Piano Music of Charles Tomlinson Griffes

1986 ◽  
Vol 4 (4) ◽  
pp. 481
Author(s):  
Kathleen Haefliger ◽  
Charles Tomlinson Griffes
Keyword(s):  
Piano Music ◽  
Charles Tomlinson Griffes

ARTISTIC AND AESTHETIC EDUCATION AND MUSICAL PSYCHOTHERAPY OF A SPECIALIST’S TRAINING

2020 ◽  
Vol 384 (2) ◽  
pp. 222-232
Author(s):  
P. V. Menshikov ◽  
G. K. Kassymova ◽  
R. R. Gasanova ◽  
Y. V. Zaichikov ◽  
V. A. Berezovskaya ◽  
...  
Keyword(s):  
Performance Practice ◽  
Piano Music ◽  
Traumatic Experiences ◽  
Special Role ◽  
Native Culture ◽  
History Of ◽  
The Subject ◽  
And Performance ◽  
The Many ◽  
Special Meaning

A special role in the development of a pianist as a musician, composer and performer, as shown by the examples of the well-known, included in the history of art, and the most ordinary pianists, their listeners and admirers, lovers of piano music and music in general, are played by moments associated with psychotherapeutic abilities and music features. The purpose of the study is to comprehend the psychotherapeutic aspects of performing activities (using pianists as an example). The research method is a theoretical analysis of the psychotherapeutic aspects of performing activities: the study of the possibilities and functions of musical psychotherapy in the life of a musician as a “(self) psychotherapist” and “patient”. For almost any person, music acts as a way of self-understanding and understanding of the world, a way of self-realization, rethinking and overcoming life's difficulties - internal and external "blockages" of development, a way of saturating life with universal meanings, including a person in the richness of his native culture and universal culture as a whole. Art and, above all, its metaphorical nature help to bring out and realize internal experiences, provide an opportunity to look at one’s own experiences, problems and injuries from another perspective, to see a different meaning in them. In essence, we are talking about art therapy, including the art of writing and performing music - musical psychotherapy. However, for a musician, music has a special meaning, special significance. Musician - produces music, and, therefore, is not only an “object”, but also the subject of musical psychotherapy. The musician’s training includes preparing him as an individual and as a professional to perform functions that can be called psychotherapeutic: in the works of the most famous performers, as well as in the work of ordinary teachers, psychotherapeutic moments sometimes become key. Piano music and performance practice sets a certain “viewing angle” of life, and, in the case of traumatic experiences, a new way of understanding a difficult, traumatic and continuing to excite a person event, changing his attitude towards him. It helps to see something that was hidden in the hustle and bustle of everyday life or in the patterns of relationships familiar to a given culture. At the same time, while playing music or learning to play music, a person teaches to see the hidden and understand the many secrets of the human soul, the relationships of people.

Creating Space For The Piano (Barriers And Permeability Of Social Space)

2020 ◽  
Vol 2 (09) ◽  
pp. 264-272
Author(s):  
Sharipova A.R. ◽  
Sidikova A.M.
Keyword(s):  
Music Education ◽  
Social Space ◽  
Piano Music ◽  
The State

The article is devoted to the issue of the formation and development of piano art in Uzbekistan. The material characterizes the interaction between composers, interpreters and listeners of piano music. Using such methods as comparative-historical, theoretical-analytical, musical-critical, performing, the analysis of the state of the piano art of Uzbekistan is carried out. The topic under consideration will be of interest to specialists working in the field of music education. The issue of the state of the piano art in Uzbekistan requires further study.

scholarly journals Spectral Pitch Similarity is a Predictor of Perceived Change in Sound- as Well as Note-Based Music

2019 ◽  
Vol 2 ◽  
pp. 205920431984735
Author(s):  
Roger T. Dean ◽  
Andrew J. Milne ◽  
Freya Bailes
Keyword(s):  
Time Series ◽  
Piano Music ◽  
Individual Response ◽  
Discrete Events ◽  
Acoustic Intensity ◽  
Spectral Parameters ◽  
Cross Sectional ◽  
Perceived Change ◽  
Predictive Role ◽  
The Individual

