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Relevant bibliographies by topics / Piano Duo

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Academic literature on the topic 'Piano Duo'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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Journal articles on the topic "Piano Duo"

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Loncar, Sonja, and Andrija Pavlovic. "Hybrid duo." Muzikologija, no. 24 (2018): 111–21. http://dx.doi.org/10.2298/muz1824111l.

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As members of the LP Duo, for the past 14 years we have experimented with various possibilities of playing on two pianos. Our artistic curiosity and the desire to gain new knowledge and freedom led to our involvement with the Quantum Music project and the creation of a new instrument - the hybrid piano. In this paper we elaborate on our experience with using the new hybrid pianos within the Quantum Music project, but also discuss our ensemble as an artistic embodiment of duality, entanglement and other quantum phenomena. Hybrid piano is a combination of a traditional piano and digital synthesizer with analogue controls that allows different processing of acoustic and digital signals in real time and enables the pianists to continue to use concert pianos whilst equipping them with new colours and new, hitherto unexlplored expressive possibilities.

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Cho, Yeonsook. "The re-examination of the piano duo genre by Moscheles’s piano duo." Korean Society of Culture and Convergence 43, no. 2 (February 28, 2021): 297–321. http://dx.doi.org/10.33645/cnc.2021.02.43.2.297.

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Griffin, Judson, Irwin Bazelon, and Piero Papini. "Duo for Viola and Piano." Notes 41, no. 3 (March 1985): 592. http://dx.doi.org/10.2307/941193.

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Stuckenbruck, Dale, Robert Mann, Daniel Capelletti, Larry Alan Smith, Gerald Levinson, Somei Satoh, Robert Hall Lewis, et al. "Duo for Violin and Piano." Notes 45, no. 1 (September 1988): 158. http://dx.doi.org/10.2307/941414.

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Anthony, Carl, and Leon Kirchner. "Duo for Violin and Piano [1947]." Notes 49, no. 3 (March 1993): 1270. http://dx.doi.org/10.2307/899017.

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Kawase, Satoshi. "Gazing behavior and coordination during piano duo performance." Attention, Perception, & Psychophysics 76, no. 2 (October 30, 2013): 527–40. http://dx.doi.org/10.3758/s13414-013-0568-0.

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Bishop, Laura, and Werner Goebl. "Negotiating a Shared Interpretation During Piano Duo Performance." Music & Science 3 (January 1, 2020): 205920431989615. http://dx.doi.org/10.1177/2059204319896152.

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Most notated forms of music require interpretation of loosely-defined score instructions. For music ensembles, coordinating a shared interpretation in which each performer plays a complementary role can be challenging, especially if performers have already established their own individual interpretations. This study aimed to identify the patterns of behavior that distinguish performance in collaborative and solo conditions. We tested the hypothesis that highly skilled pianists would be motivated to create more expressively variable and divergent interpretations in the collaborative duet setting than when performing solo. Pianists recorded solo and duet performances of a new piece following individual rehearsal. MIDI and head motion data were assessed. Contrary to expectations, duet performances were less expressively variable than solo performances and no more or less prototypical; indeed, prototypicality increased with years of training. Leader–follower relationships in note timing emerged, with primos tending to take the lead. Pianists moved less during duet performances, and more smoothly. Coordination in head acceleration patterns also emerged during duet performances. Our findings show how performers’ intent to collaborate encourages more communicative styles of head movement and a conservative or protective style of playing that prioritizes coordination over creativity.

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Dietrich, Alexandre, and Maria Bernardete Castelan Póvoas. "Motivação e colaboração no âmbito da composição a dois pianos de Francisco Mignone e a valsa “Eponina” de Ernesto Nazareth." Revista Brasileira de Música 33, no. 2 (July 22, 2021): 723–47. http://dx.doi.org/10.47146/rbm.v33i2.39324.

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Artigo sobre episódio e circunstâncias que motivaram Francisco Mignone a compor 56 de suas 74 peças para formação instrumental a dois pianos, iniciando pela valsa Eponina de Ernesto Nazareth. Consequentes desdobramentos implicaram a criação de uma versão para dois pianos, com a composição de partitura para o segundo piano em justaposição à referida valsa. A relevância e o significativo número de peças para tal formação instrumental denotam que esse gênero camerístico tomou novo impulso criativo quando Mignone se uniu à pianista Maria Josephina Guimarães da Silva. O protagonismo e a colaboração da pianista são associados ao contexto da relação arte-vida, considerando-se ações artísticas envolvidas no panorama criativo por ocasião da composição daquela obra, conforme admitida por autores da psicologia e da música. Anexos às informações, são trazidos dados de registros documentais históricos. Atribui-se à partitura do segundo piano da valsa Eponina o papel de elemento motivador da permanente colaboração entre o Duo Mignone.

