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

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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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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2

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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3

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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4

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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6

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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7

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 Fauré’s <em>Pavane </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’s and performer’s versions of B. McFerrin’s compositiona and performing versions reveal a tendency to preserve the author’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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10

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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Anderson, Martin. "Estonian Composers (combined Book and CD Review)." Tempo 59, no. 232 (2005): 60–66. http://dx.doi.org/10.1017/s0040298205210161.

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Ancient Song Recovered: The Life and Music of Veljo Tormis, by Mimi S. Daitz. Pendragon Press, $54.00/£36.00.The Works of Eduard Tubin: Thematic-Bibliographical Catalogue of Works by Vardo Rumessen. International Eduard Tubin Society/Gehrmans Musikförlag, E.57.TORMIS: ‘Vision of Estonia’ II. The Ballad of Mary's Land; Reflections with Hando Runnel; Days of Outlawry; God Protect Us from War; Journey of the War Messenger; Let the Sun Shine!; Voices from Tammsaare's Herdboy Days; Forget-me-not; Mens' Songs. Estonian National Male Choir c. Ants Soots. Alba NCD 20.TORMIS: ‘Vision of Estonia’ III. T

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12

Gurgul, Wojciech. "Ukrainian Elements in Polish Guitar Music of the 19th Century." Folk art and ethnology, no. 3 (July 30, 2022): 22–36. http://dx.doi.org/10.15407/nte2022.03.022.

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The elements of Ukrainian folk music have appeared in Polish guitar music at the early 19th century, both in music The elements of Ukrainian folk music have appeared in Polish guitar music at the early 19th century, both in music for English guitar tuned in G major (sources for this instrument appeared chronologically first) and for 6-string Spanish guitar. Composers have used stylized dances, mainly kozachok, for composing simple technical arrangements intended for domestic parlour music. Apart from four anonymous manuscripts for English guitar there are two anonymous kozachoks in manuscripts

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13

Shchetynsky, Oleksandr. "Valentyn Bibik: reaching artistic maturity." Aspects of Historical Musicology 23, no. 23 (2021): 42–64. http://dx.doi.org/10.34064/khnum2-23.03.

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The object of research is the works of V. Bibik written at the beginning of his mature period. The aim of the research is to reveal the main features of Bibik’s style. Methods of research include technical analysis of the works in the context of the innovative tendencies in the Ukrainian music of 1960–70s, as well as comparative research. Research results. Outstanding Ukrainian composer Valentyn Bibik (1940–2003) wrote over 150 works. Mostly they are large-scale symphonic, choral, vocal, and chamber pieces. Among them are 11 symphonies, over 20 concerti for various instruments with orchestra,

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14

Kostohryz, S. О. "Genre-style priorities for the development of composer’s work for the balalaika in Slobozhanska Ukraine." Aspects of Historical Musicology 13, no. 13 (2018): 87–99. http://dx.doi.org/10.34064/khnum2-13.07.

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The article proposes analyze of the balalaika art and technical potential. The complex of texture- and register and timbreand phonic methods of suites performing, which represent the Ukrainian interpretation tradition of the genre, is determined. Instrumentalism principles and impacts in balalaika performance in the composer’s works of the twentieth century are revealed. Texture features of the works for balalaika suite genre are considered, the characteristics on the genesis stage of balalaika are marked: simplifi ed chord texture with narrow range, predominant two and three-voice texture in

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15

А.С., Текучева. "«Большие скрипки» в партитурах И. С. Баха: Violoncello, Violoncello piccolo, Violone". Научный вестник Московской консерватории 15, № 3(58) (2024): 418–41. https://doi.org/10.26176/mosconsv.2024.58.3.04.

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Вопреки устоявшимся представлениям, в эпоху барокко существовало множество разновидностей басовых струнных инструментов. Тенденция к стандар- тизации, наблюдавшаяся с середины XVIII столетия, привела к тому, что из большого количества равноправных вариантов выделилось два основных, которые вошли в со- став классического оркестра. Остальные, оставшись в тени, надолго ушли в историю. Тем не менее, старинные словари предлагают многочисленные, не обходящиеся без путаницы названия и описания струнных басов, которые принадлежали скрипич- ному либо виольному семейству, имели разные размеры и количест

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16

Даніч, Г. В. "К. ГОРСЬКИЙ ЯК КОМПОЗИТОР: ОСНОВНІ РИСИ ТА ЕТАПИ СТАНОВЛЕННЯ АВТОРСЬКОГО СТИЛЮ". Традиції та новації у вищий архітектурно-художній освіті, № 5 (4 січня 2019): 96–102. https://doi.org/10.5281/zenodo.2532041.

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The article is devoted to the study of the important aspect in the work of K. Gorski, one of the founders of professional musical creation in Kharkiv during the 1880s – 1910s. The composition component of his work, which was formed under the influence of Polish and Ukrainian musical mentality, has been distinguished and characterized. As is shown by the rather small data on the composer Gorski’s work, his creative interests covered various genres – from romances to major forms, including two operas. The article gives a generalized description of the stages and genre variation

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17

Khachatrian, Liernik. "SOUND IMAGE OF DUDUK IN CHAMBER‑SYMPHONIC WORKS OF A. TERTERYAN AND R. ALTUNYAN." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (2021): 129–43. http://dx.doi.org/10.34064/khnum1-58.08.

