Academic literature on the topic 'Piano colore'
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Journal articles on the topic "Piano colore"
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Palmer, Stephen E., Thomas A. Langlois, and Karen B. Schloss. "Music-to-Color Associations of Single-Line Piano Melodies in Non-synesthetes." Multisensory Research 29, no. 1-3 (2016): 157–93. http://dx.doi.org/10.1163/22134808-00002486.
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Prior research has shown that non-synesthetes’ color associations to classical orchestral music are strongly mediated by emotion. The present study examines similar cross-modal music-to-color associations for much better controlled musical stimuli: 64 single-line piano melodies that were generated from four basic melodies by Mozart, whose global musical parameters were manipulated in tempo (slow/fast), note-density (sparse/dense), mode (major/minor) and pitch-height (low/high). Participants first chose the three colors (from 37) that they judged to be most consistent with (and, later, the three that were most inconsistent with) the music they were hearing. They later rated each melody and each color for the strength of its association along four emotional dimensions:happy/sad,agitated/calm,angry/not-angryandstrong/weak. The cross-modal choices showed that faster music in the major mode was associated with lighter, more saturated, yellower (warmer) colors than slower music in the minor mode. These results replicate and extend those of Palmeret al.(2013,Proc. Natl Acad. Sci.110, 8836–8841) with more precisely controlled musical stimuli. Further results replicated strong evidence for emotional mediation of these cross-modal associations, in that the emotional ratings of the melodies were very highly correlated with the emotional associations of the colors chosen as going best/worst with the melodies ( forhappy/sad,strong/weak,angry/not-angryandagitated/calm, respectively). The results are discussed in terms of common emotional associations forming a cross-modal bridge between highly disparate sensory inputs.
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Bashmakova, N. V., and K. V. Kravchenko. "CAPRICCIOʼS GENRE IN MANDOLIN MUSIC AT THE END OF THE 19th – THE EARLY OF THE 20th CENTURIES (for example of the concert pieces by С. Munier)." Музикознавча думка Дніпропетровщини, no. 14 (January 21, 2019): 60–71. http://dx.doi.org/10.15421/221822.
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The purpose of this article is process of analyzing in reference to concert capriccio by C. Munier for mandolin with piano («Bizzarria», op. 201, Spanish сapriccio, op. 276) from the point of view of their genre specificity. Methodology. The research is based on the historical approach, which determines the specifics of the genre of Capriccio in the music of the late 19th and early 20th centuries and in the work of C. Munier; the computational and analytical methods used to identify the peculiarities of the formulation and the performing interpretation of the original concert pianos for mandolins with piano that, according to the genre orientation (according to the composerʼs remarks), are defined as capriccio. Scientific novelty. The creation of Florentine composer,61mandolinist-vertuoso and pedagog C. Munier, which made about 300 compositions, is exponential for represented scientific vector. Concert works by C. Munier for mandolin and piano, created in the capriccio genre, were not yet considered in the art of the outdoors, as the creativity and composer’s style of the famous mandolinist. Conclusions. Thus, appealing to capriccio by С. Munier, which created only two works, embodied in them virtually all the evolutionary stages of the development of genre. In his opus of this genre there are a vocal, inherent in capriccio of the 17th century solo presentation, virtuosity, originality, which were embodied in the works of 17th – 18th centuries and the national color of the 19th century is clearly expressed. Thus, the Spanish capriccio is a kind of «musical encyclopedia» of national dance, which features are characteristic features of bolero, tarantella, habanera, and so forth. The originality of opus number 201 – «Bizzarria», is embodied in the parameters of shaping (expanded cadence of the soloist in the beginning) and emphasized virtuosity, which is realized in a wide register range, a variety of technical elements.
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Marvin, Elizabeth West, and Alexander R. Brinkman. "The Effect of Key Color and Timbre on Absolute Pitch Recognition in Musical Contexts." Music Perception 18, no. 2 (2000): 111–37. http://dx.doi.org/10.2307/40285905.
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Previous research has shown that listeners with absolute pitch identify white-key pitches (as on the piano) more quickly and accurately than they identify black-key pitches. Related research has shown that the timbre of tones also affects pitch identification. Our experiments extend the investigation of color and timbre effects on pitch recognition from isolated pitches to more complex musical textures, using both musicians with absolute pitch and musicians without absolute pitch as participants. In Experiment 1, listeners named isolated pitches in synthesized violin or piano timbres; in Experiment 2, they named the tonal center of classical string quartets or piano solos; in Experiment 3, they identified the tonal center of the same musical excerpts by humming. We replicated the color effect for both groups of participants in the response times for all three experiments, but found a color effect on accuracy rates only in Experiment 2. Timbre effects were found only in Experiment 1, where response times were quicker for piano tones than string tones. Participants' instrumental training affected response times: string players identified isolated tones most quickly; keyboard players identified the keys of compositions most quickly.