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Cochran, Alfred W., Leslie Bassett, and Chester Biscardi. "Duo Concertante: Five Movements for Alto Saxophone and Piano." Notes 47, no. 1 (September 1990): 223. http://dx.doi.org/10.2307/940565.

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Thomson, Andrew, Trio Alkan, Rainer Klaas, Kolja Lessing, Bernhard Schwarz, Ilona Prunyi, Eszter Perenyi, et al. "Charles Valentin Alkan: Grand duo Concertant Sonate de Concert Piano Trio." Musical Times 135, no. 1815 (May 1994): 296. http://dx.doi.org/10.2307/1003176.

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Dissertations / Theses on the topic "Piano Duo"

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Juras, Max. "Duo-piano med mig själv." Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1618.

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Gordy, Constance Annette. "The duo piano experience : nonverbal communication between ensemble musicians." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ39126.pdf.

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Trum, David W. "wood, metal, and vibrating air." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337287625.

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Facchini, Fiammetta. "Psycho-physio dynamics in violin-piano duo: a pianist's perspective." Doctoral thesis, Universidade de Aveiro, 2014. http://hdl.handle.net/10773/13820.

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Doutoramento em Música
The case study looked at psychological and physiological responses to stress in musicians, comparing a newly formed and a consolidated violin-piano duo. The common element between these duos was the pianist. Using the psychological tests (STAI Y1 and Y2, K-MPAI, MMPI-2, ICAC), the immunoassay saliva test to measure cortisol (stress hormone) and non- invasive device VitalJacket® developed at the University of Aveiro, Portugal, participants were monitored under various performance conditions. Others quantitative and qualitative dataset were collected including a pianist’s personal diary (analyzed by psychiatrist), semi-structured interviews with members of long-terms chamber music duo and perceptual evaluations (listening test) of the performances by expert listeners. The variables included two performance venues (European university and secondary school), as well as well-known repertoire, recently known repertoire and newly known repertoire. The latter was given approximately one week before each recital. The psychological and physiological dataset were collected for a total of eight recitals – two series of four recitals each. The unexpected results show that state anxiety levels and stress of the pianist, who does not present an anxious profile, either in social or in musical terms, are always higher when playing with a well-known partner. Possible explanations may be due to the highest expectations for quality of performance and implications of mirror neurons (since the reactions are very different according to the partner). In other words, the “known” (i.e., the consolidated duo) can become “trapped” within a predetermined space, especially at the psychological level, while the “unknown” (the occasional duo) seems to be less involved and therefore more reassuring and exciting in positive terms. In addition, the preference of the expert audience is for the consolidated duo.
O presente estudo de caso debruça-se sobre as respostas psicológicas (ansiedade) e fisiológicas (stress) em músicos, comparando um duo de violino e piano consolidado e um recém-formado em momentos de performance. O elemento comum entre estes duos foi a pianista. Utilizando os testes psicológicos (STAI Y1 e Y2, K-MPAI, MMPI-2, ICAC), o protocolo Hight Sensivity Salivary Cortisol Enzyme Immunoassay kit da Salimetrics® para medir o cortisol (hormona do stress) e o dispositivo não invasivo VitalJacket® (para medir o batimento cardíaco) desenvolvido na Universidade de Aveiro, Portugal, os participantes foram monitorados em várias condições de desempenho. Outro conjunto de dados quantitativos e qualitativos foram coletados, incluindo o diário pessoal da pianista (analisado pelo psiquiatra), entrevistas semi-estruturadas com membros de duos de música de câmara de longo prazo e avaliação da percepção (teste auditivo) das performances realizada com ouvintes especialistas. As variáveis incluíram duas salas de concertos (sala duma universidade europeia e outra duma escola de ensino secundário), bem como repertório bem conhecido, repertório recentemente conhecido e peças nunca ensaiadas antes dos recitais. Estas últimas peças foram fornecidas aproximadamente uma semana antes de cada concerto. O conjunto dos dados psicológicos e fisiológicos foram coletados para um total de oito recitais - duas séries de quatro recitais cada. Os resultados, inesperados, mostram que os níveis de ansiedade de estado e de stress da pianista, que não apresenta um perfil de pessoa ansiosa nem em termos sociais nem em termos musicais, são sempre mais elevados quando toca com o parceiro conhecido. Possíveis explicações podem ser às expectativas mais elevadas em relação a qualidade da performance e as implicações dos neurónios a espelho (uma vez que as reações são muito diferentes conforme ao parceiro). Ou seja, um “espaço conhecido” (o duo consolidado) pode ficar “preso” dentro espaços preestabelecidos, sobretudo a nível psicológico, em quanto o “desconhecido” (o duo ocasional) parece ser menos envolvido e portanto mais tranquilizante e emocionante em termos positivos. Para além disso, a preferência de qualificados músicos ouvintes, foi para o duo consolidado.

