Relevant bibliographies by topics / Suites (piano) Suites (piano)

Contents

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

Academic literature on the topic 'Suites (piano) Suites (piano)'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Suites (piano) Suites (piano).'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Suites (piano) Suites (piano)"

1

Cai, Z. "Using Folk Literature in Chinese Piano Suites." Университетский научный журнал, no. 49 (2019): 148–53. http://dx.doi.org/10.25807/pbh.22225064.2019.49.148.153.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

MacDonald, Calum. "Further reviews." Tempo 60, no. 238 (October 2006): 49–50. http://dx.doi.org/10.1017/s0040298206330318.

Full text
Abstract:
CYRIL SCOTT: Piano Concerto No.1; Symphony No.4; Early One Morning. Howard Shelley (pno), BBC Philharmonic c. Martyn Brabbins. Chandos CHAN 10376.SCOTT: Complete Piano Music Volume One – Suites and Miniatures. Leslie De'Ath, Cyril Scott (pnos). Dutton Epoch CDLX 7150 (2-CD set).SCOTT: Complete Piano Music Volume Two – Complete Piano Sonatas. Leslie De'Ath (pno). Dutton Epoch CDLX 7155.SCOTT: Complete Piano Music Volume Three – Concert Pieces, Ballet Scores, Unpublished Works, Two-piano Works. Leslie De'Ath, Anya Alexeyev (pnos). Dutton Epoch CDLX 7166 (2-CD set).SCOTT: Sonata op.66; Second Sonata; Sonata III; Sphinx op.63; Rainbow Trout; Rondeau de Concert; Ballad; Victorian Waltz. Michael Schäfer (pno). Genuin GEN 85049.
APA, Harvard, Vancouver, ISO, and other styles
3

Gillmor, Alan M. "Musico-poetic Form in Satie's "Humoristic" Piano Suites (1913-14)." Canadian University Music Review, no. 8 (1987): 1. http://dx.doi.org/10.7202/1014932ar.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Oláh, Boglárka Eszter. "Minuet - The Reminiscence of the Individual Dance Form in Maurice Ravel’s Piano Works." Studia Universitatis Babeş-Bolyai Musica 66, no. 1 (June 30, 2021): 315–27. http://dx.doi.org/10.24193/subbmusica.2021.1.20.

Full text
Abstract:
"The minuet is one of the most representative dance forms of the Baroque era. Thanks to its popularity, it becomes part of stage works like operas and ballets, instrumental suites, later (in the Classical and Romantic era) movements of symphonies, sonatas, string quartets, and trios. Ravel had a special interest in old dance forms. Among his musical works there are several dance-movements like Pavane, Rigaudon, Forlane, or Menuet. The use of these in individual works is limited, having only three minuets written for piano solo: the Menuet antique (1895), the Menuet in C sharp minor (1904), and the Menuet sur le nom d’Haydn (1909). Keywords: Ravel, Baroque, Reminiscence, Baroque dance forms, Piano, Minuet, Neoclassicism. "
APA, Harvard, Vancouver, ISO, and other styles
5

Тарасова, Н. Ю., and Б. Ю, Москальов. "The language of jazz into the instrumental suite of XX century (on the material of Suite for piano „1922ˮ by P. Hindemith and „Suite of sentimentsˮ by Y. Chugunov)." Музикознавча думка Дніпропетровщини, no. 15 (November 4, 2019): 171–85. http://dx.doi.org/10.33287/221914.

