Author: Charles Davis SmithPublisher: Automatic Musical Instrument Collectors' Association
ISBN:
Category : Music
Languages : en
Pages : 1000
Book Description
The Welte-Mignon
Author: Charles Davis SmithPublisher: Automatic Musical Instrument Collectors' Association
ISBN:
Category : Music
Languages : en
Pages : 1000
Book Description
Piano and Radio Magazine
Author: The Moving Picture World
Author: The Century
Author: Instruments for New Music
Author: Thomas PattesonPublisher: Univ of California Press
ISBN: 0520288025
Category : Music
Languages : en
Pages : 251
Book Description
Listening to instruments -- "The joy of precision" : mechanical instruments and the aesthetics of automation -- "The alchemy of tone" : Jörg Mager and electric music -- "Sonic handwriting" : media instruments and musical inscription -- "A new, perfect musical instrument" : the trautonium and electric music in the 1930s -- The expanding instrumentarium
Reproducing Pianos Past and Present
Author: Kent A. HollidayPublisher: Edwin Mellen Press
ISBN:
Category : Music
Languages : en
Pages : 208
Book Description
The reproducing piano rendered faithful re-performances of classical and popular piano solos at a time when cylinder and disc recorders were in their infancy. It played notes from a perforated paper roll, but unlike the player piano it was able to replicate expressive performance elements such as articulation, dynamics, and pedaling. Busoni, Granados, Hoffmann, Rachmaninov, and Ravel made thousands of piano rolls for the reproducing piano.
The World's Work
Author: Music Trades
Author: The Performing Style of Alexander Scriabin
Author: Professor Anatole LeikinPublisher: Ashgate Publishing, Ltd.
ISBN: 1409494284
Category : Music
Languages : en
Pages : 320
Book Description
When Alexander Nikolayevich Scriabin's music was performed during his lifetime, it always elicited ecstatic responses from the listeners. Wilhelm Gericke, conductor of the Vienna opera, rushed backstage after one of Scriabin's concerts and fell on his knees crying, 'It's genius, it's genius...'. After the composer’s death in 1915, however, his music steadily lost the captivating appeal it once held. The main reason for this drastic change in the listeners’ attitude is an enormous gap existing between the printed scores of Scriabin’s music and the way the composer himself played his works. Apparently, what Scriabin's audiences heard at the time was significantly different from, and vastly superior to, modern performances that are based primarily on published scores. Scriabin recorded nineteen of his compositions on the Hupfeld and Welte-Mignon reproducing pianos in 1908 and 1910, respectively. Full score transcriptions of the piano rolls, which are included in the book, provide many substantial features of Scriabin's performance: exact pitches and their timing against each other, rhythms, tempo fluctuations, articulation, dynamics and essential pedal application. Using these transcriptions and other historical documents as the groundwork for his research, Anatole Leikin explores Scriabin's performing style within the broader context of Romantic performance practice.
Author: