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Статті в журналах з теми "Transcription for piano solo"

Автор: Grafiati

Опубліковано: 15 лютого 2025

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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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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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   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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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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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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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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11

Rimm, Robert. "The Alexander Siloti Collection: Editions, Transcriptions, and Arrangements for Piano Solo, and: 53 Studies on Etudes of Frederic Chopin and Other Chopin Arrangements (review)." Notes 61, no. 2 (2004): 561–65. http://dx.doi.org/10.1353/not.2004.0160.

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12

Klendiy, O. M. "Interpretative aspect of C. Saint‑Saëns’s piano music." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 136–53. http://dx.doi.org/10.34064/khnum1-56.09.

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Анотація:

Background, the objective of the research. From the perspective of interpretative discourse, C. Saint-Sa&#235;ns’s heritage widens the contemporary views of his performance career and explains the nature of his pianoforte mentality. Moreover, an interpretative approach is becoming an important part of its investigation methodology, which makes it possible to state the aim of the paper, which is to determine the priorities of C. Saint-Sa&#235;ns as being an outstanding virtuoso performer of his historical era (what is necessary to understand his artistic mentality). According to the aim

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13

Nikolenko, R. V. "M.-A. Hamelin’s composing and performing style in the context of postmodern aesthetics." Aspects of Historical Musicology 14, no. 14 (2018): 168–80. http://dx.doi.org/10.34064/khnum2-14.12.

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Background. The peculiarities of the worldview and philosophy of modern contradictory era put forward before the art new requirements and benchmarks, which the Postmodern aesthetics embodies. The phenomenon of «Postmodernism» covers different levels of contemporary life. In philosophy, this concept was first introduced by J.-F. Lyotard in his report «The status of postmodernism». The French philosopher revealed the essence of Postmodernism consisting in «awareness of diversity and pluralism of forms of rationality, activity of life, as well as the recognition of this diversity as a natural pos

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14

Särg, Taive. "Millise lauliku lapsepõli? Laulu „Kui ma olin väiksekene” allikatest ja autoritest." Keel ja Kirjandus 67, no. 12 (2024): 1088–116. https://doi.org/10.54013/kk804a2.

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The childhood of which songster? On the origins and authors of a beloved song Keywords: folklore, ethnomusicology, choral music, runosong, orality and literacy One of the most iconic and seminal musical works of Estonian culture, the song Lauliku lapsepõli (“Childhood of the Songster”), often referred to by its opening words, “Kui ma olin väiksekene” (“When I Was Little”), was composed on the basis of Estonian folk songs in collaboration between Aino Tamm (1864–1945), one of the first professionally trained Estonian singers, and Miina Härma (1864–1941), the first Estonian female composer. The

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15

Pidporinova, K. V. "Laughter as a direction of Marc-André Hamelin’s composer searches." Aspects of Historical Musicology 15, no. 15 (2019): 158–80. http://dx.doi.org/10.34064/khnum2-15.08.

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Background. Contemporary musical art is an open stage for collision and coexistence of various artistic ideas, landmarks, styles, etc. The work of the recognized Canadian pianist-composer Marc-Andr&#233; Hamelin (born in 1961) raises a particular interest. The fact that the peculiarities of the musician’s performing and composing style are insuffi ciently covered in Ukrainian musicology determines the research rationale. It is also caused by the need to identify the specifi c features of the author’s inheritance, ensuring its consistency with the present time, where the laughter phenomenon

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16

Nikolenko, R. "The specifics of the ironic in the Marc-André Hamelin’s creativity on the example of “Variations on a Theme of Paganini”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (2019): 132–44. http://dx.doi.org/10.34064/khnum1-52.09.

