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Artykuły w czasopismach na temat „Orchestral resonance on the piano”

Autor: Grafiati

Data publikacji: 15 lutego 2025

Data aktualizacji: 31 lipca 2025

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1

Rusin, Anna. "Reprezentacje karnawału w fantazjach na fortepian z orkiestrą Dariusa Milhauda i Heitora Villi-Lobosa." Kwartalnik Młodych Muzykologów UJ, no. 54 (3) (December 7, 2022): 43–70. http://dx.doi.org/10.4467/23537094kmmuj.22.013.16813.

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The Representations of Carnival in Fantasias for Piano and Orchestra by Darius Milhaud and Heitor Villa-Lobos In the 1920s, Frenchman Darius Milhaud (1892–1974) and Brazilian Heitor Villa-Lobos (1887–1959), inspired by the carnival, created works that resemble each other in genre and scoring. These are the fantasias for piano and orchestra: Mômoprecóce by Villa-Lobos and Le Carnaval d'Aix, Op. 83b by Milhaud. The article presents an attempt to analyse the pieces in the context of carnivalesque aesthetics as well as musical representation (as described by Peter Kivy and Lawrence Kramer) and see

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2

Rupprecht, Philip. "ABOVE AND BEYOND THE BASS: HARMONY AND TEXTURE IN GEORGE BENJAMIN'S ‘VIOLA, VIOLA’." Tempo 59, no. 232 (2005): 28–38. http://dx.doi.org/10.1017/s0040298205000136.

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George Benjamin's rich harmonic imagination was apparent from his earliest published works. A distinctive chordal sensibility is already evident in the 1978 Piano Sonata, with its glittering streams of five- or six-pitch clusters; in the hollow bell-chords punctuating the 1979 orchestral score, Ringed by the Flat Horizon; and in the supreme stasis of the A-minor pedal chord (a six-three triad) unveiled by the icy glissandi lines opening A Mind of Winter (1981). All three pieces share a fascination with degrees of chordal resonance – the interplay of upper partials above a fundamental – and a s

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Rumiantseva, A. "The concept of spirituality in V. Ptushkin’s compositional, particularly piano creativity: on the 75th anniversary of the Master." Culture of Ukraine, no. 85 (September 25, 2024): 46–52. http://dx.doi.org/10.31516/2410-5325.085.05.

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The relevance of the article conditioned by the modern immediacy of the problem of maintenance of spiritual values, by the necessity of the research of regional features of composer’s schools and specifics of embodiment of spiritual instructions in V. Ptushkin’s compositional, particularly piano creativity, that hasn’t got an exhaustive coverage in modern national musicology. The purpose of the article is to highlight the specifics of the concept of spirituality as the worldview and axiological center of V. Ptushkin’s compositional, particularly piano creativity. The methodology of the article

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Babcock, David. "Cyril Scott's orchestral music." Tempo 59, no. 233 (2005): 78–79. http://dx.doi.org/10.1017/s0040298205250258.

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Stronko, Boryslav. "Orchestration of Proper Piano Pieces as a Self-Interpretation." Studia Universitatis Babeş-Bolyai Musica 68, no. 2 (2023): 115–28. http://dx.doi.org/10.24193/subbmusica.2023.2.08.

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"The study is focused on the problem of composers’ self-interpretation in the orchestrations of their own piano pieces. This specific case of a creative re-thinking contains not only adaptation of a piano score to orchestral instruments, but also adding new semantic meaning, sound atmosphere and texture principles as well as further development of initial music idea. For the analysis two pieces of Maurice Ravel and Borys Lyatoshinsky – two prominent masters of orchestration and piano miniature of 20th century, were chosen. Their approaches are distinguishably different: (a) the detailed reorde

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6

Zakharbekova, Irina S. "Ravel the arranger: transcriptions of piano and orchestra music." Contemporary Musicology, no. 3 (2019): 44–72. http://dx.doi.org/10.56620/2587-9731-2019-3-044-072.

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It is common practice for composers to make arrangements and transcriptions of their own or other composers’ music. However, Maurice Ravel stands out by his piano and orchestral transcriptions which constitute a prominent part of his works and reveal certain creative purposes and techniques. This shapes the subject of the article which, inter alia, also focuses on terminology not typical for Russian musicology. The study is novel as it examines Ravel’s transcriptions that have been virtually out of research or performance scope in Russia, namely, Debussy’s “Danse” and “Sarabande”, Chabrier’s “

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7

Biednyi, Serhii. "Setting of Orchestral Works for Bayan Duo: Theory and Practice." Bulletin of KNUKiM. Series in Arts, no. 44 (June 25, 2021): 43–53. https://doi.org/10.31866/2410-1176.44.2021.235306.

