Relevant bibliographies by topics / Variations (Piano)

Contents

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

Academic literature on the topic 'Variations (Piano)'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Variations (Piano)"

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Hannigan, Barry, and John McCabe. "Haydn Variations for Piano (1983)." Notes 46, no. 2 (1989): 510. http://dx.doi.org/10.2307/941100.

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Burk, James M., Elliott Carter, Ursula Oppens, Michael Gielen, and David Schiff. "Piano Concerto; Variations for Orchestra." American Music 6, no. 1 (1988): 114. http://dx.doi.org/10.2307/3448359.

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Deng, Liang. "Piano Performance Technical Analysis of The People United Will Never Be Defeated by Rzewski." European Journal of Social Science Education and Research 5, no. 3 (2018): 161–71. http://dx.doi.org/10.2478/ejser-2018-0067.

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Abstract The piano variations The People United will Never be Defeated by Rzewski contains many modern piano performance techniques and skills. The difficulties of these techniques and skills in these enormous variations are far beyond the boundaries of traditional piano performance techniques and skills. This analysis will give a specific classification for these modern piano performance techniques and skills in order to provide a more comprehensive guide for the piano performers.
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Купіна, Д. Д., and Г. О. Гребенюк. "Genre of variations for piano in the context of stylish plurality of F. Mendelssohn-Bartholdy's creativity." Музикознавча думка Дніпропетровщини, no. 16 (December 19, 2019): 73–85. http://dx.doi.org/10.33287/221924.

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The purpose of the article is to determine the genre and stylefeatures of the piano cycle „Serious Variations” by F. Mendelssohn-Bartholdy. The round of specific methods is due to the use of empiricalscientific approaches of observation and generalization. The methodsidentified form a pronounced practical component of the proposedscientific intelligence. The structural and analytical approach allows you toform a sequence of presentation of scientific material, and draw theappropriate conclusions on the features of „Serious Variations”. Using thehistorical-typological approach, the sequence of the development processof the variation genre as a whole is revealed. The novelty of the proposedtopic is determined by the fact that the first analysis of the piano cycle„Serious Variations” by F. Mendelssohn was carried out in the context ofthe historical development of the genre of variations and its stylisticdetermination. Conclusions. Variations for piano occupy a rather modestplace in Mendelssohn’s music compared to the work of other composers.The piano series „Serious Variations” was created by Mendelssohn inaccordance with romantic trends in contemporary composer in a dialoguewith the stylistic features of the Baroque and classical era. The styleguidelines for creating the cycle was the work of L. Beethoven andI.S. Bach. The texture of the work is very “pianistic”, although itinfluences both the orchestral writing and Mendelssohn’s organ music.The dramaturgy of „Serious Variations” is organized in such a way that itclearly senses the movement from Baroque to classical stylistics,manifesting the essence of style modulation within the cycle. The mainfeature of „Serious Variations” on the implementation of which thepianist’s efforts should be aimed at working on this cycle is the stylemultiplicity, which is the main characteristic of musical material and theways of its presentation.
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Hatipova, Inna. "The Compositional and Dramaturgical Logic and Musical Expressive Means in the Performance Interpretation of Marian Stârcea’s Variations in G Major for Piano." Culture and Arts in the Modern World, no. 24 (September 22, 2023): 144–54. http://dx.doi.org/10.31866/2410-1915.24.2023.287671.

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The aim of the article is to reveal the compositional and dramaturgical logic, as well as the features of the expressive musical means used in the Variations for Piano by Moldovan composer Marian Stârcea in relation to their performance interpretation. The research results are based on the presentation of Stârcea's Variations as a composition that exemplifies the Moldovan compositional tradition, created at the beginning of the author’s creative work and reflecting the characteristic features of his individual style. M. Stârcea turned to the genre of piano variations along with other young composers of the Republic of Moldova, such as T. Chiriac, V. Cholac, V. Beliaev, and many others. Each composer demonstrated a desire to find an individual interpretation of this genre form. M. Stârcea's Variations are characterised by an organic synthesis of the compositional logic of the classical and romantic variation cycle, jazz stylistics, and folklore elements of the musical language. The scientific novelty of the article lies in its comprehensive examination of M. Stârcea's Variations for Piano, which is done for the first time. The practical significance of the work is determined by the possibility of using its materials by performing pianists and teachers of musical educational institutions in their work on the piece. The conclusions summarise the main ideas arising from the compositional and dramaturgical features of M. Stârcea's Variations, as well as their interpretation by students and performing pianists. Understanding the logic of the continuous development of the variation form, enriched with jazz techniques and folk elements, is the optimal way to an adequate comprehension and individual performance vision of this piece. The subsequent comparison of M. Stârcea's Variations for Piano with other works by this author, as well as with examples of variations by other composers, will allow us to develop and enrich the results obtained, which will contribute to the further development of a research approach to the issues of performing interpretation.
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MacDonald, Calum. "British Piano Music." Tempo 60, no. 235 (2006): 44–49. http://dx.doi.org/10.1017/s0040298206310042.

