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Articoli di riviste sul tema "Piano"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 25 luglio 2025

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1

Tunaru, Radu. "Pianele și pianinele Clujului. Pianina „Carl Bechstein”." Anuarul Muzeului Etnograif al Transilvaniei 30 (December 20, 2016): 342–51. http://dx.doi.org/10.47802/amet.2016.30.20.

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Piano restoration requires a delicate work because it is not a furniture, it is a musical instrument, complex object, requiring minimal musical knowledge to put back in use. Upright piano ”Carl Bechstein” raised multiple issues, from legs replaced with those of a table, to veneer, metalics elements, lace and felt damaged. Once complete disassembled, the hardest stage of the restoration was to consolidate the assembly with organic glue (isinglass) and fastening strap in place all elements, with clamping systems, so that piano regain functionality.

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2

Ma, Yao. "Feasibility Analysis of Intelligent Piano in Piano Teaching." Scientific Programming 2022 (October 10, 2022): 1–8. http://dx.doi.org/10.1155/2022/5010428.

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With the rapid development of artificial intelligence, big data, blockchain, and other technologies, the impact of intelligent environment on the development of education has become more and more profound. Other developed countries have realized that education reform is urgent in the intelligent environment. So as to seize the major strategic opportunity of artificial intelligence development, my country has optimized the teaching content, teaching methods, and teaching methods of traditional piano teaching on the basis of respecting the traditional piano teaching concept. Upgrade to achieve t

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3

Chang, Liu, and Md Jais Ismail. "THE EFFECTIVE OF SMART PIANO TO ENHANCE PIANO SKILLS ON CHILDREN." International Journal of Education, Psychology and Counseling 8, no. 52 (2023): 416–27. http://dx.doi.org/10.35631/ijepc.852032.

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This study aims to explore the potential benefits and effectiveness of incorporating smart pianos in the piano learning process for children. The research investigates the impact of smart piano teaching on enhancing piano skills among children. The participants of this study consist of students aged 4 to 6 years old, who are enrolled in a piano learning program that incorporates smart pianos. The research examines the students' progress over a designated period, comparing it with a control group using traditional piano instruction methods. The findings of this study contribute to the understan

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4

Baker, Valerie A. "Teachers’ Perceptions on Current Piano Use in the Elementary General Music Classroom." Update: Applications of Research in Music Education 35, no. 2 (2016): 23–29. http://dx.doi.org/10.1177/8755123315598558.

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The purpose of this study was to identify teacher opinion of piano use, the amount of piano use, and current purposes for pianos in elementary general music classrooms. A geographically diverse sample of general music teachers ( N = 189) completed a piano use survey. The data indicated that teachers felt piano was an important part of elementary music and that the piano should be used for accompaniment more than any other purpose. Pianos were most commonly used on a weekly basis. Teachers who began piano lessons at a younger age also tended to use more piano in their classrooms. Qualitative st

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5

Micelli, Ezio. "Modelli di perequazione tra piano strutturale e operativo." ARCHIVIO DI STUDI URBANI E REGIONALI, no. 96 (September 2010): 113–32. http://dx.doi.org/10.3280/asur2009-096005.

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L'obiettivo dello studio č di considerare l'effetto della nuova articolazione del piano urbanistico in piano strutturale e operativo sul metodo perequativo. Alcuni piani pongono l'enfasi sulla componente strategica del piano strutturale, delegando alla parte operativa i compiti legati allo sviluppo della principio perequativo; altri, al contrario, promuovono la centralitŕ del piano strutturale e in esso collocano le scelte rilevanti in tema di perequazione. Entrambi i modelli presentano limiti significativi. La soluzione puň essere cercata in scelte capaci di coniugare norme flessibili, capaci

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6

Loncar, Sonja, and Andrija Pavlovic. "Hybrid duo." Muzikologija, no. 24 (2018): 111–21. http://dx.doi.org/10.2298/muz1824111l.

