Academic literature on the topic 'Kabalevsky'
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Journal articles on the topic "Kabalevsky"
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Trifonova, Anna Aleksandrovna. "Variety of director's interpretations of the opera «Katerina Izmailova» by Dmitry Shostakovich in the modern opera art." Culture. Art. Education 2, no. 4 (December 25, 2023): 95–114. http://dx.doi.org/10.37816/2949-1762-2023-2-4-95-114.
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The article is devoted to the vocal cycle "Ten Sonnets of Shakespeare in translation by S. Marshak" by Dmitrii Borisovich Kabalevsky. A brief general characteristic of Kabalevsky's vocal music style and its role in the composer's creative work is given, "Sonnets" are considered in the historical context. Sonnets" melodic language and piano texture are described, the influences of different composers on Kabalevsky are studied. Each number of the cycle is analysed individually, the most outstanding intonations, harmonies, elements of the texture and melodic passages are highlighted. The interpretation by Sergei Leiferkus (baritone) and the author (piano) as one of the few surviving interpretations is analysed. The article will be useful both for musicologists who study the creative legacy of Kabalevsky and for singers and pianists who perform the cycle and other vocal works, as well as for their teachers.
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Smirnova, Marina V., and Anna A. Shtrom. "The Enduring Value of Children’s Music by D. B. Kabalevsky as a Subject of Mastering by Young Pianists." Musical Art and Education 7, no. 3 (2019): 94–104. http://dx.doi.org/10.31862/2309-1428-2019-7-3-94-104.
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This article analyzes pages from the piano heritage of D. Kabalevsky, which is addressed to the children studying in children musical schools and art schools. The creative image of the musician is revealed through the prism of his multifaceted artistic and social activity, the assessment of which has undergone some revision nowadays. The article also discusses the reasons of why many previously popular works of famous Soviet composers have faded into the shadow. It is emphasized that Kabalevsky was a graduate of the Piano Faculty of the State Moscow Conservatory and has inherited the wonderful traditions of his teacher, A. B. Goldenweiser. The best traditions of the Moscow piano school are used by Kabalevsky as bases in his creative activity, which acquires specific value in the field of music. Today, when the method of young musicians training is going through innovative transformations, this aspect should be especially considered. The high artistic and instructive value of the composer’s piano heritage is noted. The pieces of the piano cycle “From the Pioneer Life,” op. 14, are methodologically analyzed. It is concluded that Kabalevsky’s cycles addressed to children have not lost their artistic and pedagogical value and therefore can be used in the modern pedagogical practice in their entirety. As for the cycles dedicated to the pioneers’ life, they could play an important educational role by raising the younger generation’s interest in one of the most captivating pages of the country’s past.
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Mishina, Anastasia V., Zilia M. Yavgildina, Rufina Ildarovna Samigullina, and Tamara Yu Melnik. "Comparative analysis of musical-enlightenment concepts of L. Bernstein and D. Kabalevsky in Russian music education." Cypriot Journal of Educational Sciences 13, no. 4 (December 26, 2018): 625–30. http://dx.doi.org/10.18844/cjes.v13i4.3894.
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The aim of this study is to compare the activities of Kabalevsky and Bernstein—two musicians who made a significant contribution to the musical education of the younger generation, reveals the principles, methods, forms of educational work and covers the subject of television programmes. In particular, the pedagogical and musical-enlightenment concept of the outstanding composer, scientist Dmitry Kabalevsky was widely spread in our country. Also, the achievements of American composer, lecturer, teacher Leonard Bernstein in the field of musical enlightenment differ in originality and are rarely used in Russian musical pedagogical practice. In accordance with the aim of the study, the following theoretical methods were used: analysis of the literature, epistolary texts, the repertoire of the concert programmes of the New York Philharmonic orchestra; generalisation of historical data on musical and educational activities of Kabalevsky and Bernstein, comparison of methods and techniques of music education, biographical method.
 
 Keywords: Conversation, enlightenment, Dmitry Kabalevsky, Leonard Bernstein, TV
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Karadeniz, Ismet. "RondoSquared • Kabalevsky, Op. 59." Journal for the Interdisciplinary Art and Education 6, no. 2 (June 30, 2025): 89–115. https://doi.org/10.5281/zenodo.15510392.