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Background. From the era of romanticism to the present day there is a stable interest of world-renowned virtuoso musicians to such kind of creativity as transcription, which makes it possible to speak not only as a performer, but also to express themselves in the composer’s perspective. Many prominent pianists of different eras have made a significant contribution to this branch of musical art, we need only recall the names of F. Liszt, K. Tausig G. von Bulow, F. Busoni, L. Godowsky, Vladimir Horowitz, Glenn Gould. Among artists of our time, it should be noted the Canadian piano virtuoso and c

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17

Hamilton, Kenneth. "Franz Liszt, Free Arrangements and Transcriptions for Piano Solo, New Liszt Edition Series II vol. XV, edited by Istvan Kassai and Imre Sulyok (Budapest: Editio Musica Budapest, 2003). 172pp. £24.95." Nineteenth-Century Music Review 2, no. 2 (2005): 231–33. http://dx.doi.org/10.1017/s1479409800002469.

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18

Peyrefitte, Christel. "Piano solo." Commentaire Numéro 49, no. 1 (1990): 200–201. http://dx.doi.org/10.3917/comm.049.0200.

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19

Svard, Lois, Samuel Adler, Jane Brockman, Robert Muczynski, and Dan Welcher. "Sonatina; For Piano Solo." Notes 43, no. 2 (1986): 417. http://dx.doi.org/10.2307/897408.

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20

Fox, Christopher. "More Light. Solo Piano." Musical Times 139, no. 1863 (1998): 1. http://dx.doi.org/10.2307/1004217.

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21

Weirich, Robert, David Maves, Nancy van de Vate, Joep Straesser, George Perle, and William Bergsma. "Sonata No. 1; Piano Solo." Notes 41, no. 3 (1985): 598. http://dx.doi.org/10.2307/941200.

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22

Smith, Joseph, George Gershwin, and Artis Wodehouse. "Gershwin's Improvisations for Solo Piano." Notes 45, no. 4 (1989): 858. http://dx.doi.org/10.2307/941245.

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23

Burge, David, Ross Lee Finney, Charles Wuorinen, Chester Biscardi, Francois Rosse, and Stella Sung. "Narrative in Retrospect, Piano Solo." Notes 48, no. 1 (1991): 300. http://dx.doi.org/10.2307/941844.

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24

Goldray, Martin, Ruth Shaw Wylie, Peter Inness, and Jacques Casterede. "The White Raven; Piano Solo." Notes 42, no. 4 (1986): 855. http://dx.doi.org/10.2307/897811.

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25

Hannigan, Barry, William Albright, and Michael Finnissy. "Three Original Rags; Piano Solo." Notes 43, no. 4 (1987): 925. http://dx.doi.org/10.2307/898180.

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26

Nicholls, David, and Donald Martino. "Solo Piano and Chamber Works." American Music 20, no. 1 (2002): 127. http://dx.doi.org/10.2307/3052248.

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27

Gladkova, O. I. "Four perspectives on solo piano." Vestnik of Saint Petersburg State University of Culture, no. 1 (30) (March 2017): 187–88. http://dx.doi.org/10.30725/2619-0303-2020-3-187-188.

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28

Fine, Vivian. "Momenti, for Piano Solo (1978)." Perspectives of New Music 23, no. 2 (1985): 144. http://dx.doi.org/10.2307/832720.

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29

Barbancho, I., A. M. Barbancho, A. Jurado, and L. J. Tardón. "Transcription of piano recordings." Applied Acoustics 65, no. 12 (2004): 1261–87. http://dx.doi.org/10.1016/j.apacoust.2004.05.007.

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30

Babayeva, Minakhanim. "AYAZ GAMBARLİ’ NİN PİYANO İÇİN “OBRAZLAR” ESERİ." SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, no. 33 (2022): 34–42. http://dx.doi.org/10.31567/ssd.743.

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Анотація:

The given article provides extensive information about the creativity of the composer A. Gambarli who is the laureate of International Competitions. Here we take a look at the examples of piano music which composer wrote in different years, especially the "Images" series. He tried his talent in several genres and forms of music. Piano music occupies a special place in the composer's career. A number of his works have been successfully performed at International Music Festivals and in many countries around the world. "Six Sketches" (piano, 2003), "Resistance of the Elements" (piano trio, 2013-2

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31

Christheo Purwanto, Farrell. "Aransemen Lagu Bengawan Solo menjadi Aransemen Solo Piano Jazz oleh Christheo Music School." Repertoar Journal 4, no. 1 (2023): 117–30. http://dx.doi.org/10.26740/rj.v4n1.p117-130.

