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Journal articles on the topic 'Trumpet and piano music, Juvenile'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Conway, Paul. "James MacMillan premieres in Edinburgh, Glasgow and London." Tempo 68, no. 269 (2014): 70–72. http://dx.doi.org/10.1017/s0040298214000114.

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The concerto form is well represented in James MacMillan's output. So far, he has written three for piano, two for percussion and one each for violin, viola, cello, trumpet, oboe and clarinet. There is also threaded through his output a series of concertante works, such as A Deep but Dazzling Darkness, for violin, ensemble and tape (2003), A Scotch Bestiary, for organ and orchestra (2004) and the concertino Seraph, for trumpet and strings (2010). All share a common concern to realise fully the soloist's expressive potential.

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2

Anderson, Julian. "MESSIAEN AND THE NOTION OF INFLUENCE." Tempo 63, no. 247 (2009): 2–18. http://dx.doi.org/10.1017/s0040298209000011.

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In 1989, I bought a CD in Paris of the early piano music of André Jolivet. Like many non-French musicians, I had read the name of Jolivet but heard little of his music. Jolivet's reputation as Varèse's leading pupil and the extreme avant-gardist of the pre-World War II group La Jeune France seemed completely at odds with his conventional post-War music occasionally broadcast on Radio 3, such as the Concertos for Trumpet, Piano or Ondes Martenot–music which suggested not fully assimilated influences of Honegger or Hindemith, with little obviously adventurous about it in its rhythmically conserv

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3

Gudmundsdottir, Helga R. "Discrimination of Simultaneous Melodies." Journal of Research in Music Education 47, no. 2 (1999): 101–10. http://dx.doi.org/10.2307/3345716.

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This study examined first-, third-, and fifth-graders' ( n = 73) ability to hear two simultaneous melodies. Two familiar melodies and one unfamiliar melody were used as the stimuli. The pairs of simultaneous melodies were presented in different register and timbre combinations. The children were asked to press specially labeled keys on a computer keyboard to indicate which song(s) they heard. Responses were recorded by a computer. The older children identified two simultaneous melodies faster and more accurately than the younger ones did. While 70% of the first graders reported hearing two mel

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4

Geringer, John M., Rebecca B. MacLeod, and Justine K. Sasanfar. "In Tune or Out of Tune." Journal of Research in Music Education 63, no. 1 (2015): 89–101. http://dx.doi.org/10.1177/0022429415572025.

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We studied music majors’ perception of intonation in accompanied solo performances of trumpet, violin, and voice. We were interested in whether listeners would judge pitch deviations of equal magnitude in the three solo performances as equivalent in intonation. Participants were 150 graduate and undergraduate music majors drawn from two large music schools and included 50 students representing each of the following areas of applied music study: voice, wind instruments, and string instruments. Listeners heard solo trumpet, violin, and soprano performances of Ave Maria (Bach/Gounod) accompanied

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5

Springer, D. Gregory, and Brian A. Silvey. "The Role of Accompaniment Quality in the Evaluation of Solo Instrumental Performance." Journal of Research in Music Education 66, no. 1 (2018): 92–110. http://dx.doi.org/10.1177/0022429418761044.

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The purpose of this study was to examine the effect of accompaniment quality on the evaluation of solo instrumental performance. Undergraduate instrumental music education majors ( N = 71) listened to and evaluated the accuracy and expressivity of six excerpts of Haydn’s Concerto for Trumpet in E-Flat Major, which we created by synchronizing recordings of good and bad performances of a trumpet soloist with good and bad performances of a piano accompaniment (as well as a no-accompaniment condition). Participants also chose one “best aspect of the performance” and one “aspect needing most improv

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6

Silvey, Brian A., and D. Gregory Springer. "The Role of Accompaniment Quality in Band Directors’ Evaluations of Solo Instrumental Performance." Journal of Research in Music Education 67, no. 4 (2019): 481–93. http://dx.doi.org/10.1177/0022429419878148.

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The purpose of this replication study was to examine the effects of accompaniment on evaluations of solo instrumental performances. Although previous findings have indicated that instrumental music education majors’ evaluations of soloists were not independent of accompaniment, it is unknown whether more experienced evaluators are similarly affected by accompaniment. In addition to using a new population (in-service band directors), we also extended the previous study by asking participants whether they believed their evaluations of a soloist were influenced by the accompaniment provided. Part

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7

Dunnick, Kim. "Sonata for Horn and Piano, and: Sonata for Trombone and Piano, and: Sonata for Trumpet and Piano (review)." Notes 61, no. 3 (2005): 874–77. http://dx.doi.org/10.1353/not.2005.0008.

