana Central College (currently University of Indianapolis). Her teaching career became internationally recognized when she spoke at two European Piano Teachers Association annual conventions. At these events Munger gave workshops discussing her technique of playing with relaxed wrists and forearms.Munger students learn to keep their wrists relaxed by using motions which relate to the rhythm of the music. These motions allow the fingers to work without interference from tension in the shoulders, forearms, or wrists. Forte passages are performed by using the weight of the body to its full capacity without "pushing" the keys. The use of the diminished seventh chord helps teach the student how to create a full chordal tone while strengthening every finger. Diminished seventh exercises include chord jumps, inversions, and arpeggiated patterns. Using wrist motions during scale practice keeps the passage steady along with keeping the arm relaxed.Munger students have excelled as performers and teachers using these relaxed wrist and arm techniques. Many pianists have come to Munger with physical problems due to tensions while practicing and performing. Dorothy Munger works with all students individually to teach them the basics for performing to their capacity without injury. This information may provide a resource for others studying the methods of successful teachers.School of Music
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Souchaud, Alexandrine. "Les pianistes amateurs en concours : mises à l’épreuve pour une reconnaissance ?" Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040090/document.
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Dans une volonté de comprendre le sens des pratiques instrumentales au fil du quotidien d’adultes musiciens amateurs, cette thèse propose d’analyser l’expérience de pianistes, qui, parallèlement à leurs vies professionnelles et privées, ont décidé un jour de se lancer un défi : passer un concours de musique. De leurs aspirations à prendre part à ce type de manifestation à leur présentation/prestation devant les jurys en passant par la phase de préparation au concours, nous inviterons le lecteur à suivre le cheminement et l’engagement de ces musiciens amateurs tout au long de cette aventure musicale singulière. Nous verrons en quoi la participation au concours prend la forme d’une épreuve multiple : sociale, personnelle et musicale et envisagerons cette épreuve comme un moyen d’accéder à une reconnaissance, qu’il s’agisse d’une reconnaissance des autres ou d’une reconnaissance de soiThis thesis intends to analyse the experience of piano players who, in parallel with their work and private lives have decided to get involved in a very particular challenge: take part in a music competition. We will try to understand why adults, amateur musicians, practise a musical instrument on an every day life basis and what it represents for them. The reader will be then invited to follow the evolution and commitment of these amateur musicians all the way through this unique musical adventure. That is, starting from their desires to get into this kind of event up to their presentation and performance in front of examiners. We will see how taking such a competitive examination can be a multiple ordeal on social, individual and musical levels. We will also view this ordeal as a means to achieve a recognition by other people and at the same time a personal recognition
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De, Souza-Dupuy Lucinéia. "La voix augmentée : variations psychanalytiques sur la pratique pianistique." Thesis, Université Côte d'Azur (ComUE), 2018. http://www.theses.fr/2018AZUR2036.
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Ce travail de thèse cherche à s’interroger sur la pratique du pianiste soliste, interprète de la musique dite « pure » ou absolue. Nous nous appuyons pour cela sur plusieurs réflexions psychanalytiques à propos de la musique. En psychanalyse, la musique vocale ou instrumentale est abordée à partir de l’objet de la « pulsion invocante » qu’est la voix. Nous concevons la « voix instrumentale » produite par le pianiste et son instrument comme étant une prothèse de la voix chantée humaine. Nous nous appuyons également sur la notion d’« humain augmenté », apparue dans les années 1990, pour faire l’hypothèse que la musique pour piano est une voix augmentée. L’objectif du pianiste est de pouvoir s’exprimer à travers ce que nous avons nommé la « voix prothétique augmentée ». Pour s’exprimer à travers cette « voix prothétique augmentée », le pianiste doit d’abord faire transcender son propre corps, car le support de cette voix est ses gestes corporelsThis thesis seeks to question the practice of a piano soloist – the interpreter of so-called “pure” or absolute music – drawing on several psychoanalytical reflections about music. In psychoanalysis, vocal or instrumental music is approached from the object of the “invocative impulse” – the voice. We perceive the “instrumental voice”, produced by the pianist and his or her instrument, as being a prosthesis of the singing human voice. We also draw on the notion of the “augmented human”, which first appeared in the 1990s, to form the hypothesis that music for piano is itself an augmented voice. The objective of the pianist is to be able to express him or herself through what we have termed the “prosthetic augmented voice”. To express him or herself through this “prosthetic augmented voice”, the pianist has to, first of all, transcend his or her own body. This is because the support of this voice is in fact his or her own body gestures
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Li, Tianrong. "The Use of Pianistic and Non-Pianistic Imagery in Solo Piano Performance: The Case of Chopin’s Ballade No. 1." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/38304.