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Park, So-Hyun, and Young-Ho Park. "Audio-Visual Tensor Fusion Network for Piano Player Posture Classification." Applied Sciences 10, no. 19 (September 29, 2020): 6857. http://dx.doi.org/10.3390/app10196857.
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Playing the piano in the correct position is important because the correct position helps to produce good sound and prevents injuries. Many studies have been conducted in the field of piano playing posture recognition that combines various techniques. Most of these techniques are based on analyzing visual information. However, in the piano education field, it is essential to utilize audio information in addition to visual information due to the deep relationship between posture and sound. In this paper, we propose an audio-visual tensor fusion network (simply, AV-TFN) for piano performance posture classification. Unlike existing studies that used only visual information, the proposed method uses audio information to improve the accuracy in classifying the postures of professional and amateur pianists. For this, we first introduce a dataset called C3Pap (Classic piano performance postures of amateur and professionals) that contains actual piano performance videos in diverse environments. Furthermore, we propose a data structure that represents audio-visual information. The proposed data structure represents audio information on the color scale and visual information on the black and white scale for representing relativeness between them. We call this data structure an audio-visual tensor. Finally, we compare the performance of the proposed method with state-of-the-art approaches: VN (Visual Network), AN (Audio Network), AVN (Audio-Visual Network) with concatenation and attention techniques. The experiment results demonstrate that AV-TFN outperforms existing studies and, thus, can be effectively used in the classification of piano playing postures.
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Lanfranco, Lorena. "Le mutilazioni genitali femminili: punti di forza e criticità del sistema di contrasto." MINORIGIUSTIZIA, no. 3 (January 2021): 43–52. http://dx.doi.org/10.3280/mg2020-003005.
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I flussi migratori impongono al nostro Paese di riflettere sulla compatibilità di alcune pratiche tradizionali che si palesano inconciliabili con i diritti fondamentali della persona tutelati dalla Costituzione italiana e con i principi sanciti a livello internazionale. Tra queste una posizione di primo piano assumono le mutilazioni genitali femminili (Mgf). Il presente contributo, dopo un inquadramento delle ragioni che stanno alla base delle Mgf, si sofferma sulla risposta dell'ordinamento italiano sul piano penale (art. 583 bis cod. pen.) e sulla decadenza automatica dalla responsabilità genitoriale quale sanzione accessoria, per poi interrogarsi, quanto agli strumenti civilistici, sulla delicata questione della valutazione della capacità genitoriale di coloro che abbiano fatto sottoporre una figlia minore a Mgf. Infine, riflette sulla centralità dei programmi di prevenzione, sensibilizzazione e formazione quali principali direttrici da seguire per l'eradicazione del fenomeno escissorio.
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Rónai, Laura. "Análise de uma análise: Tarasti e Liszt." Per Musi, no. 25 (June 2012): 112–16. http://dx.doi.org/10.1590/s1517-75992012000100012.
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Em seu livro basilar, A Theory of Musical Semiotics, Eero Tarasti empreende a análise semiótica da obra para piano Vallée d'Obermann, do compositor Franz Liszt. Num processo de arguta arqueologia musical, o autor desvenda as várias camadas que colorem a escrita do compositor húngaro. O presente artigo pretende fazer observações à margem deste texto, procurando detalhar e comentar a análise de um dos mais importantes teóricos da semiologia.
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Lebedeva, N. S. "Sonatas № 2 end № 9 as Milestones in the Evolution of the Piano Style of A. Scriabin." Culture of Ukraine, no. 71 (April 2, 2021): 86–93. http://dx.doi.org/10.31516/2410-5325.071.11.
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The article is devoted to the consideration of two piano sonatas by A. Scriabin, representing in a complex the peculiarities of his piano style as an integral phenomenon. The two-part sonata No. 2, classified as a musical landscape, is considered in comparison with the performing versions proposed by S. Richter and V. Ashkenazy. The one-part Sonata No. 9, called “Black Mass”, is considered in comparison with the performing interpretations of V. Sofronitsky and V. Horowitz.
