Relevant bibliographies by topics / Piano trios – Scores and parts

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Academic literature on the topic 'Piano trios – Scores and parts'

Author: Grafiati
Published: 29 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Piano trios – Scores and parts"

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Sokolova, Lidiya. "R. Schumann’s romantic “Fantastic Pieces” op. 88 – on the way to the piano trio." Aspects of Historical Musicology 16, no. 16 (2019): 126–42. http://dx.doi.org/10.34064/khnum2-16.07.

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Introduction. The article analyzes R. Schumann’s “Fantastic Pieces” op. 88 as a creative debut in the subsequent development of the piano trio genre. The “Fantastic Pieces” op. 88 are the first composer’s creative experience in combining such musical instruments. Theoretical Background. The analysis of musicological literature did not reveal any special research dedicated to this score, but only its references in E. Karelina’s (1996) thesis research and D. Zhitomirsky’s (1964) monograph. Thus, this article is the first special research of the compositional and ensemble analysis of R. Schumann’
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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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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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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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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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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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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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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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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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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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Dissertations / Theses on the topic "Piano trios – Scores and parts"

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Chan, Sze-rok, and 陳詩諾. "Inspired by the Hindu tradition: compositionsand reflections." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37933966.

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Cheng, Yu-sum Anthony, and 鄭汝森. "An application of Arnold Schoenberg's gedanke manuscript as a blueprint theory for a portfolio of original compositions." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hdl.handle.net/10722/209587.

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Wallace, Frank James. "Graduation recital compositions." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/42046.

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Bejo, Ermir. "Postmodern Multiplicities in Three Original Works." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062830/.

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My recent compositions are situated within a postmodern theoretical framework. The heterogeneity of materials and hybridity of musical formation in these works are interpreted and contextualized within a personal reading of postmodern theories. The critical essay traces my aesthetics through a historical investigation into the definition of musical postmodernism. Through extensive citation and analysis of the writings of Julius T. Fraser, Italo Calvino, and Richard Rorty, the essay aims to provide a theoretical context for the interpretation of the musical examples. The creative documentation
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"A portfolio of four original music compositions." 1998. http://library.cuhk.edu.hk/record=b5889514.

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Trombone concerto (first movement) -- Post-Zero -- Trio for flute, violin and cello, no. 2.<br>submitted by Tang Pan-hang Benny.<br>Thesis submitted in: December 1997.<br>Thesis (M.Mus.)--Chinese University of Hong Kong, 1998.<br>Abstract also in Chinese.<br>Abstract --- p.i<br>摘要 --- p.ii<br>Acknowledgment --- p.iii<br>Declaration --- p.iv<br>Introduction --- p.1<br>Trombone Concerto (first movement) --- p.2<br>Programme notes --- p.3<br>Remarks --- p.5<br>Instrumentation --- p.6<br>Seating Plan --- p.7<br>Scores --- p.8<br>Post-Zero 零後 --- p.56<br>Introduction --- p.57<br>Progra
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"A portfolio of music compositions." 2006. http://library.cuhk.edu.hk/record=b5896515.

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The giving tree : for soprano, tenor, violin, cello and piano / text by Shel Silverstein -- Duo 《琴笙曲》 : for 2 harmonicas -- Clarinet duet : for clarinet and live electronics -- Playing game : for orchestra -- Sculpture II 《浮塑二》 : for pipa and Chinese orchestra -- Volcanicity 《原・始》 : for sheng and Chinese orchestra.<br>The giving tree : for soprano, tenor, violin, cello and piano / text by Shel Silverstein -- Duo "Qin sheng qu" : for 2 harmonicas -- Clarinet duet : for clarinet and live electronics -- Playing game : for orchestra -- Sculpture II "Fu su er" : for pipa and Chinese orchestra -- Vo
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"A portfolio of original composition." 1997. http://library.cuhk.edu.hk/record=b5889442.

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by Lee, Lo Ping Arthur.<br>Thesis (M.Mus.)--Chinese University of Hong Kong, 1997.<br>Chapter (1) --- "Two Bagatelles for Violin, Cello and Piano (1995)"<br>Chapter (2) --- "Three Scenes for Flute, Oboe, Clarinet in B-flat, Horn in F, Bassoon and Piano (1996)"<br>Chapter (I) --- "Introspection (for Flute, Oboe, Clarinet in B-flat, Horn in F and Bassoon)"<br>Chapter (II) --- Monologue (for Flute Solo)<br>Chapter (III) --- "A Mental Walk (for Flute, Oboe, Clarinet in B-flat, Bassoon and Piano)"<br>Chapter (3) --- """ Dies irae"" for Soprano solo, SATB chorus and Orchestra (1997)"
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"Three compositions." Chinese University of Hong Kong, 1994. http://library.cuhk.edu.hk/record=b5895456.

