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Journal articles on the topic 'Piano Duo'
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1
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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Kawase, Satoshi. "Assignment of Leadership Role Changes Performers' Gaze During Piano Duo Performances." Ecological Psychology 26, no. 3 (July 3, 2014): 198–215. http://dx.doi.org/10.1080/10407413.2014.929477.
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Wallace, Helen, Roger Sessions, Curtis Macomber, Joel Krosnick, and Barry David Salwen. "Duo for Violin and Cello; Six Pieces for Cello; Duo for Violin and Piano; Sonata for Violin." Musical Times 136, no. 1824 (February 1995): 107. http://dx.doi.org/10.2307/1193644.
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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 (November 18, 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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유승지. "Suggestions through Analysis of Piano Duo Recital Programs in Seoul in 2009." 이화음악논집 14, no. 1 (June 2010): 159–90. http://dx.doi.org/10.17254/jemri.2010.14.1.007.
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Barlow, Jill. "St Albans: Guy Dagul's ‘Grand Fantasia’." Tempo 59, no. 234 (September 21, 2005): 42–43. http://dx.doi.org/10.1017/s0040298205260308.
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Guy Dagul, already established as one of the UK's most sought-after composers of music for TV and Film, with successes in Hollywood, Channel Four (The Investigators), BBC (notably his score for the docu-soap Paddington Green, screened June 1999) and Carlton's Return to the Wild, has now composed his first serious concert piece.2 This is a Grand Fantasia for piano duet and strings, dedicated to his parents, the world-renowned Piano Duo of Harvey Dagul and Isabel Beyer. It was given its world premiere by them on the occasion of their Golden Wedding Anniversary Concert on 30 January in St Saviour's Church, St Albans before a packed audience.
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CYPESS, REBECCA. "KEYBOARD-DUO ARRANGEMENTS IN EIGHTEENTH-CENTURY MUSICAL LIFE." Eighteenth Century Music 14, no. 2 (August 30, 2017): 183–214. http://dx.doi.org/10.1017/s1478570617000045.
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ABSTRACTIt is well known that the instrumentation of eighteenth-century chamber music was highly flexible; composers frequently adapted their own works for a variety of instruments, and players often used whatever combinations they had available. One type of arrangement little used today but attested to in both verbal description and musical manuscripts of the period is that of trios and other chamber works adapted for two keyboard instruments. Players often executed such keyboard-duo arrangements on instruments with different mechanisms and timbres – for example, harpsichord and piano together – thus capturing something of the variety of timbres available in a mixed chamber ensemble.Keyboard duos were often played by members of a single family, or by teachers and students together, a practice that allowed for the construction of a sense of ‘sympathy’ – mutual understanding through shared experience and sentiment – between the players. These players shared common physical gestures at the instruments, which reinforced the emotional content of the music; this fostered the formation of a sympathetic connection even as players retained their individual identities.
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Nerovnaia, Tatiana Evgen'evna. "Modern piano duet: a retrospective analysis of performing arts." Человек и культура, no. 4 (April 2020): 141–50. http://dx.doi.org/10.25136/2409-8744.2020.4.33379.
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The subject of this research is the evolution of the art of piano duets since the middle of the XX century to the present day. Leaning on the retrospective analysis of ensemble uniqueness, an attempt is made to determine the key trends in artistic activity of piano duets of that time. The goal of this work consists in the analysis of the types of professional duet ensembles and their peculiarities, substantiated by the mobile form of concerts; study of the relevant questions of renewal of the repertoire; classification of piano duets by “performing specialization”: educational and theatricalized or "eccentric"’ as well as outlining the development prospects of duet performing arts. Research methodology is based on the comparative, logical, and retrospective methods. The retrospective method allowed defining the criteria for ensemble specialization of piano duets in accordance with the duet or duo principle, as well as the variety of educational duets based on the repertoire preferences. The scientific novelty lies in the fact that retrospective analysis applicable to modern duet performance, on the one hand revealed a tendency towards preserving and augmenting best traditions in performing culture of the piano due, while on the other – towards seeking of new, creative in their idea forms of ensemble art. For the first time the source of the new repertoire, which includes original compositions for four-handed ensemble, is presented by annotated catalogue of the American scholar K. McGraw (revised 2016 edition). The conclusion is made that tremendous potential of the genre (the ability to multi-level dialogue, theatrical expressiveness of visual image of the ensemble, and its special telegenic skills) contributes to the successful development of piano duet in music industry. Expanding the boundaries of the traditional concert space, members of the ensemble appose to the aesthetics of show or performance, which testifies to the experimental nature of piano duets in the first decades of the XXI century. As the development prospects, the author outlines the pursuit of new ways for popularization of the genre, research work on broadening the existing duet repertoire, and as well as potential creation of the Internet platform for centralizing the global repertoire of piano ensembles.
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Perlove, Nina. "Inherited Sound Images: Native American Exoticism in Aaron Copland's Duo for Flute and Piano." American Music 18, no. 1 (2000): 50. http://dx.doi.org/10.2307/3052390.
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Smith, Mike. "ROBIN HOLLOWAY: Gilded Goldbergs. The Micallef–Inanga Piano Duo. Hyperion CDA 67360 (2 discs)." Tempo 57, no. 225 (July 2003): 45–46. http://dx.doi.org/10.1017/s0040298203210251.
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Oshima, Chika, Kazushi Nishimoto, and Norihiro Hagita. "A piano duo support system for parents to lead children to practice musical performances." ACM Transactions on Multimedia Computing, Communications, and Applications 3, no. 2 (May 2007): 9. http://dx.doi.org/10.1145/1230812.1230815.
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Blank, Marilyn, and Jane Davidson. "An exploration of the effects of musical and social factors in piano duo collaborations." Psychology of Music 35, no. 2 (February 15, 2007): 231–48. http://dx.doi.org/10.1177/0305735607070306.
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Spiro, Neta, and Michael F. Schober. "Discrepancies and Disagreements in Classical Chamber Musicians’ Characterisations of a Performance." Music & Science 4 (January 1, 2021): 205920432110110. http://dx.doi.org/10.1177/20592043211011091.
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To what extent do classical chamber musicians converge in their characterisations of what just happened in their live duo performance, and to what extent do audience members agree with the performers’ characterisations? In this study a cello-piano duo performed Schumann’s Phantasiestücke, Op. 73, no. 1 as part of their conservatory studio class in which members critique performances in development. Immediately after, the listeners and players individually characterised what had most struck them about the performance, first writing comments from memory and then marking scores while listening to a recording on their personal devices. They all then rated (on a 5-point scale) their agreement with comments by two other class members. Findings demonstrate that classical chamber performers can characterise the performance quite differently than their partner does and that they can disagree with a number of their partner’s characterisations, corroborating previous findings in case studies of jazz performance. Performers’ characterisations can overlap less in which moments strike them as worthy of comment and in their content than their listeners’ characterisations do, and they can agree with a non-partner’s characterisations more than with their partner’s characterisations. At the same time, the data show that listeners who have played the piece before—though not necessarily those who play the same kind of instrument (strings vs. piano)—can be more likely to endorse comments by others who have also played the piece before, even if the comments they make don’t overlap with each other more in timing, content or theme.
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Sediuk, I. O. "Artistic and aesthetic ideas in “Plays” for two pianos by P. Dambis." Aspects of Historical Musicology 15, no. 15 (September 15, 2019): 181–98. http://dx.doi.org/10.34064/khnum2-15.09.
