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Journal articles 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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1

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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2

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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3

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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4

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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5

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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10

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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Нrebeniuk, Nataliіa. "F. Schubert’s last Piano Sonatas in the aspect of his song-like thinking." Aspects of Historical Musicology 21, no. 21 (2020): 150–63. http://dx.doi.org/10.34064/khnum2-21.10.

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Background. Close relationships to a song is one of the constants of F. Schubert’s individual thinking. As it embraces all the genre spheres in composer’s heritage, it acquires a universal status, resulting in interchange of author’s findings in chamber-vocal and instrumental works, particularly piano ones. The researchers reveal influence of songs in non-song works by F. Schubert on two main levels: intonationally-thematical and structural. This raised a question about premises, which had created conducive conditions for integration of compositional principles, characteristic for songs and in

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Voskoboinikov, Yakov. "George Gershwin’s jazz transcriptions in piano performance of academic tradition." Aspects of Historical Musicology 19, no. 19 (2020): 429–48. http://dx.doi.org/10.34064/khnum2-19.25.

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Background. Today, jazz transcriptions of works by George Gershwin can be heard around the world. Works such as “The Man I Love”, “I Got Rhythm”, “Summertime”, “Liza”, “Fascinating Rhythm”, “Somebody Loves Me”, “Swanee”, included in the collection “Gershwin songs”, and also “Seven virtuoso etudes on the themes of G. Gershwin” by E. Wilde are performed by modern academic musicians. Thus, widely known performance versions of piano transcriptions “Gershwin songs” by M.-A. Hamelin, the song “The Man I Love” performed by A. Tharaud, P. Barton, and others famous performers. The evidence of growing i

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Zhu, Fengdaijiao. "The formation of the chamber-vocal style of Zhu Jian’er: early works." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (2019): 173–87. http://dx.doi.org/10.34064/khnum1-52.12.

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Background. The little-known pages of the work of an outstanding Chinese composer are presented. The genesis of chamber-vocal style is explored on the example of early chamber and vocal creativity of the 1940s. This is the stage in the formation of the musical language of the composer, which coincides with the “experimental” period of the formation of Chinese chamber vocal music of the twentieth century. Zhu Jiangier became one of the pioneers in the attempts of creative synthesis of national and European musical experience. Specificity of musical content and features of the intonational langu

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MILLER, BONNY H. "Augusta Browne: From Musical Prodigy to Musical Pilgrim in Nineteenth-Century America." Journal of the Society for American Music 8, no. 2 (2014): 189–218. http://dx.doi.org/10.1017/s1752196314000078.

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AbstractAugusta Browne Garrett composed at least two hundred piano pieces, songs, duets, hymns, and sacred settings between her birth in Dublin, Ireland, around 1820, and her death in Washington, D.C., in 1882. Judith Tick celebrated Browne as the “most prolific woman composer in America before 1870” in her landmark study American Women Composers before 1870. Browne, however, cast an enduring shadow as an author as well, publishing two books, a dozen poems, several Protestant morality tracts, and more than sixty music essays, nonfiction pieces, and short stories. By means of her prose publicat

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15

Temperley, David. "The origins of syncopation in American popular music." Popular Music 40, no. 1 (2021): 18–41. http://dx.doi.org/10.1017/s0261143021000283.

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AbstractThe origins of syncopation in 20th-century American popular music have been a source of controversy. I offer a new account of this historical process. I distinguish between second-position syncopation, an accent on the second quarter of a half-note or quarter-note unit, and fourth-position syncopation, an accent on the fourth quarter of such a unit. Unlike second-position syncopation, fourth-position syncopation tends to have an anticipatory character. In an earlier study I presented evidence suggesting British roots for second-position syncopation. in contrast, fourth-position syncopa

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16

Davitadze, A. H. "The principles of re-intonation of multinational folklore in the work of Ludwig van Beethoven (on the example of the collection of arrangements “Songs of Different Nations”)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (2019): 75–91. http://dx.doi.org/10.34064/khnum1-53.05.

