Temps Spectral; pour piano solo et 2 ensembles de cuivres, vents, et percussions; Reduction d'orchestre

Notes ◽  
1984 ◽  
Vol 41 (2) ◽  
pp. 385
Author(s):  
Dale L. Hudson ◽  
Antoine Tisne
Keyword(s):  
Piano Solo

John Cage's Concert for Piano and Orchestra

2020 ◽  
Author(s):  
Martin Iddon ◽  
Philip Thomas
Keyword(s):  
Arnold Schoenberg ◽  
Musical Work ◽  
Compositional Process ◽  
Piano Solo ◽  
Comprehensive Examination ◽  
Compositional Practice ◽  
Similar Basis ◽  
The Impact ◽  
The Way

The book is a comprehensive examination of John Cage’s seminal Concert for Piano and Orchestra. It places the piece into its many contexts, examining its relationship with Cage’s compositional practice of indeterminacy more generally, the importance of Cage’s teacher, Arnold Schoenberg, on the development of his structural thought, and the impact of Cage’s (mis)understanding of jazz. It discusses, on the basis of Cage’s sketches and manuscripts, the compositional process at play in the piece. It details the circumstances of the piece’s early performances—often described as catastrophes—its recording and promotion, and the part it played in Cage’s (successful) hunt for a publisher. It examines in detail the various ways in which Cage’s pianist of choice, David Tudor, approached the piece, differing according to whether it was to be performed with an orchestra, alongside Cage delivering the lecture, ‘Indeterminacy’, or as a piano solo to accompany Merce Cunningham’s choreography Antic Meet. It demonstrates the ways in which, despite indeterminacy, the instrumental parts of the piece are amenable to analytical interpretation, especially through a method which exposes the way in which those parts form a sort of network of statistical commonality and difference, analysing, too, the pianist’s part, the Solo for Piano, on a similar basis, discussing throughout the practical consequences of Cage’s notations for a performer. It shows the way in which the piece played a central role, first, in the construction of who Cage was and what sort of composer he was within the new musical world but, second, how it came to be an important example for professional philosophers in discussing what the limits of the musical work are.

PIANO SOLO

1975 ◽  
Vol LVI (3-4) ◽  
pp. 438-438
Author(s):  
HOWARD FERGUSON
Keyword(s):  
Piano Solo

scholarly journals Processos de indeterminação em Acronon de H. J. Koellreutter

Ouvirouver ◽  
2019 ◽  
Vol 15 (1) ◽  
pp. 206-218
Author(s):  
Isabela Martins Bonafe
Keyword(s):  
John Cage ◽  
Piano Solo ◽  
Pierre Boulez

O presente trabalho propõe a análise da peça Acronon, do maestro e compositor Hans Joachim Koellreutter, com base nas estéticas da indeterminação dos compositores John Cage e Pierre Boulez. Ambas as estéticas do século XX divergem a terminologia em significado, porém ainda sim é possível encontrá-las no processo de criação da peça para piano solo, Acronon. Buscar-se-á demonstrar como tais estéticas, por vezes divergentes, convergem na obra de Koellreutter, Acronon, por meio da análise e estudos a cerca do indeterminismo e serialismo de John Cage e Pierre Boulez.

PIANO SOLO

1969 ◽  
Vol L (3) ◽  
pp. 424-b-425
Author(s):  
E. P.
Keyword(s):  
Piano Solo

PIANO SOLO

1963 ◽  
Vol 44 (4) ◽  
pp. 412-413
Author(s):  
P.A.E.
Keyword(s):  
Piano Solo

Chain of Changes for Piano Solo

Notes ◽  
1972 ◽  
Vol 28 (3) ◽  
pp. 517
Author(s):  
John Harbison ◽  
Klaas DeVries ◽  
Douglas Allanbrook ◽  
Egon Wellesz ◽  
Antal Ribari
Keyword(s):  
Piano Solo

scholarly journals Play as You Like: Timbre-Enhanced Multi-Modal Music Style Transfer

2019 ◽  
Vol 33 ◽  
pp. 1061-1068 ◽  
Author(s):  
Chien-Yu Lu ◽  
Min-Xin Xue ◽  
Chia-Che Chang ◽  
Che-Rung Lee ◽  
Li Su
Keyword(s):  
String Quartet ◽  
Generative Adversarial Networks ◽  
Spectral Difference ◽  
Mel Frequency Cepstral Coefficients ◽  
Style Transfer ◽  
Piano Solo ◽  
Adversarial Networks ◽  
Channel Input ◽  
Image Translation ◽  
Transfer Method

Style transfer of polyphonic music recordings is a challenging task when considering the modeling of diverse, imaginative, and reasonable music pieces in the style different from their original one. To achieve this, learning stable multi-modal representations for both domain-variant (i.e., style) and domaininvariant (i.e., content) information of music in an unsupervised manner is critical. In this paper, we propose an unsupervised music style transfer method without the need for parallel data. Besides, to characterize the multi-modal distribution of music pieces, we employ the Multi-modal Unsupervised Image-to-Image Translation (MUNIT) framework in the proposed system. This allows one to generate diverse outputs from the learned latent distributions representing contents and styles. Moreover, to better capture the granularity of sound, such as the perceptual dimensions of timbre and the nuance in instrument-specific performance, cognitively plausible features including mel-frequency cepstral coefficients (MFCC), spectral difference, and spectral envelope, are combined with the widely-used mel-spectrogram into a timbreenhanced multi-channel input representation. The Relativistic average Generative Adversarial Networks (RaGAN) is also utilized to achieve fast convergence and high stability. We conduct experiments on bilateral style transfer tasks among three different genres, namely piano solo, guitar solo, and string quartet. Results demonstrate the advantages of the proposed method in music style transfer with improved sound quality and in allowing users to manipulate the output.

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