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Journal articles on the topic 'Piano as percussion'

Author: Grafiati

Published: 11 December 2022

Last updated: 31 July 2025

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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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2

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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3

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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4

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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6

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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7

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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9

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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10

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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11

Laws, Catherine. "Beckett in New Musical Composition." Journal of Beckett Studies 23, no. 1 (2014): 54–72. http://dx.doi.org/10.3366/jobs.2014.0086.

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The musical legacy of Samuel Beckett is evident in the large number of compositions inspired by his work. Moreover, Beckett's influence has endured beyond the associations with musical modernism from the 1960s onwards. How, then, do the approaches of younger composers relate to and differ from those working during Beckett's lifetime, and what are the implications for performance? This article explores these questions in relation to two recent compositions: Damien Harron's what is the word (2011) for flute, percussion, piano and electronics, and Martin Iddon's head down among the stems and bell

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Rea, John. "On Stockhausen’s Kontakte (1959-60) for tape, piano and percussion." Circuit 19, no. 2 (2009): 77–86. http://dx.doi.org/10.7202/037453ar.

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Abstract A lecture/analysis given by John Rea at the University of Toronto, March 1968, discusses various topics in the composition such as: concepts (performance time, production time, subjective perception of time, moment time, moment characteristics), discussion of particular Moments, hardware, overall formal organization, definition of structure, parameter of space (an example), temporal transformation, and performance practice. The lecture text is also notable for the fact that Rea spoke to the pianist who had premiered Kontakte, David Tudor, who was in Toronto at that time to participate

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Olúrántí, Ayọ̀. "African Rhythms for flute, clarinet, violin, cello, percussion and piano." Journal of the Musical Arts in Africa 14, no. 1-2 (2017): 87–93. http://dx.doi.org/10.2989/18121004.2017.1415659.

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14

Andriuţa, Viorica. "3. Pianist Aurelia Simion - Talent, Creativity, Performance." Review of Artistic Education 25, no. 1 (2023): 16–21. http://dx.doi.org/10.2478/rae-2023-0003.

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Abstract Coming from a family of musicians, the descendant of a dynasty that traces its roots back to the 19th century, had Lia Oxinoit as a teacher at the pre-university cycle and Ludmila Vaverco at the Gavriil Musicescu State Conservatory from Chisinau. The artistic career of the pianist Aurelia Simion is impressive, ascending, marked by important professional successes realized in concerts and solo recitals or in collaboration with soloists, teachers, students and pupils, with participation in the Musical Olympics, in national and international competitions as an accompanist, member or pres

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Bielova, Yelyzaveta. "Sound images of percussion instruments: modernity and retrospections." Aspects of Historical Musicology 19, no. 19 (2020): 120–39. http://dx.doi.org/10.34064/khnum2-19.07.

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Introduction. The widespread use of percussion instruments is a worldwide trend in artistic practice of the 20th – early 21st centuries, whose existence is due to the constant development of composer creativity and the performing art of percussion instruments playing. The named vectors of musical activity are linked inextricably, since one direction contributes to the development of another. Nevertheless, there are not still fundamental scientific works would investigate the evolution of wind instruments from the beginnings to the present in the designated context of the interaction between co

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Schenker, Boris, Wesley Fuller, and Thomas DeLio. "20th Century American Music for Piano, Violin, Flute, Percussion, and Computer." Computer Music Journal 21, no. 3 (1997): 104. http://dx.doi.org/10.2307/3681024.

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17

MILLER, LETA E. "Henry Cowell and John Cage: Intersections and Influences, 1933–1941." Journal of the American Musicological Society 59, no. 1 (2006): 47–112. http://dx.doi.org/10.1525/jams.2006.59.1.47.