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Peeva, Adela Nikolova. "The Bulgarian Folklore Influence in Selected Works for Solo-Piano and Violin-Piano Duo of Pancho Vladigerov." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/101.

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The main goal of this paper is to discuss the tradition of Bulgarian folk music based on three significant folk-inflected compositions by Pancho Vladigerov, and thereby to contribute to the literature on Vladigerov's compositional style and influences. For this purpose, I have chosen three of his most popular and frequently performed compositions which are also representative of the stylistic trends in his music. They are: Bulgarian Rhapsody (op.16, 1922) for Violin and Piano, Song from Bulgarian Suite (op.21, 1927) for Violin and Piano and Shumen Miniatures (op. 29, 1934) for Solo Piano.

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Roussou, Evgenia Neophytou. "Exploring the piano accompanist in western duo music ensembles : towards a conceptual framework of professional piano accompaniment practice." Thesis, University of Hull, 2017. http://hydra.hull.ac.uk/resources/hull:16564.

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This thesis explores the phenomenon of the piano accompanist in Western art duo chamber ensembles, specifically the solo–accompaniment medium. Following a critical examination of relevant literature by practitioners and researchers where changing socio-cultural attitudes towards accompanists are discussed along with related issues about accompaniment and ensemble playing more broadly, two empirical studies are reported. These enquiries aim to investigate the expectations of contemporary professional soloists and pianists about accompanists as well as to explore the skills and roles exhibited by pianists working in the solo–accompaniment duo context, which have yet to be systematically evaluated. Both studies adopt qualitative methodology with interpretative phenomenological analysis, the first comprising interviews with twenty professional musicians, the second involving case study observation of rehearsals and performances using video recalls with three accompanists and three soloists working in different combinations. The data provided insight into the range of musical and other expectations articulated by professional musicians about piano accompanists as well as the nature of the skills and roles involved in achieving ensemble, interpreting soloists’ intentions, dealing with unexpected incidents, achieving balance and communicating with soloists. A novel conceptual framework about accompaniment practice is constructed based upon the data from the two studies as well as the relevant literature which articulates musico-functional and socio-emotional aspects of accompaniment practice.

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Whipple, William Perry III. "The legacy of duo-pianists Bill and Pat Medley." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/1514.

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The purpose of this D.M.A. Essay is to highlight the legacy of duo-pianists, Bill and Pat Medley. To that end, this essay will explore: (a) the early biographical information of the Medleys (developing their musical talents in the Depression and World War II Era), (b) the Medleys' concert touring career, including a section on the logistics of travelling with their own concert grand pianos across the United States and Canada, (c) the Medleys' teaching career which included both secondary and pre-college levels, (d) a collection of comical stories learned through personal interviews with the Medleys that speak to their many years of concertizing, and (e) the Medleys' composing and arranging career, which includes a detailed overview of The Medley Way method book series published by The Hal Leonard Corporation and a detailed review and analysis of twenty-two of their educational solos, which were published by the Alfred Music Company, The FJH Music Company, and The Willis Music Company. Bill Medley stated, "As I look back on our lives and the past sixty years, I see two teenagers striking out on a journey that would take them to unfathomable destinations. It would not be done alone, by any means, but with the help of many, many people..." It is my hope that this essay will shed light on a career that has endured sixty plus years and counting. The Medleys' touring career allowed small town communities to experience the art of classical music, who otherwise would not have experienced such beauty. The Medleys' teaching career passed along a musical lineage from their teachers, including Pierre Luboshutz and Genia Nemenoff, along with a composing and arranging career that continues to serve as a pedagogical essence of quality to this day.

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Moraly, Stéphanie. "La sonate française pour violon et piano (1868-1943). Identité d’un genre musical." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040020.

