Relevant bibliographies by topics / Piano Performance

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Piano Performance'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2025

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Journal articles on the topic "Piano Performance"

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Eroy, Ozan, Onur Zahal, and Engin Gürpınar. "The effect of polyphonization of Hüseyni maqam melodies within modal jazz harmony and dorian scale on success in piano educationHüseyni makamı içerikli ezgilerin modal caz armonisi ve doryen dizi kapsamında çokseslendirilmesinin piyano eğitiminde başarıya etkisi." Journal of Human Sciences 13, no. 3 (December 16, 2016): 5471. http://dx.doi.org/10.14687/jhs.v13i3.4096.

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This research aims to determine effects of polyphonic performance of Turkish Music melodies containing Hüseyni maqam with modal jazz harmony on undergraduate piano students. Accordingly, “one group pretest-posttest pattern”,one of the weak experimental modals, has been used in the survey. In scope of the research, a piano curriculum based upon the components such as a general information about modal jazz harmony and chord setups has been applied to the students over two studies that are composed with dorian scale and two folk songs performed polyphonically in Hüseyni maqam. The effect of the applied piano curriculum on students’ piano performance has been analysed. As Hüseyni maqam in Turkish Music resembles dorian scale, the studies used for the curriculum have been made based on dorian scale. A six-week curriculum was applied to the students in the process level of the experimental period of the research. The pretest-posttest piano performance success of the students has been analysed by using piano performance rating form prepared pursuant to learned opinion. Wilcoxon Signed Rank Test and r effect size were calculated in the analysis process. As a result of the survey, it has been determined that the piano curriculum based on dorian scale and modal jazz harmony, enhances the piano performance success of the students noteworthily. Moreover, it has also been identified that the influence quantity is in a high level. ÖzetAraştırma ile Türkiye'de lisans düzeyinde piyano eğitimi gören öğrenciler için modal caz armonisi ile çokseslendirilen Hüseyni makamı içerikli Türk müziği ezgilerinin, öğrencilerin piyano performanslarına olan etkisinin belirlenmesi amaçlanmaktadır. Bu doğrultuda, araştırmada zayıf deneysel modellerden "tek grup ön test-son test desen" kullanılmıştır. Araştırma kapsamında, öğrencilere; doryen dizi ile bestelenmiş iki etüt ve çokseslendirilmiş iki hüseyni içerikli türkü üzerinden modal caz armonisine ilişkin genel bilgiler, akor kurulumları vb. öğelere dayanan bir piyano öğretim programı uygulanmıştır. Uygulanan piyano öğretim programının öğrenci piyano performanslarına olan etkisi incelenmiştir. Türk müziğindeki Hüseyni makamı dizisi ile doryen dizi benzerlik gösterdiği için öğretim programında kullanılan etütler, doryen dizi temel alınarak oluşturulmuştur. Araştırmanın deneysel sürecinin işlem evresinde öğrencilere altı haftalık piyano öğretim programı uygulanmıştır. Öğrencilerin öntest-sontest piyano performans başarıları, uzman görüşleri çerçevesinde oluşturulan piyano performans değerlendirme formu uygulanarak incelenmiştir. Analiz işlemlerinde Wilcoxon İşaretli Sıralar testi ve r etki büyüklüğü değerleri hesaplanmıştır. Araştırma sonucunda doryen dizi ile modal caz armonisine dayanan piyano öğretim programının, öğrencilerin piyano performans başarılarını anlamlı düzeyde arttırdığı tespit edilmiştir. Etki büyüklüklerinin ise yüksek düzeyde olduğu belirlenmiştir.
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Kilic, Deniz Beste Cevik. "An Investigation of Music Teacher Candidates’ Performance Anxiety Levels in Piano Examinations." Journal of Education and Learning 7, no. 1 (January 19, 2018): 299. http://dx.doi.org/10.5539/jel.v7n1p299.

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Examination anxiety in piano education, one of the important courses in music education, can negatively affect both success in examinations and the education of students. This study aimed to determine the anxiety levels of students in the music education departments of universities in western Turkey regarding their piano examinations and their significance according to different variables. The study sample consisted of 174 female and 107 male students. The study found the students’ performance anxiety levels related to piano examinations to be moderate. There were no statistically significant differences in their anxiety levels by gender or age. Students with their own pianos were less likely to have performance concerns regarding piano examinations than those without. It was also found that the students’ year of study had a significant effect on their performance anxiety levels in piano examinations.
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Nabijanovna, Rakhimova Mavludakhan. "MUSIC CULTURE IMPORTANCE OF PIANO PERFORMANCE." International Journal of Pedagogics 4, no. 10 (October 1, 2024): 31–34. http://dx.doi.org/10.37547/ijp/volume04issue10-06.

