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Articles de revues sur le sujet « Variations (Recorder and piano) »

Auteur : Grafiati

Publié le 4 juin 2021

Mis à jour le 27 juillet 2025

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1

MacDonald, Claudia. "Schumann's Piano Practice: Technical Mastery and Artistic Ideal." Journal of Musicology 19, no. 4 (2002): 527–63. http://dx.doi.org/10.1525/jm.2002.19.4.527.

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From the summer of 1830 through the fall of 1831, Schumann worked diligently at the piano with the intention of becoming a professional performer. Beginning in May 1831 he regularly recorded his progress in his diary, describing his repertory, hand position, his aesthetic and technical goals, his frustrations and triumphs. Repeatedly he wrote of the clash between a cherished ideal, nurtured in him as an amateur, of music as an expression from the heart, and what he deemed the routine music making of professionalism——a clash played out in his piano practice until it reached an impasse he was un

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Winges, Sara A., Shinichi Furuya, Nathaniel J. Faber, and Martha Flanders. "Patterns of muscle activity for digital coarticulation." Journal of Neurophysiology 110, no. 1 (2013): 230–42. http://dx.doi.org/10.1152/jn.00973.2012.

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Although piano playing is a highly skilled task, basic features of motor pattern generation may be shared across tasks involving fine movements, such as handling coins, fingering food, or using a touch screen. The scripted and sequential nature of piano playing offered the opportunity to quantify the neuromuscular basis of coarticulation, i.e., the manner in which the muscle activation for one sequential element is altered to facilitate production of the preceding and subsequent elements. Ten pianists were asked to play selected pieces with the right hand at a uniform tempo. Key-press times we

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Repp, Bruno H. "A Constraint on the Expressive Timing of a Melodic Gesture: Evidence from Performance and Aesthetic Judgment." Music Perception 10, no. 2 (1992): 221–41. http://dx.doi.org/10.2307/40285608.

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Discussions of music performance often stress diversity and artistic freedom, yet there is general agreement that interpretation is not arbitrary and that there are standards that performances can be judged by. However, there have been few objective demonstrations of any extant constraints on music performance and judgment, particularly at the level of expressive microstructure. This study illustrates such a constraint in one specific case: the expressive timing of a melodic gesture that occurs repeatedly in Robert Schumann's famous piano piece, "Traumerei." Tone onset timing measurements in 2

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Zaman, Muhammad Khizer. "Auditory Representation of Transient Hydraulic Phenomena: A Novel Approach to Sonification of Pressure Waves in Hydraulic Systems." Water 17, no. 13 (2025): 1950. https://doi.org/10.3390/w17131950.

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This study explores the novel integration of data sonification into hydraulic engineering by translating transient pressure fluctuations in a hydraulic system into sound. Using a simple hydraulic model built in KYPipe, a pump connected to a reservoir and a tank was simulated to trip, causing transient pressure changes. These pressure variations were mapped onto the C-major scale using Microsoft Excel, creating an auditory representation. The methodology included generating a sound library using recorded piano samples and applying VBA code to link pressure values with musical notes. The results

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Johnson, Bret. "Benjamin Lees: Quo Vadis?" Tempo, no. 175 (December 1990): 11–17. http://dx.doi.org/10.1017/s0040298200012560.

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Fifteen years ago, Nicolas Slonimsky wrote of Benjamin Lees in Tempo: ‘At a time when so many otherwise valiant composers are star-crossed and complain of malign neglect, Benjamin Lees rises “in excelsis” in the musical firmament’. And so he has continued since, with many commissions and numerous major works to his credit, matched by frequent performances in the United States. It is a time that has seen the creation of his Fourth and Fifth Symphonies, a set of Variations for Piano and Orchestra, a Concerto for Brass Choir and Orchestra, a Double Concerto for Piano, Cello and Orchestra, at leas

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Pousson, Jachin Edward, Aleksandras Voicikas, Valdis Bernhofs, et al. "Spectral Characteristics of EEG during Active Emotional Musical Performance." Sensors 21, no. 22 (2021): 7466. http://dx.doi.org/10.3390/s21227466.

