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Books on the topic 'Performance musical instrumental e vocal'

Author: Grafiati

Published: 7 September 2021

Last updated: 29 July 2025

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1

Siksimova, Marina, Ol'ga Begicheva, and Svetlana Mozgot. Solfeggio and music theory: a practical course. INFRA-M Academic Publishing LLC., 2023. http://dx.doi.org/10.12737/1971854.

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The textbook combines all the main types and forms of practical work in the disciplines of the musical and theoretical cycle, as well as the main topics on musical literacy and music theory, forms of control papers (exam papers), which, as a rule, are presented in such publications separately, without following an integrated approach. The forms of planning and methods of implementation of independent work of students are elaborated and presented in detail. The proposed principle of systematic learning helps in the practical development of disciplines, contributes to the acquisition of the nece

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2

R, Cooper Dorith. Canadian artists and Canadian repertoire on tour outside Canada, 1950-1985. D. Cooper, 1986.

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3

Pizer, Russell A. Instrumental music evaluation kit: Forms & procedures for assessing student performance. Parker Pub. Co., 1987.

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4

Cvejić, Žarko. The virtuoso as subject: The reception of instrumental virtuosity, c. 1815-c. 1850. Cambridge Scholars Publishing, 2016.

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5

Robert, Philip. Early recordings and musical style: Changing tastes in instrumental performance, 1900-1950. Cambridge University Press, 1992.

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6

Hayslett, Dennis J. The effect of directed focus on the peripheral hearing of undergraduate instrumental music majors. s.n.], 1991.

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7

Bryars, Gavin. Cadman requiem: For four male voices (alto, two tenors, and baritone), two violas, cello, and double bass (optional). Schott, 1996.

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8

Sŏng, Ki-ryŏn. 1930-yŏndae u̇̆i p'ansori ŭmak munhwa. Minsogwŏn, 2021.

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9

Ravel, Maurice. Trois poèmes de Stéphane Mallarmé: For voice and piano. Masters Music Publications, 1991.

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10

Starer, Robert. To think of time: (1985) : voice and piano. MMB Music, 1986.

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11

Sundin, Nils-Göran. Aesthetic criteria for musical interpretation: A study of the contemporary performance of western notated instrumental music after 1750. University of Jyväskylä, 1994.

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12

Wolff, Christian. From leaning forward: For soprano, with baritone, clarinet/bass clarinet, cello. C.F. Peters, 1989.

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13

White, Robert Arthur. A measure of the effects of a movable number system upon the perception and vocal performance of non-tonal music. University Microfilms International, 1985.

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14

Mat͡sievskiĭ, I. V. Ihry ĭ spivholossi͡a: Kontonat͡sii͡a : muzykolohichni rozvidky. Aston, 2002.

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15

Dressman, Michael B. The development and validation of a test to evaluate selected wind instrument performance competencies of middle school/junior high school instrumentalists. s.n.], 1990.

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16

Shenderovich, Evgeniĭ. V kont︠s︡ertmeĭsterskom klasse: Razmyshlenii︠a︡ pedagoga. Muzyka, 1996.

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17

Karnani, Chetan. Form in Indian music: A study in Gharanas. Rawat, 2005.

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18

Bruce, Pollock, ed. Popular music: An annotated guide to American popular songs, including introductory essay, lyricists and composers index, important performances index, awards index, and list of publishers. Gale Research, 1990.

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19

Bruce, Pollock, ed. Popular music: An annotated guide to American popular songs : including introductory essay, lyricists and composers index, important performances index, awards index, and list of publishers. Gale, 1996.

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20

Bruce, Pollock, ed. Popular music: An annotated guide to American popular songs, including introductory essay, lyricists and composers index, important performances index, awards index, and list of publishers. Gale Research, 1989.

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21

Vivian, Kerman, ed. Listen. 2nd ed. Worth Publishers, 1991.

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22

Gary, Tomlinson, and Kerman Vivian, eds. Listen. 4th ed. Bedford/St. Martin's, 2000.

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23

Kerman, Joseph. Listen. Worth Publishers, 1987.

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24

Kerman, Joseph. Listen. 3rd ed. Worth Publishers, 1986.

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25

Vivian, Kerman, ed. Listen. 3rd ed. Worth Publishers, 1996.

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26

Gary, Tomlinson, and Kerman Vivian, eds. Listen. 6th ed. Bedford/St. Martin's, 2008.

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27

Camuñas-Córdova, Sandra T. The appoggiatura as an improvised ornament: A comparison between vocal and instrumental instructions as presented in Italian methods of the eighteenth century. 1990.

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28

Hilder, Thomas R. Sámi Musical Performance and the Politics of Indigeneity in Northern Europe. The Rowman & Littlefield Publishing Group, 2014. https://doi.org/10.5040/9798881815745.

