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Relevant bibliographies by topics / Solo recitals

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Academic literature on the topic 'Solo recitals'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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Journal articles on the topic "Solo recitals"

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Owen, Barbara. "The Maturation of The Secular Organ Recital In America's Gilded Age." Nineteenth-Century Music Review 12, no. 1 (2015): 95–117. http://dx.doi.org/10.1017/s1479409815000063.

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While organs had been built in the United States since the eighteenth century, until the middle of the nineteenth century what passed as an ‘organ concert’ consisted of a mélange of transcriptions from choral music and simple improvisations, interspersed with choral music and vocal solos. As larger organs began to appear by the middle of the nineteenth century, solo organ recitals by players such as George W. Morgan were occasionally performed. In the 1850s Americans such as Dudley Buck and John K. Paine travelled to Germany to study organ performance and composition, and others followed. The

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Lister, Rodney. "Boston: Gunther Schuller's ‘Encounters’." Tempo 58, no. 228 (2004): 62–63. http://dx.doi.org/10.1017/s004029820425015x.

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Boston's Symphony Hall is celebrated as one of the finest concert halls in the world. It is generally less well known that Boston also has the smaller and equally fine Jordan Hall, located in the New England Conservatory. A fixture of Boston's musical life, Jordan Hall is also literally the heart of the Conservatory, being the venue not only of visiting celebrity solo and chamber music recitals, but of a multitude of the whole range of the Conservatory's student concert activity.

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Green, Barry. "The Inner Game: Breaking through your Barriers." American String Teacher 36, no. 1 (1986): 41–45. http://dx.doi.org/10.1177/000313138603600121.

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Barry Green has been Principal Bassist with the Cincinnati Symphony since 1967, and is Adjunct Professor of Double Bass at the University of Cincinnati, College-Conservatory of Music. Known for his books on bass pedagogy, his solo albums and premiers of new music for bass, he also presents unique ‘Inner Game’ lectures and entertaining bass recitals throughout the U. S., and in Europe, Asia and Mainland China. Mr. Green's new book, The Inner Game of Music (with Timothy Gallwey), about overcoming the mental obstacles to learning and playing music, has just been published by Doubleday/Anchor Pres

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Mailman, Joshua Banks. "UPON THE OCCASION OF THE MILTON BABBITT (1916–2011) CENTENARY: AN INTERVIEW WITH BENJAMIN BORETZ." Tempo 70, no. 278 (2016): 29–44. http://dx.doi.org/10.1017/s0040298216000322.

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AbstractThis edited transcript of a public pre-concert discussion with composer, theorist and critic Benjamin Boretz not only touches on early personal encounters with Babbitt but also ranges over issues of reception of his music, listening experiences, transformations of music's temporality, connections to Schoenberg, Webern, Cage, and postmodernism, stylistic changes over Babbitt's career and composerly poetics, as well as motivations and consequences for precompositional structures and systems. The discussion took place on 22 November 2015, at the first of three recitals during the 2015–16

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Blume, Gernot. "Blurred affinities: tracing the influence of North Indian classical music in Keith Jarrett's solo piano improvisations." Popular Music 22, no. 2 (2003): 117–42. http://dx.doi.org/10.1017/s0261143003003088.

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In the first forty years of his career, American pianist Keith Jarrett has established a reputation in multiple stylistic directions. Jarrett has typically incorporated influences as varied as bebop, country, rock, gospel, minimalism, baroque and classical styles into his often lengthy improvisations. Vital to his musical persona, but less obvious, is the influence North Indian classical music has had in shaping Jarrett's improvisatory strategies. Although he never formally studied Indian music, and although his instrument – the piano – is far removed from the conceptual backdrop of North Indi

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Nicholas, Larraine. "Leslie Burrowes: A Young Dancer in Dresden and London, 1930–34." Dance Research 28, no. 2 (2010): 153–78. http://dx.doi.org/10.3366/drs.2010.0102.