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Forrest, David. "Dmitri Borisovich Kabalevsky 1904-1987." International Journal of Music Education 22, no. 2 (August 2004): 149–62. http://dx.doi.org/10.1177/0255761404044016.
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Го, Ц. "The influence of the piano work of D.B. Kabalevsky on modern music education in China." Management of Education 14, no. 3-1(78) (March 15, 2024): 248–53. http://dx.doi.org/10.25726/p3055-6183-2027-c.
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Китайская музыка на протяжении своего существования сохраняла своеобразие и особенности, однако она постепенно включается в процесс глобальной эволюции мирового музыкального пространства. Русская фортепианная культура оказала глубокое и продолжительное воздействие на формирование и развитие фортепианной культуры и образования Китая. В рамках статьи осуществляется анализ влияния концепции музыкального воспитания Кабалевского на создание китайских фортепианных произведений. Кабалевский работал во многих областях. Он написал большое количество произведений, в том числе фортепианную музыку, концерты, камерную музыку, оперы, музыку для кино и революционные песни. Конечно, помимо композиции, он внес также важный вклад в музыкальное образование. Во время своего обучения он устал от жесткой и старой модели преподавания и, таким образом, потерял интерес к музыке. Именно из-за этого опыта он решил окончить Московскую консерваторию, и посвятить себя педагогике, чтобы изменить этот скучный, жесткий и консервативный подход. Эти идеи были приняты и в Китае, а потому можно утверждать, что творчество и педагогические принципы Кабалевского, сыграли важную роль в фортепианном образовании и искусстве Поднебесной. Chinese music throughout its existence has retained its originality and characteristics, but it is gradually being included in the process of global evolution of the world musical space. Russian piano culture had a deep and lasting impact on the formation and development of piano culture and education in China. The article analyzes the influence of Kabalevsky's concept of musical education on the creation of Chinese piano works. Kabalevsky worked in many areas. He composed a large number of works, including piano music, concertos, chamber music, operas, film scores and revolutionary songs. Of course, in addition to composition, he also made important contributions to music education. During his studies, he became tired of the rigid and old teaching model and thus lost interest in music. It was because of this experience that he decided to graduate from the Moscow Conservatory and devote himself to pedagogy in order to change this boring, rigid and conservative approach. These ideas were also accepted in China, and therefore it can be argued that Kabalevsky’s creativity and pedagogical principles played an important role in piano education and art in the Middle Kingdom.
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Xudayberdiyeva, Mushtariy. "DMITRY ALEKSEYEVICH KABALEVSKY FOUNDER OF SCIENTIFIC SCHOOL OF MUSIC AND AESTHETIC EDUCATION." ACADEMIC RESEARCH IN MODERN SCIENCE 1, no. 13 (September 12, 2022): 51–54. https://doi.org/10.5281/zenodo.7069222.
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Sweeney-Turner, Steve. "Dmitri Kabalevsky: Complete Edition Vols. 1-8." Musical Times 135, no. 1815 (May 1994): 298. http://dx.doi.org/10.2307/1003179.
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Callaway, Frank. "Dmitri Kabalevsky and ISME: A Personal Memoir." International Journal of Music Education os-10, no. 1 (November 1987): 46–48. http://dx.doi.org/10.1177/025576148701000113.
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Nilüfer, Özer. "A General Evaluation on the Piano Works of the Soviet Composer Dmitry Kabalevsky for Children and the Sample of the Piano Album "Thirty Pieces for Kids Op.27"." Education Quarterly Reviews 5, Special Issue 2 (December 12, 2022): 98–107. https://doi.org/10.31014/aior.1993.05.04.608.
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While it is aimed to form basic behaviors for students in piano education, it is important to develop piano playing skills in a way that will attract the attention of children, with materials suitable for the individual characteristics, age group, perception level, and level of the students. Therefore, it is necessary to choose a balanced and correct repertoire suitable for the level of the student. Choosing the appropriate repertoire is about a careful balancing of skills, physical competence, musical interest, pedagogical value, and the student's emotional maturity. There are many works written for this purpose in our country and the world. In this context, this study aims to examine the place of the piano album "30 pieces for children Op.27" in piano education by making a general evaluation on the piano works for children by Kabalevsky, who has made great contributions to piano education as a composer and educator. The research is a qualitative study and the relevant literature was examined through document analysis and Kabalevsky's piano albums for children, which are used in piano education, were reached. In addition, the composer's piano album “30 pieces for children Op.27” was examined and interpreted in terms of content and technical studies. As a result of the study, Kabalevsky's piano works for children in terms of gaining the behaviors that form the basis of piano education were evaluated and suggestions that could guide piano educators were tried to be developed. Furthermore, it is thought that these works will contribute to the use of piano education, to the introduction of the works, and to diversify the educational repertoire.