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This study presents a framework for categorization of the imagery used in solo piano practice. The framework sorts imagery into two large category: pianistic and non-pianistic and further subdivides into three groups: auditory, kinesthetic, and visual. Given such a range of function for imagery, such as a “view” of the score, instrument, or the space in which performance takes place, a number of terms have emerged to describe imagery within musical practice, terms such as mental rehearsal, mental practice, aural or internal representations, inner hearing, visualization, and finger practice. My goal for this study is not only to investigate the potential of imagery and to devise a framework in which such terms could be defined with more consistency across the whole scope of piano performance studies; but also to apply such findings by suggesting ways in which the framework could be used in practice. With an understanding of imagery and the benefits it may bring, this study suggests paths for further exploration, paths that can impact how music educators might assist music enhance expression, music appreciation and learning, as well as technique in performance practice.
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Hominick, Ian G. "Sigismund Thalberg (1812-1871), forgotten piano virtuoso : his career and musical contributions." Connect to resource, 1991. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1148492325.
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Wang, Zhixiong. "L'art de la fugue : une etude psychopathologique du pianiste glenn gould." Lyon 1, 1990. http://www.theses.fr/1990LYO1M053.
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Davidson-Kelly, Kirsteen Mary. "Mental imagery rehearsal strategies for expert pianists." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/14215.
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For pianists working within the western art music tradition, the ability to perform a large and complex repertoire from memory is almost a prerequisite for a successful career. Memorising and maintaining this repertoire requires considerable practice and can lead to physical overuse syndromes. Additionally, automated motor memory developed via physical practice is not always sufficient for secure recall, often leading to performance anxiety. It is important therefore for professionals to identify optimal practice strategies, and mental rehearsal has been widely advocated as a potential means of enhancing memorisation and performance fluency while at the same time avoiding physical overuse. The results of three studies that examined mental imagery rehearsal by expert pianists, adopting a mixed methods approach, are presented in this thesis. The first was a participant observation study of a course at which eleven advanced pianists learned to use a memorisation technique incorporating deliberate imagery; the study aimed to describe the teaching and learning of specific imagery techniques and to examine the potential advantages and drawbacks of this approach. The second study was an online questionnaire survey of thirty six piano students at UK conservatoires designed to investigate the teaching and implementation of mental rehearsal techniques at advanced training levels; the survey found that despite a widespread awareness of imagery rehearsal as a potentially effective strategy, training in specific techniques was not consistently available, and recommended mental practice strategies were adopted much less consistently than strategies involving physical practice. Finally, an fMRI study of fourteen expert pianists aimed to determine the neural correlates of imagery rehearsal and simulated piano playing. Differences observed in brain activation between tasks suggested increased involvement of working memory processes during mental imagery. The thesis concludes that mental imagery rehearsal techniques are acquired skills that can be taught and improved over time and which have specific advantages over motor learning, but that more pedagogical training is needed in order for these techniques to become fully effective and widely adopted.
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Ciurana, Moñino María Rosa. "Aspectos físicos y psicológicos del músico pianista." Doctoral thesis, Universidad de Alicante, 2016. http://hdl.handle.net/10045/56431.
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Hartwig, Nathalia Lange. "A inserção do salão essenfelder no cenário musical do Rio de Janeiro (1931-1940) : o espaço e seus personagens." reponame:Repositório Institucional da UFPR, 2017. http://hdl.handle.net/1884/47483.
