Academic literature on the topic 'Piano music (1 hand), Arranged'

The scientifi c fi eld of the problem «folklore and composer» has a lot of aspects of its subject manifestation. One of them is the creative heritage of L. van Beethoven in the context of the composer’s addressing the folk song sources and analysis of the author’s arrangement. Although the selected theme is not a scientifi c discovery, it contains signifi cant prospects. These include: the expansion of a well-known typology of the folklore embodiment in the author’s work, the search and discovery of the Beethoven’s method of folklore arrangement, which in its turn complements the context of the already existing “psychogram of the artist” (see Varnava’s thesis, for more details). In addition, the chosen theme will help to expand the idea of musical and cultural life development in the early 19th century Objectives. The paper will consider and analyze, fi rstly, the history of writing and the subsequent fate of the author’s Ukrainian song «Ikhav Kozak za Dunaj» in European culture at the end of the eighteenth and early nineteenth centuries; secondly, harmonization of I. Prach from the «Collection of Folk Russian Songs with their voices set to music by Ivan Prach» as the one that could be known to the German master; thirdly, L. van Beethoven’s vocal-instrumental arrangement of this song in the collection «The Songs of Different Peoples» – No. 19 «Air Cosaque». Methods. The methods applied in this work are hermeneutic, structural, historiographical and genre-stylistic. The historiographical method in the article represents the problem of «composer and folklore». Hermeneutic method is universal, and its task is to interpret texts and understand their meanings. The use of the structural method is necessary for simultaneous presentation of the whole, its parts and their interaction with each other. The systematic use of the above-mentioned methods will help to enrich the analytical part and reveal genre-stylistic metamorphoses in the Ukrainian song arrangement. Results. The results of the analytical part are as follows. As the article says, the Ukrainian song «Ikhav Kozak za Dunaj» was taken by L. Van Beethoven from the Russian collection «Folk Russian Songs with their voices set to music by Ivan Prach». So, we think it is necessary to make its thorough analysis. I. Prach’s arrangement (harmonizer and arranger of this collection) is a four-voice harmonization of the Ukrainian melody. In general, the harmonic sequence in the arrangement consists of quarto-quintal basses in the left hand and chords of main degrees in the right hand. Harmonious peculiarities of the song are directly interconnected with the rhythmic component of the work, both musical and verbal. The well-known content of the song (the Cossack sets off on the horse beyond the Danube leaving his girlfriend) contains the rhythm of the pace (in this case, this is the horse’s pace), which leads to the appearance of a uniformly accented rhythm in the song – the entire melody of the song moves in eighths. In addition, piano accompaniment in the right hand part echoes the main melody, and all its structure in the form of two-voice texture moves in eighths, too. L. van Beethoven goes in the opposite direction. The process of musical arrangement occurs at all levels of musical content – from the intonation through composition to the dramaturgy. The German composer’s arrangement features phrasing slurs in violin, piano, rarely cello parts; dynamic markings, including piano, pianissimo, crescendo, diminuendo. Besides, in the cello part we fi nd the composer’s remarks on the methods of sound production, such as alternating between pizzicato and arco (as a return to the main method). Then the German master creates a great instrumental part for the song – introduction and conclusion. The introduction of a non-square, monolithic structure has an unfi nished character and ends with a dominant harmony before the basic a-moll tonality. The fourth stanza is complemented with a three-bar expansion (instrumental break) on the introduction material, but it is a bit modifi ed – it is a pattern in the form of three subsequent segments of the descending motion (melodic and harmonic complex). This addition is made in the form of instrumental breaks after imperfect cadence, and after that come 12 bars of trio-conclusion. In general, the form of the song is a long period of two sentences of the verse-chorus structure a – C – a (a tonal plan). The instrumental part of the song makes up 29 bars, and the vocal one – 16 bars, so the proportions are actually closer to the defi nition of 2:1, which indicates a signifi cant role of the trio-accompanient (46 bars overall). The thorough analysis of the instrumental part of the whole song reveals the following: the arrangement has fi ve motifs and thematic elements, three of which belong to L. van Beethoven: «E – F – E» lamenting motif, quarto-quintal response to it – «E - A – B» or «E - B – C», and the last one, which gets its development at the end of the fi nal part of the trio accompaniment in somewhat varied form (melodic variation): «Gsharp - A – G» and the response «G-sharp - A – D». The other two – melodic pattern «E – G-sharp - E – G-sharp» (pedaling of the dominant function) and descending tetrachord between the third and seventh ascending degrees («C - A – G-sharp») – belong to the author of the Ukrainian song Semen Klymovsky. These motives are combined into dialogical formulas. This can be explained by the content of the song lyrics, where there are several characters, who the Cossack addresses in a virtual dialogue – this is his girl, and also his true companion – the horse. A deeper dialogue can be seen in the combination of classical and folk arts. Adding professional academic means of musical expression to the song the composer enriches his piece with classical stylistic attributes. When he elaborates genre features of lament in the song, he turns the Ukrainian song into a kind of arioso in German language. Conclusions. L. van Beethoven’s arrangement was primarily intended for homemade music, but at the same time, it is imbued with features of classical style, and its elegy, intense sensory lyricism refer the researcher to the Romantic period, which turned out to be close to the consciousness of the Beethoven’s genius. However, the nature of the fi ndings remains open, because the theme «Beethoven and folklore» is the subject of further research. In addition, special attention should be paid to other arrangements of the song «Ikhav Kozak za Dunaj», created both by L. van Beethoven and his contemporaries.