Dissertations / Theses on the topic "Kabalevsky"
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Pingel, Kathy. "The intermediate and advanced piano music of Dmitry Kabalevsky: pedagogical implications." University of Southern Queensland, Faculty of Arts, 1997. http://eprints.usq.edu.au/archive/00003837/.
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This study investigates the intermediate and advanced piano repertoire of 20th Century Russian composer, Dmitry Borisovich Kabalevsky, with the main focus being on the artistic and pedagogical relevance of these works.Background details of the composer's life, as they pertain to these works and to his style of composition, were gathered through a review of the literature found in books, doctoral theses, encyclopedias, journal articles and programme notes accompanying compact disc recordings and editions of his music.A selection of Kabalevsky's intermediate and advanced piano compositions was chosen for an in-depth analysis of their artistic, technical and pedagogical aspects. A broad examination of their structure is also made. The works selected for analysis include Concerto No. 2 in G minor Op. 23, Numbers 1,2,3,4,6 and 24 from Twenty-Four Preludes Op. 38 and Sonata No. 2 in E flat major Op. 45. In order to gauge both the level of awareness and usage of Kabalevsky's piano repertoire, two written surveys were formulated and issued to teachers and performers within Australia. The first of these (Survey A) was distributed to private studio teachers, most of whom were teaching at an elementary and intermediate level, whilst the second one (Survey B) was sent to teachers who were likely to have had experience in teaching and/or performing more advanced works. In order to determine the frequency with which Kabalevksy's piano works are set for examinations, a review of various syllabuses, including the Australian Music Examination Board (AMEB), Trinity College of London and Austrlaina and New Zealand Cultural Arts Limited (ANZCA), was undertaken. These findings, together with the results of the surveys (which include comments made by a number of teachers/performers within Australia about a selection of these pieces) and the researcher's in-depth analyses, were all considered in ascertaining the usage and level of awareness of Kabalevsky's intermediate and advanced piano repertoire within Australia and the artistic and pedagogical contribution of these works. The in-depth analyses of a selection of Kabalevsky's intermediate and advanced piano works revealed that Kabalevsky made a worthy contribution to the piano literature of this standard, and that these works are also of considerable pedagogical value. The feedback from the surveys revealed that whilst most of the respondents had a high repect and regard for Kabalevsky's elementary piano compositions, the usage and familiarity with his intermediate and advanced works was significantly less. Many of the factors suggested for the lack of awareness of this repertoire were extraneous to the merits of the pieces themselves and, hence, it is hoped that a greater awareness of its existence and an appreciation of the artistic and pedagogical contribution of this literature, will bring it to the attention of students, teachers and performers alike.
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Forrest, David Lawrence. "The educational theory of Dmitri Kabalevsky in relation to his piano music for children." Connect to thesis, 1996. http://repository.unimelb.edu.au/10187/1164.
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This study investigates the educational theories and beliefs of the Russian composer and educator Dmitri Borisovich Kabalevsky as they relate to his piano music for children.<br>A biographical sketch of the composer’s public life was developed incorporating the significant events in his life as they relate to the compositions, and in particular, his work with children. The primary sources for this study are the composer’s own writings - some of which were specially translated from Russian into English for the purpose of this study.<br>Kabalevsky offered an alternative philosophy to that of many Western educators and musicians. His educational and musical views are discussed in the context of the overriding political philosophy to which he adhered throughout his life. The clearest expression of his educational views is seen in his book A Story of Three Whales and Many Other Things and the recorded talks with children entitled What Music Says, both of which were translated from the Russian for this study.<br>An overview of Kabalevsky’s music was developed, with particular reference to his music for children. Kabalevsky’s piano music for children is discussed in the larger context of his output for the instrument. Particular emphasis is placed on the use he made of the song, the dance and the march - the three major genres that are the basis of the small character pieces which constitute the majority of his works for children.<br>Five sets of music, from the twelve-volume collection entitled Piano Music for Children and Young People, have been selected for investigation in this study. The sets are In the Pioneer Camp Op. 3/86 (127/1968), From Pioneer Life Op. 14 (1931/1968), Thirty Children’s Pieces Op. 27 (1937-38), Twenty-Four Easy Pieces Op. 39 (1943) and Thirty-Five Easy Pieces Op. 89 (1972).<br>A descriptive analysis of each of the 100 pieces (under set criteria) was carried out, highlighting the major focus of the piece as well as the important pedagogical elements. An important aspect of this study was the identification and classification of the piano pieces in terms of the genre or style of the song, the dance or the march; only some were identified as such by the composer. The classification of pieces provided an important link between Kabalesky’s educational philosophy and his piano music for children.
