Relevant bibliographies by topics / Variations (String orchestra), Arranged

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

Academic literature on the topic 'Variations (String orchestra), Arranged'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Variations (String orchestra), Arranged"

1

Conway, Paul. "John McCabe CD round-up." Tempo 58, no. 229 (2004): 53–54. http://dx.doi.org/10.1017/s0040298204290222.

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JOHN McCABE: Concerto for Piano and Wind Quintet; Musica Notturna; Fauvel's Rondeaux; Postcards for wind quintet. The Fibonacci Sequence. Dutton CDLX 7125.‘Old City New Image’. McCABE: String Trio; String Quartet No. 2. DAVID ELLIS: Trio for violin, viola and cello; String Quartet No. 1. Camerata Ensemble. Campion Cameo 2027.McCABE: Piano Concerto No. 2; Concertante Variations on a theme of Nicholas Maw; Six-Minute Symphony; Sonata on a Motet. Tamami Honma (pno), St Christopher Chamber Orchestra c. Donatas Katkus. Dutton CDLX 7133.‘Tenebrae’. McCABE: Variations; Intermezzi; Sostenuto (Study No
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Kailin, Zhang. "POLARITY OF S. SLONIMSKY'S STYLISTIC GUIDELINES IN THE INSTRUMENTAL CONCERTS "PRIMAVERILE" AND "TRAGICOMEDY"." Arts education and science 1, no. 3 (2021): 141–47. http://dx.doi.org/10.36871/hon.202103018.

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This article is devoted to the comparative description of two string concerts by Sergei Mikhailovich Slonimsky (1932–2020): the violin "Concerto Primaverile" (1983), focused on the Romantic style of the XIXth century, and the viola "Tragicomedy" (2005), related to the avant-garde line of the composer's work. Each of the opuses embodies different types of programmaticity: a generalized one in "Concerto Primaverile" for violin and string orchestra, and more concretized one in the concert on "Crime and Punishment" by F. Dostoevsky for viola and chamber orchestra. Thus, Slonimsky also turned to bo
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MacDonald, Calum. "British Piano Music." Tempo 60, no. 235 (2006): 44–49. http://dx.doi.org/10.1017/s0040298206310042.

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KENNETH LEIGHTON: Sonatinas Nos. 1 and 2, op.1; Sonata No.1 op.2; Sonata No.2 op.17; Five Studies op.22; Fantasia Contrappuntistica (Homage to Bach) op.24; Variations op.30; Nine Variations op.36; Pieces for Angela op.47; Conflicts (Fantasy on Two Themes) op.51; Six Studies (Study-Variations) op.56; Sonata (1972) op.64; Household Pets op.86; Four Romantic Pieces op.95; Jack-in-the-Box; Study; Lazy-bones. Angela Brownridge (pno). Delphian DCD 34301-3 (3-CD set).PATRICK PIGGOTT: Fantasia quasi una Sonata; 8 Preludes and a Postlude (Third Set). Second Piano Sonata. Malcolm Binns (pno). British Mu
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Johnson, Bret. "Benjamin Lees: Quo Vadis?" Tempo, no. 175 (December 1990): 11–17. http://dx.doi.org/10.1017/s0040298200012560.

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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
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Graubart, Michael. "Erwin Schulhoff, et al. - ‘Lost Generation’. ERWIN SCHULHOFF: Double Concerto for Flute, Piano and String Orchestra with Two Horns, WV 89, op. 63; Sonata for Flute and Piano, WV 86, op. 61; Three Pieces for String Orchestra, WV 5, op. 6. VIKTOR ULLMANN: Chamber Symphony, op. 46a (String Quartet No.3, op. 46) (arranged for string orchestra by Kenneth Woods). VILEM TAUSKY: Coventry – Meditation for String Orchestra. Ulrike Anton (fl), Russell Ryan (pno), English Chamber Orchestra c. David Parry. Exil.Arte Gramola 98964 – LC 20638." Tempo 67, no. 264 (2013): 105–7. http://dx.doi.org/10.1017/s0040298213000375.

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SPIVEY, MICHAEL. "When Maybe is not good enough." Journal of Functional Programming 22, no. 6 (2012): 747–56. http://dx.doi.org/10.1017/s0956796812000329.

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Many variations upon the theme of parser combinators have been proposed, too many to list here, but the main idea is simple: A parser for phrases of type α is a function that takes an input string and produces results (x, rest), where x is a value of type α, and rest is the remainder of the input after the phrase with value x has been consumed. The results are often arranged into a list, because this allows a parser to signal failure with the empty list of results, an unambiguous success with one result, or multiple possibilities with a longer ‘list of successes’.
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Casado, Santiago. "Studying friction while playing the violin: exploring the stick–slip phenomenon." Beilstein Journal of Nanotechnology 8 (January 16, 2017): 159–66. http://dx.doi.org/10.3762/bjnano.8.16.

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Controlling the stick–slip friction phenomenon is of major importance for many familiar situations. This effect originates from the periodic rupture of junctions created between two rubbing surfaces due to the increasing shear stress at the interface. It is ultimately responsible for the behavior of many braking systems, earthquakes, and unpleasant squeaky sounds caused by the scratching of two surfaces. In the case of a musical bow-stringed instrument, stick–slip is controlled in order to provide well-tuned notes at different intensities. A trained ear is able to distinguish slight sound vari
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8

Ackermann, David, Fabian Brinkmann, and Stefan Weinzierl. "Musical instruments as dynamic sound sources." Journal of the Acoustical Society of America 155, no. 4 (2024): 2302–13. http://dx.doi.org/10.1121/10.0025463.