It is noted that the Scriabin’s piano style is inherently mixed, compositional and performing, and its grandiose macrocycle of 10 sonatas appears as a compendium of the principles of piano thinking for the post-romantic era. The universalism of Scriabin’s writing is confirmed using the comparative method of analysis, for the first time proposed in this article in relation to the works under consideration.
It was revealed that the style in music appears as “a system of stable features of musical phenomena, a way of their differentiation and integration at various levels” (S. Tyshko). The style is distinguished by a tendency to identify the individual, unique, “humanistic” in the broad sense of the word and has a hierarchical structure, within which there is a level characterized as “the style of any kind of music” (V. Kholopova), among which the piano style stands out.
Scriabin’s piano sonatas combine the categories of “instrument style”, “author’s style” and “performer’s style” at the style level.
It was revealed that the figurative and artistic duality of the Second sonata is reflected in the interpretations presented by S. Richter (the “classical” version, focused on the exact observance of the author’s text remarques, sounding in some places even like in Beethoven’s works), and V. Ashkenazy (the “romantic” version containing a whole complex of articulatory means added by the performer, most of all close to Chopin’s “sonic placers”).
The main factor that determines the peculiarities of the performance of the Ninth sonata is the transfer of the playing of harmonic timbre-colors, in which the melodic horizontal turns out to be inert in itself and manifests itself only in harmonic lighting in combination with articulatory attributes. It is noted that A. Scriabin creates in the Ninth sonata actually a special type of texture, accentuating the parameter of depth, based on the stereophonic effect “further — closer”.
In the conclusions on the article, it is noted that the stylistic “arch” of two Scriabin’s sonatas highlighted in it helps to comprehend the holistic character and contextual connections of the sonata-piano style of the great Russian composer-innovator, to find “keys” to actual interpretations of his other piano sonatas, an example of which is analyzed interpretation samples of such masters as V. Sofronitsky and V. Horowitz (Ninth sonata) and S. Richter and V. Ashkenazy (Second sonata).
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Golovan, Ievgeniia. "The latest approaches to piano interpretation in chamber and ensemble creativity of V. Silvestrov (the case of the "Drama" cycle for violin, cello and piano)." Culturology Ideas, no. 20 (2'2021) (2021): 107–14. http://dx.doi.org/10.37627/2311-9489-20-2021-2.107-114.
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The article overviews a set of issues related to the latest interpretation of the piano in the second half of the XXth century, the use of non-specific techniques of playing the instrument and the peculiarities of its use in the chamber ensemble. It describes the main elaboration direction of compositional methods and techniques, their objectification in the ensemble work of Ukrainian artists. V. Silvestrov's "Drama" for violin, cello and piano is analyzed as a unique example of synthesis of traditional and avant-garde tendencies in the music of the XXth century, which combines music making with elements of instrumental theater. The article outlines main parameters, notes the stylistic and timbre diversity of the work. The compositional methods and techniques used in the trio are considered, including sonorism, aleatory, pointillism, happening. The role of the prepared piano at sound color is established, and other sound, noise and stage effects in creation of a sound image of a composition. The significance of the latest sound formation principles laid down in the work, the urgency and influence of the author's innovations on modern chamber music are revealed. The proposed analysis should contribute to a fuller understanding of avant-garde trends and their manifestation in chamber music of the second half of the XXth century and a wider introduction of V. Silvestrov's works to the chamber and ensemble repertoire of modern performers.
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Ota, Mineo. "Bartók’s wrists and 19th-century performance practice: An essay on the historicity of piano technique." Studia Musicologica 53, no. 1-3 (September 1, 2012): 161–70. http://dx.doi.org/10.1556/smus.53.2012.1-3.12.
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Mária Comensoli, who studied under Bartók in the mid-1920s, reports that her teacher used “peculiar fingerings and peculiar wrist and arm technique.” Examining such comments and the recordings of the composer-pianist, it becomes clear that Bartók played the piano partly according to the 19th-century performance practice. He frequently played chords in arpeggio, even when there were no markings of arpeggio in the score, and he respected the tone color of each finger by relying on the technique of leaping. Contemporary documents suggest that one of Bartók’s technical advantages was the flexibility of his wrists. In Bartók’s case it may have been a fruit of a conscious training by István Thomán. The writings of the Liszt-pupil Thomán suggest that, like his master, he valued the “active” use of wrists, even though he basically supported the modern, “synthetic” piano technique propagated by Breithaupt, who consistently recommended the “passive” use of the wrists. It is likely that, through Thomán, Bartók learned many things from the 19th-century performance practice.