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Orientador : Profa. Dra. Zélia ChuekeDissertação (mestrado) - Universidade Federal do Paraná, Setor de Artes, Comunicação e Design, Programa de Pós-Graduação em Música. Defesa: Curitiba, 06/03/2017
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Resumo: O Salão Essenfelder era um espaço dedicado a apresentações musicais no Rio de Janeiro, fundado pelo fotógrafo Nicolas Alagemovits dentro de seu estúdio, conhecido como Studio Nicolas. Esse espaço ganhou destaque por abrigar diversas manifestações artísticas e, especificamente no âmbito musical, por oferecer programação variada que incluía concertos, conferências e palestras com músicos de renome nacional e internacional. Alguns deles foram fotografados por Nicolas que, além de fotógrafo, era pianista e compositor. Ressalta-se também a sua atuação como incentivador de cultura através da associação artística criada por ele com esse objetivo, o Movimento Artístico Brasileiro. As informações sobre as apresentações podem ser encontradas de forma fragmentada através da imprensa musical e de programas de concerto. Tendo como foco as apresentações musicais com a participação de pianistas, percebeu-se que estes se apresentavam no Salão Essenfelder e em outros locais de prestígio do Rio de Janeiro. Portanto, o objetivo do presente trabalho é demonstrar a inserção do Salão Essenfelder no cenário artístico do Rio de Janeiro no período entre 1931 e 1940 (respectivamente o ano de sua fundação e o da morte de seu fundador) através das apresentações musicais com a participação de pianistas. A metodologia adotada inclui pesquisa documental seguida de análise documental e de conteúdo. Tendo como fonte principal a imprensa musical, a pesquisa revela a importância do papel desempenhado por este fotógrafo de origem romena, com sua personalidade artística e prestígio, e pelos pianistas que se apresentaram em seu Salão, no processo de inserção deste estabelecimento na vida musical do Rio de Janeiro. Palavras-chave: Salão Essenfelder; Nicolas Alagemovits; Movimento Artístico Brasileiro; Pianos Essenfelder; pianistas brasileiros.
Abstract: The Salão Essenfelder was a space dedicated to musical performances in Rio de Janeiro, founded by photographer Nicolas Alagemovits in his studio, known as Studio Nicolas. This space gained prominence for hosting various artistic events and, specifically in the musical area, for offering varied programming that included concerts, conferences and lectures with musicians of national and international renown. Some of them were photographed by Nicolas who, in addition to being a photographer, was a pianist and composer. He also emphasizes his role as an incentive for culture through the artistic association he created for this purpose, the Movimento Artístico Brasileiro. Information about presentations can be found in a fragmented way through the music press and concert programs. Focusing on the musical presentations with the participation of pianists, it was noticed that these appeared in the Salão Essenfelder and other prestigious places of Rio de Janeiro. Therefore, the objective of this work is to demonstrate the insertion of the Salão Essenfelder in the artistic scene of Rio de Janeiro in the period between 1931 and 1940 (respectively the year of its foundation and the death of its founder) through the musical presentations with the participation of pianists. The methodology adopted includes documentary research followed by documentary and content analysis. Having as main source the musical press, the research reveals the importance of the role played by this photographer of Romanian origin, with his artistic personality and prestige, and by the pianists who presented themselves in his Salão Essenfelder, in the process of insertion of this establishment in the musical life of the Rio de Janeiro. Keywords: Salão Essenfelder; Nicolas Alagemovits; Movimento Artístico Brasileiro; Essenfelder Pianos; Brazilian pianists.
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Larsson, Carina. "Sex pianisters uppfattning om a prima vista spel." Thesis, Karlstad University, Division for Ingesund College of Music, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-1667.
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The main purpose of this study is to identify and compare classical pianists´ understanding of sight-reading. Six pianists were interviewed, four professionals and two students. All of them concidered good sight-reading ability to be an advantage, especially when rehearsing, but most important is to be a good musician performing music thoroughly gone through.
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Larsson, Carina. "Sex pianisters uppfattningar om a prima vista-spel." Thesis, Karlstad University, Division for Ingesund College of Music, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-3076.
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The main purpose of this study is to identify and compare classical pianists' understanding of sight-reading. Six pianists were interviewed, four professionals and two students. All of them concidered good sight-reading ability to be an advantage, especially when rehearsing, but most important is to be a good musicians performing music thoroghly gone through.
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Axelsson, Andreas. "Pianisters tekniska utveckling : vägen till ett eftersträvat uttryck." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1796.
