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Tesi sul tema "Piano – Technique"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 12 febbraio 2022

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1

Sung, Meir Mei Wah. "A Survey of Technique Elements in Piano Method Books and Technique Books for Young Piano Beginners." Thesis, Université d'Ottawa / University of Ottawa, 2017. http://hdl.handle.net/10393/36485.

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Abstract (sommario):

Piano teachers agree that acquiring piano technique knowledge and skills is beneficial for musical interpretation as lacking a good technique may impact on the musicality of a performance and poor technique may lead to muscular pain or injury. Many piano teachers use a series of piano method books as major teaching materials in the lesson. It is essential for teachers to understand the technical elements included in the piano method books and to investigate whether any piano technical element is missing so that they may consider using supplementary technique teaching materials. Besides, to und

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2

Hosaka, Yoshinori. "Sumiko Mikimoto's piano method a modern physiological approach to piano technique in historical context /." College Park, Md.: University of Maryland, 2009. http://hdl.handle.net/1903/9176.

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Thesis (D.M.A.) -- University of Maryland, College Park, 2009.<br>Thesis research directed by: Dept. of Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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3

Oh, Sang-Eun. "La musique pour piano d'Olivier Messiaen: technique et esthétique." Paris 4, 2004. http://www.theses.fr/2004PA040082.

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Nombre de compositeurs du XXe siècle considèrent que le travail est beaucoup plus important que l’inspiration. Pour Messiaen, la part de celle-ci est aussi importante que le travail. On peut dire que sa musique a joué un rôle de pont entre la musique classique et la moderne : tout en créant un langage novateur, il a pris des éléments de traditions anciennes pour les appliquer à sa composition. Il a beaucoup encouragé ses élèves à faire avancer la musique, en leur ouvrant des horizons nouveaux. Comme la vie moderne évolue rapidement, surtout grâce aux technologies, il en est de même dans le dom

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4

Nicolls, Sarah Louise. "Interacting with the piano : absorbing technology into piano technique and collaborative composition : the creation of 'performance environments', pieces and a piano." Thesis, Brunel University, 2010. http://bura.brunel.ac.uk/handle/2438/5511.

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This thesis explores the expansion of the piano performance environment, using technology to augment the sound, the playing area of the piano and its surroundings, and/or the performer's own body in controlling electronic elements of the music. In particular I examine the extension of piano technique and how this is affected by adding technology. I also discuss collaborative compositional processes in creating co-authored musical works and have given a critical appraisal of the different technological systems used in all of these pieces. I have also introduced ideas about developing the struct

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5

Proulx, Jean-François. "A Pedagogical Guide to Extended Piano Techniques." Diss., Temple University Libraries, 2009. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/38213.

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Music Performance<br>D.M.A.<br>Extended piano techniques, which mainly involve playing directly on the internal components of the piano, emerged early in the twentieth century, mainly in the United States. Henry Cowell (1897-1965) explored some of these techniques in short piano pieces such as The Tides of Manaunaun (1917; clusters) The Banshee (1925; glissando, pizzicato) and Sinister Resonance (1930; mute, harmonic). Several contemporary composers followed this path. Notably, George Crumb's (b. 1929) mature works combine conventional techniques with an unprecedented variety of extended techn

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6

Song, Hyun-Joo. "Mikrokosmos and 32 Piano Games: Introducing Contemporary Musical Language and Developing Piano Technique for the Beginning Student." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc84279/.

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As new musical styles have emerged in the twentieth century with characteristic sounds, chords, forms, meters, and intervals, teachers need to broaden and re-define the way they introduce musical concepts to beginning piano students. The purpose of this study is to offer different instructional possibilities aside from conventional methods of teaching beginning pianists. This is accomplished through a comparison of the two different approaches of the Hungarian composer Béla Bartók and the American composer Ross Lee Finney. Bartók’s Mikrokosmos, a graded set of 153 pieces, and Finney's 32 Piano

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7

Cheng, shu ching. "THE INTERDEPENDENCE OF MOVEMENT AND SOUND IN ALL ASPECTS OF PIANO TECHNIQUE IN FALKO STEINBACH'S "FIGURES" - 17 CHOREOGRAPHIC ETUDES FOR PIANO (2006)." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/195471.