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Malaieva, Tetiana. "The method of double repetition action in the art of piano playing as an artistic and expressive technique." Bulletin of Mariupol State University. Series: Philosophy, culture studies, sociology 9, no. 18 (2019): 57–62. http://dx.doi.org/10.34079/2226-2849-2019-9-18-57-62.
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This article is a deep study of the technical possibilities of the modern piano and the use of this knowledge in the musical and pianistic development of the personality. The history of the modern piano begins in the XIX century. In 1823, Sebastien Erar in Paris invented the mechanism of double rehearsal. It was a double rehearsal that marked the beginning of a new history of the modern piano. Its main task is to achieve the sensation of closing a fingertip with a string. Similarly, as the ligaments of the vocalist close or the bow with the string of the violinist. Double rehearsal is a thin spring mechanism that allows you to repeatedly press a key from half or a quarter of a key's stroke without lifting your finger from the key.This mechanism drives the hammer, and the damper remains motionless. This creates a pedal sound effect. Possession of a double rehearsal allows the pianist to understand that any touch to the keyboard affects the quality and color of the sound. Touching the keyboard is called Touche - unfortunately a forgotten professional concept. Frederic Chopin owned an excellent touche, for which he was called the "Singer of the piano." Famous musician, conductor, pianist, composer, music theorist, philosopher, human rights activist, Honored Artist of Russia Mikhail Arkadyev is considered a modern researcher of double rehearsal. Mastering a double rehearsal is achieved by repeating a single sound or akorda of three, four sounds on a legato without using the right pedal. Therefore, it is necessary to learn from the very beginning and the first touch. There are many examples of the use of double rehearsal in music literature. It can be any repetition of the same sounds. She creates a variety of musical images. Possession of a double rehearsal contributes to the technical freedom of the pianist, aesthetic and physical support when playing the piano. The research of the ordered topic revealed that the sophisticated mechanism of the double rehearsal is the first and true "soul of the piano" (pedal - "friend") She (double rehearsal) contributes to the technical maintenance of the perfect performance of the musical work and requires a painstaking work as a music teacher, and his students. And this must be done from the beginning of education and education of music school students. As a conclusion of the study, it should be emphasized that today in education the personal-oriented pedagogy comes to the fore. Therefore, the upbringing, development, formation of individual and personal qualities in pupils with the means of music should occupy the current place in the work of musical schools. And this only confirms the relevance of the topic of research and requires its further development.
Dissertations / Theses on the topic "Piano colore"
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Chierici, Maddalena. ""Ogni volta che si entra nella piazza ci si trova in mezzo a un dialogo": la fontana di Fanano e il suo contesto urbano." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2017.
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Il lavoro si suddivide in una fase preliminare conoscitiva costituita da una ricerca storico-documentale sui principali eventi che hanno interessato l'abitato di Fanano(MO) e hanno portato in seguito alla progettazione e costruzione della fontana di p.zza Corsini.
Sono state poi analizzate le vie di comunicazioni interne, le destinazioni d’uso degli edifici del centro storico ed individuata una rete ‘verde’ pedonale esistente da potenziare che ricalca l’antico accesso al borgo.
L’attenzione è stata posta su p.zza Corsini, la sua storia, il suo sviluppo e il suo aspetto attuale.
Sono stati studiati i caratteri tipologici delle facciate degli edifici che si affacciano sulla piazza evidenziando le peculiarità, gli elementi di pregio, i caratteri incongrui.
E' stato redatto un piano del colore per gli edifici della piazza atto a garantire il carattere pittoresco che contraddistingue il luogo. A corredo del piano regolatore vigente sono state poi individuate linee di metodo per gli interventi futuri sulle facciate degli edifici al fine di salvaguardare il valore del paesaggio urbano.
L’indagine si è poi focalizzata sulla fontana, fulcro della piazza dai primi anni del 900 e simbolo del completamento del nuovo acquedotto progettato dall’ing. Lapo Farinati degli Uberti e (1908).
Con la collaborazione del comune di Fanano e dell’Apt Fanano è stata lanciata una campagna di crowdfounding per il restauro della fontana. L’indagine storica relativa a piazza e fontana ha portato alla pubblicazione de “la fontana di Fanano. Piazza Corsini: una storia di molti”, ed. Artestampa, MO, 2016.
A livello conoscitivo è stato effettuato il rilievo attraverso l’utilizzo di un laser scanner e lo studio è proseguito con lo studio ‘Archelab’.