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Penelitian ini berisi tentang proses aransemen lagu Bengawan Solo menjadi aransemen Solo Piano Jazz. Pengertian aransemen adalah penyesuaian komposisi musik dengan jenis suara penyanyi atau instrumen musik yang didasarkan atas sebuah komposisi yang telah ada sehingga esensi musiknya tidak berubah. Penelitian ini menggunakan metode penelitian kualitatif. Objek penelitian dalam penelitian ini adalah Partitur Aransemen Solo Piano Jazz lagu Bengawan Solo oleh Christheo Music School. Data penelitian ini diperoleh melalui observasi, wawancara, studi pustaka, dan dokumentasi. Teknik analisis data yan

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32

Martins, Denise Andrade de Freitas, and Luciana Monteiro De Castro. "Piano contemporâneo em Ituiutaba." Per Musi 25 (March 25, 2024): 1–17. http://dx.doi.org/10.35699/2317-6377.2024.45888.

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Buscamos neste artigo compartilhar os principais processos e resultados de trabalhos que envolveram a edição e a publicação de partituras e a gravação fonográfica de obras inéditas para piano solo e piano a 4 mãos compostas por quinze reconhecidos compositores brasileiros da atualidade, destinadas à interpretação como peças de confronto nos Concursos de Piano “Prof. Abrão Calil Neto”, da cidade mineira de Ituiutaba, realizados naquela cidade, de 2004 a 2019. Esse material foi preparado para publicação em quatro cadernos de partituras (dois de piano solo e dois de piano a 4 mão

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33

Arnold, Ben, and Havergal Brian. "The Complete Music for Solo Piano." Notes 44, no. 3 (1988): 577. http://dx.doi.org/10.2307/941547.

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34

Gugelot, Frederic. "L'oeuvre pour piano solo d'olivier Messiaen." Vingtième Siècle. Revue d'histoire, no. 74 (April 2002): 171. http://dx.doi.org/10.2307/3771822.

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35

Barela, Margaret Mary, Edward MacDowell, and Charles T. Griffes. "Solo Piano Music, vols. 1-4." American Music 5, no. 2 (1987): 231. http://dx.doi.org/10.2307/3052177.

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36

Truesdell, F. Donald, and Leonard Bernstein. "The Complete Works for Solo Piano." American Music 4, no. 1 (1986): 120. http://dx.doi.org/10.2307/3052195.

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37

Nonken, Marilyn. "Solo for Piano by David Tudor." Notes 78, no. 3 (2022): 462–66. http://dx.doi.org/10.1353/not.2022.0030.

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38

Wan, Yu Long, Zhi Gang Wu, Ruo Hua Zhou, and Yong Hong Yan. "Automatic Transcription of Piano Music Using Audio-Vision Fusion." Applied Mechanics and Materials 333-335 (July 2013): 742–48. http://dx.doi.org/10.4028/www.scientific.net/amm.333-335.742.

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Анотація:

Over the last decade many sophisticated and application-specific methods have been proposed for transcription of polyphonic music. However, the performance seems to have reached a limit. This paper describes a high-performance piano transcription system with two main contributions. Firstly, a new onset detection method is proposed using a specific energy envelope matched filter, which has been proved very suitable for piano music. Secondly, a computer-vision method is proposed to enhance audio-only piano music transcription, using the recognition of the player's hands on the piano keyboard. We

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39

Nettheim, Nigel. "A new derivation shows Schubert learning thematic work from a Beethoven sonata." Revista Vórtex 10, no. 2 (2022): 1–21. http://dx.doi.org/10.33871/23179937.2022.10.2.7098.

