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Relevant bibliographies by topics / Pianos (2) with percussion ensemble

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Academic literature on the topic 'Pianos (2) with percussion ensemble'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Pianos (2) with percussion ensemble"

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Drew, David. "Notes on Gerhard's ‘Pandora’." Tempo, no. 184 (March 1993): 14–17. http://dx.doi.org/10.1017/s0040298200002618.

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Gerhard composed Pandora in wartime Cambridge, England, between December 1942 and April 1943. It was commissioned for Europe's leading Modern Dance company, the Ballet Jooss, which had left Germany and its Essen base after Hitler's seizure of power, and had established itself, more or less precariously, in England. The score is dedicated ‘to Alice Isabella Roughton’, and uses the ensemble of two pianos with light percussion which Jooss had favoured since the earliest days in Germany and now found well suited to conditions of wartime austerity.

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Stetsiuk, Bohdan. "The origins and major trends in development of jazz piano stylistics." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 411–28. http://dx.doi.org/10.34064/khnum2-19.24.

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This article characterizes development trends in jazz piano from its origins in the “third-layer” (Konen, V., 1984) of music (ragtime and other “pre-jazz” forms) to the present time (avant-garde and retro styles of the late 20th – early 21st centuries). Main attention was devoted to the stylistic sphere, which represents an entirety of techniques and methods of jazz piano improvisation and combines genre and style parameters. In this context, the currently available information about jazz pianism and its sources (Kinus,Y., 2008; Stoliar, R., 2017) was reviewed, and sociocultural determinants, which contributed to the advent and changes of jazz piano styles were highlighted. Standing out among them at the first (traditional) stage are the schools and individual creative techniques known under generic name “stride piano” and based on the ragtime technique. At the second (contemporary) stage beginning from bebop, jazz piano stylistics gradually diverge from standardized textural formulas of homophonicharmonic type and attain fundamental diversity depending on creative attitudes of leading jazz pianists. The question of jazz piano stylistics is one of the least studied in jazz theory. The existing works devoted to this subject address mostly the sequence of the advent and changes of jazz piano styles along with the general characteristics of their representatives. Beginning from approximately the 1920s, jazz piano styles appeared and changed so fast that they left no time for their comprehension and perception (Kinus, Y., 2008). Only in the newest stylistics of the period after bebop, which divided the art of jazz into traditional and contemporary stages, did these styles attain a certain shape in new modifications and become the components of a phenomenon defined by the generic notion “jazz pianism”. It was stated that the genesis of this phenomenon is usually seen in the art of ragtime, carried in the United States of the late 19th – early 20th centuries by itinerant pianists. This variety of “third-layer” piano music playing produced a significant impact on the art of jazz in general, which is proved by its reproduction in the Dixieland and New Orleans styles as some of the first examples of jazz improvisation. The stylistics of ragtime influenced the entire first stage of jazz piano, which traces its origins back to approximately the 1910s. It combined mental features and esthetics of two traditions: European and Afro-American, which in the entirety produced the following picture: 1) popular and concert area of music playing; 2) gravitation toward demonstration of virtuosic play; 3) domination of comic esthetics; 4) objectivity of expression; 5) tendency toward the completeness of form; 6) inclination toward stage representation. In technological (texturalpianistic) aspect, ragtime, reproduced in the jazz stylistics of stride piano, demonstrated the tendency toward universalization of piano, which combined in the person of one performer the functions of solo and accompaniment, derived from the practice of minstrel banjoists related to the percussion-accented rhythmics of dance accompaniment (Konen, V., 1984). It was stated that ragtime as the transitional bridge to jazz piano existed simultaneously with other forms of “third-layer” music playing found in the Afro-American environment (unlike ragtime itself, which was an art of white musicians). These were semi-folklore styles known as “barrel house” and “honky-tonk(y) piano” cultivated in Wild West saloons. The subsequent development of jazz piano stylistic went along the lines of more vocal and specific directions related mostly to peculiarities of playing technique. Among the more global origins equal in significance to ragtime and stride pianists derivative, blues piano stylistics is worth noting. It represents an instrumental adaptation of vocal blues, which had the decisive influence over the melodics and rhythmics of the right hand party of jazz pianists (ragtime and stride piano highlighted and consolidated the typical texture of accompaniment, i.e., the left hand party). Blues piano style is a multicomponent phenomenon that shaped up as a result of efforts taken by a whole number of jazz pianists. It was developed, and continues to exist until presently, in two variants: a) as a solo piano variant, b) as a duet variant (piano and vocal). Along with blues piano, a style known as “boogie-woogie” was cultivated in jazz piano stylistics of the period before bebop as the new reminiscence of the pre-jazz era (with rock-n-roll becoming a consequence of its actualization in the 1950–1960s). A stylistic genre known as “Harlem piano style” (its prominent representatives include Luckey Roberts, James P. Johnson, Willie “the Lion” Smith, and Thomas “Fats” Waller) became a sort of compendium that combined genetic components of traditional jazz piano. This school has finally defined jazz piano as a form of solo concert music playing, which also determined the subsequent stylistic varieties of this art, the most noteworthy of which are “trumpet piano style”, “swing piano style” and “locked hands style”. Their general feature was interpretation of the instrument as a “small orchestra”, which meant rebirth at the new volute of a historical-stylistic spiral of the “image” of universal piano capable of reproducing the “sounds” of other instruments, voices and their ensembles. Outstanding pianists of various generations have been, and are, the carriers (and often “inventors”) of jazz piano styles. It should suffice to mention the names of such “legends” of jazz as Art Tatum, Oscar Peterson, Thelonious Monk, Bud Powell, Bill Evans, and also Herbie Hancock, Chick Corea, Keith Jarrett (older generation), Gonzalo Rubalcaba, Brad Mehldau, Vadim Neselovskyi, Robert Glasper (middle generation), Eldar Djangirov, Tigran Hamasyan, Cory Henry (younger generation). Conclusions. The description of the stages of development of jazz piano pianism made in this article proves that its polystylistic nature is preserved, and the main representative of certain stylistic inclinations were and remain the texture. Textured formulas serve as the main objects of stylistic interpretations for jazz pianists of different generations. These readings are represented by two vectors – retrospective (revival of jazz traditions) and exploratory, experimental (rapprochement with the academic avant-garde). Of great importance are the styles of personalities, in which polystylistic tendencies are combined with the individual playing manners and improvisation, which, in general, is the most characteristic feature of the current stage of development of jazz piano art.