Full text
Abstract:
The purpose of this article is revealing the main methods of synthesizing jazz stylistics with the means of expressiveness of music of the twentieth century in the genre context of the suite. The research methods are based on the use of musical-cultural, comparative-historical, theoretical-analytical and textual approaches. Scientific novelty. For the first time, a camera analysis of suite „1922” by P. Hindemith and „Suite of Sentimentsˮ by Y. Chugunov 1) in the context of genre updating of the suite by elements of jazz style and jazz performances, 2) in the aspect of the interaction of harmonious, accord-tonal, form-forming means of expressiveness of jazz and music of the twentieth century. Conclusions. The interaction of the jazz language with the academic tradition essentially influenced the renovations of the genre in the suites „1922ˮ by P. Hyndemith and „Suite Sentimentsˮ by Y. Chugunov. Jazz influence has contributed to: 1) individualization of the musical decision of the suite, increase of unique expressiveness (skepticism about dance in Hindemith, rich and dynamic palette of lyrical feelings, with contrast of contemplation and mobility in Chugunov); 2) release of the genre character and structure of the cycle from Baroque-classical genre-structural normativity (in the first work, the dance genres of music of the twentieth century, in the second – different emotional states, become decisive); 3) combining the form of a suite cycle (not a simple sequence of plays based on theestablished tempo principle, but a plastic improvisational transition, with the loss of the boundaries of the parts) (in „Suite of Sentiments” by Chugunov), with a through metro rhythm and internal unification with ironic author overtones expressed by harmonic, textured and rhythmic means (in the Suite „1922ˮ by Hindemith); 4) the formative role of rhythm formulas of jazz music (emphasizing weak parts, syncopation, rhythmic brokenness of melody, triple rhythm formulas and unstable formulas with small rhythmic meters), typical jazz performing techniques (fermat, „hangs”, discontinued melodies) and Latin American music of harmonic means (movement by parallel chords, active use of trio sounds, seventh chords, non-chords with alterations), jazz features of intonation (false fingering); 5) application of compositional features of ragtime, swing (cadences, improvisations, repetitions).
APA, Harvard, Vancouver, ISO, and other styles
6

Shaymukhametova, Liudmila N. "About the Study of the Means of Transcription of Works for Clavier by Beginning Pianists." ICONI, no. 2 (2019): 116–27. http://dx.doi.org/10.33779/2658-4824.2019.2.116-127.

Full text
Abstract:
The methodological elaborations of the rubric of the journal “My fi rst transcriptions” will present examples from assignments from the attempts of creative work of beginning pianists with the musical text. The offered assignments carry the aim of teaching certain universal techniques of artistic transformation of the composer’s primary text. The fi rst article devoted to this subject matter examines the register allocation and the doubling which were applied in everyday music-making in the 16th and 17th centuries during the varied re-exposition of the clavier text into various ensembles. The technique of their application is simple and accessible to contemporary listeners as well; it presumes the utilization of timbral possibilities of the present-day piano and keyboard synthesizer. At the basis of the elaboration of the assignments there are fragments of J.S. Bach’s instructive compositions from such compilations as “Kleinen Preludien und Fugen,” “Klavierbüchlein für Wilhelm Friedemann Bach,” as well as the “French Suites,” all of which assume a transformation of the clavier text for performing it in various variants and instrumental ensembles. These are the introductory pieces to the cycles: the preludes, fantasies or the pieces in the dance genres.The lessons are organized in the piano classes upon the conditions of “sight-reading” either in a solo manner, or with participation of partners in the form of intonational etudes. The analysis of the semantic structures applies role playing games in the subject matter of “I am playing the organ,” “there is a rehearsal of a historical orchestra going on,” “Trio for two fl utes and cello,” etc.
APA, Harvard, Vancouver, ISO, and other styles
7

Ivanova, I. L. "“3 Piano Sonatas for the Young” op. 118 in a context of last works by Robert Schumann." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 26–45. http://dx.doi.org/10.34064/khnum2-13.03.

