Book
xxxii, 717 pages : illustrations, music ; 28 cm + 1 foldout keyboard
Music Library
Status of items at Music Library
Music Library Status
Stacks
MT222 .M155 2016 Unavailable At bindery Request
Book
82 pages : illustrations (chiefly color) ; 20 cm
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML462 .F6 A23 2015 Unknown
Book
280 pages : color illustrations ; 28 cm
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML650 .A26 2015 Unavailable Out for repair Request
Book
149 pages : illustrations ; 25 cm.
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML410 .B42 R36 2015 Unknown
Book
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)
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)
  • 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)
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)
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML410 .P114 R3313 2015 Unknown
Book
1 online resource : illustrations (black and white)
With its in-depth yet succinct explanations and examples of the Viennese five-octave fortepiano and the nuances of classical interpretation and ornamentation, this manual offers an indispensable educational aid to any pianist who seeks an academically and artistically sound approach to the performance of classical works.
With its in-depth yet succinct explanations and examples of the Viennese five-octave fortepiano and the nuances of classical interpretation and ornamentation, this manual offers an indispensable educational aid to any pianist who seeks an academically and artistically sound approach to the performance of classical works.
Book
xi, 534 pages : ill. ; 28 cm.
Music Library
Status of items at Music Library
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Reference
ML102 .P5 E53 2015 In-library use
Book
xii, 413 pages : ill., music ; 27 cm.
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML724.8 .P37 P52 2015 Unknown
Book
143 p. ; 19 cm.
Stanford University Libraries
Status of items at Stanford University Libraries
Stanford University Libraries Status
On order
(no call number) Unavailable On order Request
Book
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.
  • 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
Status of items at Music Library
Music Library Status
Stacks
ML707 .P53 2015 Unknown
Book
xiii, 131 pages : illustrations, music ; 24 cm
  • Loving what you do, doing what you love
  • Flow experience
  • Building skills
  • Combining flow and skills
  • Learning a simple piece
  • Learning a more complex piece
  • Developing the confidence to perform
  • Teaching to flow.
  • Loving what you do, doing what you love
  • Flow experience
  • Building skills
  • Combining flow and skills
  • Learning a simple piece
  • Learning a more complex piece
  • Developing the confidence to perform
  • Teaching to flow.
Music Library
Status of items at Music Library
Music Library Status
Stacks
MT220 .P24 2015 Unavailable In process Request
Book
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)
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 (https://sites.google.com/site/analysisofsoundsandvibrations/) contains: - Matlab(R) scripts - mp3 files of sounds - references to YouTube videos - and up-to-date results of recent studies.
(source: Nielsen Book Data)
  • 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)
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 (https://sites.google.com/site/analysisofsoundsandvibrations/) contains: - Matlab(R) scripts - mp3 files of sounds - references to YouTube videos - and up-to-date results of recent studies.
(source: Nielsen Book Data)
Book
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. .
  • 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. .
Book
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.
  • 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
Status of items at Music Library
Music Library Status
Stacks
ML707 .G37 2014 Unknown
Book
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.
"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
Status of items at Music Library
Music Library Status
Reference
ML102 .P5 B45 2014 In-library use
Book
89 p. : ill. ; 21 cm.
Music Library
Status of items at Music Library
Music Library Status
Stacks
MT220 .M38 2014 Unknown
Book
1 online resource.
  • El piano y sus antecesores
  • Técnica e interpretación
  • Fases para el montaje de obras.
  • El piano y sus antecesores
  • Técnica e interpretación
  • Fases para el montaje de obras.
Book
290 p. : ill. ; 24 cm
  • "Administration des classes" -- Historique du Conservatoire et but des études -- Organisation administrative -- Règlement des classes de piano -- "Les classes de piano" -- Les professeurs de piano, personnalités et carrières -- Les élèves -- Les concours -- "L'instrument-piano" -- Les locaux du Conservatoire, la facture du pianoforte -- Patrimoine des pianos -- L'usage des pianos dans l'école -- "La musique de piano" -- Le répertoire pianistique du Conservatoire -- Le piano dans les concerts du Conservatoire.
"Le piano reste aujourd'hui en 2014 un instrument de musique bien connu, répandu dans les salles de concert, les écoles de musique, voire les appartements sous les formes acoustique ou électronique. Comment s'est-il introduit dans notre société ? Comment a-t-on appréhendé son jeu, son enseignement, sa diffusion lorsqu'il apparaît à la fin du 18e siècle ? Le célèbre Conservatoire de Paris paraît être un lieu d'étude idéal pour apporter des réponses à ces questions. Pourquoi le Conservatoire dépend-il alors du ministère de l'Intérieur ? Comment passe-t-on d'une école de musique militaire à une notion de "musique pour la société" ? Et les élèves femmes ? Quelle forfanterie à vouloir fonder un "établissement-modèle en Europe" ? Paris oublie-t-il la Province ? Quelle priorité faut-il choisir entre les nombreux rôles du piano : le soliste, le virtuose, l'accompagnateur, le solfégiste, l'harmoniste ? Comment recruter les professeurs ? Faut-il recevoir les élèves étrangers ? Quelle est la valeur des concours du Conservatoire sur le "marché du travail" ? Le piano devient d'une manière évidente un des instruments les plus demandés. Dans ce cadre, l'école représente vers 1850 le modernisme musical de la nouvelle classe sociale dominante, la bourgeoisie. Il convient aujourd'hui de battre en brèche la vision d'un Conservatoire académique et suranné, vision qui concerne davantage les alentours de 1900 que les origines, telles qu'elles sont présentées ici."--P. [4] of cover.
  • "Administration des classes" -- Historique du Conservatoire et but des études -- Organisation administrative -- Règlement des classes de piano -- "Les classes de piano" -- Les professeurs de piano, personnalités et carrières -- Les élèves -- Les concours -- "L'instrument-piano" -- Les locaux du Conservatoire, la facture du pianoforte -- Patrimoine des pianos -- L'usage des pianos dans l'école -- "La musique de piano" -- Le répertoire pianistique du Conservatoire -- Le piano dans les concerts du Conservatoire.
"Le piano reste aujourd'hui en 2014 un instrument de musique bien connu, répandu dans les salles de concert, les écoles de musique, voire les appartements sous les formes acoustique ou électronique. Comment s'est-il introduit dans notre société ? Comment a-t-on appréhendé son jeu, son enseignement, sa diffusion lorsqu'il apparaît à la fin du 18e siècle ? Le célèbre Conservatoire de Paris paraît être un lieu d'étude idéal pour apporter des réponses à ces questions. Pourquoi le Conservatoire dépend-il alors du ministère de l'Intérieur ? Comment passe-t-on d'une école de musique militaire à une notion de "musique pour la société" ? Et les élèves femmes ? Quelle forfanterie à vouloir fonder un "établissement-modèle en Europe" ? Paris oublie-t-il la Province ? Quelle priorité faut-il choisir entre les nombreux rôles du piano : le soliste, le virtuose, l'accompagnateur, le solfégiste, l'harmoniste ? Comment recruter les professeurs ? Faut-il recevoir les élèves étrangers ? Quelle est la valeur des concours du Conservatoire sur le "marché du travail" ? Le piano devient d'une manière évidente un des instruments les plus demandés. Dans ce cadre, l'école représente vers 1850 le modernisme musical de la nouvelle classe sociale dominante, la bourgeoisie. Il convient aujourd'hui de battre en brèche la vision d'un Conservatoire académique et suranné, vision qui concerne davantage les alentours de 1900 que les origines, telles qu'elles sont présentées ici."--P. [4] of cover.
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML650 .L32 2014 Unknown
Book
viii, 156 pages : ill., music ; 14 cm.
Anne Rodwell's book, subtitled 'A Mirror of Music for Infant Minds', is presented in the form of conversations between mother and daughter, a typical format for the period as the engravings portray. The idea was to amuse as well as teach the child and reduce 'the fatigue of imparting instruction'. All that is known about Rodwell is her description of herself as 'Teacher of the Piano Forte'. Her book succeeds in presenting us with a striking contemporary background to private music teaching as it existed in fashionable London at a time when the possession of a piano was a luxury. For other studies of this kind see Kilner (1819) and Fitton (1855), CTME 30 and 33.
(source: Nielsen Book Data)
Anne Rodwell's book, subtitled 'A Mirror of Music for Infant Minds', is presented in the form of conversations between mother and daughter, a typical format for the period as the engravings portray. The idea was to amuse as well as teach the child and reduce 'the fatigue of imparting instruction'. All that is known about Rodwell is her description of herself as 'Teacher of the Piano Forte'. Her book succeeds in presenting us with a striking contemporary background to private music teaching as it existed in fashionable London at a time when the possession of a piano was a luxury. For other studies of this kind see Kilner (1819) and Fitton (1855), CTME 30 and 33.
(source: Nielsen Book Data)
Music Library
Status of items at Music Library
Music Library Status
Miniature
MT745 .R63 2014 M Unknown
Book
136 pages : illustrations, music ; 17 cm.
Music Library
Status of items at Music Library
Music Library Status
Stacks
ML102 .P5 H83 2014 Unavailable In process Request

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