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Chen, Yi-An, and 陳怡安. "Dmitry Kabalevsky: 24 Piano Preludes，Op. 38." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/533354.
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碩士<br>東吳大學<br>音樂學系<br>96<br>The 24 Piano Preludes was a Suite composed by Dmitry Kabalevsky dedicating to his honorable mentor Nikolai Myaskovsky. This thesis focuses on the analyzing and interpretation of The 24 Piano Preludes. Also, there are topics such as” the origin and development of music in Russia,” “the evolvement of Preludes” and “the composition background of The 24 Preludes.”
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Lin, Cho-Min, and 林卓敏. "The Analysis and Interpretation of Piano Sonata No.3 Op. 46 by Kabalevsky." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/23253038826590222785.
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碩士<br>國立臺北教育大學<br>音樂學系碩士班<br>100<br>This thesis consists of 5 chapters. The main purpose is to study 《Piano Sonata》 No. 3 in F major, Op. 46, which was composed by Russian composer Dmitri Kabalevsky after World War II.
The first chapter is an introduction of the purposes, motivations, range, and methods of this research. Chapter 2 describes Kabalevsky’s life, musical composition style, piano works and composition techniques. Chapter 3 is the background of 《Piano Sonata》 No. 3 in F major, Op. 46, and analyses of the three movements. Chapter 4 is performance interpretation of 《Piano Sonata》 No. 3 in F major, Op. 46. Chapter 5 is the conclusion of Kabalevksy’s composition characteristics based on the aspects of forms, tonalities, harmonies, tempos, and arrangements of motivations. It is hoped that by way of having an in-depth understanding to the meaning of 《Piano Sonata》 No. 3 in F major, Op. 46, a closer interpretation of the concepts that the composer intended to convey could be applied while performing them.
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Tang, Yi-fang, and 唐怡芳. "The Practice of Dmitri Kabalevsky''s Philosophy of Music Education on Children''s Piano Works." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/78606339700802611959.
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碩士<br>國立臺南大學<br>音樂教育學系碩士班<br>94<br>Dmitri Borisovich Kabalevsky’s piano works have been widely performed in Taiwan. He is seen as one of the outstanding musicians in the 20th century, as well as a crucial figure in the development of music education. Among a variety of educational issues, he paid special attention to the music education of children and teenagers. The study aims to discuss the details in Kabalevsky’s music education philosophy and analyze his piano works specifically written for children. By music analysis and relevant statistics, the study examines the practice of his philosophy and the inter-connection for future reference in music education and piano learning.
From the text-based data it is observed that Kabalevsky’s philosophy has four main points. First, he proposed the concept of “three whales”, which concerns music in three major categories: song, dance, and march. Second, composition for children should be considered from the aspects of composer, educator and academic scholar. Third, he proposed the nature of music as the base for music education, and fourth, he emphasized the importance of a full-scale study of music.
The study observes Kabalevsky’s piano works from their background information, musical forms and performing techniques, and analyzes 89 selected children’s piano pieces, including Opus 27, 39, and 89. The result of the study shows that every single piece has its own title and implied style which inspires children’s imagination towards music. Besides, the length of music is often kept within 48 measures, which is short enough to maintain children’s attention during practicing and performing. The spreading range of fingers is set within sixth during the music, which suits children’s palm shape. Also, the music is mainly based on ternary form which provides a simple structure with motivated composing strategies of repetition and sequence. All the above shows that he successfully grasped the characteristics of beginner and intermediate piano learners and adopted the regularity and pure nature of music in composition which tends to attract children’s interests. Each of the selected pieces requires only one or two techniques, and even scales, arpeggio or stretches are set within three octaves. Besides, the length doesn’t exceed three measures, which makes it suitable for children under development. All the three opuses contain seven different ways of touch in total, which reveals Kabalevsky’s persistency in performing the nuance of piano music even when composing for children.
