1 volume (unpaged) : color illustrations ; 31 cm
"A bear finds a piano in the woods, learns to play it, and travels to the big city to become rich and famous, but ultimately discovers that his old friends in the forest back home are still the best audience of all"-- Provided by publisher.
Education Library (Cubberley)
422 pages : illustrations (some color), music ; 24 cm + 1 folded facsimile.
  • Jeux de l'âme, variabilité et coloris pianistiques au temps de Chopin Avant-propos de Florence Gétreau
  • Chopin ou l'œuvre en progrès : de l'improvisation ̉ l'enseignement / Jean-Jacques Eigeldinger
  • Late style, last style, and Chopin's Waltz in a flat major, op. 64 no. 3 / Jeffrey Kallberg
  • Playing with the Chopin sources / John Rink
  • L'œuvre de Frédéric Kalkbrenner (1785-1849) et ses rapports avec Frédéric Chopin (1810-1849) / Hervé Audéon
  • Concerts publics ou productions privées ? Les lieux de musique de la pianiste et compositrice genevoise Caroline Boissier-Butini (1786-1836) dans le miroir de son professionnalisme / Irène Minder-Jeanneret
  • À l'aube du romantisme musical : Couleurs, effets et pédales dans l'œuvre pianistique de Daniel Steibelt (1765-1823) / Hervé Audéon
  • 'Nourishment for the soul' or 'a feast for the ear'? A comparative study of the Stein and Walter fortepiano actions / Stephen Birkett
  • Färbung, Schmelz, Schattierung oder starker Ton : der Antagonismus zwischen Wiener und englischer Mechanik am Beispiel der Klavierbauerfamilie Streicher / Uta Goebl-Streicher
  • Notes on the history of the Viennese piano, 1800 to 1830 / Michael Latcham
  • The restoration of a fortepiano by Conrad Graf, ca. 1838, in the collection of the metropolitan museum of art / Stewart Pollens
  • La manufacture Ignace Pleyel & entre 1830 et 1850 / Jean-Claude Battault
  • Jean Henri Pape (1789-1875) : au bonheur des dames / Catherine Michaud-Pradeilles
  • Affect in action : hammer design in French romantic pianos / Christopher Clarke
  • Machines ̉ faire les artistes / Jean Haury
  • Katalog
  • Annexes
  • Annexe 1 : Notice sur les inventions et perfectionnemens apportés par H. Pape dans la fabrication des pianos (1839)
  • Annexe 2 : Le piano de Madame Coignet
  • Biographies des auteurs
  • Inserted in the back cover : Catalogue des Pianos de la Manufacture de H. Pape [1838].
Music Library
xxxii, 717 pages : illustrations, music ; 28 cm + 1 foldout keyboard
Music Library
82 pages : illustrations (chiefly color) ; 20 cm
Music Library
280 pages : color illustrations ; 28 cm
Music Library
149 pages : illustrations ; 25 cm.
Music Library
317 pages : illustrations, music ; 22 cm.
  • Contents: Paderewski's Compositional Output - Musical (Style) Analysis - Music of 19th and 20th Century - Polish Romantic Music - Modernism in Music - Paderewski-Chopin - Reception - Aesthetics - Piano Music - Opera - Symphonic Music.
  • (source: Nielsen Book Data)9783631662151 20160618
This is the first monograph on the Polish composer Ignacy Jan Paderewski (1860-1941). It aspires to be part of the process of restoring his compositional legacy to European musical culture. Reinterpreting the legend surrounding the great Pole, the study is based on Paderewskis works that are listed in the Paderewski catalogue, but also includes sketches, unfinished pieces and student exercises. Raba's analysis and interpretation of the composer's work is carried out in formal-structural, stylistic-critical and aesthetic contexts, revising the image of the composer, that has been distorted in the historical reception of his oeuvre.
