The piano action is the mechanism that transforms the finger force applied to a key into the motion of a hammer that strikes a piano string. This thesis focuses on improving the fidelity of the dynamic model of a grand piano action which has been already developed by Hirschkorn et al. at the University of Waterloo. This model is the state-of-the-art dynamic model of the piano in the literature and is based on the real components of the piano action mechanism (key, whippen, jack, repetition lever, and hammer). Two main areas for improving the fidelity of the dynamic model are the hammer shank and the connection point between the key and the ground. The hammer shank is a long narrow wooden rod and, by observation with a high-speed video camera, the flexibility of this part has been confirmed. In previous work, the piano hammer had been modelled as a rigid body. In this work, a Rayleigh beam model is used to model the flexible behaviour of the hammer shank. By comparing the experimental and analytical results, it turns out that the flexibility of the hammer shank does not significantly affect the rotation of the other parts of the piano mechanism, compared with the case that the hammer shank has been modelled as a rigid part. However, the flexibility of the hammer shank changes the impact velocity of the hammer head, and also causes a greater scuffing motion for the hammer head during the contact with the string. The connection of the piano key to the ground had been simply modelled with a revolute joint, but the physical form of the connection at that point suggests that a revoluteprismatic joint with a contact force underneath better represents this connection. By comparing the experimental and analytical results, it is concluded that incorporating this new model significantly increases the fidelity of the model for the blows. In order to test the accuracy of the dynamic model, an experimental setup, including a servo motor, a load cell, a strain gauge, and three optical encoders, is built. The servo motor is used to actuate the piano key. Since the purpose of the motor is to consistently mimic the finger force of the pianist, the output torque of the motor is controlled. To overcome the problem associated with the motor torque control method used in previous work, a new torque control method is implemented on a real-time PC and a better control of the motor torque output is established. Adding a more realistic model of the piano string to the current piano action model and finding a better contact model for the contacts that happen between the surfaces that are made of felt (or leather), are two main areas that can be worked on in the future research. These two areas will help to further increase the fidelity of the present piano action model.

It is always very difficult for the piano teachers to select appropriate teaching materials from many published method series. Assigning them to meet the need of each individual student is also a challenge. From the Chinese editions of several piano teaching materials, the following three elementary piano method series with similar attributes were selected as the base of this research: David Carr Glover Piano Library, Bastien Piano Library, and Alfred's Basic Piano Library. Through systematic analysis and comparison, this research reaches certain conclusions about the similarities and differences between these method series. The outcome of this research may help piano teachers in selecting method books more objectively and in improving their teaching techniques. This research compares three selected piano method series from the following four aspects: the longitudinal connection of core courses, the latitudinal connection of core courses, the functional techniques of core courses, and the degree of applicability and compatibility of the supplementary courses. Items being analyzed for the first two aspects are basic knowledge of piano playing, reading approach (including pre- staff reading, staff recognition, recognition of intervals, scales and tonalities), rhythmic training, playing techniques, and interpretation or expression. The results of all analyses are arranged in tabulate form with necessary comments. The functional techniques of core courses are summarized in four categories: sight reading, transposition, harmonization with primary chords as the accompaniment, and playing primary chord progressions. The degree of applicability and compatibility of supplementary courses in the selected series is also determined through the consideration of same items listed above. The findings of this research are threefold which reveal the uniqueness of each piano method series: 1.The "Piano Solo" book of the David Carr Glover Piano Library works better with its core courses in the latitudinal connections than the "Piano Repertoire" book. 2. The Bastien Piano Library is the only one out of the three selected series offering the functional techniques of sight reading and emphasizing the transposition technique. 3. The Alfred's Basic Piano Library performs the best in the longitudinal and latitudinal connections within its core lessons. Its selected supplementary courses and "Piano Lessons" books have the highest degree of applicability and compatibility.