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This article analyzes the role and importance of piano performance in music culture. The piano, with its unique melodic and dynamic capabilities, offers new perspectives and ways of expression in the performance of musical works. The article shows the history of piano performance, stages of development and its contribution to performance culture, and explores the influence of performers who used this instrument on art and culture. It also provides information on the spread, formation and development of music culture on a global scale through piano performance.
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Wang, Tianshu. "Application of 5G Internet of Things Multisensor Information Fusion Model in Piano Performance." Journal of Sensors 2022 (June 28, 2022): 1–12. http://dx.doi.org/10.1155/2022/9407713.

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In this paper, we use melodic multisensor information fusion combined with 5G IoT to conduct an in-depth study and analysis of the experience model of piano performance. In the form of multimodal data, two main storage forms, audio and MIDI, are chosen. First, audio signal processing technology and deep learning technology are used to extract shallow and high-level feature sequences in turn, and then, the alignment of the two modal data is completed with the help of sequence alignment algorithm. For the problem that encrypted data cannot be queried by uploading blockchain, this paper proposes an IoT encrypted data query mechanism based on blockchain and Bloom’s filter. The blockchain stores IoT encrypted indexes by temporal attributes to ensure data consistency, tamper-evident, and traceability. A new loss function training multimodal model is designed for piano performance signals. The piano performance generated by this model differs from the traditional piano performance generation in that it does not need to add complex piano performance rules manually but generates piano performance directly with piano performance theory rules by training the initial piano performance dataset and improves the stability of the generated piano performance by chord constraints and enhances the note dependence on time. In the analysis of the experimental results, the generated melodies were invited 50 for evaluation and analysis. The overall style-based GAN network piano performance generation model proposed in the study makes the generated piano performance melodies more pleasing to the ear through chord constraints and the content of autonomous learning moments, which has important theoretical and practical implications for the creation and realization of mass and batch piano performances.
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Pirlibeylioğlu, Bilge, and Özlem Akın Şişman. "Views of The Piano Instructors on The Piano Performance of Music Teacher Candidates." Journal of Qualitative Research in Education 5, no. 2 (July 28, 2017): 1–22. http://dx.doi.org/10.14689/issn.2148-2624.1.5c2s2m.

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Мозгальова, Наталія, Сергій Селезньов, and Ярослав Новосадов. "The origins of piano performance in Podillia." Мистецтво в культурі сучасності: теорія та практика навчання, no. 2 (December 18, 2023): 65–69. http://dx.doi.org/10.31652/3041-1017-2023(2)-08.

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The article analyzes the socio-cultural features of the development of Podillia's piano performance. It is noted that piano art is an important part of domestic musical culture. Indicated that the study and generalization of the experience of the past allows a holistic consideration of the radical transformations of modern musical art in general, and piano performance in particular. Features of the development of Podillia's piano performance are considered in the works of N. Kashkadamova, O. Lihus, Yu. Portnyi and others. Piano performance preserves rich experience and cultural traditions of domestic musical art. The authors draw attention to the fact that the birth and improvement of Ukrainian piano art took place under the influence of socio-cultural and geopolitical conditions of the ХІХ-ХХ centuries and involved the synthesis of the creative language of Ukrainian and foreign piano schools. It is noted that Vinnytsia, Khmelnytskyi, Kamianets-Podilskyi are cities in which piano performance in Podillya actively developed. It was determined that during this period one of the foci of development of piano performance in the Podil region were the newly established educational institutions. A. Kotsipinskyi, V. Zaremba, M. Zavadskyi, T. Ganytskyi and others were famous cultural figures who promoted the development of piano performance in Podillia. Their creative achievements intensified the development of piano performance in this region. It is noted that the expansion of Podillia's piano performance opportunities was also initiated by various musical projects, festivals, and competitions held in Vinnytsia. An important event in the cultural life of Vinnytsia was the holding of a series of concerts «History of the development of piano art». Organized by the piano department of the Vinnytsia School, this cycle of concerts was diversified by various pieces of music of different styles and genres.
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Litterst, George F., and Mike Bates. "Reproducing a piano performance." Journal of the Acoustical Society of America 102, no. 5 (November 1997): 3108. http://dx.doi.org/10.1121/1.420540.

