Thesis (Ed.D.)--Teachers College, Columbia University, 1964. / Typescript; issued also on microfilm. Sponsor: Harry Wilson. Dissertation Committee: Charles Walton. "Die schöne Müllerin," by Franz Schubert: 53 p. at end. Includes bibliographical references (leaves 75-78).

The purpose of this study was to ascertain what competencies professional accompanists and accompanying teachers deem sufficiently important to be included at some point in the development of a professional accompanist. Research problems were formulated to determine what differences exist between opinions of teachers and professionals regarding necessary skills in preparation of accompanists in (1) pianistic skills, (2) accompanying skills, (3) vocal skills, (4) linguistic skills, (5) knowledge of repertoire, (6) understandings in human relationships, and (7) other competencies. Data were collected by means of a validated questionnaire containing items grouped into the seven categories listed above. It was sent to twenty professional accompanists and thirty-one schools offering accompanying degrees. Seventy per cent of the professionals and 84 per cent of the schools responded. Each competency was rated first for its relative importance to a professional accompanist and then for its appropriate place in the sequence of an accompanist's preparation. A chi square comparison of responses of the two groups regarding the importance of each competency showed virtually no significant differences. Responses on appropriate stages of training were not treated statistically.

No description available.

The Southern Baptist Convention's Music Department and state associations, with their vast influence yet often modest resources, educated generations of pianists and organists in the arts of accompanying and service playing. Chapter 1 examines the genesis of this education movement, beginning with B. B. McKinney's interest through the Southern Baptist Convention's Music and Worship committee. Chapters 2 and 3 contain an overview of previous studies and the materials of other protestant American denominations and Baptists used to train keyboard musicians. These include Lutheran, Nazarene, Methodist, and independent Baptist. Chapter 4 covers the results of the work of the Music and Worship Committee to the establishment of the Music Week at Ridgecrest, a Southern Baptist retreat, the formation of the Church Music Department and Music Week's expansion to Glorieta, another Southern Baptist retreat, and the decision to begin

Inaug.-Diss.--Munich. / Lebenslauf. Description based on print version record. "Literatur-Verzeichnis": p. vii-ix.

Sistemas de acompanhamento musical automatizado são de grande utilidade como ferramentas didáticas. Com eles, um aluno de música consegue ensaiar uma peça musical sendo acompanhado pelo computador, com a liberdade de tocar na velocidade em que desejar e, além disso, de cometer erros acidentais ou desvios intencionais em relação ao esperado (definido em partitura). Um sistema de acompanhamento musical deve ter as habilidades de analisar a execução ao vivo de um músico (pré-processador da entrada), comparar os eventos recebidos com os de uma partitura pré-carregada (rastreador), gerar o acompanhamento conforme o andamento inferido (acompanhador) e sintetizar os sons relativos a esse acompanhamento (sintetizador). O trabalho apresentado neste texto consistiu em estudar diversas técnicas relativas ao problema de acompanhamento musical, implementar alguns algoritmos baseados na literatura abordada, validar a qualidade obtida com tais algoritmos e disponibilizar um sistema de código aberto modular com mais de uma alternativa de algoritmo para cada módulo. Além disso, foi desenvolvido um elemento adicional para o sistema - o MetaRastreador - que combina todas as técnicas de rastreamento implementadas, executando-as em paralelo e obtendo uma maior confiabilidade nas informações extraídas da entrada, considerando diversas opiniões diferentes sobre a posição do músico na partitura. / Automated musical accompaniment systems are very useful as didactic tools. With them, a music student can rehearse a musical piece being accompanied by the computer, with the freedom to play at the desired speed and, moreover, to perform accidental errors or intentional deviations from the expected (defined by a musical score). A musical accompaniment system should have the skills to analyze the live performance of a musician (input preprocessor), compare the events received with those of a preloaded score (matcher), generate the accompaniment according to the inferred tempo (accompaniment), and synthesize the sounds related to this accompaniment (synthesizer). The work presented in this text consisted of studying several techniques related to the musical accompaniment problem, implementing some algorithms based on the literature, validating the quality obtained with such algorithms, and providing a modular open source system with more than one alternative algorithm for each module. Furthermore, an additional element was developed for the system - the MetaMatcher - that combines all the tracking techniques implemented by running them in parallel and obtaining a greater reliability in the information extracted from the input, considering several different opinions about the position of the musician in the musical score.

Inaug.-Diss.--Bern. / Vita. Bibliography: p. 124-125.