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The piano etude is a musical genre that has evolved since the 18th century from a work composed to develop technique into a full-fledged concert piece. The genre has continued to pose a challenge for the composer who attempts to combine the utility of a technical exercise with musical invention equivalent to other genres in the concert repertoire.Falko Steinbach composed his first set of piano etudes, entitled "Figures," 17 Choreographic Etudes, in 2006. This major work is comprised of 17 pieces, which explore all the physical components of successful pianism. These components are outlined in

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8

Xu, Mo. "The high finger piano technique in China: past, present, and future." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6342.

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The high finger piano technique is an approach to playing the piano which focuses on training the fingers to have extreme independence. The fingers are required to function in the extreme ranges of motion, lifting high before each strike of the key. This is an outdated technique from nineteenth century Europe, where the Lebert-Stark high finger school successfully promoted this technique in European conservatories. It was introduced to China at the beginning of the twentieth century, shortly after pianos began to be imported. From that point forward, this technique became the standard for Chin

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9

Woo, Laehyung. "Building an Effective Piano Technique while Avoiding Injury: A Comparison of the Exercises in Alfred Cortot's "Rational Principles of Pianoforte Technique" and Carl Tausig's "Daily Studies for the Pianoforte"." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984147/.

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Abstract (sommario):

It is the teacher's responsibility to guide students in building an effective and injury-free piano technique. Improper technique, poor training and bad posture at the instrument all may cause problems such as lack of muscle control, weakness, or tension in the hands. Many teachers are interested in finding information about specific exercises dealing with finger strengthening, stretching, and warm-up strategies, as well as guidelines for safe practicing. It is therefore important for both teachers and students to understand how to build a technique from the earliest years of instruction. Carl

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10

Holmberg, Pontus. "Pianoundervisning genom genren? : En intervjustudie av lärares syn på sig själva och sin undervisning inom klassiskt piano och afropiano." Thesis, Karlstads universitet, Musikhögskolan Ingesund, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-26535.

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Syftet med denna studie är att identifiera skillnader och likheter i olika pianolärares undervisningsupplägg, samt undersöka om deras synsätt och metoder går att knyta till de respektive genrer som de undervisar i. Inom forskning och litteratur har motsättningar som kan kopplas till afro och klassiskt undersökts och framställts i kontraster såsom gehör kontra noter eller improvisatoriskt kontra återgivande. Sådana motsättningar ligger till grund för föreliggande studies intresseområde. Studien utgår från ett sociokulturellt perspektiv, vilket innebär att lärande ses som en social aktivitet, dä

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11

Kruja, Mira. "PIANO INSIDE OUT: THE EXPANSION OF THE EXPRESSIVE, TECHNICAL, AND SONOROUS SPECTRUM IN SELECTED TWENTIETH-CENTURY ART-MUSIC REPERTOIRE FOR THE MODERN ACOUSTIC PIANO." Lexington, Ky. : [University of Kentucky Libraries], 2004. http://lib.uky.edu/ETD/ukymuar2004d00228/Mkrujadma.pdf.

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Thesis (Ph.D.) --University of Kentucky, 2004.<br>Title from document title page (viewed on August 17, 2005). Document formatted into pages; contains: vii, 201 p. : music. Includes abstract and vita. Includes bibliographical references (p.187-197).

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12

Wheatley-Brown, Michèle T. "An Analysis of Terminology Describing the Physical Aspect of Piano Technique." Thesis, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/20434.

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Abstract (sommario):

Mastering the physical aspect of piano technique has long been a topic of great interest and importance to pianists. This is borne out in the numerous pedagogical approaches on the topic of piano technique. Despite the many contributions from pedagogues and scholars in developing an understanding of piano technique, many conflicting approaches often cause more confusion than clarity. After reviewing the literature on pedagogical approaches to piano technique, this study determined that problematic language might lie at the root of the confusion. Core concepts identified in the review of litera

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13

Lipke-Perry, Tracy Donna. "Integrating Piano Technique, Physiology, and Motor Learning: Strategies for Performing the Chopin Etudes." Diss., The University of Arizona, 2008. http://hdl.handle.net/10150/193854.

