Showing papers on "Piano published in 1974"

Famous pianists & their technique

Abstract: Foreword by Alan Walker Preface and Acknowledgments 1. The Meaning of Technique 2. The Early Clavier Methods 3. The Beginnings of the Piano 4. Mozart and the Early Piano Technique 5. Hummel: The Culmination of the Viennese Era 6. The Dynamic Beethoven Technique 7. Czerny: Technique Personified 8. The Early Methodology 9. The Lyricism of Chopin 10. Liszt and Virtuoso Technique 11. The Schumann Circle 12. The Beginnings of Modern Technical Methods 13. The Leschetizky Influence 14. Russian Nationalism 15. The French School 16. Breithaupt and Weight Technique 17. The English School: Matthay His Pupils and Colleagues 18. Ortmann: Piano Technique Comes of Age 19. Contemporary Technical Thought 20. The Perspectives of an Enlightened Piano Technique Appendices 1. The Aesthetic Imperative 2. Mental and Psychological Control 3. An Intellectual Grasp of Basic Technical Knowledge 4. Isolated Movements 5. Coordinated Movements 6. Muscular Coordination 7. The Kinesthetic Sense 8. Posture 9. Means for Specific Technical Development 10. Historical Concepts and Perspectives of Piano Technical Thought 11. Supplementary Bibliography Bibliography Glossary Index

The musical life of an autistic boy.

Abstract: A hyperactive 8-year-old autistic boy who had exceptional musical ability and absolute pitch but who was unable to read music was given training in several aspects of music in individual lessons two or three times a week during a four-year period. He now reads piano music moderately well and can read melodies and accompany himself with chords at the piano. His behavior improved steadily as he became more competent in musical activities, and his ability to concentrate improved as he was brought to read music and perform it in rhythm without letting his attention wander. His comprehension of music was aided considerably by practice in taking dictation and learning to write the notes of the melodies with the correct rhythmic values.

The Piano Music

Abstract: However, such musical and technical demands should not leave the pianist with the despairing attitude of thirty years ago, that Ives' music is practically unplayable. Further into the twentieth century, we are more accustomed to hearing and playing a wide variety of sound-structures, complex textures, and rhythms; recordings and well-edited scores have made the music accessible and its gradual assimilation possible. It is time to indulge in this piano music-and indulge is the correct word, for serious study returns a huge amount of gratification as we find the resources to realize the text in an ever-expanding sense of what is "pianistic." We can look to Ives' Essays Before a Sonata 2 for the emotional stamina to embark on the playing of his works. In the democratic spirit, Ives grants individuality to the player on many issues: "Marks of tempo, ex-

Musical instrument keyboard

Abstract: A novel keyboard for use on pianos, organs and the like comprising two confronting sets of keys, each key having a widened main part and a narrow extension, the two sets of keys being arranged with their main parts in confronting relation and with their extensions interleaved therebetween.

Electronic piano circuit arrangement

Abstract: Disclosed is an electronic piano circuit arrangement which combines a multitude of different frequencies within a resistordiode matrix array. The resistor-diode coupling elements provide a different value impedance for various signals to be combined and the amplitude of the signals are predetermined to electronically produce a piano sound which substantially corresponds to the sound of an actual piano tone.

Music at your fingertips : aspects of pianoforte technique, advice for the artist and amateur on playing the piano

Abstract: Intended for the aspiring artist as well as the enthusiastic amateur, this invaluable guide to piano practice and performance covers every major aspect of pianistic technique Drawing from more than forty years experience as a teacher and highly acclaimed performer--as well as from her studies with Rachmaninoff, Schnabel, and Cortot--Slenczynska clearly demonstrates such basics as the proper use of hand positions, fingering, pedaling, ornamentation, various fingering touches, and counting She also gives detailed instructions on the art of program building, carefully analyzing the concert programs of Horowitz, Rubinstein, and Serkin and pointing out the strengths and weaknesses of their program construction She includes repertoire lists for performance at various levels of ability, a complete chart of ornament interpretation, and authoritative advice on posture, sight-reading, rhythm, note-learning, and memorization Her book is essential reading for all who enjoy in the piano-beginners, serious students, teachers, and listeners

Concerto for Violin and Orchestra

Abstract: for violin and piano An astounding violin concerto written with the talent and skill of one of the most accomplished composers of the 20th century.

Musical instrument with piano keyboard

Abstract: This invention relates to musical instruments with pianokeyboard, preferably such of a smaller size. Such small-size instruments have been relatively unusual and were manufactured in a very small number. The reason of this probably was the expensiveness of manufacturing the striking mechanism and the requirement of repeated service. The tuning of a piano is a complicated procedure and in many cases did not prove to be of any greater stability. In those cases when the piano mechanism was reduced in size, the risk of wear and expensive service was remarkably great.

The Music for Chorus

Abstract: The greater part of Ives' music for chorus has only recently been edited for publication or performance by scholars and practicing musicians. Thanks to the diligent work primarily of two men,1 more than half of Ives' "completed" choral works are now published, several more edited manuscripts have been added to those available for rental, and the more significant pieces have been recorded on Columbia Masterworks.2 The reasons for past neglect are understandable, however, because Ives, who was not at all interested in joining the mainstream of "secondhand" German stylists in America, found it difficult to channel his more advanced music to sympathetic publishers and performers. Aside from a very few published pieces, as well as his 114 Songs (published at his own expense), the choral manuscripts were not available to the general public except by contract with Ives himself. It was not until after Ives' death that his unpublished manuscripts were made available for general investigation at Yale University. Ives was not meticulous about keeping his music legible, nor were his manuscripts always written in logical or complete order. Much of the music has had to be reconstructed in varying degrees, often by fragments here and there. About thirty of his choral scores probably can never be completed, since entire sections or organ parts are missing or were not written down. He did not bother to complete some scores because he thought they were of poor quality. Also, twenty-two of his original choral scores were retranscribed for voice and piano for