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En este documento se evalúa la viabilidad de establecer un piano bar-lounge en el distrito de San Isidro, donde se servirán entradas, platos fuertes, postres o piqueos, acompañados por gran variedad de bebidas. El factor diferenciador es que se tiene un piano en el salón, donde se tocará música en vivo a diario, por un pianista profesional. Se encontró que el proyecto es viable en términos de mercado en la medida en que la calidad de la comida sea excelente, para atender a consumidores exigentes, con precios promedio de S/.50 a S/.100 por ocasión de consumo, por persona. La inversión inicial será financiada en un 61% con aporte de los accionistas y el otro 39% con un préstamo bancario. Esta composición genera un costo de capital promedio ponderado de 10.90%. Pero se encontró que el proyecto es viable ya que tiene una Tasa Interna de Retorno (TIR) de 31.52% que al ser mayor al WACC muestra que hay un rendimiento favorable. Se encontró que el proyecto no es rentable en el primer año, lo cual se debe a que no hay suficientes clientes, mientras que la mayoría de los gastos son fijos. La cantidad de clientes irá incrementando anualmente, gracias a la promoción en redes sociales y a través de la página web de la empresa, pero también por recomendaciones boca a boca. Se recomienda la implementación del proyecto, ya que se confirmó su viabilidad en términos de mercado, operativos y financieros. / Tesis

Polish composer Witold Lutos?awski (1913-1994) was one of the most representative composers of the twentieth-century. Lutos?awski’s style progressed from traditional to modern avant-garde. His Piano Sonata belongs to his first compositional period, and is the only extant work from his student years. His remarkable synthesis of classical structures and impressionistic harmonic sonorities distinguishes the Sonata. Lutos?awski’s Piano Sonata is divided into three movements, and each movement is written in traditional sonata allegro form, sonata form without development and modified sonata form respectively. The Sonata contains both considerable elements of Classicism and Impressionism, as well as traits of Post-romanticism and Neoclassicism. The evolution of Lutos?awski’s compositional language can be better understood through an in-depth study of his Piano Sonata. Although Lutos?awski did not allow the work to be published during his lifetime, this occurred posthumously, ten years after the composer´s death. The recent publication of the work, paired with its substantial technical demands, both account for the fact that the Sonata is not frequently performed. The complex textures of Sonata place extensive technical and musical demands on the performer. In this study, a detailed description of the composer´s early style and influences as relates to this work will be analyzed and technical and pianistic approaches necessary for a performance of the work will be addressed. Also, there are significant discrepancies between the manuscript and printed score, even though the edition is based on the manuscript. Only one manuscript survives and scholarly research involving the work is scarce. Discrepancies between the manuscript and the published edition will be detailed, with suggestions for performance. It is hoped that this study will provide interest and be conducive to better approach the performance of this Piano Sonata.

Chopins tredje pianosonat i h-moll op.58 är inte alls lika spelad som hans andra sonat i b♭-moll. Anledningen är kanske att det finns en djupare historia bakom hans andra sonat medan den tredje är ett verk som han komponerade för att tysta vissa kritiker men också för att tillägna verket sin släkt. Chopins tredje sonat kan uppfattas som ett av de mest fantastiska och berättande verken inom pianolitteraturen och om man jämför med andra sonater från samma epok så anser jag att även denna sonat förtjänar mer uppmärksamhet. En av anledningarna till att den inte är så spelad kan nog vara att det är ett av Chopins mest krävande verk.

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The lecture recital, given April 13, 1981, began with biographical background for Busoni's compositional development leading to his mature style, as found in the Toccata, the Carmen Fantasy, and the Mephisto Waltz. The three works--an original composition, an operatic paraphrase, and a transcription from an orchestral score--were then detailed with emphasis placed primarily on Busoni's aesthetic ideals in relation to the three works.

The purpose of this project has been to develop the interplay between guitar and piano in a jazz ensemble context. There are a lot of great examples of interplay with these instruments but there are also well-known issues when guitar and piano share a musical context. Examples of these issues can be rhythmic, harmonic, register of the instruments, the time it takes for changes in the music to happen or the direction of the music. The project is based on exercises for guitar and piano as well as specific exercises for guitar.    I discuss the different challenges and opportunities that present themselves throughout the progress of the project and how the exercises I constructed affect the different aspects of interplay. The discussion is partially based on the result of my exam concert. I also debate whether the exercises have a big impact on the result or if there’s other factors to consider.    The conclusion is that the exercises are less important than the discussions and reflections that this project has led to. The project shouldn’t be seen as a solution but rather a reflection that can give insight on the subject. / <p>Medverkande: </p><p>Samuel Hanes (Elgitarr), Eskil Larsson (Tenorsaxofon), David Stener (Piano), Jakob Ulmestrand (Kontrabas), Henrik Jäderberg (Trummor).</p><p>Framförda verk: </p><p>Untitled 06, Sorry Tom, Slip-Up, Untitled 02, Trippy Tilly. </p>

The lecture, given on August 3, 1981, consisted of a discussion of the circumstances surrounding the composition of K. 413, 414, and 415; of specific compositional characteristics pertaining to each; and of their relationship to Mozart's later piano concertos. Additionally, their orchestration, effect with string quartet, idiomatic piano writing, considerations for amateurs, and passages for connoisseurs were explored.

Finger Spirits is a concerto for piano and orchestra. The traditional concerto form of three, large, separate movements is not present here. It is a one-movement work in three continuous sections. Certain premises of the concerto are retained: (1) the interplay of soloists and orchestra; (2) the display of vistuosity; and (3) the use of fixed thematic elements. Throughout the performance, the pianist alternates playing actual notes with gestures used in manual communication and mimetic elaborations created by the composer. The gestures delineate shapes of particular objects and depict emotions that are present in the work as it unfolds. Finger Spirits explores the act of performance and alters the traditional concert ritual of audience-performer opposition. In addition, it incorporates gestures as an extension of the role of the pianist and thus represents a form of music theater.