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Journal articles on the topic 'Piano etude'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

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

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

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2

Önder, Gülten Cüceoğlu. "Analysis of Carl Joachim Andersen Op.15 Flute Etudes Used in Flute Education." International Education Studies 14, no. 4 (2021): 57. http://dx.doi.org/10.5539/ies.v14n4p57.

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In this study, it was aimed to examine C. J. Andersen&rsquo;s op.15 etude book used in flute education in terms of measurement units, vocalization techniques, technical studies, nuance terms, speed terms, tonality. Thus it is aimed to reveal the gains that the etudes can provide for the student. Document analysis method was used in the study. The summary of results as follows. Etudes are mostly written in 4/4 unit of measure. It was found that mostly legato and staccato was used a great extent in the etudes. Interval was run the most in the etudes. Also etudes include technical studies suc

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3

Mits, Oksana. "Pedagogical system of piano technique evolution in the works of M. Moszkowski." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (2019): 119–31. http://dx.doi.org/10.34064/khnum1-52.08.

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Statement of the problem. The paper is devoted to the analysis of the pedagogical system of piano technique evolution which developed in the works of an outstanding Polish composer, pianist, teacher and conductor M. Moszkowski. Under consideration are pedagogical principles of the musician, his extensive editing work. Under analysis is the instructive pedagogical repertoire of Moszkowski: “School of double notes” op. 64, “A Book of Scales”, which outlines the fingering principles of the musician, etudes op. 72, 78, 91, 92, a collection of compositions “The Master and His Pupil” op. 96 and “Tec

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4

MIRZEYEVA, Gulnar. "AZERBAYCAN BESTECİLERİNİN ESERLERİNDE ETÜD TÜRÜ THE GENRE OF ETUDE IN THE WORKS OF AZERBAIJANI COMPOSERS." IEDSR Association 6, no. 12 (2021): 77–86. http://dx.doi.org/10.46872/pj.270.

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The etude genre is one of the examples characterized by the emergence of different types of music that develop at certain stages of musical art. Although the introduction of studies as an independent genre in musical literature dates back to the XVII-XVIII centuries, its main function in the development of piano art was already present in other musical genres. The next stage in the development of the study genre is related to the work of the Romantic Movement representatives F.Chopin, R.Schumann, F.List. The acquisition of new features of the genre is due to the work of Russian composers. Thus

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5

Chernyavska, M. S. "The instructive repertoire in the programs of students of the Department of Special Piano of the Kharkiv I. P. Kotlyarevsky National University of Arts." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (2020): 297–308. http://dx.doi.org/10.34064/khnum1-57.19.

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Background. The article discusses the experience of the teaching staff of the Department of Special Piano of the Kharkiv I. P. Kotlyarevsky National University of Arts. One of the innovations of the department was the use of instructive piano repertoire in the educational process for better development of piano skills among students. It has been proved that the acquisition of a technical base as a necessary basis for piano mastery is impossible without the systematic use of instructive etudes – relatively small instrumental pieces with a specific technical purpose. The correct choice of the co

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6

COVEY, PAUL MICHAEL. "Selling “The Things Money Can't Buy”: Piano Advertising in the Mid-Twentieth Century." Journal of the Society for American Music 13, no. 1 (2019): 54–77. http://dx.doi.org/10.1017/s1752196318000524.

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AbstractThis study explores piano advertising strategies after 1940 by examining ads printed in Etude, the Music Magazine between then and 1957, when it discontinued publication. Aware of the emerging US consumer culture, piano companies experimented throughout this period with more aggressive marketing techniques than they had previously used. Because Etude’s intended audience included musicians and enthusiasts of every skill and experience level, it was approached accordingly by advertisers. Thus, we can trace in its pages the development of methodologies that, owing to an increasingly sophi

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7

Mits, Oksana. "The genre of the piano miniature in the creative work of M. Moszkowski." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (2018): 136–48. http://dx.doi.org/10.34064/khnum1-50.10.

