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Books on the topic 'ODI score'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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1

Harrison, Lou. Nova odo =: New ode : for male chorus, reciting chorus, occidental orchestra, percussion and assimilated Oriental instruments. Frog Peak Music, 2009.

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2

MacKay, Stuart. Ode to a mode: A bassoon solo. Spratt Music, 1986.

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3

Britten, Benjamin. Welcome Ode: Vocal Score. Faber & Faber, Limited, 2003.

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4

Chavez, Carlos. Clio (Symphonic Ode): Full Score. G. Schirmer, Inc., 1989.

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5

Hart, Norman Phillip, and Heinrich Schütz. Ode Joyeuse: Score and Parts. Alfred Publishing Company, Incorporated, 2008.

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6

Beethoven, Ludwig van, and Richard Meyer. Ode to Joy: , Conductor Score. Alfred Music, 2000.

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7

Ode to a Joyride: Conductor Score. Alfred Music, 2023.

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8

Whitman, Walt. Ode to Death, H.144: Study Score. Serenissima Music, Incorporated, 2022.

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9

Jr, Sargeant Richard W., and Gustav Holst. Ode to Death, H.144: Vocal Score. Serenissima Music, Incorporated, 2022.

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10

Beethoven, Ludwig van, and Richard Meyer. Ode to Joy: , Conductor Score and Parts. Alfred Music, 2000.

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11

Ode on St. Cecilia's Day 1692: Study Score. Schott Music GmbH & Co. KG, 2009.

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12

Ode to a Joyride: Conductor Score and Parts. Alfred Music, 2023.

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13

Sibillo, Sandro. Ode a Napoli: Arrangement for Mandolin Quartet/Full Score. Independently Published, 2017.

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14

Ode to the Plains and Wild Horses Running: Conductor Score. Alfred Music, 2006.

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15

Jacobson, Marion S. The Accordion in New Scores. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037207.003.0015.

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This chapter focuses on the work of contemporary composer and accordionist William Schimmel and his experimental use of the piano accordion. Schimmel's somewhat odd choice of instrument—which is not an accepted “concert instrument,” from the music academy's point of view—unshackles him from some classic compositional constraints, giving him the freedom to explore the piano accordion's unique tonalities and textures. Schimmel's interpretations not only give a new voice to classic works but release meanings hitherto concealed by strict adherence to the musical score. By opening up new possibilit

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16

Prokofieff. Ode to the End of the War Op 105 Conductors Score/K05066. Columbia Pictures Pubns, 1985.

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17

Ode to the Plains and Wild Horses Running: Conductor Score and Parts. Alfred Music, 2006.

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18

Slavin, Tanya. Verb stem formation and event composition in Oji-Cree. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198778264.003.0012.

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This chapter investigates the structure of the verb stem in Oji-Cree, a dialect of the Algonquian language Ojibwe. It argues that a stem constitutes an independent semantic domain that corresponds to an event. This conception of stems explains why certain roots, called weak roots, must be preceded by modifiers, thereby satisfying a so-called left-edge requirement, while other roots, called strong roots, have no such requirement. Weak roots are semantically deficient and the obligatory pre-radical modifier is necessary to create a complete event. In contrast, an (optional) modifier before a str

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19

Caps, John. Maturity, the Second Cadence. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036736.003.0013.

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This chapter details Mancini's musical evolution in the late 1970s. It may seem odd to associate “maturity” with the music of Mancini at this stage in his career, when clearly all of his most influential work was already past, having been produced between, say, 1958 and 1969. Maturity in this case does not mean a permanent evolution away from jazz-pop and toward exclusively large-scale formal symphonic scoring. Maturity now means that Mancini had learned to deal with all kinds of music: to be able to write, in the same year as those resolute songs for the film 10, an anti-thematic orchestral s

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20

Lysaker, John T. A First Listen, or Through a Glass Lightly. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190497293.003.0002.

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Chapter 1: Chapter 1 argues that Music for Airports organizes the activity of sounds outside of traditional musical orders. Because it avoids phenomena like keys, rhythm, or harmonic relation, it requires fresh ears. Exercises in “close listening” then follow, attending to each of the album’s four tracks. Because the sounds relate to each other in a free, juxtaposed manner, each track has the feel of a painting. But their temporal dimension shows the limit of that analogy. As each track is interpreted, so too are the odd scores that adorn the back of Eno’s album. Because they do not provide in

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21

Kahn, Andrew, Mark Lipovetsky, Irina Reyfman, and Stephanie Sandler. Institutions of writing and authorship. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199663941.003.0016.

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The chapter discusses the development of literature within its institutional and historical context, considering how patronage, a fledgling book market, and publishing conditions delineated the spaces of a literary field. The chapter looks at court literature and the ode as the definitive genre, examining its techniques and scope for variation. Literature began to flourish outside court, and the chapter traces the evolution of poetry into an amateur pastime. The discovery of poetic genius added to the delight afforded by poetry as a form of sociability. This innovation coincided with pre-Roman

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