Relevant bibliographies by topics / Recorded accompaniments (Harmonica)

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  2. Books
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Academic literature on the topic 'Recorded accompaniments (Harmonica)'

Author: Grafiati
Published: 26 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Recorded accompaniments (Harmonica)"

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McCormick, Susan. "The Lost Art of Harmonic Variation in Eighteenth-Century Hymn Accompaniment in the German Lutheran Church." Journal of Musicology 42, no. 3 (2025): 321–49. https://doi.org/10.1525/jm.2025.42.3.321.

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The discovery in 2007 of a previously unknown Choralbuch manuscript has prompted reassessment of eighteenth-century hymn accompaniment in the German Lutheran Church. The manuscript—attributed to Johann Christian Kittel (1732–1809), the only pupil of J. S. Bach to see the nineteenth century—bears witness to a significant tradition of improvisatory practice within European church music and one that is recorded in only a small number of other sources, namely harmonic variation in hymn accompaniment. This practice has not only been overlooked in scholarship but has been only partially understood,
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Rybak, Yuriy. "The Creative Style of the Wandering Singer Andriyan Danylyuk." Ethnomusic 20, no. 1 (2024): 9–26. https://doi.org/10.33398/2523-4846-2024-20-1-9-26.

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One of the most outstanding wandering singer-instrumentalists in the Western Ukrainian Polissya region was Andriyan Danylyuk (1929–2005), a native of the vil- lage of Hirnyky in the Volyn region. Equipped first with a reel tape recorder and later with a cassette recorder, he devoted significant effort to recording his repertoire, as well as collecting materials from his colleagues. In this capacity, he proved to be like a diligent and productive folklorist, whose primary professional goal was to compile and maintain a working collection of materials. As a result, his efforts left an invalu- ab
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Иванова, О. В. "The Folk Tune “Sormach” in the Instrumental Tradition of the Nizhniy Novgorod Region: Typological Characteristics." ТРАДИЦИОННАЯ КУЛЬТУРА 25, no. 1 (2024): 26–46. http://dx.doi.org/10.26158/tk.2024.25.1.002.

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Наигрыш «Сормача» занимает центральное место в инструментальной традиции Нижегородчины. Его разновидности встречаются и в других регионах России. В статье рассматриваются варианты наигрыша, зафиксированные в ходе экспедиций Московской консерватории на территории Нижегородской области начиная с 1960 г. по настоящее время. Анализируются характерные особенности «Сормача»: структура, гармоническая основа, координация текстов с инструментальным сопровождением. На примере локальных версий наигрыша затрагивается проблема типа и варианта. Впервые публикуются народные названия этого типа наигрыша, быту
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Boykin-Settles, Jessica. "Two Heads Are Better Than One." Resonance 1, no. 2 (2020): 163–90. http://dx.doi.org/10.1525/res.2020.1.2.163.

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Washington, DC–born vocalist and pianist Shirley Horn was one of the most singular and respected musicians on the jazz scene during a career that spanned more than five decades. Despite minimal accolades, Horn’s contributions to the art form are rarely rivaled. She was a virtuoso pianist and a genius song stylist. In a 1992 article in the Washington Post, prolific composer and arranger Johnny Mandel explained that “Horn’s playing wasn't just self-accompaniment. It was percussive counterpart and harmonic commentary that worked with the singing to create a whole, a work of art that was more than
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Sheremeta, Iryna. "Maksym Rylskyi as a Composer: Musical Stylistics of the Piano Improvisations." Folk art and ethnology, no. 1 (March 30, 2025): 21–26. https://doi.org/10.15407/nte2025.01.021.

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Two piano improvisations by the Ukrainian poet Maksym Rylskyi are analyzed in the article. He has enjoyed creative musical experiments, but he did not notate them. In the late 1940s some of them have been recorded on magnetic tape by Polikarp Baranovskyi, a specialist in electrical sound recording. These recordings are preserved at the Archival Scientific Funds of Manuscripts and Audio-Recordings Department of M. Rylskyi Institute of Art Studies, Folkloristics and Ethnology. There are piano improvisations, melodized recitations, and accompaniments to folk songs among them. In the mid-1980s, K.
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Phimnon, Suphawut. "Exercise for Double Bass Utilizing Larry Grenadier's Concepts of Odd Meter." Rangsit Music Journal 20, no. 2 (2025). https://doi.org/10.59796/rmj.v20n2.2025.r0507.

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The objective of this research is to create a double bass skill exercise based on an analysis of Larry Grenadier's conceptual arrangement of odd meter in his performances on Solar, Summertime, and It Might as Well Be Spring. The researcher has examined and formulated practice approaches based on this distinctive notion, categorizing them into four primary topics: 1) Analysis of rhythmic attributes in irregular meter, 2) Identification and selection of notes for harmonic structure, 3) Formulation of themes, and 4) Design of a practice framework for double bass performance emphasizing the handli
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Books on the topic "Recorded accompaniments (Harmonica)"

1

Maxwell, Stuart "Son ." Starting blues harmonica. Wise, 2007.

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Book chapters on the topic "Recorded accompaniments (Harmonica)"

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Ramona Mathieu, Pachet François, and Gorlow Stanislaw. "Giant Steps in Jazz Practice with the Social Virtual Band." In The Future of Learning. IOS Press, 2015. https://doi.org/10.3233/978-1-61499-593-7-101.

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This chapter deals with the issue of learning how to improvize. Traditional MOOCs provide jazz students with comprehensive theoretical and motivate students to practice intensively on their own. However, without a view of one's progress, and without feedback, individual practice is a long and winding road along which many students get lost. Indeed, most jazz learning systems lack these two crucial ingredients, resulting in high drop-out rates. This chapter addresses the issue of designing tools for supporting improvisation practice by bringing in a social dimension enabling peer-to-peer feedba
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2

Kildea, Paul. "Imogen Holst: An ABC of Music (1963)." In Britten on Music. Oxford University PressOxford, 2003. http://dx.doi.org/10.1093/oso/9780198167143.003.0068.

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Abstract A young friend of mine has been playing the guitar for several years now.1 He has a real aptitude for it: a feeling for the sound of the instrument, a considerable gift for technique, and patience to work hard. But he cannot read music and knows nothing of how music is made, and, what is more, he simply refuses to learn. ‘Too dull and too much trouble’, he says, ‘and anyhow not worth it’. It is true, of course, that a lot of his time is spent in playing dance music, when sight-reading is perhaps not so essential, but he has a considerable interest in straight music, and the lute parts
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