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Relevant bibliographies by topics / Piano composers

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Academic literature on the topic 'Piano composers'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Piano composers"

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Demirci, Sirin A., and Eda Nergiz. "The Elements of Contemporary Turkish Composers’ Solo Piano Works Used in Piano Education." International Education Studies 14, no. 3 (2021): 105. http://dx.doi.org/10.5539/ies.v14n3p105.

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It is thought that to be successful in piano education it is important to understand how composers composed their solo piano works. In order to understand contemporary music, it is considered that the definition of today&rsquo;s changing music understanding is possible with a closer examination of the ideas of contemporary composers about their artistic productions. For this reason, the qualitative research method was adopted in this study and the data obtained from the semi-structured interviews with 7 Turkish contemporary composers were analyzed by creating codes and themes with &ldquo;Nvivo11 Qualitative Data Analysis Program&rdquo;. The results obtained are musical elements of currents, styles, techniques, composers and genres that are influenced by contemporary Turkish composers&rsquo; solo piano works used in piano education. In total, 9 currents like Fluxus and New Complexity, 3 styles like Claudio Monteverdi, 5 techniques like Spectral Music and Polymodality, 5 composers like Karlheinz Stockhausen and Guillaume de Machaut and 9 genres like Turkish Folk Music and Traditional Greek are reached. It is thought that the results will contribute to the field because it will cause a better understanding in the artistic viewpoints of contemporary composers, as well as being a step for the piano and music educators and the students who have studied academic piano education in order for them to be able to understand the contemporary music.

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Whittall, Arnold. "Contemporary German composers." Tempo 59, no. 231 (2005): 67–69. http://dx.doi.org/10.1017/s0040298205210070.

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LACHENMANN: Das Mädchen mit den Schwefelhölzern (Tokyo Version, 2000) c. Sylvain Cambreling. ECM New Series 1858/9 (2-CD set).DÖHL: Sound of Sleat; Bruchstücke zur Winterreise for piano; String quintet: Winterreise; Notturno. James Tocco (pno), Hugo Noth (accordion), Ovidiu Dabila (double bass), Auryn Quartet with Boris Pergamenschikov (vlc), Lasalle Quartet. Dreyer-Gaido 21013.HÖLLER: Piano Works. Kristi Becker, Pi-hsien Chen (pnos). cpo 999 954-2.PINTSCHER: Figura I–V; String Quartet No. 4, Portrait of Gesualdo; Dernier espace avec introspecteur. Theodoro Anzelotti (accordion), Arditti String Quartet. Winter & Winter 910 097-2.

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Mingalyov, Pavlo. "Evolution of piano miniature in the early 20th century (exemplified by V. Rebikov's piano work)." Ukrainian musicology 46 (October 27, 2020): 152–65. http://dx.doi.org/10.31318/0130-5298.2020.46.234614.

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Relevance of the study. One of the features of the piano music of the early 20th century is traditions overcoming of the romantic style and search for opportunities to go beyond it. Numerous composers of a new generation have experimented with musical language, form and phonic visualization. At the same time, the genre of musical miniature did not lose its relevance, on the contrary, it became one of those piano genres where many musical innovations were tested. The study of piano miniature allows us to consider the evolution of small forms in piano music, the process of style and genre transformation, a gradual transition from the established romantic tradition (including the national one) to a new era, marked by the search for contemporary expressive means. The work study of V. Rebikov, an innovative composer who wrote more than 30 cycles of piano pieces and who made a significant contribution to the development of small forms of piano music, is an important stage on the way to a comprehensive understanding of the musical art evolution of the 20th century. Numerous ideas that were tested in his works found their development in the music of next generations of composers and still remain instant and modern. The study of some of V. Rebikov's miniatures key-cycles, which were important stages in the formation of the unique image of the composer, in the context of the figurative and stylistic genesis trends in the art of the first third of the 20th century, allows, with some assumptions, talk about his work as an example of stylistic and harmonic transformations of their time. Main objective of the study is to identify the fundamental elements of V. Rebikov composer's style, which are manifested in his piano works of small forms, in the context of the patterns development of piano miniature at the beginning of the 20th century. The methodological baseline is the methods of historical, systemic, harmonic, style and performance analysis. Results and Conclusions. Analysis of V. Rebikov's musical heritage, as well as of other composers who did not gain great popularity at their time, proved that there are no composers, whose work can be dispensed with, setting the task of identifying the historical stages in the deve-lopment of musical art, since the value of a particular contribution is determined and will be determined by future generations. Therefore, the study of the work of all composers of the early 20th century is necessary for understanding historical formation of musical art, including piano, as well as for identifying the origins and principles that fed the music of the 20th and early 21st centuries.