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KENNETH LEIGHTON: Sonatinas Nos. 1 and 2, op.1; Sonata No.1 op.2; Sonata No.2 op.17; Five Studies op.22; Fantasia Contrappuntistica (Homage to Bach) op.24; Variations op.30; Nine Variations op.36; Pieces for Angela op.47; Conflicts (Fantasy on Two Themes) op.51; Six Studies (Study-Variations) op.56; Sonata (1972) op.64; Household Pets op.86; Four Romantic Pieces op.95; Jack-in-the-Box; Study; Lazy-bones. Angela Brownridge (pno). Delphian DCD 34301-3 (3-CD set).PATRICK PIGGOTT: Fantasia quasi una Sonata; 8 Preludes and a Postlude (Third Set). Second Piano Sonata. Malcolm Binns (pno). British Music Society BMS 430CD.SORABJI: Fantasia ispanica. Jonathan Powell (pno). Altarus AIR-CD-9084.ROWLEY: Concerto for piano, strings and percussion, op.49. DARNTON: Concertino for piano and string orchestra. GERHARD: Concerto for piano and strings. FERGUSON: Concerto for piano and string orchestra, op.12. Peter Donohoe (pno and c.), Northern Sinfonia. Naxos 8.557290.Severnside Composers’ Alliance Inaugural Piano Recital. GEOFFREY SELF: Sonatina 1. IVOR GURNEY:Preludes, Sets 1, 2 and 3. JOLYON LAYCOCK: L’Abri Pataud. RICHARD BERNARD: On Erin Shore. STEVEN KINGS: Fingers Pointing to the Moon. SUSAN COPPARD: Round and Around. JOHN PITTS: Aire 1; Fantasies 1, 5. JAMES PATTEN: Nocturnes 3, 4. SULYEN CARADON: Dorian Dirge. RAYMOND WARREN: Monody; Chaconne. Peter Jacobs (pno). Live recording, 23 February 2005. Dunelm DRD0238.Severnside Composers’ Alliance – A Recital by two pianists. MARTINŮ: Three Czech Dances. BEDFORD: Hoquetus David. JOHN PITTS: Changes. HOLLOWAY: Gilded Goldbergs Suite. JOLYON LAYCOCK: Die! A1 Sparrow. POULENC: Élégie. LUTOSLAWSKI: Paganini Variations. Steven Kings, Christopher Northam (pnos). Live recording, 14 May 2005. Dunelm DRD0243.‘Transcendent Journey’. FOULDS: Gandharva-Music, op.49; April-England, op.48 no.1. CORIGLIANO: Fantasia on an Ostinato. PROKOFIEV: Toccata, op.11. With works by BACH-CHUQUISENGO, HANDEL, BEETHOVENLISZT, BACH-BUSONI, SCHUMANN. Juan José Chuquisengo (pno). Sony SK 93829.
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Hannigan, Barry, and Ralph Shapey. "Variations on a Cantus for Piano." Notes 46, no. 2 (1989): 509. http://dx.doi.org/10.2307/941099.

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Rickards, Guy. "Skalkottas." Tempo 58, no. 229 (2004): 55–56. http://dx.doi.org/10.1017/s004029820432022x.

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SKALKOTTAS: Piano Trio; Eight Variations on a Greek Folk Tune for piano trio. Works for cello and piano – Largo; Bolero; Serenata; Sonatina; Tender Melody. Maria Kitsopoulos (vlc), Maria Asteriadou (pno), Georgios Demertzis (vln). BIS CD-1224.
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Guminiuk, Stanislav. "Sergei Rachmaninoff’ Variations on a Theme of Chopin: Genre and Style Interactions." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 131 (June 30, 2021): 80–93. http://dx.doi.org/10.31318/2522-4190.2021.131.243220.

