Piano Technique Research Papers

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- by Chiara Bertoglio
- •
- 20
  Music, Musicology, Piano, Bach

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- by Hammurábi Ferreira
- •
- Piano Technique

Performance: https://www.youtube.com/watch?v=Gt-7n6z9lQ8 The doctrine you desire, absolute, perfect, dogma that alone provides wisdom, does not exist. Nor should you long for a perfect doctrine.... Rather, you should... more

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- by Jordan Alexander Key
- •
- 56
  Music, Piano, Strings, Harp, And Guitar, Songwriting

In piano teaching some technical precepts have been handed down without question and without a basis in fact. The blind acceptance of these precepts can cause problems in some students. This article suggests that the insistence by some... more

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- by Richard Beauchamp
- •
- 2
  Biomechanics, Piano Technique

This method is a way of knowing the young artist with his musical instrument and his growing confidence in playing it. You can also use it for students who write cursory notes and are desperate.In this method I created had to be as simple... more

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- by Saeed Yahyazadeh
- •
- 4
  Music Education, Piano, Piano Technique, Sheet Music

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- by carmelita jennamelissa
- •
- 3
  Piano, Piano Music, Piano Technique

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- by Mariana Rodriguez Carrillo
- •
- 11
  Music, Music Education, Piano, Classics

Overview of the history of extended piano techniques. [Dutch article]

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- by Hammurábi Ferreira
- •
- Piano Technique

En l'últim quart del segle xix, el piano s'havia convertit en un fenomen cultural, social i comercial de primer ordre i es trobava profundament arrelat en la societat catalana. N'és una prova la intensificació de la producció de pianos i... more

Ο σημαντικός ρόλος που παίζουν οι κλίμακες στην τεχνική του πιάνου είναι αδιαπραγμάτευτος και αποδεικνύεται μέσα από την ιστορική διαδρομή του οργάνου. Αλλά σε ποιες κλίμακες αναφερόμαστε; Υπάρχει κάποια «συνταγή» κλιμάκων που μελετώντας... more

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- by Trifonas Thomopoulos
- •
- 2
  Piano, Piano Technique

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- by Giovanni Giorgio
- •
- 2
  Música, Piano Technique

"Piano Teaching Methodology" is a textbook for students - future piano pedagogues. For this purpose, the themes for the specifics of the initial training, for the stages of studying a piano work have been extensively developed, with... more

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- by Krasimira Fileva-Ruseva
- •
- 12
  Music, Music Education, Music Technology, Piano Music

In this study, we analyze Chopin’s thoughts on piano playing by examining his sketches for a method book, and define its position in both musical and cultural history. Chopin’s manuscript contains merely an introductory part of the book... more

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- by Joowon Kim
- •
- 4
  Music History, Piano Pedagogy, Piano Technique, Frederic Chopin

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- by Prof. Kosmas Lapatas
- •
- 3
  Piano, Piano Pedagogy, Piano Technique

Richard. Clayderman popular set of 60 piano solo (paperback)(Chinese Edition) \ Kindle ~ GPGROWUCJI Richard. Clayderman popular set of 60 piano solo Richard. Clayderman popular set of 60 piano solo (paperback)(Chinese Edition)... more

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- by tomeka marydeborah
- •
- 3
  Piano, Piano Music, Piano Technique

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- by Prof. Kosmas Lapatas
- •
- 6
  Piano, Piano Music, Pianists and Piano Literature, Piano Pedagogy

Resumen LA ESTABILIZACIÓN ARTICULAR EN LA TÉCNICA DE LA GUITARRA. EL PAPEL DE ABEL CARLEVARO La estabilización de las articulaciones corporales, acto también conocido como fijación, es una constante en las múltiples acciones que... more

