Relevant bibliographies by topics / Piano as percussion

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Piano as percussion'

Author: Grafiati
Published: 11 December 2022
Last updated: 31 July 2025

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Journal articles on the topic "Piano as percussion"

1

Brumbeloe, Joe, and Stefan Wolpe. "Quartet for Oboe, Cello, Percussion, and Piano." American Music 14, no. 1 (1996): 132. http://dx.doi.org/10.2307/3052471.

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Farrell, Peter, Ralph Shapey, Heinz Holliger, and Robert Ward. "Evocation No. 2; For Violoncello, Piano, and Percussion." Notes 44, no. 4 (1988): 831. http://dx.doi.org/10.2307/941061.

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Baalbaki, Ioana, and Lubnan Baalbaki. "Analytical Foray on Tiberiu Herdlicska’s Fractured Realities / Incursiune analitică asupra lucrării „Realități fracturate” de Tiberiu Herdlicska." Tehnologii informatice și de comunicație în domeniul muzical / Information and communication Technologies in Musical Field 15, no. 2 (2024): 65–69. https://doi.org/10.47809/ictmf.2024.02.07.

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Composer and performer alike, Tiberiu Herdlicska surprises with the improvisational and innovative character of his works, in which the piano plays an essential role, but also with the versatility with which he approaches various piano repertoires, from the most extravagant and challenging works of contemporary music, to improvisation of jazz and pop music. The present study represents an analytical foray into the work Fractured Realities for piano, percussion and electronics by Tiberiu Herdlicska, a work that premiered at the Cluj Musical Autumn Festival, 57th edition, that took place in Octo
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Liu, Jie. "Traditions of Sichuan chuanju operain piano pieces by Song Mingzhu and Jia Daqun." PHILHARMONICA. International Music Journal, no. 4 (April 2023): 24–35. http://dx.doi.org/10.7256/2453-613x.2023.4.43626.

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The subject of the study is the piano compositions by contemporary Chinese composers Song Minzhu (triptych "Musical Suite of the Sichuan Opera") and Jia Daqun (miniature of "Chuanqiang" from the cycle "Three Preludes for Piano"), written under the influence of the traditions of the Sichuan opera chuanju. The unique multi-composition of the origins of the South Chinese drama predetermined the originality of the typical quipai tunes and their modal coloring, the style of singing in a high register, the features of the stage action, the timbre composition of the accompanying percussion ensemble.
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Swift, Richard, Ralph Shapey, and Donald Erb. "Evocation No. 1; For Violin, with Percussion and Piano." Notes 42, no. 2 (1985): 407. http://dx.doi.org/10.2307/897461.

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Shi, Nuo. "Exploring Factors Affecting the Development of Children's Interest in Piano." Journal of Education, Humanities and Social Sciences 26 (March 2, 2024): 167–72. http://dx.doi.org/10.54097/gn00zy48.

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Children's piano music lessons are well-liked in learning because they make use of children's minds, which are better able to acquire new information quickly. The purpose of this study is to identify and analyze the factors that influence children's interest in learning the piano, taking into account their family environment, the teaching methods and approaches used by their teachers, and their own motivations. It takes time, consideration, and a good outlook to encourage kids to study the piano. The correct time, a musical environment, and tutors can all help make learning the piano enjoyable
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Laliberté, Martin. "Frédéric Chopin, entre exacerbation romantique du modèle vocal et innovations percussives : une mixité dynamique." Poznańskie Studia Polonistyczne. Seria Literacka, no. 41 (December 29, 2021): 107–23. http://dx.doi.org/10.14746/pspsl.2021.41.7.

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After some in-depth analysis, for instance, of the first Ballade in G minor (1836), Frédéric Chopin’s music reveals itself as a striking case of a musical equilibrium between two major musical tendencies. On the one hand, his music brings the reaching towards an idealised voice to a full and very convincing development. His musical themes sing most of the time while all the main characteristics of his writing explore continuous spaces, to the extent the piano can achieve. He uses many melodic chromaticisms and broad gestures, very voice-like phrasings ranging from the most delicate pianissimi
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MS., ASHWINI. R. PATIL, and .V .M. SARDAR PROF. "MUSICAL INSTRUMENT CLASSIFICATION USING MIR TOOLBOX." JournalNX - a Multidisciplinary Peer Reviewed Journal 3, no. 9 (2017): 47–51. https://doi.org/10.5281/zenodo.1420618.