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Statement of the problem. Recently, there has been growing interest in the personality of the outstanding Polish composer, pianist, teacher and conductor M. Moszkowski (1854–1925), whose creativity occupies a significant place in the history of European musical art of the second half of the nineteenth – early twentieth centuries. The multifaceted composer’s legacy of M. Moszkowski gives a large variety of materials for researchers. His piano creativity, which encompasses composing, performing, teaching and editorial activities, is an outstanding phenomenon in the European musical culture. One

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8

Threlfall, Robert. "Rachmaninoff's 24 Preludes, and some thoughts on editing his piano music." Tempo, no. 180 (March 1992): 15–17. http://dx.doi.org/10.1017/s0040298200025523.

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Towards the end of his life Sergei Rachmaninoff was interviewed for The Etude, and in the resulting article (which appeared in December 1941) he was reported as follows: ‘… to say what you have to say, and to say it briefly, lucidly, and without any circumlocution, is still the most difficult problem facing the creative artist’. Many who remain unconvinced by Rachmaninoff's larger-scale compositions recognize the precision of utterance of his songs and piano Preludes; all admirers of his work accept the latter collection as a convincing demonstration of his solution to this problem.

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9

Spiller, William T., Hayes Biggs, Chester Biscardi, et al. "E. M. am Flugel: Poem-Etude for Piano Solo [1992]." Notes 55, no. 2 (1998): 471. http://dx.doi.org/10.2307/900216.

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10

Pidporinova, K. V. "Laughter as a direction of Marc-André Hamelin’s composer searches." Aspects of Historical Musicology 15, no. 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-Andr&#233; 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

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11

Repp, Bruno H. "Effects of Auditory Feedback Deprivation on Expressive Piano Performance." Music Perception 16, no. 4 (1999): 409–38. http://dx.doi.org/10.2307/40285802.

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Previous studies have suggested that elimination of auditory feedback has no significant effect on the accuracy of keyboard performance. In the present study, this issue was investigated further by focusing specifically on parameters of expression in piano performance: horizontal and vertical timing, horizontal and vertical dynamics, and pedaling. Six pianists performed a short musical excerpt (bars 1-5 of Chopin's Etude in E Major, op. 10, no. 3) 10 times on a digital piano in each of four conditions: expressive with and without feedback, and metronomic with and without feedback. The data ana

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12

Thomas, Philip. "Kevin Volans - ‘VIOLIN: PIANO’: Kevin Volans. violin: piano; Etude 9 (Eight Bells for Mary; viola: piano; Passi leggieri. Waldo Alexander (vln, vla), Jill Richards (pno). Ergodos ER20." Tempo 70, no. 277 (2016): 102–3. http://dx.doi.org/10.1017/s0040298216000115.

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13

Turner, Craig, Peter Visentin, Deanna Oye, Scott Rathwell, and Gongbing Shan. "Pursuing Artful Movement Science in Music Performance: Single Subject Motor Analysis With Two Elite Pianists." Perceptual and Motor Skills 128, no. 3 (2021): 1252–74. http://dx.doi.org/10.1177/00315125211003493.

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Piano performance motor learning research requires more “artful” methodologies if it is to meaningfully address music performance as a corporeal art. To date, research has been sparse and it has typically constrained multiple performance variables in order to isolate specific phenomena. This approach has denied the fundamental ethos of music performance which, for elite performers, is an act of interpretation, not mere reproduction. Piano performances are intentionally manipulated for artistic expression. We documented motor movements in the complex task of performance of the first six measure

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14

Sun, NataliiaYuriyivna. "Solo piano compositions by Hsiao Tyzen in the aspect of performing problems." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (2020): 165–77. http://dx.doi.org/10.34064/khnum1-57.10.