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Background. The piano ensemble as a special type of chamber music has become popular in recent decades, as evidenced by numerous international piano duo competitions taking place in different countries, music festivals, master classes. Whereas a large number of scientifi c works is devoted to four-hand duo, two-piano ensemble began to attract the active attention of researchers only in the present day. Despite the individual approaches to its specifi cs and selected music examples, the generic properties of this phenomenon, which distinguish it among other forms of duo music, remain uncertain. Also, the ensemble features the numerous works of the 20th century demonstrating the attraction of the newest composing techniques, enhancing the role of sound and numerical structures, the law of symmetry, etc., while preserving continuity with tradition require a profound study. Objectives. The purpose of the article is to uncover a meaningful idea as well as artistic and aesthetic principles in the macro cycle “Plays” for two pianos by P. Dambis. Methods. An integrated approach together with the theoretical and the comparative research methods was used. Results. A series of ensemble pieces for two pianos by the Latvian composer P. Dambis appears as a kind of quintessence of playing performance logic. During the period of 1973 to 1979, the composer wrote a cycle of 10 pieces, organized in 3 series. The author unites all the pieces under a single name “Plays”, thus revealing his understanding of the piano duo possibilities. The fi rst series dates back to 1973–1974 and includes three contrasting pieces that have different image and style reference. All of them bear the imprint of modern compositional technology, while maintaining an organic connection with cyclic genres. Each of the plays has its internal contrasts, as evidenced by the change of texture and intonation complexes. Emphasizing the second-third music phrases, ostinato repetition, multiple transformations variants of the original element very distinctly makes the Piece Nr. 1 resemble the neofolklore searches of the 20th century without a direct connection with folk sources. In the Piece Nr. 2, the play-dialogue unfolds in the image stylistic space of romanticism, creating an allusion to the famous “La Campanella” by F. Liszt, as well as to the unpretentious music world of F. Mendelssohn. The last Piece of this series demonstrates the synthesis of diatonic and chromatic scales, various types of motion, inversion of structures, shifting of accents, repetitious chanting, sonorant aleatoric synchronous performance of sound complexes. The second series of “Plays” (1975–1976) includes two Pieces; it continues with the variety of previously embodied constructive motifs, although it outlines them more sharply through the opposing ensemble parts. The technique of moving each of the parts into their tonal environment in the Piece Nr. 4 emphasizes their independence, causing the exchange of replicas as if in a dialogue. Whereas Piano I part goes in B-dur and its melody is perceived as an allusion to the second movement of Schumann’s Kreisleriana, in Piano II part, we see harmonious fi guration of polytonal connections: G major - Fis-dur. A colorful palette is created, and it generates a “tail” of sonorous effects. They are achieved through the register technique when the parts of the ensemble are gradually mixed together. On the other hand, the whole usage of white and black keyboard appears in a new way, more broadly – of diatronics and chromaticism, which are interpreted in the music of the twentieth century as certain image-bearing spheres that are sometimes opposed to each other, and as the fundamental constants of different music systems. The Piece Nr. 5 is composed in the competitive spirit between sonorous effects, which is typical for the fi nal sections, and the traditional vocabulary of metric music. The third series of “Plays” (1978–1979) is the largest one as it includes fi ve pieces. Whereas in the fi rst two series of “Plays” the principle of randomness comes into effect periodically, then, beginning with the play number 6, it dominates in the creation of themes and forms. In the third series, P. Dambis embodies sonority and aleatory techniques in different ways either through creating the necessary effect by using an unregulated overlay of diachromatic sequences or interval structures, or through combining them with the traditional rhythm and metric methods of writing. The Piece Nr. 8 can be attributed to the samples where the prominent thematic principle prevails: that is, the clearly defi ned “landscape – background” texture, the presence of constructions that refer to certain genre prototypes, the dance scherzo themes, the energy of the dotted rhythm in triad chords etc. The “Plays” Nr. 9 differ by the miniature form, which is easily explained by using the already well-known playing fi gures. P. Dambis retains the contrast of two clearly defi ned sections, the ametric and the metric music presented both in the horizontal and in the vertical projections, written all the texture voices throughout the whole section and the square structure of the interval sequence. Despite the difference between thematic ideas in this piece, their similarity is revealed through more careful analysis. In other words, the composer offers different modes of one and the same thing. In contrast to the statuesque fi gures, typical of P. Dambis, which get their internal mobility through the ostinato repetition, in the Plays Nr 9. the author introduces the hemi-group that chromatically descends in both parts in parallel, and then moves in opposite directions. Although long time values predominate here, their weight is neutralized by the tempo, thrills, and wide steps. The leaps that exceed the octave bring the game factor; additionally, they are emphasized by a syncope. We can observe a theatrical play with different characters involved, which is enhanced with the comic techniques. Conclusions. The macrocycle for two pianos by P. Dambis reveals the composer’s attitude to both tradition and new discoveries in the music of the 20th century. Nine music pieces represent a kind of anthology showing the development of composer’s thought as a whole: from the desire to preserve the connection with folk prototypes, as evidenced by the signs of the “sutatirne” in the fi rst two pieces, through various allusions of the famous classical examples, to sonoric aleatory technique , which appears as a modus of Baroque improvisation on the new stage of the history. In this sense, the title “Plays” the composer chose acquires new semantic overtones, bringing varied experience of musical culture and allowing to attribute the macrocycle to the synthesizing tendency in music of the previous century.
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Xu, Qingling. "The European Compositional Techniques and the Chinese Colour in the Piano Suite “Duo Ye” by Chen Yi." Manuskript, no. 6 (June 2020): 182–87. http://dx.doi.org/10.30853/manuscript.2020.6.35.
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Wreede, Katrina, and Karen Ritscher. "Practicing Efficiently—For Teachers." American String Teacher 44, no. 2 (May 1994): 49–51. http://dx.doi.org/10.1177/000313139404400221.
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Katrina Wreede has an active career as a performer, teacher, and composer. Formerly the violist with the Turtle Island String Quartet, she performs with chamber music groups, a viola/piano duo, and a string trio, all of which explore free jazz sensibilities inside the chamber music form. While violist with TISQ, she performed to critical acclaim in more than 40 states and nine countries, appearing in numerous television specials. She teaches both privately and for several youth orchestras and presents workshops on improvisation and composition to children and adults. She also composes in her “Improvisational Chamber Music” style.
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Jarman, Douglas. "THE MUSIC OF ANTHONY GILBERT (PART I)." Tempo 58, no. 229 (July 2004): 2–17. http://dx.doi.org/10.1017/s0040298204000191.
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First, the essential biographical information. Born in London on 26 July 1934, Anthony Gilbert was a relative latecomer to composition. Not until he was 19 did he start to study part time at Trinity College and not until he was 23, by which time he was working as a translator and interpreter at the London offices of the Société des Fonderies de Pont-à-Mousson of Nancy, did he begin to study composition, largely as a private pupil, with Anthony Milner, Mátyás Seiber and Alexander Goehr. It is a mark of Gilbert's determination that for the next ten years, while working in a variety of both non-musical (warehouseman and accounts clerk) and musical jobs (free-lance copyist, proof-reader and arranger) for Schotts, and full-time Music and Record Library Assistant at the City of Westminster Public Library, he not only devoted his summer holidays to studying at Dartington and Wardour Castle (with, amongst other teachers, Nono and Berio) but also found time to produce a whole series of works, including an unpublished Elegy for Piano, a Duo for violin and viola, the Piano Sonata No.1, Serenade, the Missa Brevis and the Sinfonia.
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Șoitu, Cristina-Nicoleta. "The Variational Principle in Dinu Lipatti’s Sonatina for Violin and Piano." Artes. Journal of Musicology 19, no. 1 (March 1, 2019): 62–78. http://dx.doi.org/10.2478/ajm-2019-0003.
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Abstract This study aims to analyze the variational principle, as it is applied in Dinu Lipatti’s Sonatina for Violin and Piano, from a theoretical-analytical perspective, but also from the standpoint of the interpretative implications. The variational processes, in close connection with the specificity of the neoclassical language of the work, determine an atypical classification of the form of variations in the gender structure, which implies a resizing of the interpretative means by which the musical dramaturgy of the piece can be achieved. The comparison with the classic model of variations as a component of the sonata genre dedicated to the violin-piano duo, as it appears in the works of composers such as Mozart or Beethoven, as a method of analytical research, highlights the language aspects that condition the performer’s vision in the case of Lipatti’s Sonatina, such as character, tempo, metrics, the type of writing, elements of virtuosity or timbre, whose valences are distinct from those determined by a music discourse from the classical era. Understanding the correlation between the succession of movements and the composition of the variational plan constitutes a priority in approaching this work and shaping the desired artistic message; this is why the study attempts to highlight the necessary connection between the structural elements of the composition and those implicitly generated by them, namely the technical and expressive elements required by the interpretative act.
