Relevant bibliographies by topics / Television music for piano solo Collections

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Academic literature on the topic 'Television music for piano solo Collections'

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

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Journal articles on the topic "Television music for piano solo Collections"

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Шемет, Л. В. "ЕВОЛЮЦІЯ ВИКОНАВСТВА НА РІЗНИХ ВИДАХ ГАРМОНІК В АМЕРИКАНСЬКІЙ МУЗИЧНІЙ КУЛЬТУРІ ДРУГОЇ ПОЛОВИНИ ХХ СТОЛІТТЯ". Традиції та новації у вищій архітерктурно-художній освіті, № 3 (3 жовтня 2018): 134–39. https://doi.org/10.5281/zenodo.1443132.

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In the musical culture of the United States, the performance on harmonicas is presented in a rather diverse way in terms of instruments, areas of distribution, spheres of function-ing, traditions of playing music, but the study of the American harmonica art evolution in the historical retrospect still remains out of the attention of the Ukrainian musicologists. Objectives.The purpose of the research is to theoretically sub-stantiate the peculiarities of development of playing harmonicas in various spheres of the American musical culture in the second half of the 20th century. Methods.The metho
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Särg, Taive. "Millise lauliku lapsepõli? Laulu „Kui ma olin väiksekene” allikatest ja autoritest." Keel ja Kirjandus 67, no. 12 (2024): 1088–116. https://doi.org/10.54013/kk804a2.

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The childhood of which songster? On the origins and authors of a beloved song Keywords: folklore, ethnomusicology, choral music, runosong, orality and literacy One of the most iconic and seminal musical works of Estonian culture, the song Lauliku lapsepõli (“Childhood of the Songster”), often referred to by its opening words, “Kui ma olin väiksekene” (“When I Was Little”), was composed on the basis of Estonian folk songs in collaboration between Aino Tamm (1864–1945), one of the first professionally trained Estonian singers, and Miina Härma (1864–1941), the first Estonian female composer. The
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3

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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Yehorov, Yehor. "Oleksandr Mishchenko’s creative universalism." Aspects of Historical Musicology 35, no. 35 (2024): 100–117. http://dx.doi.org/10.34064/khnum2-35.06.

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Statement of the problem. Creative universalism in various structural manifestations appears as an artistic and philosophical type of thinking, characteristic of a number of prominent Ukrainian musicians of the 20th – early 21st centuries, in particular, representatives of the button accordion art. Among them there is the outstanding Ukrainian button accordionist, the Honored Artist of Ukraine, Professor Oleksandr Volodymyrovych Mishchenko (1956–2018), which realized himself as a performer, a teacher, an arranger, and a musical scientist. Objectives, methods, and novelty of the research. The o
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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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6

Marić, Slađana. "A symphonic poem arrangement for piano and tamburitza orchestra by Ferenc Kovač." Revista Música Hodie 16, no. 2 (2017). http://dx.doi.org/10.5216/mh.v16i2.45386.

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The subject matter discussed in the text is a symphonic poem by Ferenc Kovač (KOVÁCS, 1948) titled
 “Ratna poema” (The War Poem) arranged for piano and tamburitza orchestra. The premiere performance of the piece
 by the pianist Slađana Marić and The Grand Tamburitza Orchestra of Radio-Television of Vojvodina, conducted by
 F. Kovač, was held on 24th of May, 2011 in Novi Sad, Serbia. The main purpose of this research was to discuss this
 unique music piece in contemporary piano and tamburitza orchestra repertoire. Methodology was based on soft or
 research interview and
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Gibson, Chris. "On the Overland Trail: Sheet Music, Masculinity and Travelling ‘Country’." M/C Journal 11, no. 5 (2008). http://dx.doi.org/10.5204/mcj.82.

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Introduction One of the ways in which ‘country’ is made to work discursively is in ‘country music’ – defining a genre and sensibility in music production, marketing and consumption. This article seeks to excavate one small niche in the historical geography of country music to explore exactly how discursive antecedents emerged, and crucially, how images associated with ‘country’ surfaced and travelled internationally via one of the new ‘global’ media of the first half of the twentieth century – sheet music. My central arguments are twofold: first, that alongside aural qualities and lyrical cont
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Mansurova, Humay Saleh gizi. "FAMOUS PIANISTS OF THE 21st CENTURY AND THEIR INTERPRETATIONS." May 10, 2024. https://doi.org/10.5281/zenodo.13756757.

