Log in

Relevant bibliographies by topics / Symphonies (Violin and piano) / Journal articles

To see the other types of publications on this topic, follow the link: Symphonies (Violin and piano).

Journal articles on the topic 'Symphonies (Violin and piano)'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Symphonies (Violin and piano).'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Matthew-Walker, Robert. "Hoddinott's Programmatic Structuralization." Tempo, no. 209 (July 1999): 22–26. http://dx.doi.org/10.1017/s0040298200014650.

Full text

Abstract:

Alun Hoddinott has written music steadily for 50 years and, as a constantly prolific composer, has amassed an impressively wide-ranging body of work: six operas, ten symphonies, 20 concertos, a dozen piano sonatas, five violin sonatas, with vocal, choral, orchestral and instrumental works of equal abundance – in all, an output of about 300 works with which even his most ardent admirer will have found it difficult to keep up.

APA, Harvard, Vancouver, ISO, and other styles

2

Bandy, Dorian. "Beethoven's Rhetoric of Embellishment." 19th-Century Music 46, no. 2 (2022): 125–62. http://dx.doi.org/10.1525/ncm.2022.46.2.125.

Full text

Abstract:

This article examines the communicative and interpretive significance of melodic embellishment in Beethoven's oeuvre, with a particular focus on multi-movement instrumental works from the period 1795–1824. Embellishment has received comparatively little attention in Beethoven studies; yet it formed a crucial part of his musicianship as both a performer and a composer. The article begins with a broad overview of Beethoven's embellishment practices, drawing examples primarily from his early piano trios and piano sonatas. It then goes on to examine a series of issues in more detail: first, the ro

APA, Harvard, Vancouver, ISO, and other styles

3

Anderson, Martin. "A Conversation with Kalevi Aho." Tempo, no. 181 (June 1992): 16–18. http://dx.doi.org/10.1017/s0040298200015138.

Full text

Abstract:

At the relatively young age of 43 (which his schoolboyish looks nonetheless belie), Kalevi Aho is one of the best-known of Finnish composers, with a substantial corpus of music to his credit – seven symphonies and other orchestral pieces, two operas and several smaller vocal works, three concertos (for violin, cello and for piano), and a healthy amount of chamber and instrumental music. I visited him in Helsinki last summer, in the offices of the Helsinki Festival, where he has a hand in the planning of the programmes, and remarked first on the richness and sheer vigour of Finnish musical life

APA, Harvard, Vancouver, ISO, and other styles

4

Mayr, Desirée. "Leopoldo Miguéz's Nocturnes Opp.10 and 20/1: Political Context and Stylistic Analysis in the "City of Pianos"." Music Theory and Analysis (MTA) 10, no. 1 (2023): 1–36. http://dx.doi.org/10.11116/mta.10.1.1.

Full text

Abstract:

As in Europe, the piano reached the height of its popularity in the mid- to late nineteenth century in Brazil. Its presence in cultural life increased significantly, with performances in concert halls, theatres, and even cafés. Nocturnes— particularly Chopin's— were fre quently played at home and in public venues. Leopoldo Miguéz (1852–1902), considered at the time to be influenced by Wagner, Liszt, and the so-called Zukunftsmusik, was the first Brazilian composer to write a symphony, a violin sonata, and a symphonic poem. This ar ticle provides an overview of Miguéz's piano Nocturnes Opp.10 a

APA, Harvard, Vancouver, ISO, and other styles

5

McBurney, Gerard. "Brian Elias's recent music." Tempo, no. 174 (September 1990): 12–18. http://dx.doi.org/10.1017/s0040298200019392.