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The article highlights various aspects of the stylistic interaction process within the variation genre in Rachmaninoff’ piano works on the example of Variations on the Theme of Chopin. The relevance of the study is in the emphasis on interpretation aspects in the process of creating a performance version of a musical work. The mutual influences of the artist’s performing and compositional creativity are considered. The range of stylistic appeals to different layers of the musical context of the work is determined. The ways of interrelations with tradition are presented in combination with the semantic coordinates of the hypothetical references to performance repertoire of Rachmaninoff-pianist. Methodology. In considering Variations of the Theme of Chopin to reflect the interaction of Rachmaninoff’ performing and composing creativity, the principles of structural-functional, genre-style, performing and system analysis methods are applied. This allows deepening the interpretation potential of the work. How the study was done. This perspective of scientific attention to Variations on the theme of Chopin by Rachmaninoff in the organic combination of stylistic contexts of his composition and performance determines the scientific novelty of the study. The integration of various levels of interpretation in the pianist’s work process is especially relevant for performing a complex work of the piano top repertoire. Main objective of the study. The purpose of this article is to study this stylistic polyphony, the intersection of Rachmaninoff’ style with the piano style of previous eras and the influence of the composer’s performance experience on the process of building the texture of the work. The focus of the research is genre-style interactions in Chopin’s Variations on the levels of composer and performer’s interpretation and the main models of working with external texts that the author uses in the work. Results and conclusions. The whole layer of hypothetical references of the work to the performance of Rachmaninoff-pianist continues the rather real lines of interrelations with tradition, which reflected in the theme and the intonation plan of the forming of the variation cycle. Each of the variations of the cycle reveals clear allusions to the range of certain author’s works of the composer and a number of opuses from his huge repertoire. The variant circle deploying on the principle of increasing distance from the primary source by figurative definition, genre and style metamorphoses, structural features. In the meantime, composer keep connection with the Chopin theme in each part of the cycle (sometimes only at the micro-intonational level). Rachmaninoff created a symphonic poem for piano. Its scale, dynamics of unfolding, polyphonic plasticity and the beauty of piano colours inspirited by Chopin musical word. Significance. Therefore, Variations on a Theme of Chopin completes a number of variation masterpieces from beginning of 20th century. The finding results of this research can be used especially in the piano performing field.
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Indyana, Luth. "TWINKLE-TWINKLE VARIATION 6 TO 12 KARYA W. A. MOZART DALAM TINJAUAN VARIASI MELODI DAN TEKNIK PERMAINAN INSTRUMEN PIANO." Repertoar Journal 1, no. 2 (2021): 333–46. http://dx.doi.org/10.26740/rj.v1n2.p333-346.

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Twinkle-Twinkle in 12 Variations karya W. A. Mozart memiliki 12 variasi melodi dengan karakteristik satu dengan lainnya. Penelitian dilakukan pada variasi 6-12 karena pada variasi tersebut terdapat banyak kompleksitas mulai dari variasi melodi hingga teknik permainan piano. Peneliti menggunakan dua pendekatan yaitu pendekatan kualitatif dan pendekatan musikologi. Hasil analisis didapat, Mozart menggunakan 4 bentuk variasi melodi yaitu Variation Rhythmic and Fake Rhythmic, Melodic Variation and Fake, variasi harmoni, dan variasi polifon. Selain itu, Mozart menggunakan 6 macam teknik permainan piano: power, speed, scales, trill, legato dan staccato. Hasil penelitian menunjukkan bahwa semakin beragam variasi yang digunakan, maka semakin kompleks pula teknik permainan yang harus diaplikasikan dalam repertoar tersebut. Hal ini pula yang ditunjukkan dan menjadi kekhasan dalam œTwinkle-Twinkle W. A. Mozart, dimana pada variasi 6-12 memiliki beragam variasi melodi yang harus didukung dengan kompleksitas teknik permainan piano dalam pengaplikasiannya.Kata Kunci : Mozart, Periode Klasik, Piano, Teknik Permainan, Variasi Melodi
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Dissertations / Theses on the topic "Variations (Piano)"

