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

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

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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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2

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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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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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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10

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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11

Vershinina, A. V. "To the Issue of N.N. Sidelnikov’s Instrumental Heritage Systematization." Art & Culture Studies, September 2024, 452–75. http://dx.doi.org/10.51678/2226-0072-2024-3-452-475.

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The creative heritage of composer N.N. Sidelnikov (1930-1992) covers many musical genres — from piano miniatures and film music to large-scale oratorio and symphonic concepts. As a professor at the Moscow Conservatory, Sidelnikov always followed current artistic trends, masterfully rethinking and refining them in his creative work. Sidelnikov’s instrumental music represents one of the most important and at the same time unexplored areas of his activity. Nevertheless, seventeen works for solo instrument, ensembles and orchestra form a large layer in his legacy and clearly characterize the compo
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12

Grudule, Māra. "Dažu vācu muzikālo tradīciju pārnese latviešu kultūrtelpā 18. gadsimta II pusē." Geography and Migration of Knowledge, no. 41 (2020). http://dx.doi.org/10.35539/ltnc.2020.0041.m.g.0003.

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The article gives insight into a specific component of the work of Baltic enlightener Gotthard Friedrich Stender (1714–1796) that has heretofore been almost unexplored — the transfer of German musical traditions to the Latvian cultural space. Even though there are no sources that claim that Stender was a composer himself, and none of his books contain musical notation, the texts that had been translated by Stender and published in the collections “Jaunas ziņģes” (New popular songs, 1774) and “Ziņģu lustes” (The Joy of singing, 1785, 1789) were meant for singing and, possibly, also for solo-sin
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13

Rogers, Ian, Dave Carter, Benjamin Morgan, and Anna Edgington. "Diminishing Dreams." M/C Journal 25, no. 2 (2022). http://dx.doi.org/10.5204/mcj.2884.

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Introduction In a 2019 report for the International Journal of Communication, Baym et al. positioned distributed blockchain ledger technology, and what would subsequently be referred to as Web3, as a convening technology. Riffing off Barnett, a convening technology “initiates and serves as the focus of a conversation that can address issues far beyond what it may ultimately be able to address itself” (403). The case studies for the Baym et al. research—early, aspirant projects applying the blockchain concept to music publishing and distribution—are described in the piece as speculations or pro
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14

Burns, Alex. "'This Machine Is Obsolete'." M/C Journal 2, no. 8 (1999). http://dx.doi.org/10.5204/mcj.1805.

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'He did what the cipher could not, he rescued himself.' -- Alfred Bester, The Stars My Destination (23) On many levels, the new Nine Inch Nails album The Fragile is a gritty meditation about different types of End: the eternal relationship cycle of 'fragility, tension, ordeal, fragmentation' (adapted, with apologies to Wilhelm Reich); fin-de-siècle anxiety; post-millennium foreboding; a spectre of the alien discontinuity that heralds an on-rushing future vastly different from the one envisaged by Enlightenment Project architects. In retrospect, it's easy for this perspective to be dismissed as
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15

Hall, James, Laura Glitsos, and Jess Taylor. "Fungible." M/C Journal 25, no. 2 (2022). http://dx.doi.org/10.5204/mcj.2905.

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At its core the quality of being fungible is the quality of being interchangeable, more specifically interchangeable with its likeness. Our currencies, ergo our financial systems, ergo our ways of life have been underpinned by the stability that a $5 note is worth the same as every other $5 note. This is perhaps why the word fungible has never really spilled over into everyday usage: it has traditionally been a word for legal documents and economics texts. However, in the last couple of years the word fungible has made its way out of the lecture theatres of law classes and into the headlines o
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16

King, Jeremy. "Tiny, Tiny Copyright: An Examination of the Copyrightability of Sampler Instruments and Its Impact on Derivative Works." Columbia Journal of Law & the Arts 45, no. 1 (2021). http://dx.doi.org/10.52214/jla.v45i1.8955.

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Sound recordings of musical compositions used to be simple. Sounds would be created by voices and acoustic instruments. Those sounds would then be captured by microphones and fixed on analog tape. What the listener heard was simply an immortalized version of what happened in the room. With the advent of digital recording technology, this has been forever changed in ways that offer infinite possibilities—and infinite new challenges.
 These days, sounds are typically recorded in a digital format, which allows them to interface with computer software in myriad ways. Most consumers only inter
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17

Connor, Will. "Positively Monstrous!" M/C Journal 24, no. 5 (2021). http://dx.doi.org/10.5204/mcj.2822.

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Bones are one of the oldest materials used to create musical instruments. Currently, the world’s oldest known instruments are flutes made out of bones (Turk, Turk, and Otte 11). In fact, bones have been used to create or enhance musical instruments in a variety of settings throughout history and in modern day instrument making. Bone bull roarers, jaw bone percussion, clappers, trumpets, drum shells, lyres, or construction parts, such as frets, plectrums, pipes and pipe fittings, embouchure adjustments, or percussive strikes are just a few of the more common uses of bones in musical instrument
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