Relevant bibliographies by topics / Film music for piano solo Collections

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Academic literature on the topic 'Film music for piano solo Collections'

Author: Grafiati
Published: 28 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Film music for piano solo Collections"

1

Mykhailova, O. V. "Woman in art: a breath of beauty in the men’s world." Aspects of Historical Musicology 17, no. 17 (2019): 163–80. http://dx.doi.org/10.34064/khnum2-17.11.

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Background. А history of the development of the human community is at the same time a history of the relationship between men and women, their role in society, in formation of mindset, development of science, technology and art. A woman’s path to the recognition of her merits is a struggle for equality and inclusion in all sectors of public life. Originated with particular urgency in the twentieth century, this set of problems gave impetus to the study of the female phenomenon in the sociocultural space. In this context, the disclosure of the direct contribution of talented women to art and th
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Prevost, Roxane. "The Jack Pine: Preserving the Northern Ontario Landscape through Painting, Music, and Short Film." Articles 36, no. 2 (2018): 35–45. http://dx.doi.org/10.7202/1051596ar.

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In her program note, Canadian composer Jocelyn Morlock explains that she was inspired by Tom Thomson’s 1916–17 painting, which depicts a Jack pine clinging to a rock on the edge of water, for her solo piano piece The Jack Pine (2010). Julian Beecroft later posted a short film of the Algonquin Park, accompanied by Morlock’s work. This article examines some of the intersections between the transition of colours in the painting and the harmonic colours of the music through voice-leading analysis, and some of the ways in which the music successfully depicts the different scenes of the short film.
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3

Ribić, Romana. "Contemporary music of Iceland in the post-romantic period: Jôrunn Viđar (Jôrunn Vidar, Reykjavik, Iceland, 1918-)." New Sound, no. 46 (2015): 141–54. http://dx.doi.org/10.5937/newso1546141r.

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This paper presents a brief overview of the development of Icelandic music through historical and artistic circumstances. We shall also point to the specific social attitude towards the female population and we shall deal with the few Icelandic women composers. Among them Jorunn Vidar particularly stands out, as a pianist, accompanist and music teacher. For over two decades, she was the only woman composer to be a member of the Society of Icelandic Composers. She wrote the music for the first Icelandic ballet suite and the first Icelandic film ever, arranging the old narrative songs called the
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4

Antonova, Olena. "Rhapsody as the leading genre modus of George Gershwin's concert music." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 142 (March 13, 2025): 114–29. https://doi.org/10.31318/2522-4190.2025.142.327886.

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The relevance of the study. George Gershwin's creative legacy includes four works that, by their instrumentation — piano solo and orchestra — belong to the instrumental concerto genre. However, only one is explicitly titled “concerto”, another is labeled “variations”, and two are designated as “rhapsodies”. The selection of “rhapsody” as a primary genre title actualizes the appeal to these works in order to understand the composer's vision of the nature of the concert genre. Additionally, the disparity in the popularity and scholarly exploration of his two rhapsodies necessitates a focus on th
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Särg, Taive. "Millise lauliku lapsepõli? Laulu „Kui ma olin väiksekene” allikatest ja autoritest." Keel ja Kirjandus 67, no. 12 (2024): 1088–116. https://doi.org/10.54013/kk804a2.

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The childhood of which songster? On the origins and authors of a beloved song Keywords: folklore, ethnomusicology, choral music, runosong, orality and literacy One of the most iconic and seminal musical works of Estonian culture, the song Lauliku lapsepõli (“Childhood of the Songster”), often referred to by its opening words, “Kui ma olin väiksekene” (“When I Was Little”), was composed on the basis of Estonian folk songs in collaboration between Aino Tamm (1864–1945), one of the first professionally trained Estonian singers, and Miina Härma (1864–1941), the first Estonian female composer. The
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Melnyk, A. O. "Violin miniature in creativity by Liudmila Shukailo: features of the genre interpretation." Aspects of Historical Musicology 17, no. 17 (2019): 102–15. http://dx.doi.org/10.34064/khnum2-17.07.

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Background. Rapidness of information flows of contemporary life enforces to concentrate a significant amount of information in small formats. This fact meaningfully increases social and practical significance, cultural and aesthetic value of miniature genres, in particularly, in the musical art. The violin miniature is a historically developed, typologically settled genre of professional musical creativity designed to solo music-making in the conditions of chamber or concert performance. Relevance of the genre is also due to its active inclusion in the programs of competitions and festivals. T
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7

Dubka, O. S. "Sonata for the trombone of the second half of the 16th – the beginning of the 19th centuries in the context of historical and national traditions of development of the genre." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (2019): 55–70. http://dx.doi.org/10.34064/khnum1-54.04.

