Thematische Bibliographien / Czech musical vocal works

Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte
  6. Berichte der Organisationen

Auswahl der wissenschaftlichen Literatur zum Thema „Czech musical vocal works“

Autor: Grafiati
Veröffentlicht am 28. Juni 2021
Zuletzt aktualisiert am 17. Februar 2022

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Zeitschriftenartikel zum Thema "Czech musical vocal works"

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Kopecký, Jiří. "Karl Goldmark and Czech national opera: The final operas of Antonín Dvořák and Zdeněk Fibich." Studia Musicologica 57, no. 3-4 (2016): 349–59. http://dx.doi.org/10.1556/6.2016.57.3-4.4.

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If Bedřich Smetana is thought to be the father of Czech national opera, Antonín Dvořák and Zdeněk Fibich would be his sons. Czech critics as well as the public expected that Smetana’s successors would bring Czech opera to international recognition. Dvořák and Fibich gave increased attention to opera composition during the 1890s and the beginning of the twentieth century. They both crowned their achievements with monumental operas on subjects with historical settings: Fibich’s The Fall of Arkona (1900) and Dvořák‘s Armida (1904). The reason for this apparent coincidence was, in part, that these
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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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Mosusova, Nadezda. "Prince of zeta by Petar Konjovic: Opera in five/four acts on the 125th anniversary of the composer's birth." Muzikologija, no. 8 (2008): 151–63. http://dx.doi.org/10.2298/muz0808151m.

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Petar Konjovic (Curug, May 5, 1883 - Belgrade, October 1, 1970) stands out among Serbian composers as an author of instrumental and vocal compositions. Studies at the Prague Conservatory (1904-1906) acquainted Konjovic with Czech music, Wagner's opus, and the Russian national-romantic school, which contributed to the evolution of his talent for both music and stage, enabling him to express his ideas more explicitly in operatic works. It was in the Prague that the second opera - Prince of Zeta - was conceived, with new musical vividness and dramatic appeal (first version composed 1906-1926, the
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Makliuk, D. M. "Specificity of embodiment of Shevchenko’s image in Lev Colodub’s opera “Poet”." Aspects of Historical Musicology 18, no. 18 (2019): 40–57. http://dx.doi.org/10.34064/khnum2-18.03.

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Formulation of the problem, analysis of the publications on the topic. The opera by Lev Kolodub “Poet” is one of the recognized examples of modern “Shevchenkian music” and the outstanding achievement of the composer. From the very premiere at the Kharkiv Opera and Ballet Theater named after M. Lysenko (2001) to this day, this work has been preserved in the theater’s repertoire, and the 2011 Kharkiv performance has become a world event: in the recording of Ukrainian Radio, it was broadcast to 78 countries of the world by the European Broadcasting Union. L. Kolodub’s creativity attracts consider
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Thoresen, Lasse. "THE CONCRESCENCE PROJECT (2008–2010): IDEAS, PROCESSES, EXPERIENCES, MUSICAL WORKS." Tempo 68, no. 267 (2014): 7–21. http://dx.doi.org/10.1017/s0040298213001290.

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AbstractThis article discusses the concept, working practices and outcomes of the Concrescence Project, a research project initiated by the author oriented towards innovations in vocal practice and composition through experiments with combining vocal techniques from different cultures. The concept of ethnomodernism is explored, as are different attitudes to vocal sound production in a variety of musical traditions including the avant-garde, traditional styles from the Nordic/Baltic region, and overtone singing. The article concludes with a discussion of microtonal tunings, their notation, and
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Ezhova, Nadezhda A. "Vocal heritage of A.S. Dargomyzhsky in the aspect of the composer’s musical performance and pedagogical practice." Tambov University Review. Series: Humanities, no. 190 (2021): 133–40. http://dx.doi.org/10.20310/1810-0201-2021-26-190-133-140.