Full text
Abstract:
Background. In recent years, there has been an increased interest of musicologists in the phenomenon of “late Schumann” in the aspect of usage of different historical and cultural traditions by the composer, that constituted problematic aura of given research. Modern scholars investigate this matter from several positions: bounds of Schumann’s style with antecedent music, Viennese classics and art of Baroque (K. Zhabinskiy; 2010); formation of aesthetic and stylistic principles of composer in 1840s–1850s, foreseeing musical phenomena of second half of XIX century (A. Demchenko; 2010), realization of natively national cultural meanings in “Album for the Young” op. 68 in his late works (S. Grokhotov; 2006). The content of given above and other modern researches allows to reconsider still unfortunately widely accepted conception of a “twilight” of Schumann’s genius in the last years of his creative life (D. Zhytomirskiy) and to re-evaluate all the works created by the composer in that time. In the given article, one of them is studied, “3 Piano Sonatas for the Young” op. 118, one of the last among them. This choice is effectuated by two main reasons: by op. 118 being an example of “children music” of R. Schuman, that adds additional marks to the portrait of composer, taking a journey through happy pages of his life, preceding its tragic ending; and by possibilities to study typically “Schumannesque” on this example in constantly changing artistic world of German Romantic, who was on the verge of radical changes in national art of second half of XIX century. In order to conduct a research, the following methods of studying of musical phenomena are used: historical, evolutional, genetic, genre and typological, compositional and dramaturgic, comparative. Regarded through the prism of traditions, Sonatas for the Young reveal simultaneous interjections of contained ideas both with musical past, practice of national culture, including modern one, and with author’s own experience. Dedicating every Sonata to one of his own daughters, R. Schumann continues tradition of addressing his works, a tradition, that in fact has never been interrupted. As one can judge by R. Schumann’s dedications, as a rule, they mask an idea of musical portrait. The First Piano sonata op. 11, 6 Studies in canon form op. 56, Andantino from Piano sonata op. 22 are cited (the last one – according to observation of K. Zhabinskiy). The order of the Sonatas for the Young has clear didactic purpose, as if they were mastered by a child consecutively through different phases of learning piano, that gives this triad a feeling of movement towards general goal and makes it possible to perceive op. 118 as a macrocycle. Another type of cyclization, revealed in this article, discloses legacy of works like suites and variations, created by R. Schumann in 1830s, a legacy effectuated in usage of different variative and variant principles of creating the form on different levels of structure. For example, all the movements of the First sonata are bound with motto, consisting of 4 sounds, that allows to regard this cycle simultaneously as sonata and as variations, and if we take into consideration type of images used, we can add a suite cycle to these principles. In a manner, similar to “Carnival” and “Concerto Without the Orchestra”, author’s “explanation” of constructive logic lays within the composition, in the second movement (“Theme and Variations”). To end this list, the Finale of the Third Sonata for the Young contains a reminiscence of the themes from previous Sonatas, that in some way evokes “Children’s scenes” op. 15 (1838). Suite-like traits of Sonata cycles in the triad op. 118 can also be seen in usage of different-leveled titles, indicating: tempi (“Allegro”, “Andante”), programme image (“The Evening Song”, “The Dream of a Child”) or type of musical form (“Canon”), that underscores a bound of Sonatas for the Young with R. Schumann’s cycles of programme miniatures. In addition to that, a set of piecesmovements refl ects tendency of “late Schumann” to mix different historical and cultural traditions, overcoming the limits of autoretrospection. Tempo markings of movements used as their titles allows to regard them predominately as indications of emotional and imagery content, that resembles a tradition of composer’s practice of 17th – 18th centuries. “Allegro” as a title is also regarded as an announcement of the beginning of the Sonata cycle, and that especially matters for the fi rst Sonata, that, contrary to the Second and Third, is opened not with sonata form, but with three-part reprise form. Of no less signifi cance is appearance of canon in “children” composition with respective title, a canon simultaneously referring to the music of Baroque epoch and being one of obligatory means of form-creating, that young pianist is to master. The same can be addressed to the genre of sonata. Coming from the times of Viennese Classicism, it is preserved as the active of present-day artistic horizon, required from those in the stage of apprenticeship, that means sonata belongs to the present time. For R. Schumann himself, “child” triad op. 118 at the same time meant a return to the genre of Piano sonata, that he hadn’t used after his experiments of 1830s, that can also be regarded as an autoretrospection. Comparative analysis of Sonatas for the Young and “Big Romantic” sonatas, given in the current research, allowed to demonstrate organic unity of R. Schumann’s style, simultaneously showing a distance separating the works of composer, belonging to the different stage of his creative evolution. Created in the atmosphere of “home” routine, dedicated to R. Schumann’s daughters, including scenes from everyday life as well as “grown-up” movements, Three Sonatas for the Young op. 118 embody typical features of Biedermeier culture, a bound with which can be felt in the last works of composer rather distinctly. The conclusion is drawn that domain of “children” music of the author because of its didactic purpose refl ects stylistic features of “late Schumann”, especially of his last years, in crystallized form.
APA, Harvard, Vancouver, ISO, and other styles
8

Palmer, Peter. "Swiss Music." Tempo 57, no. 226 (October 2003): 54–56. http://dx.doi.org/10.1017/s0040298203290355.

Full text
Abstract:
NORBERT MORET: TriptyquepourlesFêtes1; Gastlosen2; Mendiant du Ciel bleu3. 1The Tallis Scholars; 2Fritz Muggler organ); 3Béatrice Haldas (sop), Philippe Huttenlocher (bar), Nederlandse Omroep Stichting of Hilversum, Maitrise de St-Pierre aux Liens of Bulle, Düdingen Women's Choir; Heiner Kühner, Catherine Moret, Claudia Schneuwly (organs), Basle Radio Symphony Orchestra c. Armin Jordan. Musiques Suisses MGB CD 6199.ROLF LIEBERMANN: Furioso for orchestra1; Geigy Festival Concerto2; Medea-Monolog3; Les Echanges4; Concerto for Jazz Band and Symphony Orchestra5. 3Rachael Tovey (sop), 3Darmstadt Concert Choir; 2Alfons Grieder (perc); 1,2,5Simon Nabatov (pno); 5NDR Big Band, 1–5Bremen Philharmonic Orchestra c. Günter Neuhold. Naxos 8.555884.BETTINA SKRZYPCZAK: Scène1; Miroirs2; Fantasie for oboe3; SN 1993 J4; Toccata sospesa5; Concerto for Piano and Orchestra6. 1Noemi Schindler (vln), Christophe Roy (vlc); 2Mireille Capelle mezzo-sop), Ensemble Contrechamps of Geneva; 3Matthias Arter (oboe); 4Bohuslav Martinu Philharmonia of Zlin c. Monica Buckland Hofstetter; 5Verena Bosshart (fl), Riccardo Bologna, Eduardo Leandro (perc); 6Massimiliano Damerini (pno), Philharmonische Werkstatt Schweiz c. Mario Venzago. Musikszene Schweiz Grammont Portrait MGB CTS-M 78.RICHARD DUBUGNON: Piano Quartet1; Incantatio for cello and piano2; Trois Evocations finlandaises3; Cinq Masques for oboe4; Canonic Verses for Oboe, Cor Anglais and Oboe d'Amore5; Frenglish Suite for Wind Quintet6. 4,5Nicholas Daniel (ob), 5Emma Fielding (cor ang), 5Sai Kai (ob d'amore), 1Viv McLean (pno), 2Dominic Harlan (pno), 1Illka Lehtonen (vln), 1Julia Knight (vla), 1,2Matthew Sharp (vlc), 3Richard Dubugnon (db), 6Royal Academy Wind Soloists. Naxos 8.555778.
APA, Harvard, Vancouver, ISO, and other styles
9

Byrne, Frank, and Alec Wilder. "Suite No. 1 for Tuba and Piano ("Effie Suite")." Notes 41, no. 4 (June 1985): 794. http://dx.doi.org/10.2307/940898.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Zhornikova, Mariia. "EMBODIMENT OF THE PRINCIPLES OF SONOR WRITING IN THE CREATIVE WORKS OF E. VILLA-LOBOS (on the example of the piano suite “Dolls”)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (March 10, 2021): 158–81. http://dx.doi.org/10.34064/khnum1-58.10.

Full text
Abstract:
Introduction. E. Villa Lobos (1887–1957) is a classic the 20th century music. For Ukrainian musicology, the piano legacy of E. Villa-Lobos is relevant in terms of substantiating the innovation of the composer’s thinking in world creative practice at the beginning of the 20th century. In particular, the performers of the piano suite “Dolls” are faced with the problem of understanding the content of sonor-textural music. Оbjectives. To identify the distinctive features of E. Villa-Lobos’ use of elements of the sonority,which are based on the synthesis with Brazilian folk melos (on the example of the analysis of the piano suite “Dolls”). The subject. The piano suite (“Dolls”) (1918) as an example of the composer’s early creative style, which embodies the principles of sonorism typical for impressionist aesthetics. Theoretical Background. The novelty of the artistic tasks set by E. Villa-Lobos to the performers of his music in the early period of his creative activity required the study of the fundamental works of Yu. Kholopov, V. Tsenova, V. Kholopova, in which the meaning of the concepts “sonority”, “harmonic colouristics” and “texture”. Analysis of recent publications on the topic. The master’s work by A. Sotnikova (2010) raises questions on the formation of professional Brazilian music, the author focuses on the analysis of the piano composition of the composer. In her article V. Fedotova (2016) in the article examined the distinctive principles of the work of the Brazilian composer, in particular the specifics of his piano compositions. Results and Discussion. Music of the 20th century became a reflection of new artistic tasks that required adequate means of expression, and one of such means was sonoristics. It was this type of writing that E. Villa-Lobos addressed when writing the piano suite “Dolls” (1918). In the composer’s writing of E. Villa-Lobos there is sonoristics, harmonic colouristics, developed texture, due to which nationally coloured sound images are created. This confirms not only the stylistic, but also the comparative-interpretative analysis of the suite. Conclusions. The piano suite “Dolls” embodies the innovative interpretation of the instrument in the early 20th century. The theoretical ideas about the colouristics functions of the chord in its interconnections with the piano texture, timbre, and metro rhythm are systematized. A functional analysis of the piano pieces by Villa-Lobos from the early “Dolls” suite combined the new European style and writing techniques (such as colouring, sonoristics) with the national Brazilian melos reflecting the true spirit and worldview of Brazilians.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Suites (piano) Suites (piano)"

1

Brendt, Norbert. "Die Klaviersuite zwischen 1850 und 1925 /." Kassel : G. Bosse, 1997. http://catalogue.bnf.fr/ark:/12148/cb369650335.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Erickson, Clipper. "The six piano suites of Nathaniel Dett." Thesis, Temple University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3623149.

Full text
Abstract:

The six piano suites of R. Nathaniel Dett (1882-1943) constitute a substantial body of piano music that illustrates the musical development of an important, but historically neglected American musician. Dett was a seminal figure in the preservation and study of spirituals, both as a writer and choral leader, and as a great teacher and inspirer of African-American musicians in the generations that followed him. Educated at Oberlin and Eastman, he was lauded as the first American composer to fuse Negro folk music with European art music tradition.

The writing of a series of like-genre works over a composer's lifetime, reflecting stylistic changes and a deepening world view, is a special event in the history of keyboard music. Unfortunately, Dett's piano music is rarely performed except for the second of the suites, In the Bottoms. Although his importance to African-American musical history is generally acknowledged by musicologists, his works for piano have remained largely unexplored by performers.

Dett's eclectic pursuits included poetry, the Rosicrucian Society, and religion. This study explores the connections between the suites and other musical styles and traditions, Dett's many extra-musical interests, and his performing life. It also offers some possible explanations for the relative lack of attention received by his piano music.

This study incorporates research from readily-available sources, as well as the Nathaniel Dett archives at the Niagara Falls New York Public Library and Hampton University. The first three chapters give an overview of Dett's style and influences, as well as a description of how his musical language developed from his first suite, Magnolia (1912), to his last, Eight Bible Vignettes (1941-43), written at the end of his life. Each suite is examined individually in detail in the following six chapters. It is hoped that this work will stimulate appreciation of Dett's piano music and lead to more frequent performances. Its goal is to give to the reader the same sense of admiration and joy that the author's exploration of these works has given him.

APA, Harvard, Vancouver, ISO, and other styles
3

Peng, Wenjuan. "Complete solo piano suites by Rodion Shchedrin." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6246.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Sansbury, Sally Liew. "The Xinjiang piano suites of Shi Fu." The Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=osu1180495584.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Cohen, Marcos Jacob Costa. "Suite for piano and chamber orchestra /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1422346.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Araujo, Filho Alfeu Rodrigues de. "Estudo analitico e interpretativo sobre as tres suites brasileiras de Oscar Lorenzo Fernandez." [s.n.], 1996. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284306.

Full text
Abstract:
Orientador: Mauricy Matos
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-07-23T05:44:14Z (GMT). No. of bitstreams: 1 AraujoFilho_AlfeuRodriguesde_M.pdf: 3958957 bytes, checksum: cd9df1d7b2825aef4089a2696e37717b (MD5) Previous issue date: 1996
Resumo: Esta pesquisa consiste inicialmente em um levantamento histórico sobre a vida do compositor ( conteúdo biográfico), seguido de um estudo sobre o movimento nacionalista, detectando as principais influências que o mesmo exerceu na formulação das Três Suítes Brasileiras. O enfoque analítico ressalta o aspecto formal; delimitação das idéias musicais ( linhas de fraseado ) ; estruturas harmônicas; construção rítmica; raciocínio simétrico; pedalização ; dinâmica e a possível relação do título com o procedimento musical, utilizando como referencial teórico a " Structural Hearing : Tonal Coherence in Music " de Felix Salzer ; " Fundamentos da Composição Musical" de Arnold Schoenberg e " The Analysis of Music " de John White . O trabalho interpretativo foi desenvolvido com respaldo na análise realizada, buscando, como resultado final, a decodificação do discurso musical. O quadro conclusivo baseou-se em um estudo comparativo entre as Três Suítes Brasileiras, enfatizando o desenvolvimento do processo criativo do compositor em questão, assim como, posicionando as mesmas no contexto das obras pianísticas
Abstract: Not informed.
Mestrado
Mestre em Artes
APA, Harvard, Vancouver, ISO, and other styles
7

Lee, Chen-Tien. "Mussorgsky's Pictures at an exhibition : an analytical and performance study /." Connect to resource, 1993. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1187906733.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Howard, Jason Tad. "Part I: A Nighttime Trilogy for Saxophone and Piano Part II: A Schenkerian Analysis of Suite No. 1 for Unaccompanied Cello by J. S. Bach." Kent State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=kent1279403848.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Kim, Na Young. "An analysis of and performance guide to Lou Harrison's Suite for Piano and Kenneth Leighton's Six Studies: Study-Variations Op. 56." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1077734895.

Full text
Abstract:
Thesis (Ph. D.)--Ohio State University, 2004.
Title from first page of PDF file. Document formatted into pages; contains xv, 151 p.; also includes graphics (some col.). Includes bibliographical references (p. 147-151). Available online via OhioLINK's ETD Center
APA, Harvard, Vancouver, ISO, and other styles
10

Pinto, Antonio Carlos Neves. "Uma analise musical do Batuque da suite orquestral Reisado do Pastoreio de Oscar Lorenzo Fernandez." [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284015.

Full text
Abstract:
Orientador: Ricardo Goldemberg
Anexos: 2 CD-ROM
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-15T15:27:49Z (GMT). No. of bitstreams: 1 Pinto_AntonioCarlosNeves_M.pdf: 43661879 bytes, checksum: d02ee94a1f66e452dcc09ceeab02c203 (MD5) Previous issue date: 2004
Resumo: Este projeto tem por principal objetivo apresentar uma possibilidade de execução para a música sinfônica de influências afro-brasileiras, muito pouco explorada pelos nossos intérpretes. Para tanto foi escolhida, especificamente o "Batuque" da Suíte "Reisado do Pastoreio" do compositor Oscar Lorenzo Fernândez, uma das obras brasileiras de maior riqueza musical e reconhecimento no cenário internacional. Esta pesquisa tem como justificativa a contribuição para o enriquecimento da bibliografia técnica brasileira em práticas interpretativas e também da discografia, através de dois Cds que acompanham esta dissertação, uma vez que faltam materiais de suporte disponíveis para o estudo deste gênero musical. A metodologia constou de: leitura de bibliografia especifica para um estudo das origens do termo batuque, as características das práticas musicais e de danças dos negros afro-brasileiros desde o período colonial, suas transformações até as primeiras décadas do século XX, em seguida um paralelo com a trajetória do compositor e sua produção musical, uma análise formal, uma análise interpretativa e comparativa com mais duas execuções distintas desta peça. Entre os resultados obtidos, contam-se a aplicação de conhecimentos teóricos na prática interpretativa; a contribuição para maior entendimento deste repertorio especifico assim como abertura para uma nova perspectiva à pesquisa musical; além de fornecer material útil para o ensino de música de câmara e de prática orquestral
Abstract: This research had the main object to present a possibility of performing the Brazilian symphonic music formed by afro-Brazilian influences, very little explorered by our performers. For that, was chosen particularly the "Batuque" from Suite "Reisado do Pastoreio" composed by Oscar Lorenzo Fernandez, one of the Brazilian woks full of musical richness and recognition at the international environment. This research had as justification, the contribution for the enrichment of the Brazilian technical bibliography in performing practices and discography through two CDs which join the dissertation, once that there is a lack of support material for the study of this kind of music. The methodology, at first, has consisted of the reading of particularly bibliography about the genesis of the term batuque and the characteristics of the musical practices and the dances of the afro-Brazilian Negroes since the colonial period until their changes during the first decades of the twentieth century. After that a parallel was described between the composer's path and his musical production. At last one formal analysis was made of Lorenzo Fernandez's batuque and one performing and comparative analysis was made between our performance and two different others of this piece. The results of this research showed that the theoretical knowledges were applicable at the performance practice and the contribution for the greatest comprehension of music with afro-Brazilian influences; opening a new perspective for musical research besides making available useful material for teaching chamber music and orchestral music
Mestrado
Mestre em Artes
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Suites (piano) Suites (piano)"