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Medić, Ivana. "Parenting the piano: Miroslav Miša Savić's 'St. Lazarus Waltz'." New Sound, no. 49 (2017): 123–38. http://dx.doi.org/10.5937/newso1749123m.

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This article deals with a work by a contemporary Serbian composer Miroslav Miša Savić (b. 1954): St. Lazarus Waltz for one or two grand pianos, with or without children's toy pianos. Since St. Lazarus is a children's holiday, the composer's idea was to depict children by toy pianos, while the grand pianos are 'parents'. The waltz exists in several versions: from the first one, where the children pianos are quite small and their musical parts very restricted, to the version for two 'adult' pianos, which describes the moment in life when children have grown up and left their parental home. Aside from exploring these musical 'family ties', Savić implements a simple yet ingenious constructive principle in all versions of this waltz. The structure of the piece is based on the exploitation of the system of equal temperament and on the Fibonacci row, and this frame is filled with several layers of musical references, including: Johann Sebastian Bach and other composers who wrote 'well-tempered' piano music; repetitive/processual minimalism, a style that Savić and his peers brought into Serbian music, but have since evolved in different directions; the Serbian tradition of romantic salon piano pieces; finally, the Orthodox tradition, but referenced in a way very different from the 'NEO-Orthodox' trend that has been present in Serbian art music since the late 1980s.

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Repp, Bruno H. "Further Perceptual Evaluations of Pulse Microstructure in Computer Performances of Classical Piano Music." Music Perception 8, no. 1 (1990): 1–33. http://dx.doi.org/10.2307/40285483.

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This research continues the perceptual evaluation of "composers' pulses" begun by Repp (1989a) and Thompson (1989). Composers' pulses are patterns of expressive microstructure (i. e., timing and amplitude modulations) proposed by Clynes (1983). They are said to convey individual composers' personalities and to enhance their characteristic expression when implemented in computer performances of their music. For the present experiments, the initial bars of five piano pieces by each of four composers (Beethoven, Haydn, Mozart, and Schubert) were generated with each of four pulse microstructures similar to Clynes's composer-specific patterns, and also in a deadpan version. Listeners representing a wide range of musical experience judged to what extent each computer performance had the composer's individual expression, relative to the deadpan version. Listeners showed an overall preference for the Beethoven and Haydn pulses. The pattern of pulse preferences varied significantly among individual pieces, but little among different composers. These results indirectly support the general notion that expressive variation is contingent on musical structure, but they offer little evidence in support of fixed, composer-specific patterns of expressive microstructure.

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Roberge, Marc-Andre. "From Orchestra to Piano: Major Composers as Authors of Piano Reductions of Other Composers' Works." Notes 49, no. 3 (1993): 925. http://dx.doi.org/10.2307/898925.

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Rickards, Guy. "Music by women composers." Tempo 59, no. 234 (2005): 66–72. http://dx.doi.org/10.1017/s0040298205300325.