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La période de la IIIe République en France voit éclore un nombre considérable de sonates pour violon et piano, dont nous connaissons bien les chefs-d'œuvre – sonates de Franck, Fauré, Debussy ou Ravel. Prenant appui sur un catalogue inédit de quatre cent vingt-et-une sonates de deux cent quatre-vingt-onze compositeurs différents (français ou belges), la présente thèse vise à l’étude et à la définition de ce genre musical.La première partie interroge le contexte historique et socioculturel qui permit à la sonate française de connaître un tel apogée, à la fin d’un XIXe siècle qui ne laissait a priori rien présager de tel. L’auteur revient aux sources du répertoire et met à jour l’établissement d’une conjoncture particulièrement propice où se croisent élan nationaliste, renouveau de la musique instrumentale, salons artistiques, sociétés de concerts, compositeurs chefs de file et interprètes de l’école franco-belge de violon. La deuxième partie entreprend de définir le répertoire au moyen d’un traitement typologique et statistique du catalogue référençant toutes les œuvres rencontrées. La troisième partie questionne l’identité de ces sonates comme genre musical, en s’appuyant sur les éléments d’écriture et de langage qui les caractérisent autant qu’ils en font la diversité. Enfin, la quatrième partie apporte un éclairage inédit sur la Sonate de Vinteuil de Proust, au regard d’un corpus d’étude de cinquante sonates analysées en détails. Les annexes comprennent de nombreux documents, dont le catalogue référencé des sonates, un catalogue des compositeurs, les fiches analytiques de cinquante sonates ainsi qu’un CD enregistré par l’auteur au violon
A great number of sonatas for violin and piano were composed during the French Third Republic, among which are some well-known masterpieces, such as the Franck, Fauré, Debussy or Ravel sonatas. This thesis draws on an unpublished catalogue of four hundreds and twenty-one sonatas by two hundred and nighty-one composers (French or Belgian), and seeks to study and define this musical genre.The first part examines the historical and socio-cultural context that enabled the French violin sonata to reach its acme at the end of the 19th century. The author goes to the sources of the repertoire to establish the favorable juncture at which particular currents met; from nationalism, the reinvigoration of instrumental music, artistic salons, concert societies and leading composers, to the Franco-Belgian school of violin playing. The second part seeks to better characterize the repertoire by applying typological and statistical methods to the referenced catalogue of the encountered works. The third part endeavors to define the identity of these sonatas as a musical genre, based on elements of their musical language. Finally, the fourth part sheds new light on Proust’s Sonate de Vinteuil, through a detailed analysis of fifty sonatas. The appendices gather numerous documents, including the referenced catalogue of the sonatas, a catalogue of composers, analytical tables for fifty sonatas, and a CD recorded by the author playing the violin

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Kim, Junghyun. "Isang Yun's Duo for Viola and Piano (1976): A Synthesis of Eastern Music Concepts With Western Music Techniques." Diss., The University of Arizona, 2007. http://hdl.handle.net/10150/193670.

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Isang Yun is one of the most significant figures in Korean music of the twentieth century. He moved beyond serialism, founding his musical resources in Korean traditional music as well as in Taoism. Yun created unique sound which has resemblance to Korean traditional music particularly in ornaments through Western instrumentation and musical techniques. Consequently, Yun invented his own main tone technique, and its distinctive Koran sound separated him from other important avant-garde composers of the twentieth century. In this thesis Yun's life is introduced as a strong influence on his compositional styles. Also, his compositional styles are placed within the larger context of twentieth century musical trends, which shows why his works are important in twentieth century music history. Most importantly, it demonstrates that the idiosyncratic style of Isang Yun's Duo for Viola and Piano results from a blending of Eastern and Western musical elements. For this reason, in this document I will analyze and examine the Duo for Viola and Piano, and explain how Yun translated Eastern musical concepts into Western musical techniques.

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Ferreira, Salatiel Costa. "Cláudio Santoro e o clarinete: três estudos, duo e fantasia." Master's thesis, Universidade de Aveiro, 2014. http://hdl.handle.net/10773/13196.