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Torrance, Tracy A., and Jennifer A. Bugos. "Music Ensemble Participation: Personality Traits and Music Experience." Update: Applications of Research in Music Education 36, no. 1 (October 26, 2016): 28–36. http://dx.doi.org/10.1177/8755123316675481.

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The purpose of this study was two-fold: (1) to examine the relationship between personality type and ensemble choice and (2) to examine the differences in personality across age and music experience in young adults. Participants ( N = 137; 68 instrumentalists, 69 vocalists) completed a demographic survey and the Big Five Personality Inventory. Results of a multivariate analysis of covariance show significantly higher levels of Extroversion by vocalists compared to instrumentalists, F(135) = 5.71, p = .02, d = 0.44. However, mean personality scores by section show high levels of Extroversion in percussionists, similar to vocalists, suggesting that extroverted individuals may be more likely to choose percussion or voice as their primary instrument. These data have many implications for structuring curriculum, establishing learning environments, and facilitating teacher-student communications.

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Sediuk, I. O. "Artistic and aesthetic ideas in “Plays” for two pianos by P. Dambis." Aspects of Historical Musicology 15, no. 15 (September 15, 2019): 181–98. http://dx.doi.org/10.34064/khnum2-15.09.

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Background. The piano ensemble as a special type of chamber music has become popular in recent decades, as evidenced by numerous international piano duo competitions taking place in different countries, music festivals, master classes. Whereas a large number of scientifi c works is devoted to four-hand duo, two-piano ensemble began to attract the active attention of researchers only in the present day. Despite the individual approaches to its specifi cs and selected music examples, the generic properties of this phenomenon, which distinguish it among other forms of duo music, remain uncertain. Also, the ensemble features the numerous works of the 20th century demonstrating the attraction of the newest composing techniques, enhancing the role of sound and numerical structures, the law of symmetry, etc., while preserving continuity with tradition require a profound study. Objectives. The purpose of the article is to uncover a meaningful idea as well as artistic and aesthetic principles in the macro cycle “Plays” for two pianos by P. Dambis. Methods. An integrated approach together with the theoretical and the comparative research methods was used. Results. A series of ensemble pieces for two pianos by the Latvian composer P. Dambis appears as a kind of quintessence of playing performance logic. During the period of 1973 to 1979, the composer wrote a cycle of 10 pieces, organized in 3 series. The author unites all the pieces under a single name “Plays”, thus revealing his understanding of the piano duo possibilities. The fi rst series dates back to 1973–1974 and includes three contrasting pieces that have different image and style reference. All of them bear the imprint of modern compositional technology, while maintaining an organic connection with cyclic genres. Each of the plays has its internal contrasts, as evidenced by the change of texture and intonation complexes. Emphasizing the second-third music phrases, ostinato repetition, multiple transformations variants of the original element very distinctly makes the Piece Nr. 1 resemble the neofolklore searches of the 20th century without a direct connection with folk sources. In the Piece Nr. 2, the play-dialogue unfolds in the image stylistic space of romanticism, creating an allusion to the famous “La Campanella” by F. Liszt, as well as to the unpretentious music world of F. Mendelssohn. The last Piece of this series demonstrates the synthesis of diatonic and chromatic scales, various types of motion, inversion of structures, shifting of accents, repetitious chanting, sonorant aleatoric synchronous performance of sound complexes. The