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 In this paper, we propose the classification of instruments in continuous melody pieces or non-vocal sound pieces which may contain more kinds of instrument like flute in woodwind family, piano in keyboard, guitar in string, drum in percussion, trumpet in brass family. https://journalnx.com/journal-article/20150440
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Nezelschi, Claudia. "MATHEMATICAL DEDUCTIONS AND POETRY, MUSICAL INSTRUMENTS IN SECONDARY SCHOOL." Review of Artistic Education 29 (May 30, 2025): 148–55. https://doi.org/10.35218/rae-2025-0020.

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Abstract: We will present a method by which, during music education class, students can be presented, clarified, and fixed with elements of music theory and music-poetry connections, all starting from the virtual piano and guitar, applications currently accessible to anyone, anytime. Key words: deduction, body percussion, musical and poetic meter
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Drew, David. "TESTIMONIES OF WAR 1914 – 1945 (1995)." Tempo 64, no. 252 (2010): 34–36. http://dx.doi.org/10.1017/s0040298210000161.

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This essay appeared as the introduction to the very fully documented booklet notes of the 2-CD set, LARGO 5130, issued in 1995 – for the 50th anniversary of the end of World War II – by Largo Records (Cologne) as Testimonies of War (Kriegszeugnisse) 1914–45. The central composer of this collection is Boris Blacher, who is represented by his Alla Marcia, Dance Scenes, Chiarina, Partita for strings and 6 percussion, Sonatina No. 2 for piano, and Drei Psalmen for baritone and piano. The other composers are Harrington Shortall (Fanfare for Those who Will Not Return), Kurt Weill (Zu Potsdam unter d
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Dissertations / Theses on the topic "Piano as percussion"

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Brink, Margaret. "The piano as percussion instrument /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/11272.

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Irvine, John. "'Strange Language' for clarinet, piano & percussion." Thesis, University of Edinburgh, 1999. http://hdl.handle.net/1842/28281.

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Jenkins, Matthew B. "Contemporary percussion performance an overview of aesthetics and performance practices /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453661.

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Thesis (M.A.)--University of California, San Diego, 2008.<br>Accompanying disc is DVD-ROM and contains sound files of the recording of the recital. Title from first page of PDF file (viewed Jun. 25, 2008). Available via ProQuest Digital Dissertations. Includes bibliographical references: P. 7.
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Sokolov, Yaron. "Atteone significa : for viola, piano and percussion with controllers /." May be available electronically:, 2007. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.

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Garcia-Castells, Federico Jose Chen Yi. "Pervigilivm [i.e. Pervigilium] veneris for mixed choir, piano and percussion quartet /." Diss., UMK access, 2007.

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Thesis (M.M.)--Conservatory of Music. University of Missouri--Kansas City, 2007.<br>"A thesis in music composition." Typescript. Advisor: Chen Yi. Includes vita and English translation of text. Title from "catalog record" of the print edition Description based on contents viewed Nov. 13, 2007. Online version of the print edition.
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Suh, Ye Sook Lee. "Ssibaji an opera in two acts for 9 characters, percussion and piano /." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/4174.

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Thesis (D.M.A.) -- University of Maryland, College Park, 2006.<br>Thesis research directed by: Music. Title from t.p. of PDF. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Young, Aaron. "Four pieces for quartet : a composition for violin, violoncello, piano, and percussion." Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/27802.

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“Four Pieces for Quartet” is a 27 minute chamber work for violin, violoncello, piano, and percussion. Influenced by various elements of jazz composition and practice, its four movements draw from various eras of jazz history for source material. The chosen material from ragtime, bebop, modal, and modern jazz sub-genres functions as the impetus for motive and rhythmic development, gesture, compositional structure, instrumentation, orchestration, and instrumental interaction throughout the work. With the appropriation and incorporation of these materials, the composition seeks to subtly merge ja
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Sharp, Barry Shelton. "Sizhu for flute, clarinet in B-flat, violin, cello, piano, and percussion." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1751.