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Background. The article is dedicated to the piano work of Hsiao Tyzen (1938–2015) – one of Taiwan’s most famous composers. The solo piano compositions of the musician are considered, which make up a significant part of his compositional heritage: three cycles, united under the general name “Poetic Response” – op. 37 (1974), op. 38 (1975) and op. 40 (1977); “The Amazing Grace” (1984), cycle “Memories of Home” op. 49 (1987), consisting of six plays – “Prelude”, “Memory”, “Playground”, “Ancient Taiwanese Melody”, “Elegy”, “Frolicking”; “Farewell Etude”, Op. 55 (1993), “Toccata”, op. 57 (1995), “D

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15

Mobbs, Kenneth, and Pascale Vandervellen. "Le Piano de style en Europe des origines a 1850: etude des elements decoratifs et mecaniques." Galpin Society Journal 49 (March 1996): 269. http://dx.doi.org/10.2307/842429.

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16

Koster, John, and Pascale Vandervellen. "Le Piano de style en Europe des origines a 1850: Etude des elements decoratifs et mecaniques." Notes 52, no. 3 (1996): 810. http://dx.doi.org/10.2307/898639.

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17

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

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

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18

Orlofsky, Diane D. "Piano Lessons in the Grand Style: From the Golden Age of the Etude Music Magazine (1913–1940)." Music Educators Journal 91, no. 2 (2004): 58–59. http://dx.doi.org/10.2307/3400058.

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19

Buchok, L. V. "Pianoforte compositions “Etude” by D. Zador and “Impromptu” by I. Marton in the context of the problem of analysis and interpretation of the creative idea." Aspects of Historical Musicology 13, no. 13 (2018): 113–26. http://dx.doi.org/10.34064/khnum2-13.09.

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Background. In the time of Ukraine’s state independence, the interest of scholars in reproduction of a coherent historically formed image of regional cultures arose. The thing is, that almost throughout the twentieth century the priority issue was that the term «international» was considered as «assimilated». However, in the second half of the 20th century signifi cant processes took place in Transcarpathia, which manifested the formation of a professional Transcarpathian composer’s school – a movement led by Dezyderiy Zador and picked up by other composers, in particular Ishtvan Marton. In pa

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20

Briscoe, James R., and Marcelle Guertin. "De la lecture a l'audition d'un texte musical: Une etude des themes dans le Livre I des Preludes pour piano de Debussy." Notes 50, no. 1 (1993): 149. http://dx.doi.org/10.2307/898722.

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على عبدالمنعم, محمد, هانی فؤاد شفیق та هشام عادل محمد رشاد سرج. "" أسلوب أداء دراسة البیانو رقم (10) مصنف 72 عند موریتز موسکوفسکی " “Performance of Piano Etude No. (10) Op. 72 for Moritz Moszkowski“". المجلة العلمیة للدراسات و البحوث التربویة والنوعیة 5, № 1 (2018): 1–21. http://dx.doi.org/10.21608/sjse.2018.58340.

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22

Dale, Catherine, and Marcelle Guertin. "De la lecture a l'audition d'un texte musical: une etude des themes dans le livre I des Preludes pour piano de Debussy." Music Analysis 12, no. 1 (1993): 103. http://dx.doi.org/10.2307/854078.

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23

Knyt, Erinn E. ""How I Compose": Ferruccio Busoni's Views about Invention, Quotation, and the Compositional Process." Journal of Musicology 27, no. 2 (2010): 224–64. http://dx.doi.org/10.1525/jm.2010.27.2.224.

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An anecdote circulating among pupils of Egon Petri (1881––1962), a protégé of Ferruccio Busoni (1866––1924), was the story Petri told of how on more than one occasion Busoni's wife was mistakenly introduced as "Mrs. Bach-Busoni." Whether fact or fiction, this social faux pas illustrates how closely Busoni's name has been associated with the names of composers whose works he arranged. Despite his prolific compositional career, he is remembered more as a transcriber and arranger than as a composer of original works. His practice of arranging others' works also affected his own compositions, whic

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24

Alunno, Marco, and Andres Gomez-Bravo. "Approaching new piano literature: composition and interpretation of four piano etudes." Ricercare, no. 12 (May 5, 2020): 64–79. http://dx.doi.org/10.17230/ricercare.2019.12.4.