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Chopin's twenty-seven études are both unique and standard within the genre of advanced piano literature. Having been composed as the instrument itself was standardized and on the heels of the didactic studies of the classical period, Chopin's études are widely heralded as exemplary pedagogical material for their uniform quality and comprehensiveness. Nevertheless, despite the vast number of resources devoted to the topic of how one might approach the études and the innumerable endorsements which tout their incomparable worth, relatively cursory mention is made of their musical value. From a

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14

Finlow, Simon Robert. "The piano study from 1800 to 1850 : style and technique in didactic virtuoso piano music from Cramer to Liszt." Thesis, University of Cambridge, 1986. https://www.repository.cam.ac.uk/handle/1810/250876.

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15

Oliveira, Filho Manoel Theophilo Gaspar de. "A Utilização de Exercícios de Técnica Pianística no Ensino e na Prática de Sete Professores de Piano do Recife." Universidade Federal da Paraíba, 2015. http://tede.biblioteca.ufpb.br:8080/handle/tede/8669.

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Submitted by Morgana Silva (morgana_linhares@yahoo.com.br) on 2016-09-19T17:59:45Z No. of bitstreams: 1 arquivototal.pdf: 1594329 bytes, checksum: 35c7653a9196ce37c2c8d75e4c54f7ce (MD5)<br>Made available in DSpace on 2016-09-19T17:59:45Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1594329 bytes, checksum: 35c7653a9196ce37c2c8d75e4c54f7ce (MD5) Previous issue date: 2015-03-25<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>Historically, piano exercises have served a significant role in the development of piano pedagogy. Nonetheless, these drills still manage to pr

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16

Bascom, Brandon Roger. "The legacy of József Gát on piano performance and pedagogy." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3564.

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17

Lym, Sang-hee. "Aspects of compositional technique in the late original solo piano pieces by Franz Liszt /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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18

Strohschein, Aura. "A performer's guide to Jody Nagel's "Concerto in B for piano and orchestra."." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5649.

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Abstract (sommario):

Jody Nagel completed his first piano concerto in 2005. I will discuss technical challenges within the piece and practice techniques to overcome these challenges so that one can perform the work successfully. I cover fingering, pedaling, texture, character, and harmonic issues. I also give performance advice to make the orchestral reduction more pianistic while still honoring the orchestra’s influence within the work.

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19

Larsson, Daniel. "Tumregeln : En självstudie om tummen och dess roll i pianoteknik." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-78004.

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Syftet med denna studie är att utforska vilken roll tummen spelar inom pianoteknik, vilka metoder som kan användas för att minska ofrivilliga spänningar i tummen samt om medveten övning under en period leder till en märkbar förbättring i tumteknik. Studien utgår ifrån ett fenomenologiskt perspektiv och baseras på självobservationer med hjälp av loggbok och videodokumentation. Forskning tyder på att överansträngning av tummens muskler är vanligt bland pianister, samt att fingrarna påverkar varandra i deras rörelser. Litteratur inom pianoteknik diskuterar ofta hur tummen kan påverka spelet och a

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20

Santiago, Patricia Furst. "An exploration of the potential contributions of the Alexander Technique to piano pedagogy." Thesis, University College London (University of London), 2004. http://discovery.ucl.ac.uk/10019250/.

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This study investigates to what extent a specific body-mind technique - the Alexander Technique - helps young Brazilian piano pupils to improve their approach to learning and their perforinance. The study took as its starting point a review of the literature on the Alexander Technique and on piano pedagogy, written in English and Portuguese, as well as a range of related and complementary literatures. Data was collected using several methods, including an experimental strategy with random allocation of pairs of pupils to experimental and control conditions (matched pairs), audio-visual materia

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21

Oliver, Gertruida Johanna. "Brahms’s Sonata/Quintet Opus 34 : pianism as facilitating concept in establishing the link between technique and interpretation." Thesis, University of Pretoria, 2014. http://hdl.handle.net/2263/40241.