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8

Hanganu, Dumitru. "Concert No.2 for trumpet in ‘B’ and piano by Oleg Negruta: structural and interpretative specification." Studiul artelor şi culturologie: istorie, teorie, practică, no. 2(43) (April 2023): 17–22. http://dx.doi.org/10.55383/amtap.2022.2.03.

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Oleg Negruta produced different genre pieces for the trumpet. Out of ample pieces we single out the two concerts that contain difficulties for the execution and represent challenges for the performers. Concert nr.2 for the trumpet in ‘B’ and for the piano was written in 2014 and performed in premiere by the trumpet player and professor Vasile Ciubuc. The interpretative language of Concert nr. 2 is guided by the composer, indicating different terms of tempo and dynamic nuances.. The author used different groups of articulations, such as accents, staccato, legato, detache and others. The musical

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9

MS., ASHWINI. R. PATIL PROF .V .M. SARDAR. "MUSICAL INSTRUMENTCLASSIFICATION USING MIRTOOLBOX." JournalNX - A Multidisciplinary Peer Reviewed Journal 3, no. 9 (2018): 47–51. https://doi.org/10.5281/zenodo.1143809.

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In this paper, we propose the classification of instruments in continuous melody pieces or non- vocal sound pieces which may contain more kinds of instrument like flute in woodwind family, piano in keyboard, guitar in string, drum in percussion, trumpet in brass family. The various sound of instrument is classified using MIR Toolbox which is music information retrieval toolbox. In this proposed system we use major features set like Tonality, Timber, Rhythm, Pitch, and Energy from MIR Toolbox useful for musical instrument.

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10

Nasibulina, Alisa V. "THE MUSICAL STYLE OF COMPOSER YURI KASPAROV." Arts education and science 2, no. 39 (2024): 137–46. http://dx.doi.org/10.36871/hon.202402137.

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This article is devoted to the musical style of Yuri Kasparov (b. 1955), Russian composer and music teacher, Professor at the Moscow State Tchaikovsky Conservatory, who writes primarily chamber music. Many of his compositions are scored for a chamber orchestra comprising flute, oboe, clarinet, bassoon, horn, trumpet, trombone, harp, piano, percussion, two violins, viola, cello and double bass (an instrumentation derived from A. Schoenberg’s Chamber Symphony No. 1). His works include over 80 chamber compositions of different genres written for one to 17 instruments. He tends to use non-standard

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Schwartz, Elliott, Earle Brown, and Morton Feldman. "Centering; For Solo Violin, Flute, Clarinet, Bassoon, Horn, Trumpet, Trombone, Piano, Violin, Viola, Cello." Notes 44, no. 3 (1988): 596. http://dx.doi.org/10.2307/941563.

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Djuka, Ruth Regina. "ARANSEMEN LAGU ELE MOTO MEDLEY DENGAN DO DAE MATA B’ALE DALAM FORMAT COMBO BAND ADDITIONAL ALAT MUSIK TRADISIONAL." Tambur : Journal of Music Creation, Study and Performance 2, no. 1 (2022): 45–74. http://dx.doi.org/10.52960/jt.v2i1.104.

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The research objective of arranging the songs of Ele Moto and Do Dae Mata Bale is to compose and describe the arrangement of the songs of ele moto medley with the song do dae mata bale in a combo band format so that the song can be an inspiration for the younger generation to continue to develop regional traditions through traditional music that there is. The research method used in this research is to use descriptive qualitative analysis techniques, namely searching, analyzing, describing data and compiling data systematically form interviews, field notes and documentation, by organizing data

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Kendall, Roger A., and Edward C. Carterette. "The Communication of Musical Expression." Music Perception 8, no. 2 (1990): 129–63. http://dx.doi.org/10.2307/40285493.

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This study focuses on the performer-listener link of the chain of musical communication. Using different perceptual methods (categorization, matching, and rating), as well as acoustical analyses of timing and amplitude, we found that both musicians and nonmusicians could discern among the levels of expressive intent of violin, trumpet, clarinet, oboe, and piano performers. Time-contour profiles showed distinct signatures between instruments and across expressive levels, which affords a basis for perceptual discrimination. For example, for "appropriate" expressive performances, a gradual length

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Stetsiuk, Bohdan. "The origins and major trends in development of jazz piano stylistics." Aspects of Historical Musicology 19, no. 19 (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,

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Schubert, Emery. "Which Nonvocal Musical Instrument Sounds Like the Human Voice? An Empirical Investigation." Empirical Studies of the Arts 37, no. 1 (2018): 92–103. http://dx.doi.org/10.1177/0276237418763657.