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Zhu, Ying. "Multimedia Recognition of Piano Music Based on the Hidden Markov Model." Advances in Multimedia 2021 (December 30, 2021): 1–8. http://dx.doi.org/10.1155/2021/2981531.

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Piano performance is an art with rich artistic elements and unpredictable performance skills. It is an important carrier for playing beautiful piano sounds. The generation of musical tension and expression of piano performance is a vivid display of piano performance skills. In piano performance, we should pay attention to the cultivation and flexible application of performance skills. In order to ensure the richness and artistry of piano performance, it is fully based on the artistic characteristics of piano performance. Through in-depth analysis of the principle of the hidden Markov model, it is applied to the multimedia recognition process of piano playing music. In the process of obtaining the template, the fundamental frequency of the piano playing music differs greatly, and the piano playing music appears during the performance process. For the problem of low recognition rate, this paper proposes a multimedia recognition method for piano music. Finally, the analysis of experimental results shows that the method proposed in this paper has a 16% higher recognition rate than the traditional method, and it has a certain value in the multimedia recognition of piano music.
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Li, Huizi. "Research on the development of piano performance teaching in China." BCP Social Sciences & Humanities 19 (August 30, 2022): 413–23. http://dx.doi.org/10.54691/bcpssh.v19i.1723.

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The establishment of Shanghai National Conservatory of music in 1927 marked the establishment of piano performance in China. With the development of the motherland, Chinese piano art has grown up all the way, showing unique musical cultural phenomena and Piano cultural highlights closely related to the social environment in different historical stages. The author believes that the development of Chinese piano art is mainly reflected in three aspects: teaching, creation and performance. The pioneers of China's early piano education not only trained the first batch of piano players for the Chinese music world, but also continued their teaching ideas, teaching styles and teaching methods on their students from generation to generation, which has had a positive and far-reaching impact on today's Piano Teaching in China. By sorting out and analyzing the historical development stages of Chinese piano performance teaching theory, the author can observe the current situation of Chinese piano performance teaching with a more critical perspective, thus enlightening us to explore and think about Chinese piano performance teaching in the new era, so as to promote the deeper and broader development of the research on piano performance teaching theory, And try to change the problem that piano performance teaching only stays at the level of language description and experience summary to a certain extent, and seek a development path for the improvement of piano teachers' scientific research ability.
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Chang, Xunyun, and Liangqing Peng. "Evaluation Strategy of the Piano Performance by the Deep Learning Long Short-Term Memory Network." Wireless Communications and Mobile Computing 2022 (June 26, 2022): 1–10. http://dx.doi.org/10.1155/2022/6727429.

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With the development of society and the progress of technology, the piano education industry has a large market. In view of the problem of high payment fees in the piano education industry, the scientific and automatic nature of piano performance evaluation has attracted people’s attention. However, since most of the piano performance evaluation schemes are based on rules, the continuity of the piano music and the accuracy of playing are ignored. Therefore, the purpose is to design a scientific piano performance evaluation scheme that can play a certain role in the sustainable development of the piano education industry. Firstly, long short-term memory in deep learning is explored. Secondly, the musical characteristics of piano performance are analyzed according to the musical instrument digital interface. The piano music features are extracted, and a long short-term memory-based musical instrument digital interface piano performance evaluation model is constructed. Finally, it analyzes the number of hidden layers implemented in the long short-term memory model for piano performance evaluation. The accuracy of piano performance evaluation under different models is analyzed. Under the bidirectional long short-term memory network model, different piano performance levels are evaluated to realize the study of piano performance evaluation strategies. Compared with the accuracy of the recurrent neural network and the long short-term memory model with different hidden layers, the bidirectional long short-term memory model has the highest test accuracy, with an average of 69.78%. When the hidden layer of the bidirectional long short-term memory model is 3, the loss function L value is the smallest, which is 0.11. Different levels of piano skills are evaluated, and the results of the systematic evaluation are consistent with the performance of different levels. This shows that the BLSM model is feasible for the piano performance evaluation strategy system. This study not only conducts an in-depth analysis of the deep learning long short-term memory model but also proposes a long short-term memory-based musical instrument digital interface piano performance evaluation model. Additionally, the flaws such as the incomplete consideration of musical continuity and expressiveness when evaluating piano performance pieces have been compensated. Finally, through different model validations, the bidirectional long short-term memory model is concluded with good accuracy in piano performance evaluation. These conclusions provide theoretical research and practical significance for the accuracy of piano performance evaluation.
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Dissertations / Theses on the topic "Piano Performance"

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Noulis, Christos. "Somatic education and piano performance." Thesis, Birmingham City University, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.646162.

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Research in the area of piano performance supports the concept of pianists engaging in problem-free piano methods. Existing pedagogical methods examine piano performance from a localised perspective, specialising in instruction of the detailed movements of the fingers, hands and arms. The present research aims to look at piano performance through a holistic lens. This is done by means of three theoretical and practical axes of somatic education: The Pilates Method, Yoga and the Alexander Technique. The main purpose of this study is to determine whether the three methods of somatic education can be conducive to piano performance. Secondary purposes are to determine whether the nature of educational delivery applied is appropriate in the exposure of pianists to somatic education, the stage of piano education at which pianists’ exposure to somatic education is most beneficial and the components of piano performance that can be enhanced from somatic education. Bibliographic review of relative literature reveals that, although there is amplitude of information on the application of some somatic methods to piano performance, there does not exist a comprehensive and structured educational system which incorporates principles of somatic education in piano performance. Ten workshops in Somatics for Pianists© were conducted in music conservatoires of Northern Greece in the span of three years. As a result, 385 valid questionnaires were produced by participating pianists of all levels, aged 15 and above, and with varying capacities as pianists (soloists, students, teachers etc). The questionnaires focused on issues of piano playing, methods of somatic education, workshop delivery and implementation of somatic education to piano performance. Six email interviews were conducted in order to triangulate results relating to the effectiveness of somatic education on piano performance and the related practical applications. These interviews were given by pianists/piano teachers who are also qualified instructors in one of the three somatic methods examined in this thesis.
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Evans, Richard Walter. "Key concepts in musical performance : practice, performance, interpretation." Thesis, University of Bristol, 2000. http://hdl.handle.net/1983/f4b0771f-0d5a-4e90-906e-b2c3ae91783b.

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Huntingford, James. "Tasteful piano performance in classic-era Britain." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2439.

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In recent decades, British solo piano repertoire of the Classic era has attracted increasing interest from researchers. A number of scholars have sought to identify the compositional elements that comprise late eighteenth- and early nineteenth-century British piano music. Despite this interest, there has been little research into the conventions of performance with which this repertoire is inextricably associated. Moreover, scant attention has been given to the notions of taste that are so often encountered in contemporaneous music treatises and philosophical writings. This thesis addresses these gaps in the existing literature by examining tasteful piano performance in late eighteenth- and early nineteenth-century Britain. The thesis provides a survey of contemporaneous British writings on the subject of taste—first, the broad notion of taste in British culture during the period, then the notion of taste in music performance in general, and finally the notion of taste specifically in relation to piano music. This survey includes a comprehensive investigation of selected performance practice issues, again as discussed in contemporaneous British primary sources. The study shows that taste was a vital aspect of music performance in Classic-era Britain. Furthermore, the thesis reveals that tasteful performance was intimately connected with issues arising from performance practice, and that decisions made in relation to these issues involved a degree of freedom on the part of the performer. The findings of the study are manifested in annotated scores of selected contemporaneous repertoire, then performatively applied by the author in a recorded performance of the repertoire using an early nineteenth-century English piano.
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Li, Chenyin. "Piano performance : strategies for score memorisation." Thesis, City University London, 2007. http://openaccess.city.ac.uk/8530/.

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Accurate live performance demands that player equip him/herself with a secure memorisation of the work. Most professional pianists are familiar with the four aspects of music memory, namely Kinaesthetic, Aural, Visual and Analytical Memories. However, these may not be enough in themselves to ensure freedom from momentary memory lapses on the stage. After a discussion of issues concerned with psychological memory and music cognitive memory, the dissertation outlines a memory technique, here labelled MM, which draws on the use of music mnemonics. The technique is intended to help pianists retrieve relevant information as quickly and effectively as possible during the performance, therefore avoiding or minimising mistakes. Various types of music mnemonics which the author has herself used are identified. Following this is an account of a project undertaken by the author which involved the examination of the memorisation techniques of five professional pianists while learning two contrasting pieces. The extent to which they applied the MM technique, and the specific mnemonics described in the dissertation thus far, is examined closely. So is the effectiveness of the various mnemonics in dealing with very varied repertoires.
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Anderson, Amelia. "Performing Upon Her Painted Piano: The Burne-Jones Pianos and The Victorian Female Gender Performance." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22641.