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As members of the LP Duo, for the past 14 years we have experimented with various possibilities of playing on two pianos. Our artistic curiosity and the desire to gain new knowledge and freedom led to our involvement with the Quantum Music project and the creation of a new instrument - the hybrid piano. In this paper we elaborate on our experience with using the new hybrid pianos within the Quantum Music project, but also discuss our ensemble as an artistic embodiment of duality, entanglement and other quantum phenomena. Hybrid piano is a combination of a traditional piano and digital synthesi

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7

Huang, Huicheng. "Exploration of Tonal Stability of New Pianos." Journal of Education and Educational Research 6, no. 2 (2023): 74–76. http://dx.doi.org/10.54097/jeer.v6i2.14963.

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Accurate intonation is the first element of piano quality. A piano with good intonation can cultivate people's emotions and give listeners a good sense of music, and it is also a symbolic symbol for performers to express their musical emotions and playing standards. This will cause all the beauty of piano music to be distorted, and in serious cases, even affect the human ear hearing organs. As the structure and string tension of new pianos are extremely unstable, the factors affecting the stability of piano intonation are also multifaceted, so it is an inevitable requirement for the pursuit of

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8

Sitorus, Eritha Rohana, Kustap Kustap, and Alief Aditya Subekti. "Penerapan Sistem Equal Temperament pada Penalaan Piano di Yogyakarta." PROMUSIKA 7, no. 2 (2019): 93–105. http://dx.doi.org/10.24821/promusika.v7i2.3628.

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This study examines the equal temperament theory on the piano strings tuning methods and their application. The problem raised in this study is how the theory is applied in tuning the pianos in Yogyakarta? To uncover the problem, this study utilizes a theoretical method by confirming the approaches that have been used by two piano tuners in Yogyakarta to the theories about piano tuning. The purpose of this study was to obtain knowledge about the application of the equal temperament principles in piano tuning in Yogyakarta. This study concludes that although all piano tuners were based their tu

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9

Zhang, Xianhua. "The Value of Improving Chinese Piano Education." Journal of Pedagogical Studies 9, no. 3 (2024): 145–48. http://dx.doi.org/10.12737/2500-3305-2024-9-3-145-148.

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In China in the past, the piano belonged exclusively to princes and nobles, but now it has entered thousands of homes of ordinary people. Countless preschool children have started learning to play the piano with the support of their parents and teachers. According to incomplete statistics, the share of pianos in China has exceeded two million units, which is one tenth of the total in the world. Currently, at least one million people in China are learning to play the piano, of which beginners and young students make up the majority. Today, in the field of education, the piano has become one of

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10

Kilic, Deniz Beste Cevik. "An Investigation of Music Teacher Candidates’ Performance Anxiety Levels in Piano Examinations." Journal of Education and Learning 7, no. 1 (2018): 299. http://dx.doi.org/10.5539/jel.v7n1p299.

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Examination anxiety in piano education, one of the important courses in music education, can negatively affect both success in examinations and the education of students. This study aimed to determine the anxiety levels of students in the music education departments of universities in western Turkey regarding their piano examinations and their significance according to different variables. The study sample consisted of 174 female and 107 male students. The study found the students’ performance anxiety levels related to piano examinations to be moderate. There were no statistically significant

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11

Lawless, Patrick, and Amnon Wolman. "Concerto for Piano, Pianos and Orchestra." Computer Music Journal 15, no. 2 (1991): 72. http://dx.doi.org/10.2307/3680918.

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12

Jaatinen, Jussi, and Jukka Pätynen. "Effect of inharmonicity on pitch perception and subjective tuning of piano tones." Journal of the Acoustical Society of America 152, no. 2 (2022): 1146–57. http://dx.doi.org/10.1121/10.0013572.

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The consensus in piano tuning philosophy explains the stretched tuning scale by the inharmonicity of piano strings. This study aimed to examine how variable inharmonicity influences the result of the piano tuning process, compare the tuning curves of aurally tuned pianos with the curves derived from subjective octave enlargement experiments, and evaluate whether the pitches of inharmonic or harmonic versions of the same tone are perceived differently. In addition, the influence of strings of other piano keys on the measured inharmonicity of a single piano string was investigated. The inharmoni

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13

Yang, Yang. "Innovative Teaching Modes and Multimedia Integration in University Piano Education." Highlights in Art and Design 9, no. 2 (2025): 29–33. https://doi.org/10.54097/zs1jsm41.

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This paper explores the integration of innovative teaching modes and multimedia technology in university piano education. With rapid advancements in digital tools, traditional piano teaching methods are evolving to incorporate technology-driven pedagogical strategies. This study examines innovative teaching methods such as flipped classrooms, blended learning, and artificial intelligence (AI)-assisted instruction. Additionally, it assesses the effectiveness of multimedia integration, including the use of digital pianos, virtual learning environments, and interactive applications. Through data

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14

Deja, Jordan Aiko, Sven Mayer, Klen Čopič Pucihar, and Matjaž Kljun. "A survey of augmented piano prototypes: has augmentation improved learning experiences?" Proceedings of the ACM on Human-Computer Interaction 6, ISS (2022): 226–53. http://dx.doi.org/10.1145/3567719.

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Humans have been developing and playing musical instruments for millennia. With technological advancements, instruments were becoming ever more sophisticated. In recent decades computer-supported innovations have also been introduced in hardware design, usability, and aesthetics. One of the most commonly digitally augmented instruments is the piano. Besides electronic keyboards, several prototypes augmenting pianos with different projections providing various levels of interactivity on and around the keyboard have been implemented in order to support piano players. However, it is still unclear

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15

Ramadhan purba, Depki. "MENURUNKAN TINGKAT REJECT DI LINE BASS STRING PADA PRODUK WIRESTRING PIANO MENGGUNAKAN METODE FTA DAN FMEA DI PT. YAMAHA INDONESIA." INDUSTRIKRISNA 13, no. 1 (2024): 1–9. http://dx.doi.org/10.61488/industrikrisna.v13i1.542.

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PT. Yamaha Indonesia is a Japanese manufacturing company that is involved in piano production. Most of the pianos produced by PT. Yamaha Indonesia, namely upright pianos as much as 83.94%, while grand pianos as much as 16.06% of the total production. The piano that is produced consists of several parts in it. One of the parts that support the piano produced by PT. Yamaha Indonesia is wirestring. In this study we will use the Failure Mode and Effect Analysis (FMEA) method. After analyzing the biggest cause of rejection of wire string products in the BassString line is caused by material factors

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16

Guo Lin. "Exploring the multimedia piano group class for early childhood education majors in universities." GSC Advanced Research and Reviews 21, no. 2 (2024): 556–64. https://doi.org/10.30574/gscarr.2024.21.2.0471.

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The multimedia piano group class for early childhood education majors in universities represents an innovative teaching model that integrates digital pianos, multimedia teaching devices, and live-streaming technology, bringing significant transformation to piano instruction. This model not only enriches teaching resources and enhances instructional efficiency but also strengthens teacher-student interaction and students' practical abilities. By leveraging the accurate sound reproduction and weighted key touch of digital pianos, students can improve their techniques in an experience closely res

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17

Văidean, Vlad. "George Enescu – Piano Works by Raluca Știrbăț." Musicology Today: Journal of the National University of Music Bucharest XIV, no. 53 (2024): 57–67. http://dx.doi.org/10.69608/mt.53.05.

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18

Liu, Ying. "Evaluation of Interactive College Piano Teaching's Effect Based on Artificial Intelligence Technology." International Journal of Web-Based Learning and Teaching Technologies 19, no. 1 (2023): 1–16. http://dx.doi.org/10.4018/ijwltt.335079.

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In recent years, with the economic development of various countries, education has also made great leaps, and piano teaching has been popularized and promoted in various universities. Pianos are also put into use in universities through normal channels. According to the survey, there are certain drawbacks in the teaching process of piano, which hinder the teaching effect to a great extent. In order to better adapt to the interactive teaching mode, this paper takes the flipped classroom in piano teaching as an example to conduct a systematic study based on the method of artificial intelligence.