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HOWELL: Violin Sonata in F minor; Rosalind for violin & piano; Piano Sonata in E minor; Humoresque for piano; 5 Studies for piano. Lorraine McAslan (vln), Sophia Rahman (pno). Dutton Epoch CDLX 7144.BACEWICZ: Violin Sonatas Nos. 4–5; Oberek No. 1; Sonata No. 2 for violin solo; Partita; Capriccio; Polish Capriccio. Joanna Kurkowicz (v;n), Gloria Chien (pno). Chandos CHAN 10250.MARIC: Byzantine Concerto1; Cantata: Threshold of Dream2,3,6; Ostinato Super Thema Octoïcha4–6; Cantata: Song of Space7. 1Olga Jovanovic (pno), Belgrade PO c. Oskar Danon, 2Dragoslava Nikolic (sop, alto), 3Jovan Milicevic (narr), 4Ljubica Maric (pno), 5Josip Pikelj (hp), 6Radio-TV Belgrade CO c. Oskar Danon, 7Radio-TV Belgrade Mixed Choir & SO c. Mladen Jagušt. Chandos Historical 10267H.MUSGRAVE: For the Time Being: Advent1; Black Tambourine2–3; John Cook; On the Underground Sets1–3. 1Michael York (narr), 2Walter Hirse (pno), 3Richard Fitz, Rex Benincasa (perc),New York Virtuoso Singers c. Harold Rosenbaum. Bridge 9161.KUI DONG: Earth, Water, Wood, Metal, Fire1; Pangu's Song2; Blue Melody3; Crossing (electronic/computer tape music); Three Voices4. 1Sarah Cahill (pno), 2Tod Brody (fl), Daniel Kennedy (perc), 3San Francisco Contemporary Music Players c. Olly Wilson, 4Hong Wang (Chinese fiddle), Ann Yao (Chinese zither), Chen Tao (bamboo fl). New World 80620-2.FIRSOVA: The Mandelstam Cantatas: Forest Walks, op. 36; Earthly Life, op. 31; Before the Thunderstorm, op. 70. Ekaterina Kichigina (sop), Studio for New Music Moscow c. Igor Dronov. Megadisc MDC 7816.KATS-CHERNIN: Ragtime & Blues. Sarah Nicholls (pno). Nicola Sweeney (vln). Signum SIGCD058.CHAMBERS: A Mass for Mass Trombones. Thomas Hutchinson (trb), Ensemble of 76 trombones c. David Gilbert. Centaur CRC 2263.

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Maunder, Richard. "J. C. Bach and the Early Piano in London." Journal of the Royal Musical Association 116, no. 2 (1991): 201–10. http://dx.doi.org/10.1093/jrma/116.2.201.

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A study of Johann Christian Bach's keyboard music prompts the obvious and important question: which of his sonatas and concertos were composed for harpsichord, and which for the piano? (Indeed, did he think of them as two distinct instruments at all?) And what sort of pianos did he have available on the occasions when he played them in public? Did he really play his ‘Solo on the Piano Forte’ at the Thatched House on 2 June 1768 (in a concert that consisted mainly of orchestral music) on a little Zumpe square, or was he already using a prototype English grand? When were these various models of piano first made in London, and what musical use did other composers and performers, as well as J. C. Bach, make of them?

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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 Salvito (drums and percussion). The music composition workshop which ran for two consecutive days was presented in an informal group context introducing contemporary music. Participants and observers of the workshop included Malaysian music students of higher education institutions and professional composers. Participating composers composed original music pieces and worked together and were directly involved with Passepartout Duo in the creative processes required in creating their own music composition and the culmination of the workshop was a concert featuring music compositions from participating composers performed by the duo. Students attending the workshop were found to better grasp musical concepts, be more creative, and have a peek into the career as a composer. Implementing workshops into the music course also maximised learning for students and ensured the efficient development of the course.

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Popielska, Klaudia. "Sylwetka twórcza Aleksandra Zarzyckiego – zapomnianego kompozytora doby romantyzmu." Kwartalnik Młodych Muzykologów UJ, no. 46 (3) (2020): 23–39. http://dx.doi.org/10.4467/23537094kmmuj.20.010.12852.