E' stata condotta l’analisi del degrado che ha evidenziato danni significativi sugli elementi in arenaria. Sono stati indicati gli interventi mirati a salvaguardare le parti degradate, eliminando le cause di alcuni fenomeni dannosi
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Innis, Joy Anne. "Black and white in color : the technical procedures involved in the production of two computer multimedia projects based on music for two pianos." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1026702.
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The purpose of this study was to create two multimedia projects using computer software that combined a soundtrack with an interpretive visualization of music written for two pianos, and to document the technical procedures involved in the creation of the multimedia projects.This study was a collaborative undertaking between the author and the other member of PALENAI Piano Duo, Adrienne Shannon. A companion to the current dissertation has been submitted by Ms. Shannon, titled Black and White in Color: The Creative Aspects Involved in the Production of Two Computer Multimedia Projects Based on Music for Two Pianos.The goal of the multimedia projects was to produce visualizations of the musical elements and compositional devices found in the selected compositions. The two pieces selected for these visualizations were "Le Cygne", from Le Carnaval des Animaux by Camille Saint-Satins, and the Prologue from the Sonata for Two Pianos by Francis Poulenc. The SWAN project is visualized by means of realistic photography and the PROLOGUE project makes use of abstract imagery.This study examines the technical procedures in all stages of the projects, including the creation of the source photographs and the scanning procedures, the image editing and manipulation stage that was carried out in Adobe Photoshop, the composition of the project using Adobe Premiere, and the output to a computer-based presentation by compiling the project into a QuickTime movie.The projects in this study are intended to express the music by visual means as a creative endeavour, as an educational tool, and as a demonstration of the capabilities of two Adobe software programs within a Macintosh environment.School of Music
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Shannon, Adrienne White. "Black and white in color : the creative aspects involved in the production of two computer multimedia projects based on music for two pianos." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1026701.
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The purpose of this study was to create two multimedia projects using computer software that combined a soundtrack with an interpretive visualization of music written for two pianos, and to document the creative factors involved in the creation of the multimedia projects.This study was a collaborative undertaking between the present writer and the other member of PALENAI Piano Duo, Joy Innis. A companion to the current dissertation has been submitted by Ms. Innis, titled Black and White in Color: The Technical Procedures Involved n the Production of Two Computer Multimedia Projects Based on Music for Two Pianos.The goal of the multimedia projects was to produce visualizations of the musical elements and compositional devices found in the selected compositions. The two pieces selected for these visualizations were "Le Cygne", from Le Carnaval des Animaux by Camille Saint-Satins, and the Prologue from the Sonate pour deux pianos by Francis Poulenc.The study begins with a traditional analysis of the works followed by a description of the images that were selected from the image pool for the visualizations (the image pool is described in detail in the companion dissertation); an explanation of the criteria for image enhancement and manipulations that were carried out in the Adobe Photoshop program; and a detailed outline of the composition stage of the projects using the Adobe Premiere program.The projects in this study are intended to express the music by visual means as a creative endeavour, as an educational tool, and as a demonstration of the capabilities of two Adobe software programs within a Macintosh environment.School of Music
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Brunner, Heather Nicole. "COLOR AND MUSIC: A REVIEW OF RESOURCES TO ENHANCE BEGINNING INSTRUCTION IN PIANO PEDAGOGY." OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/316.
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This paper will examine color-coded musical notation. The history of color and music will be briefly explored before a more in-depth analysis of the widely available color-coded curriculums. Traditional method book formats will be examined for the potential integration of color-coded musical notation.
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Admiral, Roger James. "Four piano recitals and an essay, timbre and instrumental specificity as structural elements in modernist musical composition." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0033/NQ29136.pdf.
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Dukes, Leslie Dianne. "An exploration of Olivier Messiaen's piano style and application of color in "Le baiser de l'Enfant-Jesus" and "Le courlis cendre"." Diss., The University of Arizona, 1998. http://hdl.handle.net/10150/288828.
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This study includes discussion and clarification of the phenomenon of synesthesia and its significance in Messiaen's compositional technique. Messiaen described chords as "sound complexes," and maintained that complexes of sound, not the individual tone, produces color. The composer created sounds intended to evoke visual perceptions of specific colors. His color-music concept is discussed through examination of two pieces from his works for solo piano, Le baiser de l'Enfant-Jesus (from Vingt regards sur l'Enfant-Jesus, XV), and Le courlis cendre (from Catalogue d'oiseaux, XIII). This study demonstrates that within Messiaen's piano repertory there is internal consistency in his use of pitch, register, harmony, mode, rhythm, timbre, and texture to suggest light and color in music. Messiaen's extra-musical references to color may be literal or metaphorical. However subjective the composer's inspiration of sound/color/light may be for a work's inception, the compositional devices used are exacting, substantive, and phenomenological.