second series of “Plays” (1975–1976) includes two Pieces; it continues with the variety of previously embodied constructive motifs, although it outlines them more sharply through the opposing ensemble parts. The technique of moving each of the parts into their tonal environment in the Piece Nr. 4 emphasizes their independence, causing the exchange of replicas as if in a dialogue. Whereas Piano I part goes in B-dur and its melody is perceived as an allusion to the second movement of Schumann’s Kreisleriana, in Piano II part, we see harmonious fi guration of polytonal connections: G major - Fis-dur. A colorful palette is created, and it generates a “tail” of sonorous effects. They are achieved through the register technique when the parts of the ensemble are gradually mixed together. On the other hand, the whole usage of white and black keyboard appears in a new way, more broadly – of diatronics and chromaticism, which are interpreted in the music of the twentieth century as certain image-bearing spheres that are sometimes opposed to each other, and as the fundamental constants of different music systems. The Piece Nr. 5 is composed in the competitive spirit between sonorous effects, which is typical for the fi nal sections, and the traditional vocabulary of metric music. The third series of “Plays” (1978–1979) is the largest one as it includes fi ve pieces. Whereas in the fi rst two series of “Plays” the principle of randomness comes into effect periodically, then, beginning with the play number 6, it dominates in the creation of themes and forms. In the third series, P. Dambis embodies sonority and aleatory techniques in different ways either through creating the necessary effect by using an unregulated overlay of diachromatic sequences or interval structures, or through combining them with the traditional rhythm and metric methods of writing. The Piece Nr. 8 can be attributed to the samples where the prominent thematic principle prevails: that is, the clearly defi ned “landscape – background” texture, the presence of constructions that refer to certain genre prototypes, the dance scherzo themes, the energy of the dotted rhythm in triad chords etc. The “Plays” Nr. 9 differ by the miniature form, which is easily explained by using the already well-known playing fi gures. P. Dambis retains the contrast of two clearly defi ned sections, the ametric and the metric music presented both in the horizontal and in the vertical projections, written all the texture voices throughout the whole section and the square structure of the interval sequence. Despite the difference between thematic ideas in this piece, their similarity is revealed through more careful analysis. In other words, the composer offers different modes of one and the same thing. In contrast to the statuesque fi gures, typical of P. Dambis, which get their internal mobility through the ostinato repetition, in the Plays Nr 9. the author introduces the hemi-group that chromatically descends in both parts in parallel, and then moves in opposite directions. Although long time values predominate here, their weight is neutralized by the tempo, thrills, and wide steps. The leaps that exceed the octave bring the game factor; additionally, they are emphasized by a syncope. We can observe a theatrical play with different characters involved, which is enhanced with the comic techniques. Conclusions. The macrocycle for two pianos by P. Dambis reveals the composer’s attitude to both tradition and new discoveries in the music of the 20th century. Nine music pieces represent a kind of anthology showing the development of composer’s thought as a whole: from the desire to preserve the connection with folk prototypes, as evidenced by the signs of the “sutatirne” in the fi rst two pieces, through various allusions of the famous classical examples, to sonoric aleatory technique , which appears as a modus of Baroque improvisation on the new stage of the history. In this sense, the title “Plays” the composer chose acquires new semantic overtones, bringing varied experience of musical culture and allowing to attribute the macrocycle to the synthesizing tendency in music of the previous century.