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The present article is devoted to the general characteristics of the historical process of the formation of the sonata for the trombone (or with the participation of the trombone) in the European music of the Renaissance – Early Classicism era. A particular attention in the research has been paid to the study of the national stylistic, which was the main driving force in the evolution of the trombone at the level of the chamber instrumental and concert genres. It has been noted that since the time of A. Willaert and A. and J. Gabrieli brothers, the trombone and trombone consorts have been the
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8

Yehorov, Yehor. "Oleksandr Mishchenko’s creative universalism." Aspects of Historical Musicology 35, no. 35 (2024): 100–117. http://dx.doi.org/10.34064/khnum2-35.06.

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Statement of the problem. Creative universalism in various structural manifestations appears as an artistic and philosophical type of thinking, characteristic of a number of prominent Ukrainian musicians of the 20th – early 21st centuries, in particular, representatives of the button accordion art. Among them there is the outstanding Ukrainian button accordionist, the Honored Artist of Ukraine, Professor Oleksandr Volodymyrovych Mishchenko (1956–2018), which realized himself as a performer, a teacher, an arranger, and a musical scientist. Objectives, methods, and novelty of the research. The o
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9

Lytvyshchenko, O. V. "O. I. Nazarenko as a coryphaeus of the Kharkiv accordion school: formation of the authorial style." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 43–56. http://dx.doi.org/10.34064/khnum1-56.03.

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Problem statement. The pedagogical activity of the Merited Artist of Ukraine, Professor O. I. Nazarenko is more than fifty years old. The maestro’s name will become history of the Department of Folk Instruments of Kharkiv I. P. Kotliarevskyi National University of Arts. It is impossible to disregard O. Nazarenko’s creative achievements and multifaceted activity, first, because his enormous contribution to the development of the academic accordion in Kharkiv and his authority reaches far beyond Kharkiv and Ukraine. Well-known modern accordionists and orchestral ensembles perform the composer’s
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Gibson, Chris. "On the Overland Trail: Sheet Music, Masculinity and Travelling ‘Country’." M/C Journal 11, no. 5 (2008). http://dx.doi.org/10.5204/mcj.82.

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Introduction One of the ways in which ‘country’ is made to work discursively is in ‘country music’ – defining a genre and sensibility in music production, marketing and consumption. This article seeks to excavate one small niche in the historical geography of country music to explore exactly how discursive antecedents emerged, and crucially, how images associated with ‘country’ surfaced and travelled internationally via one of the new ‘global’ media of the first half of the twentieth century – sheet music. My central arguments are twofold: first, that alongside aural qualities and lyrical cont
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Books on the topic "Film music for piano solo Collections"

1

Long, Jack. The action collection: Solo piano. Wise Publications, 2006.

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2

John Brimhall's jumbo note movie favorites. Columbia Pictures Publications, 1986.

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3

Unknown. Film Music for Solo Piano. MUSIC SALES LTD, 2004.

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4

Michael Nyman Film Music for Solo Piano. Chester Music, 1998.

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5

Einaudi, Ludovico. Film Music: 17 Pieces for Solo Piano. Chester Music, 2015.

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6

Fox, Dan. Amadeus (Selections from the Film): Piano Solo. Hal Leonard Corporation, 1985.

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Hal Leonard Publishing Corporation (COR). Romantic Film Music: 40 Great Arrangements for Piano Solo. Hal Leonard, 2016.

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8

Favourite TV themes: Piano, vocal, guitar. Exclusive distributors, 1985.

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9

Film Music at the Piano: An Index to Piano Arrangements of Instrumental Film and Television Music in Anthologies and Collections. The Scarecrow Press, Inc., 2003.

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10

70 Years of Popular Music. International Music Publications, 1994.

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Book chapters on the topic "Film music for piano solo Collections"

1

Musgrave, Michael. "The Final Period." In The Music of Brahms. Oxford University PressOxford, 1994. http://dx.doi.org/10.1093/oso/9780198164012.003.0010.

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Abstract The two works with which Brahms was occupied during the Ischl Summer of 1890, the String Quintet in G major and the revision of the Piano Trio in B major, symbolise the transition towards retirement from composition which Brahms planned from the following year, the year in which he also drew up his will. He offered the four-handed version of the Quintet in December of that year with the remark: ‘The time has come for you to say goodbye to any further compositions of mine.’1 Henceforth, he seems to have nothing other than the revision for publication of existing items, most obviously t
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2

Greiving, Tim. "Simple Gifts, 2008–2014." In John Williams. Oxford University PressNew York, 2025. https://doi.org/10.1093/oso/9780197620885.003.0017.

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Abstract Chapter 16, “Simple Gifts, 2008–2014,” opens with the election of Barack Obama being “scored” by John Williams—who makes creative use of an old Aaron Copland piece with even older Shaker roots—arguably the moment where his anointing as America’s composer becomes official. An extended sabbatical from film yields a bounty of new concertos, including ones for viola, harp, and oboe; as well as new chamber works and music for both solo guitar and piano. Refreshed, Williams follows Spielberg’s whims from madcap animation (The Adventures of Tintin) to a melancholic picture book about World W
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