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Mestrado em Música
Este trabalho é um estudo analítico e interpretativo nas obras para clarinete solo e clarinete e piano de Cláudio Santoro, tem como objetivo contribuir para um melhor conhecimento do repertório para clarinete feito no Brasil nas obras deste compositor, conhecendo o seu contexto de criação (quando foram compostas, a quem foram dedicadas, quem as estreou, entre outras), avaliando assim, o seu enquadramento estético, o seu lugar no repertório de clarinete e no quadro da produção do compositor. Fazendo um apanhado histórico, procurou-se esquematizar e compreender o percurso estilístico do compositor, utilizando como principais referências teóricas os trabalhos Mariz (1994), Mendes (2009), Neves (1981), Oliveira (2007), Fraga (2008) e Souza (2003). Como principal metodologia de análise utiliza-se Oliveira – a representação das notas por números inteiros, a classificação das alturas e intervalos em classes se mostram mais adequadas a pesquisa. Foram analisadas três obras do compositor: Três Estudos para clarinete solo de 1942, Duo para clarinete e piano de 1976 e a Fantasia Sul América para clarinete solo de 1983 (análise destas obras teve como principal motivação à sua performance). Nas considerações finais sobre Cláudio Santoro e sua obra para clarinete solo e clarinete e piano, verificou-se aspectos da música serial empregados por ele, e que apesar de distintas, estas obras possuem uma relação entre si.
This work is an analytical and interpretative study the works for solo clarinet and clarinet and piano by Cláudio Santoro, aims to contribute to a better knowledge of the repertoire for clarinet made in Brazil in the works of this composer, knowing its context of creation (when they were composed, who were devoted, whom debuted, among others), thus assessing, its aesthetic framework, its place in the repertoire for clarinet and in production of the composer. Making a historical overview, we tried to lay out and understand the stylistic path of the composer, using as the main theoretical references by works of Mariz (1994), Mendes (2009), Neves (1981), Oliveira (2007), Fraga (2008) and Souza (2003). As the main analysis methodology is used Oliveira - the representation of integers by notes, the classification of heights and intervals in classes are more appropriate research. Three works by the composer were analyzed: Three Studies for solo clarinet, 1942, Duo for clarinet and piano of 1976 and the Fantasy South America to solo clarinet 1983 (analysis of these works was the main motivation for performance). In the final considerations about Claudio Santoro and his work for solo clarinet and clarinet and piano, it was found aspects of serial music employed by him, and that while distinct, these works have a relationship with each other.

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Books on the topic "Piano Duo"

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Kirchner, Leon. Duo for violin and piano. New York, NY: Associated Music Publishers, 1990.

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Arthur, Berger. Duo for violoncello and piano. New York: King's Crown Music ; sole agent Galaxy Music, 1988.

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Frank, Andrew. Duo for cello and piano. Berkeley, CA: Fallen Leaf Press, 1989.

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Starer, Robert. Duo for violin and piano (1988). New York, N.Y: MCA Music Publishing, 1988.

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Harbison, John. Fantasy-duo: For violin and piano. New York: Associated Music Publishers, 1989.

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Nikolajević, Snežana. Klavirski duo kao odraz obšte evolucije muzike. Beograd: [Udruženje kompozitora Srbije], 1990.

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Piazzolla, Astor. Duo flauto e pianoforte =: Flute and piano. Milano: Edizioni Curci, 2011.

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Smith, Charles Davis. Duo-Art piano music: A complete classified catalog of music recorded for the Duo-Art reproducing piano. Monrovia, Calif. (625 S. Myrtle Ave., Monrovia 91016): Player Shop, 1987.

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Caltabiano, Ronald. Piano trio: A duo for three players : for violin, cello, and piano. Bryn Mawr, Pa: Merion Music, 1988.

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Company, Aeolian. Instructions for playing the pedal Duo-Art. Sandusky, Ohio: Automatic Musical Instrument Collectors' Association, 1996.

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Book chapters on the topic "Piano Duo"

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Petracchi, Giorgio. "Dietro le quinte del convegno Volta sull’Europa. Un piano per sovvertire l’Europa centro-orientale?" In Italien und Österreich im Mitteleuropa der Zwischenkriegszeit / Italia e Austria nella Mitteleuropa tra le due guerre mondiali, 87–120. Wien: Böhlau Verlag, 2018. http://dx.doi.org/10.7767/9783205204589.87.

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"Collaboration in Duo Piano Performance – ‘Piano Spheres’." In Collaborative Creative Thought and Practice in Music, 181–96. Routledge, 2016. http://dx.doi.org/10.4324/9781315572635-20.

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Manning, Jane. "BRIAN ELIAS (b. 1948)Once Did I Breathe Another’s Breath (2012)." In Vocal Repertoire for the Twenty-First Century, Volume 2, 63–66. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0021.

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This chapter highlights British composer Brian Elias’s Once Did I Breathe Another’s Breath (2012), a substantial and highly satisfying cycle. The piano part is quite complex and demanding, requiring a player with very safe hands—this is very much a duo partnership. A carefully chosen selection of five texts from the seventeenth century dwells on the theme of love—the first four poems reflecting its happier side, and the final song rueing the fact that its joys fade with time. The warmest resonances of the baritone voice are used to best effect, and there are several moments of heightened sensitivity where the voice rises to soft, sustained high notes which will need good support. The piano writing is full-textured, often intricate and fast-moving, and it pilots the changing moods of the texts. Ultimately, the exceptionally unified musical language maintains cohesion through the cycle, which should make a powerful and lasting impression.

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Manning, Jane. "WILLIAM MATHIAS (1934–92)A Vision of Time and Eternity (1972)." In Vocal Repertoire for the Twenty-First Century, Volume 1, 196–99. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0056.