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She, Oliver L. "Exploring York Bowen's Twelve Studies: A pianist's perspective." Thesis, Griffith University, 2022. http://hdl.handle.net/10072/415360.
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York Bowen was one of the most prolific English composers of the early twentieth century. As an accomplished pianist, he wrote a large body of works for the piano. In the years following the First World War, however, interest towards his music declined. Consequently, his music became neglected over much of the twentieth century. The last thirty years has witnessed a revival of his music to some extent, however many of his compositions remain unknown to the musical public. This research project investigates Bowen’s Twelve Studies, Op. 46 – a set of works that remain largely unknown to the musical public. It is situated within the realm of artistic research, and presents my personal perspective on preparing this repertoire for performance. The product of this research is made up of two components. The first component consists of a portfolio of video recordings containing two complete performances of the Twelve Studies – one undertaken during a recording session and the other as part of a live recital. The second component is this exegesis, which primarily illuminates the issues, strategies, and insights that I obtained through the process of preparing these Studies for performance, and provides some brief reflections on my playing in the recordings. Through iterative experimentation within practice, assisted by a range of sources, my personal insights and discoveries relating to the process of preparing these works are revealed and presented. The sources encompassed the score of the Twelve Studies, Bowen’s writings on piano technique and pedalling, various other literature on piano playing, and the teachings of English piano pedagogue Tobias Matthay in particular, the latter of which bear close relationship to these Studies and their conception. While making a lighter contribution, information derived from a series of semi-structured interviews with selected exponents of Bowen’s piano music provided certain useful insights that fed into the research project. From a personal view, the pianistic value of the Twelve Studies along with their artistic qualities makes them appealing to pianists as study and performance repertoire. As the pioneering scholarly study into this repertoire, and the first video documentation of these Studies in performance, this research project as a whole generates new scholarly knowledge and artistic enquiry that may be of relevance to pianists, piano pedagogues, and scholars who wish to explore this repertoire. Furthermore, it contributes to the recognition and ongoing revival of Bowen’s music, and expands the frontier of explored piano repertoire.Thesis (Professional Doctorate)
Doctor of Musical Arts (DMA)
Queensland Conservatorium
Arts, Education and Law
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Maltais, Hélène. "Une étude exploratoire des stratégies régulatrices de la performance musicale chez quatre pianistes experts." Sherbrooke : Université de Sherbrooke, 2003.
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Engelbrecht, Petro Marietha. "Memorisation : an approach for the pianist." Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52333.
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Thesis (MMus) -- Stellenbosch University, 2001.ENGLISH ABSTRACT: Two of the most frequently reported performance problems amongst musicians are memorisation and performance anxiety. For the purposes of this study, memorisation is investigated regarding its importance in a musician's life; different faculties of memorisation are discussed; and practice methods are proposed providing the memoriser with maximum memory security and confidence. Performance anxiety, as a corollary of memory insecurity, is investigated regarding its symptoms, causes, and possible cures. It was found that memory insecurity and extreme performance anxiety result because of insufficient or inadequate practice and/or a lack of trust in the musician's own abilities. Musicians should prepare the best they can and then, during performance, they should put trust in the preparation that has been done. A healthy self-esteem, as well as good health, are requisites for success as a performer. It was also found that performers should concentrate less on the feat of technique and memory, and more on making music.
AFRIKAANSE OPSOMMING: Memorisasie en verhoogvrees is twee van die grootste probleme wat deur uitvoerende musici aangemeld word. Die belangrikheid van memorisasie word ondersoek; die verskillende faktore daarby betrokke word bespreek; en oefenmetodes word voorgestelom die memoriseerder te vergewis van maksimum geheue-sekerheid. Verhoogvrees, as 'n uitvloeisel van memorisasie, word ondersoek ten opsigte van sy simptome, oorsake en moontlike oplossings. Daar is bevind dat onsekerheid betreffende die geheue sowel as ekstreme verhoogvrees die gevolg is van onvoldoende voorbereiding en/of 'n gebrek aan selfvertroue in die musikant se eie vermoëns. Musici moet bloot na die beste van hul vermoëns oefen; tydens die optrede moet daar dan vertroue geplaas word in die voorbereiding wat getref is. 'n Gesonde selfbeeld, saam met goeie gesondheid, is vereistes vir 'n uitvoerende kunstenaar om suksesvol te kan wees. Daar is ook bevind dat uitvoerders minder op die oorwinning van tegniek en geheue moet konsentreer, maar wel meer daarop moet konsentreer om musiek te maak.