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The purpose of the article is to consider the key features for orchestral works’ setting for the bayan duo. Having achieved the objectives we solved the following: 1) to summarise the characteristics of bayan’s technical options; 2) to determine the principles of orchestral works’ setting for two bayans. The research methodology is based on the use of general scientific methods of cognition and musicological methods: source studies, practical, analytical, which allowed analysing the key features of orchestral works’ setting for the bayan duo. The scientific novelty of t

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8

Anderson, Martin. "Norwegian Orchestral Music." Tempo 58, no. 229 (2004): 49–50. http://dx.doi.org/10.1017/s0040298204250227.

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KLEIBERG: Lamento: Cissi Klein in memoriam1; Symphony No. 1, The Bell Reef2; Kammersymfoni (Symphony No. 2).3 Trondheim Symphony Orchestra c. 1Eivind Aadland, 2Rolf Gupta, 3Christian Eggen. Aurora ACD 5032FLEM: Piano Concerto; Solar Wind; Ultima Thule per Orchestra.1 Sergei Ouryvaev (pno), St Petersburg State Symphony Orchestra c. Alexander Kantorov; 1Bergen Philharmonic Orchestra c. Terje Boye Hansen. Aurora ACDPERSEN: Over Kors og Krone. Oslo Philharmonic Orchestra c. Christian Eggen. Aurora ACD 5029NYSTEDT: Apocalypsis Joannis, op. 115. Mona Julsrud (soprano), James Gilchrist (tenor), Oslo

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9

Rickards, Guy. "Icarus Soaring: the music of John Pickard." Tempo, no. 201 (July 1997): 2–5. http://dx.doi.org/10.1017/s0040298200005763.

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Although John Pickard's music has received a good many performances and radio broadcasts over the past decade, it was the relay of his dazzling orchestral tone poem The Flight of Icarus (1990) during the 1996 Proms1 which brought him to the notice of the wider concert–going and –listening public. There is some justice in that piece attracting such attention, as it is one of his most immediate in impact, while completely representative of his output at large. That output to date encompasses three symphonies (1983–4, 1985–7, 1995–6) and five other orchestral works, three string quartets (1991, 1

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10

Jones, Daniel A. "Paul Hindemith's Symphonic Metamorphosis of Themes by Carl Maria von Weber for Orchestra: A Historical and Analytical Perspective." Musicology Today 17, no. 1 (2020): 60–71. http://dx.doi.org/10.2478/muso-2020-0005.

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Abstract A now standard component of orchestral and wind band repertoire, Symphonic Metamorphosis of Themes by Carl Maria von Weber was originally intended to be ballet music. This study examines the history and background surrounding Paul Hindemith's orchestral piece and demonstrates how Hindemith crafted each movement based off Weber's original piano duets and incidental orchestral music. The study was undertaken as limited information exists about the piece in its entirety, and much of what has been written primarily concerns itself with grammatical and contextual aspects of Hindemith's tit

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11

Aziza, Fazilova. "Technical and Expressive Features of Franz Liszt’s Piano Music." Journal of Social Sciences and Humanities Research Fundamentals 5, no. 6 (2025): 58–62. https://doi.org/10.55640/jsshrf-05-06-13.

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This article explores the technical and expressive features of Franz Liszt's piano music, emphasizing his contribution to the Romantic era. The study highlights the composer's innovative use of virtuosity, his complex textures, wide dynamic range, and emotional depth. Liszt's approach to piano writing transformed the instrument into a medium of orchestral sonority and poetic expression. Special attention is given to his advanced performance techniques, dramatic contrasts, and the integration of personal narrative into musical structure. The article aims to provide insights into how Liszt's uni

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12

McBurney, Gerard. "Brian Elias's recent music." Tempo, no. 174 (September 1990): 12–18. http://dx.doi.org/10.1017/s0040298200019392.