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Leslie Burrowes (1908–1985) was the first British dancer to receive the full diploma of the Wigman School in Dresden and subsequently became Wigman's official UK representative. The letters she wrote to her benefactor, Dorothy Elmhirst, with the addition of my commentary and annotations, provide a lens through which to view the School as she experienced it. Her return to London brought her into a quite different cultural environment. I argue that she energetically launched her career, performing and teaching in her new style and contesting what she considered to be false charges against modern

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Grant, M. D. "Plautus and Seneca: Acting in Nero's Rome." Greece and Rome 46, no. 1 (1999): 27–33. http://dx.doi.org/10.1017/s0017383500026061.

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Anyone who has ever read the tragedies of Seneca must have wondered at the intention of the author. In the absence of any external evidence for their staging this is not surprising. W. Beare argues for declamation before a select audience who would have appreciated the sparkle of the rhetoric. G. E. Duckworth, whilst stressing that presentation on stage cannot be proved, suggests tentatively that they were at least written with an eye to performance. C. D. N. Costa holds out for solo virtuoso recitals, with perhaps extracts or a few scenes being performed. F. Ahl recalls the emperor Domitian's

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Morgan-Zayachek, Eileen. "Losing Their Day Jobs: The Radio Éireann Players as a Permanent Repertory Company." Theatre Survey 46, no. 1 (2005): 31–48. http://dx.doi.org/10.1017/s0040557405000037.

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During a 1966 Radio Telefis Éireann broadcast celebrating the first forty years of indigenous radio in the Republic of Ireland, Maxwell Sweeney characterized the evolution of radio drama in the nation as a slow process, one that grew out of readings of short stories and poetry. Like all other facets of the early national radio service, dramatic broadcasting suffered greatly from inadequate funding and resources. Equally detrimental to its progress was the widespread, if understandable, ignorance about the new medium's possibilities. Indeed, music dominated the airwaves in the first decade of n

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HALL, MATTHEW J. "SENSATION AND SENSIBILITY AT THE KEYBOARD IN THE LATE EIGHTEENTH CENTURY: CELEBRATING THE TERCENTENARY OF C. P. E. BACH CORNELL UNIVERSITY, 2–4 OCTOBER 2014." Eighteenth Century Music 12, no. 2 (2015): 266–69. http://dx.doi.org/10.1017/s1478570615000196.

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This conference-festival at Cornell University was a highlight among the many events held worldwide in connection with C. P. E. Bach's tercentenary. In addition to an international line-up of visiting scholars who descended upon Ithaca (only then, it might be added, to ascend the formidable hill atop which Cornell is perched), the occasion drew together from within the university the Department of Music, the Westfield Center for Historical Keyboard Studies, the Division of Rare and Manuscript Collections and the Atkinson Forum in American Studies. The conference was conceived around Christophe

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Figueroa Luna, Guillermo. "Solo cantando estuviera: versitos de la sierra de Piura." Investigaciones Sociales 21, no. 39 (2018): 113–28. http://dx.doi.org/10.15381/is.v21i39.14668.

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La presente investigación tuvo como objetivos comprender algunas características de las expresiones artísticas llamadas «versitos» en la cultura de los campesinos de la parte alta del distrito de Yamango, provincia de Morropón, en la sierra del departamento de Piura, Perú. Se aplicó el método de observación participante, lográndose recoger y clasificar 212 cuartetas octosílabas cantadas en las fiestas locales y familiares. Esos «versitos», compuestos por ellos mismos o aprendidos en sus viajes a diversos lugares, son cantados en sus fiestas o recitados en la vida cotidiana, Son similares a las

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Dissertations / Theses on the topic "Solo recitals"

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Wyber, Leslie Paulette. "Solo and chamber music recitals." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/28878.