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Miller, Malcolm. "Jerusalem, Music Centre: Andre Hajdu." Tempo 67, no. 264 (April 2013): 78. http://dx.doi.org/10.1017/s004029821300017x.
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An 80th birthday concert full of the spirit of youthful exploration reflected the innovative interactive aesthetic of Andre Hajdu, the Hungarian-Israeli composer, whose oeuvre is gradually gaining wider international exposure. Presented by the Jerusalem Music Centre on 29 March 2012, the programme featured works from the last quarter of a century for chamber duo and solo piano, including two premières, culminating in an improvisational interactive jam session by an array of students and colleagues, joined by the composer himself at the piano. To begin was Hajdu's Sonatine for Flute and Cello (1990) ‘in the French style’ performed with panache by the flautist Yossi Arnheim and cellist Amir Eldan. It is an elegantly written work radiating the spirit of Hajdu's teachers Milhaud and (less overtly) Messiaen, with whom he studied in Paris in the 1950s and 60s. Beneath the light-hearted veneer of polyphonic textures is a serious, plangent expressiveness. The first movement, libre et gai, moves from the chirpy, Poulenc-like delicacy of a cat-and-mouse imitative chase, building tension towards a final stretto. In the second movement, molto moderato, Arnheim wove a lyrical cantilena for flute over gentle cello accompaniments, giving way to rarified high cello registers shadowed by eloquent lower lines of the flute. An exuberant dance-like finale, Libre mais un peu rythmé, increased in drama before receding to a tranquil conclusion.
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Noble, Andrew. "Ultraschall Berlin, Festival für neue Musik, 2014." Tempo 68, no. 269 (June 16, 2014): 76–78. http://dx.doi.org/10.1017/s004029821400014x.
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Ultraschall, jointly presented by Deutschlandradio Kultur and Kulturradio vom RBB (Rundfunk Berlin-Brandenburg), and this year officially renamed Ultraschall Berlin, has been a fixture of the city's concert life since 1999. Festival directors Rainer Pöllmann (Deutschlandradio Kultur) and Andreas Göbel (replacing Margarete Zander for Kulturradio vom RBB) chose to emphasise the two major broadcasters' partnership this year with what they called a ‘duo idea’ running through the festival's programme. Illustrating this theme, orchestral concerts (a pair) opened and closed the festival, the project New Forum Jeune Création paired each of three ensembles with two young composers, and performing duos included GranSchumacher Piano Duo, Claudia Barainsky and Axel Bauni in a concert for voice and piano, and a concert of string duos by members of Kammerensemble Neue Musik Berlin (who were however not appearing as representatives of this ensemble) with the featured composer/zither player Leopold Hurt, to name but a few. Additionally, a so-called epilogue after the festival's official ending was paired with something that one might have called a prologue, seemingly tacked on as an afterthought: an evening of Klangkunst, electro-acoustic music and performance entitled ‘Art's Birthday’ presented works by Hanna Hartman, Jana Winderen and Nicolas Bernier at the hub of Berlin's club culture, Berghain. Though internationally known in the techno scene for drugs, dancing and dark rooms, Berghain has also long been used as a venue for contemporary and experimental music concerts. The otherwise conservative choices of venue (Radialsystem V, Haus des Rundfunks, and HAU (Hebbel am Ufer) Theatres) and programme – Ultraschall sees itself more as a repertoire-establishing festival, with an emphasis not on premieres but on second and third performances alongside ‘masterpieces’ of contemporary and modern music – made this first concert appear a half-hearted jumping on the ‘new contexts’ bandwagon. And, alongside the repeated, excited announcements of the festival now having its own website (yes in 2014!), there was something of the sense of embarrassment one feels as a teenager bumping into one's parents at a night club.
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Chen, Shuyun. "PIANO COMPOSITION CHEN YI AND “DUO YE”: THE QUESTION OF THE NEW QUALITY OF TRADITIONAL TECHNIQUES IN CONTEMPORARY CHINESE MUSIC." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 35 (2019): 202–14. http://dx.doi.org/10.17223/22220836/35/19.
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Mikhieieva, Nadiia. "The clarinet and the viola in Sonatas op. 120 by J. Brahms and a pianist’s performing strategy." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (March 26, 2021): 145–57. http://dx.doi.org/10.34064/khnum1-59.10.
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Background. Johannes Brahms composed his two Clarinet Sonatas, op. 120, in 1894, and dedicated them to the outstanding clarinet player Richard Mühlfeld. These were the last chamber pieces he wrote before his death, when he became interested in the possibilities the clarinet offered. Nowadays they are considered to be masterpieces of the clarinet repertoire, legitimizing the combination of piano and clarinet in new composers’ works. Brahms lavished particular care and affection on these works, and he clearly wished them to have the widest possible circulation, for he adapted them – with a certain amount of recomposition in each case – in two parallel forms: as sonatas for viola and piano, and for violin and piano. The violin versions are rarely heard, but the viola sonatas have become cornerstones of this instrument’s repertoire, just as the original forms have for the repertoire of the clarinet. Brahms was effectively establishing a new genre, since before they appeared there were virtually no important duo sonatas for viola and piano. These sonatas embody his compositional technique in its ultimate taut, essentialized, yet marvelously flexible manner. The purpose of this article is to show the interaction of variable and invariant components of the musical text as a factor influencing performance decisions in the process of working on a piece of music. To achieve this goal, it is necessary to conduct a comparative analysis of the musical text of clarinet and viola parts in the Sonatas of J. Brahms op 120, which are the material of this study. The article relevance is in the importance of comprehension the performing differences for pianists (especially, for those specialized on the sphere of chamber music) working J. Brahms’ Sonatas op. 120 with clarinetists or violists. Every piece could offer its own unique complex of special “challenges”, thus the need of analyzing specifics of performance in every such a piece of music appears. This uniqueness is the basis for the innovativeness of the results of the study of the performance specifics of J. Brahms’ Sonata op. 120 in a selected aspect. Results of the research. Clarinet and viola versions Sonatas by J. Brahms op. 120 occupy a prominent place in the performing repertoire, including training. Because the article provides a comparative analysis of the musical text of clarinet and viola parts with the same piano part; provides a comparative overview of the specifics of the artistic expression of the clarinet and viola to determine the performing strategy of the pianist in the ensemble. The differences found in the viola and clarinet parts are divided into the groups – octave transfers, addition of double notes and melismatics, changes in melodic lines, difference in the strokes (staccato, non legato, tenuto, portamento etc.). There is also a detailed description of clarinet and viola timbres. Due to the different possibilities of the instruments, it is quite obvious that the pianist faces certain creative tasks and in general they can be formulated as follows: when playing the viola, the dynamic range of the piano should be smaller than when performing with the clarinet. In addition, you need to pay attention to other details, such as pedal, texture quality, articulation. Yes, the viola sounds much more confident against the background of a “thick” pedal, while the clarinet in this case loses the volume of its sound. With regard to phrasing, it should be borne in mind that the clarinetist needs to take a breath, and the violist’s ability to lead a bow for a long time does not depend on his physiological characteristics. The question arises: which is more important – tempo or phrasing? In this situation, the specificity is that phrasing should be given more attention. The tempo when performing with the clarinet varies significantly than with the viola, and it is also chosen and changed for practical reasons that follow from the physical data of the performer. The pianist should also pay special attention to the differentiation of voices and the quality of articulation. In terms of sound balance, it is obvious that the clarinet needs more piano support than the viola, because it is dynamically brighter. Nevertheless, this does not mean that piano shades “p” should be avoided, because the contrast of dynamics expands the acoustic range of Sonatas and their expressive potential. Conclusion. The comparative-analytical description contributes to the awareness of the differences in the dynamic balance due to the change of the obligatory instrument. Accurate knowledge of where and how such changes occur not only focuses the musicians’ attention on the relevant details in the performance process, but also encourages them to make more informed decisions about the dynamic balance of performance in general.