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The Artistic Profile of Aleksander Zarzycki: A Forgotten Composer of the Romantic Era The second half of the 19th century in the history of Polish music is a neglected period, both in the aspect of performance and the aspect of research on this music. Unfortunately, works of many composers from this period have been forgotten. One of such composers is undoubtedly Aleksander Zarzycki (1834–1895), a composer, teacher, virtuoso pianist; the author of over 40 opuses and the composer of many solo songs with piano accompaniment, which were often compared to the songs of Stanisław Moniuszko. Similarly to the most famous Polish composer of songs, Zarzycki created two songbooks that are part of the trend of egalitarian songs. He was also renowned for his short piano pieces, written in a salon style with virtuoso elements. One of his most famous works was the Mazurka in G major, which was popularised by the Spanish virtuoso violinist Pablo Sarasate. Also noteworthy is his Piano Concerto in A flat major Op. 17, referring to the Piano Concerto in A minor by Fryderyk Chopin and the Concerto in G minor by Józef Wieniawski. Zarzycki’s works are characteristic of his era, including references to folklore, national style, virtuosity and the socalled "Romantic mood".

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Dissertations / Theses on the topic "Piano composers"

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Tu, Chia-Fang. "Observation and Evaluation of Two Composer-Teachers of Pre-College Piano." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1214246893.

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Billock, Rebecca. "Selected intermediate piano pieces by seven women of the twentieth century : Marion Bauer, Germaine Tailleferre, Ruth Crawford Seeger, Sofia Gubaidulina, Emma Lou Diemer, Chen Yi, and Karen Tanaka /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11367.

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Pace, Cynthia Margaret. "Ruth Crawford's final solo piano works : an analysis of FOUR PRELUDES FOR PIANO and PIANO STUDY IN MIXED ACCENTS /." Access Digital Full Text version, 1989. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10903598.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1989.<br>Typescript; issued also on microfilm. Sponsor: Lenore M. Pogonowski. Dissertation Committee: Harold F. Abeles. Bibliography: leaves 322-324.

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Daly, Shawn Timothy. "Abram Chasins: A Study of Selected Works for Solo Piano and Two Pianos." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1180706349.

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Whiteley, Daniel H. "A graded list of solo piano sonatas written by American-born composers between 1950 and 1975." Virtual Press, 1986. http://liblink.bsu.edu/uhtbin/catkey/469094.

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The purpose of this study was to develop and apply an experimental grading system to sonatas written by American-born composers from 1950 to 1975. Although several authors have addressed the problem of grading or classifying piano music, there are generally no precise criteria provided to substantiate the validity of their systems. The present author discovered some significant and innovative yet generally neglected piano sonatas.The grading system in this research was based on the physiological factors effecting the pianist's development. These factors include: 1) Equality of Fingers (finger independence and mobility); 2) Passage of the Thumb (scales and arpeggios); 3) Double-Note and Polyphonic Playing; 4) Extensions (stretches between the fingers); and 5) Arm Rotation (execution of chords and octaves). In addition, since factors such as retuning of the instrument., polyrhythms, and improvisation can make a moderate or intermediate piece into a difficult one, a Special Problem category was added.Each of the six physiological divisions are assigned a numerical. difficulty level from one to ten. The divisions are then averaged and assigned a final "grade" as follows:Easy 1 (E-1)=1.0-1.9; Easy 2 (E--2)=2.0-2.9; Moderate 1 (M-1)--3.0--3.9; Moderate 2 (M-2)=4.0-4.9; Intermediate 1 (I-1)=5.0--5.9; Intermediate 2 (I-2)=6.0-6.9; Difficult. 1 (D-1)=7.0--7.9; Difficult 2 (D-2)=8.0-8.9; Virtuoso (V)=9.0.Eighty--six sonatas were reviewed and graded. These compositions represent a broad selection of works of various degrees of difficulty. By knowing the student's abilities and needs, the piano instructor may use this study to select sonatas that correspond to the appropriate level of attainment.Of the works reviewed, the majority fall into the Moderate category. This was not an unusual finding in that certain pianistic development is required before being able to play the scores. The grading system differs from previous systems in that it provides criteria for the placement of the works into a difficulty rating based on the physiological factors affecting the pianist's development.