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Saiki, Michiko. "The Vocalizing Pianist: Embodying Gendered Performance." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1493714783458806.
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Pettersson, Annika, and Anna-Lena Åkerstrand. "Utveckling av ett frågeformulär för bestämning av besvärsprevalensen av muskuloskeletala besvär hos professionella pianister : Identifiering av frisk- och riskfaktorer." Thesis, KTH, Skolan för teknik och hälsa (STH), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-25283.
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Problemställning: Muskuloskeletala besvär hos professionella pianister (Playing-related musculoskeletal disorders - PRMDs) är ett vanligt förekommande problem och besvären är oftast smärtsamma, långvariga och funktionsnedsättande. Pianister drabbas i hög grad av skador i övre extremiteterna. Tidigare studier efterfrågar en gemensam konsensus med tydliga definitioner över de riskfaktorer som ingår i PRMDs hos pianister. Det rekommenderas valida och reliabla mätinstrument samt prospektiva studier för att säkerställa prevalensen. Syfte: Syftet var att konstruera ett frågeformulär på engelska för användning att kunna identifiera prevalensen av PRMDs och dess frisk- respektive riskfaktorer hos professionella pianister i Sverige, Nederländerna och Grekland. Metod: För att säkerställa att alla relevanta riskområden skulle inkluderas i frågeformuläret genomfördes intervjuer med tre experter inom området och intervjuerna analyserades sedan med innehållsanalys. I nästa steg konstruerades ett frågeformulär på engelska och frågorna som skapades baserades dels på intervjudata och dels på information litteraturstudier. Frågor och områden hämtades från validerade och tidigare kända frågeformulär och nya konstruerades. Frågeformuläret pilottestades sedan på fyra respondenter och modifieringar genomfördes. Resultat: Tio områden identifierades utifrån innehållsanalysen. Resultatet överrensstämde med tidigare studier när det gällde flertalet riskområden. Tre områden Prevention, Arbetsmarknad - Ekonomi och No pain No gain kunde delvis och under olika benämningar återfinnas i den tidigare litteraturen. Mästare – Lärling och Organisation var helt nya. Fem områden som tidigare nämnts var Övningsrutin, Psykosocialt, Kroppskännedom, Diagnos och Kroppskonstitution-könsskillnader- ärftlighet. Frågor som utformades själva av författarna angående de nya områdena gav inte några större synpunkter vid pilottestning. Slutsats: Nytillkomna och tidigare nämnda frisk- och riskfaktorer för bestämning av PRMDs och dess besvärsprevalens gällande professionella pianister finns nu utvecklade i ett frågeformulär på engelska där helhetsperspektivet betonas djupare än tidigare. Fortsatt utveckling kvarstår och de ingående frisk- och riskfaktorerna bör undersökas närmare.Presentation and aim: Playing-related musculoskeletal disorders (PRMDs) are well known problems among instrumentalists and is the cause of pain and dysfunction. Professional pianists often suffer from injury in the upper extremities. Previous studies recommend a consensus regarding risk factors associated with PRMDs in pianists. Prospective studies with valid and reliable instruments are suggested in order to examine the prevalence. Aim: In order to identify health- respective risk factors and prevalence among pianists in Greece, Netherlands and Sweden, the aim with this master thesis was to design a questionnaire in English. Method: To make it possible to include all relevant areas in the questionnaire the authors made interviews with experts in the field. The interviews were analysed with content analysis. The questions in the questionnaire were based on data from literature studies and from the interviews. Also by retrieving valid and reliable well known questionnaires, new questions where developed by the authors themselves. Eventually the questionnaire was validated in a pilotstudy. Result: The result from the content analysis corresponded with previous studies regarding most of the problem areas. Three areas Prevention, Labour market - Economy and No pain No gain were in some aspect corresponding with the literature. Two areas were completely new Master – Apprentice and Organisation. Five areas where previously identified Practice routine, Psycho social, Body awareness, Diagnosis and Heredity – Body constitution – Sex differences. Other questions made by the authors where not commented in the pilot test. Conclusion: A questionnaire for identification of health and risk factors in PRMDs and for determination of prevalence in professional pianists with a deeper multidimensional perspective was designed. Further development is needed and the health and risk factors should be more extensively examined.