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In the literature for solo instrument, etudes typically present different kinds of technical and expressive challenges. In fact, they often focus on unique and problematic aspects of performance on a specific instrument. The short group of piano etudes presented here has the same purpose, although, in some cases, it recalls writing techniques and melodic-rhythmical modules usually associated with composers and styles of both the past and present times. In this article in particular, four etudes (Scales, Expressive Fingering, Parallel Thirds and Broken Octaves) are briefly described and analyze

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25

Melnyk, A. O. "Violin miniature in creativity by Liudmila Shukailo: features of the genre interpretation." Aspects of Historical Musicology 17, no. 17 (2019): 102–15. http://dx.doi.org/10.34064/khnum2-17.07.

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Background. Rapidness of information flows of contemporary life enforces to concentrate a significant amount of information in small formats. This fact meaningfully increases social and practical significance, cultural and aesthetic value of miniature genres, in particularly, in the musical art. The violin miniature is a historically developed, typologically settled genre of professional musical creativity designed to solo music-making in the conditions of chamber or concert performance. Relevance of the genre is also due to its active inclusion in the programs of competitions and festivals. T

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26

Nikolenko, R. V. "M.-A. Hamelin’s composing and performing style in the context of postmodern aesthetics." Aspects of Historical Musicology 14, no. 14 (2018): 168–80. http://dx.doi.org/10.34064/khnum2-14.12.

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Background. The peculiarities of the worldview and philosophy of modern contradictory era put forward before the art new requirements and benchmarks, which the Postmodern aesthetics embodies. The phenomenon of «Postmodernism» covers different levels of contemporary life. In philosophy, this concept was first introduced by J.-F. Lyotard in his report «The status of postmodernism». The French philosopher revealed the essence of Postmodernism consisting in «awareness of diversity and pluralism of forms of rationality, activity of life, as well as the recognition of this diversity as a natural pos

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27

Svard, Lois, and William Bolcom. "Twelve New Etudes for Piano." Notes 46, no. 2 (1989): 509. http://dx.doi.org/10.2307/941098.

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Svard, Lois, and Gyorgy Ligeti. "Etudes Pour Piano, Premier Livre." Notes 44, no. 3 (1988): 578. http://dx.doi.org/10.2307/941548.

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29

Boriskin, Michael, and George Perle. "Six New Etudes; For Piano." Notes 43, no. 1 (1986): 179. http://dx.doi.org/10.2307/897863.

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30

Yu, Man-Ching. "Pitch-class analysis: Some aspects of IC5 and IC1 design in Gyôrgy Ligeti's piano 'Études'." New Sound, no. 43-1 (2014): 173–90. http://dx.doi.org/10.5937/newso1443173y.

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This paper investigates pitch-class organization in Gyorgy Ligeti's Piano Études, focusing on the organizational design of particular interval classes. In the etudes, IC5 and IC1 are generative in constructing materials in different dimensions and at different surface levels. Additionally, the unfolding of pitch classes initiates ascending and descending circles of fifths, at small-scale and large-scale structural levels alike, illuminating the prominence of the fifth in Ligeti's work, which harks back to the common practice period.

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31

Gedi, A. "The evolution of B. Bartok’s piano style." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (2020): 45–60. http://dx.doi.org/10.34064/khnum1-57.03.