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Adams, Olivia. "She's Still Sounding: Working Towards Inclusion of Gender, Race, and Intersectionality in Piano Curriculum." Thesis, Université d'Ottawa / University of Ottawa, 2021. http://hdl.handle.net/10393/42176.

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This thesis addresses the gender-race intersectional inequality in Canadian conservatory piano syllabi revealing that women make up less than 14% of piano music in 20th and 21st Century piano repertoire in Canadian conservatories. By drawing on feminist musicology, critical race, and intersectionality studies, the thesis addresses elements of patriarchy and white supremacy found within specific conservatory repertoire examples. Using the SongData methodology, Adams presents 50 years of data points of gender-race representation in the Royal Conservatory of Music and Conservatory Canada piano syllabi, reporting that white women make up 13.1% of 20th and 21st-century music and Black, Indigenous, and Women of Colour make up less than 0.6%. Piano music by BIPOC women is then leveled and broken down according to conservatory standards and compared to repertoire within existing syllabi. Also included is an original graded syllabus of over 3,000 pieces by women and additional curricular resources for the piano studio.

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Storer, Stuart. "The piano music of Erik Satie and his influence on later composers /." Title page, contents and summary only, 1987. http://web4.library.adelaide.edu.au/theses/09MUM/09mums884.pdf.

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Choi, Moonsun. "A brief evaluation of selected solo piano music by Latin American composers /." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487862972135188.

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Salido, Caroline Besana. "The Piano Compositional Style of Lucrecia Roces Kasilag." Connect to this title online, 2002. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1038863092.

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Wang, Chien-Wei. "Examples of Extended Techniques in Twentieth-Century Piano Etudes by Selected Pianist-Composers." Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_dissertations/378.

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This essay illustrates the principal technical and compositional innovations in the piano literature of the twentieth century, through an examination of the piano etudes written by the period's most accomplished pianist-composers. The etude is generally regarded as one of the most common musical forms designed to provide pianists with practice material for perfecting a particular technical skill. The most influential composer who established the norm for the composition of piano etudes and raised their suitability as concert works was Frederic Chopin. Piano etudes, however, gradually shifted as compositional vehicles in the twentieth century. Composers began to discard the harmonic language of traditional theory by employing more irregular and atonal materials, which gradually replaced the standard figurations of nineteenth-century composition. The author addresses works based on traditional technical idioms such as intervals (double thirds, fourths, fifths, and octaves), scales, arpeggios, chords, repeated notes and finger independence in Chapter Four. In Chapter Five, works containing modern types of notation and unusual technical requirements are examined. The format for these chapters is as follows: general comments on the complete work, compositional description of each individual piece and finally, performance remarks. This essay is limited to piano etudes written by composers who are also generally regarded as accomplished pianists. The composers discussed in this essay are Claude Debussy, Alexander Scriabin, Bela Bartók, Olivier Messiaen, Geörgy Ligeti, Louise Talma, and William Bolcom. In addittion, this essay collects and examines piano etudes that are considered suitable for both study and concert programming, a criterion that narrows the etude selection examined in this essay to works that have been recorded and performed in public.

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Books on the topic "Piano composers"

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Dees, Pamela Youngdahl. Piano music by women composers. Greenwood/Prager, 2004.

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Hinson, Maurice. At the piano with women composers. Alfred Pub. Co., 1990.

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Unger, Joyce. Galaxy of composers: Biographical sketches of modern composers of piano educational materials. J. Unger, 1988.

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Enrique Granados: Poet of the piano. Oxford University Press, 2005.

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Clark, Walter Aaron. Enrique Granados: Poet of the piano. Oxford University Press, 2006.

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Turner, Barrie Carson. The living piano. Alfred A. Knopf, 1996.

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Castro, Marcos Câmara de. Fructuoso Vianna, orquestrador do piano. Academia Brasileira de Música, 2003.