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Bye, Antony, Charles Neidich, Harvey Sollberger, Fred Sherry, Rolf Schulte, Martin Goldray, David Starobin, and Charles Wuorinen. "Elliott Carter: Sonata for Violoncello and Piano; Duo; Gra; Scrivo in vento; Changes; Enchanted preludes; Con leggerezza pensosa; Riconoscenza per Goffredo Petrassi." Musical Times 135, no. 1822 (December 1994): 774. http://dx.doi.org/10.2307/1003365.
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Mikolon, Anna. "Composition trends in polish vocal lyric. Musical language features in polish songs after the mid-20th century based on selected examples." Notes Muzyczny 2, no. 12 (December 13, 2019): 175–98. http://dx.doi.org/10.5604/01.3001.0013.7176.
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The subject for analysis were works for voice and piano by selected Polish composers of the 20th and 21st centuries, e.g. Grażyna Bacewicz, Tadeusz Baird, Henryk Czyż, Henryk Mikołaj Górecki, Henryk Hubertus Jabłoński, Wojciech Kilar, Zygmunt Krauze, Szymon Laks, Witold Lutosławski, Juliusz Mieczysław Łuciuk, Wojciech Łukaszewski, Paweł Łukaszewski, Maciej Małecki, Paweł Mykietyn, Edward Pałłasz, Konrad Pałubicki, Krzysztof Penderecki, Witold Rudziński, Marian Sawa, Kazimierz Serocki, Tadeusz Szeligowski and Romuald Twardowski. An important matter for the author was to determine whether there are common features for this creative genre. She also attempted to find an answer to the question if the trends from the second half of the 20th century were reflected in songs. The scope of analysis covered the repertoire the author knew from her performance practice from the standpoint of a pianist. To the general characteristics of selected songs she added a review of famous trends, techniques and styles of composition, such as impressionism, neoromanticism, expressionism, dodecaphony, serialism, punctualism, minimalism, sonorism, spectralism, neoclassicism, vitalism, postmodernism, aleatoricism, bruitism, microtonality, electronic music, musique concrète, stochastic music, references to previous periods, to folklore and to popular music. She compared musical notation of the analysed works. She also confronted forms of songs with contemporary composition techniques. Interesting was the approach of composers to chamber relations in a duo and the way they made texts musical. Most composers distanced themselves from the avant-garde in works for voice and piano which had a specific poetic text because of the clarity of narration. Matching composers unequivocally to just one trend turned out impossible. Various techniques and phenomena may co-exist in one piece and in the same way one creator may search for different means of expression.
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Palmer, Peter. "Frédéric Rapin, Musik in Luzern, Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY, HERMANN SUTER." Tempo 58, no. 229 (July 2004): 58–60. http://dx.doi.org/10.1017/s0040298204350229.
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‘Frédéric Rapin: Concertos suisses pour clarinettes’. Works by HERBERT FRIES, ARMIN SCHIBLER, JEAN BINET, JEAN BALISSAT, ANDOR KOVACH and ALEXIS CHALIER. Frédéric Rapin (cl), Kammerorchester Arpeggione Hohenems c. Jean-François Antonioli. Musiques Suisses Grammont Portrait MGB CTS-M 80.‘Musik in Luzern: Kammermusik Duo Lang’. FRITZ BRUN: Sonata No. 1 for Violin and Piano. THÜRING BRÄM: Album ‘Goodbye Seventies’. With works by MENDELSSOHN and RACHMANINOV. Brigitte Lang (vln), Yvonne Lang (pno). GALLO CD-1084.‘Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY: Quintet in C minor for 2 violins, viola, cello and double bass1. HERMANN SUTER: Sextet in C major for 2 violins, viola, 2 cellos and double bass2. FRANK MARTIN: Rhapsodie for 2 violins, 2 violas and double bass3. Florian Kellerhals, Stefan Häussler (vlns), 2,3Nicolas Corti, 1,3Bodo Friedrich (vlas), Imke Frank, 2Matthias Kuhn (vcs), Andreas Cincera (db). Musiques Suisses MGB CD 6201.HERMANN SUTER: Symphony in D minor. HANS JELMOLI: Three Pieces for Orchestra from the comic opera Sein Vermächtnis. Moscow Symphony Orchestra c. Adriano. Sterling CDS-1052-2.
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Rupprecht, Philip. "ABOVE AND BEYOND THE BASS: HARMONY AND TEXTURE IN GEORGE BENJAMIN'S ‘VIOLA, VIOLA’." Tempo 59, no. 232 (April 2005): 28–38. http://dx.doi.org/10.1017/s0040298205000136.
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George Benjamin's rich harmonic imagination was apparent from his earliest published works. A distinctive chordal sensibility is already evident in the 1978 Piano Sonata, with its glittering streams of five- or six-pitch clusters; in the hollow bell-chords punctuating the 1979 orchestral score, Ringed by the Flat Horizon; and in the supreme stasis of the A-minor pedal chord (a six-three triad) unveiled by the icy glissandi lines opening A Mind of Winter (1981). All three pieces share a fascination with degrees of chordal resonance – the interplay of upper partials above a fundamental – and a sensitivity to chords as sound objects. True, Benjamin's style, beginning at least with Antara (1987), has shown signs of a more linear-contrapuntal orientation, and less reliance on what one critic terms ‘purely coloristic phenomena’. Yet one could equally claim some continuity between the refined harmonic world of the early scores and the surprising richness of chordal sonority to be heard in a far more recent arrival, the 1997 duo Viola, Viola.
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MacRitchie, Jennifer, Steffen A. Herff, Andrea Procopio, and Peter E. Keller. "Negotiating between individual and joint goals in ensemble musical performance." Quarterly Journal of Experimental Psychology 71, no. 7 (January 1, 2018): 1535–51. http://dx.doi.org/10.1080/17470218.2017.1339098.
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Successful joint action requires negotiation, especially in the event of goal incongruence. This article addresses goal incongruence in joint musical performance by manipulating the congruence of score instructions (congruent/incongruent) regarding tempo (speed) and dynamics (sound intensity) given to piano duos. The aim is to investigate how co-performers negotiate incongruent instructions for tempo and dynamics by balancing the prioritisation of individual goals versus the joint outcome and how this negotiation is modulated by musical expertise and personality (locus of control). In total, 14 pairs of pianists, who were not informed of the congruence manipulation, were placed back-to-back and were directed to achieve a successful performance over four repeated performances without verbal communication. Interpersonal coordination generally improved from the first to final performance in the congruent and incongruent conditions for both the tempo and dynamics tasks. Furthermore, in incongruent conditions, results suggest that performers prioritise the joint performance in the tempo task, but prioritise their own performance in the dynamics task. Although individual performance appears to be modulated by musical expertise, the balance of individual/joint performance across the duo is not influenced by musical part (melody vs accompaniment), expressive instruction, musical expertise or locus of control.
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Hayes, Lauren, and Christos Michalakos. "Imposing a Networked Vibrotactile Communication System for Improvisational Suggestion." Organised Sound 17, no. 1 (February 14, 2012): 36–44. http://dx.doi.org/10.1017/s1355771811000495.
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This paper describes the implementation ofNeVIS, a local network system that establishes communication between individual performers, as well as between laptop and performers. Specifically, this is achieved by making use of vibrotactile feedback as a signalling tool within an improvisational setting. A discussion of the current developments regarding the use of networks within improvisation is presented, followed by an outline of the benefits of utilising the haptic feedback channel as a further sensory information pathway when performing digital music. We describe a case study of the system within the context of our computer-mediated improvisational duo Můstek, involving piano, percussion and live electronics. Here, a cueing system or framework is imposed over the improvisation and is transmitted directly to the skin of the performers via tiny vibrations. Additionally, performers may make use of simple vibrotactile signals to enhance traditional visual cues that are often employed within performance. A new work,Socks and Ammo, was created using NeVIS, and was presented at various international conferences and festivals. We also tested the system itself within a group of postgraduate researchers and composers. Qualitative evaluation of the musical outcomes as experienced both by the performers and by the listeners at these events is offered, as well as implications about the nature of collaborative music-making.
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Renat, Maryla. "The synthesis of tradition and avant-garde techniques in selected polish violin sonatas from the second half of the 20th century." Notes Muzyczny 2, no. 12 (December 13, 2019): 199–216. http://dx.doi.org/10.5604/01.3001.0013.7175.
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The article presents four chamber violin sonatas for an instrument duo written in the 1970s and 1980s, which in their concept of form and shape combine the elements of the widely understood tradition with innovative means of composition technique. The subject for a closer analysis are the following works: • Witold Rudziński, Sonata pastorale per violino e piano forte, 1978 (PWM, Cracow 1983) • Sławomir Czarnecki, Sonate tragique für Violine und Klavier, 1982 (Tonos, Darmstadt 1988) • Jan Krenz, Sonatina for two violins, 1986 (Brevis, Poznań 1994) • Zbigniew Bargielski, Sonate für Violine und Klavier „The sonata of oblivion”,1987, autograph. Each sonata listed above renders an individual concept for combining paradigms adopted from the tradition (e.g. forms, use of quotation, expression idiom) with selected avant-garde means in sound technique, which mainly derives from the sonoristic trend. What Witold Rudziński’s Sonata pastorale per violino e piano forte draws from music tradition is the thematic character of musical thoughts, and in its sound sphere it introduces the means of mild sonoristic, maintaining a balance between them. Sławomir Czarnecki’s Sonate tragique für Violine und Klavier using the quotation from the sequence of Dies irae refers to the Late-Romantic expression to which it adds unusual methods of sound production and sonoristic middle episode. The function of these innovative means is to contrast it against dramatic expression of the piece’s outermost elements. The third discussed work, Sonatina for two violins by Jan Krenz corresponds with the neoclassical trend from the 20th century and brings out diverse elements of violin technique. It refers to the B-A-C-H sound symbol known from the past and to the variation form and combines them with more recent sound structures. The fourth composition, Sonate für Violine und Klavier by Zbigniew Bargielski, is the most innovative one in terms of its sound layer and formal concept. Its connection to the past is maintained thanks to a quotation from Chopin’s music transformed in an interesting way. The analysis of the sonatas leads to the following final conclusion: the tradition and the avant-garde in the discussed works from the postmodern period are not in opposition one against another in terms of style and aesthetics but they create complementary phenomena, in which the message drawn from tradition is given a new face.
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Butu, Ionela. "Alban Berg – Sieben frühe Lieder. Performance perspectives." Artes. Journal of Musicology 22, no. 1 (March 1, 2020): 209–30. http://dx.doi.org/10.2478/ajm-2020-0012.
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AbstractThe study presents several interpretative suggestions made from the perspective of the accompanying pianist that played Alban Bergʼs Sieben frühe Lieder. Why this topic? Because in the Romanian music literature, there is nothing written about the song cycle Sieben frühe Lieder by Alban Berg, which is a representative work in the history of the art song. The theme, addressed in the literature written abroad, is treated mostly from a musicological standpoint. That is why we considered it useful to make some observations of an interpretative nature. They will become relevant if read in parallel with the PhD thesis entitled Alban Bergʼs “Sieben frühe Lieder”: An Analysis of Musical Structures and Selected Performances, written by Lisa A. Lynch (the only documentary source that proposes in-depth syntactic analyses of the work, associated with valuable interpretative suggestions made from a vocal perspective). We also considered useful, during the study, the comparison between the two variants of the work: the chamber/voice-piano version and the orchestral version. The analysis of the symphonic text was carried out intending the observation of significant details useful for realizing an expressive duo performance. Of course, our interpretative suggestions are a variant between many others. However, irrespective of dynamic, agogic, timbral, and articulation elements highlighted by the various performances, the reference point of any interpretative view remains the musical text, whose syntactic wealth opens up a generous semantic area.
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Pidporinova, K. V. "Laughter as a direction of Marc-André Hamelin’s composer searches." Aspects of Historical Musicology 15, no. 15 (September 15, 2019): 158–80. http://dx.doi.org/10.34064/khnum2-15.08.
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Background. Contemporary musical art is an open stage for collision and coexistence of various artistic ideas, landmarks, styles, etc. The work of the recognized Canadian pianist-composer Marc-André Hamelin (born in 1961) raises a particular interest. The fact that the peculiarities of the musician’s performing and composing style are insuffi ciently covered in Ukrainian musicology determines the research rationale. It is also caused by the need to identify the specifi c features of the author’s inheritance, ensuring its consistency with the present time, where the laughter phenomenon becomes an important component of the picture of life. Objectives of the study are the comprehension of Marc-André Hamelin’s composer searches in the aspect of laughing cultural tradition and the defi nition of the author’s proposed ways of its embodiment in music. Methods. The research is based on the principles of complex approach, which involves using the biographical, the systematic, the genre and style, the structural and functional, and the comparative methods, etc. Results. M.-A. Hamelin appears to be a universal personality. He implements his creative intentions in various performing incarnations – as a soloist-pianist, a distinct interpreter and recognized virtuoso and intellectual; a performer who actively collaborates with the orchestra; a piano duo participant; a chamber ensemble participant and a studio musician. The repertoire palette he chose includes world-famous works, opuses of transcendental complexity, rarely performed music, and his own music works. His choosing some of the original works outlines the sphere of laughter as he searches new performing techniques, which has an infl uence on him as a composer. The original style of M.-A. Hamelin aims to create a special “rebus” fi eld, where the multiplicity of artistic perception is related to the degree of immersion into a given playing situation. The piano cycle “12 Études in all minor keys” was intended to be hommage to the samename work by Charles-Valentin Alkan. The iconic ceremoniousness of the title forms a special fi eld of culture, which creates a laughter background. Most of the cycle items correspond to the creativity of a particular artist whose musical image appears through the original style of writing. The synthesizing type of composer’s thinking contributes to the combining the music and the colorifi c etude, that is, the virtuoso music piece and the exercise at the same time, and a graphic sketch-drawing, and to the creation of a musical portrait “gallery” (F. Chopin, N. Paganini, F. Liszt, Ch. Alcan, D. Scarlatti , P. Tchaikovsky, J. Rossini, V. Goethe and the author himself). Using masks, theatrical techniques, bright characters is manifested at all levels and serve as markers of a carnival. The existing playing mode ensures the importance and essentiality of laughter. M.-A. Hamelin refers to the established palette of the piano techniques and formulas, while demonstrating new algorithms of interpreting the existing traditions. A musical rebus is the leading idea. To embody this idea, it is required to use not only artistic ingenuity, but also the competition elements. These are “Triple” etudes Nr. 1 (after Chopin) and Nr. 4 (after Alkan), where counterpoint techniques are enriched by the principle of combination. The other side of “rebusness” is demonstrated in the Etude Nr. 8, where the plot of “The Elf King” ballad by Goethe is very accurately reproduced through the piano means of expressiveness. Competitive ingenuity presides in the Etude Nr. 7 for the left hand (“The Lullaby” by P. Tchaikovsky) and Nr. 3 – an alternative transcription of “La campanella” by N. Paganini, which turns into an evil joke compared to Liszt’s interpretation. This is another side of laughter, a dark one, an enhancement of grotesque imagery. Etude Nr. 5, “Toccata grottesca”, looks similarly. Here, the grotesque images are represented by transcendental pianism, unceasing “drive”, change of metric pulsation and rhythmic groups, and wide dynamic amplitude. The lookalike expressive complex is also used in another music piece – toccata “L’Homme armé”. Another variant of laugher is the creation of a musical “shapeshifter” – re-interpretation of an original source to the point where it is hardly recognized. For example, Etude Nr. 9 (after Rossini) and Nr. 10 (after Chopin), where the principle of transformation is prevailing. The presence of a highly-intellectual play allows us to draw a parallel with baroque inventory. In the latest etudes of the cycle, M.-A. Hamelin uses such genres as “Minuetto” (Nr. 11) and “Prelude and Fugue” (Nr. 12). Therefore, using a certain genre model, the composer places it in different context conditions, creating a special laughter-playing space, where all the main sources of comic elements are involved: a parody, implemented through the stylization or the style dialogue-collision; daily mode of like, which is refl ected in a festive-carnival worldview, and fantasy, which determines the composer’s inventiveness. M.-A. Hamelin chose the same creative strategy when composing “Variations on the theme of Paganini” for piano solo. A playful piece “Waltz-Minute” is another example of the laughter potency. It resembles either a relative transcription of the famous work by F. Chopin, or a music sketch, or a fi xed improvisation. In the reprise, the graceful and airy waltz turns into a friendly caricature through using the dissonant seconds, the change of touche and an excellent artistic presentation. This creates the effect of distance in time, in epochal or individual style, even in the own “Me”. Another area of the laughter direction employment is the actualization of the playing sound image of the instrument. These are music pieces designed for a player piano. It is signifi cant that the composer tends to the theme of circus, which echoes with carnival, stunts, and fun. Conclusions. Being a universal personality, the artist determines the predominance of combinatorics as a guiding principle of author’s thinking. The key to understanding the composer’s style is the laughter tradition. The main artistic ideas are: portrait, character, mask, “rebus”, competition, creation of “shapeshifting” music pieces, “duality”. Talking about the level of musical stylistics, these features appear through the usage of a quoted material, stylization, grotesque, caricature and pamphlet elements. They are also expressed through the transformation of the original themes, re-interpretation, using multiple rhythmic layers, redesign of modes and counterpoint ingenuity.
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Lemański, Janusz. "Żydzi w oczach ewangelisty Mateusza." Ruch Biblijny i Liturgiczny 57, no. 2 (June 30, 2004): 117. http://dx.doi.org/10.21906/rbl.492.
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Il modo di vedere gli Ebrei nel vangelo secondo Matteo è ben diverso da quello degli altri scritti del NT. Questa differenza emerge da uno specifico contesto ambientale e storico nel quale nasce l’opera di Matteo. Si tratta di un tempo in cui giudaismo viene sottoposto ad un’influenza della dottrina farisaica, la quale crea delle tensioni con la giovane Chiesa cristiana. Le divergenze sono la conseguenza dell’esclusione dei seguaci di Christo dalla sinagoga e del modo di comprendere il concetto stesso del popolo eletto. Secondo Matteo il concetto della comunità eletta da Dio non è basato sui legami etnico-nazionali, ma sulla relazione con Christo e con la sua opera salvifica. In tal modo viene pian piano superato il problema della presenza dei pagani nelle communità cristiane, come anche si conserva la priorità degli Ebrei nell’opera di salvezza, i quali non vengono esclusi da questo piano di Dio
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Keeling, Geraldine. "Liszt at the Piano: Two American Pianos and Two American Artists." Studia Musicologica 55, no. 1-2 (June 2014): 145–56. http://dx.doi.org/10.1556/6.2014.55.1-2.10.
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The image of Liszt at the piano has been a favorite with artists. This article examines two paintings: an 1868 painting of Liszt at a Chickering piano by G. P. A. Healy and a 1919 painting of Liszt at a Steinway piano by John C. Johansen. Due to recent publications, the Chickering painting and its story are fairly well-known. In contrast, the Steinway painting is almost unknown. Healy’s portrait (1868) was done in his studio in Rome as Liszt sat playing for him. While Healy had seen Liszt’s Chickering piano, the instrument in his studio was not that piano and, despite the name “Chickering” on the fallboard, the painting does not faithfully convey the details of Liszt’s Chickering. Johansen’s portrait (1919) was done by an artist who had never met Liszt and almost certainly had never seen his Steinway piano. Because of the Chicago connection, this article proposes that Johansen took his inspiration from Healy.
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Segal, Nancy L. "Dvojcata Asociace: The First International Twins Conference in Prague, Czech Republic. Research Reviews: Twinning trends in East Flanders; Twinning trends around the world. Twins in the News: ‘Mixed race’ twins; Mysterious languages; Piano duo; Happiness and more." Twin Research and Human Genetics 15, no. 1 (February 2012): 138–42. http://dx.doi.org/10.1375/twin.15.1.138.
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The First International Twins Conference held in the Czech Republic (CR) took place in Prague on October 20–21, 2011. The conference, ‘Life With Twins’, was arranged under the auspices of the Parliament's Commission for Family and Equal Opportunities. The setting was an auditorium in one of the Parliament's magnificent old buildings. Mrs. Klara Vitkova Rulikovà, mother of 18-year-old opposite-sex twins, chairperson of the Czech multiple birth association (CAKDAV) and member of the International Council of Multiple Birth Organizations (ICOMBO), was instrumental in organizing the meeting. Mrs. Vitkova Ruliková has also authored three books on twins and parenting, and was responsible for writing the Epilogue for my 2005 book, Indivisible by Two: Lives of Extraordinary Twins (Ned litelnà Dvěma: životy Výjime ných Dvojǎt), which was translated into Czech by Triton Press in 2009. She is currently working in the Ministry of Labour and Social Affairs. She is shown in Figure 1 addressing the conference.
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Gibson, Sheila, Janet DeLaine, and Amanda Claridge. "The Triclinium of the Domus Flavia: a new reconstruction." Papers of the British School at Rome 62 (November 1994): 67–99. http://dx.doi.org/10.1017/s0068246200010047.
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IL TRICLINIUM DELLA DOMUS FLAVIA: UNA NUOVA RICOSTRUZIONEQuesto articolo presenta una nuova ricostruzione del Triclinium della Domus Flavia sul Palatino, basato sul rilevamento delle strutturie murarie esistenti e degli ornamenti architettonici intrapreso da Sheila Gibson e John Ward-Perkins negli anni '60. Viene suggerito che il Triclinium avesse un soffitto a capriata di legno piuttosto che una volta a botte, mentre un'analisi degli ornamenti architettonici ha permesso di interpretare le decorazioni interne come il prodotto della sovrapposizione di tre ordini corinzi. Mentre è stato possibile ricostruire che le fiancheggianti corti con fontana fossero a due piani, dubbi rimangono sulla ricostruzione della corte principale del peristilio, tanto che sia la versione ad un piano che quella a due piani vengono proposte. Nella discussione finale viene spiegato l'impatto che il Triclinium doveva avere sulla contemporanea società romana, in termini di costruzione domestica convenzionale resa eccezionale dalle dimensioni colossali e dalle ricche decorazioni più normalmente associate alle case degli dei.
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Santosa, W. A., and M. Sugarindra. "Implementation of lean manufacturing to reduce waste in production line with value stream mapping approach and Kaizen in division sanding upright piano, case study in: PT. X." MATEC Web of Conferences 154 (2018): 01095. http://dx.doi.org/10.1051/matecconf/201815401095.
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PT. XY produces musical instruments such as Upright Pianos and Grand Pianos. Due to a competitive competition, a good quality product is highly required as well as increasing the production scale. To achieve these objectives, company needs to reduce wastes occurred in its production lines, particularly in the division of sanding panel upright piano (UP) which produces type of PE B1 pianos. High cycle time and lead-time are caused by wastes in UP panel sanding division. Therefore, it is needed improvements to be applied here so that the production lines will be run more effectively and efficiently. This study aims to identify wastes using Value Stream Mapping (VSM) as a tool of lean manufacturing and to implement the improvements using Kaizen. It is found that the wastes are motion and waiting. Furthermore, the improvements (kaizen) are focused on reducing motion and waiting wastes. It is shown that cycle time decreased from 51.16 minutes to 41.90 minutes, work in process or inventory can be reduced to 24 pcs over 32 pcs, and the lead-time is 0.167 days of 0.222 days.
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Buchok, Lianna. "V. Telychko’s “Children’s Album” as an example of the modern tonal image of the world: peculiarities of the musical vocabulary and melodic ideas." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 70–84. http://dx.doi.org/10.34064/khnum2-49.05.
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Background. The beginning of the development of musical art in Transcarpathia dates back to the end of the nineteenth century and lasts during the first third of the twentieth century. First of all, it was an interest in the genre of choral music (a synthetic genre based on the merging of the Word and Music), which fully corresponded to the enlightened spirit of life of the Transcarpathians under the political conditions of that time. And only in the second half of the twentieth century intensive blossoming of the varieties of instrumental (kind of «pure») music with its conceptually most complex types of creative thinking and adaptation to the methods of style transformation takes place. The piano music, one of the most abstract forms of the creative process, has revealed its peculiarities in this process. However, the researchers virtually never paid attention to piano pieces for children, which are naturally inferior by their practically necessary and didactically appropriate visual simplicity of musical vocabulary to the works of the so-called large genre. In addition, historically, the creative work of Transcarpathian composers has been considered only as a product of a purely regional significance. Therefore, it is important that the piano works of Transcarpathian composers for children should also be considered in the context of such integrity as the Intentional period of the music history, which has been defined as non-classical and at the same time permeated with the idea of global cultural synthesis Objectives. The essence of the tasks and the purpose is to present the "Child Album" by V. Telychko (the first in Transcarpathia sample of the genre of children’s musical album, 2016) as an example of the creation of the modern intonational image of the world - in its associative diversity and intentionality. Methods. A selection of research methods, namely, analytical (analysis and synthesis, induction and deduction, systematization, classification and generalization), comparative, systemic, phenomenological, functional, has been used in view of the holistic approach – in the spirit of spiritual development of the world. In this regard, the interpretive potential of the concepts of the intonational model and the modal nature of musical themes as types of thinking by sound images is considered methodologically appropriate: both purposefully focus attention of the recipient on the sound «body» and the intonational "soul" of the musical matter in the integrity of the creative idea of the work, and also is didactically productive in terms of comprehension of the architectonics of the world of music as a world of musical ideas. Results. V. Telichko’s "Children’s Album" is a cyclic structure of the linear/plot type, where step-by-step compositional and dramaturgical organization of the whole ensures the principle of successive naming of new, but equal in figurative semantic content pieces. At the same time, it will be superfluous to reflect on the fact that the structure of cycles such as "album" is rarely evaluated as such that it is actually "filled in" (for example, with memorable photos or pictures), and only since then its "white" (from alba) of the blank/empty sheets is filled in with the semantics and the logic of placement of fixed events, phenomena, impressions, etc in a certain order. Against the background of such reflection the memory recalls such "albums" of romantics: all of them are based on the logic of the course of a day lived by a child (for example, P. I. Tchaikovsky). V. Telichko’s principle of collecting pieces "into the album" has such a life-justifiable logic – the gradual flow of events of the day, embodied in a child’s only perception of the world and itself. The semantic code of the composer’s plan is referenced in his dedication: "I devote my love to grandchildren Angelina and Anna" - expressing love for grandchildren, admiring their fantasy and energy, caring for the formation of their worldview on a certain system of values (family, native land, diversity of traditions of the countries of the world , historical memory): the pieces "Morning", "My Mother", "Our Grandmother" represent an idea of an ingenuous and happy feeling of a child in the family; "Anna’s Teddy-Bear", "Angelina’s Hobbyhorse" and "Angelina’s Waltz " represent a lively imagination of children, each of them having a favorite game "theme"; the plays "About Transcarpathia", "Kolomyika", "Tropotyanka", "Long road" and "It’s raining" are outlined by the situation of instructive stories of grandfather about the regionally formed traditions of the Transcarpathians, their spirit and uneasy destiny; while the pieces "On Scotland", "On Slovakia" and "On Japan" outline the interests of somewhat different cognitive significance - the intention to comprehend a certain national "otherness", which has its own color of its culture; in the end, "A Lullaby for Anna" creates, so to say, a backlash against the grand finale-prologue, consisting of the pieces "On Austria" (the cultural center of the European musical classicism) and "On Romania" (regionally closest to Transcarpathia country). Another signifying circumstance of the idea and plan of the cycle refers to the types of performances and personification of images, both as members of the family circle and as a certain social unity: in addition to the versions of solo performance, in a considerable number of plays there is ensemble performance in four and six hands; at the same time, each of the parts is composed as a certain texture layer, which in aggregate (duo, terzetto) gives the effect of an "orchestral" score. However, the most important thing is that for the instrumentalist performer, and for the listener or analyst (who is also a "listener"), the "Children’s Album" by V. Telichko is a test of the ability to perceive musical vocabulary in the form of a certain sound form/idea with which it is necessary to have a relationship according to the algorithm of personal identification. On the one hand, in the musical text there is an opportunity to recognize the classical models of musical vocabulary (cantilena, recitation, motility, general forms of motion, signaling, sound illustration); and on the other - due to the constructive interference of the classical techniques of the creation of musical matter (emancipated dissonance, the non-systemic character of the tonality, etc.) the meanings are accumulated. Another important component of the composer’s plan is to introduce a purely methodical (level of methodical reception) task of developing the technology of the game on the piano into the original sound form/idea, which first of all requires a skillful usage of all the fingers. Conclusions. As a research material the "Children’s Album" by a contemporary composer from Transcarpathia, V. Telichko provides several important and mutually perceptible scientific tasks directly related to musicology and pedagogical practice: testing of the theoretically updated analytical apparatus for tracking the intonational field of music and its thoughts and comprehension of the didactically expedient implementation of its results in the educational sphere; in particular, in terms of the prospective guideline for the development of musicality (a high measure of the ability to self-identification with the musical image) and the piano skills of a child musician.
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Garano, Stefano. "L’urbanistica riformista nella complessa situazione italiana." Ciudades, no. 18 (November 8, 2017): 143. http://dx.doi.org/10.24197/ciudades.18.2015.143-162.
Full textAbstract:
La riforma urbanistica ha iniziato a svilupparsi in Italia attraverso la redazione di Piani che avevano come obbiettivo quello di sostitutire il “modello urbano basato nella rendita immobiliare” con nuove proposte impegnate nella lotta contro la produzione di questa “rendita”, promozionando un nuovo “modello urbano” maggiormente equo. Questa riforma urbanistica doveva anche svilupparsi attraverso un percorso legislativo, emanando leggi che a tutti i livelli amminstrativi stabilissero le regole da seguire. In questo modo, torniamo a proporre la giá tradizionale relazione urbanistica-politica: l’urbanistica come disciplina che concerne la gestione del piano e la politica come modo di agire civile che rende imprescindibile un governo della cittá che promuove la riforma intrapresa. Entrambe le categorie, gestire un piano in stretta vincolazione con una forma di governare la cittá, constituisco due degli aspetti alla quale si rivolge la riforma urbanistica. Si espone il caso di Roma come esperienza maggiormente rilevante, anche come fallimento, che tuttavia non ci fa perdere la speranza nella riforma intrapresa.
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Owczarek-Ciszewska, Joanna. "Hammer mechanism instruments and their role in shaping the composition style of pieces written for keyboard instruments in the period of 1730-1780, part 3 – Keyboard instruments in concert halls and in the high society." Notes Muzyczny 1, no. 11 (June 28, 2019): 43–64. http://dx.doi.org/10.5604/01.3001.0013.3521.
Full textAbstract:
The present text is the third and last part of the cycle of articles devoted to keyboard instruments with hammer mechanism in the 18th century published in subsequent issues of the magazine “Notes Muzyczny”. The first two parts primarily touched on the history of keyboard instrument making in the 18th century: first pianos and other original inventions. The third part is in turn devoted to the changing position of the piano in the musical life of that period, namely – concerts, publications and compositions. The crowning of this part is the chronological and topic-related list (in a form of a reference chart) of the most significant phenomena and events discussed in the whole cycle of articles. The first mentions of a wider presence of keyboard instruments with hammer mechanism on the music market and concert life date back to the 1760s. In the 1770s there was a fast growth in the popularity of these instruments in the life of the high society, first of all in England and France (table instruments), as well as in Germany, even though there it took slightly more time because of the domination of the traditional clavichord. Due to the imprecise nomenclature used as long as until the 1780s and 1790s, it is often hard to decide which keyboard instrument was meant in a given case, hence it is impossible to assess how popular a specific instrument was. Some academics suggest that the presence of instruments with hammer mechanism in the musical life of that period was much greater than in might seem. Probably both hammer and tangent pianos and their other variants were not opposed to harpsichords but were treated as a special type within the same group of instruments. In the 1780s musical pieces written for both keyboard instruments, i.e., “for harpsichord or piano”, became the norm. Despite the increase in popularity of pianos (as compared to harpsichords) in the 1790s, such designation would remain on title pages of compositions until the end of that century. The period between the 1780s and 1790s was also the time when the first piano playing textbooks appeared. Expanding expressive capacities of keyboard instruments was the response to the changing needs of the galant and Empfindsamkeit styles. On the other hand, the presence of pianos had a significant influence on the styles of specific compositions. In order to illustrate these processes, the annex presents the analyses of two representative cycles of works from the 1760s written for the new instrument: Sonatas op. 1 by Johann Gottfried Eckard and Sonatas op. 5 by Johann Christian Bach.