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Primarily the writer was interested in the relationship between technique and interpretation in the concept of pianism, especially in the music of Brahms, because of the technical difficulties thereof. In this study the truism that technique = interpretation is the focus point. After giving many different opinions about this, the writer brings it into context with Brahmsian pianism specifically. It is made clear how Brahms used certain techniques for certain soundworlds that he wanted to create, in order to reach a certain interpretation, and that there are recurring technical procedures in op

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22

Robine, Éric. "Fondements et mécanismes rationnels de la technique pianistique pour une théorie globale du jeu de piano." Paris 4, 1986. http://www.theses.fr/1986PA040313.

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La thèse comprend cinq parties : les fondements ou généralités, les formes normales de jeu, les formes exceptionnelles de jeu, les auxiliaires de l'exécution et l'histoire de la technique du piano à travers les différentes écoles. Les fondements découlent de l'étude des lois générales qui gouvernent l'exécution. Ces lois tiennent à l'instrument lui-même, au corps et à leurs relations spécifiques. La façon rationnelle de produire le son et de le modifier est étudiée en détail. La régularité de la respiration et la direction du regard influencent aussi la qualité du jeu. Des préceptes gouvernent

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23

Farias, Eldia Carla. "CREATIVE TREATMENT OF FOLK MELODIES IN SELECTED CIRANDINHAS AND CIRANDAS OF HEITOR VILLA-LOBOS." UKnowledge, 2015. http://uknowledge.uky.edu/music_etds/48.

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This study provides a comparative analysis and performance suggestions for three Cirandinhas and three Cirandas for solo piano by Heitor Villa-Lobos in order to demonstrate their aesthetic and pedagogical value. The primary objective is to argue for the significance of the Cirandas as concert works and of the Cirandinhas as didactic ones. To better explore these two sets of pieces and their interconnections, the selected Ciranda-Cirandinhas pairs are all based on the same folksong theme. Thus, the analyses also demonstrate Villa-Lobos’s desire to represent Brazilian culture through his music a

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24

Costa, Viviane de Mendonça Fiaia. "Potencialidade interpretativa do piano digital Clavinova CVP 401: um estudo de caso." Universidade Federal de Goiás, 2013. http://repositorio.bc.ufg.br/tede/handle/tede/4001.

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Submitted by Erika Demachki (erikademachki@gmail.com) on 2015-01-29T17:22:50Z No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação - Viviane de Mendonça Fiaia Costa - 2013.pdf: 2823749 bytes, checksum: ecfd680ce08bcf98dfe51f08f6e6d2d2 (MD5)<br>Approved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2015-01-29T17:44:58Z (GMT) No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação - Viviane de Mendonça Fiaia Costa - 2013.pdf: 2823749 bytes, checksum: ecfd680ce08bcf98

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25

Allsop, Li Li. "Investigating the prevalence of playing-related musculoskeletal disorders in relation to piano players' playing-techniques and practising strategies." University of Western Australia. School of Human Movement and Exercise Science, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0090.

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This study placed specific emphasis on the motor-skills and practice strategies employed by piano players when practising and performing in relation to playing-related musculoskeletal disorders (PRMDs). The survey questionnaire-instrument was designed by the researcher to investigate the prevalence of PRMDs among both professional and non-professional piano players. Five hundred and five respondents completed the self-administered survey questionnaire. Out of the total 505 participants, 42% of the players reported PRMDs. The professional players (72%) reported a significantly higher incidence

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26

Corvisier, Fátima Graça Monteiro. "Antônio de Sá Pereira e o ensino moderno de piano: pioneirismo na pedagogia pianística brasileira." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-19112010-090043/.

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Antônio de Sá Pereira é um dos pioneiros da Pedagogia do Piano no Brasil. Seu tratado Ensino Moderno de Piano (1933) aborda a técnica pianística cientificamente e abrange questões diversas como a leitura à primeira vista e o desenvolvimento da audição crítica do aluno. Esta obra refere-se pela primeira vez no Brasil à fisiologia dos movimentos pianísticos, sistematiza o emprego da técnica de peso do braço na execução, aplica estratégias racionais de estudo e visa ensinar o aluno a pensar e a ouvir por conta própria. A pesquisa analisa o tratado relacionando-o com as principais teorias que o fu

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27

Lee, Ji Sun. "Revolutionary etudes: The expansion of piano technique exploited in the Twelve New Etudes of William Bolcom." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/280375.