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Driver, Paul. "Gruber's Concertos." Tempo, no. 178 (September 1991): 22–27. http://dx.doi.org/10.1017/s004029820001398x.

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The concerto evidently appeals to HK Gruber, as symphonies do not. He has so far written four works that are unambiguously in this form: ‘…aus schatten duft gewebt…’, a concerto for violin and orchestra of 1977–8; the concerto for percussion and orchestra Rough Music (Rauhetöne) of 1982–3; Nebelsteinmusik, for solo violin and string orchestra, of 1988; and the Concerto for Cello and Chamber Orchestra of 1989. Ambiguous examples of the form are his early Concerto for Orchestra (1960–64) – concertos for orchestra are by definition ambiguous – and Frankenstein!!, his ‘pan–demonium’ (rather than ‘concerto’) for baritone chansonnier and orchestra (on children's rhymes by H.C. Artmann), finalized in 1977. Then there are four works which remain in manuscript (withdrawn from circulation): Concerto No. l for flute, vibraphone, xylophone and percussion (1961); Concerto No. 2 for tenor saxophone, double bass and percussion (1961); ‘furbass’ for double bass and orchestra; and an unsatisfactory forerunner of the violin concerto, Arien (1974–5). The symphony he has not touched; and one is tempted to see in this reliance on solo/ensemble confrontation an attempt to hold together the self–splintered, all too globally diversified language of the late 20th century by an eloquent soloist's sheer persuasiveness, by musical force, so to speak, the soloist being dramatized as a kind of Atlas. In the same way Gruber's recourse to popular songs and idioms of ‘light music’ in these works can seem like a desperate attempt to find a tonal prop and sanction for a language so pervasively threatened by tone–deafness and gobbledygook.

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Wei, Hai-Cheng, Na Ta, Wen-Rui Hu, Ming-Xia Xiao, Xiao-Jing Tang, Bagus Haryadi, Juin J. Liou, and Hsien-Tsai Wu. "Digital Volume Pulse Measured at the Fingertip as an Indicator of Diabetic Peripheral Neuropathy in the Aged and Diabetic." Entropy 21, no. 12 (December 16, 2019): 1229. http://dx.doi.org/10.3390/e21121229.

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This study investigated the application of a modified percussion entropy index (PEIPPI) in assessing the complexity of baroreflex sensitivity (BRS) for diabetic peripheral neuropathy prognosis. The index was acquired by comparing the obedience of the fluctuation tendency in the change between the amplitudes of continuous digital volume pulse (DVP) and variations in the peak-to-peak interval (PPI) from a decomposed intrinsic mode function (i.e., IMF6) through ensemble empirical mode decomposition (EEMD). In total, 100 middle-aged subjects were split into 3 groups: healthy subjects (group 1, 48–89 years, n = 34), subjects with type 2 diabetes without peripheral neuropathy within 5 years (group 2, 42–86 years, n = 42, HbA1c ≥ 6.5%), and type 2 diabetic patients with peripheral neuropathy within 5 years (group 3, 37–75 years, n = 24). The results were also found to be very successful at discriminating between PEIPPI values among the three groups (p < 0.017), and indicated significant associations with the anthropometric (i.e., body weight and waist circumference) and serum biochemical (i.e., triglycerides, glycated hemoglobin, and fasting blood glucose) parameters in all subjects (p < 0.05). The present study, which utilized the DVP signals of aged, overweight subjects and diabetic patients, successfully determined the PPI intervals from IMF6 through EEMD. The PEIPPI can provide a prognosis of peripheral neuropathy from diabetic patients within 5 years after photoplethysmography (PPG) measurement.