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The Sámi are Europe’s only recognized indigenous people living across regions of Norway, Sweden, Finland and the Russian Kola peninsula. The subjects of a history of Christianization, land dispossession, and cultural assimilation, the Sámi have through their self-organization since World War II worked towards Sámi political self-determination across the Nordic states and helped forge a global indigenous community. Accompanying this process was the emergence of a Sámi music scene, in which the revival of the distinct and formerly suppressed unaccompanied vocal tradition of joik was central. Thr

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29

McPherson, Gary E., ed. The Oxford Handbook of Music Performance, Volume 2. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190058869.001.0001.

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Volume 2 of the Oxford Handbook of Music Performance is designed around four distinct parts: Enhancements, Health and Wellbeing, Science, and Innovations. Chapters on the popular Feldenkrais method and Alexander technique open the volume, and these lead to chapters on peak performance and mindfulness, stage behavior, impression management and charisma, enhancing music performance appraisal, and how to build a career and the skills and competencies needed to be successful. The part dealing with health and wellbeing surveys the brain mechanisms involved in music learning and performing and music

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30

McPherson, Gary E., ed. The Oxford Handbook of Music Performance, Volume 2. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190058869.001.0001.

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Volume 2 of the Oxford Handbook of Music Performance is designed around four distinct parts: Enhancements, Health and Wellbeing, Science, and Innovations. Chapters on the popular Feldenkrais method and Alexander technique open the volume, and these lead to chapters on peak performance and mindfulness, stage behavior, impression management and charisma, enhancing music performance appraisal, and how to build a career and the skills and competencies needed to be successful. The part dealing with health and wellbeing surveys the brain mechanisms involved in music learning and performing and music

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31

Butler, Gregory. The Choir Loft as Chamber. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040191.003.0005.

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This chapter examines concerted movements written by Johann Sebastian Bach from the mid- to late 1720s and how he adopted a “choir loft as chamber” approach to organ performance—performing different versions of the same concerted instrumental movements for the chamber and for the church. Bach worked as composer and performer not only for the Collegium Musicum in Leipzig, but also for its principal churches. In addition to parodying secular vocal compositions, transforming them into church cantatas, however, Bach was also adapting for church performances preexisting instrumental concerted movem

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32

Melodie als Klangrede in der Musik des 17./18. Jahrhunderts: Die wichtigsten Aussagen zur vokalen und instrumentalen Aufführungspraxis aus den barocken und vorklassischen Quellen = Melody as musical speech in the 17th and 18th century : the most important statements about vocal and instrumental performance practice from Baroque and pre-Classic sources. agenda Verlag, 2018.

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33

Baird, Julianne C., and Johann Friedrich Agricola. Introduction to the Art of Singing by Johann Friedrich Agricola (Cambridge Musical Texts and Monographs). Cambridge University Press, 1995.

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34

Shrock, Dennis. George Frideric Handel – Messiah. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469023.003.0004.

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Messiah is discussed in reference to Handel’s operas, other choral works in general, and other oratorios in specific, with focus on the librettos. Additional historic information covers the premiere of Messiah, audience reactions, and subsequent performances, including the beginning of its popularity after performances in the Foundling Hospital Chapel and large-scale and re-orchestrated festival performances in the 1780s. Musical topics address Handel’s compositional process (e.g., speed of writing, parody of previously composed works, and revision of works from performance to performance) and

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35

Die Ausführung des Orgelcontinuo vornehmlich in den Rezitativen der geistlichen Kantaten und Passionen von Johann Sebastian Bach. Studio, 2001.

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36

Shrock, Dennis. Giuseppe Verdi – Messa da Requiem. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469023.003.0009.

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Historical discussion in this chapter focuses on the reasons Verdi composed a Requiem (first for the death of Gioachino Rossini and then for the death of the poet Allesandro Manzoni), followed by factors of composition, performance, and text. Musical discussion focuses on motives and structures that provide unity to the work and that give it aesthetic substance. Performance practice concerns address important revisions to the score, articulation markings that are particular to Verdi and that give the Requiem a unique expressiveness, tempo concerns, vocal and instrumental forces, and the perfor

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37

Day-O'Connell, Sarah. The Singing Style. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.0010.

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Despite its cursory description by Leonard Ratner and its outright dismissal by Raymond Monelle, the “singing style” is frequently evoked by analysts referring loosely (and often contradictorily) to song-like qualities. This chapter presents the singing style within the wider discourse, culture, and practice surrounding eighteenth-century songs and singing. Contemporary discussions of vocal composition (Johann Mattheson, Heinrich Christoph Koch) and vocal performance (Pier Francesco Tosi, in translations with commentaries by John Ernest Galliard and Johann Friedrich Agricola) involve a range o

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38

Oleskiewicz, Mary, ed. Bach Perspectives, Volume 11. University of Illinois Press, 2017. http://dx.doi.org/10.5622/illinois/9780252041488.001.0001.