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Abstract (sommario):

The first etudes, written in the seventeenth century, were study pieces created for the development of a particular aspect of performing technique. Chopin and Liszt are acknowledged to be the major figures in the later development of the concert etude. These contain not only the expected studies of various matters of technique but also deal with musicianship, including cantabile playing and the projection of the composer's poetic intentions. William Bolcom's Twelve New Etudes, like those of Chopin, are studies in style synthesis as well as in pianism. The uniqueness of these two composers' etu

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28

Wessels, Rachelle. "'n Ondersoek na die tegniese aspekte van A. Scriabin se Prelude vir die linkerhand, Op. 9, no. 1 / R. Wessels." Thesis, North-West University, 2009. http://hdl.handle.net/10394/5108.

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The left hand has always been perceived as the weaker of the two hands and since about 1840, a substantial amount of piano repertoire for the left hand has seen the light. Composers continue to show an interest in composing works in this genre and the reasons are mainly because of injuries to the right hand, to aid in the pianist's technical development, because of the challenge it poses to the composer and finally to delight audiences with an unique technical display. The technical challenges that are present in these works, differ greatly from the difficulties found in piano music for both h

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29

Ekroth, Marcus. "Ta det piano : En observationsstudie i en gitarrists övande av pianoteknik." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-63790.

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Syftet med detta arbete är att undersöka på vilket sätt det är möjligt att designa en övningsprocess för att uppnå spelteknisk utveckling på instrumentet piano och om denna process kan gynna en utveckling inom området improvisation. För att undersöka detta har jag under en tioveckorsperiod övat på två specifika övningar, ca. fem övningspass i veckan á 20-30 minuter per tillfälle. Dokumentation av övandet har skett via videofilmning och loggboksskrivande. Jag har i analysen utgått från ett designteoretiskt perspektiv. I resultatdelen av arbetet beskrivs vilka resurser jag använt för att öva, hu

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30

Clarke, Simon. "A critical study of Ravel's orchestral technique with a transcription of his sonata for violin and piano." Thesis, University of Manchester, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.548668.

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31

Sabo, Jeffrey. "Qualitative Content Analysis Examining the Biomechanical Implications of Curling and Keybedding in the Taubman Approach." Thesis, Université d'Ottawa / University of Ottawa, 2021. http://hdl.handle.net/10393/41612.

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Abstract (sommario):

Many pianists are impacted by playing-related pain and injury, but a great deal is still unknown about the development and prevention of these problems. Several approaches to piano technique have been developed to provide technical recommendations based on scientific ideas. The anecdotal success of some approaches suggests that understanding the biomechanical concepts underlying them may be beneficial. However, these approaches are rarely discussed in the literature, in part due to linguistic inconsistencies among pedagogical and scientific disciplines. This has created obstacles to scientifi

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Pontes, Vânia Eger. "Técnicas expandidas - um estudo de relações entre comportamento postural e desempenho pianístico sob o ponto de vista da ergonomia." Universidade do Estado de Santa Catarina, 2010. http://tede.udesc.br/handle/handle/1578.

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Made available in DSpace on 2016-12-08T17:06:50Z (GMT). No. of bitstreams: 1 vania.pdf: 7718940 bytes, checksum: 9e8288a31342611478f04cd0b8319dff (MD5) Previous issue date: 2010-04-26<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>This dissertation looks at the results of an investigation of piano performance (the author's, who is also the research subject) under the light of a dialogue between performance and Ergonomics, applied to the practice of pieces asking for extended techniques. In order to optimize musical and instrumental performance, the dissertation intends to

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33

Lister-Sink, Barbara Ann. "A study of students' perceptions of the effectiveness of an interdisciplinary method for teaching injury-preventive piano technique." Thesis, Teachers College, Columbia University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3707098.

