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Journal articles on the topic 'Piano quartets – Scores and parts'

Author: Grafiati

Published: 29 July 2024

Last updated: 31 July 2025

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1

Abdokov, Yuri B. "Boris Tchaikovsky: Youth Quartets. The Experience of Discovering the Unknown Scores." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА 3 (September 2024): 206–22. http://dx.doi.org/10.35852/2588-0144-2024-3-206-222.

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This article is the first to examine the scores for two violins, viola, and cello composed in his youth by one of the greatest Russian composers of the twentieth century, Boris Alexandrovich Tchaikovsky (1925–1996). These ensemble scores, discovered after Tchaikovsky’s death, have never been published or included in reference or encyclo- pedic directories, including the authorized list of works. They are not sketches or drafts of unfinished pieces, but rather complete works written between 1940 and 1945. The Lento (1940) and the Scherzo (1941) have survived as manuscript scores; the single-par

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2

Kutluieva, Dar’ia. "PIANO QUARTETS OF L. BEETHOVEN: MOZART’S PROTOTYPES AND AUTHOR’S INITIO." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (2021): 9–22. http://dx.doi.org/10.34064/khnum1-58.01.

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Background. The article provides an analysis of L. Beethoven’s piano quartets through the prism of the ensemble writing and composition experience by W. A. Mozart. The disclosure of the successive ties between the two great Viennese classics in the field of chamber instrumental music contributes to the scientific understanding of the history of this genre, which is not sufficiently covered in musicology. The analysis revealed that the four piano quartets of L. Beethoven are focused on Mozart’s prototypes, or rather, on sonatas for violin and piano. It was found that the formative principles of

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3

Kutluieva, Daria. "Piano quartets by F. Mendelssohn as a phenomenon of the Romantic era." Aspects of Historical Musicology 16, no. 16 (2019): 143–57. http://dx.doi.org/10.34064/khnum2-16.08.

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Background. Nowadays, the typology of the piano quartet is actively studied by the modern scientists. The genesis of this genre is becoming more contentious. As pointed out by L. Tsaregorodtseva (2005), and earlier I. Byaly (1989), a connection of concerts for clavier solo accompanied by a string ensembles and a string quartet form a foundation for a genre of the piano quartet. N. Samoilova (2011) sees the origin of this genre in ensembles with clavier, L. Tsaregorodtseva (2005) &#8210; in the historical and cultural situation of the last third of the 18th century, including the genre (str

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4

Niemöller, Klaus. "Sonate und Sonatina für Violoncello und Klavier von Kodály im gattungsgeschichtlichen Zusammenhang." Studia Musicologica 50, no. 1-2 (2009): 49–74. http://dx.doi.org/10.1556/smus.50.2009.1-2.3.

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The history of the genre of the sonata written for violoncello and pianoforte begins in 1796 with the five sonatas by Beethoven opp. 5, 69 and 102. The sonata op. 69 is a model for its special role until the 20th century: the lyrical character of the opening theme with a fantasy-like closing solo-cadenza and a fermata. Since the 1st Sonata of Brahms (1865), it was mostly young composers like Strauss (op. 6), Pfitzner (op. 1), Reger (op. 5) and Dohnányi (op. 8) who followed this tradition. As also the Sonata op. 4 by the young composer Kodály (1909) whose opening Adagio as “Fantasia” has the sa

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5

Turea, Elena. "The correlation of the voice and the piano parts in the vocal music of Schubert’s predecessors." Studiul artelor şi culturologie: istorie, teorie, practică, no. 2(43) (April 2023): 54–60. http://dx.doi.org/10.55383/amtap.2022.2.09.