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Sizhu was written for the standard Pierrot ensemble though with percussion replacing the singer. This particular ensemble is capable of producing a multitude of colors while maintaining the balance inherent to a chamber group. The Chinese name, si’zhu, is a literal and figurative metaphor for these elements of the ensemble. Literally translated “silk” (sī) and “bamboo” (zhú), the word is a generalization for Chinese classical music developed in the Jiangsu province (Jiāngnán sīzhú) that utilizes strings, or “silk” instruments, and flutes, or “bamboo,” instruments in combination. A typical work
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Ujj-Hilliard, Emöke. "An Analysis of the Genesis of Motive, Rhythm, and Pitch in the First Movement of the Sonata for Two Pianos and Percussion by Béla Bartók." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4480/.

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This dissertation presents evidence that Béla Bartók created his masterwork, the Sonata for Two Pianos and Percussion (1937), in a very complex period of his life. Since it was a mature piece, Bartók utilized typically "Bartókian" compositional techniques and styles. His ethnomusicological studies were also influential factors in the creation of the Sonata for Two Pianos and Percussion. We can be witness to how different the first draft was to the published version; the minor and major changes are revealed in the draft study of the Sonata for Two Pianos and Percussion 's first movement. Th
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Goto, Yo. "Voci Lontani for flute, trumpet, percussion, piano, and string quartet: Critical essay and score." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc5555/.

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This project consists of an original composition, Voci Lontani, and a critical essay about the composition. In this piece, the idea of musical simultaneity is explored. Therefore, the piece focuses on the idea of contrast: between measured rhythms and indeterminate rhythms, between tonality and atonality, and between musics in separate tempos. In order to explore the significance of musical simultaneity, four important compositional concepts-the simultaneous juxtaposition of different musics, polyrhythmic structure, controlled indeterminacy, and quotation-are discussed. Also, several examples
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Books on the topic "Piano as percussion"

1

Bernstein, Leonard. Ḥalil: Nocturne for flute, percussion, and piano. Jalni Publications, 1987.

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Lee, Finney Ross. Divertimento, oboe, percussion (1 player), and piano. Henmar Press, 1994.

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Lewis, Peter Scott. Delicate sky: For violin, percussion, and piano. T. Presser Co., 1996.

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Bartók, Béla. Piano concertos. Urania, 2006.

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1933-, Beck John, ed. Encyclopedia of percussion. 2nd ed. Routledge, 2007.

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Festinger, Richard. Septet, flute, clarinet, violin, viola, violoncello, percussion and piano. Henmar Press, 1994.

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Edwards, Peter Ivan. Object lessons. Albany Records, 2010.

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Ptaszyńska, Marta. Dream lands, magic spaces: For violin solo, piano, and percussion instruments. 2nd ed. Piedmont Music Co., 1993.

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Shapey, Ralph. Gottlieb duo: For piano & percussion, 9/27/84-11/27/84. T. Presser, 1988.

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10

Lazarof, Henri. Suite for solo percussion and five instrumentalists. Merion Music, 1991.

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Book chapters on the topic "Piano as percussion"

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Nakai, You. "Piano." In Reminded by the Instruments. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190686765.003.0002.

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Tudor switched from the organ to the piano in his late teens. His approach to the new instrument, whose nature he regarded as percussion, centered on harnessing its mechanism of escapement, which resulted in the control of all parameters as a function of precise timing of attack and release. This proved especially well-suited to the pointillistic works being written by composers on both sides of the Atlantic. But close examination reveals that the relationship between Tudor and the composers around him, which gave birth to new methods of chance operations, indeterminacy, or graphic scores, was
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Losseff, Nicky. "The Piano Concertos and Sonata for Two Pianos and Percussion." In The Cambridge Companion to Bartók. Cambridge University Press, 2001. http://dx.doi.org/10.1017/ccol9780521660105.010.