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The research on neural correlates of intentional emotion communication by the music performer is still limited. In this study, we attempted to evaluate EEG patterns recorded from musicians who were instructed to perform a simple piano score while manipulating their manner of play to express specific contrasting emotions and self-rate the emotion they reflected on the scales of arousal and valence. In the emotional playing task, participants were instructed to improvise variations in a manner by which the targeted emotion is communicated. In contrast, in the neutral playing task, participants w

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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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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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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 Mu

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Brooks, Richard, Paul Carr, James Collorafi, et al. "Concertino; For Descant Recorder or Flute or Oboe, and Strings. Piano Reduction." Notes 45, no. 1 (1988): 153. http://dx.doi.org/10.2307/941409.

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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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Pearsall, Edward. "George Crumb piano music." Tempo 58, no. 230 (2004): 78–79. http://dx.doi.org/10.1017/s0040298204240335.

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GEORGE CRUMB: The Complete Piano Music. Makrokosmos 1; Makrokosmos 2; Five Pieces for Piano; Gnomic Variations; Processional; A Little Suite for Christmas Philip Mead (pno). Metier MSV CD92067 (2-CD Set).

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Hatipova, Inna. "Piano pieces by Marian Stârcea in the repertoire of piano students at the AMTFA." Studiul artelor şi culturologie: istorie, teorie, practică, no. 1(46) (December 2024): 47–52. https://doi.org/10.55383/amtap.2024.1.06.

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The article analyzes two piano works of M. Stârcea – Variations in G major and Two Preludes, which are used in the pedagogical practice of the AMTFA. The author thoroughly examines the features of the composition, dramaturgy, and musical language of these pieces, identifies the performance difficulties, and offers an interpretation option. It is concluded that the high methodical and didactic potential of these works by M. Stârcea is due to the synthesis of the classical-romantic traditions of the genres of variations and prelude with the musical language of contemporary Moldovan compositional

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Franklin, Peter, Viktor Ullmann, Konrad Richter, Staatsphilharmonie Bruun, and Israel Yinon. "Piano Concerto, Variations Op.5, Second Symphony." Musical Times 134, no. 1806 (1993): 468. http://dx.doi.org/10.2307/1003039.

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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

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Paytan, Adina, and Elizabeth M. Griffith. "Marine barite: Recorder of variations in ocean export productivity." Deep Sea Research Part II: Topical Studies in Oceanography 54, no. 5-7 (2007): 687–705. http://dx.doi.org/10.1016/j.dsr2.2007.01.007.

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Woody, Robert H. "The Relationship between Explicit Planning and Expressive Performance of Dynamic Variations in an Aural Modeling Task." Journal of Research in Music Education 47, no. 4 (1999): 331–42. http://dx.doi.org/10.2307/3345488.

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The present study is an examination of the performance of expressive dynamic variations by advanced pianists in an aural modeling (imitative) performance task. Twenty-four university musicians listened to expressive performances of short piano excerpts played for them via MIDI on a Yamaha Disklavier acoustic piano. These expressive models contained idiomatic features (musically appropriate) and nonidiomatic features (musically inappropriate). After hearing each model, subjects reported their thoughts regarding dynamic variations they had heard and then attempted to imitate the model in their o

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Antonova, Olena. "«Variations on “I got rhythm”» by George Gershwin: concert transformation of the song theme." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 139 (February 28, 2024): 170–82. https://doi.org/10.31318/2522-4190.2024.139.301132.

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Relevance of the study. George Gershwin's concert legacy includes four works for piano and orchestra: Rhapsody in Blue, Concerto in F, Second Rhapsody, Variations on “I Got Rhythm”. However, the degree of their popularity, performance demand and scholarly coverage are disproportionate, with the Variations on “I Got Rhythm” being the most overlooked in this regard, which seems unfair considering their final role in the composer's instrumental creativity. The appeal to the Variations is also made more relevant by the clear combination in them of two spheres of Gershwin's activity — popular music

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Cook, Nicholas. "Inventing Tradition: Webern's Piano Variations in Early Recordings." Music Analysis 36, no. 2 (2017): 163–215. http://dx.doi.org/10.1111/musa.12094.