This thesis begins with the origin and development of cadenza. Then the structure of W.A.Mozart¡¦s cadenza is discussed. Mozart¡¦s Piano Concerto K.V.453 first movement is used as an example to explain the ritornello form and the cadenza structure. Finally, those of other composers, such as Johannes Brahms (1833-97), Ferruccio Busoni (1866-1924), Ernst von Dohnányi (1877-1961) and Edwin Fischer (1886-1960), their cadenzas for K.V.453 first movement will also be analyzed and compared. Most of Mozart¡¦s cadenzas can be analyses as three-part form: The first part starts either themes from the concerto movement or virtuoso runs which appeared in the movement before or newly invented. The second part usually over a sustained bass note or chord continually develops sequences of an important theme or motive from the concerto movement. This will leads into the third part with a number of virtuoso runs, passages in thirds, etc., until the close of the cadenza which usually ends with a long trill. During the 19th and 20th centuries, performers performed Mozart Piano Concerto, seldom adopted the cadenza of Mozart's. Rather, they would replace Mozart's cadenza with those written by themselves. Those cadenzas according to the treatises and Mozart¡¦s own cadenzas usually did not have the so-called ¡§Mozart's style¡¨. Because the authenticity movement of performing early music in the late 20th, when a performer decides to perform Mozart Piano Concerto, it becomes very important for him to figure out how to choose or create the proper cadenza for himself to perform. Yet, the change of time with different personality and style will influence the result of creating and performing a cadenza. Maybe this is one the main reason that make the cadenza so very and interesting always.

This paper is a study of the relationship between piano and orchestra in Mozart¡¦s piano concerto, K.467. The paper includes an introduction followed by three sections and a conclusion. The introduction briefly reviews the origins of the solo concerto. The following section discusses the changing nature of the relationship between tutti and soloist as the solo concerto evolved up until the time of Mozart. The next section is an analysis, with diagrams, of the form of K.467, the first movement being in concerto-sonata form, the second movement in three-stanza song form, and the third movement in rondo form. This is followed by the most important section of the paper which categorizes and discusses four types of solo-tutti relationships used by Mozart in K.467, showing examples from the score. These four types, suggested by Girdlestone in his book Mozart and His Piano Concertos, include: first, the orchestra as accompaniment supporting the soloist; second, the soloist as accompaniment to the orchestra; third, orchestra and soloist cooperating or competing on an equal basis; and fourth, orchestra and soloist entering in turn, answering one another.

Debussy composed a piano work Préludes Book I in 1909. By Symbolism and Impressionism in French, Debussy was induced to write twelve pieces in Préludes Book I. His composes not only reveal variety but also involve the actuality, tales, antique and modern cultures in his creations. The thesis first investigates the relation in Debussy, Symbolism, and Impressionism. The second work is description of the composed background of Préludes Book I. Finally, we discuss the performance interpretation in Debussy Préludes Book I according to the statements of historians with Léon Vallas, Paul Roberts, E. Robert Schmitz, R. Myers, and pianists Marguertite Long, Alfred Cortot and Debussy¡¦s friends Lousia Liebich, Robert Godet. In this thesis, the historical viewpoints would be adopted to research the performance of expression for Préludes Book I. And, we expect each player who is able to explicitly understand the expression of this piece when he or she possesses an excellent skill in the future.

In the first half of the nineteenth century, London provided an excellent environment with abundant musical activities that attracted outstanding musicians all over the Continent to be here for their careers. Both the Industry Revolution and the French Revolution brought essential changes of political and economical activities into London, and consequently influenced the musical environment. In addition, the enthusiasm for music, from the Royal to the civics, provided a stage for the development of piano music. This thesis discusses the musical environment and social condition of London in the first half of the nineteenth century, their influence to the writing and performing of piano sonatas by ¡§the London Pianoforte School.¡¨ There are three main chapters in this thesis. Chapter One discusses the influence of social transition to musical activities and points out the social phenomenon of music, the performing environment, the demand of piano production, and the technical improvement of piano making. Chapter Two investigates the writing of piano sonatas by ¡§The London Pianoforte School¡¨, including the forming of the school, musician activities in London, and situations about of the piano sonatas that were written and published. Chapter Three examines the functions of piano sonatas of ¡§the London Pianoforte School¡¨, and compares the differences between sonatas written for teaching and for public concerts purposes, focusing on writing techniques for different functions.

Musikstück für den Musikschulbereich, Klavier, Rondo

Diss.--Freiburg im Breisgau--Albert-Ludwigs-Univ., 1994. / Bibliogr. p. 203-214.

Thesis (D.M.A.)--University of Texas at Austin, 2000. / Vita. Includes bibliographical references (leaves 124-128). Available also in a digital version from Dissertation Abstracts.

Treatise (D.M.A.)--University of Texas at Austin, 2002. / Vita. Includes bibliographical references. Available also from UMI Company.