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19

Dumlavwalla, Diana T. "The piano pedagogy scenes in India and the Philippines: An introductory cross-cultural comparison." International Journal of Music Education 37, no. 3 (2019): 390–406. http://dx.doi.org/10.1177/0255761419839169.

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Categorized as developing nations, India and the Philippines are not generally known as centers for piano study. There has been little research investigating the traditions of piano education in these nations. In this study, I examined a number of issues related to piano pedagogy in each country. Data were collected from teachers in India ( n = 45) and the Philippines ( n = 28), who completed a 29-item questionnaire. Additionally, three instructors from India and one instructor from the Philippines were interviewed to gain further insight. A summary and comparison of the availability of piano

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20

Tomassoni, Valentina, Angelo Gigliotti, Fabrizio Bramerini, Gianluca Carbone, Francesco Fazzio, and Cora Fontana. "Metodologie di rilevamento dati e analisi per la valutazione del Piano di Protezione Civile comunale." TERRITORIO, no. 101 (March 2023): 140–54. http://dx.doi.org/10.3280/tr2022-101017.

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L'importanza del Piano di Protezione Civile, come strumento utile alla mitigazione dei rischi e al miglioramento dell'efficacia degli interventi in emergenza, è questione consolidata in letteratura. Le attività di preparazione, che definiscono in anticipo scenari di rischio attesi, attori coinvolti, procedure di intervento, risorse necessarie e disponibili, sono un presupposto indispensabile per garantire una tempestiva risposta in emergenza. L'articolo descrive una scheda di rilevamento dati proposta dagli autori e finalizzata all'analisi del Piano. Applicata in questa fase su un campione di

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21

Merusi, Fabio. "Il coordinamento della pianificazione sul territorio nell’ordinamento italiano." Revista Andaluza de Administración Pública, no. 63 (September 30, 2006): 47–53. http://dx.doi.org/10.46735/raap.n63.397.

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SUMARIO: 1. LA PROGRAMMAZIONE GERARCHICA DEL 1942. I PIANI TERRITORIALI DI COORDINAMENTO. NON FURONO MAI REALIZZATI, TRANNE CHE IN QUALCHE ZONA INDUSTRIALE. 2. LE PROGRAMMAZIONI REGIONALI. 3. LA RIFORMA DEGLI ANNI ‘90 DEL SECOLO SCORSO. NUOVE AUTONOMIE AI COMUNI. IL PIANO TERRITORIALE DI COORDINAMENTO DEI PIANI COMUNALI VIENE AFFIDATO ALLA PROVINCIA. 4. RIFORMA DEL TITOLO V DELLA COSTITUZIONE NEL 2001: TUTTI GLI ENTI TERRITORIALI, STATO, REGIONI, CITTÀ METROPOLITANE, PROVINCE E COMUNI SONO SULLO STESSO PIANO, DI CONSEGUENZA TUTTI DEBBONO PARTECIPARE AL PROCEDIMENTO DI ELABORAZIONE DEI PI

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22

Maunder, Richard. "J. C. Bach and the Early Piano in London." Journal of the Royal Musical Association 116, no. 2 (1991): 201–10. http://dx.doi.org/10.1093/jrma/116.2.201.

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A study of Johann Christian Bach's keyboard music prompts the obvious and important question: which of his sonatas and concertos were composed for harpsichord, and which for the piano? (Indeed, did he think of them as two distinct instruments at all?) And what sort of pianos did he have available on the occasions when he played them in public? Did he really play his ‘Solo on the Piano Forte’ at the Thatched House on 2 June 1768 (in a concert that consisted mainly of orchestral music) on a little Zumpe square, or was he already using a prototype English grand? When were these various models of

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23

Blumenstein, Tobias, Varvara Turova, Ana Alves-Pinto, and Renée Lampe. "Sensorimotor Piano System for People with Disabilities." Journal of Sensors 2016 (2016): 1–7. http://dx.doi.org/10.1155/2016/9825905.