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The necessity of studying the stylistic features of A.S. Dargomyzhsky’s vocal creativity is substantiated to understand the relationship between music and words in works for voice and pi-ano, as the actual content of the process of developing competencies necessary for the pedagogical and concertmaster activities of graduates of a music and pedagogical university. The necessity of using the pedagogical component in the study of the concertmaster activity of composers, authors of chamber vocal and opera works has been proved. The main performing techniques of A.S. Dargomyzhsky, developing the p
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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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Merzlov, A. N. "VOCAL CYCLE BY SERGEY RACHMANINOV "SIX POEMS" FOR VOICE AND PIANO, OR. 38: FEATURES OF MUSIC CONTENT AND FORM." Arts education and science 1, no. 1 (2021): 68–79. http://dx.doi.org/10.36871/hon.202101008.

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Cycle "Six Poems", op. 38 (1916) is chronologically the last chamber vocal work in the works of Rachmaninoff. This work differs in many respects from the composer's previous vocal opuses. Throughout his life, Rachmaninov only once designated the genre of the chamber vocal form as a "poem" - this is how the opus was titled in the first editions. The artistic perspective of the composition, its main literary and musical images are quite typical for the culture of the modern era - a direction with which the work of the composer is usually not usually associated. The article provides a detailed an
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Eginbayeva, T., and А. Mombek. "Abai vocal cycle of E.Rakhmadiev: interpretation of the genre." Pedagogy and Psychology 44, no. 3 (2020): 205–15. http://dx.doi.org/10.51889/2020-3.2077-6861.26.

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The article examines the musical creativity of E.Rakhmadiev, a classic of the Kazakh composing school, the author of vocal-symphonic, opera, chamber-instrumental, song-choral works that are included in the national musical treasury. The author of article presents an analysis of the vocal cycle of seven romances dedicated to the legacy of Abai. In the cultural life of the Kazakh people, the personality of Abai Kunanbayev, his poetic and musical creativity occupy a special place. Each of his poem “sings”, and it is not surprising that many composers, when creating their songs and romances, turn
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Nikolaeva, Elena V., and Alisa E. Kalina. "Preparation of Children for the Performance of Works by Foreign Composers in the Original Language in the Academic Vocal Class." Musical Art and Education 7, no. 2 (2019): 125–43. http://dx.doi.org/10.31862/2309-1428-2019-7-2-125-143.

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The article reveals pedagogical views on the works of foreign composers as a subject of training in the class of academic vocal in children’s music schools and art schools. The characteristic of representation in general educational programs of additional education is given examples of Western European vocal culture. It is noted: a clear preference for works of German composers; the lack of a common position to understanding, what stage of education to include them in the study repertoire and in what language to perform. The pedagogical usefulness of learning and performing such a repertoire i
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Dissertationen zum Thema "Czech musical vocal works"

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Bidgood, Lee, and Banjo Romantika Band. "An Evening of Czech and Slovak Bluegrass Music." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1050.

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Lee Bidgood was joined by Richard Cifersky, Ed Snodderly, Daniel Boner, and Jeff Elkins in performing Czech translations of bluegrass classics, as well as original Czech material in both Czech and English.
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Pilcher, Matthew Aaron. "Structure, rhetoric, imagery : intersections of literary expression and musical narrative in the vocal works of Beethoven." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/structure-rhetoric-imagery-intersections-of-literary-expression-and-musical-narrative-in-the-vocal-works-of-beethoven(a11f5cb1-a44d-45cd-a0fb-a6836df55be1).html.

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Beethoven’s vocal works are often neglected or overshadowed as a result of his prominent involvement with large-scale instrumental genres such as sonata, symphony, or string quartet. Nevertheless, he sustained throughout his life a significant interest in literature and poetry; his personal library, as well as his letters, Tagebuch, and conversation books all document this by way of numerous direct quotations from—and indirect references to—the literary materials that interested him. The numerous vocal works he produced between 1783 and 1826 are one relevant manifestation of this interest and
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Seelig, Timothy. "Six Odes by C.F. Gellert set by C.P.E. Bach and Ludwig van Beethoven: A Comparative Analysis, a Lecture Recital Together with Three Recitals of Selected Works by Monteverdi, Caldara, Mozart, Brahms, Mendelssohn, Ives, Honegger, and Others." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331707/.

