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Pianos are machines. Their sound output is determined by acoustic efficiency which is a measure of acoustic energy produced per input mechanical work. The piano as an instrument is unique from other chordophones like violins and guitars as it uses hammers to cause string vibrations. Where work is done directly on the strings in a guitar, pianos utilize a two-step procedure in converting mechanical work into acoustic energy. First, mechanical energy is used to depress a piano key which lifts a hammer. Second, this hammer strikes the strings and acoustic energy is produced. Thus, pianos should be less efficient than strict chordophones. An index of acoustic efficiency as a function of frequency was generated using an F-note from each of the seven full octaves of a Yamaha upright piano (T118PE). Experimental results indicate an inversely proportional relationship between acoustic efficiency and key frequency.

The Piano Concerto represents an experiment in form in which a set of five continuous variations are partitioned into three movements, corresponding to the listener's expectations of a traditional tripartite concerto. Through the analysis of phrase structure, pitch and motivic variation, links amongst the variations are uncovered and developmental strategies discussed in an attempt to clarify the processes of musical creation. By proceeding in analysis from the highest levels of organization downwards, structural trends emerge which lend consistency to the work— low level patterns often reflect larger structural forces. In addition, a variety of symmetrical constructs are extant in the form of consistently used pitch collections (e.g., [0 1 4 9], a triad with both M3 and m3, subset of [0 1 4 5 8]), phrase organization (as in the second variation and the second movement) and the grouping of the variations themselves. Seeded initially as a recorded improvisation by the composer (which became the Aria), the Concerto displays formal tension as areas of rigid organization (Variations 1, 3, and 5) alternate with more freely organized regions (Variations 2 and 4), a dichotomy which springs from the Theme itself. The listener is taken on a linear journey through the telescoping development of material which maintains more or less explicit connections to the Theme throughout In general, the further into the work the listener progresses, the less literal the Thematic references become until a brief recapitulation appears at the end. The aesthetic which drives this work is based on a fundamental adherence to traditional procedures, tempered with unique approaches to form. This aesthetic and certain cohabiting non-traditional aspects of the Concerto will be discussed in the analysis that follows.

v. 1. Score (197 p.) -- v. 2. Analysis (29 leaves) / Curio Shop is a concerto for piano and chamber orchestra. It is composed for an ensemble of fifteen performers: piano solo, flute (doubling on piccolo), oboe, clarinet, bass clarinet, bassoon, horn, trumpet, trombone, percussion, two violins, viola, cello, and contrabass. / It is composed as a suite of short movements, scored for the full ensemble, interspersed with interludes composed as duos for piano and one other instrument. The accompanying paper discusses the form of the work along with some of its historical precedents. Further topics include the use of tonality in the work, the variation techniques used in composing the interludes, and a discussion of compositional procedures used in a single movement along with examples of their application in other movements.

Nicholai Kapustin (1937-), a Ukrainian composer whose music amalgamates the Western classical tradition with jazz idioms, is becoming increasingly acclaimed in recent years. His works are known for the physical challenge they impose upon the player due to their complexity that is often accompanied by fast tempi. No less formidable, however, is the challenge to discover the conceptual binding that is needed to capture the overarching sense of purpose within a given piece and communicate it in performance. One of the most effective approaches in performing Kapustin's music is to take advantage of the structure upon which his compositions are based, as it can allow a classically trained performer to utilize previously developed analytical skills. Although analytical study is an asset for virtually any type of music, the performance of Kapustin's music especially can benefit from analysis owing to its dense and active textures, rhythmic continuity, and varied repetition of relatively homogeneous melodic material. This research encourages regular involvement in analysis and internalizing the music away from the instrument. An analysis of Kapustin's Eight Concert Etudes, Op. 40 is provided along with the discussion of performance issues that are related to the analysis. These include solidifying the left hand (Etude No. 5), expressing characters through the varying rhythmic values of the melody and accents (Etude No. 6), and isolating various thematic components while simultaneously strengthening their inter-connections (Etudes Nos. 7 and 8). In addition, the research examines some of the psychological implications of analysis, exploring the ways in which analysis can help the performer to be attentive and engaged in the moment. Furthermore, in order to help one take pleasure from and fully benefit from analytical insights during practice, the research aims to cultivate a mindful mode of thinking where one steps away from constant action and becomes more curious and observant in the process of music-making. The conclusion addresses the physical aspect of playing, applying the notion of mindfulness to one's orientation to the instrument.

Nicholai Kapustin (1937-), a Ukrainian composer whose music amalgamates the Western classical tradition with jazz idioms, is becoming increasingly acclaimed in recent years. His works are known for the physical challenge they impose upon the player due to their complexity that is often accompanied by fast tempi. No less formidable, however, is the challenge to discover the conceptual binding that is needed to capture the overarching sense of purpose within a given piece and communicate it in performance. One of the most effective approaches in performing Kapustin's music is to take advantage of the structure upon which his compositions are based, as it can allow a classically trained performer to utilize previously developed analytical skills. Although analytical study is an asset for virtually any type of music, the performance of Kapustin's music especially can benefit from analysis owing to its dense and active textures, rhythmic continuity, and varied repetition of relatively homogeneous melodic material. This research encourages regular involvement in analysis and internalizing the music away from the instrument. An analysis of Kapustin's Eight Concert Etudes, Op. 40 is provided along with the discussion of performance issues that are related to the analysis. These include solidifying the left hand (Etude No. 5), expressing characters through the varying rhythmic values of the melody and accents (Etude No. 6), and isolating various thematic components while simultaneously strengthening their inter-connections (Etudes Nos. 7 and 8). In addition, the research examines some of the psychological implications of analysis, exploring the ways in which analysis can help the performer to be attentive and engaged in the moment. Furthermore, in order to help one take pleasure from and fully benefit from analytical insights during practice, the research aims to cultivate a mindful mode of thinking where one steps away from constant action and becomes more curious and observant in the process of music-making. The conclusion addresses the physical aspect of playing, applying the notion of mindfulness to one's orientation to the instrument.

This paper is an investigation into the problem of the pianist with small hands, causes and effects of limitations encountered, and methods for managing the problem. A central aim is to demonstrate the accessibility of many standard works (particularly from the Romantic era) generally thought to be out-of-reach to pianists with small hands.Early chapters deal with physiological demans of piano playing. This includes hand function, related brain and central nervous system activity, and also ideal hand structure characteristics for pianists. It is then shown that the hands of many pianists deviate from the ideal, but that it is possible to compensate for most deficiencies, as seen in the hand structure and pianistic achievements of several virtuosi with small hands.Although relatively little has been written on the problem of small hands, those authors who did touch on the subject offered a variety of solutions, classifiable as physiological corrective measures, and musical devices and techniques.Physiological corrective solutions fall into three broad groups: (1) stretching the hand span, (2) strengthening hand and arm muscles and building general endurance, either at or away from the keyboard, and (3) inducing a relaxed state of body/mind to eliminate tension and musclecontraction.Musical devices and techniques consist of 166 edited excerpts from standard works of sixteen composers to illustrate numerous principles. These techniques and principlesare categorized as follows:Strength: Devices to increase strength and tone forthose with small or fragile hand structure.Stretch: Devices to increase or to give the illusionor increasing the hand span.Small hand position: Devices to maintain a small and relaxed hand position.Redivisions: Redistributions, rearrangements of notes between the hands to reduce stretch requirements.Re-editing or rewriting of a note or passage.These principles for musical solutions are then applied to selected Chopin, Ravel, and Debussy works, closing with the entire Sonata in B Minor by Chopin.Just as each hand with its limitations is unique, so are solutions highly individual. The musical excerpts, therefore, are meant to serve as examples or catalysts in aiding pianists to solve their own hand problems.

This dissertation offers a pedagogical approach to the advanced piano student who needs technique refinement in the areas of dynamic control and disjunct motion. The approach is based on the writings of Otto Ortmann and later writers who have followed and extended Ortmann's studies of piano technique. The concept is developed that the control of either vertical or horizontal technique motions should be the primary technical concern of the player, the choice of a particular form of technique being the result of a rational, cognitive thought process which responds to an aesthetic goal.In order to restrict the scope of the work, it is limited to the application of vertical and horizontal motion in situations of abrupt change. These situations strongly focus attention on the problems inherent in controlling these basic directions of movement.Although the present work consists of an Introduction and four main sections, the result is a three--fold approach consisting of general discussion of each basic movement form (Sections One and Two), short exercises (Section Three) designed to isolate motion shapes or types of motion in non-aesthetic situations, and music excerpts (Section Four) in which to apply concepts and skills developed in the preceding sections. Also included are two appendices containing information which should assist the student in understanding the main body of the dissertation.The eighteen excerpts in Section Four are drawn from the works of Mozart, Beethoven, Field, Chopin, Liszt, Moussorgsky, Scriabin, Rachmaninoff, Prokofiev, Bartok, Webern, Fontyn, Orff, and Copland. These present clearly isolated problems of horizontal or vertical motion as well as complex combinations of both basic motion forms. The commentaries to each excerpt are directed almost exclusively to technical concerns.Appendix I presents a survey of the development of the piano and its acceptance in the eighteenth century. The second appendix offers a survey of the history of piano pedagogy and emphasizes the significance of Otto Ortmann's work and his historical position.

<p>Jag spelade in en cd med 7 st låtar där jag spelar fyrhändigt piano med mig själv. Det är blandad repertoar med egenskriven musik samt musik skriven av andra.</p><p>Bilaga: 1 CD</p>

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