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In the past ten years a remarkable change has come over Brian Elias. He has turned from being a miniaturist to being a composer on a symphonic scale and with symphonic aspirations. Not that he has written any work with so self-conscious a title as ‘symphony’ – at least, not yet. But in these few years he has given us two extended cycles for voice and symphony orchestra, a large-scale single-movement orchestral work that must certainly be called symphonic, a set of 49 Variations for piano inspired by Beethoven's set of 32 in C minor, and now an orchestral ballet in progress for Kenneth Macmilla

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13

Keefe, Simon P. "A Complementary Pair: Stylistic Experimentation in Mozart's Final Piano Concertos, K. 537 in D and K. 595 in B-flat." Journal of Musicology 18, no. 4 (2001): 658–84. http://dx.doi.org/10.1525/jm.2001.18.4.658.

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Given the chronological separation of Mozart's final piano concertos, K. 537 and K. 595, from his extraordinary sequence of 15 piano concertos of 1782-86 (K. 413-503), it is no surprise that critics have continually stressed stylistic and affective departures from the composer's norm. But the stylistic significance of these final concertos remains fundamentally misunderstood. In spite of sharply contrasting characteristics——ostentatious virtuosity in K. 537 and carefully measured writing in K. 595——these works are, in fact, kindred spirits. In both concertos Mozart experiments with the introdu

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14

Taran, Vladimir. "CREATIONS WITH THE PARTICIPATION OF THE BASSOON SIGNED BY VLADIMIR ROTARU." Akademos 60, no. 1 (2021): 134–36. http://dx.doi.org/10.52673/18570461.21.1-60.18.

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Vladimir Rotaru is one of the famous composers from the Republic of Moldova, whose compositions include both orchestral and chamber-instrumental works. In this article, the author made a brief analysis of the repertoire for bassoon that includes both solo and chamber compositions, such as Suite for flute, oboe, clarinet, and bassoon; Monothematic metamorphoses; Sonata-dialogue for bassoon and piano; Caprice for bassoon and piano. The aim of the article concerned is reviewing the creations for bassoon signed by Vladimir Rotaru, being in a succinct language features and architectonic creations c

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15

Deng, Ge. "Some Aspects of Innovation in Brahms's F Sharp Minor Piano Sonata." Arts Studies and Criticism 4, no. 2 (2024): 48. http://dx.doi.org/10.32629/asc.v4i2.1527.

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Brahms was commonly introduced as the successor to the classicism, while some consider him one of the most distinctive German composers of the 19th century. Among Brahms's oeuvre of various genre of orchestral, chamber, piano, and vocal music, large-scale works demonstrate the most obvious inheritance of classical style, however, they exhibit revolutionary qualities in specific technical aspects. This article explores some innovative features of Brahms's F sharp minor piano sonata in treatment of motive, tonal and syntax, to show that the progressive consciousness was emerging already in his e

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16

Shaikhutdinov, R., and A. Rumyantsev. "MUSIC OF THE BALLET ON PIANO: "ROMEO AND JULIET" BY SERGEY PROKOFIEV IN THE AUTHOR'S TRANSCRIPTION." ARTS ACADEMY 13, no. 1 (2025): 46–64. https://doi.org/10.56032/2523-4684.2025.1.13.46.

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This article is dedicated to the study and reflection on the transcriptional features of the author's piano version of the ballet "Romeo and Juliet" by Sergey Sergeevich Prokofiev (1891-1953). The field of orchestral transcriptions is a special area of creativity for pianists – both performers and authors of transcriptions. The mask and the living human face, the "theater of representation" and the "theater of experience", the theatrical pathos and lyrical confession, sarcasm and philosophical reflection – the essence of the intense antithesis of many of Prokofiev's compositions. Based on the

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17

Rakochi, Vadim. "Orchestration as a Means of the Synthesis of Classical and Romantic Approaches in Brahms’ Second Piano Concerto." Musicological Annual 57, no. 1 (2021): 25–63. http://dx.doi.org/10.4312/mz.57.1.25-63.

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The synthesis of ‘Classical’ and ‘Romantic’ concepts in the orchestration of Brahms’ Second Piano Concerto is discussed. The composer rethinks ways of presenting musical material in the orchestra by conceptualising both the ‘Classical’ orchestral structure (the size, the approach to the brass section) and the Romantic-like treatment of solos, alternations, etc. as unified domains.

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18

Tang, Dang Thanh. "Methods of Practice Piano for Music Pedagogical Students at Thanh Hoa University of Culture Sports and Tourism." International Journal of Language, Literature and Culture 2, no. 2 (2022): 06–11. http://dx.doi.org/10.22161/ijllc.2.2.2.

