Relevant bibliographies by topics / Pianists

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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 'Pianists'

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

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Journal articles on the topic "Pianists"

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Lin, Ma. "Individual Performance Style of the Pianist in the Context of E. Erikson's "Identity" Theory." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(56-57) (December 26, 2022): 139–52. http://dx.doi.org/10.31318/2414-052x.3-4(56-57).2022.278225.

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The individual performance style of the pianist is considered from the standpoint of both conscious and unconscious advocacy of an adequate "my own personnality" in the network of perfect standards and aesthetic performance values of other pianists. It is proposed to interpret the specified phenomenon as a pianist's way of constructing in his imagination artistic images of musical works and their unique/original sound realization, taking into account the innate psychophysiological properties and acquired artistic and aesthetic values of the artist. It was found that the pianist's individual performance style enables the realization of his creative " my own personnality - concept" with a reflection of the influence of the most clear identification of its constructs both on the expressive and technical means of interpreting a musical work, and on artistry. The expediency of considering the identity of the pianist's individual performance style from the standpoint of identifying and differentiating the characteristic features of the pianist is substantiated. It is proven that the individual performance style of a pianist should be determined by: the presence of a system of his original/exceptional features, which enables the manifestation of both innate and acquired properties of the pianist in the process of interpreting musical works while preserving their authenticity; the conscious and unconscious defense of an adequate "self" in the context of the performance styles of other pianists; the immutability of reproduction of the fundamental features of the individual performance style of the pianist under any conditions and external influences aimed at their "identification" ("inflation", "dissolution in general") and "regressive restoration" ("capitulation" of the conscious attitude to the defense of individualization); the presence of a high level of fullness, differentiation and multi-vector nature of its features; the uniqueness of his features and their ability to complement each other with features of the performance styles of other pianists. The conditions for the manifestation of a complete system of features of the pianist’s individual performance style are defined in order to recognize its uniqueness. As a conclusion, the author describes the specifics of the application of methods of imitation and patterning, which help to reproduce features capable of ensuring the recognition of the created individual performance style of the pianist without "blurring" its leading differences among the performance styles of other artists involved in concert and stage activities.
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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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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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Altizer, Katherine. "“Is it gonna be fun?”: Lolabelle, Dog Pianists, and Musical Réussite." Society & Animals 29, no. 7 (December 23, 2021): 716–32. http://dx.doi.org/10.1163/15685306-bja10055.

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Abstract This article examines historical dog pianists and the pianistic training of Lolabelle the rat terrier to explore a musical question beyond structure and intention: what might musical encounters between human and nonhuman animals make possible? Reviewers of Laurie Anderson’s film Heart of a Dog, in which some of Lolabelle’s performances appear, rarely center either Lolabelle or her pianism and frequently distance themselves from indicating belief in the musicality of the activity. The tone of this reporting is consistent with that of other Western reporting on dog pianists in the nineteenth and twentieth centuries. While piano-playing dogs have historically strengthened the human-animal divide by reinforcing dogs’ status as never-human, the frames for anthropomorphic acts are what strengthen this divide rather than something inherent in the anthropomorphic activity itself.
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Bragge, Peter, Andrea Bialocerkowski, and Joan McMeeken. "Understanding Playing-Related Musculoskeletal Disorders in Elite Pianists: A Grounded Theory Study." Medical Problems of Performing Artists 21, no. 2 (June 1, 2006): 71–79. http://dx.doi.org/10.21091/mppa.2006.2014.