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Subject actuality. The article highlights the evolution of the compositional style of the Hungarian composer, taking into account the performance component of Bartok as a pianist. Based on existing musicological sources (works by A. Alekseev, B. Sabolcha, S. Sigitov, J. Uyfalushi, I. Martynov, I. Nestev, A. Malinkovskaya) the historical periodization of the general interest in Bartok’s work is indicated. Despite the study of many aspects of his creative activity, the performance of B. Bartok still remains without special analysis. Therefore, the process of studying the work of B. Bartok today

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32

Bondarenko, Olena. "Toccata and toccata style in Yurii Reshetar’s piano works." Aspects of Historical Musicology 21, no. 21 (2020): 217–29. http://dx.doi.org/10.34064/khnum2-21.14.

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Background. Changes in the conditions of human existence have sharpened our sense of time. Today’s cultural space has adapted our perception of art to the simultaneous existence in “offline” and “online” forms. This new reality needs its artistic embodiment. When a contemporary composer, whose name has not yet gained widespread recognition, succeeds in accomplishing such a task, it demonstrates the opening of a new page in national art and becomes an interesting and significant event. Such an event is piano music of our contemporary Yurii Reshetar, which has not yet become the subject of scien

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33

Hatipova, Inna. "4. Exercises for Piano and their Role in the Pedagogical Activity of Vitalii Sechkin." Review of Artistic Education 21, no. 1 (2021): 26–30. http://dx.doi.org/10.2478/rae-2021-0004.

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Abstract In the article, the author analyses the role of technical exercises used in his pedagogical activity by Vitaly Sechkin, remarkable pianist and professor, Honoured Artist of Ukraine. He paid particular attention to the development of the technical skills of his students, for which he used various exercises and virtuoso etudes. A detailed characteristic is made of the particularities of C.-L. Hanon’s and J. Brahms’s sets of exercises, which pursue similar objectives - the development of finger speed, the freedom to execute different kinds of texture, assimilation of tonalities. The prof

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34

Kregor, Jonathan. "Forging “Paganinis of the Piano” in the 1830s." Studia Musicologica 54, no. 2 (2013): 115–34. http://dx.doi.org/10.1556/smus.54.2013.2.1.

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Musical artists in the 1830s were intrigued by Niccolò Paganini, with pianists being especially interested in transferring his music and style to their instrument. This article focuses on Paganini-inspired compositions by Carl Czerny, Johann Nepomuk Hummel, and Ignaz Moscheles, which focus on various aspects of the violinist’s artistry, including his performance style, his flair for the dramatic, pathetic, and unexpected, and his technical wizardry. Altogether these and other such works from the early 1830s provide a deeper context — arguably even a tradition — for Franz Liszt’s experimental c

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35

Cherniavska, Marianna. "I. B. KRAMER’S PIANO WORK IN THE ASPECT OF INTERRELATION OF PERFORMANCE AND COMPOSITION." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (2021): 96–112. http://dx.doi.org/10.34064/khnum1-58.06.

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Background. The article is devoted to the piano work of the famous English pianist, teacher and composer Johann Baptist Kramer (1771–1858), whose 250th anniversary is celebrated in 2021. I. B. Kramer, like other pianists of the late XVIII – early XIX centuries, tried to solve a significant problem – mastering the basics of composition, its laws, principles, techniques, their combination with the game nature and capabilities of the piano. Objectives. The purpose of the article is to reveal the relationship between performing and compositional means in I. B. Kramer’s piano works. Methods. The ba

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Orgel, Paul, and Stewart Gordon. "Etudes for Piano Teachers: Reflections on the Teacher's Art." Notes 52, no. 4 (1996): 1187. http://dx.doi.org/10.2307/898407.

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Eyvazzade, Gunel. "Research on the Problems of Piano Creative Work by A. Arensky in the Scientific Papers of Professor N. Usubova." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 4, no. 1 (2021): 89–100. http://dx.doi.org/10.31866/2616-7581.4.1.2021.233341.