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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 com

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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. https://doi.org/10.31866/2410-1915.24.2023.287671.

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<i>The aim of the article </i>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. <i>The research results </i>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 o

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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

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Greer, Amy. "Wrestling the Goldbergs: Piano Variations as a Spiritual Practice." Spiritus: A Journal of Christian Spirituality 18, no. 2 (2018): 176–89. http://dx.doi.org/10.1353/scs.2018.0023.

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Conway, Paul. "John McCabe CD round-up." Tempo 58, no. 229 (2004): 53–54. http://dx.doi.org/10.1017/s0040298204290222.

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JOHN McCABE: Concerto for Piano and Wind Quintet; Musica Notturna; Fauvel's Rondeaux; Postcards for wind quintet. The Fibonacci Sequence. Dutton CDLX 7125.‘Old City New Image’. McCABE: String Trio; String Quartet No. 2. DAVID ELLIS: Trio for violin, viola and cello; String Quartet No. 1. Camerata Ensemble. Campion Cameo 2027.McCABE: Piano Concerto No. 2; Concertante Variations on a theme of Nicholas Maw; Six-Minute Symphony; Sonata on a Motet. Tamami Honma (pno), St Christopher Chamber Orchestra c. Donatas Katkus. Dutton CDLX 7133.‘Tenebrae’. McCABE: Variations; Intermezzi; Sostenuto (Study No

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Cui, Hong, Bruce Ford, Julian Starr, et al. "Preliminary Findings of Usability Studies on an Ontology-Aware Taxon-by-Character Matrix Editor." Biodiversity Information Science and Standards 6 (August 1, 2022): e90949. https://doi.org/10.3897/biss.6.90949.

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Taxonomic treatments start with the creation of taxon-by-character matrices. Systematics authors recognized data ambiguity issues in published phenotypic characters and are willing to adopt an ontology-aware authoring tool (Cui et al. 2022). To promote interoperable and reusable taxonomic treatments, we have developed two research prototypes:a web-based application, Character Recorder (http://chrecorder.lusites.xyz/login), to faciliate the use and addition of ontology terms by <em>Carex </em>systematist authors while building their matrices, anda mobile application, Conflict Resolver (Android,

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Caldwell, Jane C., John Madias, and Adrian Baranchuk. "Pseudo T-wave variations on internal loop recorder: predictor or confounder?" EP Europace 15, no. 2 (2012): 242. http://dx.doi.org/10.1093/europace/eus385.

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Furuya, Shinichi, and Sayuri Yokota. "Temporal exploration in sequential movements shapes efficient neuromuscular control." Journal of Neurophysiology 120, no. 1 (2018): 196–210. http://dx.doi.org/10.1152/jn.00922.2017.

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The interaction of early and deliberate practice with genetic predisposition endows experts with virtuosic motor performance. However, it has not been known whether ways of practicing shape motor virtuosity. Here, we addressed this issue by comparing the effects of rhythmic variation in motor practice on neuromuscular control of the finger movements in pianists. With the use of a novel electromyography system with miniature active electrodes, we recorded the activity of the intrinsic hand muscles of 27 pianists while they played the piano and analyzed it by using a nonnegative matrix factoriza

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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 p

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Cui, W. Q., Y. Y. Won, M. H. Baek, K. K. Kim, and J. H. Cho. "Variations of the ‘grand-piano sign’ during total knee replacement." Journal of Bone and Joint Surgery. British volume 88-B, no. 11 (2006): 1441–47. http://dx.doi.org/10.1302/0301-620x.88b11.17648.

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Hétu, Jacques, and Réjean Beaucage. "Variations et variantes." Circuit 15, no. 1 (2010): 19–26. http://dx.doi.org/10.7202/902338ar.