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Thompson, Brian. "Calixa Lavallée (1842-1891) : a critical biography /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk:8888/cgi-bin/hkuto%5Ftoc%5Fpdf?B22359680.
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Silva, Saulo Gama. "A música dos pianistas de Salvador: sete compositores e suas práticas musicais." reponame:Repositório Institucional da UFBA, 2008. http://www.repositorio.ufba.br/ri/handle/ri/9158.
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Esse trabalho tem como objetivo geral investigar e contextualizar o fenômeno da criação musical por parte de pianistas compositores da cidade de Salvador (Ba) na atualidade. Como objetivo específico, visa publicar os seus depoimentos sobre a arte de tocar e compor música para piano e os seus perfis profissionais e artísticos. Visa ainda situar o fenômeno historicamente, ao abordar práticas referentes ao piano durante o século XIX, período em que o instrumento alcançou boa parte do mundo, incluindo a cidade de Salvador.A primeira parte da dissertação consiste na contextualização histórica realizada. Esta se inicia pela cultura pianística romântica européia, dirige-se à América, ao Brasil e finalmente à Salvador da mesma época. A segunda parte expõe o trabalho atual de sete pianistas compositores da capital baiana.
Salvador
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Ramopoulou, Lorenda. "La musique pour piano solo de Nikos Skalkottas." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040017.
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Ce travail est une étude sur le style et les références présentes dans l’œuvre pour piano solo de Nikos Skalkottas (1904-1949). Il (ré)intègre pour la première fois le compositeur dans le milieu des pianistes qu’il a connu pendant ses années berlinoises (1921-1933), en inscrivant l’œuvre dans son contexte et l’ensemble des références auxquelles elle renvoie. Une méthodologie analytique émerge de ces mises en relation, destinée à faciliter le travail de l’interprète et à révéler les composantes stylistiques du corpus. Une importance particulière est portée sur le raffinement du timbre des pianistes berlinois dans l’entre-deux-guerres, mis en valeur par le « son coloré » des Bechstein historiques. Cette observation devient le point de départ d’une série d’analyses graphiques, montrant le rôle de la texture et du timbre en tant qu’éléments compositionnels chez Skalkottas. Les analyses, destinées à être utilisées par les interprètes, dévoilent une interaction de la texture avec le schéma formel. Elles sont complétées par l’étude des pièces, groupées par pôles de référence pour l’ensemble du corpus. Ces références s’étendent de la musique baroque et de Beethoven au jazz dansant et à la musique légère, tout en incluant des éléments provenant de la musique grecque. Les deux approches choisies s’appuient sur des sources mises pour la première fois au service de ce répertoire et s’avèrent complémentaires. Elles ont comme but d’offrir aux pianistes des clés pour son interprétation, de le rendre plus accessible et de faciliter sa propagationThis thesis is a research into the style and influences on the solo piano works of Nikos Skalkottas (1904-1949). For the first time the composer is considered in relation to the pianistic milieu he was acquainted with during his Berlin years (1921-1933) and his oeuvre is examined in the light of its various references. A specific analytical methodology emerges from these influences, aiming at facilitating the performer’s work and revealing the stylistic components of the pieces. The refinement of the timbre in the playing of Berlin pianists in the interwar years, enhanced by the “coloured sound” of the Bechstein historical pianos, acquires a special importance. It leads to a series of analyses and graphs, showing the role of texture and timbre as compositional elements in Skalkottas’s piano music. The graphs, meant for the use of pianists, reveal an interaction between texture and form. This is complemented by the study of the piano pieces grouped according to their references; they extend from baroque music and Beethoven to dance jazz, light music, and Greek music elements. Both approaches can be justified from the study of primary sources, used for the first time in relation to this repertoire, and are complementary. By offering pianists new tools for its interpretation, the aim is to facilitate the access to this music and help its further promotion
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Gregoire, Patrick J. M., and Patrick J. M. Gregoire. "Piano Music and Pianists in France 1800-1830." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/626216.