1

Fine, Irving. Diversions: For piano. [New York]: Joclem Music, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Weiner, Lawrence. Suite for solo piano. San Antonio, Tex: Southern Music Co., 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Hétu, Jacques. Petite suite: Piano = Klavier. Saint-Nicolas, Qué., Canada: Doberman-Yppan, 1985.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Schifrin, Lalo. Resonances: (1987) : piano solo. [United States]: Scherzo Music, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Rodrigo, Joaquín. Suite para piano (1923). Mainz: Schott, 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Brubeck, Dave. Glances: Suite for solo piano. Miami, Fla: Warner Bros., 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Mamlok, Ursula. Grasshoppers: Six humoresques for piano. Bryn Mawr, PA: Casia Pub. Co., 1993.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Zaimont, Judith Lang. Suite impressions: For solo piano. Pullman, WA: Vivace Press, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Scelsi, Giacinto. Suite no 7 pour piano (1939). Paris: Salabert, 1985.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Szymanowski, Karol. Métopes: For solo piano, op. 29. Boca Raton, Fla: Masters Music Publications, 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Suites (piano) Suites (piano)"

1

Čurda, Martin. "Suite for Piano, Op. 13 (1935)." In The Music of Pavel Haas, 93–114. New York: Routledge, 2020. | Series: Ashgate studies in theory and analysis of music after 1900: Routledge, 2020. http://dx.doi.org/10.4324/9780429433351-4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

"Dolly Suite, op. 56, for Piano Duet." In The Piano, 187–90. Yale University Press, 2021. http://dx.doi.org/10.2307/j.ctv1t1kfj8.58.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Nakai, You. "Piano." In Reminded by the Instruments, 24–100. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190686765.003.0002.

Full text
Abstract:
Tudor switched from the organ to the piano in his late teens. His approach to the new instrument, whose nature he regarded as percussion, centered on harnessing its mechanism of escapement, which resulted in the control of all parameters as a function of precise timing of attack and release. This proved especially well-suited to the pointillistic works being written by composers on both sides of the Atlantic. But close examination reveals that the relationship between Tudor and the composers around him, which gave birth to new methods of chance operations, indeterminacy, or graphic scores, was actually led by the pianist’s exploration of his instrument, many times at the bewilderment of others as to what captivated his attention. At the core of Tudor’s singular realizations was a focus on the physical bias of the score given to him, which he referred to as “material.” As the degree of indeterminacy in the composer’s materials increased throughout the 1950s, Tudor would more and more shift his attention to another kind of material involved in the realization of music: the physical nature of instruments, including his own self, which composers had already begun regarding as such.
APA, Harvard, Vancouver, ISO, and other styles
4

Wiseman, Debbie. "Personal Spin H." In Defining the Discographic Self. British Academy, 2017. http://dx.doi.org/10.5871/bacad/9780197266175.003.0021.

Full text
Abstract:
George Frideric Handel: The Country Dance from Handel’s Water Music The Beatles: Eleanor Rigby Wolfgang Amadeus Mozart: Piano Sonata in Bb Major Olivier Messiaen: The Turangalîla Symphony, Finale Buxton Orr: Caledonian Suite—Allegro Leggiera Dave Grusin: The piano theme from the film On Golden Pond Claude Debussy: ...
APA, Harvard, Vancouver, ISO, and other styles
5

Manning, Jane. "ANTHONY GILBERT (b. 1934)Peace Notes (2011)." In Vocal Repertoire for the Twenty-First Century, Volume 2, 89–92. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0029.

Full text
Abstract:
This chapter explores Anthony Gilbert’s Peace Notes (2011), a highly original and fascinating seven-movement cycle. The evocative poems by Sarah Day, full of colourful imagery and alliterative syllables, are ideally suited to detailed treatment, and Gilbert crafts the vocal lines with consummate care, incorporating some characterful ornamentation. Brief, exposed fragments contrast with longer, arching spans, and the writing becomes a little more demanding as the piece progresses. Preparatory work is essential; some rhythms, carefully honed to fit the words, could seem elusive at first, but a dedicated singer should enjoy mastering their subtleties. Extremes of tessitura are largely avoided, but Songs 3–6 (‘Iris’, ‘Margin’, ‘Piano’, and ‘Enrapt’) have some sustained passages that occasionally leave the singer suspended on a high pitch—something that heavier voices may find difficult. The piano writing is relatively unchallenging: lean, uncluttered, and lucid, apart from occasional trills. It supports and enriches the voice part but never drowns it, leaving the singer free to place and manipulate phrases without feeling harried. Dynamics are typically refined and meaningful, affecting vocal and pianistic timbres.
APA, Harvard, Vancouver, ISO, and other styles
6

Manning, Jane. "RONALD PERERA (b. 1941)Five Summer Songs (1972)." In Vocal Repertoire for the Twenty-First Century, Volume 1, 230–32. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0064.