By comparing Kabalevsky’s philosophy and the analysis results of his piano works for children, the study shows the following conclusions.
1.The “three whales” philosophy by Kabalevsky suggests exploring the music through the title and leading students to learn piano through the categories of song, dance music, and march, together with other similar type of music and style.
2.Kabalevsky’s piano works for children are suitable for the characteristics of children’s physical and mental development while taking into concerns of the systematical development of performing techniques and the art of nuance in music; thus, corresponds to his idea that composition for children should be considered from the aspects of composer, educator and academic scholar.
3.Kabalevsky’s piano works for children provides stable and unchanged signature during each piece. The music is mainly based on pure one-part form、binary form and ternary form with major composing strategies of repetition and sequence, which shows his belief of applying the regularity and pure nature of music to music education.
4.Kabalevsky adopted local and foreign ballads in composition for children in order to broaden the vision of music, which corresponds to his philosophy of learning music on a full scale.
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MEZEROVÁ, Eva. "Klavírní tvorba Dmitrije Kabalevského." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-317499.
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The aim of this thesis is to explore life, works and pedagogical benefits of the Russian composer Dmitry Borisovich Kabalevsky. I would also like to focus on children's piano instructive literature by D. Kabalevsky because it is very appreciative recitative methodological material widely used at elementary schools of art. The thesis also includes a methodological analysis of instructive compositions, formal analysis of piano sonatas and concertos aesthetic analysis.
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Tsisserev, Alex. "An analysis of the music education methodology of Dmitry Kabalevsky and a comparison with those of Zoltan Kodaly and Carl Orff." 1993. http://hdl.handle.net/1993/9750.
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Smith, Gregory Michael. "Performance Practice Issues in Russian Piano Music." Thesis, 2003. http://hdl.handle.net/1959.13/24961.
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The nineteenth and twentieth centuries witnessed the rapid growth of musical culture in Russia. This resulted in a large repertoire of piano music — ranging from miniatures to virtuosic etudes and sonatas. Growing out of the nineteenth century romantic tradition, and highly influenced by the social conditions of the time, Russian composers developed a distinctive style which closely reflected their culture, personalities and ideologies. There are several approaches to studying performance practice. One is to study the interpretations of other pianists. While this does have many advantages, it has not been adopted in this paper as it has one flaw: it still fails to capture the distinctive language of these composers. Rather, the paper will study the social and musical influences on the composers, and, more importantly, their philosophies about pianism and the purpose of music. This will be related to interpretative issues in the works. The repertoire has been divided into four areas. The paper commences with a study of the miniature, which is valuable in finding the ‘essence’ of a composer’s musical language expressed on a small scale. Here, the ‘elementary’ considerations in performance practice will be studied. The second chapter discusses etudes. This is useful in gaining an insight into composers’ conception of technique, and how this relates to performance practice. The third chapter deals with music that has extra-musical themes. This provides opportunity for a more detailed cultural and biographical study of the composers. To represent the large-scale repertoire of Russian composers, the sonata will be studied. Here, a detailed analysis of the composers’ musical language and its relationship to expression will be discussed.<br>Masters Thesis
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Smith, Gregory Michael. "Performance Practice Issues in Russian Piano Music." 2003. http://hdl.handle.net/1959.13/24961.