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Nonvocal musical instruments like the oboe, cello, and violin, have been described as resembling the human voice. However, much of the evidence is based on historical reports and hearsay. In this study, 174 participants rated instruments according to how much they sounded like the human voice. Analysis revealed that no nonvocal instrument was rated as being voicelike, with moderate mean ratings for the clarinet, oboe, violin, and cello. The violin was rated as statistically more voicelike than the trumpet. Voicelikeness was statistically higher for the instrument which the individual played or

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Kárpáti, János. "“Ecco la marcia, andiamo...” Mozart and the March." Studia Musicologica 60, no. 1-4 (2020): 149–67. http://dx.doi.org/10.1556/6.2019.00008.

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Surprisingly little work has been dedicated to Mozart and the march genre. The literature has explored only the 17 marches which feature as introductory movements in his cassations and serenades (Neue Mozart-Ausgabe, Günter Hauswald, Wolfgang Plath). However, marches have important functions in Mozart’s operas – in his seria works as celebratory and greeting intermezzos, and at expressly key instances in his Da Ponte operas (“Non più andrai,” “Ecco la marcia, andiamo,” “È aperto a tutti quanti, viva la libertà!”, and “Bella vita militar”). The same applies to Idomeneo and The Magic Flute, wher

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Widiastuti, Zakiyyah Ajeng. "PEMBELAJARAN VOKAL BERBASIS MASALAH PADA ANAK USIA DINI DI TIRANDO MUSIC EDUCATION SURABAYA." EDU-KATA 9, no. 2 (2023): 122–37. https://doi.org/10.52166/kata.v9i2.4739.

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Tirando Music Education merupakan lembaga kursus musik yang berada di Surabaya. Tirando memiliki pengajar yang ahli di bidangnya dikarenakan semua pengajar di Tirando diharuskan untuk memiliki latar belakang pendidikan Musik. Program belajar di Tirando Music Education terdiri berbagai instrumen seperti piano, keyboard, saxophone, gitar, trumpet, violin, drum dan juga vokal. Semua program pembelajaran diperuntukkan bagi seluruh kalangan usia. Salah satu rentang usia yang menjadi mayoritas peserta didik di Tirando Music Education, adalah anak usia dini. Anak usia dini adalah anak – anak dengan r

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18

Rosen, Jerome, Hans Werner Henze, Joji Yuasa, Edward Cowie, and David Maslanka. "Le Miracle de la rose: imaginares Theater II; Musik fur einen Klarinettisten und 13 Spieler [Flute, Oboe, Bassoon, Horn, Trumpet, Trombone, Percussion, Piano and Celesta, 2 Violins, Viola, Cello, Bass] (1981)." Notes 42, no. 3 (1986): 647. http://dx.doi.org/10.2307/897357.

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19

Asaulyuk, I. O., та A. A. Diachenko. "Особенности физической подготовленности студентов учебных заведений в процессе физического воспитания". Health, sport, rehabilitation 5, № 1 (2019): 9. http://dx.doi.org/10.34142/hsr.2019.05.01.01.

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<p><em>The main goal of the work</em> is to study the level of physical fitness of students of music specialties. The objectives of the study reflect the gradual achievement of the goal. It also gives the analysis of the static strength endurance of the muscles of the body <em>Methods of research</em>: analysis and generalization of data in literature, pedagogical methods of research (experiment, testing), methods of mathematical statistics. 154 students of the first and second year of the Vinnitsa School of Culture and Arts named after M. D. Leontovich participat

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20

Zagidullina, Dilbar Renatovna, and Ekaterina Evgenyevna Nikiforova. "Timbre-orchestra aspect of symphonic works by Boris Tchaikovsky." PHILHARMONICA. International Music Journal, no. 1 (January 2021): 52–66. http://dx.doi.org/10.7256/2453-613x.2021.1.34175.

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Boris Tchaikovsky is the author of bright and original symphonic compositions. A timbre-orchestra palette is, undoubtedly, one of the key components of the music language of his works. The authors of this research analyze Tchaikovsky&rsquo;s&nbsp; Violin concerto and Piano concerto, the symphonic poems &ldquo;The Juvenile&rdquo; and &ldquo;The Winds of Siberia&rdquo;, the Symphony No 3 &ldquo;Sevastopol&rdquo;, and the Symphony with Harp, in order to consider particular aspects connected with the timbre-orchestra language of his symphonic compositions, such as:

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21

Charleson, Bill. "Woodwind tutors - Blue Flute, Blue Clarinet, Blue Saxophone, Blue Trumpet by James Rae. Universal Education, 1993. £4.95 each. - Improvise Microjazz for Alto Saxophone and Piano by Christopher Norton. Boosey & Hawkes, 1993. £4.95. - Clarinet Folk-weave by Gordon Lewin. Associated Board of the Royal Schools of Music (Publishing) Ltd., 1993. £2.50. - The Flautist's Collection, Books 1, 2 & 3, selected and edited by Paul Edmund-Davies. Kevin Mayhew Ltd., 1993. £7.50." British Journal of Music Education 11, no. 2 (1994): 174–76. http://dx.doi.org/10.1017/s0265051700001133.