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This thesis centers around three pianos designed and/or decorated by the Victorian artist Sir Edward Coley Burne-Jones: the Priestley Piano, the Graham Piano, and the Ionides Piano. I read and interpret the Burne-Jones pianos not only as examples of the artist’s exploration of the boundaries of visual art and music, but also as reflections of the Victorian era female gender performance. Their physical forms and decorations, both designed and executed by Burne-Jones, enhance the piano as an instrument and accentuate their respective female performers. The music emanating from these pianos and the domestic space in which they inhabit prompt and contribute to the Victorian female performance of gender.
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Lee, Suan Liu. "Czerny's interpretation of Beethoven's piano sonatas." Thesis, Bangor University, 2003. https://research.bangor.ac.uk/portal/en/theses/czernys-interpretation-of-beethovens-piano-sonatas(feb6fd76-4266-471f-a1e0-5dd95dff5b83).html.

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The teaching of Carl Czemy was influential in the first half of the nineteenth century. His Complete Theoretical and Practical Piano Forte School and its supplement, The Art ofPlaying the Ancient and Modern Piano Forte Works, are especially relevant to the performance of Beethoven's piano sonatas. Much of the information in this monumental treatise reveals how Beethoven would have performed his sonatas. His pedalling techniques, for example, are similar to those described in Czerny's treatise. Although The Art was published in 1846, some of the ideas in tl-ds book date back to Czemy's Haslinger II edition of the late 1820s, thereby showing a. certain consistency over a period of about twenty years. Most of Czemy's teaching on the performance of Beethoven's piano sonatas, hs recorded in his piano treatise, stem from Beethoven's own practice. However, he sometimes altered Beethoven's directions because he considered his solution to be better (such as the fingering. in the trio of Op. 2/l/iii), or because they did not conform to contemporary performing styles, or simply because they did not suit the more resonant pianos of his day.
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Slade, Teri. "Measurable Changes in Piano Performance Following a Body Mapping Workshop." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/37593.

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Body Mapping has emerged among movement education techniques as one of the only somatic methods to focus specifically on musicians. Little research has been conducted to determine what changes, if any, participants in Body Mapping workshops experience. This study used MIDI to examine pitch, tone, tempo, and articulation of scale and arpeggio piano performance one day before and after a Body Mapping workshop. Participants were found to exhibit few measurable changes in these aspects of scale and arpeggio. A series of exploratory analyses were then conducted, which found greater changes in the visually observable aspects of piano performance than in aurally perceptible ones. The results suggest that immediately following a Body Mapping workshop, piano performance may improve in visually observable measures, but not in the aurally perceptible measures of scale and arpeggio performance.
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Wan, Blanc Chun Pong. "Contemporary Russian piano school : pedagogy and performance." Thesis, King's College London (University of London), 2017. https://kclpure.kcl.ac.uk/portal/en/theses/contemporary-russian-piano-school(4f66a698-3d93-472c-9e80-6c0a1670fce5).html.

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This research identifies primarily the characteristics of modern Russian pianism. In the process of exploring performance practice, this study throws light on the inter-locking relationship between pedagogy and performance. Further, it will take the opportunity to expand on the ‘Russian Piano School’ ideology and to examine how this ideology has affected the interpretation of Russian pianists. This thesis uses written documentary sources, observations, interviews as well as sound recordings to form its conclusions. Chapter one takes the opportunity to examine the current scholarship and aims to demonstrate the relative depth of this thesis. The second chapter focuses on the contemporary idea of the ‘Russian Piano School’ and sets the scope of the discussion for this research. The term Russian School or Tradition – occurs throughout the last century and has been widely used in association with a particular style of performance. This chapter, however, disputes the implication of the term and its connection with performance style, and provides another perspective to current scholarship. Chapter three embarks on further investigation of Russian piano pedagogy at present, and expands the subject-matter with reference to three distinctive principles of the Russian School of playing: the idea of a long melodic line, a cantabile singing tone and a solid technical foundation. This section reveals some particularly striking observations. It should be of interest to note that globalisation has already made a significate impact on the Russian pedagogical approach. The fourth, fifth and sixth chapters present the three characteristics of Russian pianism separately. Chapter four places the spotlight on the technical foundation. In contrast to other schools, Russian pianists pay heavy attention to technique at an early age. This chapter aims to deconstruct their current curriculum for technical exams, and analyses a number of études and technical excises. It should be of interest to note that this section considers the tutor books used throughout the student period, leading to the solid technical foundation with which generations of Russian pianists seem to have been equipped. Chapter five looks closely at the long melodic line in the performance of Russian pianists and explores the effectiveness of long lines in Romantic music. It does, however, suggest this particular feature has been ‘embedded’ into their playing unconsciously, which has influenced some of their performance decisions. The sixth chapter, as its title suggests, focuses on the cantabile sound quality in Russian performances – another noticeable feature of the Russian musical aesthetics. The ways in which Russian pianists construct their tonal layers at different levels can be studied in depth and can be examined from a number of different angles. It proves helpful to use Tchaikovsky’s B flat minor Piano Concerto, Op. 23, and Mozart’s Piano Sonata in F major KV 332, as case studies to furnish examples. Finally, a concluding chapter draws together the strands of the preceding discussion. In sum, the thesis reconsiders the modern ‘Russian Piano School’ in relation to the globalisation of teaching and practice, and concludes with suggestions for further study.
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Eun-Kalil, Jisun. "Extended program notes for thesis piano recital." FIU Digital Commons, 2010. http://digitalcommons.fiu.edu/etd/3156.