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The nineteenth and twentieth centuries witnessed the rapid growth of musical culture in Russia. This resulted in a large repertoire of piano music — ranging from miniatures to virtuosic etudes and sonatas. Growing out of the nineteenth century romantic tradition, and highly influenced by the social conditions of the time, Russian composers developed a distinctive style which closely reflected their culture, personalities and ideologies. There are several approaches to studying performance practice. One is to study the interpretations of other pianists. While this does have many advantages, it has not been adopted in this paper as it has one flaw: it still fails to capture the distinctive language of these composers. Rather, the paper will study the social and musical influences on the composers, and, more importantly, their philosophies about pianism and the purpose of music. This will be related to interpretative issues in the works. The repertoire has been divided into four areas. The paper commences with a study of the miniature, which is valuable in finding the ‘essence’ of a composer’s musical language expressed on a small scale. Here, the ‘elementary’ considerations in performance practice will be studied. The second chapter discusses etudes. This is useful in gaining an insight into composers’ conception of technique, and how this relates to performance practice. The third chapter deals with music that has extra-musical themes. This provides opportunity for a more detailed cultural and biographical study of the composers. To represent the large-scale repertoire of Russian composers, the sonata will be studied. Here, a detailed analysis of the composers’ musical language and its relationship to expression will be discussed.<br>Masters Thesis
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Chang, Chia-Yun, and 張嘉云. "A Study of Dmitri Kabalevsky’s “Five Easy Variations, Op.51”." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/06116379702246209469.
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碩士<br>國立臺南大學<br>音樂學系碩士班<br>102<br>Dimitri Kabalvsky(1904-1987) was an important musician of the 20th century in Soviet Union. He devoted himself to the promotion of public music and music education. Due to the lack of piano teaching materials for youth and children, Kabalevsky composed a series of piano works suitable for them. His work “Five Easy Variations, Op.51,” completed in 1952, was one of his late piano works. It was brisk and interesting.
In this Study, the 20th century environment of the Soviet Union, the variation characteristics, Kabalevsky’s learning background, and his music beliefs as well as the creative features of the piano works were firstly described. Secondly, the structures and the interpretation of the work “Five Easy Variations, Op.51” were discussed.
“Five Easy Variations, Op.51” is composed for five pieces in variation form. The
Russian folk materials are used in order to show the national style of Russian culture. The work is concise and variable. By using the repeated and small motives, colorful harmonies, varied syncopations and irregular accents, the themes are varied and developed. In addition, the work “Five Easy Variations, Op.51” is aimed to train the piano skills of children. There are several techniques which are used in each section. Therefore the playing skills are vital and needed for the work “Five Easy Variations, Op.51.” Through the discussion of the research, hopefully a more complete understanding of the “Five Easy Variations, Op.51” is offered and then enhance the playing skills and musicality as playing this work.
Keywords：Dimitri Kabalvsky, “Five Easy Variations, Op.51”
Books on the topic "Kabalevsky"
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Kabalevsky, Dmitry Borisovich. At the piano with Kabalevsky. [Van Nuys, Calif.]: Alfred Pub. Co., 1990.
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Kornev, D. V. "Dmitriĭ Borisovich Kabalevskiĭ - kompozitor, uchenyĭ, pedagog-issledovatelʹ: (k 110-letii︠u︡ dni︠a︡ rozhdenii︠a︡ D.B. Kabalevskogo) : materialy regionalʹnoĭ nauchno-prakticheskoĭ konferent︠s︡ii 19-20 dekabri︠a︡ 2014 g. Moskva: ASOU, 2014.
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Kabalevsky, Dmitri, and Richard Walters. Kabalevsky: Selected Piano Pieces. Leonard Corporation, Hal, 2017.
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Kabalevsky, Dmitri, and Margaret Otwell. Kabalevsky - 24 Pieces for Children, Opus 39. Leonard Corporation, Hal, 2007.
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Keeping the Beat!: From Corelli to Kabalevsky. Chicago, IL: GIA Publications, 2001.
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Kabalevsky, Dmitri, and Margaret Otwell. Kabalevsky - 24 Pieces for Children, Opus 39. Leonard Corporation, Hal, 2007.
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Kabalevsky, Dmitri, and Margaret Otwell. Kabalevsky - 24 Pieces for Children, Opus 39. Leonard Corporation, Hal, 2007.
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Kabalevsky, Dmitri, and Richard Walters. Dmitri Kabalevsky - Selected Piano Pieces: Early Intermediate Level. G. Schirmer, Inc., 2017.
Find full textBook chapters on the topic "Kabalevsky"
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Krebs, Stanley D. "Dmitrii Kabalevsky." In Soviet Composers and the Development of Soviet Music, 233–56. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003535485-23.
Full textConference papers on the topic "Kabalevsky"
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Jiang, Na. "Research on the Compatibility Between Kabalevsky’s Music Education Concept and Children’s Piano Education." In International Conference on Arts, Humanity and Economics, Management (ICAHEM 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200328.021.
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