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The article examines the scientific work of one of the prominent representatives of the 20th century Azerbaijani piano performing school, Honored Art Worker, Professor Nigar Usubova (1914–1994). N. Usubova devoted an important part of her life to pedagogical activity, raising a generation of talented pianists. She made an exceptional contribution to the development of the Azerbaijani piano school and the definition of its future directions. N. Usubova’s pedagogical principles are reflected in her dissertation work and methodical manual. As it is known, N. Usubova studied in the class of A. Gol

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38

Johnson, Bret. "American Music." Tempo 57, no. 226 (2003): 56–57. http://dx.doi.org/10.1017/s004029820330035x.

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LEES: Symphonies Nos. 2, 3 and 51; Etudes for piano and orchestra2. 1Staatsphilharmonie Rheinland-Pfalz c. Stephen Gunzenhauser, 2James Dick (pno), Texas Festival Orchestra c. Robert Spano. Albany TROY 564/565 (2-CDset).LEES: Passacaglia. PERSICHETTI: Symphony No 4. DAUGHERTY: Philadelphia Stories; Hell's Angels. Oregon Symphony c. James De Preist. Delos DE 3291.FLAGELLO: Symphony No. 1; Theme, Variations and Fugue; Sea Cliffs; Intermezzo. Slovak Radio Symphony Orchestra c. David Amos. Naxos 8.559148.HOVHANESS: Symphony No 22, City of Light1; Cello Concerto2. 2Janos Starker (vlc), Seattle Symp

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KALKANOĞLU, BURCU. "MINIMALIST EFFECTS IN PIANO TRAINING: THE ANALYSIS OF PHILIP GLASS ETUDES." International Journal of Education Technology and Scientific Researches 5, no. 12 (2020): 886–923. http://dx.doi.org/10.35826/ijetsar.169.

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Boldurescu, Yulia V. "Diverting Etudes in the Flute Class." ICONI, no. 3 (2020): 98–106. http://dx.doi.org/10.33779/2658-4824.2020.3.098-106.

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One of the most crucial tasks for educating the beginner musician is the development of his artistic imagination. A decisive role in this process is played by the formation of the musicians’ attitudes towards the skills of interaction of their relationship with the composer’s music: the creation of the performer’s text, i.e., its interpretation (the problematic situation “If I were the editor…”), or its transcription or arrangement (“I wish to become a composer”). The solution of the indicated aims (which, essentially, relate to the musicians’ inventiveness) and the participation in the proble

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Shaymukhametova, Liudmila N. "About the Study of the Means of Transcription of Works for Clavier by Beginning Pianists." ICONI, no. 2 (2019): 116–27. http://dx.doi.org/10.33779/2658-4824.2019.2.116-127.

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The methodological elaborations of the rubric of the journal “My fi rst transcriptions” will present examples from assignments from the attempts of creative work of beginning pianists with the musical text. The offered assignments carry the aim of teaching certain universal techniques of artistic transformation of the composer’s primary text. The fi rst article devoted to this subject matter examines the register allocation and the doubling which were applied in everyday music-making in the 16th and 17th centuries during the varied re-exposition of the clavier text into various ensembles. The

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42

Klendiy, O. M. "Interpretative aspect of C. Saint‑Saëns’s piano music." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 136–53. http://dx.doi.org/10.34064/khnum1-56.09.

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Background, the objective of the research. From the perspective of interpretative discourse, C. Saint-Sa&#235;ns’s heritage widens the contemporary views of his performance career and explains the nature of his pianoforte mentality. Moreover, an interpretative approach is becoming an important part of its investigation methodology, which makes it possible to state the aim of the paper, which is to determine the priorities of C. Saint-Sa&#235;ns as being an outstanding virtuoso performer of his historical era (what is necessary to understand his artistic mentality). According to the aim

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Sun, Natalia. "Sonatinas for Piano in the Context of Mao-Shuen Chen’s Composer and Pedagogical Activities." Aspects of Historical Musicology 19, no. 19 (2020): 247–67. http://dx.doi.org/10.34064/khnum2-19.14.