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Objectives: Playing-related musculoskeletal disorders (PRMDs) are a recognised problem in elite (college/conservatory or professional) pianists. The aim of this study was to explore the behavioural, emotional, and physical world of the elite pianist and the interaction between this world and the experience of having a PRMD. Methods: A qualitative, grounded theory methodology was used. Oneon-one interviews were conducted with 18 elite pianists, 6 health practitioners, and 6 teachers who had had or managed PRMDs. Interview questions focused on the experience of being an elite pianist, the impact of PRMDs on piano playing and other activities, and the pianists' feelings about the effects of PRMDs. Interviews were transcribed and then analysed using grounded theory. Results: Major categories were “pressure: external,” “pressure: internal,” and “culture of silence.” The central category was “playing through pain.” Elite pianists experienced many internal and external pressures but were reluctant to declare physical problems due to a culture of silence, and they played through pain. This situation led to development or worsening of PRMDs, with physical, psychological, and global effects. Worsening symptoms or an impending examination or recital led pianists to seek treatment. Poor medical awareness of musicians' needs often resulted in suboptimal management of PRMDs. Conclusion: Open discussion of PRMD issues in elite pianists and dissemination of PRMD prevention and management information are warranted to help prevent the physical, psychological, and global effects of such disorders.
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Liu, Peng. "Constructing a Versatile Virtuoso Persona." Journal of Musicology 40, no. 1 (January 1, 2023): 73–102. http://dx.doi.org/10.1525/jm.2023.40.1.73.

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German pianist Anna Caroline de Belleville was one of the foremost virtuoso pianists in the 1820s and 1830s, deemed the “Chamber Virtuoso of Her Royal Highness” by Princess Louise of Prussia and “Queen of the Piano” by Paganini. Although a few modern biographical accounts provide an overview of her life and career, there has been no critical examination of her virtuosity within the context of early nineteenth-century performance culture. Drawing on periodicals, magazines, correspondence, memoirs, and contemporary writings, this article reconstructs Belleville’s early career and illustrates her significance by examining her strategic programming, pianism, and reception. I argue that Belleville’s reorientation of her public concert repertory in the mid-1830s, particularly her incorporation of works considered “classical” or “serious,” enabled her to mediate the conflicting musical tastes of her critics and audiences, and to reinvent herself as a pianist renowned not for a bravura style but for a versatile, eclectic virtuosity centering on the faithful interpretation of “serious” works. This course of action marked Belleville as a significant forerunner to the interpreter-performer pianists who came to dominate the virtuoso scene from the mid-nineteenth century onward.
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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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Manning, Fiona C., Anna Siminoski, and Michael Schutz. "Exploring the Effects of Effectors." Music Perception 37, no. 3 (February 1, 2020): 196–207. http://dx.doi.org/10.1525/mp.2020.37.3.196.

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We explore the effects of trained musical movements on sensorimotor interactions in order to clarify the interpretation of previously observed expertise differences. Pianists and non-pianists listened to an auditory sequence and identified whether the final event occurred in time with the sequence. In half the trials participants listened without moving, and in half they synchronized keystrokes while listening. Pianists and non-pianists were better able to identify the timing of the final tone after synchronizing keystrokes compared to listening only. Curiously, this effect of movement did not differ between pianists and non-pianists despite substantial training differences with respect to finger movements. We also found few group differences in the ability to align keystrokes with events in the auditory sequence; however, movements were less variable (lower coefficient of variation) in pianists compared to non-pianists. Consistent with the idea that the benefits of synchronization on rhythm perception are constrained by motor effector kinematics, this work helps clarify previous findings in this paradigm. We discuss these outcomes in light of training and the kinematics involved in pianist keystrokes compared to musicians synchronizing movements in other studies. We also overview how these differences across motor effector synchronization and training must be accounted for in models of perception and action.
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Lee, Sang-Hie, Kenneth B. Hanks, and Joseph Schwartz. "Pianist's Rehabilitation: Three Cases." Medical Problems of Performing Artists 20, no. 1 (March 1, 2005): 35–39. http://dx.doi.org/10.21091/mppa.2005.1006.