Full text
Abstract:
This chapter considers a cycle by Ronald Perera. His songs show a special delicacy and flair in creating clear, well-balanced textures. The cycle will suit a light, flexible mezzo, able to negotiate a broad range of dynamics without becoming too weighty. Piano accompaniments are fluent and well varied, with repeated figures a regular feature. The musical style is straightforward and disciplined, with some recognizable nods to Stravinskian neoclassicism. There is considerable rhythmic verve, and a fine sensitivity to vocal timbres. The piano part contains abundant cues—even unisons—so there should be no problems with pitching. The composer's lucid instructions are a reliable guide for the performers.
APA, Harvard, Vancouver, ISO, and other styles
7

Manning, Jane. "SIMON BAINBRIDGE (b. 1952)Orpheus (2006)." In Vocal Repertoire for the Twenty-First Century, Volume 2, 3–4. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0002.

Full text
Abstract:
This chapter discusses British composer Simon Bainbridge’s Orpheus (2006), a beautiful miniature and an elegantly crafted setting of a memorably evocative poem by W. H. Auden. It was originally written for tenor, and is perhaps best suited to that voice, in view of some high passages where a soprano’s resonance might impair verbal clarity. The musical idiom is atonal but not dauntingly so. There is ample space to place each entry carefully, and to gauge intervals, listening to the piano. Time signatures fluctuate throughout, creating a smooth flow devoid of rigidity—instinctive musicality is the hallmark. Meanwhile, the composer’s note explains the reason for the solitary vocal dynamic of piano. This is not intended to inhibit the singer into an over-careful monochrome delivery, but rather to preserve a general essence of quietness. His close understanding of singing means that he is aware that changes of tessitura will automatically result in subtle gradations of intensity and expressiveness, and he wishes this to be left to happen naturally, without the need for detailed annotation. The singer is therefore left unfettered to enjoy the enticingly mellifluous vocal phrases.
APA, Harvard, Vancouver, ISO, and other styles
8

Crawford, Ruth. "Music for Small Orchestra (1926); Suite No. 2 for Four Strings and Piano (1929)." In Recent Researches in American Music, 19. A-R Editions, 1996. http://dx.doi.org/10.31022/a019.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Manning, Jane. "ROGER SESSIONS (1896–1985)On the Beach at Fontana (1929)." In Vocal Repertoire for the Twenty-First Century, Volume 1, 282–83. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0078.

Full text
Abstract:
This chapter discusses a brief but intricate song by Roger Sessions. Sessions is recognized as one of the most cosmopolitan and influential of senior American composers, and this is the sole example of his writing for voice and piano. The piece seems especially suited to a tenor, since there is some concentration around the register break area near the top of the stave. It is certainly not the easiest of songs to sing, but its originality and powerful atmosphere are memorable, and are sure to repay the effort necessary to make it flow smoothly. Furthermore, subtlety of rhythm is the work’s hallmark. Interplay between simple and compound note groupings within a basic 6/8 metre creates a nervous energy and a febrile ebb and flow that fits the text perfectly.
APA, Harvard, Vancouver, ISO, and other styles
10

Manning, Jane. "COREY FIELD (b. 1956)Three Lullabies (1990)." In Vocal Repertoire for the Twenty-First Century, Volume 1, 94–96. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0027.

Full text
Abstract:
This chapter focuses on works by Corey Field. Field has added two songs to his earlier Escape at Bedtime to form a nicely balanced trio of lullabies. Each movement is neatly constructed, and shows considerable flair and sensitivity to the relationship of voice and piano. The first poem also comes from Robert Louis Stevensons’s A Child’s Garden of Verses (1885), but the third sets a W. B. Yeats text (from The Rose, 1893). The cycle is relatively undemanding vocally and has an attractive immediacy. It will suit either a tenor or soprano, giving them a chance to shine vocally, while the piano’s luminous contribution gives strong rhythmic support. The style is a fresh, accessible mix of tonality and light chromaticism, with strophic verses treated conventionally but never rigidly. Each song has its own distinctive character. The simpler outer songs frame a middle movement that is a little more ambitious, and the work begins and ends with piano solos.
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Suites (piano) Suites (piano)"

1

Li, Aili. "Analysis on Korean National Musical Elements and the Performance of Piano Suite Combination of Lengths." In Proceedings of the 3rd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iccese-19.2019.97.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Suites (piano) Suites (piano)' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography