Relevant bibliographies by topics / Concertosw (Harp)

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  1. Journal articles
  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Concertosw (Harp)'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Concertosw (Harp)"

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Stein, Robert. "London, Proms 2012 (2): Olga Neuwirth, Kaija Saariaho." Tempo 67, no. 263 (2013): 73–75. http://dx.doi.org/10.1017/s0040298212001416.

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Postmodernism in music may be hard to define – even harder than the same notoriously slippery term in literature – but Olga Neuwirth's viola concerto Remnants of songs … an Amphigory (2009) may be as good an exemplar as any. Given its UK première on 13 August by the talented British violist Lawrence Power, with the Philharmonia Orchestra under Susanna Mälkki, the concerto's Proms appearance marks the first time the festival has put on any of her pieces.
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Parker, Robert L. "Carlos Chavez's Phantom Harp Concerto." American Music 10, no. 2 (1992): 203. http://dx.doi.org/10.2307/3051725.

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Подгузова, М. М. "“This Noisy Concerto Score...” (From the Letters of Anatoliy Kos-Anatolsky to Kseniya Erdeli)." OPERA MUSICOLOGICA, no. 1 (March 15, 2021): 123–38. http://dx.doi.org/10.26156/om.2021.13.1.006.

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История создания и дальнейшая судьба Концерта для арфы с оркестром А. И. Кос-Анатольского рассматриваются на основе писем композитора к выдающейся отечественной арфистке К. А. Эрдели, принявшей активное участие в появлении этого сочинения, а также ставшей первой его исполнительницей. Эпистолярий, относящийся к периоду 1954–1970 годов, посвящен процессу работы Кос-Анатольского над партитурой и голосами первого украинского концерта для арфы. Одной из центральных тем корреспонденции также становится исполнительская и издательская судьба сочинения. В целом письма дают возможность составить живой портрет композитора, с полной отдачей посвятившего себя созданию советского произведения концертного жанра для арфы. Также предлагается взгляд на положение Концерта Кос-Анатольского в отечественном арфовом репертуаре. The article is dedicated to the history of creation and the future fate of the Concerto for harp and orchestra by Anatoliy Kos-Anatolsky, which are considered on the basis of the composer’s letters to the outstanding national harpist Kseniya Erdeli, who took an active part in the appearance of this composition, and also became its first performer. The epistolary dating back to the period of 1954–1970 is dedicated to the process of Kos-Anatolsky’s work on the score and voices of the first Ukrainian concerto for harp. One of the central topics of the correspondence is also the performing and publishing fate of the work. In general, the letters make it possible to draw a live portrait of the composer, who fully immersed himself in creating the Soviet work of the concert genre for harp. It also offers a look at the place of the newly created composition in the national harp repertoire.
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Baldwin, Olive, and Thelma Wilson. "Getting and spending in London and Yorkshire: a young musician’s account book for 1799–1800." Royal Musical Association Research Chronicle 51 (January 2020): 137–48. http://dx.doi.org/10.1017/rrc.2019.2.

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AbstractIn March 1799 John White was 20 years old and already an experienced professional violinist and cellist. He kept a detailed account book between March 1799 and March 1800 that provides much information about the economic and professional life of a young musician at the very end of the eighteenth century. White had showed early musical promise, and when he was 15 he attracted the patronage of the future Lord Harewood, who enabled him to take lessons from leading musical figures and appointed him as his director of music. White lived at Harewood House, near Leeds, but he spent some months of the London season each year with the Harewood family in their house in Hanover Square. The accounts show how White earned money in London by playing at private and public concerts and deputising at almost every place of musical entertainment in the capital. In Yorkshire he led orchestras in concerts and oratorio performances, took on pupils and visited Scarborough. White’s meticulous lists of his income and expenditure, from an expensive violin, a harp and harp lessons to silk stockings, waistcoats and hair ribbon, paint a fascinating picture of a young man making his way in the musical profession.
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Stahlhut, Jacy. "Henriette Renié: A Threefold Legacy." Musical Offerings 12, no. 1 (2021): 11–24. http://dx.doi.org/10.15385/jmo.2021.12.1.2.