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This chapter explores a contemporary work for contralto by William Mathias. The piece runs in a continuous span, but contains many contrasting sections within it. Although conceived for a rich, low voice, it also requires the lightness and agility to articulate swift staccato passages with aplomb. The highest pitches are at a loud dynamic. Otherwise, the contralto’s strong chest register is exploited rewardingly. A good deal of stamina is required to sustain and conserve energy through a welter of varied gestures and moods, which are enhanced by a striking piano part. The musical language is ‘advanced traditional’. It should prove an excellent vehicle for an enterprising duo able to give an authoritative interpretation. The inspiring text is an additional asset.

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Adelson, Robert. "The French grand piano." In Erard, 51–57. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197565315.003.0007.

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The first pianos, built by Cristofori in Florence near the turn of the eighteenth century, were already ‘grand’ pianos, their shape derived from that of the harpsichord. The invention gradually began to spread across the continent, and by the mid-1780s grand pianos were common instruments in London. This pan-European development stands in stark contrast to the grand piano’s reception in France, where the harpsichord reigned supreme. Indeed, until the 1760s, the piano—regardless of its size or shape—was almost completely absent from the French musical scene, and it was not until around 1810 that the grand piano became a frequently used instrument in France. Without a sonorous instrument capable of projecting an interesting palette of nuanced effects in a moderate to large space, it was difficult to develop an independent repertoire for the piano. The eventual adoption of the grand piano in France was largely due to the efforts of the Erard brothers, who were familiar with this type of instrument from their contacts with the Silbermanns in Strasbourg and English builders in London. The Erard grand piano responded to an increasing desire on the part of French musicians for pianos with a stronger tone, undoubtedly to better balance other string and wind instruments which were also evolving towards more sonorous models.

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Adelson, Robert. "Piano wars." In Erard, 104–11. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197565315.003.0012.

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To compete with other piano builders, the Erard firm had a potential advantage in having workshops in two different countries. The success of the double-escapement action convinced the Erards to begin making pianos at their London branch. To maintain their position of dominance, the Erards relied increasingly on virtuoso pianists who would promote their instruments in concert. These artistic sponsorships were facilitated through performances at the salons Erard (later the Salle Erard) on the rue du Mail, which became one of the most important concert venues in Paris.

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McKay, Elizabeth Norman. "Schubert’s string and piano duos in context." In Schubert Studies, 62–111. Routledge, 2017. http://dx.doi.org/10.4324/9781315088389-3.

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Crappell, Courtney. "Training Teaching Skills and Practices." In Teaching Piano Pedagogy, 96–121. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190670528.003.0005.

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Chapter 4, “Training Teaching Skills and Practices,” covers topics related to what teachers do in piano lessons. Essentially, it presents the best-practices with which piano teachers should be prepared before entering the teaching studio, and it outlines how pedagogy students can practice and begin to master these skills. After a brief introduction, it includes models and frameworks that serve to guide the mental processes of teachers as they make decisions about performance problems. It helps the pedagogy teacher understand how to train pedagogy students to think and act during lessons. Several classroom exercises are provided to demonstrate how pedagogy students can apply and practice the principles and suggestions within this chapter.

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Duffek, Mihály. "Encountering Parallels: A Functional Overview of Piano History." In Studies in Music Pedagogy - The Methodological Revitalisation of Music Education. University of Debrecen Faculty of Music, 2020. http://dx.doi.org/10.5434/9789634902263/11.

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The study describes the three-hundred years’ long development of the piano from the unusual point of view of the parallels between the piano itself and the performing arts, piano pedagogy and scores editing. Each of these components has its own power to induce changes and influence development, which also gives rise to the possibility of individual development in the examined period. The topic becomes complicated when we begin to take into account the effects of these elements. We can see a complete system, where the parallels really do meet, and finally produce a high level of the art of piano music in Europe. Keywords: piano, edition of scores, piano pedagogy, piano art

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HSIUNG, CHUAN-CHICH. "Sopra il contatto di due curve piane." In Selected Papers of Chuan-Chih Hsiung, 1–9. WORLD SCIENTIFIC, 2001. http://dx.doi.org/10.1142/9789812810618_0001.

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Conference papers on the topic "Piano Duo"

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Mokdad, Fatma, and Samy Missoum. "A Fully Parameterized Finite Element Model of a Grand Piano Soundboard for Sensitivity Analysis of the Dynamic Behavior." In ASME 2013 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/detc2013-13193.