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Background. The study of Beethoven’s arrangements of folk songs touches upon the corpus of theoretical and methodological issues related to the problem “a composer and folklore”, and, accordingly, with the re-intonation of folklore in composer creativity, with the dialogue of “national and international”, “folk and professional”, “traditional and modern”. These phenomena contemporary musicology considers more often in relation to new and newest directions in the musical art, defining them in terms of “folklore”, “neo-folklorizm”, “new folklore wave”; they represent by various forms of direct o

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17

McHugh, Dominic. "“I'll Never Know Exactly Who Did What”: Broadway Composers as Musical Collaborators." Journal of the American Musicological Society 68, no. 3 (2015): 605–52. http://dx.doi.org/10.1525/jams.2015.68.3.605.

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Though published vocal scores of Broadway musicals imply sole musical authorship the archives reveal a more complex picture. Five case studies illustrate different approaches to the compositional process in the 1940s and 1950s: Richard Rodgers, who produced fair copies in piano-vocal score for each of his songs; Cole Porter, who regularly used an amanuensis but sometimes produced fair copies; Frank Loesser, who initially used an amanuensis but later in his career produced detailed fragments of music for his arrangers to turn into performance scores; Frederick Loewe, who worked closely with an

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18

Venn, Edward. "SERENADES AND ELEGIES: THE RECENT MUSIC OF HUGH WOOD — PART II." Tempo 59, no. 233 (2005): 26–37. http://dx.doi.org/10.1017/s0040298205000215.

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Geoffrey Hill's latest book of poems, Scenes from Comus, borrows its title from Wood's op. 6, and is dedicated to the composer for his seventieth birthday. The two men have been friends for many years and are exact contemporaries: for the poet's seventieth birthday, Wood wrote a vocal-instrumental setting of Hill's Tenebrae. This interchange between poet and musician highlights Wood's abiding concern with poets and poetry, and particularly English verse of the 20th century. He has described this repertoire as ‘a treasure-house, and our poets continue to produce good lyric poetry to this day: i

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19

Lian, Yuanmei. "“Zwei Venetianische Lieder” by R. Schumann in the tradition of Austro-German romantic song." Aspects of Historical Musicology 18, no. 18 (2019): 73–88. http://dx.doi.org/10.34064/khnum2-18.05.

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Introduction. Given article considers R. Schumann’s “Zwei Venetianische Lieder” / “Two Venetian Songs” (ор. 25, №17–18) on poems by T. Moore, in F. Freiligrath translation. Often the creation of the Venice ambience in art works was due to trips and impressions on this city. In 1829, R. Schumann, as a student of Heidelberg University, went on a trip to Switzerland and Italy during his study vacation. One of the cities on the travel map was Venice. R. Schumann “resurrected” the city ambience only eleven years after in the “Zwei Venetianische Lieder” (“Two Venetian Songs”), which became part of t

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20

Rickards, Guy. "New Releases of music by Women Composers." Tempo 59, no. 231 (2005): 74–80. http://dx.doi.org/10.1017/s0040298205260072.

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CECILIE ØRE: A. – a shadow opera. Joachim Calmeyer, Anneke von der Lippe, Tilman Hartenstein, Henrik Inadomi, Lakis Kanzakis, Rob Waring (voices). Aurora ACD 5034.BETH ANDERSON ‘Swales and Angels’: March Swale1; Pennyroyal Swale1; New Mexico Swale2,1,3; The Angel4,1,5,6,8; January Swale1; Rosemary Swale1; Piano Concerto6,1,7,3,8. 1Rubio String Quartet, 2Andrew Bolotowsky (fl, picc), 3David Rozenblatt (perc), 4Jessica Marsten (sop), 5Joseph Kubera (vc, pno), 6André Tarantiles (hp), 7Darren Campbell (bass), c. 8Gary M. Scheider. New World 80610-2.RAGNHILD BERSTAD: Anstrøk for violin and cello1;

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21

Cascudo, Teresa. "The Musical Salon of the Countess of Proença-a-Velha in Lisbon: A Case of Patronage and Activism at the Turn of the Twentieth Century." Nineteenth-Century Music Review 14, no. 2 (2017): 195–210. http://dx.doi.org/10.1017/s1479409816000070.