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The piano plays an important role, being the most popular musical instrument with the largest number of learners not only in Vietnam but also in the world. With a rich and varied expression, the piano can perform independently without any other instrument support and still achieve high artistic efficiency. Not only that, but due to its multi-vocal nature, the piano can be used as an orchestral instrument or as an accompaniment for vocals and other musical instruments. Therefore, the piano is a common and essential instrument for both professional and amateur musicians. Mastering the skill of p

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19

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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20

Martynenko, N. N. "PECULIARITIES OFORCHESTRA FACTURE IN CONCERT FOR PIANO WITH ORCESTRA F.POULENC (CIS-MOLL)." National Association of Scientists 3, no. 27(54) (2020): 9–14. http://dx.doi.org/10.31618/nas.2413-5291.2020.3.54.201.

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The article considers a concert for piano and orchestra by F. Poulenc in the context of the musical aesthetics of thecomposer and features of the orchestra texture as key components of the author s creative method. The basic principles of orchestral writing are analyzed. Using specific examples from individual parts of the concerts, interesting distinctive properties inherent in the orchestration jf the composer are examined.

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Matthew-Walker, Robert. "Hoddinott's Programmatic Structuralization." Tempo, no. 209 (July 1999): 22–26. http://dx.doi.org/10.1017/s0040298200014650.

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Alun Hoddinott has written music steadily for 50 years and, as a constantly prolific composer, has amassed an impressively wide-ranging body of work: six operas, ten symphonies, 20 concertos, a dozen piano sonatas, five violin sonatas, with vocal, choral, orchestral and instrumental works of equal abundance – in all, an output of about 300 works with which even his most ardent admirer will have found it difficult to keep up.

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22

Комаров, А. В. "Tchaikovsky as the Author of Piano Arrangements of His Own Compositions." Научный вестник Московской консерватории, no. 2(33) (June 22, 2018): 94–125. http://dx.doi.org/10.26176/mosconsv.2018.33.2.05.

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С фортепианными переложениями как неотъемлемой частью музыкальной культуры XIX века Чайковский был связан на протяжении всей жизни. Обширную часть наследия композитора составляют переложения для фортепиано в 2 и 4 руки его собственных сочинений и произведений других авторов. Но если последние перекладывались Чайковским преимущественно в силу различных внешних обстоятельств, то переложениям собственных сочинений композитор уделял всегда особое внимание. Круг музыкантов, пользовавшихся доверием композитора в этом отношении, был весьма невелик и с течением времени неуклонно сужался. Чайковский ст

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23

Jurkowski, Edward. "The Symphonies of Joonas Kokkonen." Tempo, no. 208 (April 1999): 18–23. http://dx.doi.org/10.1017/s0040298200006987.

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With the death of Joonas Kokkonen in October of 1996, Finland lost one of its most important post-World War II composers. Almost certainly, Kokkonen is most widely known outside Finland for his 1975 opera Viimeiset kiusaukset (Tlie Last Temptations). Yet his orchestral compositions such as the Cello Concerto (1969), the song cycle Lintuijen Tuonela (The Hades of the Birds, 1958–59), the Requiem (1981), the chamberorchestra work …Durch einen Spiegel… 1977), or such chamber works as the Piano Quintet (1953) or the String Quartets Nos.l (1959) and 3 (1976) demonstrate that masterpieces may be fou

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24

Conway, Paul. "London, BBC Maida Vale Studios: Justin Connolly's Piano Concerto." Tempo 58, no. 228 (2004): 66–67. http://dx.doi.org/10.1017/s0040298204280159.

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Many of Justin Connolly's works have been premièred and recorded by Nicholas Hodges, whose musicianship provided the inspiration for Connolly's Piano Concerto (2001–2003). The form and character of the piece are influenced by the ancient idea of the labyrinth, the forces of soloist and orchestra being well suited to the roles of Theseus and the Minotaur, where one protagonist signifies the existence of the other and the distinction between hero and villain is not always apparent. The orchestral forces employed are unexceptional. Brass and percussion are divided into two separate groups to the

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25

Chen, Xi, Nataporn Rattachaiwong, and Lingling Liu. "Exploring The Nationalization Characteristics of Chinese Style Piano Works--An Example of The Six Piano Adaptations of "Flowing Stream"." Journal of Education, Humanities and Social Sciences 20 (September 7, 2023): 54–61. http://dx.doi.org/10.54097/ehss.v20i.11420.

