Pianoforte

Ripin, Edwin M.; Pollens, Stewart; Belt, Philip R.; Meisel, Maribel; Huber, Alfons; Cole, Michael; Hecher, Gert; Pascual, Beryl Kenyon de; Hoover, Cynthia Adams; Ehrlich, Cyril; Good, Edwin M.; Winter, Robert; Robinson, J. Bradford

doi:10.1093/gmo/9781561592630.article.21631

Cited by 4 publications

(5 citation statements)

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“…Finally, we note that Bach’s Well-Tempered Clavier is both narrower in range and higher in overall pitch than the Chopin Preludes ( Figure 3 ). This may be a reflection of the extended range of the piano in Chopin’s time ( Ripin et al, n.d. ).…”

Section: Discussionmentioning

confidence: 99%

Cueing musical emotions: An empirical analysis of 24-piece sets by Bach and Chopin documents parallels with emotional speech

Poon

Schutz

2015

Front. Psychol.

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Acoustic cues such as pitch height and timing are effective at communicating emotion in both music and speech. Numerous experiments altering musical passages have shown that higher and faster melodies generally sound “happier” than lower and slower melodies, findings consistent with corpus analyses of emotional speech. However, equivalent corpus analyses of complex time-varying cues in music are less common, due in part to the challenges of assembling an appropriate corpus. Here, we describe a novel, score-based exploration of the use of pitch height and timing in a set of “balanced” major and minor key compositions. Our analysis included all 24 Preludes and 24 Fugues from Bach’s Well-Tempered Clavier (book 1), as well as all 24 of Chopin’s Preludes for piano. These three sets are balanced with respect to both modality (major/minor) and key chroma (“A,” “B,” “C,” etc.). Consistent with predictions derived from speech, we found major-key (nominally “happy”) pieces to be two semitones higher in pitch height and 29% faster than minor-key (nominally “sad”) pieces. This demonstrates that our balanced corpus of major and minor key pieces uses low-level acoustic cues for emotion in a manner consistent with speech. A series of post hoc analyses illustrate interesting trade-offs, with sets featuring greater emphasis on timing distinctions between modalities exhibiting the least pitch distinction, and vice-versa. We discuss these findings in the broader context of speech-music research, as well as recent scholarship exploring the historical evolution of cue use in Western music.

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Section: Discussionmentioning

confidence: 99%

Cueing musical emotions: An empirical analysis of 24-piece sets by Bach and Chopin documents parallels with emotional speech

Poon

Schutz

2015

Front. Psychol.

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“…The history of the pianoforte is long and complex and involves many developments and evolutionary changes. This has resulted in a few standardised versions of the piano being generally accepted throughout the world, with a consequent effect on the music written for and performed on the instrument (Ripin et al 2016).…”

Section: Qwertys and Musical Instrumentsmentioning

confidence: 99%

Live Coding, Live Notation, Live Performance

Hoadley

2016

Electronic Workshops in Computing

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This paper/demonstration explores relationships between code, notation including representation, visualisation and performance. Performative aspects of live coding activities are increasingly being investigated as the live coding movement continues to grow and develop. Although live instrumental performance is sometimes included as an accompaniment to live coding, it is often not a fully integrated part of the performance, relying on improvisation and/or basic indicative forms of notation with varying levels of sophistication and universality. Technologies are developing which enable the use of fully explicit music notations as well as more graphic ones, allowing more fully integrated systems of code in and as performance which can also include notations of arbitrary complexity. This itself allows the full skills of instrumental musicians to be utilised and synchronised in the process. This presentation/demonstration presents work and performances already undertaken with these technologies, including technologies for body sensing and data acquisition in the translation of the movements of dancers and musicians into synchronously performable notation, integrated by live and prepared coding. The author together with clarinetist Ian Mitchell present a short live performance utilising these techniques, discuss methods for the dissemination and interpretation of live generated notations and investigate how they take advantage of instrumental musicians' training-related neuroplasticity skills.

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“…1 From the keyed monochord in 1157, to the clavichord (late Medieval), to the harpsichord (1440), musicians yearned for a rich and full sound that would fill the courts of European monarchs. Development of such an instrument emerged in the early 1700s in Padua, Italy, where Bartolomeo Cristofori (1655-1731) designed the first precursor of a modern piano.…”

Section: Evolution Of the Piano: Of Fingers And Keysmentioning

confidence: 99%

“…Development of such an instrument emerged in the early 1700s in Padua, Italy, where Bartolomeo Cristofori (1655-1731) designed the first precursor of a modern piano. 1 Fitted with thin strings and seemingly quiet when compared with the modern version of a piano, Cristofori's instruments possessed a power and richness surpassing any clavichord of the era. With the advent of the Industrial Revolution, pianos grew in size, increased in tonal range from 5 to 7 octaves, and were modified with mechanical innovations such as the damper (also known as sustaining) pedal, soft pedal, and sostenuto pedal to extract sound of various colors and shades.…”

Section: Evolution Of the Piano: Of Fingers And Keysmentioning

confidence: 99%

“…With the advent of the Industrial Revolution, pianos grew in size, increased in tonal range from 5 to 7 octaves, and were modified with mechanical innovations such as the damper (also known as sustaining) pedal, soft pedal, and sostenuto pedal to extract sound of various colors and shades. 1 In particular, their popularity increased among the ranks of renowned composers such as J. S. Bach (1685-1750), who served as an agent in selling Silbermann's pianos. These instruments were unique products of the creative labors of Gottfried Silbermann (1683-1753) who pioneered the damper pedal, an advance that ensured the survival of music for the left hand by facilitating the masking of the "jumps" of the hand associated with a broad acoustical range of melodies.…”

Section: Evolution Of the Piano: Of Fingers And Keysmentioning

confidence: 99%

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