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Abstract This article explores, through examination of correspondence and other primary sources, the close interaction between Henry Cowell and John Cage from 1933 to 1941 in the areas of percussion music, dance, world musics, the prepared piano, electronic sounds, micro-macrocosmic forms, sliding tones, and elastic composition. Several works are examined in detail, among them Cowell's Pulse (which anticipated Cage's micro-macrocosmic forms in the Constructions) and Cage's Imaginary Landscape No. 1 (whose electronic slides addressed Cowell's prediction that the “future of music” lay in the per

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MacDonald, Calum. "British Piano Music." Tempo 60, no. 235 (2006): 44–49. http://dx.doi.org/10.1017/s0040298206310042.

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KENNETH LEIGHTON: Sonatinas Nos. 1 and 2, op.1; Sonata No.1 op.2; Sonata No.2 op.17; Five Studies op.22; Fantasia Contrappuntistica (Homage to Bach) op.24; Variations op.30; Nine Variations op.36; Pieces for Angela op.47; Conflicts (Fantasy on Two Themes) op.51; Six Studies (Study-Variations) op.56; Sonata (1972) op.64; Household Pets op.86; Four Romantic Pieces op.95; Jack-in-the-Box; Study; Lazy-bones. Angela Brownridge (pno). Delphian DCD 34301-3 (3-CD set).PATRICK PIGGOTT: Fantasia quasi una Sonata; 8 Preludes and a Postlude (Third Set). Second Piano Sonata. Malcolm Binns (pno). British Mu

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19

Salleh, Marzelan, and Camellia Siti Maya Mohamed Razali. "Creative music making through composition workshop for higher education educators: An experiential learning." Journal Of Research, Policy & Practice of Teachers & Teacher Education 10, no. 2 (2020): 32–48. http://dx.doi.org/10.37134/jrpptte.vol10.2.3.2020.

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This study looked into a way experiential learning was incorporated into a music course by having students participate in a workshop led by a subject matter expert. In the workshop, Passepartout Duo’s role as subject matter experts in the music field ensures an ideal experiential learning environment for composition music students to immerse themselves in order to develop new skills and knowledge. Passepartout Duo is a piano and percussion duo based in Germany, who performs and composes contemporary music. Passepartout Duo members are Nicoletta Favari (piano & keyboard) and Christopher Sal

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20

Conway, Paul. "London, BBC Maida Vale Studios: Justin Connolly's Piano Concerto." Tempo 58, no. 228 (2004): 66–67. http://dx.doi.org/10.1017/s0040298204280159.

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Many of Justin Connolly's works have been premièred and recorded by Nicholas Hodges, whose musicianship provided the inspiration for Connolly's Piano Concerto (2001–2003). The form and character of the piece are influenced by the ancient idea of the labyrinth, the forces of soloist and orchestra being well suited to the roles of Theseus and the Minotaur, where one protagonist signifies the existence of the other and the distinction between hero and villain is not always apparent. The orchestral forces employed are unexceptional. Brass and percussion are divided into two separate groups to the

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21

Tubb, Robert. "Controlling Rhythm in the Frequency Domain." Leonardo 48, no. 3 (2015): 282–83. http://dx.doi.org/10.1162/leon_a_01010.

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This article describes a way to approach music sequencing, with particular focus on the generation of dynamic rhythm patterns. In contrast to the well known “step sequencer” or “piano roll” style interfaces that specify note pitches and amplitudes as values located at points in time, the device described here calculates note patterns from the sum of a series of discrete sinusoids. When these patterns trigger velocity sensitive percussion sounds, useful rhythms can be generated and transformed with very few controls.

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22

Taylor, John R., and Andrew J. Milne. "The Rhythmotron." Leonardo Music Journal 29 (December 2019): 67–72. http://dx.doi.org/10.1162/lmj_a_01066.

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This paper describes the Rhythmotron: a percussion-centered robotic orchestrion, commissioned for the CoLABS festival in Sydney in 2017. The authors describe how they electronically reimagined the mechanical components of a cylinder piano by using a variant of the XronoMorph software, and they consider the synergy between algorithmically generated rhythms in a digital environment alongside its analogous mechanical counterpart. The authors detail the idiosyncratic behaviors of linear actuators when used to power drumming robots, and they discuss the aesthetic implications of the Rhythmotron.