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"Flowing Stream" is a Chinese folk song from Yunnan province with a high degree of popularity and popularity. It has been widely adapted by Chinese and foreign composers into various forms of musical expression, such as piano, accordion, orchestral music and opera, etc. Therefore, it can be seen that the work has been widely recognized and sung by composers and audiences. Therefore, it can be seen that the work is widely recognized and loved among composers and audiences. In this paper, we will choose different versions of "Flowing Stream" from six composers, namely, Zhao Xingdao, Zhu Jian'er,

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26

Juszyńska, Krystyna. "Didactic qualities of piano pieces for children by Miłosz Magin (1929-1999)." Konteksty Kształcenia Muzycznego 6, no. 1 (10) (2020): 27–44. http://dx.doi.org/10.5604/01.3001.0014.2314.

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Miłosz Magin was a renowned Polish pianist and composer. He was born in Łódź, studied in Warsaw, was a prizewinner of several international piano competitions, successfully concerted all over the world and in 1960 he finally settled down in Paris. His compositional output covers numerous piano pieces, orchestral, chamber and vocal works, as well as a ballet. Pieces for children constitute an important and relatively large part of his oeuvre. The article discusses five cycles of miniatures (38 pieces in total), dedicated to pupils at the elementary level of piano learning: Obrazki z Polski (198

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Porizko, Ekaterina I., and Olga I. Porizko. "A Musical Offering by Nikolai Rakov: Nine Pieces for Piano Four-Hands." Университетский научный журнал, no. 78 (February 16, 2024): 123–37. http://dx.doi.org/10.25807/22225064_2024_78_123.

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The article provides an overview of the “Nine Pieces for Piano Four-Hands” cycle of the late period of the work of Nikolai Rakov, a Russian composer of the 20th century. Allusions are actively used in the cycle, which consists of pieces of different genres, and the infl uence of various composing schools is noticeable. Having passed a long creative path, the composer seems to embody the need to create a musical offering to his great predecessors and contemporaries, involving expressive means of various styles. Masterfully using the arsenal of piano tools for children’s performance, he achieves

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28

Lee, Sl. "Analysis of Factors affecting the Competence of Choral Accompanist." Korean Society of Music Education Technology 32 (July 16, 2017): 213–32. http://dx.doi.org/10.30832/jems.2017.32.213.

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The purpose of this study was to identify the perceived factors affecting the competence of choral accompanists as a choral conductor and choral accompanist(n=65). The results of this study indicated that the musical communication skill with choral conductor, the preparation for choral rehearsals, the ability of playing piano with exact rhythm, the cooperative attitudes were the most influential factors affecting the competence of choral accompanists. Also, choral conductors and accompanists indicated that piano techniques to adjust tone color including the effect of orchestral sound for the c

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29

Savchenko, Hanna. "Orchestration of D. L. Klebanov and V. M. Zolotukhin: a comparative analysis." Aspects of Historical Musicology 23, no. 23 (2021): 65–77. http://dx.doi.org/10.34064/khnum2-23.04.

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Background. In the last two decades there was a constantly increasing scholar interest to Kharkiv school of composition as a phenomenon of Ukrainian musical culture. Despite this, a lot of unstudied questions remain, which need to be researched. This includes problems of orchestral thinking, orchestral style and orchestral writing of Kharkiv composers, particularly, D. Klebanov and V. Zolotukhin. The novelty lies in the systematization of the principles of orchestration in the symphonies of D. Klebanov (based on the symphonies 1, 3, 6, 7) and the First Symphony of V. Zolotukhin. Analysis of li

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Xia, Ming. "Evolution of the Genre of the Piano Concerto." ARTISTIC CULTURE. TOPICAL ISSUES, no. 18(2) (November 29, 2022): 22–29. http://dx.doi.org/10.31500/1992-5514.18(2).2022.269772.

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The paper outlines the features of emergence and development of the piano concerto on its way towards drama from a historical perspective, analyses specific features of its genre nature, and reveals the types of the concerto’s dramaturgy differing from one another in form and style of the interaction between the soloist and the orchestra. The paper demonstrates that the piano concerto followed the path of development of an individual performer principle, and afterward that of a dialogical balance between the orchestra and the piano part, which was determined by the degree of composers’ innovat

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31

Braasch, Jonas. "Why did wind instruments stop evolving?" Journal of the Acoustical Society of America 151, no. 4 (2022): A182. http://dx.doi.org/10.1121/10.0011033.