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This article analyzes the historical and cultural background of F. Schubert’s achievements in the field of chamber vocal music, in particular, in correlation with the vocal and piano parts. We are talking about the fact that the basis of Schubert’s Lied are the traditions of German and Austrian folk songs, the work of minnesingers, meistersingers, predecessor composers. Reliance on folklore determines the intonation, the rhythmic and structural patterns of Schubert’s songs. The influence of the masters of minnesang and meistersang is felt in the harmony and composition logic of the Austrian ge

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Kutluieva, D. V. "Under the sign of playing: C. M. Weber’s Piano Quartet." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 106–20. http://dx.doi.org/10.34064/khnum1-56.07.

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Background. A play principle is one of the essential properties of the artistic worldview and creative thinking of C. M. Weber. Declaring itself in works of different genres, it takes on many different shades, speaking in the form of comic, ironic, characteristic and carnival. In the instrumental opuses by the composer, the play aspect appears in complex of texture, articulation, intonation and thematic, dynamic and formative techniques that lead to immediate visual and theatrical associations. Expression of play principles in this genre sphere can be considered, on the one hand, as various ty

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Yu, Hecheng, and Xiaoming Luo. "The Healing Effects of Piano Practice-Induced Hand Muscle Injury." Computational and Mathematical Methods in Medicine 2022 (July 18, 2022): 1–6. http://dx.doi.org/10.1155/2022/1020504.

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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 we

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8

Serdiuk, Ya O. "Chamber music works by Amanda Maier in the context of European Romanticism." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 121–35. http://dx.doi.org/10.34064/khnum1-56.08.

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Background. The name of Amanda Maier (married – R&#246;ntgen-Maier), the Swedish violinist, composer, pianist, organist, representative of the Leipzig school of composition, contemporary and good friend of С. Schumann, J. Brahms, E. Grieg, is virtually unknown in the post-Soviet space and little mentioned in the works of musicologists from other countries. The composer’s creativity has long been almost completely forgotten, possibly due to both her untimely death (at the age of 41) and thanks to lack of the research interest in the work of women composers over the past century. The latter,

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Palić-Jelavić, Rozina. "Mise Ferde Wiesnera Livadića - O 220. obljetnici rođenja i 140. obljetnici skladateljeve smrti." Nova prisutnost XVII, no. 2 (2019): 285. http://dx.doi.org/10.31192/np.17.2.3.

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Through his compositional contributions, Ferdo Wiesner Livadić enriched the Croatian (sacral) musical creativity of the age of Romanticism, realizing – alongside thirty church/sacral »small form« pieces – also one mass in Latin (Missa in C), and one in Croatian, with the title (Missa croatica pastoralis) as well as the titles of its parts/movements in Latin. By observing the autographical scores of the two Livadić’s masses, certain reflections regarding their similarities and differences had resulted; first of all, in terms of textual and language base, composition structure, performers’ ensam

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10

Kostyuk, Aleksei A., and Galina V. Alekseeva. "Emotions as a Phenomenon of Vocal and Opera Music." Problemy muzykal'noi nauki / Music Scholarship, no. 1 (2023): 168–77. http://dx.doi.org/10.56620/2782-3598.2023.1.168-177.

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The article examines the phenomenon of emotions as one of the leading patterns of creation of the vocal score of the singer-actor, the communicative intermediary between the composer, the librettist, the singer-actor and the listener-viewer. Opera as a synthetic art unites together music, poetry, production, scenography, the art of face-paint and costumes. By means of melody, its rhythmical and intonational texture builds up and ciphers those emotions which the singer must arouse from the listener-viewer. Frequently composers in the piano-vocal scores of their operas have provided descriptions

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11

Patrikov, Gueorgui. "PEDAGOGICAL PROBLEMS OF WORKING ON FOUR SKETCHES FOR A SYMPHONIC ORCHESTRA BY DIMITAR NENOV IN THE CURRICULUM IN ORCHESTRA CONDUCTING BY PIANO." KNOWLEDGE INTERNATIONAL JOURNAL 30, no. 2 (2019): 447–52. http://dx.doi.org/10.35120/kij3002447p.