Full text

Abstract:

In the past ten years a remarkable change has come over Brian Elias. He has turned from being a miniaturist to being a composer on a symphonic scale and with symphonic aspirations. Not that he has written any work with so self-conscious a title as ‘symphony’ – at least, not yet. But in these few years he has given us two extended cycles for voice and symphony orchestra, a large-scale single-movement orchestral work that must certainly be called symphonic, a set of 49 Variations for piano inspired by Beethoven's set of 32 in C minor, and now an orchestral ballet in progress for Kenneth Macmilla

APA, Harvard, Vancouver, ISO, and other styles

6

Johnson, Bret. "Benjamin Lees: Quo Vadis?" Tempo, no. 175 (December 1990): 11–17. http://dx.doi.org/10.1017/s0040298200012560.

Full text

Abstract:

Fifteen years ago, Nicolas Slonimsky wrote of Benjamin Lees in Tempo: ‘At a time when so many otherwise valiant composers are star-crossed and complain of malign neglect, Benjamin Lees rises “in excelsis” in the musical firmament’. And so he has continued since, with many commissions and numerous major works to his credit, matched by frequent performances in the United States. It is a time that has seen the creation of his Fourth and Fifth Symphonies, a set of Variations for Piano and Orchestra, a Concerto for Brass Choir and Orchestra, a Double Concerto for Piano, Cello and Orchestra, at leas

APA, Harvard, Vancouver, ISO, and other styles

7

Burel, O. V. "About compositions for piano and orchestra by Ch.-M. Widor. Background." Aspects of Historical Musicology 13, no. 13 (2018): 45–60. http://dx.doi.org/10.34064/khnum2-13.04.

Full text

Abstract:

Ch.-M. Widor (1844–1937) inscribed his name in the history of French music primarily as an author of organ works (10 Organ Symphonies, 1872–1900, in particular). But other genre branches of his creativity (symphonic, chamber-instrumental, chamber-vocal, operatic, choral) remains less famous for wide public. This quite vast layer is mostly not studied in musical science. However, at the recent time the interest is somewhat growing both among musicologists (A. Thomson, E. Krivitskaya, M. R. Bundy), and among the performers, which confi rms the relevance of this article. The objectives of this st

APA, Harvard, Vancouver, ISO, and other styles

8

Shwan, Sebastian, and Stela Drăgulin. ""Significant Personalities as Turning Points in the Life and Music of Johannes Brahms "." Studia Universitatis Babeş-Bolyai Musica 67, no. 1 (2022): 57–70. http://dx.doi.org/10.24193/subbmusica.2022.1.05.

Full text

Abstract:

"This paper aims to reveal the turning points in the life and work of German composer Johannes Brahms. These main events were influenced by certain figures of the epoch, whose encounters marked the artistic activity of Brahms. In explaining the reasons that lay behind the composition of a work, emotion is one of the most specific criteria. Personal experience becomes the indispensable condition of artistic creation and lays at the core of the creative impulse. The paper is structured according to the following four aspects: the first friends (together with Albert Dietrich and their mentor, Rob

APA, Harvard, Vancouver, ISO, and other styles

9

Zagidullina, Dilbar Renatovna, and Ekaterina Evgenyevna Nikiforova. "Timbre-orchestra aspect of symphonic works by Boris Tchaikovsky." PHILHARMONICA. International Music Journal, no. 1 (January 2021): 52–66. http://dx.doi.org/10.7256/2453-613x.2021.1.34175.

Full text

Abstract:

Boris Tchaikovsky is the author of bright and original symphonic compositions. A timbre-orchestra palette is, undoubtedly, one of the key components of the music language of his works. The authors of this research analyze Tchaikovsky&rsquo;s&nbsp; Violin concerto and Piano concerto, the symphonic poems &ldquo;The Juvenile&rdquo; and &ldquo;The Winds of Siberia&rdquo;, the Symphony No 3 &ldquo;Sevastopol&rdquo;, and the Symphony with Harp, in order to consider particular aspects connected with the timbre-orchestra language of his symphonic compositions, such as:

APA, Harvard, Vancouver, ISO, and other styles

10

Malyi, Dmytro. "“Four words about kolomyika”: author’s experience of orchestration." Aspects of Historical Musicology 34, no. 34 (2024): 157–81. http://dx.doi.org/10.34064/khnum2-34.07.