Resumen LA ESTABILIZACIÓN ARTICULAR EN LA TÉCNICA DE LA GUITARRA. EL PAPEL DE ABEL CARLEVARO La estabilización de las articulaciones corporales, acto también conocido como fijación, es una constante en las múltiples acciones que realizamos en la vida cotidiana, habitualmente de forma instintiva e inconsciente. En la técnica guitarrística la fijación articular ha sido entendida normalmente como un recurso biomecánico que implica la estabilización firme, circunstancial y controlada, de una o más articulaciones corporales, en ocasiones de forma consciente y deliberada, en particular durante la fase de preparación de una obra musical. El guitarrista y pedagogo uruguayo Abel Carlevaro adoptó este concepto como uno de los pilares de su técnica instrumental. En este trabajo nos propusimos indagar, principalmente, sobre el origen del uso de las estabilizaciones articulares voluntarias en la técnica de la guitarra clásica y la hipotética influencia de los métodos con argumentación científica para la enseñanza del piano, publicados durante la primera mitad del siglo XX, tales como los de Otto Ortmann y Arnold Schultz. También investigamos sobre los trabajos pedagógicos de los guitarristas Abel Carlevaro y Charles Duncan relacionados con esta temática, y el alcance que han tenido los mismos, en relación con la adopción de este concepto por la comunidad guitarrística internacional.

Abstract THE ARTICULAR STABILIZATION IN THE GUITAR'S TECHNIQUE. THE ROLE OF ABEL CARLEVARO The articular stabilization is an action known too as 'fixation' and it is very common in the multiple actions that we carry out in everyday life, usually instinctively and unconsciously. In the guitar technique, fixation is normally understood as a biomechanical resource that implies the firm, circumstantial and controlled stabilization of one or more corporal articulations, sometimes consciously and deliberately, particularly during the preparation phase of a musical work. The Uruguayan guitarist Abel Carlevaro has adopted this concept as a fundament in his instrumental technique. In this paper we set out to investigate, mainly, the origin of voluntary fixations used in the classical guitar technique and the hypothetic influence of the methods with scientific argumentation for piano teaching, published during the first half of the 20th century, such as those of Otto Ortmann and Arnold Schultz in its development. We also investigate the pedagogical work of guitarists Abel Carlevaro and Charles Duncan related to this topic, and the scope they have had, in relation to the adoption of this concept by the international guitarist's community.

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- by Ricardo Barceló
- •
- 7
  Music, Music History, Pedagogy, Classical Guitar

En la presente comunicación se demuestra la importancia de los métodos didácticos para la enseñanza de uno de los aspectos pianísticos más importantes en la interpretación y a la vez tediosos por cualquier docente. El uso del pedal de... more

The recordings of pianists born before the turn of the century provide perhaps the most tangible link available to a previous performance practice. Evidence such as eye-witness accounts of live performances, editions and recorded... more

TEXTBOOK EXCERPT (under the tab Description,): https://notus.world/en/products/par007-piano-foundation-textbook/ This is the first book of the NOTUS PIANO COURSE. ABOUT THE PUBLICATION For whom? The NOTUS PIANO FOUNDATION Textbook has... more

TEXTBOOK EXCERPT (under the tab Description,):
https://notus.world/en/products/par007-piano-foundation-textbook/

This is the first book of the NOTUS PIANO COURSE.

ABOUT THE PUBLICATION

For whom?
The NOTUS PIANO FOUNDATION Textbook has been compiled for the layperson in the field of music. It starts from absolutely zero knowledge of music and piano. The book is used during the first 3 to 4 months of self-study or teacher-guided study.
The book is suitable for ages 12 and up but it is aimed primarily at the adult and senior beginner. This is reflected in the layout and no-frills didactic strategy. You can preview the book (under the DESCRIPTION TAB) here: https://notus.world/en/products/par007-piano-foundation-textbook/
The study of this book is also required for people who have already experimented a little with the complex conventional music notation and have doubts about it: firstly, to phase out their knowledge of conventional music notation and secondly to build their knowledge of the new NOTUS Music Notation.
Focus
The focus in the NOTUS PIANO FOUNDATION Textbook is on learning how to read ALL the notes of the piano keyboard and play ALL the corresponding piano keys. This is done through 134 exercises and short pieces for beginners. NOTUS piano courses are characterized by their smooth and steady evolution. By the end of the first 3 to 4 months, you’ll be playing pieces that are at least two years ahead of the pieces typically learned by the four-month mark using conventional notation.
Whereas, in conventional courses, piano practice during the entire first year is limited to the middle of the piano (approximately 21 white piano keys), NOTUS learners start familiarizing themselves with the entire piano keyboard from the very first lesson. By the end of the NOTUS PIANO FOUNDATION Textbook – that is, after 3 to 4 months – NOTUS learners have control of the entire 88-key piano keyboard and, as such, ALL the notes of this entire keyboard. This makes a significant difference compared with conventional piano lessons, and this in turn has a positive follow-on effect on subsequent study. The NOTUS PIANO FOUNDATION Textbook is an extremely solid music foundation on which to build further.
Final Goal
The specific focus of the NOTUS PIANO FOUNDATION Textbook is for the learner to master the reading of the pitch of all the notes so that this does not form an obstacle to subsequent study, i.e. PIANO TEXTBook 1 and onwards. Indeed, being able to read all the notes is highly encouraging as one progresses toward new pieces and musical knowledge, not to mention improved piano technique. By removing the stumbling block of reading music (a typical pitfall of conventional notation), the NOTUS learner makes very smooth progress, without added performance stress. With NOTUS, the introductory phase of training offers, in other words, precisely what piano training should: the relaxed enjoyment of lessons, progress and playing, coupled with the appreciation of the value of specific exercises. The NOTUS approach to teaching focuses on stress-free, natural mastery of music notation and piano, not on being able to play a few memorized pieces, as is so often the case in conventional courses targeting young people and adults alike.
VIEW A SELECTION OF PAGES, including contents and index (under the DESCRIPTION tab)