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A simple reason to make Dimitar Nenov’s Four sketches for a symphonic orchestra part of the curriculum is their high artistic value. Even though they are a comparatively early opus, the Sketches were written with respectful professionalism and impress listeners with the impact they make. Another significant consideration that makes working on Four sketches for a symphonic orchestra scores in the orchestra-conducting classes especially valuable and useful, is the opportunity for the trainees to get to know the work better and acquire important conducting skills. The process of analyzing and per

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12

Grujić, Silvana. "LAKOĆA ŽIVLjENjA I STVARANjA." Muzički talas 29, no. 52 (2023): 64–72. http://dx.doi.org/10.46793/mt52.64g.

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In the monograph Mosaic of Memories, Snežana Nikolajević presented the life and work of Zoran Hristić, a composer, radio and TV editor, music writer, a man who loved art, family, people, socializing. His work and life were inspiring to look at from different aspects – both biographical and musicological. The author of the monograph and the composer had an extremely harmonious, friendly and collegial relationship that resulted in wonderful texts, compositions, dedications, interpretations, shows. Therefore, it is quite natural that Zoran Hristić wanted, and Snežana Nikolejvić realized in an ori

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13

Liu, Sha, and Genqiang Li. "Analysis of the Effect of Music Therapy Interventions on College Students with Excessive Anxiety." Occupational Therapy International 2023 (March 24, 2023): 1–11. http://dx.doi.org/10.1155/2023/3351918.

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In order to explore and analyze the effect of music therapy interventions on college students with excessive anxiety, this paper selected 240 year 2017- to year 2020-enrolled undergraduates from a comprehensive university in Taiyuan City, Shanxi Province, in Central China as research objects. These college students had been diagnosed as excessive anxiety and were randomly divided into two groups—intervention group and control group—with 120 students in each group. The control group received conventional mental health treatment for college students, while the intervention group received music t

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14

Seaton, Douglass. "Felix Mendelssohn Bartholdy. Sämtliche Werke für Violoncello und Klavier/Complete Works for Violoncello and Piano. Urtext. Edited by R. Larry Todd. Kassel: Bärenreiter, 2017. 2 vols. BA 9096, BA 9097. Scores xx+99, xx+54 pp. Violoncello parts 27+19 pp. € 32.95, 22.95." Nineteenth-Century Music Review 15, no. 1 (2017): 145–48. http://dx.doi.org/10.1017/s1479409817000660.

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15

Burel, Oleksandr. "“Nuit Persane” by C. Saint-Saëns: Oriental Story from a Frenchman." Aspects of Historical Musicology 34, no. 34 (2024): 55–91. http://dx.doi.org/10.34064/khnum2-34.03.

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Statement of the problem. Since the 18th century, oriental theme have been firmly established in French classical music . Camille Saint-Sa&#235;ns (1835–1921) did not miss it in his vocal cycle “Persian Melodies” for voice and piano op. 26 (1870), which he transformed later into a picturesque symphonic canvas “Nuit Persane” op. 26-bis (1891). The very fact of such a transformation cannot fail to arouse research interest, especially since the score became not just a vocal-orchestral version of “Persian Melodies”, but acquired features of spectacular theatricality. If the early period of the

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16

Bohatyriov, Volodymyr. "The strategy of historically oriented orchestration of M. Verbytskyi’s play “Pidhiriany”." Aspects of Historical Musicology 35, no. 35 (2024): 9–29. http://dx.doi.org/10.34064/khnum2-35.01.

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Statement of the problem. The historical circumstances that influenced Ukrainian culture throughout the XIX–XX centuries have given rise to the contemporary challenge of accessing musical scores, particularly original scores or orchestral voices of music theatrical works and orchestral compositions. Even the presence of copies of piano arrangements, individual instrumental parts, or segments of complete scores in private or state archives does not afford a comprehensive evaluation of the creative output of Ukrainian composers from the past nor enable its broad presentation to the public. This

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17

Solyanyk, M. "TheThirdString Quartet by B. Britten as a phenomenof the late composer style." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (2019): 50–60. http://dx.doi.org/10.34064/khnum1-55.04.