Introduction. In scientific literature dedicated to J. Brahms, much attention has been paid to a song genre. The researches note that J. Brahms’s songs can be regarded as a continuation of genre-specific features of Austro-German Lied, which retains the purity of the generic semantics in the composer’s works, without involving typically operatic means of vocal intoning, or approaching the so-called “poem with music”. J. Brahms’s songs do not allow the singer to demonstrate the full range of his/her voice, to reveal his/her artistic temperament, to show the technical skill. Absorption in a special emotional aura of J. Brahms’s songs requires a variety of timbre-intonational resources of a singer, his/her ability not to lose the sense of the whole while detailing the melodious overture. Of particular interest is the issue of music and words correlation in J. Brahms’s songs. As a rule, the composer is considered to be the immediate successor of F. Schubert rather than R. Schuman in his orientation to musical embodiment of a generalized poetic image. At the same time, this issue requires more detailed study, since the composer was very sensitive to the poetic text, in particular, from the point of view of coordinating the intonation-phonetic features of German language and vocal intonation. Theoretical Background. Recent research and publications analysis. Opus 49 by J. Brahms seems to be in the shadow of musicological thought and performing practice. It should be noted that a very famous opus part is “Lullaby”, which is mentioned in the monographs of K. Tsareva (1986), M. Druskin (1959), and K. Geiringer (1965). In the literature being considered the abovementioned opus is not completely covered, thus determining the relevance of our article. There are references to individual songs in different sources, but incidentally, in the context of different issues. Objective is to study J. Brahms’s opus 49 in the aspect of the interaction of poetic word and music, verbal and musical intoning. Methods: 1) historical method, allowing to comprehend the selected material in the perspective of the development of Austro-German song of the XIX century; 2) intonational method, which involves the study of vocal melody in terms of phonetic-tonic links; 3) genre method, caused by the features of chamber vocal lyrics; 4) stylistic method, corresponding to a specific opus consideration in the general context of the composer’s creative work. Results and Discussion. The composer did not have any tendency to the songs cyclization, however, the vocal miniatures, assembled in one opus, appear to be lyrical notes, self-contained but united by poetic motives and nature of the author’s expression. Many researchers see a cyclic organization of his particular vocal opuses. For example, I. Mykhailov (1987: 19) proves the existence of cyclic principles at different compositional levels in composer’s songs: separate “melodious pairs”, a number of songs with the texts by one poet inside the opus, a whole vocal opus with the texts by different authors. According to I. Mikhailov, the cyclic connection of songs is emphasized by several compositional techniques: thematic one, i.e. the unity of the musical material; the continuity of songs alternation, which is sometimes manifested in the absence of a piano introduction of the next song. In opus 49, the author chooses different poetic sources – poems by P. Heyse, L. Hölty, A. F. Schack, and J. Wenzig. The composer refers to one of the samples of the famous collection by Joachim von Arnim and Clemens Brentano “The Magic Horn of a Boy”. Given the anthological principle of poetic texts selection, no transparent storyline in opus 49, such as “A Beautiful Miller” by F. Schubert or “Poet’s Love” by R. Schumann, there is no reason to regard it as a cycle. However, the opus’ songs are arranged in a certain semantic sequence. Owing to the fact that three songs (“Sunday Morning”, “To a Violet”, “Longing for the Sweetheart”) are united by homogeneous poetic motifs, one can regard them as forming a microcycle within the whole. The second micro-cycle of the opus is represented by No. 4 and No. 5 (“Lullaby” and “Twilight”). In interpreting the poetic text, J. Brahms adheres to the principle of emotional and musical generality, once detailing the text, if at all. Here, he succeeds F. Schubert. However, he uses the technique of keywords, distinguishing them in two ways: rhythmically (with syncope) and through intrinsic chants; the composer also uses different types of intoning. Following the tradition of the 19th-century Austro-German song, the composer regards the genre as an alliance of two full members: the vocalist and the pianist, with the part being an instrumental generalization. The intonational image of the whole in vocal music arises at the crossing of two texts – poetic and musical. German has intonation difficulties owing to a large number of consonants. Problems, encountered by the singers in intoning German language, are compensated by the consonants and vowels, which are most favorable for correct sound formation, allowing to achieve the required quality. The soft consonants and vowels should be regarded as the ideal vocal sound, that is, a model for other phonemes in musical-poetic text. While creating vocal melodies of Opus 49 songs, J. Brahms cares the phonetics of a German text in the singing to be comfortable for the performer. Conclusions. J. Brahms uses such principles and techniques of literary original musical embodiment as preservation of the holistic image, created by the author of the poems, on the one hand, and its detailing on the other. In the second case, the composer resorts to all means of musical expression: motive-thematic, texture-register, rhythmic, harmonious, texture ones. The prospects of the research lie in studying the interaction of verbal and musical intonation in other vocal works of J. Brahms, as well as in chamber-vocal music of late romantics.