Spectral pitch similarity (SPS) is a measure of the similarity between spectra of any pair of sounds. It has proved powerful in predicting perceived stability and fit of notes and chords in various tonal and microtonal instrumental contexts, that is, with discrete tones whose spectra are harmonic or close to harmonic. Here we assess the possible contribution of SPS to listeners’ continuous perceptions of change in music with fewer discrete events and with noisy or profoundly inharmonic sounds, such as electroacoustic music. Previous studies have shown that time series of perception of change in a range of music can be reasonably represented by time series models, whose predictors comprise autoregression together with series representing acoustic intensity and, usually, the timbral parameter spectral flatness. Here, we study possible roles for SPS in such models of continuous perceptions of change in a range of both instrumental (note-based) and sound-based music (generally containing more noise and fewer discrete events). In the first analysis, perceived change in three pieces of electroacoustic and one of piano music is modeled, to assess the possible contribution of (de-noised) SPS in cooperation with acoustic intensity and spectral flatness series. In the second analysis, a broad range of nine pieces is studied in relation to the wider range of distinctive spectral predictors useful in previous perceptual work, together with intensity and SPS. The second analysis uses cross-sectional (mixed-effects) time series analysis to take advantage of all the individual response series in the dataset, and to assess the possible generality of a predictive role for SPS. SPS proves to be a useful feature, making a predictive contribution distinct from other spectral parameters. Because SPS is a psychoacoustic “bottom up” feature, it may have wide applicability across both the familiar and the unfamiliar in the music to which we are exposed.

The origins of syncopation in American popular music

Popular Music ◽  
2021 ◽  
Vol 40 (1) ◽  
pp. 18-41
Author(s):  
David Temperley
Keyword(s):  
African American ◽  
Popular Music ◽  
20Th Century ◽  
19Th Century ◽  
Vocal Music ◽  
Piano Music ◽  
Historical Process ◽  
American Popular Music ◽  
The 19Th Century ◽  
Fourth Position

AbstractThe origins of syncopation in 20th-century American popular music have been a source of controversy. I offer a new account of this historical process. I distinguish between second-position syncopation, an accent on the second quarter of a half-note or quarter-note unit, and fourth-position syncopation, an accent on the fourth quarter of such a unit. Unlike second-position syncopation, fourth-position syncopation tends to have an anticipatory character. In an earlier study I presented evidence suggesting British roots for second-position syncopation. in contrast, fourth-position syncopation – the focus of the current study – seems to have had no presence in published 19th-century vocal music, British or American. It first appears in notation in ragtime songs and piano music at the very end of the 19th century; it was also used in recordings by African-American singers before it was widely notated.

Emotion Classification by EEG Signal Generated by Brain using Discrete Wavelet Transform and Artificial Neural Network Backpropagation with Classical Music Stimulus

2019 ◽  
Vol 1 (2) ◽  
pp. 1-4
Author(s):  
Aditya Dimas
Keyword(s):  
Neural Network ◽  
Artificial Neural Network ◽  
Classical Music ◽  
Brain Activity ◽  
Piano Music ◽  
Discrete Wavelet ◽  
Eeg Signal ◽  
Emotion Classification ◽  
Artificial Neural ◽  
Music Stimulus

People feel different emotions when listening to music on certain levels. Such feelings occur because the music stimuli causing reduced or increased brain activity and producing brainwave with specific characteristics. Results of research indicated that classical piano music can influence one’s emotional intelligent. By using Electroenchephalography (EEG) as a brainwave recording instrument, we can assess the effect of stimulation on the emotions generated through brain activity. This study aimed at developing a method that defines the effect of sound to brain activity using an EEG signal that can be used to identify one's emotion based on classical piano music stimulus reaction. Based on its frequency, this signal was the classified using DWT. To train Artificial Neural Network, some features were taken from the signal. This ANN research was carried out using the process of backpropagation

scholarly journals An anthropomorphic soft skeleton hand exploiting conditional models for piano playing

2018 ◽  
Vol 3 (25) ◽  
pp. eaau3098 ◽  
Author(s):  
J. A. E. Hughes ◽  
P. Maiolino ◽  
F. Iida
Keyword(s):  
Three Dimensional ◽  
Piano Music ◽  
Robotic Manipulators ◽  
Mechanical Stiffness ◽  
Dynamic Interactions ◽  
Conditional Model ◽  
Three Dimensional Printing ◽  
Behavioral Diversity ◽  
Research Challenge ◽  
Dimensional Printing

The development of robotic manipulators and hands that show dexterity, adaptability, and subtle behavior comparable to human hands is an unsolved research challenge. In this article, we considered the passive dynamics of mechanically complex systems, such as a skeleton hand, as an approach to improving adaptability, dexterity, and richness of behavioral diversity of such robotic manipulators. With the use of state-of-the-art multimaterial three-dimensional printing technologies, it is possible to design and construct complex passive structures, namely, a complex anthropomorphic skeleton hand that shows anisotropic mechanical stiffness. We introduce a concept, termed the “conditional model,” that exploits the anisotropic stiffness of complex soft-rigid hybrid systems. In this approach, the physical configuration, environment conditions, and conditional actuation (applied actuation) resulted in an observable conditional model, allowing joint actuation through passivity-based dynamic interactions. The conditional model approach allowed the physical configuration and actuation to be altered, enabling a single skeleton hand to perform three different phrases of piano music with varying styles and forms and facilitating improved dynamic behaviors and interactions with the piano over those achievable with a rigid end effector.

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