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Owyang, Angela. "The Influence of Cinematic Elements in Pierre Jodlowski's Works Based on Colour." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/314684.
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Pierre Jodlowski's Works Based on Colour consist of three pieces: Série Noire (2005), Série Blanche (2007), and Série Rose (2012) pour piano et dispositif électroacoustique. According to the composer, "each colour provides an opportunity to investigate a particular link of music with imagery." The pieces serve as a musical representation of cinematic elements through the synchronization of music and sound effects. The musical language of the cycle draws influences from various sources including the music of expressionism, musique concrète, as well as standard soundtrack scoring. The intermingling of various melodies, harmonies, and rhythms creates a synthesis between the piano and the electroacoustic soundtrack (tape).In Pierre Jodlowski's Works Based on Colour, he seeks to form an interdisciplinary collaboration between music and visual multimedia. The composer's interest in cinematography and mental processes is evident through his selective mixing of audio effects, sounds (real sounds versus synthesized sounds), and piano. According to Jodlowski the visual aspects, or mise-en-scène, of cinema should surface in the minds of the listener after hearing each of the works. Jodlowski's method of mixing involves several techniques: the insertion of fragments of dialogue from various films, tinkering with inanimate objects, pre-recorded sounds of nature, and the distortion of sonic effects and instrumentation. Aside from the use of color as a symbol, Jodlowski's cycle contains extra-musical ideas that cover a wide range of cinematic themes, including atmospheric elements of film noir, the gradual shifts and changes in our mental processes, as well as love discourse and sex from erotic cinema and pornography. Jodlowski's Works Based on Colour stirs the listener's imagination through the clear delineation of contrasting sections, the dialogue-like interaction between the tape and the piano, and the inclusion of dialogue and sound effects from various films. A performer should have knowledge of cinematic elements, understand the purpose of cinematic concepts and their significance for a cinematic viewer, and recognize their function in Jodlowski's works before performing the Works Based on Colour.
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Kada, Naoko. "Politics of impeachment in Latin America /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2002. http://wwwlib.umi.com/cr/ucsd/fullcit?p3044796.
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Makrinos, George Adam. "Drawing Music, Playing Architecture." Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/33890.
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Architecture and music share intrinsic meanings generated by a constant stream of metaphors which are forms of poetic transformations.
This thesis sought to challenge the present way an architect-musician makes drawings through the exploration of multimedia possibilities at hand. The drawings are composed using Macromedia Flash MX.
OPEN HOMEPAGE.EXE
To download flash player, click here:
Download flash PlayerMaster of Architecture
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Chiao-ling, Wu, and 吳巧伶. "Study of Piano Tone Color in The Third Movement of Franck's Sonata for Flute and Piano in A Major (Transcribed from Franck's Sonata for Violin and Piano)." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/10348070758475601178.
Full textBooks on the topic "Piano colore"
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Progetto Piano del colore: I piani del colore della provincia di Latina. Roma: Gangemi, 2006.
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Maiorino, Emilio. Cava de' Tirreni: Il Piano del colore. [Naples]: Electa Napoli, 1996.
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Fanfarillo, Sisto. Il colore costruito: Studi e ricerche per il piano del colore di Giuliano di Roma. Alatri: Hetea, 1989.
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Bianchetti, Fabrizio. Il colore nell'ambiente costruito: Il piano di coordinamento cromatico di Omegna e altre esperienze. Omegna: Vangelista editori, 1986.
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Bianchetti, Fabrizio. La facciata nell'edilizia storica: Il piano del colore di Verbania, materiali e superfici per il recupero della città storica. Milano: Vangelista, 1993.
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Dong, Lin. Duo mei de se cai: Neng li pian. Taibei Shi: Feng che tu shu chu ban you xian gong si, 1999.
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Wo zui xi ai de zhi shi tu dian: Luo ji pian. Xianggang: Xiao shu miao jiao yu chu ban she you xian gong si, 2014.
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Raimondo, Claudia. I piani del colore: Manuale per la regolamentazione cromatica ambientale. Rimini: Maggiolo, 1987.