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by Lee Chui Ling.<br>Thesis (M.Mus.)--Chinese University of Hong Kong, 1994.<br>Preface --- p.1<br>Chapter I. --- Twinkling --- p.3<br>Chapter i) --- Analysis-----Introduction --- p.4<br>Chapter ----- --- Formal structure<br>Chapter ----- --- Musical elements<br>Chapter ii) --- Score (with performance notes) --- p.8<br>Chapter II. --- Emancipation --- p.14<br>Chapter i) --- Analysis 226}0ؤ Introduction --- p.15<br>Chapter ----- --- First movement ~ Formal structure<br>Chapter ~ --- Orchestration<br>Chapter ----- --- Second movement ~Formal structure<br>Chapter ~ --- Harmony<br>Chapter --
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Grant, Quentin Stuart David. "Portfolio of original compositions." Thesis, 2008. http://hdl.handle.net/2440/51095.

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This submission comprises a portfolio of fifteen original musical works and an exegesis that comments on five of these works. Recordings of twelve of the fifteen compositions are included. These pieces demonstrate an ongoing investigation into structure, and the discussion will provide an insight into the constant process of experimentation and consolidation involved in developing such a body of work. In the exegesis I open with a general conversation on the compositional process and then focus on the formal problems inherent in this process. I then discuss the five scores included in the ma
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Grant, Quentin Stuart David. "Portfolio of original compositions." 2008. http://hdl.handle.net/2440/51095.

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This submission comprises a portfolio of fifteen original musical works and an exegesis that comments on five of these works. Recordings of twelve of the fifteen compositions are included. These pieces demonstrate an ongoing investigation into structure, and the discussion will provide an insight into the constant process of experimentation and consolidation involved in developing such a body of work. In the exegesis I open with a general conversation on the compositional process and then focus on the formal problems inherent in this process. I then discuss the five scores included in the main
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Books on the topic "Piano trios – Scores and parts"

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John, Eaton. Piano trio for piano, violin, cello. Associated Music Publishers, 1987.

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Amadeus, Mozart Wolfgang. Klaviertrios =: Piano trios. Bärenreiter, 2004.

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Frank, Andrew. Piano trio. Fallen Leaf Press, 1990.

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Lazarof, Henri. Piano trio for violin, violoncello, and piano. Merion Music, 1989.

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Robin, Elliott. Chamber music I: Piano trios. Edited by Canadian Musical Heritage Society. Canadian Musical Heritage Society = Socie te pour le patrimoine musical canadien, 1989.

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Caltabiano, Ronald. Piano trio: A duo for three players : for violin, cello, and piano. Merion Music, 1988.

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Muczynski, Robert. First piano trio, op. 24. T. Presser, 1987.

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Weiner, Lawrence. Dialogues: For violin, cello, and piano. Southern Music Co., 1987.

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Muczynski, Robert. Third piano trio, op. 46 (1987). T. Presser, 1990.

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Sierra, Roberto. Trio tropical: For piano trio (1991). Subito Music, 1991.

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Book chapters on the topic "Piano trios – Scores and parts"

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Eisen, Cliff. "The Mozarts’ Salzburg Music Library." In Mozart Studies 2. Oxford University PressOxford, 1997. http://dx.doi.org/10.1093/oso/9780198163435.003.0003.

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Abstract The reconstruction and description of music libraries, whether institutional, commercial, or private, has traditionally been a respected musicological endeavour, and for good reason: libraries apparently open otherwise closed doors onto the aesthetic and performance predispositions of different times, places, and societies. In the case of individual composers, they seem to offer unequivocal evidence for the musical taste, acquaintance, and education of their owners, or to establish putative influence. Mozart figured prominently in nineteenth-century libraries, for both musical and ant
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Heyman, Barbara B. "Song Cycles." In Samuel Barber. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863739.003.0013.

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Back in America, Barber happily focused on composing songs. Drawn to Rainer Maria Rilke’s French poems, he created five songs, Mélodies passagères. When asked, he said that he composed in French because he had fallen in love with Paris. He sang excerpts of the cycle to his friend, composer Francis Poulenc, who confirmed the accuracy of the prosody and admired the songs so much he premiered them in Paris with Pierre Bernac in 1952, which Barber attended as he was there for a meeting of the International Music Council. In 1952, Barber received a commission from the Ballet Society to orchestrate
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Reports on the topic "Piano trios – Scores and parts"

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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of
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