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Surtihadi, R. M. "Music Acculturation in Rhythm of kapang-kapang Bedhaya and Srimpi Dance in the Keraton of Yogyakarta (A Case Study)." International Journal of Creative and Arts Studies 3, no. 2 (December 29, 2017): 47. http://dx.doi.org/10.24821/ijcas.v3i2.1844.

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The research’s aim is to notice the music acculturation in the rhythm of female dance of Bedhaya and Srimpi dances in the Kingdom of Yogyakarta on the line-movement on-to the stage or leaving it (kapang-kapang). Besides, the research is going to discuss a West music instrument acculturation phenomenon with Javanese Traditional Gamelan Orchestra on the rhythm of female dance of Bedhaya and Srimpi dances that are still exist nowadays. The case study is focus on the usage of some West music instrument such as drum (percussion section), woodwind (woodwind section), brass-wind (brass-wind section), and stringed (stringed section) in the rhythm of the dances which are being mentioned above. The method which is being used first is by doing the quality data analysis. The result of the research are two mainly findings; those are 1) the inclusion of various elements of the palace ceremonial ritual by The Netherlands Indies government which were the impact of the European Colonization in the island of Java, especially in Yogyakarta; it has made a mentally structure of the people of Yogyakarta that would have created culture capitalized and which are being used in the context of Yogyakarta as the city of culture. 2) European military music for marching is being the inspiration of the palace to create Gendhing Mars which is being used as the rhythm in the marching movements of female dancers (kapang-kapang) together along with the ensemble of Javanese Traditional Gamelan Orchestra and the European music instruments which are being played in one sound (unisono).

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Vaisberg, Jonathan M., Ashley T. Martindale, Paula Folkeard, and Cathy Benedict. "A Qualitative Study of the Effects of Hearing Loss and Hearing Aid Use on Music Perception in Performing Musicians." Journal of the American Academy of Audiology 30, no. 10 (November 2019): 856–70. http://dx.doi.org/10.3766/jaaa.17019.

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AbstractHearing aids (HAs) are important for the rehabilitation of individuals with hearing loss. Although the rehabilitation of speech communication is well understood, less attention has been devoted to understanding hearing-impaired instrumentalists’ needs to actively participate in music. Despite efforts to adjust HA settings for music acoustics, there lacks an understanding of instrumentalists’ needs and if those HA adjustments satisfy their needs.The purpose of the current study was to explore the challenges that adult HA-wearing instrumentalists face, which prevent them from listening, responding to, and performing music.A qualitative methodology was employed with the use of semistructured interviews conducted with adult amateur instrumentalists.Twelve HA users who were amateur ensemble instrumentalists (playing instruments from the percussion, wind, reed, brass, and string families) and between the ages of 55 and 83 years (seven men and five women) provided data for analysis in this study. Amateur in this context was defined as one who engaged mindfully in pursuit of an activity.Semistructured interviews were conducted using an open-ended interview guide. Interviews were recorded and transcribed verbatim. Transcripts were analyzed using conventional qualitative content analysis.Three categories emerged from the data: (1) participatory needs, (2) effects of HA use, and (3) effects of hearing loss. Participants primarily used HAs to hear the conductor’s instructions to meaningfully participate in music rehearsals. Effects of HA use fell within two subcategories: HA music sound quality and use of an HA music program. The effects of hearing loss fell within three subcategories: inability to identify missing information, affected music components, and nonauditory music perception strategies.Not surprisingly, hearing-impaired instrumentalists face challenges participating in their music activities. However, although participants articulated ways in which HAs and hearing loss affect music perception, which in turn revealed perspectives toward listening using the auditory system and other sensory systems, the primary motivation for their HA use was the need to hear the conductor’s directions. These findings suggest that providing hearing-impaired instrumentalists access to musical experience via participation should be prioritized above restoring the perception of musical descriptors. Future research is needed with instrumentalists who no longer listen to or perform music because of hearing loss, so that the relationship between musical auditory deficiencies and participation can be better explored.