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Adolphe Sax invented the last widely spread orchestral wind instrument in 1846, and the saxophone has hardly changed since its inception. Also, outside of classical music, wind instruments have not evolved with very few exceptions in popular music, like the melodica. The latter was popular in the mid 20th century, because it was one of the cheapest instruments with a piano-style keyboard before mass-produced electronic keyboards. Since its inception, jazz drew from traditional orchestral wind instruments that were invented long before jazz came up. They were easily available as they were widel

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McAdams, Stephen, Sandrine Vieillard, Olivier Houix, and Roger Reynolds. "Perception of Musical Similarity Among Contemporary Thematic Materials in Two Instrumentations." Music Perception 22, no. 2 (2004): 207–37. http://dx.doi.org/10.1525/mp.2004.22.2.207.

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Free classification was used to explore similarity relations in contemporary musical materials. Thirty-four subsections from the five themes of The Angel of Death by Roger Reynolds were composed identically for piano (Expt. 1) and chamber orchestra (Expt. 2) in terms of pitch, rhythm, and dynamics. Listeners were asked to group together those judged to be musically similar and to describe the similarities between the subsections in each group. Listeners based their classifications on surface similarities related to tempo, rhythmic and melodic texture, pitch register, melodic contour, and artic

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Conway, Paul. "Judith Bingham: some recent works." Tempo, no. 215 (January 2001): 25–26. http://dx.doi.org/10.1017/s0040298200008238.

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Judith Bingham is currently one of the most sought-after composers in Britain. Following the breakthrough occasioned by the première in 1993 of her first orchestral work, Chartres (1988), she received commissions from organizations such as the BBC Philharmonic, the Proms, Hereford Three Choirs Festival, the Northern Sinfonia and Westminster Abbey. Although one of her most successful works is undoubtedly her elegiac Piano Trio entitled Chapman's Pool (1997), which has already received over seventy performances, she has produced a series of impressive large-scale compositions which build on the

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Kamenska, Veronika. "Evolution of musical means in piano "symphonies" by S.Yarunsky." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 167–72. http://dx.doi.org/10.32461/2226-2180.39.2021.238714.

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The purpose of the article is to investigate in the piano work of the Ukrainian composer S.Yarunsky in his four symphonies for piano, a new type of figurative content and innovative means of musical expression. Methodology. The method of complex analysis is applied: the figurative content and musical form of four “symphonies” for piano are analyzed and their stylistic features are revealed. The scientific novelty lies in the fact that for the first time in Ukrainian musicology, the Four Symphonies for Piano by S.Yarunsky have been analyzed in detail and conclusions have been drawn based on thi

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Rajabova, Mashhura. "Harmonic and Fret Features of "Tanovar" Processing by A. F. Kozlovsky and A. Nabiev." Eurasian music science journal, no. 1 (June 18, 2021): 95–105. http://dx.doi.org/10.52847/eamsj/vol_2021_issue_1/55.

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In the modern musicology of our country, the issues of the modal structure of national music in its folk and classical branches are the most relevant. And they require a detailed study of the historical and theoretical aspects of fret thinking both in traditional classical and folk Uzbek music, and in the works of composers of our country. The article deals with some theoretical and historical aspects in the use of the means of musical expression of two composers of Uzbekistan: A. F. Kozlovsky and A. Nabiev. A brief comparative analysis of the stylistic features of orchestral and piano process

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Gilbert, Anthony. "KALEIDOSCOPES AND A LABYRINTH – THE MUSICAL VISION OF JUSTIN CONNOLLY." Tempo 66, no. 260 (2012): 15–22. http://dx.doi.org/10.1017/s0040298212000137.

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AbstractThis essay traces the development of Justin Connolly's music from the orchestral Antiphonies of 1966 through to the Piano Concerto of 2001–3, showing how within a remarkably consistent idiom there has been a slow process of focal change from a predominantly vertical structuring to a graciously complex, vertically rich, energetic linearity, embracing a wide variety of works on its unhurried journey, and by no means excluding drama and expressivity from its uncompromising idiom. Most of the analytical writing is on the Piano Concerto, which in its way summarizes all that precedes it, sho

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Williamson, Rosemary. "Sterndale Bennett's Lost Piano Concerto Found." Journal of the Royal Musical Association 119, no. 1 (1994): 115–29. http://dx.doi.org/10.1093/jrma/119.1.115.