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This volume investigates topics surrounding Johann Sebastian Bach and his five musically gifted sons. Robert Marshall takes on a deeply psychological perspective by examining how each of the Bach sons personally dealt with Sebastian’s imposing legacy. Mary Oleskiewicz investigates the Bach family’s connections to historical keyboard instruments and musical venues at the Prussian court of Frederick “the Great.” David Schulenberg argues that Emanuel Bach’s most significant contribution to European music is the large and diverse body of keyboard music he composed for harpsichord, fortepiano, orga

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39

Starr, Larry. Listening to Bob Dylan. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043956.001.0001.

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This book presents the importance of listening to Bob Dylan’s recorded work as the essential basis for a deeper understanding and appreciation of his achievements. Here is a guide for both the curious listener and the enthusiastic Dylan fan, for both the nonspecialist who enjoys music and the professional. While fully acknowledging his celebrated gifts as a lyricist, this book embraces Dylan’s primary identity as a performing songwriter. For Bob Dylan, the creation of music, and its interpretation by voice and instruments, are as important as the words he sings. His performances offer inspired

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40

Reed, Christopher Robert. Cultural and Aesthetic Expressions. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036231.003.0008.

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This chapter discusses the cultural undergirding that made the Jazz Age what it was. The performing arts—which included instrumental music, choral music, and individual vocal presentations—dominated creative performance in Chicago. Mastery of the voice heard in sopranos, tenors, baritones, and basses accompanied widespread mastery of the piano. As a result, highly skilled musicians abounded. In the second decade of the century, ragtime, blues, and jazz emerged. Black groups performed throughout the city in concert halls such as the downtown district's Orchestra Hall and Auditorium Theater, in

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41

Hal Leonard Publishing Corporation (COR). High School Musical: Piano • Vocal • Guitar. Hal Leonard Corporation, 2006.

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42

Gilman, Todd. Theatre Career of Thomas Arne. The Rowman & Littlefield Publishing Group, Inc, 2012. https://doi.org/10.5040/9781611496918.

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This book concerns the life and theatrical career of the great native-born English composer and musician of the eighteenth century, Thomas Augustine Arne (1710-1778). Its purpose is three-fold. First, it provides a comprehensive biography and account of the performance and publication of Arne’s works during his lifetime. Although Arne’s childhood years get some attention, the book focuses on the period from 1732 to 1778, a time of great innovation for English opera and related genres. Second, it considers Arne’s social context: his relationships with the many dramatists, actors, singers, and f

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43

Performance Practice of the Instrumental-Vocal Works of Johann Sebastian Bach. The Scarecrow Press, Inc., 2002.

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44

Lehmann, Andreas C., and Reinhard Kopiez. Sight-reading. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0032.

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Sight-reading is defined as the execution – vocal or instrumental – of longer stretches of non- or under-rehearsed music at an acceptable pace and with adequate expression. Some people also label this ‘playing by sight’ or ‘prima vista’. Similar to improvisation, sight-reading requires the instant adaptation to new constraints, which places it among those that motor scientists refer to as open skills. This article briefly looks at how music notation is perceived and then moves on to the structure of sight-reading, taking into account the real-time conditions under which it takes place. This in

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45

Lussy, Mathis. Musical Expression: Accents, Nuances, and Tempo, in Vocal and Instrumental Music (Music Primers). Library Reprints, 2001.

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46

Philip, Robert. Early Recordings and Musical Style: Changing Tastes in Instrumental Performance, 19001950. Cambridge University Press, 2004.

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47

Shay, Anthony. LADO, the State Ensemble of Croatian Folk Dances and Songs. Edited by Anthony Shay and Barbara Sellers-Young. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199754281.013.009.

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Unlike many European nations, Croatia has historically used folk dance as a form of representation, according to dance historian and ethnographer Stjepan Sremac. Following World War II, the Yugoslav State established several professional ensembles, among which was Lado, the Ensemble of Folk Dances and Songs of Croatia, under the direction of Zvonko Ljevakovic. Unlike Igor Moiseyev, and in direct opposition to the Moiseyev aesthetic, Ljevakovic employed many authentic details of dance movements, costume, and vocal and instrumental music in his theatricalized folk dance choreographies. Many of t

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48

Jean, Sebastien. Classical Music for Electric Guitar Ensemble: 25 Musical Adaptations of Vocal and Instrumental Works. Independently published, 2019.

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49

Philip, Robert. Early Recordings and Musical Style: Changing Tastes in Instrumental Performance, 1900-1950. Cambridge University Press, 2011.

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50

Philip, Robert. Early Recordings and Musical Style: Changing Tastes in Instrumental Performance, 1900-1950. Cambridge University Press, 2009.

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