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This article seeks to shed light on the musical activities sponsored in Lisbon by women of high society, and specifically on the organization of the concerts produced by the Countess of Proença-a-Velha (1864–1944) in Lisbon at the turn of the ninteenth and the twentieth centuries. Between 1899 and 1903, the Countess held nine musical soirées and matinées at her home, and organized the first season of the Sociedade Artística de Concertos de Canto (Artistic Singing Concerts Society), which she founded. She also composed and premiered about 30 vocal works with piano accompaniment. Although both t

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22

Stanishevska, Olena. "The Interaction of Poetic Text and Music in Opus 49 by J. Brahms." Aspects of Historical Musicology 16, no. 16 (2019): 158–69. http://dx.doi.org/10.34064/khnum2-16.09.

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Introduction. In scientific literature dedicated to J. Brahms, much attention has been paid to a song genre. The researches note that J. Brahms’s songs can be regarded as a continuation of genre-specific features of Austro-German Lied, which retains the purity of the generic semantics in the composer’s works, without involving typically operatic means of vocal intoning, or approaching the so-called “poem with music”. J. Brahms’s songs do not allow the singer to demonstrate the full range of his/her voice, to reveal his/her artistic temperament, to show the technical skill. Absorption in a spec

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23

Kalinina, A. S. "Principles of interpreting P. Tychyna’s poetry in the vocal cycle “Enharmonic” by L. Dychko." Aspects of Historical Musicology 15, no. 15 (2019): 80–98. http://dx.doi.org/10.34064/khnum2-15.04.

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Background. Lesia Dychko (born in 1939) is one of the innovators in Ukrainian music of the second half of the 20th century. Among many composers, she is distinguished by the attraction to the music associated with the word. Despite the prevalence of the choral genre in her oeuvre, she pays a lot of attention also to opuses for the solo voice with the instrumental accompaniment. In the fi eld of chamber vocal music, there are characteristic signs of the composer’s style, the richness of the harmonic language, and the author’s fi ligree work with the poetic word. Such features of the L. Dychko’s

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24

Palić-Jelavić, Rozina. "Mise Ferde Wiesnera Livadića - O 220. obljetnici rođenja i 140. obljetnici skladateljeve smrti." Nova prisutnost XVII, no. 2 (2019): 285. http://dx.doi.org/10.31192/np.17.2.3.

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Through his compositional contributions, Ferdo Wiesner Livadić enriched the Croatian (sacral) musical creativity of the age of Romanticism, realizing – alongside thirty church/sacral »small form« pieces – also one mass in Latin (Missa in C), and one in Croatian, with the title (Missa croatica pastoralis) as well as the titles of its parts/movements in Latin. By observing the autographical scores of the two Livadić’s masses, certain reflections regarding their similarities and differences had resulted; first of all, in terms of textual and language base, composition structure, performers’ ensam

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25

Yan, Haosyuan. "Genre Liederabend in creative practice by J. Kauffmann." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (2019): 183–97. http://dx.doi.org/10.34064/khnum1-55.13.

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Statement of the problem. Within the frameworks of interpretology, the performing style appears as the relation of two subjects (the performer and the subject of the music itself, recorded in the text), a meeting of the composing and performing thinking. It is every performance by Jonas Kaufmann, a prominent singer of the present, that becomes this meeting. According to the singer’s words, the «chamber form» invented by him and called Liederabend is the favourite form of his expression. Liederabend always demonstrates the singer’s outstanding acting skills, stage presence, strong voice and imp

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Melnyk, A. O. "Violin miniature in creativity by Liudmila Shukailo: features of the genre interpretation." Aspects of Historical Musicology 17, no. 17 (2019): 102–15. http://dx.doi.org/10.34064/khnum2-17.07.

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Background. Rapidness of information flows of contemporary life enforces to concentrate a significant amount of information in small formats. This fact meaningfully increases social and practical significance, cultural and aesthetic value of miniature genres, in particularly, in the musical art. The violin miniature is a historically developed, typologically settled genre of professional musical creativity designed to solo music-making in the conditions of chamber or concert performance. Relevance of the genre is also due to its active inclusion in the programs of competitions and festivals. T

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Davitadze, А. G. "Ukrainian song «Ikhav Kozak za Dunaj» arranged by L. van Beethoven for piano trio and voice: genre and stylistic metamorphoses." Aspects of Historical Musicology 13, no. 13 (2018): 60–73. http://dx.doi.org/10.34064/khnum2-13.05.