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Konoval, Michael Brandon. "Two piano recitals : solo and chamber music of Bartok, Brahms, Mozart and Rachmaninoff." Thesis, University of British Columbia, 1989. http://hdl.handle.net/2429/27375.

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Olford, Gertrude Carolyn. "Four organ recitals and an essay, selected Canadian solo organ music, 1981-1996 : introduction and annotated catalogue." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq23105.pdf.

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Korak, John. "A performance analysis of Joseph Turrin's works for solo trumpet, a lecture recital, together with three recitals of selected works by J.S. Bach, E. Bloch, H. Tomasi and others." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc935566/.

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This study addresses on facet of Joseph Turrin's compositional oeuvre: his published works for solo trumpet. Complete histories if all six trumpet compositions are chronicles. A discussion of formal organization and significant style features including harmonic language, melodic style and rhythmic features is included. A detailed performance analysis follows. The degree of difficulty of each work is assessed through an investigation of tessitura, range, melodic contour, endurance factors, fingerings, and technical features of the accompaniment. Analysis of tempi and dynamics, articulation and

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Duhaime, Ricky Edward. "A Neglected Clarinet Concerto by Ludwig August Lebrun: A Performing Edition with Critical Commentary: A Lecture Recital, Together with Three Other Recitals." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331084/.

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The present study makes available a modern performing edition of an eighteenth-centyry clarinet concerto. Written by the Mannheim oboist and composer Ludwig August Lebrun, the Concerto in B-flat for solo clarinet and orchestra has existed solely as a set of manuscript parts for over 200 years. The following chapters present biographical information on Ludwig August Lebrun as an oboist and composer of the late eighteenth century, the historical background of Lebrun's Concerto in B-flat. a thematic and harmonic analysis of the concerto's three movements, and a summary of the procedures followed

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Innis, Steve (Stephen Gregory). "George Gershwin's Rhapsody in Blue (Solo Piano Version) : An Historical, Rhythmic and Harmonic Perspective, a Lecture Recital, Together with Three Recitals of Selected Works of R. Schumann, F. Liszt and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278912/.

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The evolution of twentieth century American music involves much more than the continuation of European tradition. The music of black Americans before and after the turn of the century had a profound impact on the musical sensibility of American culture in general. Additionally, the fledgling popular music publishing industry had a dramatic effect on the course of "classical" tradition. Nowhere was this more apparent than in the music of George Gershwin. Gershwin's importance in the history of American art music is undisputed. Why his music sounds the way it does is less understood. This paper

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Wheeler, John E. (John Eby). "The Music for Solo Clarinet by Arnold Cooke: The Influence of Paul Hindemith and a Comparison of the Music for Solo Clarinet by Both Composers: A Lecture Recital, Together with Three Recitals of Selected Works by C. Nielsen, J. Françaix, and Others." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331904/.

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This dissertation is an analytical comparison of the works for solo clarinet by Paul Hindemith and his student Arnold Cooke. A total of seven compositions are studied and analyzed for style, covering aspects of melody, harmony, rhythm, form, and texture. From this data, conclusions concerning the accessibility of Cooke's music for solo clarinet to the player and listener are made. Although Hindemith's music for solo clarinet is more often played, it is this author's conclusion that Cooke's works are more satisfactory in their accessibility and ease of performance.

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Carrell, Scott Allen. "The French Sonatina of the Twentieth Century for Piano Solo with Three Recitals of Works by Mussorgsky, Brahms. Bartok, Dutilleux, and Others." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc1038907/.

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The purpose of this study is to define the French sonatina of the twentieth century, to expose those works which are most suitable for concert performances, and to provide a resource for teachers and performers. Of the seventy-five scores available to the writer, five advanced-level piano sonatinas of the twentieth century were chosen as the best of those by French composers, in attractiveness and compositional craftsmanship: Maurice Ravel's Sonatine (1905), Maurice Emmanuel's Sonatine VII (1926), Noel Gallon's Sonatine (1931), Alexandre Tansman's Troiseme Sonatine (1933), and Jean-Michel Da

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Carrell, Scott Allen. "The French Sonatina of the Twentieth Century for Piano Solo: With Three Recitals of Works by Mussorgsky, Brahms, Bartok, Durilleux, and others." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc935608/.