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Three pianists, each with academic and performing credentials, shared their experiences of physical problems, treatment, and rehabilitation. Preparing for solo performance puts an inordinate demand on mental and physical functioning and family life for the pianist in academia. Pianists, who must demonstrate technical and artistic prowess while teaching heavy loads, can easily overuse their piano-playing mechanisms by playing difficult works without proper conditioning and necessary rest. This can result in gradual or sudden bodily pain and incapacitation. Minor pains and injuries of the pianists profiled here were overcome by applying proper piano techniques. More serious injuries needed medical attention, alternative therapies, and combined management programs. With good health care and proper technical approach all three pianists resumed active performing life.
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Turner, Craig, Peter Visentin, and Gongbing Shan. "Wrist Internal Loading and Tempo-Dependent, Effort-Reducing Motor Behaviour Strategies for Two Elite Pianists." Medical Problems of Performing Artists 36, no. 3 (September 1, 2021): 141–49. http://dx.doi.org/10.21091/mppa.2021.3017.

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One of the greatest challenges in reducing high rates of performance injuries among musicians is in providing them usable tools to address playing-related musculoskeletal problems (PRMP) before they become disorders. Studies in biomechanics have the potential to provide such tools. In order to better understand the mechanisms through which PRMP manifest in pianists, especially in the distal segments of the upper limbs, the current study quantifies wrist internal loading (WIL) and wrist impact loading frequency. It does so while discussing pianists’ motor behaviours and observed effort-reduction strategies in the wrists as a function of anthropometry. This concept has great utility for performers. A VICON 3D motion capture system documented two expert pianists performing a B major scale, hands together, at 4, 6, 8, 9, and 10 notes/sec. Biomechanical modeling quantified WIL. Changes in motor behaviour were observed at 8 notes/sec. Individualized anthropometry influenced the range of motor strategies available to each pianist. The pianist with the larger hand span employed a flexion/extension wrist strategy as a compensatory means for effort reduction, while the pianist with the smaller hand span employed a radial/ ulnar deviation strategy. The current study provides a new perspective in addressing PRMP among pianists by rationalizing anthropometric potentials in terms of ergonomic parameters and documenting the availability and utility of effort-reduction strategies in the wrists during piano performance as performers consider PRMP risk and avoidance.
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Dissertations / Theses on the topic "Pianists"

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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<br>Tese doutorado) - Universidade Estadual de Campinas, Faculdade de Educação<br>Made available in DSpace on 2018-08-08T04:29:09Z (GMT). No. of bitstreams: 1 Fernandes_LucianeFernandaRodriguesMartinho_D.pdf: 3317171 bytes, checksum: d8ce2a6b3254d65d49c5bd204aa6c559 (MD5) Previous issue date: 2005<br>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<br>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<br>Doutorado<br>Biodinamica do Movimento Humano<br>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.<br>Thesis (Professional Doctorate)<br>Doctor of Musical Arts (DMA)<br>Queensland Conservatorium<br>Arts, Education and Law<br>Full Text
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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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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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Whipple, William Perry III. "The legacy of duo-pianists Bill and Pat Medley." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/1514.

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The purpose of this D.M.A. Essay is to highlight the legacy of duo-pianists, Bill and Pat Medley. To that end, this essay will explore: (a) the early biographical information of the Medleys (developing their musical talents in the Depression and World War II Era), (b) the Medleys' concert touring career, including a section on the logistics of travelling with their own concert grand pianos across the United States and Canada, (c) the Medleys' teaching career which included both secondary and pre-college levels, (d) a collection of comical stories learned through personal interviews with the Medleys that speak to their many years of concertizing, and (e) the Medleys' composing and arranging career, which includes a detailed overview of The Medley Way method book series published by The Hal Leonard Corporation and a detailed review and analysis of twenty-two of their educational solos, which were published by the Alfred Music Company, The FJH Music Company, and The Willis Music Company. Bill Medley stated, "As I look back on our lives and the past sixty years, I see two teenagers striking out on a journey that would take them to unfathomable destinations. It would not be done alone, by any means, but with the help of many, many people..." It is my hope that this essay will shed light on a career that has endured sixty plus years and counting. The Medleys' touring career allowed small town communities to experience the art of classical music, who otherwise would not have experienced such beauty. The Medleys' teaching career passed along a musical lineage from their teachers, including Pierre Luboshutz and Genia Nemenoff, along with a composing and arranging career that continues to serve as a pedagogical essence of quality to this day.
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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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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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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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Made available in DSpace on 2014-07-29T16:25:16Z (GMT). No. of bitstreams: 1 FranklinMuniz_ARTIGO.pdf: 667746 bytes, checksum: 0d276b168b6089a3a1ee04c82f831da3 (MD5) Previous issue date: 2010-03-31<br>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&#8223;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.<br>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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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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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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Books on the topic "Pianists"