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Abstract (sommario):

<p> The rate of playing-related neuromusculoskeletal disorders (PRNDs) in advanced pianists remains consistently high worldwide, often limiting or ending study and playing careers. Injured pianists—desperate for solutions—seek out allegedly scientifically-informed approaches to developing injury-preventive technique but none of these approaches have been seriously investigated. This mixed-methods study investigated one interdisciplinary, non-traditional approach (the “Method”) that had received considerable anecdotal support but had not been studied systematically to as

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34

Nelson, Anne Marie. "Ignacy Jan Paderewski's Piano sonata in E-flat major, opus 21 insights into his compositional technique and performance style /." connect to online resource. Access restricted to the University of North Texas campus, 2003. http://www.library.unt.edu/theses/open/20031/nelson%5Fanne%5Fmarie/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2003.<br>Accompanied by 4 recitals, recorded Apr. 25, 1994, July 31, 1995, Nov. 17, 1997, and Nov. 18, 2002. Includes bibliographical references (p. 183-192).

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35

Méndez-Flanigan, Maria Gisela. "Peter Lieberson's First Piano Concerto: A Buddhist-inspired poetic vision realized through twelve-tone language, other contemporary compositional techniques, together with three recitals of works by Bach, Chopin, Mozart, Albéniz, Grieg, Ginastera and Paderecki." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3175/.

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The main objective of this document is to explore the life and spiritual convictions of composer Peter Lieberson, and the creation of his Piano Concerto. Lieberson is a sought after composer who has won many awards and commissions. His works have been premiered and performed by some of the best musical artists of the late twentieth- and early twenty-first-century, such as Peter Serkin, Emmanuel Ax, Yo-Yo Ma, and Pierre Boulez. This study is divided into six chapters. After the Introduction, a biographical summary of Peter Lieberson's life, his spiritual beliefs and compositional style is pre

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Fernandes, Felipe Cabreira. "Estudos para piano de Cláudio Santoro: movimentos gerais e uma abordagem técnico-interpretativa." Universidade do Estado de Santa Catarina, 2011. http://tede.udesc.br/handle/handle/1591.

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Made available in DSpace on 2016-12-08T17:06:53Z (GMT). No. of bitstreams: 1 Felipe.pdf: 5898572 bytes, checksum: f292aa657a643cea7cfacd20edb8c1bc (MD5) Previous issue date: 2011-05-09<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>This dissertation presents a study on the Estudos Nº. 1 (1959) e Nº. 2 (1960) for piano solo composed by Cláudio Santoro (Manaus, 1919 Brasília, 1989). Based on research on approaches to piano technique and aspects of analysis, this study aims to gather information about the most recurring Movements used in the two pieces providing a source fo

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Snyman, de Klerk Mart-Marie. "An analysis of stylistic elements and challenges of technique and improvisation in three late piano works by Surendran Reddy (1962–2010)." Diss., University of Pretoria, 2020. http://hdl.handle.net/2263/78568.

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This study focuses on the analyses of the stylistic elements and challenges of technique and improvisation in three late piano works by the South African composer Surendran Reddy. Reddy’s personal identity as a crossover artist is apparent in his stylistic approach. The fusion of Western art music, jazz, contemporary and indigenous music from various parts of the world ensued in a distinctive compositional style, which he termed clazz. Three of his shorter late piano compositions, namely African Funk for Felix (2005), Ballad for Thomas (2005) and Toccata for John Roos (2007), contain key char

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Rodrigues, Mauren Liebich Frey. "Quatro estudos para piano solo de Vieira Brandão: uma abordagem técnico-interpretativa." Universidade do Estado de Santa Catarina, 2012. http://tede.udesc.br/handle/handle/1519.

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Made available in DSpace on 2016-12-08T17:06:41Z (GMT). No. of bitstreams: 1 mauren.pdf: 2739945 bytes, checksum: a1b114f34eaacf7bc4070dc8a2c1937b (MD5) Previous issue date: 2012-03-08<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>This research presents a pianistic-technical approach on For Studies for Solo piano from Jose Vieira Brandao (1911-2002): Estudo n.1 (dedicated to Arthur Rubinstein); Estudo n.2 (dedicated to Ernesto Nazareth); Estudo n.3 (Chorinho); Tocata 1 (Estudo n.4). Brandao was a distinguished pianist who also worked as a composer, conductor and musical e

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Milani, Margareth Maria. "Percepções e concepções sobre corpo, gesto, técnica pianística e suas relações nas vivências de alunos de piano de dois cursos de graduação em música." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/150828.