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Unlike electro-acoustic sound sources, musical instruments have a time-varying, dynamic directivity, due to the note-dependent radiation behavior of the instrument and due to the expressive movements that musicians perform with their instrument. While previous studies have generally examined the directivity of the static, unmoved instrument for specific notes played, we show the individual and combined contributions of these two factors to a temporal modulation of the radiation behavior, based on motion tracking of typical movement patterns for all instruments of a classical symphony orchestra
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9

Solohub, Victoriia, Svitlana Hrynenko, and Olena Pikhtar. "Interpretation of Gabriel Faure's Pavane: Compositional and Performing Aspects." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 7, no. 1 (2024): 44–52. https://doi.org/10.31866/2616-7581.7.1.2024.303762.

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Modern interpretations of Gabriel Faur&eacute;&rsquo;s&nbsp;<em>Pavane&nbsp;</em>demonstrate the artistic potential of the work. The variety of performances (from large orchestral and choral ensembles to chamber ensembles) shows the wide possibilities of the composition. The composer&rsquo;s and performer&rsquo;s versions of B. McFerrin&rsquo;s compositiona and performing versions reveal a tendency to preserve the author&rsquo;s text, despite the performance of the main melody by voice. The version for guitar and string quartet arranged by Thomas Koenigs and performed by the Accord Quintet, de
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Kalashnikov, Alexander V. "Stravinsky’s adaptations of the folk motifs in the ballet The Rite of Spring." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 57 (2025): 143–54. https://doi.org/10.17223/22220836/57/12.

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Stravinsky’s The Rite of Spring differs from the types of theatrical art. To some extent, the folk motifs enriched the ballet with historical authenticity. The research will show the succession in the development of Stravinsky’s Russian style period. One of the features of this ballet is the motifs of folk songs. The ballet includes the variations of the Lithuanian wedding songs You are my little sister, When I walked acro.s.s the yard, My old Father and the Russian wedding songs Come oh crony mine, The little duck was bathing in the .sea. The article argues that the adaptations of the folk so
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Dissertations / Theses on the topic "Variations (String orchestra), Arranged"

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Weikel, Anthony L. III. "Brahms’s Four Serious Songs: Arranged for Trombone and String Orchestra." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437755386.

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Kim, Yeong Su Ko Eunae. "20th century French oboe repertoire from two groups of composers "Le triton" and "Le jeune France"." 2006. http://hdl.handle.net/1903/9756.

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Books on the topic "Variations (String orchestra), Arranged"

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1952-, Jando? Jeno?, Verhey Emmy, Dechenne Danielle, et al., eds. Masters of classical music: Vol. 9 : Franz Schubert. LaserLight, 1988.

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2

Copland, Aaron. Two pieces for string orchestra. Boosey & Hawkes, 1994.

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Joio, Norman Dello. Meditations on Ecclesiastes: For string orchestra. C. Fischer, 1996.

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Górecki, Henryk Mikołaj. Concerto for piano and string orchestra ; Three pieces in Old style. Conifer Classics, 1994.

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Sarasate, Pablo de. Classical favorites for strings: Nocturnes, songs, arias and etudes. LaserLight, 1992.

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Tamburro, Barbara Boscaino. Great music for string orchestra: A conductor's guide to program development featuring the top 100 intermediate and advanced works. Meredith Music, 2011.

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7

Cowell, Henry. Variations On Thirds: For Two Violas And String Orchestra (1960). C. F. Peters - EP6472, 2008.

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8

Lutosławski, Witold. Symphonic variations: Symphony no. 1 ; Musique funèbre ; Symphony no. 2. EMI Classics, 1994.

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9

Zwilich, Ellen Taaffe. Symphony no. 1: Three movements for orchestra ; Prologue and variations ; Celebration. New World Records, 1986.

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10

Perotti, Sandro. Johannes Brahms, Variazioni e fuga su un tema di Händel per pianoforte, op. 24: Analisi e orchestrazione. Ass. mus. "Ensemble '900,", 1998.

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Book chapters on the topic "Variations (String orchestra), Arranged"

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Heyman, Barbara B. "Recognition." In Samuel Barber. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863739.003.0008.

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This chapter describes Barber’s close relationship with Italian conductor Arturo Toscanini. Barber would frequently visit the conductor in his home, most days ending with music. This friendship resulted in Toscanini requesting that Barber write a work for the newly formed NBC Symphony Orchestra. This was a rare privilege, as Toscanini in the past had ignored American composers. His broadcasts were received with much enthusiasm from audiences. Toscanini further advanced Barber’s career by bringing his music to Latin America, with Barber being the first American composer whose work reached those
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Tarapata-Bilchenko, Lidiya. "MUSICAL DEDICATIONS TO STANISLAV LYUDKEVYCH: DIALOGUE OF PERSONALITIES IN THE SPACE OF CULTURE." In Modern approaches to cultural space and historical knowledge (1st ed.). Primedia eLaunch LLC, 2021. http://dx.doi.org/10.36074/matcsahk.ed-1.05.

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The concept of «musical dedication» as a mean of actualization of the dialogic nature of culture is considered. Musical compositions-dedications to the outstanding Ukrainian composer Stanislav Lyudkevych by the modern Ukrainian composers Valery Kikta, Yevhen Stankovych and Bohdana Filts are interpreted as a dialogue of artists in the space-time of culture. «Romantic Variations on S. Lyudkevych Theme» for harp (1979); «Choral Prelude in Memory of S. Lyudkevych» for male choir on folk texts (1979) by V. Kikta; «Elegy in Memory of S. Lyudkevych» for string orchestra (1979) by E. Stankovych; the v
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