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Kalinina, A. S. "Principles of interpreting P. Tychyna’s poetry in the vocal cycle “Enharmonic” by L. Dychko." Aspects of Historical Musicology 15, no. 15 (September 15, 2019): 80–98. http://dx.doi.org/10.34064/khnum2-15.04.
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Background. Lesia Dychko (born in 1939) is one of the innovators in Ukrainian music of the second half of the 20th century. Among many composers, she is distinguished by the attraction to the music associated with the word. Despite the prevalence of the choral genre in her oeuvre, she pays a lot of attention also to opuses for the solo voice with the instrumental accompaniment. In the fi eld of chamber vocal music, there are characteristic signs of the composer’s style, the richness of the harmonic language, and the author’s fi ligree work with the poetic word. Such features of the L. Dychko’s creative personality are refl ected in the works of many researchers. However, currently there are no studies that addresses the principles of the embodiment of the poetic text. This reveals the relevance of the proposed topic. The purpose of the article is to identify the way in which the semantic and structural properties of P. Tychyna’s poems are refl ected in the song cycle “Enharmonic” by L. Dychko. The following methods have been used to solve the research tasks: historical, genrestyle, structural-functional and comparative. Results. Most of L. Dychko’s chamber vocal cycles for the voice and piano show the composer’s attraction to the heritage of Ukrainian poets, such as P. Grabowsky, V. Kolomiets, I. Franko, and P. Tychyna. The appeal to Tychyna’s poems is indicative of the composer’s aesthetic preference. The reason for the choice was the innovative nature of the poet’s works, which are inherent in poly-rhythm, poly-meter of the poetical lines, musicality of the content and structure, a combination of folklore samples and advanced techniques, and the rich world of images. All these signs already appeared in the fi rst book of P. Tychyna – “The Sun Clarinets” (1918). Its pages are fi lled with sophisticated landscapes, made with bright colours, radiating goodness and humanism. The poems of the collection are endowed with special musicality, numerous sound images, which resulted in the name of many compositions. In particular, the name of the poetic cycle selected by L. Dychko – “Enharmonic” – causes some musical association. It consists of four compositions. Their names describe the state of nature and target the perception of poems – “The Fog”, “The Sun”, “The Wind”, and “The Rain”. The fi gurative and semantic series of each of them is constructed so that their textual basis is a kind of “semantic enharmony” to the title. “Semantic enharmony” means the difference between the text and its name (or other text) by the meaning, but their similarity according to the meaning. To refl ect the rich fi gurative content of the works by P. Tychyna, L. Dychko uses the mixed technique. The synthesis of distant stylistic devices is inherent in all the semantic-structural levels of the romance “Enharmonic”. The proof of this is that the composer gives each composition of the cycle an additional genre designation that has a purely instrumental nature: “The Fantasy” (No. 1), “The Prelude” (No. 2), “The Pastoral” (No. 3), and “The Scherzo” (No. 4). In view of this, in the opus by L. Dychko two kinds of a cyclical composition are combined – vocal and instrumental. When joining poetic and musical rhythms, the composer usually relies on two different principles of the poetic text vocalization, which allows a subtle reproduction of all moods and emotional changes in the verses. In “The Fog” there is the recitation and counter-rhythm, in “The Wind” and “The Rain” the metric and accent increase. Only in “The Sun” metric scheme of the poetic source is retained almost completely. In the domain of the vocal melody, the author combines both the diatonic nature of the short songs with a specifi c modal colouration and chromatic feature and sharp tonal transitions. For example, in “The Fog” there is a gradual complication of melodies: from the Phrygian and Dorian modes with a limited interval to freely interpreted 12-tone space. In “The Wind”, the voice part can be divided into two types according to intonation features which are instrumental and recitativerecitational with song traits. A large mix of different techniques is also announced in the piano part. There is a harmony of classical-romantic type here, impressionistic linearity, and modern sonorous means. Such a variety of different types of the composition and principles of organization of the vertical helps L. Dych ko to convey the range of feelings of Tychyna’s poetry as accurately as possible. Such synthesis of the means of musical expression does not deprive the vocal cycle of integrity, which manifests itself both on the intonation level and on larger levels such as in the structure and principles of the approach to the embodiment of verses. In most cases, the composer limits the interval composition of the vocal melodies of romances, selecting those moves that would refl ect the semantics of the poetic primary sources most clearly. The basis consists of second, third, fourth, and fi fth intonations, and other moves are less common and serve to enhance the expression of the phrase. The unifying factor for all the works of the “Enharmonic” appears to be also the functional purpose of the piano part. It acts as an equal member of the vocal-piano duo and contributes to the implementation of the multilayer semantics of Tychyna’s poetry and its symbolic content. Some regularity also appears in the structure of romances, since “The Fog”, “The Wind” and “The Rain” have similar principles of construction. They are characterized by an improvisational character, a free expansion of the form with a change in the musical content of the sections, the variety of textual types and the culmination at the point of the golden section. “The Sun” is the exception. Its form has features of the couplet-variation structure, since the musical elements from the fi rst stanza are repeated at the beginning of the second, although their elevation is changing. Conclusions. In the embodiment of the symbolic poetry by P. Tychyna, L. Dychko shows an active author’s position, refl ects her vision of its content, emphasizing the important fi gurative and semantic-image units. An important role in this is played by the piano part, which serves as a vivid underline for the main images of the original sources, a kind of “enharmony” of their names. The foregoing confi rms that at the early stage of creativity L. Dychko had already proved herself as an initiative inventor; by combining various stylistic and style techniques, she found the musical equivalent of the content of the poems, revealed their subtext and embodied her own impressions of the perception of P. Tychyna’s poetry.
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SUTCLIFFE, W. DEAN. "MUZIO CLEMENTI, OPERA OMNIA VOLUME 1: SIX SONATAS FOR HARPSICHORD OR PIANO, OP. 1 ED. ANDREA COEN Bologna: Ut Orpheus Edizioni, 2000 pp. xii + 55, ISMN M 2153 0537 3 VOLUME 10: DUO FOR TWO PIANOS OR TWO HARPSICHORDS, OP. 1A, AND DUO FOR TWO PIANOS, OP. 12 ED. ROBERTO ILLIANO Bologna: Ut Orpheus Edizioni, 2001 pp. ix + 28, ISMN M 2153 0655 4 VOLUME 12: THREE SONATAS FOR HARPSICHORD OR PIANO, OP. 7 ED. COSTANTINO MASTROPRIMIANO Bologna: Ut Orpheus Edizioni, 2002 pp. x + 36, ISMN M 2153 0656 1 VOLUME 21: THREE SONATAS FOR PIANO AND VIOLIN, OP. 15 ED. LUCA SALA Bologna: Ut Orpheus Edizioni, 2000 pp. ix + 71, ISMN M 2153 0571 7 VOLUME 30: THREE SONATAS FOR PIANO OR HARPSICHORD, VIOLIN AND CELLO, OP. 27 ED. MASSIMILIANO SALA Bologna: Ut Orpheus Edizioni, 2001 pp. xi + 70, ISMN M 2153 0576 2 VOLUME 35: THREE SONATAS FOR PIANO WITH FLUTE AND CELLO AD LIBITUM, OP. 32 ED. ROBERTO ILLIANO Bologna: Ut Orpheus Edizioni, 2003 pp. ix + 43, ISMN M 2153 0859 6 VOLUME 37: TWO SONATAS AND TWO CAPRICCIOS FOR PIANO, OP. 34 ED. ANDREA COEN Bologna: Ut Orpheus Edizioni, 2002 pp. x + 81, ISMN M 2153 0782 7." Eighteenth Century Music 2, no. 2 (September 2005): 351–59. http://dx.doi.org/10.1017/s1478570605280417.
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