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Le piano des lumières: Le grand œuvre de Louis-Bertrand Castel. Paris: L'Harmattan, 2012.
Find full textBook chapters on the topic "Piano colore"
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Uno, Roberta, Kristen Adele Calhoun, Daniela Alvarez, and Kassandra L. Khalil. "Cardboard Piano." In Contemporary Plays by Women of Color, 3–26. Second edition. | Milton Park, Abingdon, Oxon: New York: Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315641584-2.
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Manning, Jane. "RODNEY LISTER (b. 1951)Songs to Harvest (2006)." In Vocal Repertoire for the Twenty-First Century, Volume 2, 141–43. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0044.
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This chapter focuses on American composer Rodney Lister’s Songs to Harvest (2006). As shown in this attractive cycle, Lister has a distinctive and fascinating way of writing for voice and piano. The voice projects succinct, shapely phrases, while linear piano parts weave a tapestry of sinuous counterpoint, frequently in two parts only, often with three-against-two rhythms. When the voice stops, the piano continues, its luminous texture ebbing and flowing. Ingeniously, it seems to give a subliminal commentary as well as an irresistible propulsion to the music. The prime test of the songsmith is to set words so that they can be heard easily, and Lister passes this with flying colours. A predominantly medium range guarantees comfortable articulation—the highest note occurs only once, fleetingly. The cohesive musical idiom is discreetly contemporary, disciplined, and carefully modulated. Pitching should be relatively unproblematic—there is a good deal of doubling with the piano, and plenty of time to plot each interval cleanly.
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Iddon, Martin, and Philip Thomas. "Presenting the Concert for Piano and Orchestra." In John Cage's Concert for Piano and Orchestra, 122–206. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938475.003.0004.
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This chapter examines the public presentation of the Concert for Piano and Orchestra in four guises, in its New York premiere, in the development and release of the recording of that performance, in its European premiere in Cologne, and its centrality to Cage’s publishing history. It critically examines narratives of the allegedly catastrophic early performances, and reveals too the complex network of individuals involved in bringing them about, as well, as a result, of the enormous importance of a relatively small number of influential promoters and supporters of Cage’s work.
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Nichols, Roger. "‘Now we are Six’ 1919–1924." In Poulenc, 29–61. Yale University Press, 2020. http://dx.doi.org/10.12987/yale/9780300226508.003.0002.
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This chapter explains how Francis Poulenc exorcized the influence of Claude Debussy's piano music through his multi-stave preludes. It also analyzes Poulenc's modelling of his solo piano music in that of Igor Stravinsky, although the eight little piano duets were more interesting with the imaginative use of ostinato. It looks at Poulenc's three pieces called Mouvements perpétuels, which was acclaimed by virtuosos and by amateurs and reflected a sense in which the “war had created a new world.” The chapter looks at the performing instructions on Mouvements perpétuels, such as the second piece that must be played three times consecutively: the first time in a casual manner, second with plenty of rubato, and third with fury. It also mentions how Poulenc described Mouvements perpétuels as no more than three simple little touches of colour on a ground of white paper.
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Eliot, George. "Chapter I: A Duet in Paradise." In The Mill on the Floss. Oxford University Press, 2015. http://dx.doi.org/10.1093/owc/9780198707530.003.0047.
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The well-furnished drawing-room, with the open grand piano, and the pleasant outlook down a sloping garden to a boat-house by the side of the Floss, is Mr Deane’s. The neat little lady in mourning, whose light-brown ringlets are falling over the coloured embroidery with...
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Manning, Jane. "ANDREW NORMAN (b. 1979)Lullaby (2007)." In Vocal Repertoire for the Twenty-First Century, Volume 2, 172–75. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0054.
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This chapter focuses on American composer Andrew Norman’s Lullaby (2007). This early example of Norman’s writing for voice and piano is immediately engrossing and never loosens its hold on the listener. Norman manages to achieve a successful blend of the often-opposing twin virtues of highly disciplined structure and free-wheeling expressiveness. The volatile piano part carries a great deal of the action, but the singer, too, has ample opportunity to produce a full array of colours and to scale a broad range. A good number of long-spun phrases will test breath control. Intervals, occasionally angular, at other times close together, necessitate meticulous attention to tuning, especially when voice and piano clash chromatically. Starting peacefully, the song unfolds and builds with dazzling panache to a central climax, then gradually slows and calms, coming to a close with a succinct and memorable coda. Ultimately, this fascinating and highly individual setting of a well-known poem by W. H. Auden extends it considerably, thereby unpeeling new layers of meaning.
