Changes in English Grand Piano Actions between 1787 and 1792

The woman who could not sing “Happy Birthday”: couple psychoanalysis at the baby grand piano

Couple and Family Psychoanalysis ◽

10.33212/cfp.v10n1.2020.93 ◽

2020 ◽

Vol 10 (1) ◽

pp. 93-98

Author(s):

Brett Kahr

Keyword(s):

British Broadcasting Corporation ◽

Happy Birthday ◽

Television Programme ◽

Grand Piano

This article describes the author’s work as a presenter on the four-part British Broadcasting Corporation television programme, 'Making Slough Happy', in which he used music and singing for therapeutic purposes. In particular, he offers a glimpse into how he helped a woman, gripped by long-standing vocal inhibitions, to achieve her dream of singing “Happy Birthday” to her child.

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Joseph Beuys und die Musik

10.5771/9783828877443 ◽

2021 ◽

Author(s):

Sigrun Hintzen

Keyword(s):

John Cage ◽

Unpublished Manuscript ◽

Joseph Beuys ◽

Nam June Paik ◽

Erik Satie ◽

Grand Piano

Joseph Beuys expanded his concept of art to include listening and conceived of sound as sculpture. Musical material runs through his work from early drawings to late performances. This book breaks down what the acoustic elements in Beuys' works, notations, symphonies and scores are all about. What does Beuys himself do at the grand piano, what are "Erdklavier" and "Innenton"? Beuys worked with John Cage, Nam June Paik and Henning Christiansen, felt close to Erik Satie. At the time, Sigrun Hintzen laid the foundation for research into Joseph Beuys' music. This unpublished manuscript is finally being made accessible to all those who want to get to know and understand "music as an inner disposition" in Beuys' work.

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The HyPer(sonal) Piano Project

10.22501/nmh-ar.291286 ◽

2016 ◽

Author(s):

◽

Morten Qvenild

Keyword(s):

Video Recording ◽

Music Performance ◽

Live Electronics ◽

Sound Sources ◽

Technological Environment ◽

Led Light ◽

Control Signals ◽

And Control ◽

Grand Piano ◽

Signal Sources

Towards a (per)sonal topography of grand piano and electronics How can I develop a grand piano with live electronics through iterated development loops in the cognitive technological environment of instrument, music, performance and my poetics? The instrument I am developing, a grand piano with electronic augmentations, is adapted to cater my poetics. This adaptation of the instrument will change the way I compose. The change of composition will change the music. The change of music will change my performances. The change in performative needs will change the instrument, because it needs to do different things. This change in the instrument will show me other poetics and change my ideas. The change of ideas demands another music and another instrument, because the instrument should cater to my poetics. And so it goes… These are the development loops I am talking about. I have made an augmented grand piano using various music technologies. I call the instrument the HyPer(sonal) Piano, a name derived from the suspected interagency between the extended instrument (HyPer), the personal (my poetics) and the sonal result (music and sound). I use old analogue guitar pedals and my own computer programming side by side, processing the original piano sound. I also take out control signals from the piano keys to drive different sound processes. The sound output of the instrument is deciding colors, patterns and density on a 1x3 meter LED light carpet attached to the grand piano. I sing, yet the sound of my voice is heavily processed, a processing decided by what I am playing on the keys. All sound sources and control signal sources are interconnected, allowing for complex and sometimes incomprehensible situations in the instrument´s mechanisms. Credits: First supervisor: Henrik Hellstenius Second Supervisors: Øyvind Brandtsegg and Eivind Buene Cover photo by Jørn Stenersen, www.anamorphiclofi.com All other photo, audio and video recording/editing by Morten Qvenild, unless stated.

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