Given the specification of music as the most abstract of the arts, and music disciplines as disciplines mostly practical, the possibility of inclusion or full transition of music students to distance learning in higher education seems problematic and ambiguous. The article is devoted to the specifics of teaching music students in the classroom of the main musical instrument (piano) in terms of distance learning in higher education. The author proposes to consider distance learning as an active way of carrying out cognitive activities, ie as a method of teaching music students. For all the shortcomings and imperfections of distance innovation, the positive aspects are highlighted, which will allow teachers to partially use the distance method to achieve certain learning objectives. The process of teaching music students in the classroom of the main musical instrument (piano) is based primarily on the individual approach of the teacher to the student. Professional growth, raising the performance level of each student depends on the system of rational pedagogical methods and teaching methods that the teacher uses throughout the educational process. Until recently, the use of a remote approach to learning to play the piano, which consists of conducting a lesson with the help of multimedia technologies, has hardly been used by practicing teachers. However, the emergency transition to distance learning, forces to adjust, adapt existing traditional methods, forms of learning in the classroom of the main musical instrument (piano) to new realities. In such a situation, the attention of teachers is often focused on distance learning as the only opportunity to carry out the educational process. On the one hand, not being habitual and natural, this form of learning to play an instrument becomes an educational organizational innovation. On the other hand, it can be considered as a method of learning, ie, an active way of carrying out cognitive activity. This method, in which telecommunications are a mandatory mediator in teacher-student interaction, requires serious study instruments (piano).

