Relevant bibliographies by topics / Songs with piano Vocal duets with piano

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Songs with piano Vocal duets with piano'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Songs with piano Vocal duets with piano"

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Atlas, Raphael. "Text and Musical Gesture in Brahms's Vocal Duets and Quartets with Piano." Journal of Musicology 10, no. 2 (1992): 231–60. http://dx.doi.org/10.2307/763613.

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Atlas, Raphael. "Text and Musical Gesture in Brahms's Vocal Duets and Quartets with Piano." Journal of Musicology 10, no. 2 (1992): 231–60. http://dx.doi.org/10.1525/jm.1992.10.2.03a00030.

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Hamm, Charles. "Genre, performance and ideology in the early songs of Irving Berlin." Popular Music 13, no. 2 (1994): 143–50. http://dx.doi.org/10.1017/s0261143000007005.

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Irving Berlin's 200-odd songs written between 1907, the date of the first one, and late 1914, when his first complete show for the musical stage (Watch Your Step) opened at New York's Globe Theatre, are virtually identical to one another in their published piano/vocal format. Like other Tin Pan Alley songs of the early twentieth century, most of them consist of a brief piano introduction, a few bars of vamp, then several verses, each followed by a chorus. All are in major keys and most have a tempo marking of moderato. Piano introductions are drawn from either the first or last phrase of the c
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LeSueur, Richard, and Lucien Stark. "Brahms's Vocal Duets and Quartets with Piano: A Guide with Full Texts and Translations." Notes 56, no. 1 (1999): 130. http://dx.doi.org/10.2307/900487.

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Yeroshenko, O. V. "Specifics of Vocal Repertoire of Students-Actresses (on the Example of Ukrainian Folk Songs Arrangements): Musical and Performing Aspect." Culture of Ukraine, no. 71 (April 2, 2021): 68–74. http://dx.doi.org/10.31516/2410-5325.071.08.

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The purpose of this article is to determine the main musical performance features of the vocal repertoire of students-actresses (using the example of selected arrangements of Ukrainian folk songs for a female voice accompanied by a piano) and highlight their role in the selection of vocal works in the field of stage arts. Research methodology. General scientific methods are used in this article: cognitive, analytical, comparative; particular musical-theoretical methods: musical­analytical method, vocal­performing analysis. Results. Some of the most significant musical and artistic features of
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Mikolon, Anna. "Piano and chamber works by Jerzy Gablenz (1888-1937)." Notes Muzyczny 2, no. 10 (2018): 123–43. http://dx.doi.org/10.5604/01.3001.0012.9815.

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The article is aimed at presenting piano and chamber music written by the forgotten composer of the period of the Young Poland. Born in Cracow to a family with rich music traditions, Jerzy Gablenz learned to play the piano, flute, cello and organ. But his main interest was to write music himself. As early as in his youthful years, he wrote songs and piano miniatures mainly dedicated to Małgorzaa Schoen, his future wife. He graduated from law school, but he also studied composition and theory of music with Władysław Żeleński, Feliks Nowowiejski and Zdzisław Jachimecki. His main occupation was m
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Kosaniak, Nataliia. "Vasyl Bezkorovayny’s vocal works in Ukrainian music of the first half of the XX century." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 11(27) (2019): 500–515. http://dx.doi.org/10.37222/2524-0315-2019-11(27)-21.

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Vasyl Bezkorovayny (1880–1966) was a talented artist, an active figure in the musical life of Galicia and a representative of post-war Ukrainian emigrants in the United States of America. He wrote more than 350 works of various genres. Among them are compositions for symphony orchestra; vocal works — for chorus, ensembles or solo singing; chamber and instrumental music — for piano, violin, zither, cello; music for dramatic performances. The article deals with the archival and musicological analysis of expressive and stylistic features of V. Bezkorovayny’s vocal works, based on the materials of
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Mikolon, Anna. "Composition trends in polish vocal lyric. Musical language features in polish songs after the mid-20th century based on selected examples." Notes Muzyczny 2, no. 12 (2019): 175–98. http://dx.doi.org/10.5604/01.3001.0013.7176.

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The subject for analysis were works for voice and piano by selected Polish composers of the 20th and 21st centuries, e.g. Grażyna Bacewicz, Tadeusz Baird, Henryk Czyż, Henryk Mikołaj Górecki, Henryk Hubertus Jabłoński, Wojciech Kilar, Zygmunt Krauze, Szymon Laks, Witold Lutosławski, Juliusz Mieczysław Łuciuk, Wojciech Łukaszewski, Paweł Łukaszewski, Maciej Małecki, Paweł Mykietyn, Edward Pałłasz, Konrad Pałubicki, Krzysztof Penderecki, Witold Rudziński, Marian Sawa, Kazimierz Serocki, Tadeusz Szeligowski and Romuald Twardowski. An important matter for the author was to determine whether there
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Krainz, Thomas A. "Transforming the Progressive Era Welfare State: Activists for the Blind and Blind Benefits." Journal of Policy History 15, no. 2 (2003): 223–64. http://dx.doi.org/10.1353/jph.2003.0014.

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On the evening of 21 November 1918, more than one hundred people gathered at Sullivan's Hall in Denver, Colorado, to celebrate voters’ recent approval of the Act for the Relief of the Adult Blind, a statewide initiative commonly referred to as blind benefits or blind pensions or blind aid. The new law guaranteed up to $300 annually in cash relief for each impoverished blind resident. The evening's entertainment included piano, violin, and vocal solos and duets as well as readings of poetry and literature. While people listened, they enjoyed a simple assortment of sandwiches, pies, and doughnut
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Han, Siuebin. "Early piano work of Sang Tong: becoming a style." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (2019): 160–72. http://dx.doi.org/10.34064/khnum1-52.11.

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Background. The article explores the development of the piano style of the outstanding composer Sang Tong, one of the founders of the national pianistic art. He was one of the first Chinese composers to apply modern techniques of composer writing on the basis of national musical elements. The early period of the creativity of this musician (1950–60’s) was the basis for the formation of his composer personality. The basis of the creative experiments of Sang Tong was his early piano work. In such works as “In a distant place” (1947), “Seven Ballads on the Themes of Songs of Inner Mongolia” (1953
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Dissertations / Theses on the topic "Songs with piano Vocal duets with piano"

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Grahl, Trevor Aaron Grahl Trevor Aaron Grahl Trevor Aaron Grahl Trevor Aaron. "Three pieces." Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p1464882.

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Thesis (M.A.)--University of California, San Diego, 2009.<br>Title from first page of PDF file (viewed July 8, 2009). Available via ProQuest Digital Dissertations. Includes disc containing sound files of the pieces and PDF versions of the thesis and program.
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Thomas, Eric Sanders. "An Examination of the Solo and Duet Vocal Repertoire of Kenneth Mahy." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/105.

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This doctoral essay examines the vocal solo and duet repertoire of Kenneth Mahy, an American composer of art song and choral music in the late twentieth and early twenty-first centuries. By examining his songs, assessing their difficulty, and analyzing their texts, this essay establishes that Kenneth Mahy is a composer worthy of note. In addition, this study provides pedagogical observations and performance notes of his songs. Furthermore, this essay provides biographical information about Mahy, and examines how his training, education, military experience, and unique experiences as the son
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Ariel, Ido. "Towards the performance of Schoenberg's songs for voice and piano : interpretation and vocal coaching." Thesis, Royal College of Music, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.606554.

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Schoenberg's Lied-aesthetic reflected his response to arguments characteristic of the fin-de-siècle word-tone debate. His attitude towards the desired relationship between language and music changed as his musical language developed, moving from tonality to atonality and later to dodecaphony. This thesis offers a methodology for the practical interpretation of Schoenberg's songs for voice and piano, taking this aesthetic shift into consideration. Vocal coaching of Schoenberg's songs raises problems in three related fields: Schoenberg's general Lied-aesthetic; the technical demands of individua
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Gamso, Nancy M. (Nancy Margaret). "Twentieth-Century Works for Textless Voice and Various Woodwinds with Three Recitals of Selected Works of Stamitz, Roussel, Albinoni, Weber, Milhaud, and Others." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc279129/.

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The purpose of this study is to explore the literature for textless voice and woodwind instruments. The primary focus concerns the timbral and ensemble possibilities exploited in three twentieth-century works in which the voice is treated as an instrument i.e., without the usual preoccupation with textual meaning. An historical overview of vocal works with obbligato woodwinds and concerted works for textless voice serves as an introductory chapter. The variables of voice and instrument acoustical makeup, vocal vowel formation and instrumental voicings, volume, vibrato, resultant tones, range,
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E, Joukova Eugenia. "The songs and song cycles of Sergey Prokofiev (1930--1950) /." 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3301158.

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Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2007.<br>Includes abstract. Vita. Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0429. Adviser: William Kinderman. Includes bibliographical references (leaves 153-157) Available on microfilm from Pro Quest Information and Learning.
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Lee, Yu-Young. "Béla Bartók's Eight Hungarian folk songs for voice and piano: vocal style as elaborated by harmonic, melodic, and text factors." Thesis, 2006. http://hdl.handle.net/2152/2807.

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Lin, Chih-Yi, and 林芷儀. "The Study of Vocal Music “I Hate Music: A Cycle of Five Kid Songs for Soprano and Piano” by Leonard Bernstein." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/42073873530458948755.

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碩士<br>國立臺中教育大學<br>音樂學系碩士班<br>98<br>The purpose of this paper is to explore the compositional techniques and the analysis of interpretation of vocal composition "I hate music: A Cycle of Five Kid Songs for Soprano and Piano " by Leonard Bernstein. The paper includes the composer's background, music learning process, and how he became one of the most important composer of the twentieth century. Bernstein not only conducted a large number of works by American composers, but also enthusiastically dedicated his life to promoting American music, music education and mentoring. His creative and
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Grant, Quentin Stuart David. "Portfolio of original compositions." 2008. http://hdl.handle.net/2440/51095.

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This submission comprises a portfolio of fifteen original musical works and an exegesis that comments on five of these works. Recordings of twelve of the fifteen compositions are included. These pieces demonstrate an ongoing investigation into structure, and the discussion will provide an insight into the constant process of experimentation and consolidation involved in developing such a body of work. In the exegesis I open with a general conversation on the compositional process and then focus on the formal problems inherent in this process. I then discuss the five scores included in the main
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Weekes, Diana K. "Twistonality [music] : a personal exploration : portfolio of original compositions and exegesis." 2007. http://hdl.handle.net/2440/57119.

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Title page, table of contents and abstract; v.2: table of contents; v.3: table of contents only. The complete thesis in print form is available from the University of Adelaide Library.<br>This doctoral submission comprises three volumes and is entitled Twistonality: A Personal Exploration. Volume One consists of a portfolio of eleven original compositions, Volume Two is an exegesis and Volume Three contains live and/or computer-generated recordings of the music. The works are scored for a variety of instrumental and vocal combinations. The compositions explore the use of tonality as a basis fo
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Books on the topic "Songs with piano Vocal duets with piano"

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Saint-Saëns, Camille. 40 mélodies et duos: Volumes 1 & 2, solo voice, piano accompaniment, French text. Classical Vocal Reprints, 1999.

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Romero, Redentor. 50 immortal Filipino duets: The first-ever collection of timeless Philippine duets. National Philharmonic Society, 1992.

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Chopin, Frédéric. 12 mazurkas for voice and piano. International Music, 1988.

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Pasquale, Scialò, and Seller Francesca, eds. Passatempi musicali: Guillaume Cottrau e la canzone napoletana di primo '800. Guida, 2013.

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Henry, Purcell. Songs. Schott, 1994.

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Bernstein, Leonard. Arias and barcarolles: For mezzo-soprano, baritone, and piano four hands. Jalni Publications, 1992.

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Janáček, Leoš. The diary of one who vanished: For tenor, with alto, three female voices and piano. Masters Music Publications, 1990.

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Gardiner, Mary. Zhawaninodin: For contralto, baritone, piano. [s.n.], 1987.

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Larson, Lloyd. Sacred vocal duets: For two medium voices. Hope Pub. Co., 2006.

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(Group), Hothouse Flowers. Songs from the rain: Piano,vocal,guitar. International Music Pubs., 1993.

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Book chapters on the topic "Songs with piano Vocal duets with piano"

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Manning, Jane. "RODNEY LISTER (b. 1951)Songs to Harvest (2006)." In Vocal Repertoire for the Twenty-First Century, Volume 2. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0044.

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This chapter focuses on American composer Rodney Lister’s Songs to Harvest (2006). As shown in this attractive cycle, Lister has a distinctive and fascinating way of writing for voice and piano. The voice projects succinct, shapely phrases, while linear piano parts weave a tapestry of sinuous counterpoint, frequently in two parts only, often with three-against-two rhythms. When the voice stops, the piano continues, its luminous texture ebbing and flowing. Ingeniously, it seems to give a subliminal commentary as well as an irresistible propulsion to the music. The prime test of the songsmith is to set words so that they can be heard easily, and Lister passes this with flying colours. A predominantly medium range guarantees comfortable articulation—the highest note occurs only once, fleetingly. The cohesive musical idiom is discreetly contemporary, disciplined, and carefully modulated. Pitching should be relatively unproblematic—there is a good deal of doubling with the piano, and plenty of time to plot each interval cleanly.
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Manning, Jane. "GEORGE ANTHEIL (1900–1959)Five Songs (1919–1920)." In Vocal Repertoire for the Twenty-First Century, Volume 1. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0005.

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This chapter discusses Five Songs by George Antheil. As one of the first composers to incorporate jazz elements in a classical context, he was fond of experimenting with odd instrumental combinations and electronic devices. This chapter provides examples of Antheil’s vocal work to demonstrate the composer’s originality. The piano writing is dramatic and often dense in texture. Moreover, the vocal tessitura descends as the cycle progresses, while the piano becomes more dominant. The first three songs are very short, but the last two have an almost orchestral richness. Texts are aphoristic and concise, and voice parts are correspondingly plain and unadorned, moving for the most part in a combination of declamatory speech patterns, long slow spans, often on a monotone, and close intervals, leaving the piano to illustrate the imagery and atmosphere of the words.
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Manning, Jane. "RONALD PERERA (b. 1941)Five Summer Songs (1972)." In Vocal Repertoire for the Twenty-First Century, Volume 1. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0064.

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This chapter considers a cycle by Ronald Perera. His songs show a special delicacy and flair in creating clear, well-balanced textures. The cycle will suit a light, flexible mezzo, able to negotiate a broad range of dynamics without becoming too weighty. Piano accompaniments are fluent and well varied, with repeated figures a regular feature. The musical style is straightforward and disciplined, with some recognizable nods to Stravinskian neoclassicism. There is considerable rhythmic verve, and a fine sensitivity to vocal timbres. The piano part contains abundant cues—even unisons—so there should be no problems with pitching. The composer's lucid instructions are a reliable guide for the performers.
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Manning, Jane. "BENJAMIN LEES (1924–2010)Songs of the Night (1952)." In Vocal Repertoire for the Twenty-First Century, Volume 1. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0046.

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This chapter takes a look at six songs by Benjamin Lees. Here, the songs are well balanced to complement one another. The fourth, with its evocative, pictorial piano figurations and ecstatically floating vocal lines, is the most substantial. This cycle needs a singer with a distinctive, sumptuous but focused tone, and the requisite stamina to scale long, luxuriant phrases which go from rapturous lyricism to forthright declamation. The chapter shows how the singer is often left suspended on high notes at the ends of phrases, which means keeping a firm grip on support muscles up to the very last moment. Arrestingly bold piano parts pilot the voice along, and illustrate the words in a manner reminiscent of French vocal masters. The resonant texts are by a poet whose work Lees has often set, and with whom he feels a strong kinship.
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Manning, Jane. "JOHN HARBISON (b. 1938)Mirabai Songs (1982)." In Vocal Repertoire for the Twenty-First Century, Volume 1. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0034.

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This chapter explores Mirabai Songs, a song cycle by one of America’s major composers, John Harbison. It asserts that this piece can already be termed a classic of the genre. Despite a relatively conservative musical language, Harbison maintains a distinctive and memorable voice, and his musical integrity shines through at every point. The six songs here provide plenty of contrast. Piano parts are arresting, many featuring continuous ostinatos; they bear echoes of minimalism, but with greater thematic interest than is customary for that genre. Rhythmic verve is always present—the pulse rarely slackens. Subtle dynamic markings, if observed closely, will contribute strongly to the overall effect.
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Manning, Jane. "DONALD MARTINO (1931–2005)Three Songs (1955)." In Vocal Repertoire for the Twenty-First Century, Volume 1. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0055.

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This chapter discusses three concise, fastidious songs by Donald Martino. It explores the richness of expression contained within their modest proportions. Here, Martino demonstrates acute sensitivity to the subtleties of syllables and their vocal implications: each sound is gauged precisely within a practicable range, so that the singer can both exercise and relax their voice. The darker colours of the bass range sounds especially well against the wide-ranging, angular piano part. It is important to remember, however, that heavier voices do not always have to be ‘monumental’ and ponderous, but should be able to move around flexibly. All of these mellifluous phrases can be taken in one breath.
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Manning, Jane. "COREY FIELD (b. 1956)Three Lullabies (1990)." In Vocal Repertoire for the Twenty-First Century, Volume 1. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0027.

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This chapter focuses on works by Corey Field. Field has added two songs to his earlier Escape at Bedtime to form a nicely balanced trio of lullabies. Each movement is neatly constructed, and shows considerable flair and sensitivity to the relationship of voice and piano. The first poem also comes from Robert Louis Stevensons’s A Child’s Garden of Verses (1885), but the third sets a W. B. Yeats text (from The Rose, 1893). The cycle is relatively undemanding vocally and has an attractive immediacy. It will suit either a tenor or soprano, giving them a chance to shine vocally, while the piano’s luminous contribution gives strong rhythmic support. The style is a fresh, accessible mix of tonality and light chromaticism, with strophic verses treated conventionally but never rigidly. Each song has its own distinctive character. The simpler outer songs frame a middle movement that is a little more ambitious, and the work begins and ends with piano solos.
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Manning, Jane. "DANIEL ASIA (b. 1953)Pines Songs (c.1984)." In Vocal Repertoire for the Twenty-First Century, Volume 1. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0006.

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This chapter examines Pines Songs by Daniel Asia. It explores how Asia’s music is intrinsically American in flavour, displaying striking individuality and sureness of touch. With winning fluency, his work references a kaleidoscopic mix of styles with strong jazz overtones. Here, the mordantly pithy poems are complemented by elaborate piano writing, with lengthy solo passages that illustrate and amplify the poems’ imagery. Words are set in a highly personal way and rhythms are always lively. The composer often embellishes and extends phrases with melismas and hummed musings. Satisfyingly expansive lines use the voice's full capacity, and intricate details never impede the music’s natural flow.
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Manning, Jane. "RUTH CRAWFORD SEEGER (1901–1953)Five Songs (1929)." In Vocal Repertoire for the Twenty-First Century, Volume 1. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0019.

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This chapter considers the works of Ruth Crawford Seeger, whose music employs the fine settings of poet Carl Sandburg. The music is subtly distinctive, though straightforward to the eye. Words are set with unaffected simplicity and piano writing is idiomatic and evocative. Mostly fragmentary, understated vocal lines are underpinned by contrastingly elaborate, flowing keyboard writing. On its own, the voice part should pose few technical problems, except that of maintaining a clear tone. Crawford Seeger shows real mastery of the art song in the balanced relationship between the two performers. She habitually played her own accompaniments, which clearly require a confident player. Conventional notation is employed throughout, with time (but not key) signatures.
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Manning, Jane. "KAREL HUSA (1921–2016)Twelve Moravian Songs (1957)." In Vocal Repertoire for the Twenty-First Century, Volume 1. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0040.

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This chapter presents folk songs from Czech-born composer and conductor Karel Husa. These folk songs demonstrate Husa’s unfailing sensitivity and expertise when confronted by a modest canvas. The twelve songs provide plenty of contrast in mood and style, despite the overall simplicity of the vocal lines. The composer states that he has barely altered the original melodies, and certain idiomatic inflections are reflected in the judicious use of grace notes. Here, the composer skilfully blends traditional and modern elements. With such plain, exposed lines, often in mid-voice, purity of tone is essential to convey the words clearly. Piano parts are, however, more elaborate, transforming the pieces into high-quality ‘art songs’.
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Conference papers on the topic "Songs with piano Vocal duets with piano"

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Synofzik, Thomas. "„Würde Sie’s zu sehr ermüden zu begleiten?“ – Clara Schumann als Lied- und Kammermusikpartnerin." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.82.

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80 percent of Clara Schumann‘s playbills in her complete collection of concert programmes (Robert-Schumann-Haus Zwickau) include vocal participation of solo singers, choirs or actors. The question is to which extent Clara Schumann used to accompany these vocal contributions herself on the piano. Only rarely are other accompanists named on the concert playbills, but evidence from concert reviews suggests that these vocal contributions normally served as rests for the solo pianist. Sometimes separate accompanists are named in the concert reviews. In orchestral concerts it was usually the conduct
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