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I have as I before stated, not yet played this season in the great Concerts [at the Gewandhaus] because I preferred to wait until I was just leaving Leipzig, and had finished all my compositions for the Publisher, therefore on the 3rd. March I will if possible play a new Concerto which I have in hand.THIS, in a letter to Mary Anne Wood dated 7 February 1842, is the earliest specific mention of Bennett's last piano concerto, which was never published and for many years was missing. Only a ‘tantalising fragment’ of a two-piano reduction made by the composer's son and biographer, J. R. Sterndale

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Özge, Güncan, and Balkarlı Serla. "A Literature Review of Piano Works of Non-Traditional Concerto Form with Orchestral Accompaniment Written in Romantic Period." Premium e-Journal of Social Sciences 7, no. 29 Ekim 100. Yıl Özel Sayısı (2023): 25–35. https://doi.org/10.5281/zenodo.10051281.

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This research aims to reveal the forms that developed with the clear understanding and the innovative ideas of the Romantic Period, and includes a comprehensive literature review of the orchestral accompaniment piano works that are not composed as concertos. The Romantic Period was a period in which sentiments could be freely expressed, individuality and independence emerged, new ideas of form sprouted and music developed greatly, and become distant from the normative attitude of the previous century. Therefore, the era has allowed the emergence of emotional changes in the artist with freedom

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Любимов, Д. В. "ORCHESTRAL AND CHOREOGRAPHIC INTERPRETATION ROBERT SCHUMANN’S PLAY “PAPILLONS”." Music Journal of Northern Europe, no. 4(36) (January 15, 2024): 61–83. http://dx.doi.org/10.61908/2413-0486.2023.36.4.61-83.

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Статья посвящена оркестровой и хореографической версиям пьесы «Papillons» из фортепианного цикла Р. Шумана «Карнавал». Рассматриваются особенности оркестровки Н. Черепнина. При сохранении основных элементов структуры, тонально-гармонического плана, фактуры пьесы оркестровка Черепнина демонстрирует свободное обращение с регистрами и различную технику оркестрового письма. Красочная оркестровка вносит свежесть и новизну в музыку Шумана, помогая воплотить пластический образ Бабочки в одноактном балете Фокина «Карнавал». Сюжетным продолжением сцены «Бабочка и Пьеро» стал последующий одноактный бале

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Hodges, Nicolas. "Bill Hopkins's orchestration of Debussy's ‘Lindaraja’." Tempo, no. 201 (July 1997): 28–31. http://dx.doi.org/10.1017/s0040298200005805.

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In spring 1975 the British composer and writer Bill Hopkins completed an orchestration of Debussy's Lindaraja. Paul Griffiths has reported that Hopkins believed this to be ‘the only one of Debussy's piano works which was intended as a sketch of an orchestral composition’. As an expert on both French music and orchestration, Hopkins was admirably qualified for the job. But as we have no written record of his ideas on the subject we need to analyze the musical evidence as it stands, to see what might justify his view of the piece.

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Zhang, Futong, and Aysylu Tagirovna Gumerova. "Du Mingxin. Piano Suite based on the ballet "Rusalka": the experience of stylistic and performance analysis." PHILHARMONICA. International Music Journal, no. 4 (April 2022): 27–38. http://dx.doi.org/10.7256/2453-613x.2022.4.38407.

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The object of the study is the piano work of the famous Chinese composer, teacher Du Minxin (born 1928). The genre composition of his piano work is diverse – it includes miniatures, suite cycles, concerts, fantasies, toccatas. A separate place is occupied by piano transcriptions created by the composer on the material of his own ballets – "Red Women's Squad", "Mermaid". The subject of the study is a piano suite based on the ballet "Rusalka", which is a repertoire composition in concert and pedagogical practice in China. The purpose of the work is to identify the stylistic and performing featur

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Martynenko, N. N. "Piano concerts by F. Poulenc in the russian orchestral searches of the composer." Искусство и образование, no. 3 (2021): 39–47. http://dx.doi.org/10.51631/2072-0432_2021_131_3_39.

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Wai-Ling, Cheong. "Scriabin's Octatonic Sonata." Journal of the Royal Musical Association 121, no. 2 (1996): 206–28. http://dx.doi.org/10.1093/jrma/121.2.206.

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The first of an uninterrupted series of piano works to follow the orchestral Prometheus, op. 60 (1908–10), Scriabin's Sixth Sonata, op. 62 (1911), is a striking example of what may be termed an ‘octatonic sonata’. Indeed, the Sixth Sonata shows Scriabin experimenting with the octatonic at its most rigid and is unique in containing long spans of pure octatonic writing where not a single extraneous note is invoked. In contrast to the Fifth Sonata, op. 53 (1907), which is closely associated with the Poem of Ecstasy, op. 54 (1905–8), the Sixth Sonata has only loose ties with Prometheus.