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In 1810, Sébastien Érard patented a double-action mechanism that would dramatically alter the trajectory of the pedal harp. While this invention granted the harp a newfound voice in orchestral music, the harp still struggled to gain ground as a solo instrument. The harp’s increased complexity necessitated that harpists themselves explore the instrument’s abilities and demonstrate these to the musical world. It is to one such harpist, Henriette Renié, that the harp owes much of its credibility as an instrument worthy of the solo stage. From her prodigious beginnings at Paris Conservatoire, Renié’s concerts captivated musicians and the public alike. Her spirit on stage exuded a love of the harp and indeed, of beauty itself. Finding existing literature to be somewhat limited, Renié gifted the harp repertoire with significant works that showcased the harp’s virtuosic abilities and inimitable qualities. Yet, her influence might not have been so widespread had it not been for her love of teaching. Committed to cultivating a love of the harp in each of her students, Renié instructed numerous harpists, including Mildred Dilling, Marcel Grandjany, and Susann McDonald. This article demonstrates Mlle. Renié’s vital role in the advancement of the harp as a solo instrument by drawing on biographical information, interview transcriptions, student testimonials, and score study. Renié heralded the harp’s potential for the entirety of her career, and her legacy rightly serves as an inspiration to today’s harpists. In surveying the impact of her performances, compositions, and teaching, it is clear that Mlle. Renié’s mastery of the harp was outmatched only by her love for it.
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Westrol, Michael S., Susmith Koneru, Norah McIntyre, Andrew T. Caruso, Faizan H. Arshad, and Mark A. Merlin. "Music Genre as a Predictor of Resource Utilization at Outdoor Music Concerts." Prehospital and Disaster Medicine 32, no. 3 (2017): 289–96. http://dx.doi.org/10.1017/s1049023x17000085.

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AbstractObjectivesThe aim of this study was to examine the various modern music genres and their effect on the utilization of medical resources with analysis and adjustment for potential confounders.MethodsA retrospective review of patient logs from an open-air, contemporary amphitheater over a period of 10 years was performed. Variables recorded by the medical personnel for each concert included the attendance, description of the weather, and a patient log in which nature and outcome were recorded. The primary outcomes were associations of genres with the medical usage rate (MUR). Secondary outcomes investigated were the association of confounders and the influences on the level of care provided, the transport rate, and the nature of medical complaint.ResultsA total of 2,399,864 concert attendees, of which 4,546 patients presented to venue Emergency Medical Services (EMS) during 403 concerts with an average of 11.4 patients (annual range 7.1-17.4) each concert. Of potential confounders, only the heat index ≥90°F (32.2°C) and whether the event was a festival were significant (P=.027 and .001, respectively). After adjustment, the genres with significantly increased MUR in decreasing order were: alternative rock, hip-hop/rap, modern rock, heavy metal/hard rock, and country music (P<.05). Medical complaints were significantly increased with alternative rock or when the heat index was ≥90°F (32.2°C; P<.001). Traumatic injuries were most significantly increased with alternative rock (P<.001). Alcohol or drug intoxication was significantly more common in hip-hop/rap (P<.001). Transport rates were highest with alcohol/drug intoxicated patients (P<.001), lowest with traumatic injuries (P=.004), and negatively affected by heat index ≥90°F (32.2°C; P=.008), alternative rock (P=.017), and country music (P=.033).ConclusionAlternative rock, hip-hop/rap, modern rock, heavy metal/hard rock, and country music concerts had higher levels of medical resource utilization. High heat indices and music festivals also increase the MUR. This information can assist event planners with preparation and resource utilization. Future research should focus on prospective validation of the regression equation.Westrol MS, KoneruS, McIntyreN, Caruso AT, ArshadFH, MerlinMA. Music genre as a predictor of resource utilization at outdoor music concerts. Prehosp Disaster Med. 2017;32(3):289–296.
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Zagidullina, Dilbar Renatovna, and Ekaterina Evgenyevna Nikiforova. "Timbre-orchestra aspect of symphonic works by Boris Tchaikovsky." PHILHARMONICA. International Music Journal, no. 1 (January 2021): 52–66. http://dx.doi.org/10.7256/2453-613x.2021.1.34175.

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Boris Tchaikovsky is the author of bright and original symphonic compositions. A timbre-orchestra palette is, undoubtedly, one of the key components of the music language of his works. The authors of this research analyze Tchaikovsky’s  Violin concerto and Piano concerto, the symphonic poems “The Juvenile” and “The Winds of Siberia”, the Symphony No 3 “Sevastopol”, and the Symphony with Harp, in order to consider particular aspects connected with the timbre-orchestra language of his symphonic compositions, such as: the timbre-texture embodiment of thematic invention (the peculiarities of orchestra compositions); the ensemble combinations of instruments and their meaning. The authors also analyze the composer’s favorite timbre-texture techniques. The authors define and consider the phenomenon of “timbre pointillism” typical for the timbre writing of the composer. The original symphonic works by Tchaikovsky have been studied many times. In 2019 a research by Yu. Abdokov was published in which the author considers the peculiarities of an orchestra in Tchaikovsky’s theatrical music. The orchestra in his symphonic compositions also has theatrical features, however with some peculiarities. The features of Tchaikovsky’s timbre-orchestra writing haven’t been analyzed yet, and this fact determines the scientific novelty of the research. The authors attempt to generalize the peculiarities of the timbre writing of the composer. Tchaikovsky himself always emphasized the necessity of a single and final variant of orchestration.   
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Allan, Robert Reid. "MaerzMusik." Tempo 72, no. 286 (2018): 80–81. http://dx.doi.org/10.1017/s0040298218000414.

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For one week in March, a bitterly cold Berlin became a hotspot for hard-hitting, radical and politically engaged music making, as MaerzMusik welcomed some of the most forward-thinking composers, performers, speakers and thinkers through its doors. With by far the most representation across the week's events, it was composer/producer/DJ/transgender activist Terre Thaemlitz who assumed the role of unofficial artist-in-residence, with her appearances spanning two concerts, a talk, a DJ set (under pseudonym DJ Sprinkles) and a 30-hour performance of his latest album Soullessness, which was installed over the festival's opening weekend at the Martin-Gropius-Bau.
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Wright, David, Nicholas Daniel, Jane Manning, Jane's Minstrels, and Roger Montgomery. "William Alwyn: Concerto for Flute and Eight Wind Instruments; Suite for Oboe and Harp; Naiades: Fantasy for Flute and Harp; Music for Three Players; Trio for Flute, Cello and Piano." Musical Times 134, no. 1807 (1993): 524. http://dx.doi.org/10.2307/1002755.

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Anderton, Abby. "Hearing Democracy in the Ruins of Hitler's Reich: American Musicians in Postwar Germany." Comparative Critical Studies 13, no. 2 (2016): 215–31. http://dx.doi.org/10.3366/ccs.2016.0200.

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During his 1947 visit to Berlin, American pianist Webster Aitken was shocked to find the Kroll Opera reduced to ‘tangles of twisted girders, resembling empty bird cages. Beyond the Brandenburger Tor, the blocks seem to be made of brown sugar that has gone hard in lumps and streaks’. 1 Aitken was one of dozens of artists invited by the American Military Government to concertize throughout postwar Germany to demonstrate the strength of American musical achievement. Between 1945 and 1949, American musicians visited the ruins of the Third Reich to perform for German audiences, and this article explores the efficacy their postwar concerts had for the reeducation programme. American cultural officers believed music could play a redemptive role in the service of Democracy to promote racial and religious tolerance among German audiences.
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Dissertations / Theses on the topic "Concertosw (Harp)"

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Green, Rachel Kay, and Rachel Kay Green. "Alberto Ginastera's Harp Concerto, Op. 25: A Synthesis of Argentine Nationalism and Neo-Expressionism." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/625590.

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The Harp Concerto, Op. 25 by Alberto Ginastera holds an important place in the harp repertoire, as it is one of the longest and most virtuosic concerti, and yet even the most prominent Ginastera scholars have not included it in their analyses. This study examines Ginastera's musical styles and how they are combined in the Harp Concerto to create a piece that both portrays Ginastera’s Argentine heritage and appeals to an international music audience through the use of contemporary compositional techniques. The overarching styles used in the Harp Concerto are Argentine Nationalism and Neo-Expressionism. Argentine Nationalism is seen in Ginastera's use of the malambo rhythm, special effects that mimic guitar writing, the guitar chord, and specific melodic figures and orchestral textures. Aspects of Neo-Expressionism include the replacement of traditional harmony with large clusters, the prominence of the (0167) tetrachord, the presence of a twelve-tone row, an overall increase in chromaticism, and the use of extended harp techniques. Argentine traits are present throughout several of Ginastera's Neo-Expressionistic compositions; however, the Harp Concerto stands out because of the clarity with which each style is incorporated, as well as in the unique way in which they are combined.
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Dalla, Costa Fábio Cirilo Santos. "O processo de transcrição da parte da harpa para violão de sete cordas do concerto em dó maior K299 para flauta, harpa e orquestra de W.A. Mozart." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2010. http://hdl.handle.net/10183/32626.

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Este trabalho trata do processo de transcrição do Concerto em Dó Maior K 299 para Flauta e Harpa de Wolfgang Amadeus Mozart. O objetivo geral foi a transcrição da parte da harpa do concerto para violão de sete cordas. Por meio da análise comparativa de transcrições do próprio compositor do concerto e do estudo de referencial teórico, foram classificados os procedimentos necessários para a realização da transcrição, que são: compressão de registro, supressão de notas, mudança na disposição de notas, e transferência da parte da harpa para a orquestra. Esses procedimentos vão diretamente ao encontro da adaptação idiomática e musical ao instrumento para o qual verte a transcrição, e à fidelidade ao original da obra. Concluiu-se, por fim, que a transcrição de uma obra, deve se embasar em uma metodologia aplicada, que defina as diretrizes do processo e adapte a linha composicional do original às escolhas pessoais do transcritor.<br>The present work deals with the Concerto in C Major for Flute and Harp K299 by Wolfgang Amadeus Mozart. The main objective was the transcription of the Harp part of the concerto for a seven-string guitar. Through comparative analysis of transcriptions made by the composer himself, along with further reading, the necessary procedures to accomplish this transcription were identified and classified. They are: range compression, suppression of notes, change in the disposition of notes and the transference of accompaniment material from the harp part to the orchestra. Such procedures agree with an idiomatic and musical adaptation for the target instrument, while remaining accurate to the original work. It was concluded that the transcription of a work must be based on an applied methodology that define the guidelines and adapt the original compositional idiom to the personal choices of the transcriber.
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Wenzel, Carol. "Master's thesis recital (harp)." Thesis, 2014. http://hdl.handle.net/2152/24510.

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HUANG, HAO-HSUAN, and 黃浩軒. "Concerto for Clarinet and String Orchestra with Harp and Percussion." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/27673308742172686744.

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Liu, Wen-Ju, and 劉文如. "The conducting research of Ginastera''s“Harp Concerto op.25”." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/17042005342354774863.

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碩士<br>國立臺灣師範大學<br>音樂研究所<br>89<br>Argentina composer, Alberto Ginastera (1916-1983), was widely regarded as one of the most original and important South American composer of the 20th century. Argentine folk songs and popular elements of the local color were used in his works, especially the adaptation of local melody and rhythm. The Harp Concerto, op25, written in 1965, is an obvious example among Ginastera’s works. In this concerto, the new technique innovated in the harp part is quite difficult, which raises up the performing role of harp in orchestra. The orchestra also plays an important role in this concerto, which makes the solo and the orchestral parts correspondently brilliant. Ginastera’s Harp Concerto op.25 was performed in the concert hall at National Taiwan Normal University on March 28, 2001, which was conducted by the researcher. Therefore, the researcher intends to complete a through study about this piece. In this study, “The conducting research of Ginastera’s Harp Concerto op.25”, there are six chapters. Chapter I, the introduction, discusses the goal and the method of this study. Chapter II presents the biography of Ginastera, including his life, study, and works. Chapter III states the background of this concerto, and the review from the premiere. Chapter IV is about the system, the musical form, and the structural analysis of this concerto, as well as the use of tempo, dynamics and performance guide. In addition, tables and figures are presented in this chapter. Chapter V discusses the research in conducting this piece, including the example found from the practiced and performed experience. Chapter VI is the conclusion of whole study.
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Hsu, Ya-Chu, and 許雅筑. "An Analysis and Interpretation of Andre Jolivet’s Concerto for Bassoon, Strings, Harp and Piano, 1954." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/4t6zs5.