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&nbsp; <em>The evolutionary process and the principles of gradual development in 21st century piano music are closely related. The main goal of the article we present is the examination of the famous world piano players of the 21st century and their interpretations. The Russian piano school, which occupies an important place in world pianism, has produced a number of outstanding pianists. Among them, the names of Denis Matsuyev, Yevgeny Kissin, Nikolay Lugansky should be mentioned.</em> <em>Denis Matsuyev is one of the pianists who became famous all over the world with his unique interpretatio
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Grudule, Māra. "Dažu vācu muzikālo tradīciju pārnese latviešu kultūrtelpā 18. gadsimta II pusē." Geography and Migration of Knowledge, no. 41 (2020). http://dx.doi.org/10.35539/ltnc.2020.0041.m.g.0003.

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The article gives insight into a specific component of the work of Baltic enlightener Gotthard Friedrich Stender (1714–1796) that has heretofore been almost unexplored — the transfer of German musical traditions to the Latvian cultural space. Even though there are no sources that claim that Stender was a composer himself, and none of his books contain musical notation, the texts that had been translated by Stender and published in the collections “Jaunas ziņģes” (New popular songs, 1774) and “Ziņģu lustes” (The Joy of singing, 1785, 1789) were meant for singing and, possibly, also for solo-sin
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Brien, Donna Lee. "“Porky Times”: A Brief Gastrobiography of New York’s The Spotted Pig." M/C Journal 13, no. 5 (2010). http://dx.doi.org/10.5204/mcj.290.

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Introduction With a deluge of mouthwatering pre-publicity, the opening of The Spotted Pig, the USA’s first self-identified British-styled gastropub, in Manhattan in February 2004 was much anticipated. The late Australian chef, food writer and restauranteur Mietta O’Donnell has noted how “taking over a building or business which has a long established reputation can be a mixed blessing” because of the way that memories “can enrich the experience of being in a place or they can just make people nostalgic”. Bistro Le Zoo, the previous eatery on the site, had been very popular when it opened almos
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Books on the topic "Television music for piano solo Collections"

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Favourite TV themes: Piano, vocal, guitar. Exclusive distributors, 1985.

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McCreary, Bear. Battlestar Galactica: Piano Solo. Leonard Corporation, Hal, 2011.

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McCreary, Bear. Battlestar Galactica: Piano Solo Arrangements. Hal Leonard, 2011.

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McCreary, Bear. Battlestar Galactica: Piano Solo Arrangements. Leonard Corporation, Hal, 2011.

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70 Years of Popular Music. International Music Publications, 1994.

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John Brimhall's jumbo note movie favorites. Columbia Pictures Publications, 1986.

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7

Film Music at the Piano: An Index to Piano Arrangements of Instrumental Film and Television Music in Anthologies and Collections. The Scarecrow Press, Inc., 2003.

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8

Hal Leonard Publishing Corporation (COR). WEDDING AND LOVE COLLECTION THE. HAL LEONARD CORPORATION, 1990.

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Book chapters on the topic "Television music for piano solo Collections"

1

Musgrave, Michael. "The Final Period." In The Music of Brahms. Oxford University PressOxford, 1994. http://dx.doi.org/10.1093/oso/9780198164012.003.0010.

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Abstract The two works with which Brahms was occupied during the Ischl Summer of 1890, the String Quintet in G major and the revision of the Piano Trio in B major, symbolise the transition towards retirement from composition which Brahms planned from the following year, the year in which he also drew up his will. He offered the four-handed version of the Quintet in December of that year with the remark: ‘The time has come for you to say goodbye to any further compositions of mine.’1 Henceforth, he seems to have nothing other than the revision for publication of existing items, most obviously t
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Brister, Wanda, and Jay Rosenblatt. "The Lady Composer Steps Out." In Madeleine Dring. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979312.003.0006.

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Dring’s early career is traced through her commissions for BBC radio and television broadcasts, of which the most significant is The Fair Queen of Wu, a ballet for singers and chamber ensemble with choreography by Felicity Gray. During these years, her first publications appeared, with an emphasis on piano music (for solo piano and two pianos) and her Three Shakespeare Songs. Dring’s music was also performed in recitals, including her recently published piano works and a selection of her songs (published and unpublished). The most favorable reviews are found for her Festival Scherzo (“Nights i
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Zolten, Jerry. "“Loves Me Like a Rock”." In Great God A'Mighty! The Dixie Hummingbirds, 2nd ed. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780190071493.003.0008.

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Abstract As rock ‘n’ roll evolved into the 1960s, gospel vocalizing and stagecraft continued to influence solo artists and vocal harmony groups that evolved from doo-wop to soul and Motown: Ray Charles, James Brown, Wilson Pickett, Aretha Franklin, the Miracles, the Temptations. The Dixie Hummingbirds and black gospel itself evolved against the backdrop of generational rebellion, civil rights unrest, war protest, and assassinations. The trend shifted from quartets to soloists and choirs, the gospel fan base broadening as the music became appreciated both as an art and as roots music form. Pres
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