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22

Litvyshchenko, O. V. "Directions of concertmaster activity of Oleksandr Nazarenko." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (2020): 246–59. http://dx.doi.org/10.34064/khnum1-57.15.

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Formulation of the problem. At the current stage, concertmaster activity as a kind of performing art requires a comprehensive study to justificatе the artistic effectiveness of the artist. Thereby, there was a need for research of the concertmaster activity of Oleksandr Nazarenko (Professor of the Department of Ukrainian Folk Instruments in I. P. Kotlyarevsky Kharkiv National University of Arts), in order to characterize his performing skills. This article is about the instrumental work of a accordionist, which is an organic component of the activities of art institutions in a variety of forms

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23

Cicovacki, Borislav. "Zora D. by Isidora Zebeljan: Towards the new opera." Muzikologija, no. 4 (2004): 223–45. http://dx.doi.org/10.2298/muz0404223c.

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Opera Zora D., composed by Isidora Zebeljan during 2002 and 2003, and which was premiered in Amsterdam in June 2003, is the first Serbian opera that had a world premiere abroad. It is also the first Serbian opera that has been staged outside Serbia since 1935, after being acclaimed at a competition organized by the Genesis Foundation from London. Isidora Zebeljan was commissioned (granted financial backing) to compose a complete opera with a secured stage realization. The Dutch Chamber Opera (Opera studio Nederland) and the Viennese Chamber Opera (Wiener Kammeroper) were the co-producers of th

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Каплієнко-Ілюк, Ю. В. "СТИЛІСТИЧНІ ОСОБЛИВОСТІ БУКОВИНСЬКИХ РАПСОДІЙ ЛЕОНІДА ЗАТУЛОВСЬКОГО". Традиції та новації у вищій архітерктурно-художній освіті, № 3 (3 жовтня 2018): 109–13. https://doi.org/10.5281/zenodo.1443118.

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The research of the works of artists, bright personali-ties of the past and present is an important task of contemporary musicology. Therefore, any survey in this direction will become relevant in our time. The creative work of Leonid Zatulovskyi, in particular his orchestral music, represented by works for sym-phony and chamber orchestra and brass band, impresses with the originality of music style where the traditions of European and Ukrainian art intertwined with the peculiarities of Bukovynian folklore. The research carried out a musicological analysis of the Third “Bukovynian”

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Stetsiuk, R. O. "Saxophone jazz improvisation: texture and syntax parameters." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (2020): 88–109. http://dx.doi.org/10.34064/khnum1-57.06.

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Thisarticle offers a comprehensive overview of the “saxophonejazzimprovisation” phenomenon. It was noted that in the contemporary jazz studies, the components of this notion are, as a rule, not combined but studied separately. This work is the first study that proposes to combine them based on the textureandsyntaxparameters. For that purpose, a number of perceptions already developed in academic music studies have been corrected in this work, including the perception of the instrument’s textural style (A. Zherzdev), specifics of its reflection in improvisation, syntax as a “system of anticipat

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26

PAVEL, Gina-Mihaela. "Enescian Pianism and Interpretative Style in Chamber Music Works: Impromptu Concertant for Violin and Piano, Concertstück for Viola and Piano, Légende for Trumpet and Piano and Cantabile et Presto for Flute and Piano." Studia Universitatis Babeş-Bolyai Musica, December 11, 2024, 89–108. https://doi.org/10.24193/subbmusica.2024.2.07.

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he idea of writing about and delving into Enescian pianism came to me while I was preparing two Enescu recitals, one as part of the Musica Barcensis Festival, the other one as part of George Enescu International Festival (in Sinaia). The concept behind organizing the recital, aptly titled Enescian Sonorities, was to present to the public the composer's early chamber works. For this research, which aims to highlight the complexity of Enescian pianism, I chose Cantabile et Presto for flute and piano, Légende for trumpet and piano, Impromptu Concertant for violin and piano and Concertstück for vi

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27

Springer, D. Gregory, and Brian A. Silvey. "Effects of focus of attention instructions on listeners’ evaluations of solo instrumental performance." International Journal of Music Education, July 19, 2021, 025576142110333. http://dx.doi.org/10.1177/02557614211033312.