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Le compositeur Jacques Hétu revient sur l’expérience qualifiée de « choc » violent qu’a représenté pour lui l’enregistrement de ses Variations pour piano par Glenn Gould en 1967. Il rappelle, dans un premier temps, que ce musicien qui s’est exprimé essentiellement à travers l’interprétation rêvait aussi d’être compositeur. Il s’interroge sur la façon dont il « s’emparait parfois de la musique des autres et la transformait, parfois en la défigurant, parfois en la transfigurant ». Il cible, à travers des exemples tirés de chacune des variations, les écarts de tempi, d’articulations, de dynamique

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Gotlieb, Heidi, and Vladimir J. Konečni. "The Effects of Instrumentation, Playing Style, and Structure in the Goldberg Variations by Johann Sebastian Bach." Music Perception 3, no. 1 (1985): 87–101. http://dx.doi.org/10.2307/40285323.

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Different recordings and arrangements of the Goldberg Variations by Johann Sebastian Bach were evaluated on cognitive, emotional, and perceptual dimensions. In Study 1, eight different renditions of the piece were classified as Classical or Romantic interpretations. Both harpsichord and piano versions of each style were included. Only minimal differences were found in subjects' appreciation for the harpsichord versus the piano recordings. Comparisons between the Classical and Romantic styles also revealed only slight differences in subjects' ratings. In addition, no differences were found in s

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Dedkova, V. V. "Study of the accuracy of UAV images captured by rolling shutter cameras." Vestnik SSUGT (Siberian State University of Geosystems and Technologies) 27, no. 4 (2022): 54–60. http://dx.doi.org/10.33764/2411-1759-2022-27-4-54-60.

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Quite often aerial survey made by unmanned aerial vehicle (UAV) is carried out using digital non-metric cameras that have rolling shutters. Variations in speed of a UAV and its angular elements of exterior orientation during aerial survey cause distortions in the images generated by the camera, which affects the accuracy of the processing results. The article shows the variations in the elements of exterior orientation during the operation of a rolling shutter and describes the way of its detection by flight recorder. The values of image distortion, caused by the variations in the angular elem

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McMechan, G. A., and H. W. Chen. "Implicit static corrections in prestack migration of common‐source data." GEOPHYSICS 55, no. 6 (1990): 757–60. http://dx.doi.org/10.1190/1.1442887.

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Static effects due to surface topography and near‐surface velocity variations may be accurately compensated for, in an implicit way, during prestack reverse‐time migration of common‐source gathers, obviating the need for explicit static corrections. Receiver statics are incorporated by extrapolating the observed data from the actual recorder positions; source statics are incorporated by computing the excitation‐time imaging conditions from the actual source positions.

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Maksimov, Evgenii Ivanovich. "FRANZ SCHUBERT’S PIANO VARIATIONS THROUGH THE LENSES OF THE GENRE DEVELOPMENT." Manuscript, no. 11 (November 2019): 282–88. http://dx.doi.org/10.30853/manuscript.2019.11.53.

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Domagała, Jarosław. "Teaching qualities in piano works by Henryk Pachulski in the context of the development of piano technique in children and youth. Part 1." Notes Muzyczny 2, no. 16 (2021): 59–86. http://dx.doi.org/10.5604/01.3001.0015.5488.

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Henryk Pachulski (1852-1921) – a Polish composer, pianist, and teacher. He graduated from the Warsaw Institute of Music, having studied piano with Rudolf Strobl. His harmony and counterpoint teachers were Stanisław Moniuszko and Władysław Żeleński. After that, he studied piano at the Moscow Conservatory with Nicolai Rubinstein and then Pawel Pabst. He learnt harmony from E. L. Langer, then Anton Arensky with whom he also had a special course in counterpoint. In 1886 he started his teaching career at the Moscow Conservatory, which lasted over 30 years. He also performed as a pianist in Moscow,

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Karapetyan, Gohar. "Eduard Hayrapetyan Piano quartet (1981 – 1998)." JOURNAL FOR ARMENIAN STUDIES 1, no. 60 (2023): 166–79. http://dx.doi.org/10.24234/journalforarmenianstudies.v1i60.40.