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Chen, Han-yin. "Symmetrical pitch relations and variational procedures in George Crumb's Gnomic variations /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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Saun, Rinna. "The Piano variations of Aaron Copland an analysis /." connect to online resource. Access restricted to the University of North Texas campus, 2003. http://www.library.unt.edu/theses/open/20032/saun%5Frinna/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2003.<br>Accompanied by 4 recitals, recorded Apr. 24, 2000, Apr. 9, 2001, Sept. 17, 2001, and Apr. 21, 2003. Includes bibliographical references (p. 37-39).
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Saun, Rinna M. "The Piano Variations of Aaron Copland: An Analysis and Study for the Performer." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc5529/.

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Aaron Copland has been in the forefront of the American musical scene since the 1920s. He has been called an "American composer" for his ability to formulate the essence of American folk music into a wide variety of mediums. The variety and scope of his compositions encompass a diverse array of styles and techniques. From the jazz influenced works that dominated his early period to the works for Hollywood films, from the chamber music that was directly influenced by his Jewish background to the partial acceptance of serial technique, Copland has managed to delve equally into all these styles. Yet, one could arguably rank his works for the stage as his most popular and generally most successful compositions of his career. The extent to which the American public has accepted these works as being "folk" is a case for the genius and adaptability of Copland's talent. Although works like Appalachian Spring, Rodeo, and Lincoln Portrait command the attention of the general public, of whom Aaron Copland was constantly aware, there are works for the piano that deserve and demand close study by pianists. One such work is the Piano Variations. Written in 1930, it has been acknowledged as a twentieth century masterpiece in publications for piano and piano literature as well as by pianists since its premiere in 1931. It is a brutal and sparse work that encompasses a quasi-serial technique in which the motto of four notes transforms itself through the course of twenty variations and a coda. The demands of learning a work such as this can be overwhelming for the pianist not accustomed to the rigors of a non-diatonic piece. However, a careful analysis precipitated by specific questions directed not only at learning the piece but also with the goal of performance in mind, can shape the interpretational issues that will eventually face the pianist. The questions that I pose are directly pulled from Michael Remson's article, "Copland's Piano Variations: A Forgotten Masterpiece." Although it is considered by this writer as an introduction to the technique of serialism, largely because of the classical practices among which are tonal center, period structure and interruptions of the motto, Copland's Piano Variations is a classic example of a twentieth century work that will be heard as avant-garde and studied in the style of late Romanticism.
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Montgomery, Vivian S. ""Brilliant" variations on sentimental songs slipping piano virtuosity into the drawing room /." online version, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=case1175530770.

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Montgomery, Vivian Sarah. "“Brilliant” Variations on Sentimental Songs: Slipping Piano Virtuosity into the Drawing Room." Case Western Reserve University School of Graduate Studies / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=case1175530770.

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Kramer, Ernest J. (Ernest Joachim). "Beethoven's Transcendence of the Additive Tendency in Opus 34, Opus 35, Werk ohne Opuszahl 80, and Opus 120." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc330709/.

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The internal unity of the themes in a sonata-allegro movement and the external unity of the movements in a sonata cycle are crucial elements of Beethoven's compositional aesthetic. Numerous theorists have explored these aspects in Beethoven's sonatas, symphonies, quartets, and concertos. Similar research into the independent variation sets for piano, excluding Opus 120, has been largely neglected as the result of three misconceptions: that the variation sets, many of which were based on popular melodies of Beethoven's time, are not as worthy of study as his other works; that the type of hidden internal relationships which pervade the sonata cycle are not relevant to the variation set since all variations are, by definition, related to the theme; and that variations were composed "additively," that is, one after another, without any particular regard for their order or relationship to one another. The purpose of this study is to refute all three of these incorrect assumptions. Beethoven was concerned with the order of variations and their relationship to one another, and he was able to transcend the additive tendency in a number of ways. Some of his methods included registral connection, registral expansion, rhythmic acceleration, textural expansion, dynamics, articulation, and motivic similarities. Chapter I contains a discussion of the role of the variation set in Beethoven's overall output. The teachers, composers, and works which may have influenced him are also discussed as well as his training in variation composition. Finally, those factors which Beethoven employed to unify his sets are listed and explained. Chapters II-V are devoted to detailed analyses of four striking variation sets: Opus 34, Opus 35, WoO 80, and Opus 120. Chapter VI presents a summary of the findings. It suggests that each of the sets investigated has a unique form and that each variation has a distinct place and purpose.
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Dowdle, Caroline. "Bach's Goldberg variations : a study of technical and stylistic transference to the piano." Master's thesis, University of Cape Town, 1991. http://hdl.handle.net/11427/18653.