The piano, as the king of playing instruments, is the most popular instrument for people to learn to play. Learning to play the piano, on the other hand, necessitates professional instruction and a lot of practice. People do not have enough time for systematic training because of the fast pace of life. At the same time, a lack of professional piano teachers and high tuition fees discourage piano students. If the computer can recognize and evaluate the learner’s piano music in real time, the learner will be able to identify and correct errors in real time. There are currently some music recognition technologies, but the majority of them have the following flaws: first and foremost, the recognition accuracy is poor. Second, the identification process is slow and not real-time. Based on the existing problems, this paper proposes a mobile-based music recognition method. The main work of this paper is as follows: (1) a deep neural network (DNN) is applied to the recognition of piano playing music. The use of deep learning models improves the accuracy of music recognition. (2) In order to make the identification of music easier to use, a mobile application is developed in this paper. The app can be installed on mobile phones and tablets. It can input songs in real-time or offline, outputting misplayed notes and scoring the entire composition. In order to evaluate the effect of this study on music recognition, the experimental part uses multiple models for comparison. The experimental results show that the research in this paper is feasible and effective.

The article analyses Maxim Gorky's account of Vladimir Lenin's visit to a home concert in 1920 and its screen adaptation by director Yuri Vyshinsky (1963). The author questions the possible reasons for the Soviet leader's particular predilection for Beethoven's Appassionata (piano sonata op. 57). The main subject of the study is Lenin's ambivalent attitude towards this piano sonata: on the one hand, he is ready to listen to it every day; on the other hand, it evokes in him too human emotions that hamper his activities as a revolutionary leader. The article traces possible sources that may have influenced Lenin’s perception of Beethoven's music and compares some structural elements of the Appassionata with the dialectic of spontaneity and consciousness from Lenin’s revolutionary theory.

The history of the development of piano technique has been counting down since the 17th century. The most common keyboard instruments before the invention of the piano were the harpsichord, clavicord and organ. These early instruments had much lighter keys compared to modern ones. Therefore, performers could easily press the keys without feeling much resistance. With the advent of the piano, both the playing technique and the training technique for professional pianists and amateurs began to be reviewed. Musicians, summarizing their own performing experience, wrote treatises, textbooks and manuals, looking for the most effective method of mastering the technique of playing the keyboard instrument. In history, there are two schools of piano technique: the so-called school of “high lifting of fingers” and “playing with all the weight of the hand”. This work is devoted to the history of the development of these schools and methodological approaches to piano training. The views on piano technique that developed in the 18th–20th centuries, which were reflected in the textbooks of pianistsperformers and teachers, help to understand how to perform music of a particular period and what finger technique to use for a perfect interpretation of piano works of the past.

We examined the effects of processing fluency on metamemory for written music. In Experiment 1, piano players studied short sequences notated in either treble or bass clef by playing them on a silent keyboard with either their left or right hand, creating a congruent (fluent) and an incongruent (dysfluent) condition (hand/clef match or mismatch, respectively). A subsequent recognition test accompanied by confidence ratings (CRs) gauged retrospective metamemory. Items in the congruent conditions were recognized better (a desirable-difficulty effect), but CRs showed that participants were unaware of this memory difference. In Experiment 2, judgments of learning (JOLs) followed each studied sequence to gauge prospective metamemory. JOLs were higher in the congruent condition, although recognition was unaffected. In Experiment 3, whether the music was fingered on the silent keyboard or not did not influence results. These data are discussed within the framework of metacognitive theories that emphasize the importance of processing fluency.