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As a result of the study of the theme, our conclusions are as follows: In the present article we deal with the piano quartet of the composer Eduard Hayrapetyan. This musical work has its incomparable place both in the creative activity of the composer and in the Armenian chamber instrumental music. Eduard Hayrapetyan is one of the prominent representatives of the Armenian composer school. He created European classic music derived from Armenian professional musical traditions, synthesized contemporary melodic elements with folk and folk - professional elements. He also responded with great inte

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ZHANG, Jiangqi, and Yuliya Yu. TSYKINA. "The influence of Wang Jianzhong's piano works on the development of Chinese piano art." Service plus 18, no. 2 (2024): 83–92. https://doi.org/10.5281/zenodo.12177909.

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The article deals with the piano works of the famous Chinese composer Wang Jianzhong (1933-2016). The influence of Wang Jianzhong's piano works on the development of Chinese piano art is studied. The position of this composer's works in the Chinese musical environment is revealed, and their contribution to traditional culture is outlined. An analysis of the composer's works (especially «One Hundred Birds Bowing to the Phoenix»; «Three Variations on a Plum Theme»; «Shandandan Flower Blossoms Brightly») in the context of tradition and innovation has revealed t

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Heneghan, Áine. "The Theme of Webern's Variationen für Klavier, Op. 27, Third Movement." Music Theory and Analysis (MTA) 6, no. 1 (2019): 129–38. http://dx.doi.org/10.11116/mta.6.1.4.

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Webern's lectures on form (1934) offer insights into the composer's thinking on musical organization, yet they are rarely invoked to illuminate his own music. Inspired by his analyses of Beethoven, the author provides a reading of the theme from the final movement of Webern's Variations for Piano, Op. 27.

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Kim, Ji-Young. "A Melody and Its Afterlives in Piano Music by the Schumanns and Brahms." 19th-Century Music 46, no. 3 (2023): 217–43. http://dx.doi.org/10.1525/ncm.2023.46.3.217.

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In the 1830s, Robert Schumann wrote Impromptus on a Romance by Clara Wieck (op. 5), a set of variations on the theme from Wieck’s Romance variée (op. 3). In the 1850s, Clara Schumann wrote variations (op. 20) on an “Albumblatt” from Robert Schumann’s Bunte Blätter (op. 99), which stimulated Brahms to write his own variations (op. 9) on the same theme. Clara and Brahms linked the two temporal nodes together by quoting the melody shared by Clara and Robert’s youthful ops. 3 and 5 in their later ops. 20 and 9. These borrowings have stimulated interpretations that revolve around representations of

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Eichinger, R., P. Jöckel, and S. Lossow. "Simulation of the isotopic composition of stratospheric water vapour – Part 2: Investigation of HDO/H<sub>2</sub>O variations." Atmospheric Chemistry and Physics Discussions 14, no. 21 (2014): 29459–97. http://dx.doi.org/10.5194/acpd-14-29459-2014.

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Abstract. Studying the isotopic composition of water vapour in the lower stratosphere can reveal the driving mechanisms of changes in the stratospheric water vapour budget and therefore help to explain the trends and variations of stratospheric water vapour during the recent decades. We equipped a global chemistry climate model with a description of the water isotopologue HDO, comprising its physical and chemical fractionation effects throughout the hydrological cycle. We use this model to improve our understanding of the processes, which determine the patterns in the stratospheric water isoto

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Eichinger, R., P. Jöckel, and S. Lossow. "Simulation of the isotopic composition of stratospheric water vapour – Part 2: Investigation of HDO / H<sub>2</sub>O variations." Atmospheric Chemistry and Physics 15, no. 12 (2015): 7003–15. http://dx.doi.org/10.5194/acp-15-7003-2015.

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Abstract. Studying the isotopic composition of water vapour in the lower stratosphere can reveal the driving mechanisms of changes in the stratospheric water vapour budget and therefore help to explain the trends and variations of stratospheric water vapour during recent decades. We equipped a global chemistry climate model with a description of the water isotopologue HDO, comprising its physical and chemical fractionation effects throughout the hydrological cycle. We use this model to improve our understanding of the processes which determine the patterns in the stratospheric water isotope co

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Meixuan, Song. "Specifics of the embodiment of European genre models in Chinese piano music as the basis of performance stylistics." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 71, no. 71 (2024): 48–66. http://dx.doi.org/10.34064/khnum1-71.03.