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The Goldberg Variations comprise a unique compilation of Baroque compositional techniques, making great technical demands of the performer. Each variation has its own character and special technical problems for the pianist which have to be overcome before the set can be performed successfully. Several standard eighteenth century practices can be applied on the piano in the performance of the Goldberg Variations, including articulation, arpeggiation, tempo rubato, ornamentation, rhythmic alteration and the relating of tempi from variation to variation. To these can be added the possibility of a wide range of inflectional dynamics not available on the harpsichord, and the optional use of damper and una corda pedals. In this dissertation my endeavour has been to bring under the microscope, so to speak, the harpsichord and piano and their techniques and performance styles in relation to Bach's Goldberg Variations.
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Lin, Kung-Chin. "Les variations dans la musique pour piano de Robert Schumann : contexte, style, perspectives pour l'interprétations." Paris 8, 2000. http://www.theses.fr/2000PA081703.

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C'est en tant que concertiste que nous avons mene des recherches sur l'architecture secrete des oeuvres pour piano de robert schumann. En choisissant - et en nous limitant - aux oeuvres pianistiques de schumann construites sur le modele theme et variations, notre but a ete d'envisager ensuite, armee d'une methodologie adaptee a ce style tres original d'ecriture pianistique, la poursuite de notre travail sur l'ensemble du corpus. Dans le premier chapitre, nous avons envisage les differentes sources, tant musicales que litteraires, qui ont alimente son inspiration de musicien. Dans un deuxieme chapitre, nous avons mene des investigations sur les differentes composantes techniques qui constituent les dimensions particulieres de son style : l'harmonie - la partie la plus originale de son ecriture de compositeur - le traitement tres complexe du rythme et les specificites du traitement thematicolineaire lui permettant la construction des formes. Dans le troisieme chapitre, nous avons mene une analyse detaillee des grandes oeuvres pianistiques de schumann sur le modele theme et variations. Il s'agit des variations abegg, opus 1, des impromptus sur un theme de clara schumann, opus 5, des douze etudes symphoniques (ou etudes en forme de variations), opus 13 et le troisieme mouvement de la troisieme grande sonate, opus 14. Au cours de ce chapitre, nous avons ete amenee a comparer les differentes editions, etude dans certains cas particulierement delicate, comme par exemple celle touchant a l'opus 13, oeuvre qui a fait l'objet de plusieurs editions et reeditions non seulement du vivant du compositeur, mais aussi apres sa disparition. Enfin, dans le 4e et dernier chapitre, nous avons mene une reflexion sur certains elements techniques participant de l'interpretation ; et nous avons compare entre elles plusieurs executions des oeuvres de schumann par de grands pianistes internationaux, en faisant part de nos propres commentaires de concertiste a propos de ces interpretations.
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Healey, John P. "THE SOLO PIANO MUSIC OF VIKTOR ULLMANN: FROM PRAGUE TO THE HOLOCAUST A PERFORMER'S GUIDE TO THE COMPLETE PIANO SONATAS AND VARIATIONS." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin991913187.

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Ross, Gareth Edward. "Re-evaluating ornamentation in a piano performance of JS Bach's Goldberg Variations BWV 988." Diss., University of Pretoria, 2019. http://hdl.handle.net/2263/72849.