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Hepokoski, James. "Mozart, Piano Sonata in B-flat, K. 333/i (Allegro)." In A Sonata Theory Handbook, 24–39. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197536810.003.0002.
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Chapter 2—which may be read before chapter 1, if that is the preference of the reader—is the book’s first illustration of Sonata Theory in practice. It provides a close reading of the first movement of Mozart’s Piano Sonata in B-flat, K. 333, that simultaneously presents an introduction to the theory’s specific mode of analysis and its most central concepts and terms. Not least of its concerns are its urgings that the listener/analyst is a co-creator of the work’s meaning (resulting ultimately in a responsible hermeneutic reading): Sonata Theory analysis seeks to be an aesthetically receptive, interactive dialogue with an individual work. Even in its most language-technical moments, it tries to integrate methodical observation with a personal sensitivity to the affective contours and colors of music as music. Two other features of the book are also introduced here: a historical/contextual backdrop for the work under consideration (including dating, original purpose, and aesthetic); and the inclusion of other modes of analytical practice to suggest their compatibility with Sonata Theory.
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Manning, Jane. "LIZ LANE (b. 1964)Landscapes (2009)." In Vocal Repertoire for the Twenty-First Century, Volume 2, 131–33. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0041.
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This chapter highlights Liz Lane’s Landscapes (2009). This song cycle, a special birthday commission for a young baritone, displays great empathy with the rich emotional world and stirring imagery of well-loved texts by Gerard Manley Hopkins, John Clare, and William Wordsworth. Words are set with clarity and sensitivity, in natural response to their resonances. The attractive musical idiom is basically tonal, but quite chromatic, encompassing changes of pace and mood with admirable fluency. Although unafraid of occasional extremes of register, the composer wisely focuses on medium tessitura when wishing to show the voice’s full palette of colours and shadings. Piano writing is clear and practical, ranging from ostinato figures to simple diaphanous textures and held chords. The three songs are well contrasted: the short opening setting ends in a passage of exultant shouting and the last song, in which the piano takes a major role, gives the singer a satisfying glissando.
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Manning, Jane. "MARTIN BUTLER (b. 1960)London (2008)." In Vocal Repertoire for the Twenty-First Century, Volume 2, 26–27. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0009.
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This chapter explores British pianist and composer Martin Butler’s London (2008). This is, thus far, the sole work Butler has written for voice and piano. His musical idiom is easily accessible, basically tonal with naturally flowing lines and lovely sonorities. This is a classic English ‘Lied’ which sets William Blake’s poem with impeccable taste and assurance, allowing both performers a wide range of colour and expression, and encompassing a host of delicately calibrated details of nuance and dynamic. Marked ‘A Dirge’, the piece progresses at a steady pulse, led by a resonant piano part which goes on to three staves at the start. Wide-spanning bell-like chords support a flexible, shapely vocal line, with each word set immaculately. The broad vocal range might suggest a bass-baritone—several of the lowest passages, including the exposed ending, require a rock-like steadiness and security. However, the outer sections are basically quiet, and the emotional outburst at the song’s centre, as the music presses forward, will benefit from a high placing without strain.
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Friedwald, Will. "Assault on a King." In Straighten Up and Fly Right, 302–48. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190882044.003.0008.
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By the mid-1950s, Cole was firmly established as the most popular singer of his time. Yet some resented his success because he was African American. Even as the civil rights movement was strengthening, a radical fringe of white supremacists were determined to uphold segregation. On April 10, 1956, four men attacked Nat King Cole in the Birmingham Auditorium; police stopped them before they could do any serious harm. And the attack backfired, as Cole’s support grew even stronger. Some of his greatest albums were made in this period: The Piano Style of Nat King Cole, After Midnight, and Love Is the Thing. He also launched his TV series, The Nat King Cole Show, on NBC TV barely three months after the attack.
Conference papers on the topic "Piano colore"
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Sanctus, Gregorian H., and Rita Milyartini. "Color Usage Study in Poco Piano Book for Beginner Young Children." In 2nd International Conference on Arts and Design Education (ICADE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200321.039.
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Govindaraj, Karthik, Murukesan Vimalathithan, K. V. Balaji, Gandhi Samir, and vinayak hebbar. "Mold in Color Pianno Black PC Material for Automotive Exterior Application." In Symposium on International Automotive Technology. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 2021. http://dx.doi.org/10.4271/2021-26-0242.
Full textReports on the topic "Piano colore"
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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.
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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.