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Glickman, Sylvia, and May Aufderheide. American women composers: Piano music from 1865-1915. Hildegard Pub. Co., 1990.

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Dees, Pamela Youngdahl. A guide to piano music by women composers. Greenwood Press, 2002.

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Morogues, Marie Bigot de. Historical women composers for the piano: Marie Kiéné Bigot de Morogues. Vivace Press, 1992.

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Book chapters on the topic "Piano composers"

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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 actually led by the pianist’s exploration of his instrument, many times at the bewilderment of others as to what captivated his attention. At the core of Tudor’s singular realizations was a focus on the physical bias of the score given to him, which he referred to as “material.” As the degree of indeterminacy in the composer’s materials increased throughout the 1950s, Tudor would more and more shift his attention to another kind of material involved in the realization of music: the physical nature of instruments, including his own self, which composers had already begun regarding as such.

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Adolphe, Bruce. "Piano Puzzler Preparation." In The Mind's Ear. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197576311.003.0007.

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This section, newly created for the third edition, is a response to the many private piano teachers and classroom music teachers who have suggested that it should be possible to create a fun and useful curriculum based on the Piano Puzzler segment of public radio’s Performance Today, which has been broadcast weekly since 2002. These exercises are necessarily for pianists and composers who play the piano because they require keyboard skills and a working knowledge of modes, harmony, and other compositional vocabulary and grammar. All of the exercises may be approached as improvisations and/or compositions to be notated. The penultimate exercise in this book, “Be a Private Ear,” provides a detailed checklist of the main compositional features that go into composing a piano puzzler. The Private Ear Checklist is a kind of shopping list that reminds you of what ingredients you need to cook something that Chopin, Brahms, Debussy, or Stravinsky might prepare. The final exercise is to use the skills developed in the preceding exercises to compose one’s own piano puzzler.

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Cizmic, Maria, and Adriana Helbig. "The Piano and the Performing Body in the Music of Arvo Pärt." In Arvo Pärt. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823289752.003.0010.

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This chapter examines references to the piano in existing literature on Pärt and articulates a perspective on the piano’s role in his music. Pärt’s compositional output for the piano is relatively small; but, as his primary instrument, the piano has played an important role in the development of his sonic world. Musicians’ physical relationships with their instruments over time generate an archive of embodied knowledge and memories; bodily performance then becomes an important way in which music creates meaning for composers and performers alike. Thus, this chapter draws on representations of Pärt composing at the piano as captured in cinema, analyzing the bodies of composer and instrument in dynamic engagement. It also features a close observational analysis of performing Für Alina, Pärt’s inaugural tintinnabuli work from 1976, and what a phenomenological experience of learning and performing this piece might tell us about the expressive nature of tintinnabuli music.

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Manning, Jane. "GEORGE ANTHEIL (1900–1959)Five Songs (1919–1920)." In Vocal Repertoire for the Twenty-First Century, Volume 1. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0005.

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This chapter discusses Five Songs by George Antheil. As one of the first composers to incorporate jazz elements in a classical context, he was fond of experimenting with odd instrumental combinations and electronic devices. This chapter provides examples of Antheil’s vocal work to demonstrate the composer’s originality. The piano writing is dramatic and often dense in texture. Moreover, the vocal tessitura descends as the cycle progresses, while the piano becomes more dominant. The first three songs are very short, but the last two have an almost orchestral richness. Texts are aphoristic and concise, and voice parts are correspondingly plain and unadorned, moving for the most part in a combination of declamatory speech patterns, long slow spans, often on a monotone, and close intervals, leaving the piano to illustrate the imagery and atmosphere of the words.

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COOK, NICHOLAS. "Imagining Things: Mind Into Music (And Back Again)." In Imaginative Minds. British Academy, 2007. http://dx.doi.org/10.5871/bacad/9780197264195.003.0006.

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This chapter discusses the inherent limits of all the imaginative models for music, from analyses to sketches to scores, and the gap that opens up between them and the real-time experience of the composers, the performers, and the listeners. Drawing examples from the composer Roger Reynolds and from a recent piano project investigating the performance of contemporary piano music, this chapter argues that imaginative models of music are fully understood not as attempted comprehensive specifications, but as spurs or prompts that initiate improvisatory acts which bring the piece into a performable entity. Within this context, music constitutes a model of how people can work hand in hand towards a common goal yet maintain their autonomy. Music shows how individual imagination is consummated in social action.

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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. There is also much verbal repetition, expanding Lloyd Schwartz’s poem’s spare, gnomic lines. The singer’s part is exhilaratingly physical, requiring fitness and stamina. As a former oboist, the composer thinks in long phrases, which, well controlled, will be of benefit to the voice. A clear, youthful tenor sound is needed—heavier voices could find the highly sprung phrases uncomfortable.

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Iddon, Martin, and Philip Thomas. "Understanding the Concert for Piano and Orchestra." In John Cage's Concert for Piano and Orchestra. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938475.003.0008.

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This chapter considers the way in which the Concert for Piano and Orchestra has been interpreted by commentators, from musicologists and other composers to professional philosophical thinkers. It shows the way in which these interpretations played a part in the initial receptions of the piece, especially in Europe, made a major contribution to discussion of the nature of musical form in the context of openness, and became a significant part of later discussions regarding the nature and limits of the musical work.

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Heyman, Barbara B. "Lincoln Center Commissions." In Samuel Barber. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863739.003.0017.

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For the opening week of the new Philharmonic Hall at New York’s Lincoln Center for the Performing Arts in 1962, Barber composed a piano concerto in honor of the 100th anniversary of his publisher. The concerto was tailored to the technical prowess and individual style of John Browning, reflecting the Russian influence of his piano teacher Rosina Lhévinne. The second movement was a reworking of an earlier piece, Elegy, written for Manfred Ibel, a young art student and amateur flute player, to whom Barber dedicated his piano concerto. This chapter details Barber’s compositional process and influences for each movement of the concerto and describes the enthusiastic reception of the debut performance. Nearing completion of the concerto, Barber was invited to Russia as the first American composer ever to attend the biennial Congress of Soviet Composers, where he freely discussed his compositional philosophy and methods. For the concerto, Barber won his second Pulitzer Prize and the Annual Award of the Music Critics Circle of New York. His second composition for the opening season of Lincoln Center was Andromache’s Farewell, for soprano and orchestra. Based on a scene from Euripides’s The Trojan Women, the piece displayed deep emotional expression and striking imagery. With a superior opera singer, Martina Arroyo, singing the solo part, the success of Andromache’s Farewell presaged Barber’s opera Antony and Cleopatra.

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Manning, Jane. "KATHERINE SAXON (b. 1981)Sea Fever (2008)." In Vocal Repertoire for the Twenty-First Century, Volume 2. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0062.

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This chapter discusses American composer Katherine Saxon’s Sea Fever (2008). In this piece, the musical style is straightforward, uncluttered, and accessible, with elements of neoclassicism, and the four songs are well contrasted. The second has space-time notation, but the others are written conventionally, with key and time signatures. The relationship between voice and piano is well gauged, but there may be a few balance problem for lighter voices, especially when lines are low-lying. Verbal clarity is a crucial requirement. Words and music teem with watery images, and the sonic palette of John Masefield’s resonant poetry, full of alliteration and onomatopoeia, is a gift for composers, to which Saxon responds with empathy and panache. Some very fast articulation is called for, especially in the last song. The composer’s succinct instructions for mood and character are always pertinent.

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"Peter Weir and the Piano Concerto." In Voicing the Cinema, edited by Erik Heine. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043000.003.0012.