Full text

Abstract:

Statement of the problem. Orchestration is one of the spheres of a composer’s professional activity, and its ways and principles are a special subject of scientific research. There are a sufficient number of examples, when the composer turns to the orchestration of self-own piano works (F. Liszt, C. Saint-Sa&#235;ns, M. Ravel, H. Villa-Lobos, M. Skoryk and others), but the orchestration of violin works is not widespread phenomenon. The proposed work reveals the ways of orchestrating the four parts of the cycle “Seven words about the kolomyika” for solo violin, written by the author of the

APA, Harvard, Vancouver, ISO, and other styles

11

Xenofontov, Ion. "Chișinău: City of the THree Conservatories." Dialogica. Revistă de studii culturale și literatură, no. 3 (November 2023): 75–81. http://dx.doi.org/10.59295/dia.2023.3.10.

Full text

Abstract:

The study deals with the subject of the establishment and activity of the three musical institutions (Conservatory) in the interwar period in Chișinău. The idea of opening a musical institution belonged to the Romanian composer and conductor George Enescu, after his first visit to Chișinău. The capital of Bessarabia was assessed by the inspectors in Bucharest as having a high musical potential. The teaching staff of these musical education institutions was made up of representatives of national minorities, which meant a special approach to their knowledge of the Romanian language. The conserva

APA, Harvard, Vancouver, ISO, and other styles

12

Yaroslava, Serdiuk. "Evolution of Amanda Maier’s chamber music work." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 63, no. 63 (2023): 124–43. http://dx.doi.org/10.34064/khnum1-63.07.

Full text

Abstract:

Statement of the problem. In modern performance and musicological practice, there is a clear tendency to revite the works of little-known or forgotten authors, in particular, female composers. The study of their work in modern discourse, mainly English-speaking, is mostly of an overview nature. The work of female composers is often considered from the standpoint of gender inequality and gender psychology. A certain lack of actually musicological studies of the works by female composers is observed. One of such little-known figures is Amanda Maier R&#246;ntgen – a Swedish violinist and comp

APA, Harvard, Vancouver, ISO, and other styles

13

Burel, Oleksandr. "On Gabriel Pierné and his compositions for piano and orchestra." Aspects of Historical Musicology 16, no. 16 (2019): 170–89. http://dx.doi.org/10.34064/khnum2-16.10.

Full text

Abstract:

Background. The French composers’ creativity of the late XIX – first third of XX centuries is the admirable treasury of the world musical art. It is worth mentioning such remarkable and original artists as C. Debussy and M. Emmanuel, P. Dukas and E. Satie, A.Roussel and M.Ravel. The name of G. Piern&#233; (1863–1937) can surely be added to this series of authors. But his oeuvre is still terra incognita for us. The thorough considerable researches about the author are not numerous. The monograph “Gabriel Piern&#233;: musicien lorrain” by G. Masson was created in 1987, and the publicatio

APA, Harvard, Vancouver, ISO, and other styles

14

Sokolova, Lidiya. "R. Schumann’s romantic “Fantastic Pieces” op. 88 – on the way to the piano trio." Aspects of Historical Musicology 16, no. 16 (2019): 126–42. http://dx.doi.org/10.34064/khnum2-16.07.

Full text

Abstract:

Introduction. The article analyzes R. Schumann’s “Fantastic Pieces” op. 88 as a creative debut in the subsequent development of the piano trio genre. The “Fantastic Pieces” op. 88 are the first composer’s creative experience in combining such musical instruments. Theoretical Background. The analysis of musicological literature did not reveal any special research dedicated to this score, but only its references in E. Karelina’s (1996) thesis research and D. Zhitomirsky’s (1964) monograph. Thus, this article is the first special research of the compositional and ensemble analysis of R. Schumann’

APA, Harvard, Vancouver, ISO, and other styles

15

Bevz, Maryna. "Composer Valentyn Borysov. Symphony of life." Aspects of Historical Musicology 23, no. 23 (2021): 27–41. http://dx.doi.org/10.34064/khnum2-23.02.