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GODOWSKY, Leopold. The pianists' pianist. London: EMI, 1988.

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Nicholson, Georges. André Mathieu: Biographie. Montréal: Québec Amérique, 2010.

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J, Noyle Linda, ed. Pianists on playing: Interviews with twelve concert pianists. Metuchen, N.J: Scarecrow Press, 1987.

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

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Friedrich, Otto. Glenn Gould: A life and variations. Toronto: Lester & Orpen Dennys, 1989.

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Friedrich, Otto. Glenn Gould: A life and variations. New York: Random House, 1989.

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Kingwell, Mark. Glenn Gould. Toronto: Penguin Canada, 2009.

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Friedrich, Otto. Glenn Gould: A life and variations. New York: Random House, 1989.

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Friedrich, Otto. Gl enn Gould: A life and variations. London: Lime Tree, 1990.

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Friedrich, Otto. Glenn Gould: A life and variations. New York: Vintage Books, 1990.

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Book chapters on the topic "Pianists"

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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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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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Herbst, Anri, and Silvia van Zyl. "Multimodal Perception in Selected Visually Impaired Pianists." In Music and Mental Imagery, 255–67. London: Routledge, 2022. http://dx.doi.org/10.4324/9780429330070-27.

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Defour, Tom, Sofia Scataglini, Liora Peres, Nick Meertens, Stijn Verwulgen, and Steven Truijen. "A New Assessment for Monitoring Performance in Pianists." In Advances in Simulation and Digital Human Modeling, 267–74. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-51064-0_34.

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Mirazimzadeh, Seyed Ali, and Victoria McArthur. "Automatic Page-Turner for Pianists with Wearable Motion Detector." In Lecture Notes in Computer Science, 209–18. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-60117-1_15.

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Coro, Gianpaolo, Giulio Masetti, Philipp Bonhoeffer, and Michael Betcher. "Distinguishing Violinists and Pianists Based on Their Brain Signals." In Artificial Neural Networks and Machine Learning – ICANN 2019: Theoretical Neural Computation, 123–37. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-30487-4_11.

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Arencibia, Pablo. "Discrepancies in Pianists’ Experiences in Playing Acoustic and Digital Pianos." In Perspectives in Performing Arts Medicine Practice, 179–94. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-37480-8_12.

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Bengtsson, Sara L., Mihaly Csikszentmihalyi, and Fredrik Ullén. "Cortical Regions Involved in the Generation of Musical Structures During Improvisation in Pianists." In The Systems Model of Creativity, 257–78. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-9085-7_16.

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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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Owens, Thomas. "Pianists." In Bebop, 138–66. Oxford University Press, 1996. http://dx.doi.org/10.1093/acprof:oso/9780195106510.003.0007.

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Conference papers on the topic "Pianists"

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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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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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Cabacov, Dmitrii. "Doctoral theses in the field of piano art in the Republic of Moldova from the second half of the 20th – the beginning of the 21st centuries." In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.03.