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Reynolds, Peter. "Christian Wolff, et al. - ‘PIANIST: PIECES’: CHRISTIAN WOLFF. CD1: For Pianist: For Piano I; Suite (I); For Prepared Piano; For Piano II; For Piano With Preparations; For Pianist. CD2: Long Piano (Peace March 11). CD3: Pianist Pieces; A Piano Piece; Nocturnes 1-6; Small Preludes; Touch. Philip Thomas (pno). Sub Rosa SR389 - ‘TWO PIANOS AND OTHER PIECES, 1953–1969’: MORTON FELDMAN. CD 1: Two Pianos; Four Instruments; Vertical Thoughts 1; Between Categories; Piece for Four Pianos; Piano Four Hands. CD2: Intermission 6; De Kooning; Two Pieces for Three Pianos; Piano Three Hands; False Relationships and the Extended Ending; Two Pianos second version. John Tilbury, Philip Thomas, Catherine Laws & Mark Knoop (pno), Anton Lukoszevieze & Seth Woods (vc), Mira Benjamin & Linda Jankowska (vln), Rodrigo Constanzo & Taneli Clarke (perc.), Barrie Webb (tromb.), Naomi Atherton (hn). Another Timbre at81 × 2 - ‘THE WIND IN HIGH PLACES’: JOHN LUTHER ADAMS. The Wind in High Places1; Canticles of the Sky2; Dream of the Canyon Wren3. 1,3JACK Quartet, 2Northwestern University Cello Ensemble c. Hans Jørgen Jensen. Cold Blue Music CB0041." Tempo 69, no. 273 (July 2015): 41–43. http://dx.doi.org/10.1017/s0040298215000169.

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Wiecki, Ron. "The Harry Partch Collection. Vol. 1: Eleven Intrusions, Plectra and Percussion Dances, Castor and Pollux—A Dance for the Twin Rhythms of Gemini, Ring Around the Moon—A Dance for Here and Now, Even Wild Horses—Dance Music for an Absent Drama, Ulysses at the Edge. Harry Partch with assisting performers. Liner notes by Bob Gilmore. New World Records 80621-2, 2004. The Harry Partch Collection. Vol. 2: The Wayward: U.S. Highball—A Musical Account of a Transcontinental Hobo Trip, San Francisco—A Setting of the Cries of Two Newsboys on a Foggy Night in the Twenties, The Letter, Barstow—Eight Hitchhiker Inscriptions From a Highway Railing at Barstow, California, And on the Seventh Day Petals Fell in Petaluma. Harry Partch with assisting performers, the Gate 5 Ensemble, and the Harry Partch Ensemble. Liner notes by Bob Gilmore. New World Records 80622-2, 2004." Journal of the Society for American Music 1, no. 3 (July 17, 2007): 403–5. http://dx.doi.org/10.1017/s1752196307070162.

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Dissertations / Theses on the topic "Pianos (2) with percussion ensemble"

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May, Andrew Emerson Ralph Waldo. "Vanishing : a composition for ensemble and computer /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p9984809.

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Thesis (Ph. D.--Music)--University of California, San Diego.
Vita. For flute (piccolo), piano, percussion (1 performer), 2 violas, 2 violoncellos, and computer. Includes technical notes and instructions for performance preceding score.

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Behnen, Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar. "Volume I. The construction of motion graphics scores Volume II. Seven motion graphics scores /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1581435611&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of California, Los Angeles, 2008.
CD-ROM entitled "The motion graphics scores of Severin Behnen" includes the animated scores. Includes bibliographical references (v. 1, leaves 138-142).