(source: Nielsen Book Data)9783631662151 20160618
Music Library
1 online resource : illustrations (black and white)
  • About the Companion Website -- Foreword -- Preface -- Acknowledgments -- 1. Urgency: Why Bother? -- 2. Affekt and Good Taste -- 3. Formal Structure and Harmonic Function -- 4. Technique-Execution -- 5. Rhythm -- 6. Dynamics -- 7. Accents and Other Expression Marks -- 8. Articulation and Touch -- 9. Staccato Dots and the Other Usual Suspects Ornaments -- 10. Ornaments -- 11. Repeats -- 12. Damper Pedal -- 13. Indicated Tempo -- 14. Final Words.
  • (source: Nielsen Book Data)9780199396634 20160619
Discoveries from the Fortepiano meets the demand for a manual on authentic Classical piano performance practice that is at once accessible to the performer and accurate to the scholarship. Uncovering a wide range of eighteenth-century primary sources, noted keyboard pedagogue Donna Gunn examines contemporary philosophical beliefs and principles surrounding Classical Era performance practices. Gunn introduces the reader to the Viennese fortepiano and compares its sonic and technical capabilities to the modern piano. In doing so, she demonstrates how understanding Classical fortepiano performance aesthetics can influence contemporary pianists, paying particular focus to technique, dynamics, articulation, rhythm, ornamentation, and pedaling. The book is complete with over 100 music examples that illustrate concepts, as well as sample model lessons that demonstrate the application of Gunn's historically informed style on the modern piano. Each example is available on the book's companion website and is given three recordings: the first, a modern interpretation of the passage on a modern piano; the second, a fortepiano interpretation; and the third, a historically informed performance on a modern piano. With its in-depth yet succinct explanations and examples of the Viennese five-octave fortepiano and the nuances of Classical interpretation and ornamentation, Discoveries from the Fortepiano is an indispensable educational aid to any pianist who seeks an academically and artistically sound approach to the performance of Classical works.
(source: Nielsen Book Data)9780199396634 20160619
xxviii, 264 pages : illustrations, music ; 24 cm
  • Foreword by Norman Krieger Preface Acknowledgments Introduction Chapter 1: C.P.E.--Thinking Outside the Bachs: The Music of Carl Phillip Emanuel Bach Louis Nagel Chapter 2: Soler's Fandango Robin Hancock Chapter 3: Lyricism and Lightness in the Piano Music of Felix Mendelssohn Joel Hastings Chapter 4: Interior Virtuosity: Grasping Faure's Piano Music David Korevaar Chapter 5: Reflections on Performing Dohnanyi's Variations on a Nursery Song for Piano and Orchestra Timothy Ehlen Chapter 6: Francis Poulenc's Early Writing: A Critical Analysis of Trois pieces (1918) and Mouvements perpetuels (1919) Jerry Wong Chapter 7: Drinking from the Source of Universal Folklore: Villa-Lobos, Bach and Choroes Alexandre Dossin Chapter 8: The Musical Imagination of Dmitri Kabalevsky Timothy Shafer Chapter 9: Remembering Alberto Ginastera Barbara Nissman Chapter 10: Improving 'The Long Line' Through Score Markings in Piano Repertoire Caroline Hong Chapter 11: Aaron Copland and the Musical Idea Hilary Demske Chapter 12: Some Suggestions for Playing the Piano Music of Samuel Barber Jeffrey Jacob Chapter 13: A Practical Pianist's Introduction to Messiaen: Technical and Theoretical Approaches via the Vingt Regards sur l'Enfant-Jesus Christopher Taylor Chapter 14: A Pianist Looks at the Music of John Cage, 1946-1948 John Milbauer Chapter 15: The Importance of New Music in the Pianist's Repertoire Scott Holden Index About the Contributors About the Editor.
  • (source: Nielsen Book Data)9781442232655 20160704
In The Pianist's Craft 2, pianist and scholar Richard P. Anderson gathers together a new collection of essays by renowned performing artists and teachers and discusses the preparation, pedagogy, and performance of selected works by an entirely different set of composers whose works are standard in the piano literature. In this volume, readers will find an invaluable collection of contributions on C.P.E. Bach, Antonio Soler, Felix Mendelssohn, Gabriel Faure, Erno Dohnanyi, Francis Poulenc, Heitor Villa-Lobos, Dmitri Kabalevsky, Alberto Ginastera, Aaron Copland, Samuel Barber, Olivier Messiaen, and John Cage. The contributors-all nationally and internationally recognized as performing artists, teachers, recording artists, and clinicians-write thoughtfully about the composers whose work they have studied and played for years. Each author addresses issues unique to an individual composer, examining questions of phrasing, tempo, articulation, dynamics, rhythm, color, gesture, lyricism, instrumentation, and genre. Valuable insight is provided into teaching, performing, and preparing these great works-information otherwise available only in conferences, master classes, and private lessons. This collection, with more than 250 musical illustrations, is intended for teachers and students of the intermediate and advanced levels of piano, instructors and performers at the university level, and those who love piano and piano music.
(source: Nielsen Book Data)9781442232655 20160704
Music Library
xi, 534 pages : ill. ; 28 cm.
Music Library
xii, 413 pages : ill., music ; 27 cm.
Music Library
143 p. ; 19 cm.
East Asia Library
223 pages : illustrations (chiefly color) ; 28 cm.
  • Vorwort
  • "Piano Pieces" in Salzburg : zur Komposition und Verortung einer Ausstellungsidee / Martin Hochleitner
  • Die Sammlung Wlaschek / Barbara Hagen-Walther
  • Geschichte mit Flügel : die Salzburger Festspiele im Lichte pianistischer Meisterschaft / Margarethe Lasinger
  • "Klavierradikalismus" : Pianisten und ihre Instrumente bei Thomas Bernhard / Manfred Mittermayer
  • Katalog I : Klaviere : Klänge : Kunst
  • Katalog II : Klaviere : Klange : Kunst
  • Katalog III : Klaviere : Klänge : Kunst
  • Pianistinnen und Pianisten bei den Salzburger Festspielen / Margarethe Lasinger
  • Biografien der bildenden Künstlerinnen und Kunstler
  • Impressum.
Music Library
xiii, 131 pages : illustrations, music ; 24 cm
  • Contents -- Chapter 1. Loving What You Do, Doing What You Love -- Chapter 2. Flow Experience -- Chapter 3. Building Skills -- Chapter 4. Combining Flow and Skills -- Chapter 5. Learning a Simple Piece -- Chapter 6. Learning a More Complex Piece -- Chapter 7. Developing the Confidence to Perform -- Chapter 8. Teaching to Flow -- References -- Index.
  • (source: Nielsen Book Data)9780199316601 20160619
In The Positive Pianist: How Flow Can Bring Passion to Practice and Performance, author Thomas J. Parente applies the concept of flow to the practice of piano playing, demonstrating how student musicians can experience enjoyment and confidence from succeeding at something that challenges them to an engaging level. By using Mihaly Csikszentmihalyi's theory of flow to musical performance, Parente shows that linking productivity and enjoyment in piano playing has a positive impact on students, motivating them to practice more in order to experience flow again; this creates optimal learning conditions for piano practicing. As the chapters progress, Parente shows students how to evaluate their own progress and offers teachers the tools to impart on their students an optimal practice method: one informed by flow. Parente argues for an objective, goal-oriented backdrop that will lead piano students to achieve greater confidence, accuracy, and musicality. The Positive Pianist draws on the author's forty years of teaching experience and research to show piano students and their teachers how to develop a productive, focused mental state when practicing the piano.
(source: Nielsen Book Data)9780199316601 20160619
Music Library
184 pages : music ; 30 cm
Music Library
1 online resource : illustrations (black and white)
  • PART 1: SOME BASIC SOUND WAVES AND SOME SIMPLE TOOLS -- 1. An Introduction to Some Elementary Waves -- 2. The Basic Tools of Spectral Analysis -- 3. Analysis of Several Common Musical Instruments -- 4. Harmonics in Musical Sounds -- PART 2: A VISUAL ANALYSIS OF VIBRATING OBJECTS (STRINGS, MEMBRANES, BARS, PLATES) -- 5. The Vibrating String -- 6. The Vibrating Bar -- 7. The Vibrating Membrane -- 8. The Vibrating Plate -- PART 3: THE PIANO -- 9. An Introduction to Pianos -- 10. Some Individual Piano Notes and Interactions Between Them -- 11. The Missing Fundamental -- 12. Octave Stretching, Inharmonicity and Railsback Curves -- 13. Beating, Unisons and Tuning -- 14. Two Dimensional Graphical Metrics -- 15. Three Dimensional Graphical Metrics -- 16. An Investigation into Hammer Knock and Key Striking -- 17. Evaluation of a Wapin Bridge Conversion -- 18. Similarities between Pianos and Repeatability of Data Gathering Methods -- 19. Two Metrics Applied to Other Instruments -- 20. Use of the Metrics in Production and Development -- 21. Comments by Delwin Fandrich -- Appendix 1. Mathematical Basis for Part One -- Appendix 2. Mathematical Basis for Part Two -- Appendix 3. Mathematical Basis for Part Three -- Appendix 4. Experimental Setup -- Appendix 5. A Brief Exposure to Matlab.
  • (source: Nielsen Book Data)9780198722908 20160618
This book addresses the analysis of musical sounds from the viewpoint of someone at the intersection between physicists, engineers, piano technicians, and musicians. The study is structured into three parts. The reader is introduced to a variety of waves and a variety of ways of presenting, visualizing, and analyzing them in the first part. A tutorial on the tools used throughout the book accompanies this introduction. The mathematics behind the tools is left to the appendices. Part Two provides a graphical survey of the classical areas of acoustics that pertain to musical instruments: vibrating strings, bars, membranes, and plates. Part Three is devoted almost exclusively to the piano. Several two- and three-dimensional graphical tools are introduced to study various characteristics of pianos: individual notes and interactions among them, the missing fundamental, inharmonicity, tuning visualization, the different distribution of harmonic power for the various zones of the piano keyboard, and potential uses for quality control. These techniques are also briefly applied to other musical instruments studied in earlier parts of the book. For physicists and engineers there are appendices to cover the mathematics lurking beneath the numerous graphs and a brief introduction to Matlab(R) which was used to generate these graphs. A website accompanying the book ( contains: - Matlab(R) scripts - mp3 files of sounds - references to YouTube videos - and up-to-date results of recent studies.
(source: Nielsen Book Data)9780198722908 20160618
1 online resource (xxi, 229 pages) : illustrations (some color).
  • Acknowledgments
  • Preface
  • 1. Introduction
  • PART 1. Aesthetic Ideology
  • PART 2. Methodology
  • PART 3. Praxis
  • 8. Conclusion: Pedagogy as Art
  • Index.
How can the studio teacher teach a lesson so as to instill refined artistic sensibilities, ones often thought to elude language? How can the applied lesson be a form of aesthetic education? How can teaching performance be an artistic endeavor in its own right? These are some of the questions Teaching Performance attempts to answer, drawing on the author's several decades of experience as a studio teacher and music scholar. The architects of absolute music (Hanslick, Schopenhauer, and others) held that it is precisely because instrumental music lacks language and thus any overt connection to the non-musical world that it is able to expose essential elements of that world. More particularly, for these philosophers, it is the density of musical structure--the intricate interplay among purely musical elements--that allows music to capture the essences behind appearances. By analogy, the author contends that the more structurally intricate and aesthetically nuanced a pedagogical system is, the greater its ability to illuminate music and facilitate musical skills. The author terms this phenomenon relational autonomy. Eight chapters unfold a piano-pedagogical system pivoting on the principle of relational autonomy. In grounding piano pedagogy in the aesthetics of absolute music, each domain works on the other. On the one hand, Romantic aesthetics affords pedagogy a source of artistic value in its own right. On the other hand, pedagogy concretizes Romantic aesthetics, deflating its transcendental pretentions and showing the dichotomy of absolute/utilitarian to be specious. .
245 pages : illustrations, music ; 22 cm
  • Meinungen, Urteile, Irrtümer : die Bürde des künstlerischen Aufnahmeleiters
  • Von der Abschrift zur Vermarktung am Beispiel des WtK
  • "Versuch über die wahre Art das Ciavier zu spielen"
  • Mit dem Wohltemperierten Klavier beginnt das moderne Bachspiel
  • Johann Sebastian Bach
  • Das "Wohltemperierte Klavier"
  • Außer Konkurrenz
  • Die Bach-Prophetin Rosalyn Tureck
  • Wolfgang Amadeus Mozart
  • Das Problem der Phrasierung
  • Ludwig van Beethoven
  • Höchste Texttreue oder aber schrankenlose Subjektivität
  • Sonate Es-Dur op. 27 Nr. 1 "Sonata quasi una fantasia"
  • Sonate op. 27 Nr. 2 (genannt "Mondschein-Sonate")
  • Sonate D-Dur op. 28 (genannt "Pastorale")
  • Sonate f-Moll op. 57 "Appassionata"
  • Sonate Fis-Dur op. 78 ("Therese-Sonate")
  • Die "Sonate für das Hammerklavier" B-Dur Op. 106
  • Sonate As-Dur op. 110, die Sanfte?
  • Dem Ideal nahe
  • Ein fauler Kompromiss in der Sonate op. 111
  • Die Vorhölle der Triller
  • Die leisen Töne der Elly Ney
  • Franz Schubert
  • Die Impromptus. Die ordentliche Jugend gegen die wilden Alten : Impromptus op. 90 D 899 (1827)
  • Nr. 1 c-Moll
  • Nr. 2 Es-Dur
  • Nr. 3 Ges-Dur --Nr. 4 As-Dur
  • Drei Impromptus aus op. 142
  • Nr. 1 f-Moll
  • Nr. 2 As-Dur
  • Nr. 3 B-Dur
  • Fredertc Chopin : Nervöse, zerrissene Seele
  • Handwerkliches in Zeugnissen der Zeit
  • Chopin als Lehrer
  • "Aus eigenem Erleben--" des Verfassers
  • Chopins Technik (Uberlieferung seines Schülers Mikuli)
  • Die Preludes op. 28
  • Die Etüden op. 25
  • "Sie spielen, als wollten Sie Strümpfe stricken!"
  • Das Duell : die Mazurka in h-Moll op. 33 Nr. 4
  • Franz Liszt
  • Der "Liebestraum"
  • Robert Schumann
  • Kinderszenen op. 15
  • Nr. 1-4
  • Zwischenwort
  • Nr. 5-13
  • Johannes Brahms : der "höchst bescheidene Mensch."
  • Die Balladen op. 10 Nr. 1, 3, 4
  • Intermezzi op. 117
  • Nr. 1 Es-Dur
  • Nr. 2 b-Moll
  • Intermezzi op. 118. Ein anderer Backhaus
  • Nr. 1 a-Moll
  • Nr. 2 A-Dur
  • Klavierstücke op. 119 1-3
  • Nr. 1 h-Moll
  • Nr. 2 e-Moll
  • Nr. 3 C-Dur
  • Julius Katchen (Eine konkrete Meditation)
  • Nachwort
  • Literatur
  • Schallplatten, CDs bzw. Internet als Quelle
  • Personenverzeichnis
  • Biogtafie des Autors.
Music Library
713 p. : ill. ; 21 cm.
"On a tous un piano dans la tête. Des souvenirs de Méthode rose ou d'amourettes chopinesques. De Lettre à Élise ânonnée en boucle par la voisine du dessus ou de fabuleux concerts à Pleyel. De rires avec Harpo et Chico Marx ou de larmes avec Polanski... Pour moi, c'est l'histoire d'une vie entière. À rêver avec Schubert, à souffrir sur mon Beethoven, à préparer un entretien avec Barenboim, à filer au paradis grâce à Richter ou Art Tatum. Cet ouvrage tente donc de "creuser le ciel" avec de pauvres mots. Il traite de l'illusion magnifique du plus mystérieux des instruments de musique et de ses glorieux prophètes qui vont sur scène comme on revit la Cène. C'est un dictionnaire qui ne songe qu'à partager des émotions au fil de l'invisible. Il radote parfois comme un vieillard, s'amuse comme un enfant, se cabre comme un adolescent, ratiocine et se trompe comme un adulte. Ce n'est pas grave, il est juste amoureux."--P. [4] of cover.
Music Library
89 p. : ill. ; 21 cm.
Music Library

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