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Анотація:

A newly discovered derivation of Schubert from Beethoven is presented: the piano sonata in B major D.575 IV from the piano sonata in A-flat major Op.26 II. A method for finding thematic derivations is first outlined. The present derivation shows Schubert learning to compose thematic material by following Beethoven’s example. The article increases our knowledge of Schubert after his early mastery of vocal composition, as he earnestly worked to learn the piano solo side of his craft. He needed to master three main areas: logical manipulation of abstract musical material rather than text-based ex

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40

Kiefer, Bruno. "Oscar Lorenzo Fernandez: Musica para Piano Solo, Cancoes para Voz e Piano." Latin American Music Review / Revista de Música Latinoamericana 7, no. 1 (1986): 81. http://dx.doi.org/10.2307/780188.

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41

Pickard, John. "Bernard Stevens." Tempo 58, no. 229 (2004): 57–58. http://dx.doi.org/10.1017/s0040298204340222.

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BERNARD STEVENS: Piano Trio op.3; Sonata for violin and piano op.1; Trio for horn, violin and piano op.38; Fantasia on a theme of Dowland for violin and piano op.23; Improvisation for solo violin op.48a. The Academy of St. Martin-in-the-Fields Chamber Ensemble – Kenneth Sillito (vln), Stephen Orton (vlc), Hamish Milne (pno), Timothy Brown (hn). Albany Records TROY 572.

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42

DeVoto, Mark, Roger Nichols, and Maurice Ravel. "Gaspard de la nuit, for Piano Solo." Notes 49, no. 2 (1992): 799. http://dx.doi.org/10.2307/897968.

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43

Paccione, Paul. "Stations-To Morton Feldman for Solo Piano." Perspectives of New Music 27, no. 1 (1989): 174. http://dx.doi.org/10.2307/833266.

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44

Prosseda, Roberto. "Aldo Clementi: The Works for Solo Piano." Contemporary Music Review 30, no. 3-4 (2011): 299–315. http://dx.doi.org/10.1080/07494467.2011.647284.

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45

Abedi, Gabriel. "Agbadza (2021) for piano solo." Journal of the Musical Arts in Africa 21, no. 1-2 (2024): 95–101. https://doi.org/10.2989/18121004.2024.2437727.

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46

Pishdadian, Fatemeh, and Jill K. Nelson. "Automatic transcription of monophonic piano music." Journal of the Acoustical Society of America 132, no. 3 (2012): 1885. http://dx.doi.org/10.1121/1.4754915.

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Ortiz-Berenguer, Luis I., and Francisco J. Casajus-Quiros. "Approaching polyphonic transcription of piano sounds." Journal of the Acoustical Society of America 122, no. 5 (2007): 2990. http://dx.doi.org/10.1121/1.2942664.

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48

Roland-Silverstein, Kathleen. "Music Reviews." Journal of Singing 80, no. 3 (2024): 361–63. http://dx.doi.org/10.53830/sing.00016.

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Анотація:

Abstract: Four new song cycle publications are reviewed for this September 2023 submission: Michael Ching’s Arrangements and Derangements: Interpretations of Schubert for Soprano, Cello, and Piano ; Reinaldo Moya’s Ciudad Perdida ; Lori Laitman’s Into Eternity: A Letter by Vilma Grunewald , for mezzo-soprano and piano; and Marion von Tilzer’s Into Eternity , for mezzo soprano, solo cello, string quartet, and piano.

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Terefenko, Dariusz. "Valentine: For Piano = Für Klavier, and: Three Character Studies: For Piano Solo, and: Saloon Songs: For Solo Piano, and: 24 Variations on a Bach Chorale: Piano Solo (review)." Notes 68, no. 3 (2012): 670–73. http://dx.doi.org/10.1353/not.2012.0026.

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Demirci, Sirin A., and Eda Nergiz. "The Elements of Contemporary Turkish Composers’ Solo Piano Works Used in Piano Education." International Education Studies 14, no. 3 (2021): 105. http://dx.doi.org/10.5539/ies.v14n3p105.

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Анотація:

It is thought that to be successful in piano education it is important to understand how composers composed their solo piano works. In order to understand contemporary music, it is considered that the definition of today&rsquo;s changing music understanding is possible with a closer examination of the ideas of contemporary composers about their artistic productions. For this reason, the qualitative research method was adopted in this study and the data obtained from the semi-structured interviews with 7 Turkish contemporary composers were analyzed by creating codes and themes with &ldq

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