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Ujj-Hilliard, Emöke. "An Analysis of the Genesis of Motive, Rhythm, and Pitch in the First Movement of the Sonata for Two Pianos and Percussion by Béla Bartók." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4480/.

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This dissertation presents evidence that Béla Bartók created his masterwork, the Sonata for Two Pianos and Percussion (1937), in a very complex period of his life. Since it was a mature piece, Bartók utilized typically "Bartókian" compositional techniques and styles. His ethnomusicological studies were also influential factors in the creation of the Sonata for Two Pianos and Percussion. We can be witness to how different the first draft was to the published version; the minor and major changes are revealed in the draft study of the Sonata for Two Pianos and Percussion 's first movement. These changes allow today's musicians to reconstruct the compositional process. The first movement introduces some interesting uses of sonata form, to be explored in more detail in the analysis. Starting with linear analysis, the basic motives and rhythmic patterns are discussed and supported with Bartók's own explanations. The conclusion of this study has important ramifications for performance: it eases up the pressure on the performers, since problematic passages are analyzed and explained - preparing the players' mentally for the performance. This is music which is hard to play and difficult to analyze. The analysis, combining the results of both theoretical and musicological studies, is intended to help both analysts and performers understand the genesis of the piece and, for performers, to execute the music in the best possible manner.

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Kingan, Michael Gregory. "The Influence of Bela Bartok on Symmetry and Instrumentation in George Crumb's Music for a Summer Evening with Three Recitals of Selected Works of Abe, Berio, Dahl, Kessner, Miki, Miyoshi, and Others." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278688/.

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The purpose of this document is to investigate the influence of Bela Bartok's music, specifically the Sonata for Two Pianos and Percussion, on George Crumb's Music for a Summer Evening. It concentrates on two specific areas: 1) the role of symmetry and 2) instrumentation. These two items were stressed during an interview with Crumb by the author, which is appended to the paper.

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Varner, Michael L. "An Examination of David Maslanka's Marimba Concerti: Arcadia II for Marimba and Percussion Ensemble and Concerto for Marimba and Band, A Lecture Recital, Together With Three Recitals of Selected Works of K.Abe, M. Burritt, J. Serry, and Others." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2262/.

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Although David Maslanka is not a percussionist, his writing for marimba shows a solid appreciation of the idiomatic possibilities developed by recent innovations for the instrument. The marimba is included in at least eighteen of his major compositions, and in most of those it is featured prominently. Both Arcadia II: Concerto for Marimba and Percussion Ensemble and Concerto for Marimba and Band display the techniques and influences that have become characteristic of his compositional style. However, they express radically different approaches to composition due primarily to Maslanka's growth as a composer. Maslanka's traditional musical training, the clear influence of diverse composers, and his sensitivity to extra-musical influences such as geographic location have resulted in a very distinct musical style. His exemplary attention to detail and sound timbres give his works an individualized stamp. The evolution of motivic gestures is the most distinctive characteristic of Maslanka's compositional process. Maslanka freely incorporates forms and structural principles of the baroque and classical periods, but these principles are not applied in a strict sense. These factors combine to produce two works that are both unique and significant in the literature for marimba. They exhibit a sensitivity to sound timbres while maintaining a mature approach to melody, harmony, and rhythm acknowledging the traditions of earlier eras. This study examines compositional techniques, aspects of formal structure, tonality, melodic content, and marimba technique found in David Maslanka's Arcadia II: Concerto for Marimba and Percussion Ensemble (1982), and Concerto for Marimba and Band (1990). Transcripts of personal interviews provide valuable insights into Maslanka's approach to composition and other issues pertinent to the study of his compositions for marimba. Biographical information and an overview of his works that include marimba will serve as background material.

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Goodner, Robert Lynn. "Chamber music featuring trumpet in three different settings with voice, with woodwinds, with strings." 2007. http://hdl.handle.net/1903/9729.