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This work in progress aims at investigating the influence of several parameters on the modal behavior of a grand piano soundboard. The sensitivity analysis is made possible by the development of a fully parameterized Finite Element model of the soundboard which allows the user to modify most geometric and material parameters involved in its dynamic behavior. In addition, crowning and downbearing are included in the model. This study also considers the influence of geometric nonlinearities due to downbearing. The sensitivity analysis is performed using Spearman rank correlation and Sobol indices.

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Nakai, Mikio, and Kazuya Kawaguchi. "On the Inharmonicity of a Struck String." In ASME 2005 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2005. http://dx.doi.org/10.1115/detc2005-84727.

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This paper describes the phenomenon called the inharmonicity for a struck string. It is known that its spectral components consist of two inharmonic peak series: “the first partials” due to the elastic stiffness of a string and “the second partials”. Experimental tests for examining a mechanism of the generation of the second partials were performed with a model of a piano string. The experiments suggest that the second partials are those that have frequencies equal to the sum of the frequencies of a pair of the first partials. Furthermore, numerical simulations were done with nonlinear wave equations involving large string deflection.

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LIMA, REINALDO OLIVEIRA, VITOR DE SOUZA, EDSON ALVES DE CAMPOS, and MILTON CARLOS KUGA. "A CUSTOMIZAÇÃO DE PINOS DE FIBRA: EFEITOS SOBRE A INTERFACE ADESIVA COM O SISTEMA DE CIMENTAÇÃO RESINOSO E O CONDICIONAMENTO DO SUBSTRATO DENTINÁRIO." In Brazilian Congress. brazco, 2020. http://dx.doi.org/10.51162/brc.health2020-00060.

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Objetivo foi avaliar o efeito da customizacao de pinos de fibra sobre a resistencia de uniao e penetrabilidade dentinaria dos protocolos de cimentacao resinosos Adper Scotchbond Multi-Purpose-Relyx ARC (AS-RA), Relyx U200 (R2) e Scotchbond Universal-Relyx Ultimate (SB-RU) na dentina radicular dos tercos cervical, medio e apical do espaco preparado para pino. Sessenta raizes de incisivos bovinos foram tratadas endodonticamente. As raizes foram divididas em seis grupos, de acordo com os protocolos de cimentacao e o tipo de pino de fibra (nao customizados, NC ou customizados, C). A customizacao foi realizada com resina composta. Apos seis meses, especimes dos tercos cervical, medio e apical do espaco para pino foram submetidos a avaliacao da resistencia de uniao e da penetrabilidade dentinaria do sistema de cimentacao. Dados analisados por ANOVA e Tukey (? = 0,05). Os protocolos de cimentacao com pinos de fibra customizados demonstraram os maiores valores de resistencia de uniao (p < 0,05), mas similares entre si (p > 0,05), independentemente do terco avaliado. R2-NC e SU-RU-NC demonstraram os menores valores de resistencia de uniao nos tercos medio e apical (p < 0,05). AS-RA e R2-NC demonstraram respectivamente a maior e a menor penetrabilidade dentinaria, em relacao aos demais protocolos (p < 0,05). A customizacao favorece a resistencia de uniao dos cimentos resinosos, independentemente da composicao quimica e penetrabilidade dentinaria, no espaco para pino.,

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Masoudi, Ramin, Stephen Birkett, and Armaghan Salehian. "Dynamic Simulation and Vibration Analysis of a Mechanical Piano Key Actuator." In ASME 2011 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2011. http://dx.doi.org/10.1115/detc2011-48709.

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Dynamic modeling of a flexible hub-beam system with an eccentric tip mass including nonlinear hysteretic contact is studied in this paper. In reality, the model is intended to represent the mechanical finger of an actuator for a piano key. Developing a device to achieve a desired finger-key contact force profile that realistically replicates that of a real pianist’s finger is the main objective of this research. The proposed actuation system consists of a flexible arm which is attached to a DC brushless rotary motor thorough a hub. The compliant arm behaves as a cantilever beam to which an eccentric tip mass has been attached at its free end. During the piano key stroke, the contact force input from the tip causes the key to rotate and impact the ground through an interface lined with stiff felt to suppress vibrations and noise. Euler-Bernoulli beam theory in conjunction with Lagrange’s method is utilized to obtain the governing equations of motion for the system. The finite element method is used as the discretization procedure for the flexible cantilever beam, which can be considered a distributed parameter system. To include contact dynamics at the stop, the nonlinear hysteretic behavior of felt under compression is modeled in such a way that smooth transitions between loading and unloading stages are produced, thus ensuring accurate response under dynamic conditions, and particularly with partial loading and unloading states that occur during the contact period. Simulation results show excessive vibration is produced due to the arm flexibility and also the rigid-body oscillations of the arm, especially during the period of key-felt contact. To eliminate these vibrations, the system was supplemented with various dashpot models, including a simple grounded rotational dashpot, and a grounded rotational dashpot with a one-sided relation. The results of simulations are presented showing the effect on vibration behavior attributed to these additional components.