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A sensorimotor training system that facilitates learning to play piano was developed and tested. The system consists of three communicating units. The first unit comprises two pianos: an E-piano with a MIDI output for the teacher and an acoustic or an E-piano for the pupil. The pupil’s piano is supplied with an LED bar that illuminates the key to be struck. The second unit is a controller providing the interface between the teacher’s piano and the LED bar. The third unit consists of two pairs of gloves: one for the teacher and one for the pupil. The teacher gloves have integrated pressure sens

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24

Henriques, Antonio Manoel Dias, Júlio Cesar Pesati Resende, Augusto Brignol Alves, et al. "Projeto de um dispositivo para elevação de um Piano de Cauda." LUMEN ET VIRTUS 15, no. 39 (2024): 3847–70. http://dx.doi.org/10.56238/levv15n39-170.

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Este artigo descreve como se deu o processo de concepção de um dispositivo para elevar verticalmente um piano de cauda juntamente com o pianista. Um dispositivo com esta finalidade já foi desenvolvido é aplicado em apresentações do pianista suiço Alain Roche no exterior. A ideia, com este projeto, é de se fazer o mesmo no Brasil, particularmente em Brasília, com possibilidade, caso haja interesse, de expandir para outros estados. Como os pianos, para serem tocados, são posicionados na horizontal, foi necessário adaptar o mecanismo de ação para que o piano pudesse ser tocado na vertical. O proj

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25

Anggoro, Raden Roro Maha Kalyana Mitta, Heri Murbiyantoro, Tri Edliani Lestari, and Arisni Kholifatu Amalia Shofiani. "Representative Etude as a Texture and Touch Sensitivity Enhancement of Piano Playing at Music Study Program." Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 7, no. 2 (2024): 172–83. https://doi.org/10.26740/vt.v7n2.p172-183.

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Universitas Negeri Surabaya's Music Study Program has a well-known piano major. The only university in East Java with baby grand piano facilities for lecture activities is Universitas Negeri Surabaya, which has pianos available in every class, including the Music Study Program. This shows that the piano major is a sort of representative lecture space. Comprehensive learning resources are also necessary to support the learning process. This has emerged as a key issue or pressing need in the research. There needs to be a solution to the problem of pupils without a learning tool to use to improve

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Wald Lasowski, Aliocha. "Piano nomade et piano écosophique." Chimères 76, no. 1 (2012): 153. http://dx.doi.org/10.3917/chime.076.0153.

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Spaulding, Christian. "Piano, piano, ma non troppo…" Journal Européen des Urgences 21, no. 1 (2008): 1. http://dx.doi.org/10.1016/s0993-9857(08)73837-8.

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Roy, Eleanor. "Investigating the Inharmonicity of Piano Strings." Edinburgh Student Journal of Science 1, no. 2 (2024): 1–4. http://dx.doi.org/10.2218/esjs.9815.

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In classical physics, ideal string vibrations are modelled using the harmonic series, yet real mode frequencies deviate from the integer set of harmonics due to string stiffness, known as inharmonicity. This work investigates this phenomenon in five piano strings on a Yamaha GB1 Grand Piano. Using the audio software Audacity for spectral analysis, the inharmonicity coefficient is determined experimentally and theoretically based on string properties. These values are comparable with previous research, offering insights into tuning techniques to minimise dissonant inharmonicity. Possible innova

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Sakai, Naotaka. "Keyboard Span in Old Musical Instruments: Concerning Hand Span and Overuse Problems in Pianists." Medical Problems of Performing Artists 23, no. 4 (2008): 169–71. http://dx.doi.org/10.21091/mppa.2008.4034.