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The lecture recital was given on July 13, 1987. The discussion of the poetry by C. F. Gellert and the musical settings by C. P. E. Bach and Ludwig van Beethoven including analyses of all the pieces was followed by their performance. In addition to the lecture recital, three other public recitals were given: three of solo literature for voice and piano and one of vocal chamber literature. These included the works of Monteverdi, Caldara, Mozart, Brahms, Strauss, Mendelssohn, Ives, Honegger, Debussy, Faure", and others. All of these recitals were recorded on magnetic tape and filed along with t
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Lhotská, Tereza. "Pojištění v oblasti umění." Master's thesis, Vysoká škola ekonomická v Praze, 2014. http://www.nusl.cz/ntk/nusl-201949.

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The diploma thesis is focused on insurance of art. In the first part of the thesis the chapters contain areas of art which are insured in practice. The paper analyzes insurance of cultural heritage, works of art, musical instruments and cultural events. Each chapter describes the specifics of the areas and the most used kinds of insurance, including practical examples. In the last chapter of the first part I outline the situation abroad and its comparison with the Czech market. As an example, a foreign insurance company has been selected by AXA Art. The second part is devoted to insurance of C
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Fructus, Michel. "Les cantates de Nicolaus Bruhns (1665-1697)." Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO20067/document.

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Nicolaus Bruhns (1665-1697) fut organiste à la Marienkirche de Husum (Schleswig-Holstein), et Kapellmeister au service des ducs de Schleswig-Holstein-Gottorf. Si nous ne possédons aujourd’hui qu’une poignée de ses pièces pour orgue (quatre praeludia et un choral-fantaisie), nous pouvons apprécier l’ingéniosité de cet auteur à travers sa production d’œuvres sacrées, douze cantates où règne une énergie comparable à celle de son professeur Dietrich Buxtehude.Soucieux de mieux cerner les enjeux de l’identité créatrice, nous proposerons une approche contradictoire, fondée sur deux conceptions oppos
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Tůmová, Romana. "Zhudebněná poezie J.V.Sládka s bibliografií skladeb." Master's thesis, 2021. http://www.nusl.cz/ntk/nusl-446364.

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This diploma thesis deals with the topic of setting the poems of Josef Václav Sládek to music. The main source of the analyzed data is a bibliographic list of compositions, which was compiled after my own research in the databases and catalogues of the National Library of Czech Republic, the Municipal Library in Prague and Czech Museum of Music, as well as in specialised literature. The first chapter briefly summarizes the general principles of setting poetry to music and then it focuses on particular aspects of Sládek's poetics, which encourage composers to set his poems to music. The first c
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Kraus, Adam Daniel. "Správa autorských práv při poskytování služeb online streamingu hudebních děl ve světle Směrnice 2014/26/EU a její implementace v České republice a Dánsku." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-393057.

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The provision of online music streaming services and the management of copyright in the light of the Directive 2014/26/EU and its implementation in the Czech Republic and Denmark Abstract This thesis presents an insight into the management of copyright in musical works, with particular focus on their use in provision of online streaming services, together with the discernment of the individual aspects of such management in the context of changes brought about by the Directive 2014/26/EU and its implementation in the Czech Republic and Denmark. The aim of this thesis is to primarily describe th
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Bücher zum Thema "Czech musical vocal works"

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Marsha, Norman, and Burnett Frances Hodgson 1849-1924, eds. The secret garden: Musical book and lyrics. Theatre Communications Group, 1992.

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Richard, Strauss. Richard Strauss Edition: Sämtliche Bühnenwerke = complete stage works. : op.54 : Musikdrama in einem Aufzug nach Oscar Wildes gleichnamiger Dichtung = music drama in one act after Oscar Wilde's poem of the same name. Verlag Dr. Richard Strauss, 1996.