Full text

Abstract:

Background. The aim of the article is examination and presentation of Valentyn Borysov’s creative life, who was a celebrated Ukrainian composer (1901–1988), a classic of Kharkiv composition school, author of vivid and profound works in such spheres as symphonic, choral, chamber, vocal and piano music; his 120th anniversary in 2021 will be a big milestone for artistic community of Ukraine. Valentyn Borysov’s creativity is an indispensable part of national music, one of its treasures. He belonged to artists who had defined ways of development of Ukrainian professional music in XX century. In his

APA, Harvard, Vancouver, ISO, and other styles

16

Oshchepkov, Maxim. ""The Mountain Legend" for Viola and String Instruments by E. Stankovych: History, Composition, Dramaturgy." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 4(61) (December 22, 2023): 108–20. https://doi.org/10.31318/2414-052x.4(61).2023.301192.

Full text

Abstract:

This article dwells on the peculiarities of the unique music play of small form by Yevhen Stankovych −“The mountain legend” for viola and string instruments. The author revealed the circumstances of its creation, finding out that it was written specifically for the Zenon Dashak International Violin Competition (Kyiv, 2004) as a mandatory competition piece. The existence of two author's versions of the musical work has been established: the first for viola and piano; the second for viola and string orchestra. The existing audio recordings of the "The Mountain Legend" made by the famous Kyiv vio

APA, Harvard, Vancouver, ISO, and other styles

17

Bentia, Iuliia. "The Riot of Eternal Spring: Mykhailo Verykivsky and the Unfinished Musical Revolution of the 1920s." ARTISTIC CULTURE. TOPICAL ISSUES, no. 21(1) (May 26, 2025): 34–41. https://doi.org/10.31500/1992-5514.21(1).2025.333478.

Full text

Abstract:

Mykhailo Verykivsky (1896–1962) belongs to the brilliant cohort of Ukrainian musicians of universal talent, whose creative rise began in the 1920s and whose artistic legacy is an integral part of Ukrainian modernism. In 2009–2016, the author worked with the composer’s manuscripts and personal documents. In cooperation with music scholar Ilona Tamilina, we compiled two archival inventories and published The Consolidated Catalog of Music Manuscripts and Print Editions of Mykhailo Verykivsky’s Works at the Central State Archives and Museum of Literature and Arts of Ukraine (2016). This research r

APA, Harvard, Vancouver, ISO, and other styles

18

Kamenska, Veronika. "Evolution of musical means in piano "symphonies" by S.Yarunsky." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 167–72. http://dx.doi.org/10.32461/2226-2180.39.2021.238714.

Full text

Abstract:

The purpose of the article is to investigate in the piano work of the Ukrainian composer S.Yarunsky in his four symphonies for piano, a new type of figurative content and innovative means of musical expression. Methodology. The method of complex analysis is applied: the figurative content and musical form of four “symphonies” for piano are analyzed and their stylistic features are revealed. The scientific novelty lies in the fact that for the first time in Ukrainian musicology, the Four Symphonies for Piano by S.Yarunsky have been analyzed in detail and conclusions have been drawn based on thi

APA, Harvard, Vancouver, ISO, and other styles

19

Pickard, John. "Bernard Stevens." Tempo 58, no. 229 (2004): 57–58. http://dx.doi.org/10.1017/s0040298204340222.

Full text

Abstract:

BERNARD STEVENS: Piano Trio op.3; Sonata for violin and piano op.1; Trio for horn, violin and piano op.38; Fantasia on a theme of Dowland for violin and piano op.23; Improvisation for solo violin op.48a. The Academy of St. Martin-in-the-Fields Chamber Ensemble – Kenneth Sillito (vln), Stephen Orton (vlc), Hamish Milne (pno), Timothy Brown (hn). Albany Records TROY 572.