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23

MS., ASHWINI. R. PATIL PROF .V .M. SARDAR. "MUSICAL INSTRUMENTCLASSIFICATION USING MIRTOOLBOX." JournalNX - A Multidisciplinary Peer Reviewed Journal 3, no. 9 (2018): 47–51. https://doi.org/10.5281/zenodo.1143809.

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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. The various sound of instrument is classified using MIR Toolbox which is music information retrieval toolbox. In this proposed system we use major features set like Tonality, Timber, Rhythm, Pitch, and Energy from MIR Toolbox useful for musical instrument.

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24

Conway, Paul. "James MacMillan premieres in Edinburgh, Glasgow and London." Tempo 68, no. 269 (2014): 70–72. http://dx.doi.org/10.1017/s0040298214000114.

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The concerto form is well represented in James MacMillan's output. So far, he has written three for piano, two for percussion and one each for violin, viola, cello, trumpet, oboe and clarinet. There is also threaded through his output a series of concertante works, such as A Deep but Dazzling Darkness, for violin, ensemble and tape (2003), A Scotch Bestiary, for organ and orchestra (2004) and the concertino Seraph, for trumpet and strings (2010). All share a common concern to realise fully the soloist's expressive potential.

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25

Christensen, Jean, Bent Lorentzen, and Ivar Lunde. "Paradiesvogel, for 7 Instruments: Flute/Piccolo, Clarinet, Violin, Cello, Guitar, Percussion, Piano (1983)." Notes 46, no. 1 (1989): 241. http://dx.doi.org/10.2307/940787.

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26

Giri, Gst Ayu Vida Mastrika, and Made Leo Radhitya. "Musical Instrument Classification using Audio Features and Convolutional Neural Network." Journal of Applied Informatics and Computing 8, no. 1 (2024): 226–34. http://dx.doi.org/10.30871/jaic.v8i1.8058.

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This research classifies acoustic instruments using Convolutional Neural Network (CNN). We utilize a dataset from Kaggle containing audio recordings of piano, violin, drums, and guitar. The training set consists of 700 guitar, percussion, violin, and 528 piano samples. The test set contains 80 samples of each instrument. Features such as Mel spectrograms, MFCCs, and other spectral and non-spectral characteristics are extracted using the Librosa package. Three feature sets—spectral-only, non-spectral-only, and a combined set—are employed to evaluate the efficacy of CNN models. Various CNN confi

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Lederman, Richard J. "Tremor in Instrumentalists: Influence of Tremor Type on Performance." Medical Problems of Performing Artists 22, no. 2 (2007): 70–73. http://dx.doi.org/10.21091/mppa.2007.2105.

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Objective: To review the types of tremor seen in instrumental musicians and assess the impact on the musicians’ careers. Tremor of the limb, lip, jaw, or larynx can be particularly disruptive to an instrumentalist. Methods: Forty-six instrumental musicians were identified who specifically noted tremor interfering with musical activity. Tremor associated only with performance anxiety was excluded. Follow-up information was obtained by personal examination or telephone interview. Results: Twenty-six musicians (22 men, 4 women), aged 17 to 70 yrs at evaluation, had essential tremor. All had hand

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Shaozheng, Chen, and Tazul Tajuddin. "Chinese Peking Opera Elements in Zhang Zhao's Piano Work Pi Huang." Journal of Ecohumanism 3, no. 6 (2024): 1573–87. http://dx.doi.org/10.62754/joe.v3i6.4107.

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Peking opera is a representative type of traditional Chinese opera. It originated during the reign of Emperor Qianlong of the Qing Dynasty. It incorporates elements of various operas such as Hui opera and Han opera. It is famous for its unique singing style, facial makeup, and costumes. It is performed by singing, reciting, acting, and fighting. There are two main operatic tune Peking opera, Xipi and Erhuang. The musical accompaniment mainly uses Jinghu, Jingerhu (traditional Chinese stringed instrument) and percussion instruments. As an important symbol of Chinese culture, Peking opera has be

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Petri-Preis, Axel. "EMILY HOWARD'S LOVELACE TRILOGY: A MUSICAL HOMAGE TO A MATHEMATICAL PIONEER." Tempo 67, no. 265 (2013): 28–36. http://dx.doi.org/10.1017/s0040298213000442.