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Little Mix (Musical group). Little Mix: Ready to fly. HarperCollins, 2012.

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1720-1774, Agricola Johann Friedrich, and Baird Julianne, eds. Introduction to the art of singing. Cambridge University Press, 1995.

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Mal, Peachey, ed. Wet Wet Wet pictured. Virgin, 1995.

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Heuer, Rita M. Prokash, d. 2004, ed. Sharks, dolphins, Arabs, and the High Priced Help: The history of the formation, training, and deployment of the 174th Assault Helicopter Company to the Republic of South Vietnam, 1965-1967. M.F. Heuer, 2009.

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Badman, Keith. The Beach Boys: The definitive diary of America's greatest band, on stage and in the studio. Edited by Bacon Tony 1954-. Backbeat Books, 2004.

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Poleshook, Oksana. "Russian musical influences of The Five on works of Debussy": "Russian musical influences of The Five on piano and vocal works of Claude Debussy". LAP LAMBERT Academic Publishing, 2011.

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Schwartz, Jessica A. Vocal Ability and Musical Performances of Nuclear Damages in the Marshall Islands. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.37.

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The United States conducted sixty-seven nuclear tests in the Marshall Islands from 1946 through 1958. The program was shrouded in secrecy; information about the tests conducted on Marshallese bodies and their land remains classified. This essay considers how Marshallese women from Bikini Atoll and Rongelap Atoll musically sound physical and physiological disruptions and dislocations that expose broader damages caused by the nuclear testing program. Analyzing compositions and performances from a repertoire of Marshallese “radiation songs,” the essay proposes a stylistic framework that works to
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W, Coates C., ed. The Canadian anthem book: A choice collection of anthems, sentences, motets, chants, &c., &c.; selected with great care from the works of the most popular composers, for the use of church choirs, musical associations and social gatherings. [s.n., 1986.

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Buchteile zum Thema "Czech musical vocal works"

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Parr, Sean M. "Verdi and the End of Italian Coloratura." In Vocal Virtuosity. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197542644.003.0003.

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Verdi’s compositional influence and emphatic involvement in promoting his operas in Paris make him an important force, with an operatic oeuvre that includes works that can be labeled “French” because of his use of French literary sources and musical forms. During his career, Verdi’s use of coloratura changed greatly, but key examples are still found in his middle-period operas, in Rigoletto, La traviata, and Les Vêpres siciliennes. This chapter examines how these moments of coloratura signify much more than their apparently straightforward melismatic text treatment might suggest. Arias such as “Caro nome” employ coloratura to suggest a dramatic subtext, uncovering the inner psychological voice of the character. Close readings of these arias suggest that Verdi’s use of coloratura serves as an omen, foreshadowing tragedy for the character singing. With these mid-century examples, we see that Verdi as a modern composer in a sense writes coloratura out of Italian opera.
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Stinson, Russell. "Introduction." In Bach's Legacy. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190091224.003.0001.

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This book deals with J. S. Bach’s posthumous role in music history. Combining the disciplines of history, biography, and musical analysis, it considers how four of the greatest composers of the nineteenth and twentieth centuries engaged with Bach’s legacy. Special emphasis is given to Felix Mendelssohn’s and Robert Schumann’s reception of Bach’s organ works, Schumann’s encounter with the St. Matthew and St. John Passions, Richard Wagner’s musings on the Well-Tempered Clavier, and Edward Elgar’s (resoundingly negative) thoughts on Bach’s vocal works.
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Manning, Jane. "LYELL CRESSWELL (b. 1944)Eight Shaker Songs (1985)." In Vocal Repertoire for the Twenty-First Century, Volume 1. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0020.