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Esanu, Corneliu. "Spring, summer, autumn : concerto for a solo group of wind instruments, piano, harp, percussion, and string orchestra (Original composition) /." 2006. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=442474&T=F.

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Yu-hsin, Huang, and 黃玉馨. "Performing research of Aaron Copland''s concerto for clarinet and string orchestra with harp and piano/ Hunag Yu-Hsin''s clarinet graduate recital." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/24896182867938454380.

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碩士<br>東吳大學<br>音樂學系<br>92<br>Aaron Copland''s clarinet concerto for clarinet and string orchestra with harp and piano is one of these important clarinet pieces on twenty century. This piece contain american folk song, jazzy character,the creative method of Copland and the playing style of Swing King-Benny Goodman. Its bouncing melody, technich cendenza, fast higher notes and complex rhythm are very difficult for one clarinet player. The thesis contains three parts to look into this piece-part one: historical background, part two: musical analysis, part three: performing confrtment. Hope these research can do something for players who want to play this piece. Program F. Devienne (1759-1803) : Premiere Sonate pour Clarinette sib et Pianoforte I. Allegro con spiritoso II. Adagio III. Rondo Allegretto H. Sutermeister (1910-1995) : Capriccio for unaccompanied Clarinet in A Intermission Lai Deh-ho (1943-) : Sonata for Clarinet and Piano I. Affettuoso II. Allegro con fuoco G. Finzi (1901-1956) : Five Bagalles for Clarinet and Piano op.23 I. Prelude II. Romance III. Carol IV. Forlana V. Fughetta C.M. v. Weber (1786-1826) : Fantasia and Rondo for Clarinet in Bb with Piano Accompaniment op.34 / Arranged by G. Langenus I. Adagio ma non troppo II. Rondo : Allegro giojoso
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Books on the topic "Concertosw (Harp)"

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Harp music bibliography: Chamber music and concertos. Scarecrow Press, 2002.

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Rodrigo, Joaquín. Concierto serenata: (1952) para arpa y orquesta. Ediciones Joaquín Rodrigo, 1994.

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Vita, Mirella. La musica svizzera per arpa: Fonti musicali, dizionario enciclopedico e repertorio da concerto = Die Schweizerische Harfenmusik : musikalische Quellen, Lexikon, Konzertrepertoire. Pizzicato, 1993.

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Perkins, Lucian. Hard art: DC 1979. Edited by MacKaye Alec, Rollins Henry 1961-, Constantinople Lely, and McLellan Jayme. Akashic Books, 2013.

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Briscoe, James R. Contest pieces for harp. 2018.

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Flute and Harp Concerto MC. HarperCollins Publishers Ltd, 1990.

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(Composer), George Frideric Handel, and Carlos Salzedo (Editor), eds. Concerto in B Flat: Harp Solo. G. Schirmer, Inc., 1986.

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Amadeus, Mozart Wolfgang. Music Minus One Harp: Mozart: Concerto for Flute&Harp in C. Music Minus One, 2000.

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Mozart: Clarinet Concerto in A, K.622 and Flute and Harp Concerto in C, K.299. Marshall Cavendish Ltd, 1991.

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Reinecke, Carl. Three Cadenzas from the Mozart Flute and Harp Concerto (Kalmus Edition). Alfred Publishing Company, 1985.

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Book chapters on the topic "Concertosw (Harp)"

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Adelson, Robert. "Square pianos and piano-organs." In Erard. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197565315.003.0004.

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Today the word ‘piano’ connotes a large instrument with a powerful sonority, capable of doing battle with an entire orchestra in a romantic concerto. There are various features of the modern piano responsible for this image, including a case with a long wing shape reinforced by a cast iron frame, and the high degree of string tension that this frame makes possible. None of these features were present on pianos in eighteenth-century France, where the most common model was the rectangular-shaped piano carré (square piano), whose sound was scarcely more powerful than that of a harp. Before the French Revolution, the Erard firm produced square pianos and hybrid piano-organs. During this period, the Erards strengthened their ties with the French court, which resulted in several exceptional instruments made for Marie-Antoinette.
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