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Australian director Peter Weir’s career has spanned five decades, working in both Hollywood and Australia. One typical trait in his films is the subject matter that typically falls outside of Hollywood spectacle, choosing to focus on characters and introspection. Another trait is the use of preexisting art music in nearly all of his films. Weir’s use of art music spans more than 400 years, drawing on a wide range of composers such as Albinoni, Bach, Mozart, Beethoven, Chopin, Vaughan Williams, Glass, and Górecki, among others. One genre, the piano concerto, is used particularly effectively in Weir’s films. The second movement of Beethoven’s Piano Concerto No. 5, “Emperor,” is used in two films, Picnic at Hanging Rock and Dead Poets Society. In The Truman Show, the second movement of Chopin’s Piano Concerto No. 1 is used, in each case sounding a “voice of innocence” to the respective characters, a wordless voice that the characters are unable to articulate themselves. This musical voice protests the repressive structures that these characters confront, and the play between soloist and orchestra in these slow movements serves as a particularly apt musical metaphor for their highly regimented lives and their dreams of escaping the control.

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Conference papers on the topic "Piano composers"

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Deng, Kaiyuan. "Vocal Score and Piano Score The Interaction Between Chamber Music and Vocal Music of Chinese Composers." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.29.

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Skrebkova-Filatova, Marina. "About Some Texture and Harmonic Processes in the Piano Music of Romantic Composers After the Example of Chopin's Music." In 2015 International Conference on Arts, Design and Contemporary Education. Atlantis Press, 2015. http://dx.doi.org/10.2991/icadce-15.2015.57.

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Boteju, Gimasha, and M. U. S. Perera. "EyePiano: A piano interface for disabled to compose piano music via eye movements." In 2012 IEEE EMBS Conference on Biomedical Engineering and Sciences (IECBES 2012). IEEE, 2012. http://dx.doi.org/10.1109/iecbes.2012.6498095.

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Marinho, Helena, and Sara Carvalho. "From Fortepiano to Modern Piano: A Case Study of a Performer–Composer Collaboration." In Selected Proceedings of the 2009 Performer's Voice International Symposium. IMPERIAL COLLEGE PRESS, 2011. http://dx.doi.org/10.1142/9781848168824_0011.

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Sadlonova, Emilia. "ADAPTATION OF FOLKLORE SONGS FOR VOICE AND PIANO BY CONTEMPORARY SLOVAK COMPOSER PAVOL KRSKA." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/6.2/s23.009.

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Kudoyarov, Rustem. "Benjamin Britten's Piano Concerto in the Context of the Composer's Creative Connections with Russian (Soviet) Culture." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.169.

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Reports on the topic "Piano composers"

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Mayas, Magda. Creating with timbre. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.686088.

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Unfolding processes of timbre and memory in improvisational piano performance This exposition is an introduction to my research and practice as a pianist, in which I unfold processes of timbre and memory in improvised music from a performer’s perspective. Timbre is often understood as a purely sonic perceptual phenomenon. However, this is not in accordance with a site-specific improvisational practice with changing spatial circumstances impacting the listening experience, nor does it take into account the agency of the instrument and objects used or the performer’s movements and gestures. In my practice, I have found a concept as part of the creating process in improvised music which has compelling potential: Timbre orchestration. My research takes the many and complex aspects of a performance environment into account and offers an extended understanding of timbre, which embraces spatial, material and bodily aspects of sound in improvised music performance. The investigative projects described in this exposition offer a methodology to explore timbral improvisational processes integrated into my practice, which is further extended through collaborations with sound engineers, an instrument builder and a choreographer: -experiments in amplification and recording, resulting in Memory piece, a series of works for amplified piano and multichannel playback - Piano mapping, a performance approach, with a custom-built device for live spatialization as means to expand and deepen spatio-timbral relationships; - Accretion, a project with choreographer Toby Kassell for three grand pianos and a pianist, where gestural approaches are used to activate and compose timbre in space. Together, the projects explore memory as a structural, reflective and performative tool and the creation of performing and listening modes as integrated parts of timbre orchestration. Orchestration and choreography of timbre turn into an open and hybrid compositional approach, which can be applied to various contexts, engaging with dynamic relationships and re-configuring them.

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