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This dissertation investigates the practical considerations of executing specific ornaments in a piano performance of JS Bach’s Goldberg Variations BWV 988. Research will be presented which highlights how an understanding of the composition’s large-scale structure has an effect on the tempo choices by the performer, ultimately influencing the rhythm of an ornament. Various scholars’ rules and approaches towards ornamentation in the keyboard music of JS Bach will be scrutinised and applied in music examples from the Goldberg Variations. In some instances these rules will be shown to be contradictory and ineffective. Thus, their use in a modern performance of the Goldberg Variations becomes redundant. An analysis of performing traditions from reputable Bach keyboardists will be discussed, where their approaches to ornaments in the Goldberg Variations will be compared with the academic perspectives previously presented. The present writer will conclude this dissertation by offering his own solutions to ornaments in the Goldberg Variations which take into account the research and evidence gathered in the preceding chapters. To further support his choices of ornamentation a live and unedited recording of his performance of the Goldberg Variations has been included as an appendix. He endeavours for this dissertation to give the performer greater individuality in his/her approach to ornamentation in the keyboard music of JS Bach.<br>Mini Dissertation (MMus)--University of Pretoria, 2019.<br>Music<br>MMus (Performing Arts)<br>Unrestricted
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Books on the topic "Variations (Piano)"

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1967-, Schmitt-Leonardy Wolfram, ed. Paganini variations: Handel variations. Brilliant Classics, 2008.

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Bracha, Eden, and Tamir Alexander, eds. Haydn variations: Schumann variations ; Waltzes : piano 4-hands. Brilliant Classics, 2008.

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Copland, Aaron. Sextet ; Piano variations ; Piano quartet. Elektra Nonesuch, 1987.

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Festinger, Richard. Variations for piano: Piano solo. Henmar Press, 1997.

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Webber, Andrew Lloyd. Variations for piano. Hal Leonard, 1988.

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1967-, Schmitt-Leonardy Wolfram, ed. Variations op. 9 & 21. Brilliant Classics, 2008.

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Boulanger, Lili. Thème et variations. Chromattica USA Press, 1994.

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Smith, Hale. Mirrors: Rondo-variations for two pianos. Merion Music, 1990.

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Lees, Benjamin. Fantasy variations: For piano solo. Boosey & Hawkes, 1994.

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Perle, George. Fantasy variations: For piano solo. Galaxy Music Corp., 1991.

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Book chapters on the topic "Variations (Piano)"

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Webern, Anton. "Piano Variations, op. 27, II (1935–36)." In Anthology of Post-Tonal Music, 2nd ed. Routledge, 2021. http://dx.doi.org/10.4324/9780429340147-20.

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Fiore, Mary E. "VI. Webern's Use Of Motive In The Piano Variations." In The Computer and Music, edited by Harry B. Lincoln. Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501744167-009.

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BACH, JOHANN SEBASTIAN. "Goldberg Variations, BWV 988." In The Piano. Yale University Press, 2021. http://dx.doi.org/10.2307/j.ctv1t1kfj8.5.

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Kinderman, William. "Variations and Miscellaneous Works." In Mozart's Piano Music. Oxford University Press, 2006. http://dx.doi.org/10.1093/acprof:oso/9780195100679.003.0004.

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MENDELSSOHN, FELIX. "Variations Sérieuses in D minor, op. 54." In The Piano. Yale University Press, 2021. http://dx.doi.org/10.2307/j.ctv1t1kfj8.30.

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HAYDN, JOSEPH. "Variations in F minor, ‘Un piccolo divertimento’, Hob. XVII:6." In The Piano. Yale University Press, 2021. http://dx.doi.org/10.2307/j.ctv1t1kfj8.11.

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Knyt, Erinn E. "Prelude." In Johann Sebastian Bach's Goldberg Variations Reimagined. Oxford University PressNew York, NY, 2024. http://dx.doi.org/10.1093/9780197690659.003.0002.

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Abstract This chapter documents the early history of the Goldberg Variations, with particular attention to Ferruccio Busoni’s 1914 version of the piece. By examining nineteenth- and early twentieth-century editions and performances, it shows that transcriptions and arrangements of the piece for solo piano, piano duet, or two pianos were essential for the canonization of the Goldberg Variations in the late nineteenth and early twentieth centuries due to a dearth of two-manual harpsichords and due the length. In the process, it not only documents a little researched aspect of the piece’s reception history, but also lays the foundation for the book’s broader discussion of adaptations of the Goldberg Variations throughout the twentieth and twenty-first centuries.
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Chapman, David. "Improvisation, Two Variations on a Watermelon, and a New Timeline for Piano Phase." In Rethinking Reich. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190605285.003.0011.

