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Готові списки джерел за темами / Transcription for piano solo

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Добірка наукової літератури з теми "Transcription for piano solo"

Автор: Grafiati

Опубліковано: 15 лютого 2025

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Статті в журналах з теми "Transcription for piano solo"

1

Budhiono, Sofia Shieldy, and I. Dewa Made Bayu Atmaja Darmawan. "Pitch Transcription of Solo Instrument Tones Using the Autocorrelation Method." JELIKU (Jurnal Elektronik Ilmu Komputer Udayana) 8, no. 3 (2020): 347. http://dx.doi.org/10.24843/jlk.2020.v08.i03.p18.

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Анотація:

Pitch transcription is basically identifying and copying pitch on an audio or music. In this case, the pitch of a solo instrument music is processed to find the composition of the music tones, the method used is autocorrelation. After processing, the system will produce pitch transcription results from the audio that has been processed. this research done digitalization of an old method of identifying pitches into an application that is able to transcribe pitches in an audio. This Pitch Transcription application was created using the Python programming language with Librosa library as a librar

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2

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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Анотація:

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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3

Shaymukhametova, Liudmila N. "About the Study of the Means of Transcription of Works for Clavier by Beginning Pianists." ICONI, no. 2 (2019): 116–27. http://dx.doi.org/10.33779/2658-4824.2019.2.116-127.

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Анотація:

The methodological elaborations of the rubric of the journal “My fi rst transcriptions” will present examples from assignments from the attempts of creative work of beginning pianists with the musical text. The offered assignments carry the aim of teaching certain universal techniques of artistic transformation of the composer’s primary text. The fi rst article devoted to this subject matter examines the register allocation and the doubling which were applied in everyday music-making in the 16th and 17th centuries during the varied re-exposition of the clavier text into various ensembles. The

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4

Beirens, Maarten. "ARCHAEOLOGY OF THE SELF: MICHAEL FINNISSY'S ‘FOLKLORE’." Tempo 57, no. 223 (2003): 46–56. http://dx.doi.org/10.1017/s0040298203000044.

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Анотація:

The compositional output of Michael Finnissy includes several major cycles for piano solo, which stand out by reason of their dimensions and their scope. English Country-Tunes (1977/1982–85), Verdi Transcriptions (1972–92/1988–95/2002-), Gershwin Arrangements (1975–88) and Folklore (1993–94) are all long, technically demanding and full of expressive potential. Yet they have been outdone by Finnissy's most recent piano cycle: The History of Photography in Sound (1995–2001), a phenomenal endeavour, lasting over five and a half hours and employing every conceivable means of articulating musical e

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5

Зильберман Юрий. "СУРОК, соч. 52 No 7 (фр. MARMOTTE) ЛЮДВИГА ВАН БЕТХОВЕНА СТИХИ И. В. ГЁТЕ". International Academy Journal Web of Scholar, № 5(35) (31 травня 2019): 39–45. http://dx.doi.org/10.31435/rsglobal_wos/31052019/6504.

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Анотація:

   In his youth Ludvig van Beethoven wrote the song "La Marmotte" on the words of J. W. Goethe. The predominant feeling in it was loneliness. The further Beethovens time drifted away, the more song transcriptions for a solo instrument became. There was a variant of the piece for piano, violin, flute, etc. All novice musicians almost must have played this piece. Author of the article, folowing the path of the song offers a method of studying the piece to beginner violinist.  

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6

Rimm, Robert. "Le festin d'Esope and Other Works for Solo Piano, and: Ier concerto da camera en la mineur pour piano et orchestre, op. 10, and: Zweite Ballettszene fur Klavier, op. 20, Busoni-Verz. 209, and: The Complete Elegies, the Six Sonatinas and Other Original Works for Solo Piano, and: Toccata and Fugue in D Minor and Other Bach Transcriptions for Solo Piano, and: The Godowsky Collection, and: The Complete Piano Sonatas, and: Complete Fairy Tales for Solo Piano, and: Passeggiata Variata (1981) for Piano (review)." Notes 60, no. 1 (2003): 290–95. http://dx.doi.org/10.1353/not.2003.0126.

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7

Lynnyk, M. S. "Rostislav Genika: performer, teacher, composer." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (2019): 39–54. http://dx.doi.org/10.34064/khnum1-54.03.

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Анотація:

Under consideration are various facets of the creative work of Rostislav Genika, a comprehensively educated musician, universally gifted personality, one of the founders of the Kharkov piano school. The research is based on the study of critical reviews of R. Genika’s and his students’ concerts. Under analysis is the main genre of R. Genika as a composer and pianist – a transcription represented by the piece “Concert Paraphrase” to the motive of “Kupava’s Complaints” from P. Tchaikovsky’s music to the play “The Snow Maiden” by A. Ostrovsky. Rostislav Genika (1859 – 1942?) focused on piano art,

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8

Loya, Shay. "Recomposing National Identity: Four Transcultural Readings of Liszt's Marche hongroise d'après Schubert." Journal of the American Musicological Society 69, no. 2 (2016): 409–76. http://dx.doi.org/10.1525/jams.2016.69.2.409.

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Анотація:

Liszt's Mélodies hongroises d'après Schubert, a solo piano transcription of Schubert's four-hand Divertissement à l'hongroise, provides an interesting example of the complex relationship between centers and peripheries, and between personal patriotism and public nationalism. The first transcription (S. 425, 1838–39) stands at the very beginning of Liszt's career as a “national composer,” the most significant aspect of this rather overlooked fact being Liszt's transformation of the second movement—a naive, dance-like march—into “republican” heroic music driven toward an apotheosis à la Beethove

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9

Zhou, Daping. "The Theoretical Background for the Chinese Composers Piano Music Genre Peculiarities Research." Aspects of Historical Musicology 14, no. 14 (2018): 180–206. http://dx.doi.org/10.34064/khnum2-14.13.

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Анотація:

Introduction. The given paper is devoted to questions, which make up the dissertation research section upon the genre semantics of the Chinese composers’ solo piano creations. The general theoretic background for the vast amount of the musical artifacts studying is specified in the current section. Theoretical background. In his studying of the Chinese composers’ piano creative work the author follows the research trend, originated by G. Schneerson, Lui Ji, Wei Tinge, Liu Fuan, Zhang Xiaohu, Zhang Qian and others. In particular, the current research is based upon the works by Bu Li, Bian Meng,

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10

Zakharbekova, Irina S. "Georges Bizet in the Service of the Opera: More than “Just” a Composer?" Contemporary Musicology 8, no. 4 (2024): 64–90. https://doi.org/10.56620/2587-9731-2024-4-064-090.

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Анотація:

Georges Bizet occupies an important place in the history of French musical theatre thanks to his works such as Carmen and Les pêcheurs de perles. However, the musical career of this bright and original composer includes not only his own compositional oeuvre, which is relatively modest in terms of the number of works he created, but also his work in adjacent spheres. The article discusses the editorial and correction work on the works of other authors, which Bizet began to carry out in the mid-1850s and was especially active in the 1860s and early 1870s. Bizet worked on transcriptions (piano-vo

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