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Background. The article is devoted to the piano work of the outstanding composer, pianist and teacher Mao-Shuen Chen (born 1936), his contribution to the art of music and education in Taiwan. Music education received in Taiwan, and then – in European countries, allowed Mao-Shuen Chen to significantly develop and modernize his native national art. His methodical works, textbooks and collections of exercises for piano became the basis of his own method of teaching, which the musician has long successfully used in public and private music schools in Taiwan. An important role in Mao-Shuen Chen’s u

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Peggie, Andrew. "Etudes for Piano Teachers by Stewart Gordon. New York: Oxford University Press, 1995. £14, 155 pp." British Journal of Music Education 12, no. 3 (1995): 300–301. http://dx.doi.org/10.1017/s0265051700002825.

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Sklyarov, Alexander. "STUDYING THE INSTRUCTIVE AND CONCERT ETUDES AS THE BASIS OF FORMING STUDENTS' TECHNICAL SKILLS IN THE PIANO CLASS." ScienceRise 1 (February 29, 2020): 47–51. http://dx.doi.org/10.21303/sr.v0i1.1156.

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Akgül, Alper. "A resource recommendation for improving musical expression and narration in piano education: An examination of loeschhorn op. 65 etudes." Educational Research and Reviews 16, no. 5 (2021): 189–201. http://dx.doi.org/10.5897/err2021.4149.

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Voskoboinikov, Yakov. "George Gershwin’s jazz transcriptions in piano performance of academic tradition." Aspects of Historical Musicology 19, no. 19 (2020): 429–48. http://dx.doi.org/10.34064/khnum2-19.25.

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Background. Today, jazz transcriptions of works by George Gershwin can be heard around the world. Works such as “The Man I Love”, “I Got Rhythm”, “Summertime”, “Liza”, “Fascinating Rhythm”, “Somebody Loves Me”, “Swanee”, included in the collection “Gershwin songs”, and also “Seven virtuoso etudes on the themes of G. Gershwin” by E. Wilde are performed by modern academic musicians. Thus, widely known performance versions of piano transcriptions “Gershwin songs” by M.-A. Hamelin, the song “The Man I Love” performed by A. Tharaud, P. Barton, and others famous performers. The evidence of growing i

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Shevchuk, B. M. "«Pictures at an Exhibition» by Modest Mussorgsky: the correlation of melos and colourfulness." Aspects of Historical Musicology 18, no. 18 (2019): 243–64. http://dx.doi.org/10.34064/khnum2-18.14.

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Background. The “melos” and “colourfulness” terms are used in various meanings both, in music and fine arts. The ambiguity of these concepts in our time of unlimited possibilities for creative experiment and bold search for new semantic levels, interest in establishing versatile inter-scientific relations allows us to apply innovative analytic methods to the works of art. Among these methods, intermedial inter-disciplinary researches seem to be extremely promising, especially when applied to such traditional, well-established forms of art as academic painting and music. The article uses the in

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Stefaniak, Alexander. "Robert Schumann, Serious Virtuosity, and the Rhetoric of the Sublime." Journal of Musicology 33, no. 4 (2016): 433–82. http://dx.doi.org/10.1525/jm.2016.33.4.433.

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In several essays from the first half of the nineteenth century, Robert Schumann and other music critics used the rhetoric of the sublime when describing select, unconventionally intense virtuosic showpieces and performances, evoking this category’s associations with overpowering, even fearsome experiences and heroic human qualities. These writings formed one strand of a larger discourse in which musicians and critics attempted to describe and identify instances of virtuosity that supposedly rejected superficiality and aimed at serious aesthetic values: in the nineteenth-century imagination, t

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Rimm, Robert. "The Alexander Siloti Collection: Editions, Transcriptions, and Arrangements for Piano Solo, and: 53 Studies on Etudes of Frederic Chopin and Other Chopin Arrangements (review)." Notes 61, no. 2 (2004): 561–65. http://dx.doi.org/10.1353/not.2004.0160.

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