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Steve Reich’s Piano Phase (1967) represents a pivotal moment in the composer’s creative practice. With this keyboard duet, the composer felt that he had successfully translated his phase-shifting process to live performance and had left behind earlier improvisatory practices. Documents held in the Steve Reich Collection at the Paul Sacher Stiftung complicate this picture: in the months before its composition and premiere, Reich first revived Music for Two or More Pianos or Piano and Tape (1964) as a potential model for live performance, and in Improvisations on a Watermelons (1966) he explored concepts now firmly associated with Piano Phase. An archival audio recording of the Piano Phase premiere also documents a brief improvisation performed by Reich and Arthur Murphy. This chapter argues for a more critical reading of the composer’s autobiographical statements—such as, “we were not improvising”—and offers a newly detailed timeline for the origins of Piano Phase.
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Nakai, You. "Amplified Piano." In Reminded by the Instruments. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190686765.003.0003.

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The introduction of electronic amplification to the piano, which began as an innocent bluff by a teenage composer living in the Arctic Circle, had a devastating consequence for Tudor’s virtuosity on the keyboard instrument: it dissolved his control of escapement mechanism, opening up instead the world of feedback where a sound once activated could potentially never end. A detailed examination of Tudor’s idiosyncratic realization of John Cage’s Variations II in 1962 shows what previous scholars, as well as the composer himself, have failed to see: the specific nature of the amplified piano that was altogether a different instrument from the piano. What the new instrument presented was not simply more complexity and indeterminacy but a specific kind of complexity and indeterminacy which is reflected in how Tudor actually performed the music.
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Straus, Joseph N. "Aaron Copland, Piano Variations, Theme (1930)." In The Art of Post-Tonal Analysis. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197543979.003.0008.

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In this theme, the process of variation with respect to a four-note motto—E-C-D♯-C♯—is continuous. The theme moves through different collectional environments (octatonic and pentatonic) and engages triadic transformations (L, P, R, SLIDE, and HEXPOLE). Ultimately, it can be thought of in relation to the tonality of C♯ minor, but not in any traditional way.
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Conference papers on the topic "Variations (Piano)"

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Cancino-Chacón, Carlos, Silvan Peter, Patricia Hu, et al. "The ACCompanion: Combining Reactivity, Robustness, and Musical Expressivity in an Automatic Piano Accompanist." In Thirty-Second International Joint Conference on Artificial Intelligence {IJCAI-23}. International Joint Conferences on Artificial Intelligence Organization, 2023. http://dx.doi.org/10.24963/ijcai.2023/641.

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This paper introduces the ACCompanion, an expressive accompaniment system. Similarly to a musician who accompanies a soloist playing a given musical piece, our system can produce a human-like rendition of the accompaniment part that follows the soloist's choices in terms of tempo, dynamics, and articulation. The ACCompanion works in the symbolic domain, i.e., it needs a musical instrument capable of producing and playing MIDI data, with explicitly encoded onset, offset, and pitch for each played note. We describe the components that go into such a system, from real-time score following and prediction to expressive performance generation and online adaptation to the expressive choices of the human player. Based on our experience with repeated live demonstrations in front of various audiences, we offer an analysis of the challenges of combining these components into a system that is highly reactive and precise, while still a reliable musical partner, robust to possible performance errors and responsive to expressive variations.
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Egizova, E. D. "Children's piano works by N. Ya. Myaskovsky: "Ten very light Pieces, Four Easy Pieces in the Polyphonic Kind, Simple Variations." In Научный диалог: Молодой ученый. ЦНК МОАН, 2018. http://dx.doi.org/10.18411/spc-22-09-2018-10.

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Reports on the topic "Variations (Piano)"

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Emmerson, Stephen. Modulations through time. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.530427.

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This article explores the rationale behind a performance given by the authors at the Unfolding the Process symposium held in Oslo in November 2015. For this occasion, the authors devised a new version of Bach’s Goldberg Variations that builds upon Emmerson’s arrangement of the work for two pianos in 2012. A shortened version of the work (c.30 minutes) was designed that aimed nonetheless to maintain the original work’s sense of structural balance and coherence. This version involved the transposition of a number of variations into different keys to explore the possibility of adding a satisfying tonal structure to our experience of the work, in a context where both performers see potential communicative value in 'playing with' dimensions of original masterworks with a view to giving fresh perspective to the listener experience. The article is written from the alternating perspectives of the authors; one of which is primarily concerned with the rationale and process of devising the arrangement while the other reflects upon the performative aspects and implications arising from it.
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