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Catton, Ivan, Omar Alquaddoomi, and Pierangelo Adinolfi. "Methods of Analysis of Tube Array Fluid Elastic Instability Data." In ASME 2003 International Mechanical Engineering Congress and Exposition. ASMEDC, 2003. http://dx.doi.org/10.1115/imece2003-41584.

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Fluid-elastic instability (FEI) is the cause of mechanical failures and expensive damage in tube bundle heat exchangers. The purpose of this experimental study is to develop a methodology to analyze the vibrations due to fluid-elastic instability in a tube array. The motions of a square array of 15 stainless steel vibrating tubes (␀ 25.4mm) in water cross-flow, suspended using stainless steel piano wire have been recorded with a CCD camera. The captured images are analyzed using two different methods. The individual motion and relative motion of the tubes are reported and can be used for computational model validation. The relative displacement of the tubes allows identification of the most potentially damaging patterns of tube bundle vibration. A critical reduced velocity may be determined by specification of an allowable limit on tube motion amplitude. Eventually, critical velocities for various tube array configurations and flow conditions can be measured and compared with existing criteria for heat exchanger design and operation.

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junior dos santos, anderson, Bárbara Cristina Mendanha Reis, Natália Fernanda Santos Pereira, JUAN CARLOS CAMPOS RUBIO, and Marcelo Câmara. "ENSAIO PINO SOBRE DISCO DO PAR TRIBOLÓGICO METAL DURO REVESTIDO COM (TiAl)N E AÇO ABNT H13 NORMALIZADO." In COBEF 2019. ABCM, 2019. http://dx.doi.org/10.26678/abcm.cobef2019.cof2019-0249.

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Huber, Annegret. "Die Pianistin spricht. Überlegungen zur Epistemologie von Vertonungsanalysen und ihrer Funktion in musikwissenschaftlicher Forschung." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.83.

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There is nothing fundamentally wrong with the premise that a pianist like Clara Wieck/Schumann ‘speaks’ in her song compositions. This, however, raises a number of epistemological questions that will be discussed in this article. First of all, an explicit distinction is made between the examination of the ‘technical’ aspects of her compositional practice – in German: Praktik – (which may allow conclusions to be drawn about the pianist’s implicit knowledge) on the one hand, and the social aspects of her discursive practice – in German: Praxis – on the other. Thus, it is also necessary to discuss the criteria that the structural-analytical methodology must satisfy, as well as to consider to whom the pianist is actually speaking: to us music researchers of the 21st century? Or should we ask ourselves whether our analysis is not rather a “reading of traces” in the sense of Sybille Krämer, through which we invent the ‘producer’ of the analyzed ‘trace’ in the first place? Or to put it another way epistemologically: how do we make the pianist speak? What function does our ‘speaking’ of her compositions – namely the piano parts in her songs – have in scholarly argumentations?

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Silva, Nayara, Paulo Oliveira, Guilherme Aleixo, Ana Paula de Carvalho Costa, and Marcelo Câmara. "ANÁLISE DO COMPORTAMENTO AO DESGASTE POR DESLIZAMENTO DO SISTEMA TRIBOLÓGICO: TRILHO FERROVIÁRIO/METAL DURO (WC/Co) EM UM ENSAIO PINO SOBRE DISCO." In X Congresso Nacional de Engenharia Mecânica. ABCM, 2018. http://dx.doi.org/10.26678/abcm.conem2018.con18-0887.

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Silva, Eberson, Roberto Lehmann, Cláudio Silva, and Tereza Silva. "Análise de Tensões em um dente humano restaurado com um pino intra-radicular de fibra de vidro pelo Método de Elementos Finitos." In Publicação do l Simpósio de Engenharia Metalúrgica e de Materiais Sul Fluminense. ,: Even3, 2020. http://dx.doi.org/10.29327/smms.242060.

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junior dos santos, anderson, Gilmar Cordeiro da Silva, JUAN CARLOS CAMPOS RUBIO, Natália Fernanda Santos Pereira, Marcelo Câmara, Geralda Cristina Godoy, and Sinval Pedroso da Silva. "Estudo do comportamento tribológico do par metal duro revestido com (TiAl)N e AISI D2 temperado e revenido (57 ±1 HRC) durante o ensaio pino sobre disco." In X Congresso Nacional de Engenharia Mecânica. ABCM, 2018. http://dx.doi.org/10.26678/abcm.conem2018.con18-0389.

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Reports on the topic "Piano Duo"

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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.

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