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The paper is devoted to theproblematics of the late style in composer creativity. The typologies of the late style described in the musical science works of recent years (including the thesesby E. Nazaikinsky and N. Savitskaya) are systematized. The characteristic of B. Britten’s chamberheritage is given in the context of the achievements of the English composer’s school of аnew musical renaissance of the twentieth century. The purpose of the research is to reveal the specificity of the last opus phenomenon. Achieving the goal of the research involves using the following methods: genre approac

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18

Crozier, Richard. "The Essential Guide to Jazz Styles for Keyboard by Christopher Norton. London: Boosey & Hawkes, 1997. £9.99, 61 pp. (book only); £13.95 (with SMF disk). - Microjazz for Absolute Beginners for piano or keyboard by Christopher Norton. London: Boosey & Hawkes, 1997. £4.99, 19 pp. (book only); £12.98 (with SMF disk). - The Microjazz Collection 1 Level 3 for piano or keyboard by Christopher Norton. London: Boosey & Hawkes, 1997. £6.99, 63 pp. (book only); £14.98 (with SMF disk). - Classroom Small Band Jazz by Richard Michael. London: Stainer and Bell Ltd., 1996. Books 1, 2, 3, 4 comprising Score (C part), B♭ part, E♭ part, Bass Clef part, backing tape. £50.00, Starter Pack contains 10 scores (C parts), 1 × each transposed part, 1 backing tape." British Journal of Music Education 15, no. 2 (1998): 225–27. http://dx.doi.org/10.1017/s0265051700009499.

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19

Kück, Patrick, Juliane Romahn, and Karen Meusemann. "Pitfalls of the site-concordance factor (sCF) as measure of phylogenetic branch support." NAR Genomics and Bioinformatics 4, no. 3 (2022). http://dx.doi.org/10.1093/nargab/lqac064.

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Abstract Confidence measures of branch reliability play an important role in phylogenetics as these measures allow to identify trees or parts of a tree that are well supported by the data and thus adequate to serve as basis for evolutionary inference of biological systems. Unreliable branch relationships in phylogenetic analyses are of concern because of their potential to represent incorrect relationships of interest among more reliable branch relationships. The site-concordance factor implemented in the IQ-TREE package is a recently introduced heuristic solution to the problem of identifying

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20

Biednyi, Andrii. "Impressionistic Tendencies in the Music of Ukrainian Composers." NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD, no. 4 (February 14, 2025). https://doi.org/10.32461/2226-3209.4.2024.322910.

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The purpose of the article is to study the Ukrainian national intonation in the context of impressionism, from its inception at the turn of the twentieth century to the modern period. The analysis is based on examples of the compositional styles of C. Debussy, M. Ravel, and E. Satie, as well as on the further transformation of stylistic features in the works of contemporary Ukrainian composers: B. Liatoshynskyi, A. Biloshytskyi, and V. Vlasov. The methodological basis of the study is based on the following methods: historical – used to describe the events associated with the emergence of the m

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21

Connor, Will. "Positively Monstrous!" M/C Journal 24, no. 5 (2021). http://dx.doi.org/10.5204/mcj.2822.

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Bones are one of the oldest materials used to create musical instruments. Currently, the world’s oldest known instruments are flutes made out of bones (Turk, Turk, and Otte 11). In fact, bones have been used to create or enhance musical instruments in a variety of settings throughout history and in modern day instrument making. Bone bull roarers, jaw bone percussion, clappers, trumpets, drum shells, lyres, or construction parts, such as frets, plectrums, pipes and pipe fittings, embouchure adjustments, or percussive strikes are just a few of the more common uses of bones in musical instrument

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