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O presente trabalho investiga as percepções e concepções sobre corpo, gesto, técnica pianística e suas relações nas vivências de alunos de piano de dois cursos de Graduação em Música. Fundamentada no conceito de corporalidade, utilizo os conceitos de gesto musical e técnica pianística para examinar as relações que emergem entre o indivíduo, o piano e a música, expressas nas experiências externadas pelos participantes. O conceito de corporalidade (MERLEAU-PONTY [1999], VAZ [2004], CHAUÍ [2011]) compreende o indivíduo como uno, ímpar e indissociável, uma unidade portadora de simbolismos, de memó

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Grinover, Marina Mange. "Laboratório de projeto e construção: prática da arquitetura na obra de Renzo Piano e João Filgueiras Lima." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-09062015-120201/.

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Esta investigação desenvolveu-se a partir do questionamento da prática da arquitetura em relação a elaboração do projeto arquitetônico e a construção da obra. A escolha do estudo de caso da obra de Renzo Piano (1937 -), arquiteto italiano e João Filgueiras Lima, (1934 - 2014) arquiteto brasileiro, o Lelé, definiu-se por apresentarem, ambos, soluções de interesse estético e técnico que pareciam ter se extinguido. A documentação motivou um esforço teórico e histórico para ampliar os conceitos usados na analise da arquitetura. A partir da escolha de um recorte histórico, qual seja as décadas de 1

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Mirensky, Shaul. "L'approche spatio-polyphonique dans les interprétations des pianistes de la deuxième moitié du XIXe siècle et la première moitié du XXe siècle." Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3061/document.

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Le but de ce travail est d'étudier l'art d'interpréter de plusieurs générations de pianistes dont la formation remonte au XIXe siècle, mais dont l'activité s'est étendue jusqu'à la 1re moitié du XXe siècle. L'essor de l'interprétation qui marqua cette époque a prodigué des artistes qui - à la suite de leurs grands maîtres (Chopin, Liszt, A. Rubinstein) - ont déjà laissé un nombre considérable d'enregistrements permettant de saisir à travers leur jeu une image authentique de l’œuvre romantique. En nous référant à l'idée que l'essor du pianisme à la charnière des XIXe - XXe siècles provient de l

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42

Boe, Dennis Leonard. "The Evolutionary Development of Compositional Technique and Style in the Piano Sonatas of George Walker: A Study of the Sonata No. 4 and Analytical Comparison of the Four Sonatas, Together With Three Recitals of Selected Works of f.j. Haydn, l.V. Beethoven, F. Schubert, F. Chopin, F. Liszt, J. Brahms, C Debussy, Z. KodáLy and F. Poulenc." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc332806/.

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George Walker, pianist, composer and pedagogue, composed piano sonatas in 1953, 1957, 1975, and 1984. The Sonata No. 4 demonstrates the composer's continued fascination with a relaxation of traditional forms, coloristic effects of persistent interval combinations, incorporation of folk elements into his thematic material, and harmonic and rhythmic underpinnings as structural bases to his work.

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Nelson, Anne Marie. "Ignacy Jan Paderewski's Sonata in E-Flat Minor, Op. 21: Insights into his compositional technique and performance style." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4150/.

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The recordings of the legendary pianist Ignacy Jan Paderewski are a valuable documentation of his piano performance style. Knowledge of late-Romantic performance practices gleaned from Paderewski's recordings suggest ways of approaching the performance of his Sonata in E-Flat Minor, Op. 21. This Sonata, composed in 1903 near the end of his compositional career, is a work of the highest caliber, deserving a permanent place in the concert pianist's repertoire. The purpose of this paper is to provide performance suggestions based on Paderewski's performance style which will produce a performance

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Ribeiro, Rodrigo Tiago. "Um estudo sobre opções interpretativas para elementos folclóricos na performance pianística atual." Universidade Federal de Goiás, 2011. http://repositorio.bc.ufg.br/tede/handle/tede/4244.