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AbstractWithAda Sketches, for mezzo-soprano, flute, clarinet and percussion,Mesmerism, for solo piano and chamber orchestra, andCalculus of the Nervous System, for large orchestra, in 2011 the young British composer Emily Howard completed a triptych of works in which she drew decisively on the life and thoughts of Ada Lovelace for inspiration. Today, Lovelace is recognized as a pioneer of 19th-Century mathematics, who in her lifetime attempted to bring together art and mathematics in Charles Babbage's Analytical Engine. She was convinced of the power of mesmerism and believed that there was a

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Soloviova, Oksana. "Concerts for Clavier and Orchestra by Wolfgang Amadeus Mozart: Trends in the Development of the Genre in the Context of His Composer Method." Ukrainian musicology 46 (October 27, 2020): 127–39. http://dx.doi.org/10.31318/0130-5298.2020.46.234610.

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In recent years, research opportunities in the field of Mozart studies have expanded. As a result, new scientific paradigms are emerging that differ from the generally accepted ones. Even the well-known facts of the composer's biography and work can be viewed in a new way today. The interdependence of Mozart's instrumental and theatrical music has long been studied, but still remains an inexhaustible source for new research – this determines the relevance of the study. Main objective of the study – to determine the interaction of the two sides of Mozart's work: instrumental and theatrical and

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31

Shirieva, N. V. "QURANIC TEXTS IN CHORAL WORKS MODERN TATAR COMPOSERS." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 26, no. 94 (2024): 107–13. http://dx.doi.org/10.37313/2413-9645-2024-26-94-107-113.

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The purpose of this work is to concentrate the reader’s gaze on the choral works of Tatar composers, to show that the creation of these works was inspired directly by a religious idea, and this idea manifested itself at the level of the use of Koranic texts. The research material was partly the work of S. Gabyasha, as well as works by Sh. Sharifullin, R. Kalimullin, M. Shamsutdinova, S. Zoryukova for choir, alto flute, double bass, prepared piano and percussion. The author of the article comes to the conclusion that the appeal to the Koranic texts of modern Tatar composers is not only due to t

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Belova, N. V., and O. M. Yakymchuk. "Three piano pieces of Liudmila Shukailo in the context of genre paradigm." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (2020): 61–76. http://dx.doi.org/10.34064/khnum1-57.04.

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Introduction. By Nazaikynskyi’s (2003) definition, genres are “relatively stable types, classes, kinds and sorts of music works that have been formed historically; they could be сlassified according to the following basic criteria: a) specific function (social, domestic or artistic); b) conditions and means of performing; c) the character of the content and the forms of its embodiment” (94). Besides, genre has a memory concerning its origin and existence, it absorbs whole traditions of realisation of genre types that existed during certain historical periods. In such a way it forms the field o

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Dyka, Nina. "STYLISTIC FEATURES OF GENRE OF “MINIATURE I” FOR FLUTE, OBOE, PERCUSSION AND PIANO OF I. M. SONEVYTSKYI." Ukrainian music 31, no. 1 (2019): 86–94. http://dx.doi.org/10.33398/2224-0926-2019-31-1-86-94.

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Chernyavska, Marianna, and Sun Le. "Sound image of Peking opera in piano works of Chinese composers." Aspects of Historical Musicology 37, no. 37 (2024): 138–66. https://doi.org/10.34064/khnum2-37.07.