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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.
submitted by Tang Pan-hang Benny.
Thesis submitted in: December 1997.
Thesis (M.Mus.)--Chinese University of Hong Kong, 1998.
Abstract also in Chinese.
Abstract --- p.i
摘要 --- p.ii
Acknowledgment --- p.iii
Declaration --- p.iv
Introduction --- p.1
Trombone Concerto (first movement) --- p.2
Programme notes --- p.3
Remarks --- p.5
Instrumentation --- p.6
Seating Plan --- p.7
Scores --- p.8
Post-Zero 零後 --- p.56
Introduction --- p.57
Programme notes --- p.57
Performance direction --- p.61
Instrumentation --- p.62
Seating plan --- p.62
Scores --- p.63
"Trio for Flute, Violin and Cello No.2" --- p.144
Programme notes --- p.145
Performance direction --- p.145
Scores --- p.146
Biography --- p.159
Music Works List --- p.160

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8

McKittrick, J. Cameron. "Graduate recitals." Thesis, 1994. http://hdl.handle.net/2429/5441.

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The loss of personal meaning is explored by analogy through manipulation of the relationship between musical content and its possible interpretations. Recognized musical signals are used out of context. Weightless signals are used in absolutely rigid and unified structures. These approaches were brought to the stage before a live audience in a single recital on March 6, 1994.

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9

Weekes, Diana K. "Twistonality [music] : a personal exploration : portfolio of original compositions and exegesis." 2007. http://hdl.handle.net/2440/57119.

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Title page, table of contents and abstract; v.2: table of contents; v.3: table of contents only. The complete thesis in print form is available from the University of Adelaide Library.
This doctoral submission comprises three volumes and is entitled Twistonality: A Personal Exploration. Volume One consists of a portfolio of eleven original compositions, Volume Two is an exegesis and Volume Three contains live and/or computer-generated recordings of the music. The works are scored for a variety of instrumental and vocal combinations. The compositions explore the use of tonality as a basis for the creation of a uniquely personal style which incorporates musical gestures encountered in both traditional and contemporary performance practice. The term 'twistonality', devised for this submission, refers to a musical language in which a composer may express original ideas by twisting forms and tonal structures already resident in the conscious or subconscious memory in order to reflect his or her emotional reality as experienced through music.
http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1283916
Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2007

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Books on the topic "Pianos (2) with percussion ensemble"

1

Asia, Daniel. Sand II: (1978) for mezzo-soprano, 2 flutes (doubling piccolo), B♭ clarinet, 2 pianos, and 2 percussion. Bryn Mawr, Pa: Merion Music, 1994.

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Bartók, Béla. Sonata for two pianos and percussion. New York: CBS Records Masterworks, 1988.

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Amromin, Richard. Moving targets: Flute, clarinet, 2 percussion, 2 pianos, violin, cello. Sylmar, Ca: Leisure Planet Music, 1985.

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Saint-Saëns, Camille. Le carnaval des animaux: Grande fantaisie zoologique : pour ensemble de chambre ou petit orchestre = Der Karneval der Tiere : grosse zoologische Fantasie : für Kammerensemble oder kleines Orchester = The carnival of the animals : great zoological fantasy : for chamber ensemble or small orchestra. Wiesbaden: Breitkopf & Härtel, 1997.

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Chihara, Paul. The beauty of the rose is in its passing: Solo bassoon, 2 horns, harp and percussion. [United States?]: Henmar Press, 1987.

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Harkishan, Singh. Pharmaceutical education. Delhi: Vallabh Prakashan, 1998.

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7

Hinson, Maurice, and Anne McClenny Krauss. The Philadelphia series: A collection of keyboard pieces and songs performed in Philadelphia during the early days of the young republic : Ensemble music of the capital city. Miami, Fla: CPP/Belwin, 1990.

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8

Bolling, Claude. Claude Bolling - Sonata for Two Pianists, No. 2. Hal Leonard Corporation, 1992.

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Sheng, Bright. Two Folk Songs from Qinghai: For Chorus (Satb), Percussion (2 Players), and Two Pianos. G. Schirmer, 1996.

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Girsberger, Russ. Percussion Assignments for Band and Wind Ensemble: Volume 2. Meredith Music, 2005.

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