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Submitted by Erika Demachki (erikademachki@gmail.com) on 2015-03-05T16:49:11Z No. of bitstreams: 6 Dissertação - Rodrigo Tiago Ribeiro - 2011.pdf: 1666204 bytes, checksum: f6c380f64a562ce755efecf91b7d0635 (MD5) Cururú 1.jpg: 1686666 bytes, checksum: c8fc9d97a984f97fbad60b7a20d497c7 (MD5) Cururú 2.jpg: 1435796 bytes, checksum: 28fc5de728e0962726576751c1dbbf4c (MD5) Quadrilha 1.jpg: 1714855 bytes, checksum: 0cb940e62cd3424c89e9b778ee685078 (MD5) Quadrilha 2.jpg: 1596601 bytes, checksum: bad3a75ec85aeb8cb1fb2d1290c8e5c7 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (M

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Kim, YeonJin. "THE MUSICAL STYLE AND COMPOSITIONAL TECHNIQUE OF YOUNG-JO LEE, AS REFLECTED IN HIS VIOLIN COMPOSITIONS “HONZA NORI” FOR SOLO VIOLIN AND “DOORI NORI” FOR VIOLIN AND PIANO." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/193679.

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The purpose of this study is to create a performance guide for Young-Jo Lee's violin works, Honza Nori for solo violin and Doori Nori for violin and piano, and to introduce his work to a wider audience. This study contains a biography of the composer and a compositional analysis that shows how Lee includes the concepts and techniques of Korean traditional music in his violin pieces. In this analysis, I will identify the composer's characteristic style, inspired by Korean compositional techniques, traditional Korean instruments and their characteristics. Additionally, the incorporation of Asian

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Amaral, Guilherme Ferreira. "Relações entre elementos composicionais e meios de execução técnico-interpretativa em obras com características pós-minimalistas Brasil 2000, Amanduá e meio bossa para piano solo de Dimitri Cervo." Universidade do Estado de Santa Catarina, 2009. http://tede.udesc.br/handle/handle/1570.

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Made available in DSpace on 2016-12-08T17:06:49Z (GMT). No. of bitstreams: 1 GuilhermeAmaral.pdf: 1069383 bytes, checksum: 90737d6eb4d20ddb945386e0043ee085 (MD5) Previous issue date: 2009-03-31<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>This dissertation presents a study of the works Brasil 2000 Op.12, Amanduá and Meio Bossa for piano solo, of the composer Dimitri Cervo (Santa Maria, 1968). The focus of the research was to realize an analytical study of compositional procedures and, based on this study, to present technique-interpretive criteria and suggestions to be a

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Yang, Chia-shan. "Exploring new techniques in contemporary piano music : a guide for the intermediate-grade student /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/11399.

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Keil, Andrea Marie. "The Dawn of Modern Piano Pedaling: Early Twentieth-Century Piano Pedaling Literature and Techniques." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1428503747.

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Harper, Nancy Lee. "The Piano Sonatas of Rodolfo Halffter: Transformation or New Techniques?" Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc331911/.

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The Piano Sonatas of Rodolfo Halffter (b. 1900, Madrid, Spain) represent an important body of literature not widely known nor understood for their historical importance and Spanish heritage. The entire development of Halffter's compositional style, which embraces three periods of composition, may be traced through these sonatas. The modes of composition may be seen not to be separate and distinct but as having inter—relationships which therefore affect the outcome of Halffter's final dodecaphonic technique. The culmination of his serial method is found in the Tercera Sonata, op. 30. At first g

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Zhu, Di. "Prokofiev's piano transcriptions a comparative study of his transcribing techniques /." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1153173318.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2006.<br>Title from electronic thesis title page (viewed Nov. 28, 2006). Includes abstract. Keywords: Prokofiev; Piano; Transcription; Arrangement; Piano transcription; Keyboard transcription; Transcribing techniques; Prokofiev's piano music; Prokofiev's compositional habits; Prokofiev's musical styles. Includes bibliographical references.

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