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The keyboard spans (i.e., octave spans) of old keyboard instruments was compared with those of modern pianos to explore whether the relationship between keyboard span and hand span is a contributory factor in overuse problems among pianists. The distance on the keyboard between the left side of the C4 key and the right side of the C5 key was measured in 120 old keyboard instruments, including 26 harpsichords, 8 clavichords, 7 spinets, 4 virginals, 75 pianofortes, and 20 square pianos, manufactured from 1559 through 1929. The oldest harpsichords and pianoforte showed a keyboard span equal to th

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Medić, Ivana. "Parenting the piano: Miroslav Miša Savić's 'St. Lazarus Waltz'." New Sound, no. 49 (2017): 123–38. http://dx.doi.org/10.5937/newso1749123m.

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This article deals with a work by a contemporary Serbian composer Miroslav Miša Savić (b. 1954): St. Lazarus Waltz for one or two grand pianos, with or without children's toy pianos. Since St. Lazarus is a children's holiday, the composer's idea was to depict children by toy pianos, while the grand pianos are 'parents'. The waltz exists in several versions: from the first one, where the children pianos are quite small and their musical parts very restricted, to the version for two 'adult' pianos, which describes the moment in life when children have grown up and left their parental home. Aside

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Keeling, Geraldine. "Liszt at the Piano: Two American Pianos and Two American Artists." Studia Musicologica 55, no. 1-2 (2014): 145–56. http://dx.doi.org/10.1556/6.2014.55.1-2.10.

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The image of Liszt at the piano has been a favorite with artists. This article examines two paintings: an 1868 painting of Liszt at a Chickering piano by G. P. A. Healy and a 1919 painting of Liszt at a Steinway piano by John C. Johansen. Due to recent publications, the Chickering painting and its story are fairly well-known. In contrast, the Steinway painting is almost unknown. Healy’s portrait (1868) was done in his studio in Rome as Liszt sat playing for him. While Healy had seen Liszt’s Chickering piano, the instrument in his studio was not that piano and, despite the name “Chickering” on

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Pike, Pamela D. "Improving music teaching and learning through online service: A case study of a synchronous online teaching internship." International Journal of Music Education 35, no. 1 (2016): 107–17. http://dx.doi.org/10.1177/0255761415613534.

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This case study explored the potential for using a synchronous online piano teaching internship as a service-learning project for graduate pedagogy interns. In partnership with the university, a local music retailer, and a local middle school, three pedagogy interns taught beginning piano to underprivileged teenaged students for 8 weeks. All instruction took place in the synchronous online environment using acoustic Disklavier pianos, Internet MIDI, Facetime, and traditional method books. As a result of the experience, the students demonstrated musical understanding and the pedagogy interns de

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Napitupulu, Rachel Yohana Adriana, and Andre Indrawan. "Pembelajaran Online Piano di Concertino Music School Medan: Kajian Kualitatif Pendidikan Non-Formal pada Masa Pandemik." PROMUSIKA 10, no. 1 (2022): 13–23. http://dx.doi.org/10.24821/promusika.v10i1.6839.

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Sejak awal munculnya pandemi Covid 19 di Indonesia, produktivitas kegiatan pembelajaran musik khususnya piano di lembaga nonformal menurun drastis. Penelitian ini bertujuan untuk mengkaji strategi mengajar guru piano dalam menjalankan profesinya di lembaga tersebut agar siswa dapat bertahan belajar. Penelitian ini menggunakan metode kualitatif. Populasi sampel penelitian ini adalah praktisi pendidikan dan partisipannya, khususnya guru dan siswa di Concertino Music School. Penelitian ini mengumpulkan data melalui observasi partisipatif terbatas dengan pendekatan partisipan sebagai observer. Nam

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SKOWRONECK, TILMAN. "FORTE/PIANO: A FESTIVAL CELEBRATING PIANOS IN HISTORY." Eighteenth Century Music 13, no. 1 (2016): 151–54. http://dx.doi.org/10.1017/s1478570615000627.

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Cuervo Calvo, Laura. "El avance hacia la idiomatización del lenguaje pianístico a través de la edición de Clementi de las sonatas de D. Scarlatti (1791)." Anuario Musical, no. 72 (January 22, 2018): 123. http://dx.doi.org/10.3989/anuariomusical.2017.72.04.