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This thesis presents extended program notes for a sixty-minute piano graduate recital consisting of the following repertoire for solo piano: Georg Philipp Telemann's Fantasia No. 9 in B Minor and No. 10 in D Major; Carl Philipp Emanuel Bach's Fantasia II in C Major, H. 284 (Wotq. 59/6); Joseph Haydn's Andante con Variazioni in F Minor, Hob. XVII: 6; Ludwig van Beethoven's Sonata in F- sharp Major Op. 78; Clara Wieck Schumann's Notturno Op.6, No. 2 and Le Ballet des Revenants Op. 5, No. 4; Fanny Hensel Mendelssohn's Das Jahr: Juni and November. The content of this thesis features detailed information on these works through historical study, musical analysis, and research in performance practice.
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Cheng, Chung-kei Edmund, and 鄭頌基. "Executive mismatch and Robert Schumann's hand injury : tranquil execution, widely-extended texture and early nineteenth-century pianism." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/212640.

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This dissertation is about a peculiar conflict that occurs in the process of music performance, a conflict that exists between the body and the mind. What I call “executive mismatch,” this conflict tends to occur when music performance is treated only as an art, and not also as a kind of a sport; that is, when music is valued only for its artistic expression and representation, and not also for its kinetic essence. Executive mismatch happened, for example, during the second quarter of the nineteenth century, a critical time that shaped our modern views on how the piano should be played. While many – among them Liszt, Thalberg, Chopin, and Mendelssohn – managed to find their rightful places in this process of development, individuals like Schumann struggled for theirs. Focusing on this influential but overlooked nineteenth-century dilemma, this dissertation examines the inharmonious collaboration between kinetics and aesthetics as evident in pedagogical writings, training materials, witness accounts, and compositions. This dissertation argues that musical performance mandates a proper matching of the body and the mind, and it does so at two levels. First, it argues historically that Schumann’s famous hand injury was as much about the executively mismatched world he lived in as about biographical details. His pursuit of a performing career was always doomed to end badly, whether or not he tried to use machines to accelerate progress. Accordingly, his injury was unlikely to be self-inflicted, nor was it entirely medical/pathological by nature. Second, it argues that executive mismatch, which found perfect expressions in Schumann’s life and in early nineteenth- century pianism, still influences our modern world through performers, music-score editors, and researchers.
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Books on the topic "Piano Performance"

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Linda, Wehrli, ed. Piano practice and performance. Valley Village, CA: Wehrli Publicartions, 2007.

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Oort, Bart van. To speak or to sing: Mozart and Beethoven on the fortepiano. [Lincoln, Neb.]: Hixson-Lied College of Fine and Performing Arts, University of Nebraska--Lincoln, 2007.

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Kentner, Louis. Piano. London: Kahn & Averill, 1991.

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King, Vicki. Playing the piano naturally. Greenleaf, WI: Conners Publications, 1997.

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Alink, Gustav A. Piano competitions: A comprehensive directory of national and international piano competitions. [s.l.]: [s.n.], 1988.

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Alink, Gustav A. Piano competitions: A comprehensive directory of national and international piano competitions. Den Haag: G. A. Alink, 1988.

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Camp, Max. Developing Piano Performance: A Teaching Philosophy. S.l: Alfred Publishing, 1990.

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Smith, Barnes & Strohber Co. Directions for operating our player piano. Sandusky, Ohio: AMICA International, 1998.

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Stachó, László. A zongoraművész Bartók: Modellek és ideálok. Budapest: Balassi Kiadó, 2022.

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Hagestedt, Jens. Wie spielt Glenn Gould?: Zu einer Theorie der Interpretation. München: P. Kirchheim, 1991.