APA, Harvard, Vancouver, ISO, and other styles

20

Johnson, Bret. "Ernst Toch’s symphonies." Tempo 60, no. 235 (2006): 43–44. http://dx.doi.org/10.1017/s0040298206300046.

Full text

Abstract:

TOCH: Complete Symphonies. Rundfunk-Sinfonieorchester Berlin c. Alun Francis. Three CDs, available separately: Nos. 1 and 4: cpo 999 774-2; Nos. 2 and 3: cpo 999 705-2; Nos. 5, 6 and 7: cpo 999 389-2.TOCH: Piano Concerto No. 1, op. 38; Peter Pan, op. 76; Pinnochio Overture; ‘Big Ben’ Variations, op. 62. Todd Crow (pno), NDR Hamburg Symphony Orchestra c. Leon Botstein. New World Records 80609-2.

APA, Harvard, Vancouver, ISO, and other styles

21

Jurkowski, Edward. "The Symphonies of Joonas Kokkonen." Tempo, no. 208 (April 1999): 18–23. http://dx.doi.org/10.1017/s0040298200006987.

Full text

Abstract:

With the death of Joonas Kokkonen in October of 1996, Finland lost one of its most important post-World War II composers. Almost certainly, Kokkonen is most widely known outside Finland for his 1975 opera Viimeiset kiusaukset (Tlie Last Temptations). Yet his orchestral compositions such as the Cello Concerto (1969), the song cycle Lintuijen Tuonela (The Hades of the Birds, 1958–59), the Requiem (1981), the chamberorchestra work …Durch einen Spiegel… 1977), or such chamber works as the Piano Quintet (1953) or the String Quartets Nos.l (1959) and 3 (1976) demonstrate that masterpieces may be fou

APA, Harvard, Vancouver, ISO, and other styles

22

Dokuzova, Stanka. "Didaktična literatura za violino Dušana Vodiška / Didactic violin literature by Dušan Vodišek." Glasbenopedagoški zbornik Akademije za glasbo ◆ The Journal of Music Education of the Academy of Music in Ljubljana 17, no. 34 (2021): 115–45. http://dx.doi.org/10.26493/2712-3987.17(34)115-145.

Full text

Abstract:

The article discusses didactic violin literature by violinist and pedagogue Dušan Vodišek. Covering the period between 1966 and 2016, his oeuvre represents a bridge between didactic violin literature of the previous century and contemporary didactic violin literature. Over these 50 years, he significantly enriched didactic violin literature in Slovenia with his works, which include a violin book for beginners, children’s compositions for violin and piano, youth compositions for violin and piano, compositions for chamber ensemble and string orchestra, and two textbooks on position changing. The

APA, Harvard, Vancouver, ISO, and other styles

23

Saulova, Inessa. "Innovative features in ”Sonata for violin and piano” by Boris Dubosarschi." Akademos, no. 4(67) (March 2023): 122–28. http://dx.doi.org/10.52673/18570461.22.4-67.16.

Full text

Abstract:

The article examines the Sonata for violin and piano by B. Dubosarsky in terms of content, form and interpretative treatment. The author aims to reveal the innovative features of this work, which are manifested primarily in the interpretation of the form, combining the features of a three-part cycle and a large one-part composition. The intonation-thematic structure of the sonata, the ratio of the violin and piano parts are analyzed in detail, performing recommendations are offered for developing a creative version of the interpretation. As a result, it is concluded that the Sonata for Violin

APA, Harvard, Vancouver, ISO, and other styles

24

LALƏ, MUXTAROVA. "NİKOLAY RAKOVUN VİOLİN VƏ FORTEPİANO ÜÇÜN №2 SONATİNASININ (D-DUR) İFAÇILIQ XÜSUSİYYƏTLƏRİ." World of Music, no. 4/97 (December 12, 2023): 53–59. https://doi.org/10.5281/zenodo.10364763.