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The scientifi c fi eld of the problem «folklore and composer» has a lot of aspects of its subject manifestation. One of them is the creative heritage of L. van Beethoven in the context of the composer’s addressing the folk song sources and analysis of the author’s arrangement. Although the selected theme is not a scientifi c discovery, it contains signifi cant prospects. These include: the expansion of a well-known typology of the folklore embodiment in the author’s work, the search and discovery of the Beethoven’s method of folklore arrangement, which in its turn complements the context of th

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Adha, M. Fahzar, and A. Gathut Bintarto Triprasetyo. "Proses Komposisi Theme Song “A True Friend ” Berdasarkan Komik H2O: Reborn An Epic Trilogy Phase 0.2 Chapter 11 Karya Sweta Kartika." PROMUSIKA 7, no. 1 (2019): 38–47. http://dx.doi.org/10.24821/promusika.v7i1.3167.

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H2O:Reborn, adalah komik indonesia karya Sweta Kartika yang menceritakan epos Ramayana dalam versi modern dengan bentuk trilogy. H2O:Reborn terbagi menjadi tiga phase dimana pada setiap fase dilengkapi dengan theme song. Dengan adanya theme song, H2O:Reborn menjadi suatu inovasi komik yang memiliki branding dan daya tarik tersendiri dibanding komik pada umumnya. Kemudian inovasi yang di gagas oleh Sweta Kartika ini diwujudkan dengan membuat komposisi musik dan theme song berdasarkan setiap phase dalam komik H2O:Reborn. Pada penelitian ini akan dibahas theme song yang terdapat pada fase 0.2 yan

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Sun, Bo. "Texture and harmony parameter of the vocal and performance style (a case study of G. Sviridov’s works)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (2018): 157–71. http://dx.doi.org/10.34064/khnum2-49.11.

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The article is devoted to the study of the role of harmony and texture in the process of forming the singer’s performance thinking. The relevance of the research topic is to justify the texture and harmony set of G. Sviridov’s vocal compositions as the basis for the formation of performance thinking. The problem for a vocalist lies in the fact that in the conditions of the complication of the musical language of chamber and vocal music of the 20th century, it becomes difficult to build a hierarchy of artistic image in the unity of vocal and instrumental framework. For a soloist, the texture as

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Collins, John. "Ghanaian Christianity and Popular Entertainment: Full Circle." History in Africa 31 (2004): 407–23. http://dx.doi.org/10.1017/s0361541300003570.

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In this paper I look at the relationship between Christianity and popular entertainment in Ghana over the last 100 years or so. Imported Christianity was one of the seminal influences on the emergence of local popular music, dance, and drama. But Christianity in turn later became influenced by popular entertainment, especially in the case of the local African separatist churches that began to incorporate popular dance music, and in some cases popular theatre. At the same time unemployed Ghanaian commercial performing artists have, since the 1980s, found a home in the churches. To begin this ex

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Ivanova, Yuliia. "Children’s choir in MarkKarminskyi’s creativity." Aspects of Historical Musicology 19, no. 19 (2020): 29–43. http://dx.doi.org/10.34064/khnum2-19.02.

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Background. The article deals with the choral creativity by the famous Ukrainian composer Mark Karminskyi. The weight of M. Karminskyi’s choral works in the legacy of the composer and in choral art in general stimulates research interest in this area of his activity. However, there are relatively few scientific studies that examine the composer’s choral work; most of them are aimed at reconstructing his general creative portrait or at examining other pages of his heritage. The scientific novelty of this research is determined by the comprehensive coverage of children’s choral creativity by M.

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Mykhailova, O. V. "Woman in art: a breath of beauty in the men’s world." Aspects of Historical Musicology 17, no. 17 (2019): 163–80. http://dx.doi.org/10.34064/khnum2-17.11.

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Background. А history of the development of the human community is at the same time a history of the relationship between men and women, their role in society, in formation of mindset, development of science, technology and art. A woman’s path to the recognition of her merits is a struggle for equality and inclusion in all sectors of public life. Originated with particular urgency in the twentieth century, this set of problems gave impetus to the study of the female phenomenon in the sociocultural space. In this context, the disclosure of the direct contribution of talented women to art and th

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Kalinina, A. S. "Peculiarities of the embodiment of H. Heine’s poetry translations in the vocal cycle of D. Klebanov." Aspects of Historical Musicology 13, no. 13 (2018): 74–87. http://dx.doi.org/10.34064/khnum2-13.06.