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Book chapters on the topic "Piano Performance"

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Vargas, Alejandro Alberto Téllez. "Overcoming narratives and piano performance." In Disability and Music Performance, 106–23. Abingdon, Oxon ; New York, NY : Routledge, 2018. | Series: Interdisciplinary disability studies: Routledge, 2018. http://dx.doi.org/10.4324/9781315109374-6.

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Goebl, Werner. "Movement and Touch in Piano Performance." In Handbook of Human Motion, 1821–38. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-14418-4_109.

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Goebl, Werner. "Movement and Touch in Piano Performance." In Handbook of Human Motion, 1–18. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-30808-1_109-1.

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Vargas, Alejandro Alberto Téllez. "The visual aspects of disability in piano performance." In Disability and Music Performance, 82–105. Abingdon, Oxon ; New York, NY : Routledge, 2018. | Series: Interdisciplinary disability studies: Routledge, 2018. http://dx.doi.org/10.4324/9781315109374-5.

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Tsekova-Zapponi, Daniela. "Piano Schools, Topics and Liszt's Sonata in B Minor." In Musical Topics and Musical Performance, 102–23. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003218340-6.

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He, Xiaolei, and Jijie Liu. "Piano Performance Evaluation System Based on Neural Network and Its Application in Piano Teaching." In Application of Big Data, Blockchain, and Internet of Things for Education Informatization, 186–92. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-63136-8_19.

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Kim, Tae Hun, Satoru Fukayama, Takuya Nishimoto, and Shigeki Sagayama. "Statistical Approach to Automatic Expressive Rendition of Polyphonic Piano Music." In Guide to Computing for Expressive Music Performance, 145–79. London: Springer London, 2012. http://dx.doi.org/10.1007/978-1-4471-4123-5_6.

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Ikeda, Saho, Misato Shiba, and Hiroyoshi Miwa. "Music Scoring Based on Piano Performance Videos and Sound Sources." In Lecture Notes on Data Engineering and Communications Technologies, 198–207. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-72322-3_19.

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Yokoyama, Yuki, and Kazushi Nishimoto. "Apollon13: A Training System for Emergency Situations in a Piano Performance." In Active Media Technology, 243–54. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-15470-6_26.

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Tsutsumi, Hokuto, and Hiroaki Nishino. "A Piano Performance Training System Based on Visual and Tactile Guidance." In Advances in Intelligent Systems and Computing, 702–12. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-22354-0_63.

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Conference papers on the topic "Piano Performance"

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Seki, Shinnosuke, and Tetsuro Kitahara. "Automatic Drum Velocity Control Considering the User’s Piano Performance." In 2024 IEEE 13th Global Conference on Consumer Electronics (GCCE), 1353–56. IEEE, 2024. https://doi.org/10.1109/gcce62371.2024.10760627.

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Sun, Yu. "Piano Performance Techniques Based on Finger Motion Feature Capture Guide the Robot Analysis." In 2024 International Symposium on Intelligent Robotics and Systems (ISoIRS), 209–13. IEEE, 2024. http://dx.doi.org/10.1109/isoirs63136.2024.00048.

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Matsusaka, Ryuto, Masahiro Shiomi, and Tetsuya Takiguchi. "Effects of Listening Behaviors of a Social Robot on Adult’s Motivation and Performance in Piano Practice." In 2024 33rd IEEE International Conference on Robot and Human Interactive Communication (ROMAN), 1029–34. IEEE, 2024. http://dx.doi.org/10.1109/ro-man60168.2024.10731275.

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Hung, Tzu-Ching, Jingjing Tang, Kit Armstrong, Yi-Cheng Lin, and Yi-Wen Liu. "EME33: A Dataset of Classical Piano Performances Guided by Expressive Markings with Application in Music Rendering." In 2024 IEEE International Conference on Big Data (BigData), 3174–80. IEEE, 2024. https://doi.org/10.1109/bigdata62323.2024.10826039.

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Kugimoto, Nozomi, Rui Miyazono, Kosuke Omori, Takeshi Fujimura, Shinichi Furuya, Haruhiro Katayose, Hiroyoshi Miwa, and Noriko Nagata. "CG animation for piano performance." In SIGGRAPH '09: Posters. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1599301.1599304.

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Xu, Maoran, Ziyu Wang, and Gus G. Xia. "Transferring Piano Performance Control across Environments." In ICASSP 2019 - 2019 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2019. http://dx.doi.org/10.1109/icassp.2019.8683165.