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The purpose of this study was to examine the effects of focus of attention instructions (i.e. focus on the solo, accompaniment, or collaboration) on listeners’ performance evaluations. Participants ( N = 159) were inservice band directors who listened to and evaluated the accuracy and expressivity of four excerpts of Haydn’s Concerto for Trumpet in E-Flat Major, which we created by synchronizing recordings of good and bad performances of a trumpet soloist with good and bad performances of a piano accompaniment. Results indicated a significant main effect for focus-of-attention instructions gro

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28

"From the Heart and From the Heartland: Trumpet and Piano Music of Midwestern Women Composers." College Music Symposium 55 (2015). http://dx.doi.org/10.18177/sym.2015.55.ca.10906.

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Choi, Uk-Su, Yul-Wan Sung, and Seiji Ogawa. "Brain Plasticity Reflects Specialized Cognitive Development Induced by Musical Training." Cerebral Cortex Communications 2, no. 2 (2021). http://dx.doi.org/10.1093/texcom/tgab037.

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Abstract Learning a musical instrument requires a long period of training and might induce structural and functional changes in the brain. Previous studies have shown brain plasticity resulting from training with a musical instrument. However, these studies did not distinguish the effects on brain plasticity of specific musical instruments as they examined the brain of musicians who had learned a single musical instrument/genre and did not control for confounding factors, such as common or interactive effects involved in music training. To address this research gap, the present work investigat

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30

Mihajlovski, Zoran. "Personality, Intelligence And Music Instrument / Osobnost, inteligencija i glazbeni instrument." Croatian Journal of Education - Hrvatski časopis za odgoj i obrazovanje 15 (May 31, 2013). http://dx.doi.org/10.15516/cje.v15i0.606.

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AbstractAn empirical study examining differences in personality traits and general intellectual ability of academic musicians was conducted on Macedonian sample of musicians, consisted of four different groups of instrumentalists, taken from four instrumental sections, respectively: a) piano (55); strings: violin, viola, cello, double bass (103); woodwind: flute, oboe, clarinet, bassoon (72); brass: trumpet, trombone, French horn, saxophone (58). Sample includes three age-based groups of musicians: music high school learners, music academy (university) students and adult professional musicians

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Yerazhisht, Daniel. "Արտահայտչամիջոցների գործառույթները Կոմիտասի «Անտունի» երգում (Ի՞նչ է լսել Դեբյուսին «Անտունի» երգում)". Կոմիտասի թանգարան-ինստիտուտի տարեգիրք, 24 грудня 2021. http://dx.doi.org/10.52853/kmi-2021-v.z-02.

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Հոդվածը նվիրված է Կոմիտասի «Անտունի» երգին: XX դարասկզբին Փարիզում Կոմիտասի դասախոսությունների և համերգների շնորհիվ ֆրանսիացի անվանի գործիչները ծանոթացան հայ հոգևոր և ժողովրդական երաժշտության գլուխգործոցներին: Դրանք արժանացան Ռոմեն Ռոլանի, Գաբրիել Ֆորեի, Լուի Լալուայի և այլոց բարձր գնահատականին: Ի թիվս այլ երգերի՝ հնչեց «Անտունին», որը խորապես հուզեց հատկապես Կլոդ Դեբյուսիին: Սույն հոդվածում փորձ է արվում լուսաբանելու Դեբյուսիի բարձր գնահատականի շարժառիթները: Վերլուծվում է բանաստեղծական տեքստը, մեղեդին, այնուհետև Կոմիտասի՝ երգից բխեցրած դաշնամուրային նվագակցությունը: Անշուշտ, Դեբյուսին նկատած

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King, Jeremy. "Tiny, Tiny Copyright: An Examination of the Copyrightability of Sampler Instruments and Its Impact on Derivative Works." Columbia Journal of Law & the Arts 45, no. 1 (2021). http://dx.doi.org/10.52214/jla.v45i1.8955.

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Sound recordings of musical compositions used to be simple. Sounds would be created by voices and acoustic instruments. Those sounds would then be captured by microphones and fixed on analog tape. What the listener heard was simply an immortalized version of what happened in the room. With the advent of digital recording technology, this has been forever changed in ways that offer infinite possibilities—and infinite new challenges. These days, sounds are typically recorded in a digital format, which allows them to interface with computer software in myriad ways. Most consumers only inter

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