Sistemas de acompanhamento musical automatizado são de grande utilidade como ferramentas didáticas. Com eles, um aluno de música consegue ensaiar uma peça musical sendo acompanhado pelo computador, com a liberdade de tocar na velocidade em que desejar e, além disso, de cometer erros acidentais ou desvios intencionais em relação ao esperado (definido em partitura). Um sistema de acompanhamento musical deve ter as habilidades de analisar a execução ao vivo de um músico (pré-processador da entrada), comparar os eventos recebidos com os de uma partitura pré-carregada (rastreador), gerar o acompanhamento conforme o andamento inferido (acompanhador) e sintetizar os sons relativos a esse acompanhamento (sintetizador). O trabalho apresentado neste texto consistiu em estudar diversas técnicas relativas ao problema de acompanhamento musical, implementar alguns algoritmos baseados na literatura abordada, validar a qualidade obtida com tais algoritmos e disponibilizar um sistema de código aberto modular com mais de uma alternativa de algoritmo para cada módulo. Além disso, foi desenvolvido um elemento adicional para o sistema - o MetaRastreador - que combina todas as técnicas de rastreamento implementadas, executando-as em paralelo e obtendo uma maior confiabilidade nas informações extraídas da entrada, considerando diversas opiniões diferentes sobre a posição do músico na partitura. / Automated musical accompaniment systems are very useful as didactic tools. With them, a music student can rehearse a musical piece being accompanied by the computer, with the freedom to play at the desired speed and, moreover, to perform accidental errors or intentional deviations from the expected (defined by a musical score). A musical accompaniment system should have the skills to analyze the live performance of a musician (input preprocessor), compare the events received with those of a preloaded score (matcher), generate the accompaniment according to the inferred tempo (accompaniment), and synthesize the sounds related to this accompaniment (synthesizer). The work presented in this text consisted of studying several techniques related to the musical accompaniment problem, implementing some algorithms based on the literature, validating the quality obtained with such algorithms, and providing a modular open source system with more than one alternative algorithm for each module. Furthermore, an additional element was developed for the system - the MetaMatcher - that combines all the tracking techniques implemented by running them in parallel and obtaining a greater reliability in the information extracted from the input, considering several different opinions about the position of the musician in the musical score.

The musical developments of the 20th century have expanded the role of the accompanist. As the compositional output of our time increases, and the opportunity to perform as soloist with an orchestra diminishes, piano reductions of an orchestral score are becoming the most frequent vehicle for concerto performances of twentieth and twenty-first century instrumental literature. While the current state of research provides solid support to many accompanists, it is in the area of instrumental accompanying, especially with regard to the challenges of playing a reduction of an orchestral score with an instrumental soloist, that the lack of discourse becomes strikingly evident. It is the goal of this study to provide the instrumental accompanist with concrete, practical approaches and considerations in order to perform an orchestral reduction in a manner consistent with the integrity of the score. Problems such as identifying the represented orchestral instruments, delineating importance of musical lines, and basic uses and misuses of pedal, articulation, and rubato are discussed. The pianist is led through ways of deciphering and negotiating specific passages, in order to guide the accompanist through the possible pitfalls and challenges unique to many orchestral reductions. By focusing on twentieth century reductions, providing examples of problems and discussing ways to solve them, the pianist will able to apply these to any reduction encountered, not just those specifically illustrated here. These basic principles of discerning common problems and appropriately reconciling them are then applied in a more advanced form to Robert Nelson's Concertino for Baritone Saxophone (1996). Through commentary from the composer, and a comparison of the orchestral score to the reduced piano score, the accompanist will explore detailed techniques of performing this work in a manner that upholds the original “orchestral” intent of the music.

Accompanist is the old term. Collaborative pianist is the new one. Accompanist implies a mostly subservient role, whereas collaborative pianist gestures toward a more equitable relationship between the soloist and pianist, no longer a mere follower. Degree programs that prepare collaborative piano skills are growing rapidly in higher education since their inception five decades ago, encouraging a wider range of pianists to pursue an intentional career path. Becoming a seasoned collaborative pianist takes time, however. Little empirical research has investigated the preparation process. What is it like for collaborative piano majors to accumulate collaborative skills and practical knowledge? How is collaboration defined and experienced, and how helpful do students find their programs? Without understanding student experiences, the artistic well-being of collaborative pianists is at stake, and so is the field’s own ability to do its work. This qualitative study examines lived experiences of collaborative piano students in conservatory and university degree programs. As researcher, I conducted in-depth semi-structured interviews exploring topics including, but not limited to, professional identity, attitudes and dispositions, competencies and skills, struggles and challenges, power dynamics as well as teamwork with four recent graduates in the United States. It seems that issues of professionalization, an unclear definition of “collaboration,” and a lack of student agency are central to all lived experiences. An examination of these phenomena would contribute to the growth of the field, empowering its ability to do its job more efficiently and sustainably.