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Statement of the problem. Among the regional varieties of Chinese musical and dramatic art, the leading place belongs to the capital drama – Beijing (Peking) opera Jingcui, which has absorbed many elements of performances from other regions of China. This art form is considered one of the most valuable cultural treasures of China, it inspires many Chinese composers to create piano music, which presents the sound image of Peking opera. Objectives, methods, and novelty of the research. The purpose of the article is to identify and scientifically substantiate the connections of the piano works of

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Tsaregradskaya, Tatiana V. "Simon Steen-Andersen — a Composer of the Postmodernist Era." Russian Musicology, no. 4 (2024): 69–76. https://doi.org/10.56620/rm.2024.4.069-076.

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The composer’s position in the contemporary academic musical culture includes an entire spectrum of directives: from the modern to the postmodern. The postmodernist aesthetical directive towards irony and the element of play are the most akin to Danish composer Simon Steen-Anderson, who has received broad recognition in the professional community. In this article, the conceptions of three compositions by Steen-Andersen are analyzed — Black Box Music for solo percussionist and fifteen performers (2012), In Spite Of, And Maybe Even Therefore for winds, piano, percussion and double-bass (2007) an

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Le, Sun. "The embodiment of national musical dramatic art traditions in Guo Zhiyuan’s piano works." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 72, no. 72 (2024): 162–84. https://doi.org/10.34064/khnum1-72.10.

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Statement of the problem. The article is devoted to the interaction of the traditions of national musical and dramatic art with elements of Western European writing techniques in the piano cycles of Guo Zhiyuan (1921–2013). The composer’s contribution to the development of the national piano pedagogical repertoire is determined, which we can consider as a kind of link between national art and modernity. Objectives, methods, and novelty of the research. The purpose of the article is to establish the connections between Guo Zhiyuan’s piano works and national traditions of musical and drama art,

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Nasibulina, Alisa V. "THE MUSICAL STYLE OF COMPOSER YURI KASPAROV." Arts education and science 2, no. 39 (2024): 137–46. http://dx.doi.org/10.36871/hon.202402137.

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This article is devoted to the musical style of Yuri Kasparov (b. 1955), Russian composer and music teacher, Professor at the Moscow State Tchaikovsky Conservatory, who writes primarily chamber music. Many of his compositions are scored for a chamber orchestra comprising flute, oboe, clarinet, bassoon, horn, trumpet, trombone, harp, piano, percussion, two violins, viola, cello and double bass (an instrumentation derived from A. Schoenberg’s Chamber Symphony No. 1). His works include over 80 chamber compositions of different genres written for one to 17 instruments. He tends to use non-standard

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Helena, Maria da Silva Santana, and do Rosário da Silva Santana Maria. "O Dito e o (Re)dito na Obra para Acordeão de João Pedro Oliveira: uma Proposta de Análise." Germinare 1, no. 1 (2021): 32–45. https://doi.org/10.5281/zenodo.5557061.

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In his catalog of works, João Pedro Oliveira has two works for accordion - L'Accordéon du Diable (2006) for amplified accordion and tape, and Prisma (2007, 2011) which has two versions: one for flute, piano, accordion and percussion, written in 2007 and revised in 2011, and another one, for tape, cimbalom, accordion and percussion, composed in 2007. When asked about the work L'Accordéon du Diable, João Pedro Oliveira states that it has several references, namely the fourth augmented interval – Diabolus in Musica; Nicolas Paganini - The Devil's

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Conway, Paul. "Thea Musgrave round-up." Tempo 57, no. 226 (2003): 50–51. http://dx.doi.org/10.1017/s004029820325035x.

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‘Pierrot Dreaming’. MUSGRAVE: Canta! Canta!; Ring Out Wild Bells; Threnody; Pierrot; Chamber Concerto No. 2. Victoria Soames Samek (cl), Gabrielle Byam-Grounds (fl), David Le Page (vn/va), Matthew Sharp (vc), Mark Troop (pno). Clarinet Classics CC0038.‘The Fall of Narcissus’. MUSGRAVE: Serenade; Narcissus; Impromptu for flute and cello; Wind Quintet; Impromptu No. 2 for flute, oboe and clarinet; Four Portraits for baritone, clarinet and piano. Victoria Soames Samek (cl), Members of English Serenata, David Le Page (va), Matthew Sharp (vc), Stephen Varcoe (bar), Rachel Masters (hp). Clarinet Cla

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Stetsiuk, Bohdan. "The origins and major trends in development of jazz piano stylistics." Aspects of Historical Musicology 19, no. 19 (2020): 411–28. http://dx.doi.org/10.34064/khnum2-19.24.