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Muzio Clementi es el editor de la primera publicación hasta ahora conocida para piano de las sonatas de Domenico Scarlatti: Scarlatti’s Chefs d’Oeuvre, for the Harpsichord or Piano forte [1791]. Esta obra contiene diez sonatas impresas del músico napolitano escogidas por Clementi de manuscritos del siglo XVIII a los que tuvo acceso. También contiene una sonata de Antonio Soler y otra sonata anónima. La importancia de esta fuente radica en que posibilitó la difusión de una selección de sonatas de Scarlatti que antes solo eran accesibles a una minoría: Kk 378, 380, 490, 400, 475, 381, 206, 531,

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Bettelini, Davide. "La pianificazione forestale in Ticino: stato attuale e prospettive." Schweizerische Zeitschrift fur Forstwesen 174, no. 6 (2023): 350–54. http://dx.doi.org/10.3188/szf.2023.0350.

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Abstract (sommario):

Riassunto L'attuale sistema di pianificazione forestale in Ticino è stato sviluppato a partire dagli anni 2000. Esso si articola su una pianificazione strategica a livello cantonale, su piani di gestione a diversi livelli e, per gli aspetti operativi, sulla realizzazione di progetti per l'attuazione dei lavori sussidiati. Il Cantone si è dotato nel 2007 di un piano forestale cantonale. Gli intenti principali di tale piano erano: aumentare la superficie del bosco gestito (in particolare quello di protezione) e quella da destinare a riserva forestale. Il bilancio dell'attuazione del piano canton

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37

Sutulova, Nataliia. "Piano sound phenomenon in English-language scientific discourse." Aspects of Historical Musicology 27, no. 27 (2022): 24–39. http://dx.doi.org/10.34064/khnum2-27.02.

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Statement of the problem. The process of achieving an aesthetically appealing and artistically true piano sound has long been a subject of research for musicians. In recent decades, domestic performance practice has relied on this issue mostly on the professional literature created back in the Soviet period. But the process of integrating Ukrainian musical education and performance into the European and world cultural space requires the study of alternative sources, primarily English-language ones, that reflect the experience of performers in different countries of the world, as well as correl

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38

Dai, Lei. "Analysis of Two-Piano Teaching Assistant Training Based on Neural Network Model Sound Sequence Recognition." Computational Intelligence and Neuroscience 2022 (June 2, 2022): 1–13. http://dx.doi.org/10.1155/2022/5768291.

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Abstract (sommario):

In today’s society, with the gradual improve5ment of material living standards, people are also more in pursuit of their own spiritual enjoyment. The study of piano has gradually become a way for people to enrich their spiritual life, and more and more people attach importance to it. In the field of piano teaching, the two-piano method is a unique form of playing the piano. In order to solve the problem that the recognition accuracy of the sequence of two pianos is seriously reduced in the environment of noise and reverberation, this paper proposes an auxiliary training analysis system based o

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39

Zhuxiang, Ding. "HISTORICAL AND CULTURAL ASPECTS OF THE EVOLUTION OF TWO-PIANO MUSIC IN CHINA." Слобожанські мистецькі студії, no. 3 (November 25, 2024): 72–75. http://dx.doi.org/10.32782/art/2024.3.13.

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Abstract (sommario):

Objective: This study aims to analyze the historical development and theoretical foundations of music for two pianos in China and to establish a periodization of its key stages. Special attention is devoted to the methodological issues related to performance techniques in this genre, as well as to the influence of Western musical traditions on the formation of Chinese two-piano music. The research seeks to identify the specific features of this genre as an important element of Chinese musical culture and to analyze its interaction with contemporary trends in musical art. Methodology: To achiev

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40

Ehrlich, Cyril. "Piano." Musical Times 126, no. 1709 (1985): 414. http://dx.doi.org/10.2307/964364.

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41

Rochester, Marc. "Piano." Musical Times 126, no. 1709 (1985): 415. http://dx.doi.org/10.2307/964366.

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42

Rochester, Marc. "Piano." Musical Times 127, no. 1716 (1986): 95. http://dx.doi.org/10.2307/964571.