Full text

Abstract:

The present article analyzes Sonatina No.2 for violin and piano (D major) by the famous Russian composer,People's Artist of the USSR, State Prize laureate Nikolay Rakov and discusses its performance characteristics.The article emphasizes that the violin instrument occupies a central place in the work of N.Rakov and that he isfamiliar with the performance capabilities of this instrument, as he studied the violin. Also, during the analysis, itwas revealed that the composer's sonata for violin and piano is based on classical traditions and is filled withfeatures of modern music.Keywords: N. Rakov

APA, Harvard, Vancouver, ISO, and other styles

25

Stuckenbruck, Dale, Robert Mann, Daniel Capelletti, et al. "Duo for Violin and Piano." Notes 45, no. 1 (1988): 158. http://dx.doi.org/10.2307/941414.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Brooks, Davis, Ruth Crawford, Lee Hoiby, and Friedrich Zehm. "Sonata; For Violin and Piano." Notes 43, no. 1 (1986): 186. http://dx.doi.org/10.2307/897870.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

MacAdam, Laurel A., and Charles Wuorinen. "Sonata for Violin and Piano." American Music 12, no. 4 (1994): 472. http://dx.doi.org/10.2307/3052347.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Schneider, Wayne, and Ruth Crawford. "Sonata for Violin and Piano." American Music 17, no. 1 (1999): 118. http://dx.doi.org/10.2307/3052377.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Florea, Augustina. "7. Echoes of Romanticism in Violin and Piano Sonata No. 2, Op. 45 by Marcel Mihalovici - Analytical Landmarks for an Upscale Interpretation." Review of Artistic Education 19, no. 1 (2020): 46–57. http://dx.doi.org/10.2478/rae-2020-0007.

Full text

Abstract:

AbstractThe evolution of the genre of violin and piano sonata in the Romanian composition creation in the first half of the 20th century, marked by the tendency towards getting close to the European musical phenomenon by assimilating stylistic influences of Romanticism, especially, of Enescian Romanticism, distinctly manifesting in Violin and Piano Sonata no. 2, op. 45, by Marcel Mihalovici, one of the most renowned Romanian composers settled in Paris, appreciated by the famous contemporaries, such as M.Ravel, V.d’Indy, F. Poulenc etc. Sonata (1941), preceded by a motto in the sonnet of Romant

APA, Harvard, Vancouver, ISO, and other styles

30

Shchetynsky, O. S. "Original and borrowed: correlation of the author’s and referred elements in modern musical work." Aspects of Historical Musicology 14, no. 14 (2018): 122–31. http://dx.doi.org/10.34064/khnum2-14.09.

Full text

Abstract:

The phrase “author’s speech” the most frequently uses in musicological texts without exact definition but rather as a metaphor. However, its senses are not clear enough. The correlation of original and “borrowed” elements in music work also needs clarification. The objective of this article is to analyze the role of the author’s and borrowed elements, as well as their impact on artistic value of musical work on the examples of creativity by the composers of the XX century. Some examples of the “author’s speech” do not show any problem, as we clearly feel, when exactly the author suggests his/h

APA, Harvard, Vancouver, ISO, and other styles

31

Saulova, Inessa. "Sonatas for violin and piano by composers from the Republic of Moldova in the educational process at the Academy of Music, Theatre and Fine Arts." Studiul artelor şi culturologie: istorie, teorie, practică, no. 2(47) (March 2025): 43–51. https://doi.org/10.55383/amtap.2024.2.07.