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The article analyzes the most important musicological works, which reveal the peculiarities of pianistic art in the Republic of Moldova. These are doctoral theses, as well as monographs and articles based on their materials. To date, there are quite good results in this direction: on the basis of domestic piano music, of the performing and pedagogical art of the Moldovan pianists, dissertations were created and defended by A. Miroșnicov, I. Miliutina, E. Kișka, L. Reaboșapca, A. Pereteatco, E. Gupalova, I. Hatipova, Iu. Troian, A. Vardanean, M. Mamalîga, I. Guzenco.
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Чэнь, Янань. "SOME PROBLEMS OF CHINESE PROFESSIONAL PIANO EDUCATION ON THE EXAMPLE OF ALL 3 CATEGORIES OF CHINESE UNIVERSITIES." In Научные исследования в современном мире. Теория и практика: сборник избранных статей Всероссийской (национальной) научно-практической конференции (Санкт-Петербург, Октябрь 2021). Crossref, 2021. http://dx.doi.org/10.37539/nitp321.2021.69.44.005.

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В статье с целью выявления комплекса проблем, ограничивающих дальнейшее развитие китайского пианизма, предложен анализ китайских музыкальных вузов, готовящих профессиональных пианистов. Делается вывод о наличии общих для всех 3-х категорий вузов проблем, не смотря на различие целей и средств обучения будущих специалистов. In order to find a set of problems limiting the further development of Chinese pianism, the article offers an analysis of Chinese music universities that train professional pianists. It is concluded that there are problems common to all 3 categories of universities, despite the difference in goals and means of training future specialists.
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Grecu, Vasile. "Th e value dimension of schooling through the pianoforte musical instrument in interwar Basarabia." In Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.23.

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At the beginning of the 19th century, new educational institutions with a musicalartistic profi le were opened, which signifi cantly increased the interest for studying the piano. At the same time, the musical life in Bessarabia is intensifying due to the artistic activity of some professional musicians with studies at conservatories in Russia and Western Europe, creating standards of music education and interpretive mastery, with a signifi cant impact on the professional training of pianists. Th e artistic activity for musical thinking involves performance communication, and the practical study of a musical instrument in its high creative manifestation is intellectually developmental and forms creative artistic consciousness in the student. Th e orientation towards the professional development of musical thinking in pianist students and their intellectual activation requires musical education in a specifi c way of teaching, such as, the penetration into the content of music through analytical interpretation, the provision of rational, priority instruction, in relation to the intuitive one.
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Hromadko, Ondrej. "The Comparison Of The Keystroke Technique Between Pianists And Organists." In ICEEPSY 2019 - 10th International Conference on Education and Educational Psychology. Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.11.60.

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Takegawa, Yoshinari, Tsutomu Terada, and Shojiro Nishio. "A Text Input Interface using a Portable Clavier for Pianists." In 2007 11th IEEE International Symposium on Wearable Computers. IEEE, 2007. http://dx.doi.org/10.1109/iswc.2007.4373787.

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Mengyuan Li, Paola Savvidou, Bradley Willis, and Marjorie Skubic. "Using the Kinect to detect potentially harmful hand postures in pianists." In 2014 36th Annual International Conference of the IEEE Engineering in Medicine and Biology Society (EMBC). IEEE, 2014. http://dx.doi.org/10.1109/embc.2014.6943702.

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Herry, C. L., M. Frize, R. A. Goubran, and G. Comeau. "Evolution of the Surface Temperature of Pianists' Arm Muscles Using Infrared Thermography." In 2005 27th Annual International Conference of the IEEE Engineering in Medicine and Biology Society. IEEE, 2005. http://dx.doi.org/10.1109/iembs.2005.1616768.

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Pronyaeva, Nadezhda Anatolevna. "The Specifics of Work With Gifted Children in Special Piano Lessons at Children’s Art School." In All-Russian research-to-practice conference with international participation. Publishing house Sreda, 2020. http://dx.doi.org/10.31483/r-75365.

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The concept of “musical talent” is considered, as well as the main musical and performance abilities and skills of students-pianists. The features of teachers’ modern teaching approach in piano lessons with gifted children are characterized. The distinctive features of the manifestation of the basic musical talent of gifted children in the piano lessons are analyzed. The importance of enlightening the teacher to the individual characteristics of a gifted child is emphasized.
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Reports on the topic "Pianists"

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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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