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Statement of the problem. A performer who gives “new life" to a composer’s work lets the sound world of music pass through him. In this process, the genre-stylistic “inclination” of the work becomes a signpost on the way to the realization and improvement of its performance style. The article accents the significant of the relating the genre and performance stylistics. From this viewpoint, the Chinese piano works based on the European genre models are considered in the article. Objectives, methods, and novelty of the research. The relationship between the genre and the performance style of the

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Skurko, Evgeniya R. "Sergei Rachmaninoff’s Variations for Piano: Concerning the Question of Interpreting the Genre." Music Scholarship / Problemy Muzykal'noj Nauki, no. 2 (June 2016): 50–56. http://dx.doi.org/10.17674/1997-0854.2016.2.050-056.

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Bishop, Michaël. "Finck, Michèle. Sur un piano de paille. Variations Goldberg avec cri (2020)." Book Reviews, no. 118 (September 10, 2021): 234–36. http://dx.doi.org/10.7202/1081109ar.

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Nan, Yang. "WANG LISAN’S PIANO VARIATIONS: PRINCIPLES OF THE EMBODIMENT OF FOLK SONG MATERIAL." Arts education and science 2, no. 39 (2024): 156–63. http://dx.doi.org/10.36871/hon.202402156.

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The article is about a little-known work by Chinese composer Wang Lisan (1933–2013) — Piano Variations based on the folk song “The Blue Flower” (“兰花花”). It briefly reveals the composer’s creative path, tracing the stages of his studies at the missionary school, the Sichuan Academy of Arts and the Shanghai Conservatory. It mentions the teachers of the future composer, who had a great influence on him, among them were Zheng Qianzhu (郑乾柱), San Tong (桑桐), Russian musician and theorist F. G. Arzamanov. The works of Wang Lisan are characterized, including: Sonatina, the polyphonic cycle “Tashan” (“他

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Busse, Walter Gerard. "Toward Objective Measurement and Evaluation of Jazz Piano Performance Via MIDI-Based Groove Quantize Templates." Music Perception 19, no. 3 (2002): 443–61. http://dx.doi.org/10.1525/mp.2002.19.3.443.

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The purpose of this study was to (a) objectively measure and analyze performance deviations from mechanical regularity for three jazz pianists via MIDI-based "groove quantize" procedures and (b) measure how experts rate musical examples incorporating these deviations as being representative of the swing style. The "groove quantize" software procedure was used to measure performance deviations from mechanical regularity for (a) note placements (timings), (b) note durations (articulations), and (c) note velocities (dynamics) contained in 281 measures from 33 performances by three professional ja

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Rickards, Guy. "Berlin: Hindemith's ‘Klaviermusik mit orchester’." Tempo 59, no. 233 (2005): 55–56. http://dx.doi.org/10.1017/s0040298205260230.

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Paul Wittgenstein's commissioning of concertos for piano left-hand is as enviable a legacy as any performer could wish to have, centred as it is on concertos by Korngold, Franz Schmidt (who also penned for Wittgenstein a set of Concertante Variations on a theme of Beethoven with orchestra and three piano quintets), Richard Strauss, Prokofiev, Britten (his op. 21 Diversions) and Ravel. Yet the maimed pianist's quixotic attitude to the works he received is almost as remarkable. Ravel he offended by the liberties he took with the solo part, while Prokofiev's Concerto No. 4 languished unplayed for

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Le, Sun. "Stylistics of Cantonese opera yueju in Chen Peixun’s piano works: features of performance." Aspects of Historical Musicology 36, no. 36 (2024): 104–27. https://doi.org/10.34064/khnum2-36.06.

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Statement of the problem. The relevance of the proposed research is due to the growing interest in Chinese music in the world, its goal is to help the future listener and performer of this music in mastering the piano works of the outstanding Chinese composer Chen Peixun. The article is devoted to the connections between Chen Peixun’s piano work and the national traditions of musical and theatrical art of the cultural center of the Chinese province of Guangdong – the Canton city. Their features are reflected in a number of the master’s piano pieces: “Selling Groceries”, “Passionate Spring Desi

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