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Introduction. Today duduk is one of the most popular folk instruments. Modern academic composers include it in their works, and it is significant that it appears in large conceptual compositions, such as a symphony. Despite the significant interest of researchers in the fine art of playing the duduk, the sound image of this instrument is almost not assigned a role, and this article aims to fill this gap. Formulation of the problem. Today duduk is one of the most popular folk instruments. Modern academic composers include it in their works, and it is significant that it appears in large concept

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18

Бородовская, Лилия. "Интерпретации «Хайтармы» А. Спендиаряна в творчестве современных исполнителей республики Татарстан". Journal of Art Studies, 2 грудня 2021, 44–51. http://dx.doi.org/10.52853/25792830-2021.2-44.

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The article presents two musical arrangements of "Haytarma" from A. Spendiaryan's suite "Crimean Sketches" (part 1), created by the Kazan musicians and composers Rasim Ilyasov – for Kazan Nury folk-instrument orchestra, and Rustem Abyazov – for La Primavera string chamber orchestra. A brief historical background of A. Spendiaryan’s creativity, connected with Crimean-Tatar music, is provided. The article also contains material on the distinctive features of the Crimean-Tatar folk dance "Haytarma" and its musical variations. This work will prove useful to a wide range of professional musicians a

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19

Andreas and Jonathan. "ARANSEMEN LAGU NYAMANLAH JIWAKU KARYA PHILIP PAUL BLISS DALAM FORMAT QUARTED GITAR." JURNAL PENABIBLOS 15, no. 1 (2024). https://doi.org/10.61179/jurnalpenabiblos.v15i1.543.

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The arrangement is a rewriting work of an existing composition with the addition of new material or the completion of the design of a composition.Based on the observation of the musical works, rarely people who play and arranged a song“It Is Well With My Soul” using a guitar instrument in a quartet format. Many other formats play the arrangement of this song, played in pianos, strings, choirs, guitar solos, and orchestras, and in a quartet guitar format is rarely played, that is the reason researchers interested conduct this research. It is well with my soul is a song from Hymn of praise, the

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20

"Performance and Reception of Bartók’s Violin Music during His First Concert Tour of the United States (1927–1928)." Studia Musicologica 62, no. 1-2 (2021): 105–16. http://dx.doi.org/10.1556/6.2021.00007.

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Abstract During his first concert tour of the United States (1927–1928) Bartók played primarily his own music in lecture-recitals, orchestra performances, and chamber music concerts in fifteen American cities. Over the course of the tour, he collaborated with violinists Jelly d’Arányi and Joseph Szigeti to present a few of his works for violin and piano to members of musical clubs in New York City and Philadelphia, and before dignitaries at the Hungarian Embassy in Washington, D.C. – namely his Sonata for Violin and Piano no. 2 (1922), Hungarian Folk Tunes, for violin and piano (arranged by Jo

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21

СХАПЛОК Г, А. ""КОНЦЕРТ-ВАРИАЦИИ" ДЛЯ СОЛИРУЮЩЕГО ФОРТЕПИАНО И СТРУННОГО ОРКЕСТРА В. ПЬЯНКОВА: К ВОПРОСУ О ЖАНРОВОЙ СПЕЦИФИКЕ ПРОИЗВЕДЕНИЯ". Музыковедение, № 8 (28 серпня 2024). https://doi.org/10.25791/musicology.8.2024.1388.

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Статья посвящена анализу «Концерта-вариаций» (1969 г.) современного композитора Валерия Васильевича Пьянкова. Данное произведение, написанное для солирующего фортепиано и струнного оркестра, обладает неординарными чертами, представляя собой интереснейший опыт осмысления жанровых форм. Автор работы акцентирует внимание на образно-смысловых и художественно-композиционных аспектах сочинения, а также на средствах музыкальной выразительности, используемых композитором. В статье рассматривается не изученное, но заслуживающее внимания музыковедов сочинение в области современной концертной музыки, что

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22

Eeckhout, Bart. "Composed for Solo Guitar or String Orchestra? The Fluid Incarnations and Pedagogical Opportunities of Wallace Stevens’s The Man with the Blue Guitar." Transatlantica 1 (2024). http://dx.doi.org/10.4000/11x32.

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This article elaborates the critical, editorial, and pedagogical challenges and opportunities raised by Wallace Stevens’s The Man with the Blue Guitar (both the book and the title poem). It ranges from a consideration of the title poem’s unpublished autograph and the preliminary appearance of a selection of cantos in Twentieth Century Verse and Poetry to the book published by Knopf in 1937, its subsequent repackaging in 1952, and the different ways in which especially the title poem has been integrated in selected, collected, and artistically augmented volumes for the English-speaking market,

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23

Have, Paul ten. "Computer-Mediated Chat." M/C Journal 3, no. 4 (2000). http://dx.doi.org/10.5204/mcj.1861.

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The technical apparatus is, then, being made at home with the rest of our world. And that's a thing that's routinely being done, and it's the source of the failure of technocratic dreams that if only we introduced some fantastic new communication machine, the world will be transformed. Where what happens is that the object is made at home in the world that has whatever organisation it already has. -- Harvey Sacks (Lectures on Conversation Vol. 2., 548-9) Chatting, or having a conversation, has long been a favourite activity for people. It seemed so ordinary, if not to say trivial, that it has

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