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"The Completion of the Percussion Family in the Orchestra (1926)." In Grainger on Music, edited by Malcolm Gillies, Bruce Clunies Ross, Bronwen Arthur, and David Pear. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198166658.003.0021.

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Abstract The percussion family is the least complete in the orchestra. I do not refer here to more or less noisy instruments of fairly indefinite pitch, such as the snare drum, tenor drum, gong, cymbal, triangle, bass drum and so on, but to those instruments of definite pitch which are capable of melody and harmony, such as the xylophone, glockenspiel, large bells, dulcitone, celesta, piano, kettle drum, ‘nabimba’, tubular bells and others. The brilliant experiments of various earlier and recent composers (the celesta in Tchaikovsky’s Nutcracker Suite, the xylophone in Saint-Saens’ Danse Macab
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"Trios for Piano(s), Percussion, and Another Instrument." In The Piano in Chamber Ensemble, Third Edition. Indiana University Press, 2021. http://dx.doi.org/10.2307/j.ctv21hrj5p.33.

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"Quintets for Piano(s), Percussion, and Other Instruments." In The Piano in Chamber Ensemble, Third Edition. Indiana University Press, 2021. http://dx.doi.org/10.2307/j.ctv21hrj5p.43.

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"Quartets for Piano(s), Percussion, and Other Instruments." In The Piano in Chamber Ensemble, Third Edition. Indiana University Press, 2021. http://dx.doi.org/10.2307/j.ctv21hrj5p.39.

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Cook, Nicholas. "Composition and culture." In Music, Imagination, and Culture. Oxford University PressOxford, 1990. http://dx.doi.org/10.1093/oso/9780198161547.003.0005.

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Abstract Stravinsky wrote Les Noces while staying in a small village in Switzerland. His friend and collaborator C. F. Ramuz, describing the house in which the composer lived, records how Stravinsky turned one of the attic rooms into a studio, reached by a half-hidden wooden staircase well barricaded by doors, and how of a summer afternoon the sound of the composer at his piano and percussion instruments could be heard in the little square outside, where two or three women were usually to be found on a bench, knitting in the shade of the trees. These would raise their heads for a moment in bew
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Cassidy Parker, Elizabeth. "Interlude." In Adolescents on Music. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190671358.003.0018.

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Music has always been something that I enjoy. I’m not a music prodigy, nor do I play and practice nearly as much as I should, but having something to look forward to at the end of the day helped me through some really stressful times. I started piano in second grade, which helped me to easily start percussion in fourth. However, I always felt there was more to music than what I was involved in....
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Wright, Simon. "A Brazilian In Paris: The Synthesis (1923-1929)." In Villa-Lobos. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780193154766.003.0003.

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Abstract Villa-Lobos’s Nonet is one of the most extraordinary pieces of chamber music ever written. Its scoring, founded on ideas from the Sexteto mistico and the Quarteto simb6lico, pushes the definition of ‘chamber’ to absurd limits: flute/piccolo, oboe, clarinet, saxophone, bassoon, celesta, harp, piano, a large percussion section using 18 instruments and requiring at least two players, and a mixed chorus dividing into, at most, 12 parts. All the disparate strands which lay together in the Canfiies tipicas were, in the Nonet, at last reconciled.
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Manning, Jane. "HELEN GRIME (b. 1981)In the Mist (2008)." In Vocal Repertoire for the Twenty-First Century, Volume 2. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0030.

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This chapter studies Scottish composer Helen Grime’s In the Mist (2008). In this work, Grime’s writing for the medium of voice and piano shows a healthy resistance against the growing trend amongst younger composers to revisit conventionally expressive, ‘accessible’ styles. Especially distinctive is her treatment of the piano, not as a nineteenth-century Romantic instrument, but as a purveyor of bright, steely resonances that occasionally evoke the metallic sheen of keyed percussion. Void of weighty, sustaining chords, spaces are filled out with decorative figures, as in harpsichord music. The
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