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The purpose of this study is to define the French sonatina of the twentieth century, to expose those works which are most suitable for concert performances, and to provide a resource for teachers and performers. Of the seventy-five scores available to the writer, five advanced-level piano sonatinas of the twentieth century were chosen as the best of those by French composers, in attractiveness and compositional craftsmanship: Maurice Ravel's Sonatine (1905), Maurice Emmanuel's Sonatine VI VI(1926), Noel Gallon's Sonatine (1931), Alexandre Tansman's Troisieme Sonatine (1933), and Jean-Michel Da

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Evans, Garry Windel. "Marcel Mihalovici a critical evaluation of his solo and chamber works for clarinet, a lecture recital, together with three recitals of selected works by Bozza, Uhl, Martino, Sowerby, Kalliwoda, Bax, and others /." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2006. http://www.unt.edu/etd/all/Dec2006/Restricted/evans_garry_windel/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2006.<br>System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 16, 2001, Apr. 7, 2003, Apr. 19, 2004, and Oct. 16, 2006. Includes bibliographical references (p. 63-64).

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Books on the topic "Solo recitals"

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Classics For Solo Singers 12 Masterwork Solos For Recitals Concerts And Contests. Alfred Publishing Co., Inc., 2010.

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Carols For Solo Singers 10 Seasonal Favorites Arranged For Solo Voice And Piano For Recitals And Concerts. Alfred Publishing Co., Inc., 2011.

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Beck, Andy. Spirituals for Solo Singers, Book 2: 10 Spirituals for Solo Voice and Piano for Recitals, Concerts, and Contests). Alfred Publishing Company, 2006.

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Beck, Andy. Spirituals for Solo Singers, Book 2: 10 Spirituals for Solo Voice and Piano for Recitals, Concerts, and Contests). Alfred Publishing Company, 2006.

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Christmas for Solo Singers: 14 Seasonal Favorites Arranged for Solo Voice and Piano...for Recitals and Concerts, Medium High. Alfred Publishing Company, 1995.

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Hayes, Mark. 10 Christmas Songs for Solo Voice Mediun High: For Concerts, Contents, Recitals and Worship (The Mark Hayes Vocal Solo Collection). Alfred Publishing Company, 1999.

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Beck, Andy. Spirituals for Solo Singers Book 2, Medium High: 10 Spirituals for Solo Voice and Piano for Recitals, Concerts, and Contests). Alfred Publishing Company, 2006.

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8

Beck, Andy. Spirituals for Solo Singers Book 2, Medium Low: 10 Spirituals for Solo Voice and Piano for Recitals, Concerts, and Contests. Alfred Publishing Company, 2006.

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9

Althouse, Jay. Folk Songs for Solo Singers: 11 Folk Songs Arranged for Solo Voice and Piano...for Recitals, Concerts and Contests: Medium High. Alfred Publishing Company, 1991.

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Folk Songs for Solo Singers: 11 Folk Songs Arranged for Solo Voice and Piano...for Recitals, Concerts and Contests : Medium High. Alfred Pub Co, 1991.

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Book chapters on the topic "Solo recitals"

1

Pacciolla, Paolo. "The solo pakhāvaj recital." In The Indian Drum of the King-God and the Pakhāvaj of Nathdwara. Routledge, 2020. http://dx.doi.org/10.4324/9780367370244-9.

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Siwe, Thomas. "The Solo Percussionist—Center Stage." In Artful Noise. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043130.003.0012.

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The virtuoso percussionist, though not unique to the twentieth century, began to appear on both professional and student recitals during the latter decades of the century. This chapter examines the solo literature written for the principal percussion instruments—timpani, xylophone, marimba, vibraphone—and multiple percussion, the latter term describing an array of dissimilar instruments that is novel to the twentieth century. The chapter portrays the evolution of composer Elliott Carter’s timpani solos and his use of metric modulation. Virtuoso artists, such as Vida Chenoweth, Keiko Abe, and others, composed and commissioned new works for keyboard percussion. Their collective efforts brought keyboard percussion to the forefront of the solo percussion literature. The eminent solo artist Evelyn Glennie commissioned over 200 solo works, many of them categorized as multiple percussion. The percussionist, once banished to the back of the orchestra, often appeared center stage by century’s end.

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Hamilton, Kenneth. "Creating the Solo Recital." In After the Golden Age. Oxford University Press, 2007. http://dx.doi.org/10.1093/acprof:oso/9780195178265.003.0002.

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Brister, Wanda, and Jay Rosenblatt. "The Lady Composer Steps Out." In Madeleine Dring. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979312.003.0006.

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Dring’s early career is traced through her commissions for BBC radio and television broadcasts, of which the most significant is The Fair Queen of Wu, a ballet for singers and chamber ensemble with choreography by Felicity Gray. During these years, her first publications appeared, with an emphasis on piano music (for solo piano and two pianos) and her Three Shakespeare Songs. Dring’s music was also performed in recitals, including her recently published piano works and a selection of her songs (published and unpublished). The most favorable reviews are found for her Festival Scherzo (“Nights in the Gardens of Battersea”), written to commemorate the Festival of Britain. Also discussed is her one-act opera, Cupboard Love, the music written for the Christmas plays produced by Angela Bull’s Cygnet Company, and her first performance as a singer at the RCM’s Union “At Home.” A fine example of Dring’s cabaret style is found in the discussion and analysis of her song, “The Lady Composer.” In her personal life, the chapter documents her marriage to Roger Lord, his career as a musician (principal oboe in the London Symphony Orchestra for thirty-three years), and the birth of her son, Jeremy.

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Haroutounian, Joanne. "The Flame: Teenage Years." In Kindling the Spark. Oxford University Press, 2002. http://dx.doi.org/10.1093/oso/9780195129489.003.0022.

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Close to a dozen years have gone by and we find ourselves seated on folding chairs enjoying the final recital of a private studio of talented piano students. Each year there are a few new eager faces as the younger students deftly work through pieces that seem very complex for such little fingers to play so quickly. We notice the students who have been seasoned through training, now in those tenuous intermediate years. Their intense desire for precision shows maturing musical ideas, but often arrives at awkward adolescence when being on stage has an added gravity of meaning. We search for the advanced teenagers—those students we have seen truly blossom through the long process of talent development. Numbers have dwindled in this studio. One has decided to move out of state and is now studying at a conservatory. Another has decided to concentrate efforts on the oboe, begun in elementary school band, with time restraints easing piano lessons out of her schedule. Academic and parental pressures have caused last year’s shining star, a junior seeking an Ivy League college education, to quit as well. There remains one teenager who ends the program with a flourish, receiving many hugs from young admirers and awards galore following the program. This is our tiny, eager student from the front steps. A senior, having completed a full twelve years of instruction with many competitions and solo recitals under his belt, he bids farewell to this comfortable, nurturing studio. He enters college as a math major. Many private teachers, parents, and music students may recognize this scene as a very realistic portrayal of possibilities in musical talent development. The first years of training are “romance,” with parents aglow when hearing their talented youngster perform with such confidence and flair. The middle years consist of flux and flow, a phase when students search for the “whys” and “hows” beneath the notes that were so easily played in prior years. Musical training now presents persistent challenges. Late-starters may speed into these years with determination. Others may begin a second instrument or composition classes to broaden musical experiences.