As public events, balls had an important role in social life among the Serbs in the Habsburg monarchy in the 19th century. They were organised by the aristocracy and citizens, various associations and ethnic groups. The most prestigious were the so-called “nobles”, id est aristocratic balls, while the civil ones were less elegant. A repertoire of dances was to some extent conditioned by the type of the ball. Waltz, polka and gallop were very popular at civil balls, as well as stylised Serbian folk dances, such as kolo. At noble balls, on the other hand, besides waltzes, polkas and gallops, it was quadrilles and cotillions that enjoyed special popularity. On the other hand, in the young Principality of Serbia, the organisation of the balls began in the 1860’s, both at the prince’s court and in better hotels in Belgrade. In the 1860’s, the ball season in Belgrade was opened by Prince Mihailo Obrenović. The dancing repertoire included Serbian folk and civil dances, as well as modern European dances. Following the example of larger European cities, a trend of dancing in salons was as well widespread among the Serbs. Socialising could spontaneously grow into dancing, and sometimes dancing was the expected grand finale of the evening. In salons one could dance for family entertainment, without guests. In court and civil salons in Belgrade, the gatherings, almost as a rule, ended with dancing of popular international and Serbian folk dances. International salon dances make up about a third of the salon music repertoire for piano. The polka is one of the most frequent international dancing genres in the Serbian piano music of the 19th century. Besides the polka, there are other subtypes of this dance: the polka-mazurka, the polka française, the schnell polka, the polka tremblante, the galopp polka, the polka valse and the polka caprice. After the polka, the waltz is the most frequent international dance genre in the Serbian piano music. Besides the waltzes originally written for the orchestra, numerous waltzes were composed for the piano. The popularity of quadrilles in ballrooms is also reflected in the albums of salon music for the piano. This dance genre, which was composed in a potpourri manner, was especially suitable for having the melodies of popular folk and civil songs arranged in it. While in the first half of the 19th century melodies in the quadrilles were either transcribed from popular operettas or operas, or were originally written by composers, in the second half of the century composers mostly resorted to melodies of Serbian or Slavic folk and civil songs. In the second half of the 19th century, Serbian folk dances, such as kolos, took over the ballrooms and the albums of salon music alike. The approval of the Serbian identity was sought in the kolo, and the emphasis on national characteristics through music was politically dominant in the 19th century.

Background. The muscles related to piano practice are mainly concentrated in the fingers and upper limbs, and the muscles related to other parts of the body are weak. Compared with other sports injuries, the injuries caused by piano practice are mainly chronic injuries caused by long-term strain of the upper limbs, and acute injuries rarely occur. The purpose of this study was to analyze the therapeutic effect of hand muscle injury caused by piano practice. Method. A total of 60 patients with hand muscle injury caused by piano practice admitted to our hospital from January 2019 to June 2020 were selected. According to the number random grouping method, they were randomly divided into two groups. There were 30 patients in the observation group, including 20 males and 10 females, aged 24-53 ( 39.51 ± 7.01 ) years old, and the course of disease was 1-5 ( 3.24 ± 1.62 ) months. In the control group, there were 30 patients, including 18 males and 12 females, aged 24-56 ( 39.62 ± 7.17 ) years old, and the course of disease was 1.5-5 ( 3.14 ± 1.71 ) months. If the observation group experienced excessive pain, the group took ibuprofen sustained-release capsules. On weekdays, exercise your fingers 2-3 times per day. After the intervention, the wrist joint function score of the observation group was higher than that before the intervention. Results. Before treatment, there was no significant difference in pain level scores between the two groups ( P > 0.05 ). After treatment, the limb pain score in the observation group was lower than that in the control group. The effective rate of hand tendon rehabilitation in the observation group was 93.33%. The effective rate of hand tendon rehabilitation in the control group was 70.00%. The comparison results showed that there was statistical significance ( P < 0.05 ). The score of the observation group was significantly higher than that of the control group, with statistically significant differences ( P < 0.05 ). Conclusion. Piano workouts can cause hand muscle difficulties, which can be alleviated by daily finger gymnastics. Daily finger exercises are simple and not limited by time and place. Piano practitioners can use the spare time of daily training and performance to exercise for a long time, so as to prevent or recover finger muscle damage caused by piano practice. It has the potential to help pianists avoid hand muscle injuries when practicing while also allowing music to reach its full potential.

Lagu Lembaga Kita karya TGKH. Muhammad Zainuddin Abdul Majid sebelumnya berbentuk musik kasidah kemudian diaransemen dalam musik electon. Lagu Lembaga Kita memiliki bentuk musik dan pola akor yang sederhana, tetapi cukup dikenal dan popular dikalangan masyarakat khusunya kalangan masyarakat Nahdlatul Wathan. Seiring perkembangan zaman dan sudah beberapa tahun belum ada bentuk aransemen yang baru, maka peneliti bertujuan untuk mengaransemen lagu tersebut dengan mendeskripsikan bentuk, struktur dan pola aransemen lagu Lembaga Kita dalam ansambel campuran. Jenis penelitian ini menggunakan metode deskriftif kualitatif, sedangkan tekhnik pengumpulan data dilakukan dengan tekhnik triangulasi data yaitu observasi wawancara, dan pengumpulan data dengan dokumen. Data yang didapat kemudian dikaji dan diaransemen atau digubah kedalam bentuk ansambel campuran. Dari hasil penelitian yang dilakukan maka dapat ditarik kesimpulan sebagai berikut: Lagu Lembaga Kita termasuk ke dalam struktur homophony, dilihat dari tekstur musiknya dan dilihat dari struktur aransemennya. Terdapat 88 birama pada lagu Lembaga Kita secara keseluruhan oleh beberapa instrument biola 1, biola 2, biola3, piano, bass, guitar elektrik, guitar klasik, drum dan paduan suara dan dimainkan dalam tangga nada E minor atau tangga nada 1# yang berarti G mayor.AbstractArrangement of Lembaga Kita Songs in Mixed Ensembles. Lembaga Kita song creat by TGKH. Muhammad Zainuddin Abdul Majid was previously in the form of Kasidah music then arranged in electone music. Lembaga Kita song has a simple form of music and chord pattern, but it is well known and popular among the people, especially the Nahdlatul Wathan people. Along with the times and there have been no new arrangements for several years, the researchers aim to arrange the song by describing the shape, structure and pattern of the arrangements of the Lembaga Kita song in a mixed ensemble. This type of research uses qualitative descriptive methods, while data collection techniques are carried out with data triangulation techniques, namely interview observation, and data collection with documents. The data obtained is then reviewed and arranged or changed into a mixed ensemble. From the results of the research conducted it can be concluded as follows: Lembaga Kita song is included in the structure of homophony, seen from the texture of the music and viewed from the structure of the arrangement. There are 88 bars on the Lembaga Kita song as a whole by several violin instruments 1, violin 2, violin 3, piano, bass, electric guitar, classical guitar, drums and choir and played on the E minor scale which means G majorKeywords: arrangement; Lembaga Kita Song; mixed ensemble

As it stands, only one arrangement of Tchaikovsky's Piano Concerto No. 1, Op. 23 orchestral reduction exists, which is by Tchaikovsky himself. A number of critical editions of the piece exist, but none of them cover the subject of the material within the orchestral reduction. Tchaikovsky wrote the reduction from a compositional rather than a pianistic perspective, thus some passages present awkward technical challenges. The purpose of this dissertation is ultimately to contribute to the repertoire of accompanists by producing a new edition of Tchaikovsky's Piano Concerto No. 1. I created my arrangement through a process of practical trial and error as well as observing the strategies used by other arrangers of orchestral reductions. Through a series of carefully selected omissions, note rearrangements, visual adjustments, and editorial changes, I simplified the reduction as a whole. I sought to improve the readability of the music by reducing accidentals as much as possible and also incorporating small-print cues into the main staves. Each minor adjustment or major revision contributes cumulatively to the ease of execution of the accompanimental part as a whole. Although Tchaikovsky's reduction is authentic and authoritative, a newly revised and simplified version would be useful for collaborative pianists. Thus, I have chosen to create an alternative version of Tchaikovsky's reduction, while still retaining as much of the original material as possible. This edition focuses solely on the collaborative pianist's part.

Paul Wittgenstein (1887-1961) made significant contributions to the piano literature for the left hand through numerous commissioned works as well as his own transcriptions. In the transcriptions, Wittgenstein preserved the texture of two-hand music, aiming for the simulation of the original works. This requires special techniques in the performance by the left hand alone. This dissertation investigations technical means and performance problems associated with the transcriptions as well as Wittgenstein's own recordings of selections from his works. Chapter 1 serves as an introduction, providing a historical overview of the role of the left hand in two-hand piano literature. Chapter 2 gives biological information on Paul Wittgenstein and discusses the commissioned works. Chapter 3 investigates special techniques in the transcriptions, in the areas of arpeggios, widespread chords, fingering, pedaling, and others. Chapter 4 discusses Wittgensteins's performance style based on his recordings. Chapter 5 presents a conclusion pointing to the benefits of performing left-hand music in two-hand piano playing.