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This article characterizes development trends in jazz piano from its origins in the “third-layer” (Konen, V., 1984) of music (ragtime and other “pre-jazz” forms) to the present time (avant-garde and retro styles of the late 20th – early 21st centuries). Main attention was devoted to the stylistic sphere, which represents an entirety of techniques and methods of jazz piano improvisation and combines genre and style parameters. In this context, the currently available information about jazz pianism and its sources (Kinus,Y., 2008; Stoliar, R., 2017) was reviewed, and sociocultural determinants,

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Zubko, Natalia. "“SOUVENIR FROM LVIV” BY VIKTOR KAMINSKY AS AN EXAMPLE OF THE AUTHOR’S EMBODIMENT OF THE CONCERT GENRE." Scientific Journal of Polonia University 65, no. 4 (2024): 131–36. http://dx.doi.org/10.23856/6515.

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This article highlights the distinctive features of Kaminsky's individual style and musical language as realized in his Concerto "Souvenir from Lviv" four piano duet and orchestra, and determines the main interpretive aspects of the piece. "Souvenir from Lviv" exemplifies Kaminsky's ability to merge postmodern eclecticism with neo-romantic emotionality. Kaminsky integrates elements of neo-styles, including neoromanticism and neo-baroque, which add special depth and complexity to his work. These stylistic elements allow the composer to create a rich sound landscape, where traditional forms mix

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Kailin, Zhang. "FOREVER THE SAME, FOREVER NEW SERGEI SLONIMSKY." Arts education and science 1, no. 30 (2022): 101–6. http://dx.doi.org/10.36871/hon.202201011.

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The article is devoted to the work of the outstanding Russian composer S. M. Slonimsky, which is considered in the context of his era. The composer's life, as in a mirror, is reflected in his works, which were published from 1954 to 2020, starting with the "Song about the Alarm Clock" for voice and piano and ending with Symphony No. 34, published during the master's lifetime. S. M. Slonimsky composed in different genres, paying great attention to instrumental timbres and engaging the instruments of different peoples and national schools. He broadened the composition and intensified the dramati

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Bergee, Martin J. "Faculty Interjudge Reliability of Music Performance Evaluation." Journal of Research in Music Education 51, no. 2 (2003): 137–50. http://dx.doi.org/10.2307/3345847.

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Assessment of music performance in authentic contexts remains an underinvestigated area of research. This study is an examination of one such context, the inter-judge reliability of faculty evaluation of end-of-semester applied music performances. Brass (n = 4), percussion (n = 2), woodwind (n = 5), voice (n = 5), piano (n = 3), and string (n = 5) instructors evaluating a recent semester's applied music juries at a large university participated in the study. Each evaluator completed a criterion-specific rating scale for each performer and assigned each performance a global letter grade not sha

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Von Glahn, Denise. "John Luther Adams, Four Thousand Holes. Stephen Drury, piano; Scott Deal, percussion; The Callithumpian Consort. Cold Blue Music CB0035, 2011." Journal of the Society for American Music 7, no. 3 (2013): 353–55. http://dx.doi.org/10.1017/s1752196313000321.

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Boldurescu, Yulia V. "Creative Flute Playing in Work with Beginners." ICONI, no. 1 (2020): 76–87. http://dx.doi.org/10.33779/2658-4824.2020.1.076-087.