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McVeigh, Simon, and William Weber. "From the Benefit Concert to the Solo Song Recital in London, 1870–1914." In German Song Onstage. Indiana University Press, 2020. http://dx.doi.org/10.2307/j.ctv104t9zt.12.

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Manning, Jane. "JAMES PRIMOSCH (b. 1956)Three Sacred Songs (1989)." In Vocal Repertoire for the Twenty-First Century, Volume 1. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0069.

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This chapter takes a look at some examples of James Primosch’s sacred music. It shows how the solo song cycle Three Sacred Songs exemplifies his consistency, integrity, and technical skill. Here, assured craftsmanship is welded to sincere spiritual conviction—a winning combination, which communicates strongly and directly. Three widely contrasting movements form a satisfyingly balanced whole. The vocal writing is modal and mellifluous, and eminently practical, avoiding extreme demands of range or technical virtuosity. Sopranos, tenors, light mezzos, and even high baritones can take it on board. The piano parts supply a wealth of translucent, well-balanced textures, which are entirely idiomatic and lie comfortably under the hands. The general tone is radiant and joyful—a welcome antidote to the more melancholy aspects of religious music. The piece is ideal for a church recital, and a resonant acoustic will add bloom to its sonic beauty.

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"to less prosaic representations. That five of the commentaries are positive in their evaluation of Neighbours, two neutral, and only one negative suggests the broad potential acceptability of the program to the US market (only one publication, the Wall Street Journal, has the kind of highbrow readership which might encourage its television critics to sneer at popular material such as soaps). The two textual features of Neighbours which do draw comment – the everyday, and the domestic and suburban – point to a crucial first feature of the US “mediascape,” in particular its “soapscape,” namely the preference for the exceptional, the non-domestic, the non-suburban. In US soaps, it is well known, the pole of melodrama exercises greater attraction than the pole of realism (cf. Geraghty 1991: 25–38) – in contrast to Australian and British soaps. These two textual aspects of Neighbours are a central theme of the US commentaries, combining under the rubric of the non-exceptional, the “realistic.” All the commentaries bar the sole negative one (Kitman 1991: 23) refer positively to Neighbours’ “realism,” often in contradistinction to the perceived artificiality of US soaps. Peter Pinne, the program’s executive producer, is twice quoted to just this effect (Goodspeed 1991: 22; Mann 1991: 28), while USA Today (Roush 1991: 15) applauds “how close the residents of Ramsey Street seem to our own suburban counterparts,” and notes that “its casual gossip and unexceptional lifestyle [are] closer to the early days of Knots Landing than to any current soap.” The redoubtable Wall Street Journal does not sneer, but praises a television version of middle- and lower-class life that is at ease with itself and singularly lacking in . . . the self-consciousness and discomfort that attends American television’s efforts to portray uneducated white working-class types . . . . [Its] characters . . . ought to be more recognisable to Americans than the peculiar beings that inhabit the worlds of our home-grown TV dramas . . . . [They] actually converse with one another in the way that people do – without declaiming or the rat-a-tat of one-liners, or recitals of a position on the latest hot social theme. If the beat of their daily lives is unhysterical – quiet, in fact – it is also eventful. (Rabinowitz 1991: 17) The Wall Street Journal takes a refreshing distance from the infamous “Greed is good” dictum voiced in Oliver Stone’s film, Wall Street! Given Neighbours’s atypicality in the realm of US soaps, its American reference points are either Knots Landing – which one British journalist described as “the nearest the Americans can bear to get to a soap about ordinary people” (Kingsley 1989: 226) – or US sitcoms (Kelleher 1991: 36; Rabinowitz 1991: 17). Buyer and seller agreed that its non-exceptional “realism” was one reason for Neighbours’s failure in the US “soapscape.” KCOP described it as “less raunchy than US soap operas, too wholesome” (Moran 1992). Its seller, Bob Cristal, added that." In To Be Continued... Routledge, 2002. http://dx.doi.org/10.4324/9780203131855-21.

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