Integrated Music theory:
• octave group, octave group number, octave segment;
• tones and notes C, Cs/Df, D, Ds/Ef, E, F, Fs/Gf, G, Gs/Af, A, As/Bf, B;
• double or half note value relationship, till 1/8 note and rest, beam;
• time value rest sign;
• dotted whole, half and quarter note;
• finger numbers and theit use and interpretation;
• tempo and metronome, metronome value;
• the concepts beat, pulse, accent, measure, measure line;
• the time signatures four-four, three-four and two-four, and main accent and weak accent;
• tie;
• slur and phrase mark;
• basic dynamics with abbreviations and NOTUS restyled wedges;
• basic concepts of intervals: melodic, harmonic, ascending, descending, prime, second, third, fourth, fifth, sixth, seventh, octave and their visual relationship through notes on the staff and between the piano keys;
• some basic information about chords: consonant, dissonant, tertian triad, tonic, broken chord and of naming chords;
• NOTUS signs for immediate repeat, repeat of a whole measure, repeat of a rhythmic unit;
• fermata;
• staccato sign, marcato sign and accent sign;
• notation by hand of NOTUS;
• chromatic and diatonic division of the octave;;
• FLAT- and SHARPnotehead;
• the concept ‘enharmonic’;
• ostinato;
• informative: damper pedal.

Composers in PIANO FOUNDATION Textbook:
Barók, Gurlitt, Rövenstrunck, Kirby-Mason, Sartorio, Burgmüller, Wilton, Hook, Baumfelder, Beethoven, Köhler, Stravinsky, Strauss, Oesten.

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- by Erwin Clauws
- •
- 19
  Music, Music Education, Music Theory Pedagogy, Musicology

[Official presentation from the publisher] Is there such a thing as the ideal technique? The past and present of musical performance constantly provide evidence that, among the multiple different ways available of using our body, plenty... more

[Official presentation from the publisher]

Is there such a thing as the ideal technique? The past and present of musical performance constantly provide evidence that, among the multiple different ways available of using our body, plenty might prove equally efficient and musically convincing. Among all the possible options, however, one merits special attention: the technique employed by composers themselves while creating their works.

In this book, Italian-born pianist and scholar LUCA CHIANTORE sets out to examine the transformations undergone by piano technique, and how this overall history relates to the performative customs of those pianist-composers whose works we today consider the core repertoire of so-called Western classical music. The author illustrates the diversity of their bodily approaches to the keyboard, exploring their respective biomechanical inquiries amidst increasing hand and arm involvement in piano playing and the emergence of often contrasting pedagogical theories.

The result of intense, rigorous research, Tone Moves contains an impressive amount of documentation, including a vast number of theoretical works which had never before been studied thoroughly. Forty-five images, eight original drawings, and 161 musical examples illustrate the 755 pages of this unique book, whose bibliography spans 710 different references, thus enabling the reader to follow the progressive incorporation of anatomical resources involved in keyboard instrument technique from the 16th century onwards, as well as its relation with construction innovations and changes in musical taste.

Through all this, the author narrates a "history" that uncovers crucial parallels with the past three century's aesthetic revolutions. Chiantore spins a tale of widespread, lasting changes, a searching narrative brimming with strong personalities often steering in opposite directions, all in all an avowal of the stunning diversity of options available when expressing ourselves through an instrument.

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- by Hammurábi Ferreira
- •
- 2
  Piano Pedagogy, Piano Technique

Guía paso a paso respecto de cómo se construye un piano moderno.

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- by Hugo Landolfi
- •
- 5
  Piano, Piano Music, Pianists and Piano Literature, Piano Pedagogy

This dissertation introduces the ‘Edna Iles’s Medtner Collection’ (EIMC), held by the British Library in London, and provides a detailed analysis of her ‘Notes on the Interpretation of Medtner’s Works’. Nikolay Medtner (1880–1951) was one... more

This dissertation introduces the ‘Edna Iles’s Medtner Collection’ (EIMC), held by the
British Library in London, and provides a detailed analysis of her ‘Notes on the
Interpretation of Medtner’s Works’. Nikolay Medtner (1880–1951) was one of Russia’s
leading, early-20th-century composers, who spent the latter part of his life in the UK.
He wrote mainly for the piano, composing 14 piano sonatas, three piano concertos, 108
songs, three violin sonatas, a piano quintet and more than 90 pieces for solo piano.
Although he performed and recorded, and was considered a prominent composer while
he was resident in the UK, his wider renown in the West was limited.
Edna Iles (1905–2003) was an English pianist and Medtner’s last pupil. She took
numerous notes during and immediately following her lessons and, in 1997, donated all
of her Medtner-related materials to the British Library. I am the fourth person to
consult it. The scope of the EIMC is impressive: Medtner manuscripts, newspaper
cuttings, photographs and letters, all of which she carefully organized before donating.
Importantly, her ‘Notes on the Interpretation of Medtner’s Works’ contain unique
information about how he taught and thought his music should be interpreted. She was,
in fact, the only Medtner student to leave systematic written evidence of his pedagogy;
the recordings she made of his music further demonstrate her mastery of his principles.
She became, in effect, his disciple. This dissertation assesses the new light her ‘Notes’
shed on our knowledge of his methods and pianism.
The Introduction provides details of Medtner reception history and introduces all
available sources on Medtner performance practice. Chapter 1 summarizes the lives of
Medtner and Iles, and elucidates the nature of their relationship. Chapters 2 through to
4 discuss the disciplines of Medtner’s approach to playing – basic piano technique,
articulation, practicing, pedaling and memorization – corroborated elsewhere. Chapters
5 and 6 unravel the more intellectual concepts of fil rouge, tempo, phrasing, voicing and
his distinction between energetic and rounded music that form the core of Iles’s ‘Notes’
and represent the EIMC’s most original contribution to Medtner performance practice.
Chapter 7 provides the opportunity to observe and apply Medtner’s interpretive
philosophy to a single work (Sonate-Idylle, Op. 56) by blending the advice conveyed in
his printed scores with the methodology and insights he communicated to Iles. The
Conclusions affirm the importance of the EIMC as a uniquely detailed primary source
on Medtnerian performance practice.
An inventory of the Edna Iles Medtner Collection and transcript of her ‘Notes on
Interpretation of Medtner’s Works’ can be found in Appendices One and Two.
Appendix Three offers a facsimile of exercises Medtner gave to Iles, preserved in her
own handwriting. Appendices Four and Five provide a discography of Medtner piano
works and pertinent contextual photographic evidence.

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- by Alexander Karpeyev
- •
- 16
  Piano, Russian, Performance Practice, Piano Music

Ejercicios complementarios a Obras y Metodologías Pianísticas. Anna Hirzel-Langenhan (Franz Liszt). Edith Picht – Axenfeld. Versión al Castellano de Armando Viesca Segura. "Greifen und Begreifen", "Aprehender y Comprender" "Comprender y... more

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- by Armando Segura
- •
- 8
  Piano, Piano Music, Pianists and Piano Literature, Piano Pedagogy

Resumo: Neste artigo tratamos das questões ligadas à criação de exercícios para o desenvolvimento da independência rítmica e melódica entre as duas mãos ao piano, tomando como ponto de partida sessões específicas de 3 temas de Egberto... more

Resumo: Neste artigo tratamos das questões ligadas à criação de exercícios para o desenvolvimento da independência rítmica e melódica entre as duas mãos ao piano, tomando como ponto de partida sessões específicas de 3 temas de Egberto Gismonti: Baião Malandro, Frevo e Sete Anéis. Os assuntos abordados pelos estudos envolvem questões rítmicas como polirritmia (3:2, 3:4, 4:3, 5:4), polimetria, hemíola e deslocamento aplicados às melodia e harmonia dos temas. Empregamos para a criação dos estudos elementos dos métodos desenvolvidos por Pablo Rieppi (polirritmia), Vinayakram (konokol), Gramani (pulso e variação) além de conceitos colhidos por depoimentos de músicos que trabalham com a polirritmia de maneira sistemática. O estudo desses exercícios tem trazido ao intérprete uma sensível melhora na clareza e na precisão rítmica através do entendimento maior das subdivisões e da sua relação com o pulso básico. Seu uso passaa ser incorporado ao repertório de música brasileira ao piano, de maneira orgânica e natural, podendo ser aplicada ao repertório de composições baseadas no samba, frevo, baião, congada, e outros estilos. Abstract: This work deals with the proposal of creating technical exercises for the development of rhythmical and melodical independency between both hands on the piano, using as base particular sessions from 3 themes composed by Egberto Gismonti: Baião Malandro, Frevo and Sete Anéis. The subjects of the exercises deal with rhythmical aspects of polyrythm (3:2, 3:4, 4:3, 5:4), polymetrics, emiole and displacement of melody and harmony suggested by the themes and by Gismonti's style of performance. We applied elements from numerous methods of rhythm development, including the authors Pablo Rieppi (polyrhythm), Vinayakram (konokol), Gramani (pulse and variation), and concepts collected from testimonies by musicians that work with polyrhythms in a constant base. The application of the exercises has brought to the performer a sensible improvement in the execution and precision of complex polyrhythms, as well as in the comprehension of subdivisions and its relation with the basic pulse. It's practice starts being incorporated in the Brazilian music repertoire for piano, in a melodically and natural way, being suitable for use in compositions inspired in samba, frevo, baião, congada and other styles. Introdução A proposta de criação dos exercícios parte da análise da performance de Egberto Gismonti, no que diz respeito à questão da polirritmia empregada no acompanhamento da mão esquerda. Em alguns momentos ela é difícil de ser mensurada, já que passa de uma combinação para outra de forma aparentemente livre.

Ningún compositor español, incluido Manuel de Falla, ha conseguido expresar la esencia de su país de forma tan completa y elocuente como lo hizo un extranjero como Scarlatti. Supo captar como pocos el percutir de las castañuelas, el sordo... more

Yuja Wang is an exceptional virtuoso pianist who has been nominated "Artist of the Year 2017" at the age of 30 by the magazine Musical America. Yuja Wang wears high-heel shoes on stage and this peculiarity has been repeatedly commented... more

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- by Hugues Bedouelle
- •
- 7
  Piano Music, Piano Pedagogy, Piano Technique, Piano Performance

Restoring classical tuning to the classical musical repertoire of the Fortepiano and 19th century piano reveals dimension of emotion unheard in 150 years. There was a legend that music conveyed different emotions granted by the use of... more

Easy Method For Teaching Piano, Learn To Play Famous & Fun Easy Piano Pieces. You can Colored Piano Keys Up On The all pages With RainbowTonic Method. This Book with Online Video & Audio was designed to help the beginning student learn... more

Easy Method For Teaching Piano, Learn To Play Famous & Fun Easy Piano Pieces.

You can Colored Piano Keys Up On The all pages With RainbowTonic Method.

This Book with Online Video & Audio was designed to help the beginning student learn to play the piano or keyboard. This step by step course is designed for elementary school-aged children (ages 5-11) and quickly teaches the student to play songs they will know and love. These lessons start by playing with both hands and gradually build to adding the notes on staff.

Song arrangements were carefully selected to provide an easy transition from learning the basics to covering more interesting rhythms, techniques, and musical ideas. The book features standard music notation for each song and exercise along with fingering notation and hand shifts to make the course easier to learn. also have fun, simple, popular and familiar songs and tunes which helps the player feel more comfortable as they learn the easy to play pieces.

This method includes Piano Keys up the pages With Colorful Keyboard Based on RainbowTonic Style in C Major, and upbeat learning style enables the young beginner student to learn music notation, symbols and play piano in no time!

(RainbowTonic Method Piano Songbook)

No Music Reading Required. Learn how to play the piano and read music through playing famous and beautiful songs and pieces with this book!

Songlist:

Hey, hey look at me
Au Clair De La Lune
Good King Wenceslas
Cuckoo where are you
Twinkle, Twinkle
Old MacDonald
Lightly Row
Ode To Joy
Mary had a little lamb
London Bridge
The Chimes
Rock A Bye Baby
Cat Walking On Piano
Rain, Rain, Go Away
The Sound of Music
Hot Cross Buns
Dodo L’enfant Do
Ode To Joy
Brother John
Go Tell Aunt Rhody
Hush Little Baby
Sweetly Sings the Donkey
Jingle Bells
The Muffin Man
Ring Around The Rosie
I Am Here
Good Morning Honey
New World Symphony Largo
Alouette
The Farmer In The Dell
The Wheels On The Bus
Itsy Bitsy Spider
Yankee Doodle
Hickory Dickory Dock
Minuet NO.3 JS.Bach
Lullaby and Goodnight
Happy Birthday
Minuet - Bach
I’m A Little Teapot
Along the way, there are illustrations, and characters that make learning exciting and engaging. Does your child want to start playing the piano, but you’re not sure where to begin?

In the beginning notes have their letters printed above them in a large easy-to read font, to help those who are yet to learn how to read music. Also included are some blank music sheets, so you can have fun creating your own compositions. !

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- by Saeed Yahyazadeh
- •
- 17
  Music, Music Education, Musicology, Piano

Reflexiones sobre el pianismo actual y su cuestionable fidelidad al repertorio clásico-romántico

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- by Daniel Batista
- •
- Piano Technique

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- by Valerio Mazzuoli and +1
  Henderson Fürst
- •
- 12
  Piano, Piano Music, Pianists and Piano Literature, Piano Pedagogy

Esta tesis sienta las bases de la etapa cultural que rodeó al piano en el Madrid del primer tercio del siglo XIX. Hemos tenido en cuenta que esta ciudad fue entonces centro administrativo y político del país y núcleo importante en la... more

bila je značajna predstavnica zagrebačke pijanističke, "Stančićeve škole" u Izraelu

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- by Dushan Mihalek
- •
- 4
  Musicology, Piano, Piano Pedagogy, Piano Technique

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- by Valter Alexandre
- •
- 4
  Piano, Piano Pedagogy, Classical piano music, Piano Technique

Tres puntos de vista sobre el arte de tocar la música en el piano definen el ciclo de artículos de entrada del presente número. Como premisa, se requiere un buen instrumento «atemperado» —afinadas sus cuerdas y ajustado su mecanismo— y un... more

Tres puntos de vista sobre el arte de tocar la música en el piano definen el ciclo de artículos de entrada del presente número. Como premisa, se requiere un buen instrumento «atemperado» —afinadas sus cuerdas y ajustado su mecanismo— y un ejecutante entrenado. Sobre los métodos empleados para la enseñanza del piano, nos refiere Camila Martel la trayectoria pedagógica de Zenaida Romeu González en conservatorios de La Habana. Jiayin Li, discípula de Salomón Gadles Mikowsky, resume aspectos medulares de la metodología aprendida con su maestro en Manhattan School of Music. Por último, Claudia Fallarero a través de una entrevista dinámica, recoge el testimonio de la práctica de consagrados maestros cubanos: Mercedes Estévez, Miriam Cruz, Rosalía Capote y Ulises Hernández y los resultados de la escuela de piano en los niveles de enseñanza elemental, media y superior.
Para ilustrar los artículos (pp. 13-31), hemos recurrido a imágenes artísticas, cortesía de un selecto grupo de fotógrafos especializados en instantáneas de la ejecución musical —por ejemplo, sobre el movimiento técnico de la mano de un pianista— realizadas en salas de concierto del Centro Histórico de La Habana: Ignacio Cervantes, Teatro Martí y Basílica Menor de San Francisco de Asís, durante la realización de la temporada de conciertos Habana Clásica (2018 y 2019).
La tradición de la enseñanza del piano en Cuba se remonta al siglo XIX, cuando maestros como Nicolás Ruiz Espadero (La Habana, 1832-1890), combinaron la docencia con la composición de obras monumentales para ese instrumento. En la sección Documenta Musicæ presento, junto a José Raúl López, un análisis de las características documentales de la obra de Espadero, texto tomado del libro Nicolás Ruiz Espadero, La Habana (1832-1890). Repertorio pianístico. Revisión, estudio y transcripción, reciente publicación de la colección Patrimonio Musical Cubano, de Ediciones Cidmuc. Igualmente, se da a conocer luego de 150 años la primicia, en Pentagramas del Pasado, de la partitura manuscrita e inédita del Estudio trascendente No. 8 «En estilo criollo» de Nicolás Ruiz Espadero, acompañado de un análisis del maestro Cecilio Tieles.
Inicia, A Contratiempo, con una reflexión de Yohany Le-Clere acerca de los valores del Son cubano y su conmemoración oficial el 8 de mayo, acción que tributa al proceso de declaratoria del género como patrimonio cultural inmaterial de la humanidad. Al cierre de estas páginas, hemos recibido la triste noticia de la partida de uno de sus más activos promotores, el maestro Adalberto Álvarez, «el Caballero del Son», a quien dedicamos la imagen de Contraportada.
El evento teórico de la Feria Internacional Cubadisco 2021, coordinado por la musicóloga Yurien Heredia, convocó esta vez al espacio virtual, donde varios expertos disertaron sobre desafíos y perspectivas de las producciones discográficas cubanas en audiovisuales producidos por René Arencibia y televisados por el Canal Clave.
Nuestra editora general, Viviana Reina Jorrín, ha incursionado en la composición de un libreto, para la obra Tres pesadillas: Presentir, Sentir y Ser del compositor italiano Andrea Benedetto. Se comentan los detalles de su estreno en el Auditorio Sony, de La Escuela Superior de Música Reina Sofía de Madrid.
Del acontecer musical de Iberoamérica nos llegan noticias de las tesis doctorales de Margarita Pearce sobre la música en el contexto religioso de La Habana (1853-1898), defendida en la Universidad de Oviedo; igual ejercicio de Omar Morales sobre la teatralización de villancicos en Hispanoamérica durante el siglo XVII, defendida en la Universidad Nacional Autónoma de México, y la tesis de maestría de Silvia Alonso quien aporta aspectos esenciales para la interpretación de las Danzas Afro-cubanas de Ernesto Lecuona, defendida en ese mismo centro académico. Por su parte Claudia Fallarero y quien suscribe, en congresos de la región iberoamericana, socializamos resultados investigativos sobre el papel de la prensa en el proceso de estreno musical y las características de la composición en el marco de la creación para banda sonora. Asimismo, desde Alemania reportan sobre la exitosa gira Mozart y Mambo, protagonizada por la Orquesta del Lyceum de La Habana que conduce José Antonio Méndez.
Llega a nuestras páginas la convocatoria de la III Edición de la Maestría en Gestión del Patrimonio Histórico Documental de la Música que será implementada en el Colegio San Gerónimo de La Habana (Universidad de La Habana) en 2022.
Gabriela Milián relata la participación, este verano, del Gabinete de Patrimonio Musical Esteban Salas en la etiqueta #LealGestorCultural del programa cultural Rutas y Andares. Como en números anteriores, dejamos constancia de la cartelera del Observatorio del Patrimonio Musical a cargo de Laura Escudero y continúa la entrega del Directorio de Instituciones con Documentación Musical en La Habana (II) que compilan Bertha Fernández y Adria Suárez-Argudín.
Desde nuestra portada, con la obra El Ángel de la Música está en La Habana Vieja, de Isavel Gimeno, rendimos homenaje al eterno Historiador de La Habana, Dr. Eusebio Leal Spengler, y al maestro Adalberto Álvarez quienes dedicaron su vida a enaltecer los valores de la cultura cubana.

Miriam Escudero

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- by Miriam Escudero Suastegui and +4
  Claudia Fallarero
  Jiayin Li
  Camila Martel
  Cecilio Tieles Ferrer
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- 19
  Cultural Studies, Music, Piano, Ethnomusicology

Pancho Vladigerov (1899-1978) is one of the most prominent Bulgarian composers. He has created 70 opuses of works with high aesthetic value and in a very extended range of genres. His works are performed all over the world, and every... more

Este trabalho apresenta uma análise do conteúdo didático pianístico das peças I, IV e V da obra Peças Infantis de Cláudio Santoro para piano solo, propondo possíveis aplicações deste conjunto de nove peças para o desenvolvimento de... more

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- by Rodrigo Pardini and +1
  Ighor Anjos
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- 4
  Piano Music, Pianists and Piano Literature, Piano Pedagogy, Piano Technique

Sulla base di documenti custoditi nel Fondo Fiorentino una ricostruzione degli anni di formazione e dei primi esordi del grande pianista napoletano. Nello sfondo la vita del Conservatorio nella Napoli di metà Novecento.

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- by Carla Di Lena
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- 7
  Piano Pedagogy, Classical piano music, Piano Technique, Conservatories

INHALTSVERZEICHNIS Vorwort 3 1. Geschichtlicher Abriß der Bachanschauung 6 2. Zur Rezeption Bachs in Klavierschulen des 19. Jahrhunderts 2.1. Bestandsaufnahme 10 2.2. Zur Geschichte der Frühdrucke... more

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- by Armando Segura
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- 9
  Piano, Piano Music, Pianists and Piano Literature, Piano Pedagogy

Although there are numerous books on the market today which deal with a particular composer, their style and compositions, there appear to be few reference or guide books covering the entire development of piano literature. As such,... more

Although there are numerous books on the market today which deal with a particular composer, their style and compositions, there appear to be few reference or guide books covering the entire development of piano literature. As such, Gerald Klenck wished for such a volume since his student days and then authored this manuscript. Although not an exhaustive treatment of all pianoforte, Gerald Klenck provides a comprehensive discussion of the most significant solo compositions and their composers in each major musical era since the 1700's. Concertos and piano ensemble works are not included, though they're occasionally referred to when necessary. The harmonic and melodic aspects of each composition are presented, along with descriptive and technical material and any programmatic information that would add to the reader's understanding.

Keyboard Treasures, a reference and guidebook for adult music ·students and teachers as well as piano enthusiasts, is a broad and comprehensive survey of piano literature from about 1700 through the 1960's. Musical forms, along with harmonic, melodic, and technical aspects, are included in the discussions of the various compositions. Brief biographies of noted composers are given.

The book opens with a short summary of our keyboard heritage from the Baroque Era and then takes up the works of J.S. Bach. Next is a section on the Rococo Era, the sons of J.S. Bach, and the transition from clavichord and harpsichord to pianoforte. The keyboard sonatas of Haydn and Mozart are reviewed individually.

Beethoven and his thirty-two sonatas are described, showing the amazing development of both the composer's skill and the solo sonata as it evolved through his efforts. The major sets of variations, e.g., the Diabelli, are given special attention.

The Romantic Era follows, each of its composers presented with his principal contributions: Schubert and his sonatas; Schumann and his remarkable originality in such works as the Carnival and Kreisleriana; Brahms and his powerful Sonata in F Minor and Paanini Variations (also the melodic Intermezzi of later years), and Franz Liszt's influence on the music and composers of his time.

The divergent styles of the Russians, the Schoenberg school, Bela Bartok, Paul Hindemith and Igor Stravinsky point up the contrasts and variety which mark the first forty years of piano composition in this century.

The volume concludes with a discussion of American composers: Edward McDowell, Charles Ives, Aaron Copland, Samuel Barber, and others, and their wide range of innovative contributions to our rich legacy of keyboard treasures.

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- by Joel Klenck
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- 19
  Music, Music Education, Music History, Musicology

Si on prend toutes les notes dans une chanson, et on les présente dans un ordre linéaire, nous avons la gamme de la chanson. Par exemple: Il n'y a que quatre notes dans cette chanson. Alors il n'y a que quatre notes dans sa gamme.

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- by Bruce Gordon Grant
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- 2
  Piano Pedagogy, Piano Technique

Este artículo tienen como objetivo servir de marco referencial de los distintos recursos técnicos e interpretativos que el ejecutante, estudiante o profesional, debe dominar al abordar un repertorio de las características de la obra de... more

This article contains personal remarks of one's experiences and reflections during his undergraduate studies. It encompasses several piano techniques such as the uninterrupted gliding movement of the arms, the circular motions of the... more

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- by Johanes Timothy
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- 4
  Piano Music, Classical Music, Piano Technique, Piano Performance

Piano Technique

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