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Shang, Rui. "A Deep Learning-Enabled Composition System Based on Piano Score Recognition." Mobile Information Systems 2022 (July 5, 2022): 1–9. http://dx.doi.org/10.1155/2022/9132697.

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Piano is used for music and comprises a stringed keyboard instrument wherein the strings are tapped by softer-coated wooden hammers. The score providing music for the piano, often a compressed transcription of orchestral music, is referred to as piano score. Presently, the Internet is overflowing with music score resources. Having so many music score resources available, professional learners and amateur music lovers are unable to identify and obtain music score information that matches their needs and wasting valuable time. Due to the rapid development of deep learning algorithms, some indivi

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Ginocchio, John. "The Effects of Different Amounts and Types of Music Training on Music Style Preference." Bulletin of the Council for Research in Music Education, no. 182 (October 1, 2009): 7–18. http://dx.doi.org/10.2307/27861458.

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Abstract The purpose of this study was to determine the influence of three different amounts of music training and specific types of music training on the style preferences of college non-music majors. 176 college non-music majors recorded their preference for 19 musical examples in varying popular and non-popular styles. Subjects completed a Personal Information Form to determine their years of music training and specific types of music training. Results showed that subjects with five years or more of music training gave significantly greater overall music preference ratings than subjects wit

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Știuca, Petru. "The pecularities of transcription of homofon-harmonic musical works for accordion." Akademos, no. 1(68) (June 2023): 146–49. http://dx.doi.org/10.52673/18570461.23.1-68.19.

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The article deals with the general and specific issues of accordion transcription development. The peculiarities of this process depend largely on the discourse of the original creations, selected for transcription. Most of them belong to the homophonic-harmonic style, usually corresponding to the period of musical classicism and romanticism, and are written for piano or violin solo, or with orchestral accompaniment. The author focuses on the specifics of the given instruments, analyses the transcription of homophonic-harmonic creations from a historical perspective. At the same time, specific

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Chub, Maksym. "Christian Sinding’s piano works: the experience of a post-romantic world perception." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 66, no. 66 (2023): 42–60. http://dx.doi.org/10.34064/khnum1-66.03.

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Statement of the problem. Christian Sinding is the first composer after Edward Grieg, whose name resonated in wide circles of the musical community not only in Norway, but also in Europe, in particular Germany. His works were widely performed and aroused general interest, being evidence of the high status of national Norwegian music. In Ukraine, the figure of Sinding is little known, and his works are performed very rarely, despite the fact that his heritage, in particular the piano one, deserves attention and study as a vivid expression of the national style in the music of the early and firs

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XANKIŞIYEVA, İlhame. "A LOOK AT AZER DADASHOV’S PIANO WORK." IEDSR Association 6, no. 15 (2021): 1–10. http://dx.doi.org/10.46872/pj.302.

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The article we presented is devoted to the analysis of A.Dadashov's piano music. Although some of the composer's piano works have been examined in various studies, this heritage has not been examined in its entirety. The images created by A.Dadashov include the relationship between man and the universe, the desire for the creation of the individual world, as well as aspects related to the inner world of man. Piano music, which is an important part of A.Dadashov's work, is represented by various genres, large and small. Here you can find all kinds of genres, from piano and orchestral concerts t

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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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Финкельштейн, Ю. А. "Features of Nikolai Cherepnin’s orchestral style." АКТУАЛЬНЫЕ ПРОБЛЕМЫ ВЫСШЕГО МУЗЫКАЛЬНОГО ОБРАЗОВАНИЯ, no. 1(72) (April 1, 2024): 49–59. http://dx.doi.org/10.26086/nk.2024.72.1.009.

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В центре внимания — черты оркестрового стиля Николая Черепнина. Он является автором ряда произведений в разных жанрах, основоположником дирижерской школы в нашей стране. Ученик Н. А. Римского-Корсакова, он унаследовал от него огромный интерес к оркестру и свойствам инструментов, который нашел выражение во всех видах деятельности музыканта. Рассматриваются особенности дирижерской деятельности и практики Черепнина в руководстве оркестром. Отмечено, что музыкант практиковался в дирижировании всю свою жизнь. Изучение современных партитур способствовало росту его эрудиции, что положительно отразило

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