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Raheem, Adil, and Tara Aurahman. "Hydraulic performance of Piano Key Weir." In Proceedings of the 1st International Multi-Disciplinary Conference Theme: Sustainable Development and Smart Planning, IMDC-SDSP 2020, Cyperspace, 28-30 June 2020. EAI, 2020. http://dx.doi.org/10.4108/eai.28-6-2020.2297967.

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Zhang, Ada, Mark Malhotra, and Yoky Matsuoka. "Musical piano performance by the ACT Hand." In 2011 IEEE International Conference on Robotics and Automation (ICRA). IEEE, 2011. http://dx.doi.org/10.1109/icra.2011.5980342.

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Tsutsumi, Hokuto, Hiroaki Nishino, and Tsuneo Kagawa. "A piano performance trainer with tactile guidance." In 2017 IEEE International Conference on Consumer Electronics - Taiwan (ICCE-TW). IEEE, 2017. http://dx.doi.org/10.1109/icce-china.2017.7990974.

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Zhang, Junzhong. "Analysis of Debussy Piano Music qFireworksq Performance." In 2nd International Conference on Civil, Materials and Environmental Sciences. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/cmes-15.2015.141.

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Reports on the topic "Piano Performance"

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

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Unfolding processes of timbre and memory in improvisational piano performance This exposition is an introduction to my research and practice as a pianist, in which I unfold processes of timbre and memory in improvised music from a performer’s perspective. Timbre is often understood as a purely sonic perceptual phenomenon. However, this is not in accordance with a site-specific improvisational practice with changing spatial circumstances impacting the listening experience, nor does it take into account the agency of the instrument and objects used or the performer’s movements and gestures. In my practice, I have found a concept as part of the creating process in improvised music which has compelling potential: Timbre orchestration. My research takes the many and complex aspects of a performance environment into account and offers an extended understanding of timbre, which embraces spatial, material and bodily aspects of sound in improvised music performance. The investigative projects described in this exposition offer a methodology to explore timbral improvisational processes integrated into my practice, which is further extended through collaborations with sound engineers, an instrument builder and a choreographer: -experiments in amplification and recording, resulting in Memory piece, a series of works for amplified piano and multichannel playback - Piano mapping, a performance approach, with a custom-built device for live spatialization as means to expand and deepen spatio-timbral relationships; - Accretion, a project with choreographer Toby Kassell for three grand pianos and a pianist, where gestural approaches are used to activate and compose timbre in space. Together, the projects explore memory as a structural, reflective and performative tool and the creation of performing and listening modes as integrated parts of timbre orchestration. Orchestration and choreography of timbre turn into an open and hybrid compositional approach, which can be applied to various contexts, engaging with dynamic relationships and re-configuring them.
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Havrilova, Liudmyla H., Olena Ye Ishutina, Valentyna V. Zamorotska, and Darja A. Kassim. Distance learning courses in developing future music teachers’ instrumental performance competence. [б. в.], September 2019. http://dx.doi.org/10.31812/123456789/3265.

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The scientific and methodological background of creation and development of the distance learning courses for the future music teachers is substantiated. The components and structure of future music teachers’ instrumental performance competence are defined; the content of the course is revealed. The materials are based on the authors’ teaching experience within the distance learning course “Basic Musical Instrument (Piano)”. The main blocks of the distance course design and development are considered among them to be theoretical, practical, individual work, and control blocks. The specificity of distance learning methods in the future music teachers’ instrumental and performance training is substantiated and three main methods are distinguished. The method of involving information and communication technologies, including multimedia; project method, and features of knowledge and skills controlling are elaborated. The results of implementation and experimental research of using distance learning courses for developing future music teachers’ instrumental performance competence are described. The influence of different methods use on students’ success is explored.
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Emmerson, Stephen. Modulations through time. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.530427.

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This article explores the rationale behind a performance given by the authors at the Unfolding the Process symposium held in Oslo in November 2015. For this occasion, the authors devised a new version of Bach’s Goldberg Variations that builds upon Emmerson’s arrangement of the work for two pianos in 2012. A shortened version of the work (c.30 minutes) was designed that aimed nonetheless to maintain the original work’s sense of structural balance and coherence. This version involved the transposition of a number of variations into different keys to explore the possibility of adding a satisfying tonal structure to our experience of the work, in a context where both performers see potential communicative value in 'playing with' dimensions of original masterworks with a view to giving fresh perspective to the listener experience. The article is written from the alternating perspectives of the authors; one of which is primarily concerned with the rationale and process of devising the arrangement while the other reflects upon the performative aspects and implications arising from it.
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