Full text

Abstract:

The article provides an overview of sonatas for violin and piano by the local composers L. Gurov, V. Verhola, V. Ciolac, B. Dubosarschi, V. Rotaru used in the educational process of AMTAP in the discipline „Chamber ensemble”. It also presents the interpretive potential of these opuses, which allows musicians to improve their professional skills. The musical form and means of expression of the violin and piano parts are characterized. It is concluded that these sonatas for violin and piano are among the representative examples of National Chamber Music, and the intonational-rhythmic elements of

APA, Harvard, Vancouver, ISO, and other styles

32

Serdiuk, Ya O. "Chamber music works by Amanda Maier in the context of European Romanticism." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 121–35. http://dx.doi.org/10.34064/khnum1-56.08.

Full text

Abstract:

Background. The name of Amanda Maier (married – R&#246;ntgen-Maier), the Swedish violinist, composer, pianist, organist, representative of the Leipzig school of composition, contemporary and good friend of С. Schumann, J. Brahms, E. Grieg, is virtually unknown in the post-Soviet space and little mentioned in the works of musicologists from other countries. The composer’s creativity has long been almost completely forgotten, possibly due to both her untimely death (at the age of 41) and thanks to lack of the research interest in the work of women composers over the past century. The latter,

APA, Harvard, Vancouver, ISO, and other styles

33

Bishop, Laura, and Werner Goebl. "Beating time: How ensemble musicians’ cueing gestures communicate beat position and tempo." Psychology of Music 46, no. 1 (2017): 84–106. http://dx.doi.org/10.1177/0305735617702971.

Full text

Abstract:

Ensemble musicians typically exchange visual cues to coordinate piece entrances. “Cueing-in” gestures indicate when to begin playing and at what tempo. This study investigated how timing information is encoded in musicians’ cueing-in gestures. Gesture acceleration patterns were expected to indicate beat position, while gesture periodicity, duration, and peak gesture velocity were expected to indicate tempo. Same-instrument ensembles (e.g., piano–piano) were expected to synchronize more successfully than mixed-instrument ensembles (e.g., piano–violin). Duos performed short passages as their hea

APA, Harvard, Vancouver, ISO, and other styles

34

Rosen, Jerome, Leslie Bassett, and John Harbison. "Trio for Violin, Clarinet, and Piano." Notes 46, no. 3 (1990): 821. http://dx.doi.org/10.2307/941460.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Cope, David, and George Rochberg. "Trio for Piano, Violin, and Violoncello." Notes 44, no. 3 (1988): 589. http://dx.doi.org/10.2307/941557.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Tommasini, Anthony, Virgil Thomson, Thomas Halpin, and Yvar Mikhashoff. "Five Ladies; For Violin and Piano." Notes 42, no. 4 (1986): 849. http://dx.doi.org/10.2307/897806.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Sills, David L., H. H. A. Beach, Roger Hannay, Volker David Kirchner, and Franco Mannino. "Sonata (Originally for Violin and Piano)." Notes 42, no. 4 (1986): 860. http://dx.doi.org/10.2307/897816.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Carbon, John, and Thea Musgrave. "Pierrot for Violin, Clarinet and Piano." Notes 50, no. 2 (1993): 761. http://dx.doi.org/10.2307/898520.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Anthony, Carl, and Leon Kirchner. "Duo for Violin and Piano [1947]." Notes 49, no. 3 (1993): 1270. http://dx.doi.org/10.2307/899017.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Brooks, Richard, and Witold Lutoslawski. "Partita for Violin and Piano (1984)." Notes 47, no. 1 (1990): 220. http://dx.doi.org/10.2307/940563.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Charalabopoulos, Manos. "Canto for violin, horn and piano." Textual Practice 32, no. 1 (2018): 29. http://dx.doi.org/10.1080/0950236x.2018.1419964.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Thompson Kruse, Penny. "The Other Piano Trio: Works for Violin, Viola, and Piano." American String Teacher 69, no. 1 (2019): 21–28. http://dx.doi.org/10.1177/0003131318816980.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Ioniţă, Raluca Dobre. "14. Pablo De Sarasate - Andalusian Romance for Violin and Piano." Review of Artistic Education 25, no. 1 (2023): 94–100. http://dx.doi.org/10.2478/rae-2023-0014.