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43

Wainwright, David, and David Crombie. "Piano." Galpin Society Journal 50 (March 1997): 295. http://dx.doi.org/10.2307/842605.

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44

Hodges, Nicholas, Berio, Stevenson, Crumb, and Stevens. "Piano." Musical Times 133, no. 1797 (1992): 582. http://dx.doi.org/10.2307/1002594.

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45

Caught, Anthony G. "Piano." Journal of the Acoustical Society of America 92, no. 5 (1992): 3029. http://dx.doi.org/10.1121/1.404312.

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46

Boruch, Marianne. "Piano." Women's Review of Books 9, no. 5 (1992): 9. http://dx.doi.org/10.2307/4021222.

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47

Gunawan, Sailendra Bedantara. "Analyzing micro-level changes and minimalist techniques in Steve Reich’s "Piano Phase’"." Interlude: Indonesian Journal of Music Research, Development, and Technology 2, no. 1 (2022): 26–37. http://dx.doi.org/10.17509/interlude.v2i1.68195.

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Abstract (sommario):

In the historical development of Western music in the 20th century, a related interesting phenomenon of the minimalist music genre developed in America. Minimalist music is a style of music based on limited materials and micro changes in those materials. Among the composers who fall into this musical genre category iscomposer Steve Reich, who wrote a work for two pianos entitled "Piano Phase." This writing aims to reveal the limitations of musical material and changes at a micro level that occur in the work "Piano Phase" throughmusical analysis. The method used is content analysis based on two

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48

Renzoni, Cristina. "Il piano implicito: il territorio nazionale nella programmazione economica italiana 1946-'73." STORIA URBANA, no. 126 (September 2010): 139–68. http://dx.doi.org/10.3280/su2010-126007.

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Abstract (sommario):

A partire dal secondo dopoguerra l'Italia elabora un numero considerevole di piani nazionali a lungo termine a carattere per lo piů settoriale. Piani infrastrutturali, agricoli, energetici, piani pluriennali per l'edilizia economica e popolare e per l'edilizia scolastica, piani di sviluppo economico rendono conto di uno sforzo consistente di pianificazione teso ad affrontare la stagione di grandi cambiamenti economici e culturali in cui il paese si trova immerso. In totale assenza di un piano territoriale alla scala nazionale, la maggior parte dei programmi pluriennali prodotti in quegli anni

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49

Casavola, Donato, Giancarlo Cotella, and Elisabetta Vitale Brovarone. "Confronti metropolitani. I Piani urbani integrati a Torino e Bari." TERRITORIO, no. 106 (September 2024): 71–76. http://dx.doi.org/10.3280/tr2023-106009.

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Abstract (sommario):

Nonostante l'elevato livello di istituzionalizzazione, le Città metropolitane italiane non hanno ancora un ruolo rilevante nella programmazione della politica di coesione dell'Unione europea. Con il Recovery and Resilience Facility si è aperta un'opportunità per un loro maggiore coinvolgimento. Le Città metropolitane sono state chiamate a svolgere un ruolo di primo piano nelle s?de de?nite dal Piano nazionale di ripresa e resilienza, attraverso i Piani urbani integrati. Il contributo analizza i casi delle Città metropolitane di Torino e Bari, confrontando gli approcci intrapresi. In particolar

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50

Timmermans, Sébastien, Bruno Dehez, and Paul Fisette. "Multibody-Based Piano Action: Validation of a Haptic Key." Machines 8, no. 4 (2020): 76. http://dx.doi.org/10.3390/machines8040076.

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Abstract (sommario):

A piano key prototype actuated by a custom-made linear actuator is proposed to enhance the touch of digital pianos by reproducing the force feedback of an acoustic piano action. This paper presents the design and the validation of the haptic device. The approach exploits a multibody model to compute the action dynamics and the corresponding force on the key in real time. More specifically, a grand piano model that includes the five action bodies, its geometry and the specific force laws, is computed in the haptic device. A presizing step along with Finite Element Method (FEM) analysis produced

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