Examinando por Materia "Piano"

Mostrando 1 - 12 de 12
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    La afinación y regulación de pianos como una competencia del pianista: hacia una sensibilización del oficio y su influencia en la concepción sonora del intérprete
    (Universidad EAFIT, 2019) Céspedes Culman, Gerson; Manco,Juan David
    The following article reflects upon the relevance of developing piano tuning skills as a complement to the pianist career. There will be a brief survey about the evolution of the piano in order to understand the cause for the appearance of the figure of the piano tuner. The involvement that musicians have in the process of musical creation and recreation will be shown alongside the role that tuning has in the process. Hereafter the interdisciplinarity as a resource to develop new knowledge will take place, followed by the benefits that piano tuning skills will bring to the construction of an interpretation approach and finally some pianists’ perceptions on this subject will be shared. Therewith, it is proposed to highlight piano tuning with the purpose of taking it into account as part of the development of academic piano programs of the higher education institutions in the country.
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    The concert for piano and orchestra Delly Inkir by Mario Gómez Vignes an experience according to the performer
    (Universidad EAFIT, 2015-08-14) Mora Morales, Óscar Eduardo; Universidad del Valle
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    Cuatro obras de Ignacio Gómez Vargas : una edición crítica
    (Universidad EAFIT, 2023) Vargas Bonilla, Héctor Hernán; Lennis Cortés, Laura Isabel
    Writing a critical edition of four piano pieces composed by Ignacio Gómez Vargas is the purpose of this document. Tierra calarqueña, Marta Isabel, Mariela, and Corazón were the pieces selected to be edited. As a consequence of the pieces understanding, from their musical content and performance, the process of editing was addressed from a pianistic perspective. Grier’s method of music editing was used as the editor’s guide. The edition process was developed employing lessons by means of editorial description. Decisions were taken by conserving the original melody and harmony of the composition.
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    Estilos de Jesús Pinzón Urrea : una propuesta interpretativa a partir de la teoría de John Rink y la perspectiva del intérprete
    (Universidad EAFIT, 2020) Laverde Bermúdez, Laura; Manco, Juan David
    This article outlines an approach to interpreting the Colombian composer, Jesús Pinzón Urrea’s “Estilos.” Using John Rink’s analytical technique and the perspective of a performer, a three-step approach to interpreting and performing this piece is proposed. The first step consists of a literature review of Pinzon’s “Estilos.” The second step details each section’s unique characteristics, and then employs John Rink’s analytical technique. Lastly, the results of the analysis are compiled to lay out an interpretive approach for the performer. This paper does not make a precise and strict analysis of the work, nor does it dwell on the composer’s methods. Rather, it focuses on compiling a practical guide for performers wishing for approach to the piece.
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    Estudio autoetnográfico sobre la asimilación de ideas musicales en la interpretación de la sonata para piano op. 22 de L. van Beethoven : un acercamiento a la contextualización cultural desde “las certezas” y “Juegos de lenguajes” de Wittgenstein
    (Universidad EAFIT, 2020) Mendoza Ramos, Andrés Moisés; Manco, Juan David
    The analysis of the construction of musical ideas in the analytical interpretation of Wittgenstein's "certainties" and "language games" as a proposal to the individual development of the performer is intended to connect the sociocultural context of both the work and the performer. This reflection is framed in the experience of the interpreter that under the autoethnographic methodology gives a practical meaning to the concepts of Wittgenstein worked on the interpretation of the Sonata op. 22 by Beethoven. This results in strategies and applications from the performance, observing the performer under his sociocultural context shaped by the work and in turn from the pedagogical point of view in the teacher-student relationship.
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    Executive-interpretive analysis of the sonata for plane no. 1, op. 22, by Alberto Ginastera
    (Universidad EAFIT, 2017-10-04) Rodríguez Vargas, Carlos Augusto; Universidad EAFIT
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    Latin american repertoire for clarinet, viola and piano: Catalog with comment
    (Universidad EAFIT, 2019-03-06) Correa Suárez, Karen Johana; Sheldrick, Braunwin; Universidad EAFIT
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    The multifceted personality of Luis Antonio Calvo
    (Universidad EAFIT, 2013-12-07) Gómez-Vignes, Mario; Universidad del Valle
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    Nuevas piezas colombianas para la iniciación al piano
    (Universidad EAFIT, 2015-12-04) Toro Zuluaga, Angélica; Universidad EAFIT
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    Propuesta curricular para la inclusión del piano acompañante como pregrado en música
    (Universidad EAFIT, 2018) Barreiro Berrío, Nathaly; Alunno, Marco
    In this article the relevance of the inclusion of the collaborative piano career in the undergraduate professional cycle will be discussed and, consequently, the skills and strengths that are commonly acquired by the experience of the accompaniment at various levels will be exposed -- The additional learning activity that we propose consists of guided chamber music workshops with piano, including the Lied or song, oratorio and opera, reduction of orchestral scores and reading at first sight to achieve the quality that we will call "repentization" -- In addition, another type of specific workshop is the one that refers to the accompaniment of dancers that will involve learning to perform in complementary activities of this art such as squaring and preparation, with improvisation as a guiding criterion -- A highly desirable complement is the understanding of languages not as common as English, especially German, French, Italian and Latin
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    Propuesta interpretativa de la sonata para piano y violín N.3 Op. 108 de Johannes Brahms, primer movimiento
    (Universidad EAFIT, 2021) Arango Caro, Isabel Cristina; Gil Araque, Fernando Antonio
    Performing Johannes Brahms’ piano and violin sonatas is a musical and intellectual challenge for any musician. The excellence of Brahms’ work, the technical mastery of the instrument and the expertise on the romantic style language - just to mention a few - are crucial factors when it comes to making interpretive decisions. Concerns frequently arise regarding the interpreter's creative "freedom" over the musical work, and in this sonata’s case, some arose during its preparation. Because of this, the author raises the following questions: Which boundaries define the work of both the author and the interpreter? Is the interpreter merely a textual replicator of the composer's ideas or can he or she imprint their creative skills on the musical text? What can the interpreter do to achieve a respectful version of the original writing and at the same time rich in personal nuances? Considering these concerns, this article presents an interpretive proposal based on a personal version, describing, comparing and justifying some peculiarities in the execution of Brahms’ sonata in relation to bowing, fingering and dynamics. In addition to this, it seeks to reflect on various elements of violin technique such as bow handling, production of vibrato, phrases and musical intentions of Brahms’ repertoire. Also, this article shows how these technical elements on the violin are both related and differentiated between a personal version and its Urtext edition.
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