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Fanjul, Diane. "Le pianisme ravélien : une nouvelle expérience du monde." Thesis, Lille 3, 2014. http://www.theses.fr/2014LIL30039.
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Cette synthèse du pianisme ravélien vise à éclairer les œuvres de façon inédite. Sans apporter une nouvelle compréhension des œuvres par leur dimension corporelle, elle se révèlerait inutile. Mais au-delà de son intérêt purement musical, elle appelait une question fondamentale : qu’est-ce qui a rendu possibles tel geste et telle posture à l’époque de Ravel ?This synthesis of Ravelian pianism aims at considering musical works in a new way. Without bringing a new comprehension of works in their body dimension, it would appear useless. But beyond its musical interest, it required a fundamental question: what made possible such gesture and posture during Ravel’s time ?
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Hasmanová, Adéla. "Alternativní metody při léčbě profesioná lních onemocnění pianistů." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-253724.
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Play on piano is one-sided movement activity. During this activity is burned our upper body mainly our arms and back. During overworking of particular part can get hurt the playing apparatus. Aim of this work is to map the most common diseases of pianists, to focus on symptoms and causations and mainly to find out options of alternative methods of treatment of professional diseases. Thesis will be focused on a detailed description of two methods – Feldenkrais method and Alexander technique.
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Herrojo, Ruiz María del Carmen [Verfasser]. "Electrophysiological Correlates of Motor Control and Error-Monitoring in Healthy Pianists and Pianists with Musician's Dystonia / María del Carmen Herrojo Ruiz." Hannover : Bibliothek der Tierärztlichen Hochschule Hannover, 2009. http://d-nb.info/1000116883/34.
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Malanski, Priscila de Carvalho. "O exercício da profissão de pianista colaborador vocal e a formação oferecida nas universidades federais e estaduais brasileiras." reponame:Repositório Institucional da UFPR, 2016. http://hdl.handle.net/1884/48724.
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Orientadora: Profª. Zélia ChuekeDissertação (mestrado) - Universidade Federal do Paraná, Setor de Artes, Comunicação e Design, Programa de Pós-Graduação em Música. Defesa: Curitiba, 26/04/2017
Inclui referências: fls. 67-72
Área de concentração : Musicologia e etnomusicologia
Resumo: Este trabalho tem como objetivo investigar as competências implicadas na atividade do pianista colaborador vocal assim como a formação oferecida pelas Instituições de Ensino Superior no Brasil. Como ponto de partida realizou-se uma pesquisa bibliográfica buscando-se estabelecer uma definição desta especialidade Em seguida, foram compilados currículos das disciplinas que contemplam este tipo de formação junto a cursos superiores de instrumento de universidades federais e estaduais do Brasil, assim como alguns editais de testes seletivos e concursos públicos destinados ao preenchimento de vagas para tais funções. O conteúdo destes documentos está apresentado no corpo do texto, seguidos dos resultados de entrevistas realizadas junto a profissionais reconhecidos e atuantes nesta área no país. Os dados obtidos com a pesquisa tornaram possível uma categorização segundo critérios de recorrência e os itens resultantes foram cruzados. O trabalho aqui apresentado pretende ressaltar a importância da adequação dos currículos dos cursos específicos às demandas da profissão, inspirando pesquisas correlatas. Palavras-chave: pianista colaborador, formação do colaborador vocal, competências para colaboração vocal.
Abstract: The goal of the present work is to investigate the competences implicated in the work of vocal coach pianists as well as the specific background offered by music graduate programs in Brazil. As starting point, bibliographical research helped to establish a proper definition of this kind of activity. The second step was to collect the syllabus of courses which intend to provide the necessary skills as part of university graduate courses in Brazil at national and departmental level, as well as calls for application regarding vacancies for these functions. The analysis?s results of these documents? contents are presented, followed by the results of interviews conducted with renowned and active professionals in Brazil. The data obtained through this research made it possible to categorize recurrent aspects which were later crossed with the previous results, obtained through document examination. The aim of the work which is hereby presented make evident the relevance of adequating curricula of specific courses to the demands of this particular profession, inspiring similar research works. Key-word : vocal coach, background for co-repetition, competences for co-repetition.
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Muhlbock, Albert. "Recovering the Clavichord for the Modern Pianist." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337263739.
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