Full text

Abstract:

Abstract Pablo de Sarasate was a famous violinist and composer of Spanish origin. In his creations, Sarasate highlighted to the maximum the technical and interpretative potential of the violin, composing both works for violin and orchestra (including fantasias on operatic themes) and musical miniatures for violin and piano. Sarasate’s musical language is mainly inspired by Spanish folklore.

APA, Harvard, Vancouver, ISO, and other styles

44

Saulova, Inessa. "Sonata for violin and piano by V. Ciolac: methodical and interpretative recommendations." Studiul artelor şi culturologie: istorie, teorie, practică, no. 1(46) (December 2024): 70–76. https://doi.org/10.55383/amtap.2024.1.10.

Full text

Abstract:

The article offers recommendations for the performance of the Sonata for Violin and Piano by Vladimir Ciolac, which has taken a worthy place in the pedagogical repertoire of the students of the Academy of Music, Theater and Fine Arts from the Republic of Moldova. The musical form and means of expression of the violin and piano parts are analyzed: melody, harmony, rhythm, and dynamics. It is concluded that the interpretation of the Sonata requires the performers to have a mature mindset, technical equipment and a high level of ensemble skill.

APA, Harvard, Vancouver, ISO, and other styles

45

Mottershead, Tim. "Manchester, Bridgewater Hall: Concertos by Hakola and Broström." Tempo 67, no. 265 (2013): 75–77. http://dx.doi.org/10.1017/s0040298213000508.

Full text

Abstract:

Given that the BBC Philharmonic had taken the courageous step to perform not one but two substantial premières on 1 February, one might have expected enticing potboilers to make up the rest of the menu. However, the remainder of the programme was devoted to Stravinsky's Petrushka (admittedly his most colourful ballet) along with his austere Symphonies of Wind Instruments. The concert was given a novel twist in that the first half (Symphonies of Wind Instruments and Hakola Violin Concerto) was directed by visiting guest conductor Håkan Hardenberger with John Storgårds as soloist; whilst in the

APA, Harvard, Vancouver, ISO, and other styles

46

Lee, Seow Phing, C. H. Raymond Ooi, and Ku Wing Cheong. "Bach and Busoni Essentials in A Chaotic World." Harmonia: Journal of Arts Research and Education 21, no. 1 (2021): 1–8. http://dx.doi.org/10.15294/harmonia.v21i1.30152.

Full text

Abstract:

The study analyses the manifestation of structural change from the Bach Violin Chaconne (BWV1004, c.1720) to the Bach-Busoni piano transcription (c.1897). This article explores the use of two-dimensional music abstraction for vertical (pitch height) and horizontal (time) and its signal insignificant identified bariolage sections in music. Bariolage excerpts are chosen for they are implied sounds captured in repeatability and recontextuality. The first part of the article offers an excerpt of the Bariolage from violin at bars (113-120) and its parallel piano transcription at bars (118-125). Sig

APA, Harvard, Vancouver, ISO, and other styles

47

Fuchs, Kenneth, Antal Ribary, Oddvar S. Kvam, et al. "Arietta e capriccio; For Violin and Piano." Notes 41, no. 3 (1985): 591. http://dx.doi.org/10.2307/941192.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Koozin, Timothy, and Toru Takemitsu. "Between Tides for Violin, Cello, and Piano." Notes 54, no. 1 (1997): 278. http://dx.doi.org/10.2307/899981.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Stuckenbruck, Dale, Robert Hall Lewis, Judith Weir, Graciane Finzi, Gerald Finzi, and Howard Ferguson. "Duetto da camera; For Violin and Piano." Notes 42, no. 1 (1985): 153. http://dx.doi.org/10.2307/898266.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Berrett, Joshua, and Charles Wuorinen. "Works for Violin and Piano (1969-1983)." American Music 8, no. 1 (1990): 121. http://dx.doi.org/10.2307/3051942.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!