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Statement of the problem. There are a lot of works in the national musicology focusing on the study of vocal chamber music for voice and piano by Ukrainian composers of the 20th century. Researchers cover quite a wide range of issues regarding vocal pieces and touch upon the problems of cyclocreation, dramaturgy, features of musical and linguistic means, etc. However, they rarely pay attention to translation, though there are many vocal opuses, in which composers use foreign poetry. In this case, the specifi c choice of the translated sample helps to determine the principles of the composer’s

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Yan, Haosyuan. "The phenomenon of the singing style of J. Kaufmann: theoretical aspect." Aspects of Historical Musicology 21, no. 21 (2020): 260–78. http://dx.doi.org/10.34064/khnum2-21.17.

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Background. In recent years, there has been an increasing interest in the performing style issues in modern musicology. However, creative work of each musician provides new and new grounds for further reflection, in particular, the creativity of the outstanding contemporary singer Jonas Kaufmann. He is now at the height of his career and his works include opera roles and chamber programs based on the compositions by R. Wagner, J. Verdi, J. Massenet, J. Puccini, R. Strauss, F. Schubert, J. Bizet, and J. Paisiello. The urgency of this study exists owing to the lack of a scientific description of

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Bakhmet, Tetiana. "Archive fund of the composer Mark Karminsky." Aspects of Historical Musicology 19, no. 19 (2020): 10–28. http://dx.doi.org/10.34064/khnum2-19.01.

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Mark Veniaminovich Karminskyi (1930–1995) is a composer who, already during his lifetime, was appreciated by his contemporaries as the brightest figure in musical art, in particular, musical theater. Well-known in the country and his native Kharkiv, he was also the constant reader of the Kharkiv ‘K. Stanislavskyi’ Music and Theater Library for many years, taking part in many events that took place within its walls. An excellent lecturer and interlocutor, benevolent and affable person, he found an attentive audience and ardent admirers of his musical talent among the library’s readers and stuff

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Lytvyshchenko, O. V. "O. I. Nazarenko as a coryphaeus of the Kharkiv accordion school: formation of the authorial style." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 43–56. http://dx.doi.org/10.34064/khnum1-56.03.

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Problem statement. The pedagogical activity of the Merited Artist of Ukraine, Professor O. I. Nazarenko is more than fifty years old. The maestro’s name will become history of the Department of Folk Instruments of Kharkiv I. P. Kotliarevskyi National University of Arts. It is impossible to disregard O. Nazarenko’s creative achievements and multifaceted activity, first, because his enormous contribution to the development of the academic accordion in Kharkiv and his authority reaches far beyond Kharkiv and Ukraine. Well-known modern accordionists and orchestral ensembles perform the composer’s

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Zhu, Fengdaijiao. "Zhu Jian’er’s life creativity: the historiography of the composer’s personality." Aspects of Historical Musicology 18, no. 18 (2019): 190–212. http://dx.doi.org/10.34064/khnum2-18.11.

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Background. The article is devoted to the study of the personality of the outstanding Chinese composer Zhu Jian’er (1922–2017) – the leading figure of the national musical art of the twentieth century. It is proved that the presented problematic makes it possible to most deeply and accurately explore the musical heritage of the artist. In order to better understand the meaning of the composer’s creations, it is necessary to consider his environment, the stages of creative formation, the characteristics of character and personal qualities, his civic position and the characteristics of his world

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Welch, Graham. "The Novello Junior Book of Carols parts 1 and 2 arranged by William Llewellyn. London: Novello, 1988. £4.95 (instrumental parts £13.95). - Follow that Star edited by Peter Gritton. London: Chester, 1989. No price given. - Pick ‘n’ Choose for Christmas by Aubrey Beswick. London: Universal Edition, 1987. £2.30. - Christmas Bells by Colin Brumby (music) and Thomas Shapcott (poetry). Cambridge: University Press, 1987. No price given. - Christmas Pick ‘n’ Mix by Geoffrey Winters. London: Longman, 1988. Recorder book, £2.50; piano/part-book, £7.95. - Big Momma by Debbie Campbell. London: Novello, 1990. Vocal score, £6.95; melody part, £4.95. - The Bumblesnouts Save the World by Debbie Campbell. London: Novello, 1990. Vocal score, £6.95; melody part £4.95. - Penny Whistles by Mike Maran. Glasgow: Blackie, 1987. £7.95. - Songs from Play School (various authors). London: A. & C. Black (in association with the BBC), 1987. £4.95. - Sing-a-Song Roundabout by Brenda Piper and Frank Cooke. London: Longman, 1989. £7.95. - Birds and Beasts compiled by Sheena Roberts. London: A. & C. Black, 1987. £5.95." British Journal of Music Education 8, no. 3 (1991): 325–26. http://dx.doi.org/10.1017/s0265051700008627.

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"Brahms's vocal duets and quartets with piano: a guide with full texts and translations." Choice Reviews Online 36, no. 05 (1999): 36–2677. http://dx.doi.org/10.5860/choice.36-2677.

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Krulikovska, Tetiana. "Musical Shevchenko Series of Vladyslav Zaremba." Scientific collections of the Lviv National Music Academy named after M.V. Lysenko, 2019, 78–92. http://dx.doi.org/10.33398/2310-0583.2019.44.78.91.

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The article deals with a generalized musicological analysis of the songs from two vocal collection series, titled «Kobzar Tarasa Shevchenka» (Taras Shevchenko’s Kobzar) by the 19th century Ukrainian composer of Polish origin Vladyslav Zaremba in order to attract attention to the composer’s creative heritage, reveal the most typical features of his musical language and determine their stylistics in the context of the 19th century musical culture. Also the article attempts to specify the significance of the vocal works collection in the context of developing the Ukrainian romance and the 19th ce

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Purchase, Scott. "Jazz Composition." Inquiry@Queen's Undergraduate Research Conference Proceedings, November 29, 2017. http://dx.doi.org/10.24908/iqurcp.7788.

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Music composition is an art of courage and thoroughness. After nearly four years of playing jazz with Queen’s music professor Greg Runions (winner of the 2006-07 Queens Music Department Teaching Award) and studying music theory and analysis, I have recently delved into the fascinating art of writing original music in the broadly defined jazz idiom. The opportunity to give something back to the creative music community has been both humbling and inspiring. Through Prof. Runions impressive experience as a prolific local composer, I have learned about the challenges of connecting melodic ideas wi

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Bintarto, A. Gathut. "Keunikan Gaya Lieder Franz Scubert." Resital: Jurnal Seni Pertunjukan 16, no. 2 (2015). http://dx.doi.org/10.24821/resital.v16i2.1508.

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Franz Peter Schubert adalah seorang komponis terkenal kelahiran Vienna karena karya lagu seni (art song) berbahasa Jerman yaitu lieder. Pembawaan karya lieder-nya sering disalah interpretasikan selain karena masa hidupnya yang singkat dan berada pada era transisi Klasik menuju Romantik, juga karena minimnya informasi mengenai pembawaan lagu karyanya sendiri. Pendekatan historis dan musikologis digunakan untuk menemukan gaya pembawaan lieder berdasarkan semangat yang dibangun saat pengkomposisiannya. Berdasarkan penelitian dapat disimpulkan bahwa keunikan lieder Schubert merupakan hasil dari pe

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Burns, Alex. "'This Machine Is Obsolete'." M/C Journal 2, no. 8 (1999). http://dx.doi.org/10.5204/mcj.1805.

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'He did what the cipher could not, he rescued himself.' -- Alfred Bester, The Stars My Destination (23) On many levels, the new Nine Inch Nails album The Fragile is a gritty meditation about different types of End: the eternal relationship cycle of 'fragility, tension, ordeal, fragmentation' (adapted, with apologies to Wilhelm Reich); fin-de-siècle anxiety; post-millennium foreboding; a spectre of the alien discontinuity that heralds an on-rushing future vastly different from the one envisaged by Enlightenment Project architects. In retrospect, it's easy for this perspective to be dismissed as

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