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The article is addressed to faculty members of departments of wind and percussion instruments in children’s music schools and children’s schools for the arts for collaborative work with beginners in elementary fl ute classes. The article proceeds to describe and formulate questions and playing assignments with utilization of the repertoire of folk melodies for bringing out the instructor’s and pupil’s artistic approaches in working with original musical texts and cognizing its content-related side on the early stages of studies in children’s music schools and children’s schools for the arts. T

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Veselinović-Hofman, Mirjana. "Silence As a Hermeneutic Oasis of Music." Musicological Annual 43, no. 2 (2007): 333–57. http://dx.doi.org/10.4312/mz.43.2.333-357.

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This text is an attempt to point to the possibility of the moments of musical silence in a music flow and musical sound, being presented as a specific hermeneutic ‘oasis’ of music. Musical silence is considered here primarily as compositionally shaped segments where silence is embodied by means of sound. And where the stillness of the sound state of the musical silence breaks into another space: the space of the unintentional, which actually stimulates associative and cognitive paths. It concerns a specific ‘suspension’ space that offers ‘some more time and place’ for various streams of emotio

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Susanni, Paolo. "Tonal progression in Bartók's 'Etudes', Op. 18." New Sound, no. 42 (2013): 129–46. http://dx.doi.org/10.5937/newso1342129s.

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Bartók's mature musical language was born of both folk and art-music sources which influenced the composer in equal measure. The Three Studies for piano, Op. 18, represent a significant step in the evolution of the composers synthesis of the art-music source. All three etudes are based on equal-interval chains called interval cycles. Each of the three etudes represents a stage in the process of intervallic augmentation the composer named diatonic expansion. This concept, together with that of chromatic compression, is fundamental to all his mature works. The first etude expands the chromatic s

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Kang, Yijie, and Ariunaa Sh. "An Initial Exploration of the Historical Development and Origin of the Guzheng." Highlights in Art and Design 6, no. 1 (2024): 25–31. http://dx.doi.org/10.54097/gqgpm010.

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The guzheng (ancient zither), also referred to as han zheng, qin zheng, yao zheng, and luan zheng, is hailed as the “King of Music” and the “Eastern Piano.” It holds a significant place as a plucked instrument within the realm of traditional Chinese musical instruments, serving as a unique and important national treasure in China’s musical landscape. Dating back to the Spring and Autumn period (770–476 BCE) and the Warring States period (475–221 BCE), it gained popularity in Shaanxi and Gansu regions. In 237 BCE, Li Si vividly depicted a traditional guzheng performance in his correspondence wi

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Shchetynsky, O. S. "Musical iconography of Annunciation: personal experience." Aspects of Historical Musicology 17, no. 17 (2019): 74–89. http://dx.doi.org/10.34064/khnum2-17.05.

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Background. The objective of the article is to analyze the interaction, for sake of artistic unity of a work, of the musical, textural and theatrical structures and solutions in the contemporary opera as in a synthetic genre. The author uses his chamber opera “Annunciation” as an example of these processes and shows the ways certain dramatic and theatrical ideas determine musical solutions. Although since the middle of the 19th century composers sometimes wrote an opera text themselves, the common case was still a collaboration of two (sometimes more) creators: a composer and a librettist, eac

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Сетьян, Г. Г. "ВОКАЛЬНОЕ ИНТОНИРОВАНИЕ В ФОРТЕПИАННОМ ВОСПРОИЗВЕДЕНИИ: МЕТОДОЛОГИЧЕСКИЙ ДИСКУРС". Традиції та новації у вищій архітектурно-художній освіті, № 4 (1 грудня 2018): 124–31. https://doi.org/10.5281/zenodo.1807069.

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The article is devoted to the substantiation of the specificity of the phenomenon defined by the metaphor “singing piano”. It is noted that this metaphor has deep historical and stylistic roots, stemming from the nature of music as the art of an intonated sense (B. Asafyev), in which the sound is primary (F. Chopin), and the word and music are only various vectors of this art. In the process of the evolution of musical thinking, the vocal and instrumental elements interacted in a complex and varied manner, alternately occupied leading positions in the practice of public music-makin

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