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This chapter introduces works by Lyell Cresswell. His use of the voice as showcased in this chapter is highly imaginative and often demanding. The refreshingly uninhibited musical style defies easy categorization, but displays signs of an iconoclasm developed by Charles Ives. Cresswell achieves its effect by relatively simple means, including repetition. All the songs are brief yet sharply contrasted, and they convey a heady religious fervour that carries all before it. The third perhaps requires the most vocal virtuosity, and the sixth needs considerable stamina to bring it off, especially in some crucially loud spoken (shouted) passages. The final movement is a test of quick rhythmic articulation. The piano’s contribution is brimming with energy and drama, responding and adapting adroitly to the texts’ changing moods.
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Schulenberg, David. "Bach the Capellmeister." In Bach. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190936303.003.0009.

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As Capellmeister, Bach was in charge of all musical matters at the court of Cöthen. Although the prince’s Reformed religious faith ruled out the performance of church cantatas, Bach did compose occasional vocal works for special occasions. His chief works of this period, however, were suites, sonatas, and concertos for the court instrumental ensemble, as well as keyboard music for his family and pupils. Among the famous compositions composed or completed at Cöthen and discussed in this chapter are the inventions, Well-Tempered Clavier, organ sonatas, cello suites, sonatas and partitas for violin and flute, and Brandenburg Concertos.
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Manning, Jane. "TIM EWERS (b. 1958)Moondrunk (2000)." In Vocal Repertoire for the Twenty-First Century, Volume 2. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0022.

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This chapter discusses English composer Tim Ewers’s Moondrunk (2000). This short piece is a confident and clearly imagined setting of an English translation of the first poem of Arnold Schoenberg’s 1912 masterpiece for voice and ensemble, Pierrot Lunaire, Op. 21. Though brief, it should prove a useful and characterful item for a recital programme, especially one containing lengthier pieces, perhaps based around other works from the Second Viennese School or, alternatively, a collection of songs about the moon. The tessitura is wide-ranging, but within the reach of most voices, although a female voice was originally envisaged, in direct reference to Schoenberg’s seminal work. The musical idiom is pleasingly logical in its chromaticism, with frequent use of tritones. As always, when singing unaccompanied, the vocalist will need to be scrupulous about tuning intervals, avoiding microtonal slippage. Despite moments of freedom and rubato, rhythmic discipline is an important factor, and a sense of pulse needs to be preserved. Within this modest time span, the singer has to create and sustain a welter of shifting nocturnal moods, both threatening and intoxicating.
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Whittall, Arnold. "Song and Sign." In Singing in Signs. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190620622.003.0011.

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Wagner believed that reducing vocal display and rejecting the convention that the orchestral material remain subordinate to vocal melody would involve listeners more intensively in the drama, and enhance their ability to identify with mythic or “uncanny” dramatic situations. In addition, Wagner’s new ideas about the “symphonic” potential of poetic-musical periods were complemented and challenged by occasional allusions to the simpler designs and textures of the Lied—a polarity that Richard Strauss found no less appealing. After an introductory Wagner/Strauss comparison—the music for night-watchmen in Die Meistersinger and Die Frau ohne Schatten—some relevant episodes in Wagner’s works from Rienzi to Parsifal are discussed, and then set in counterpoint with comparable passages from operas by Strauss. Finally, there is brief consideration of more recent developments in German opera that have sought to retain some aspects of the focus on reflective song that Wagner made his own.
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Schulenberg, David. "Bach the Teacher." In Bach. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190936303.003.0013.

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This chapter examines the works of Bach’s later years, including several published collections, in the context of his teaching. The latter, considered in its broadest sense, included not only instruction in the St. Thomas School but private lessons and mentorship for university students and younger professional musicians. To these activities Bach added the revision and publication of compositions that could serve as examples for study and emulation. Among the latter are the four volumes of Clavierübung, including the harpsichord partitas, Italian Concerto, and Goldberg Variations; the Schemelli Chorales and Canonic Variations for organ; and the Musical Offering and Art of Fugue. Also instructive, in a profound sense, are the great vocal works of these years: the passions, oratorios, and Latin church music, including the B-Minor Mass.
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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 vocal cycle «Silver Strings» based on the words of O. Oles (1969) and the piano play «Memory» from the cycle «Musical Dedi-cations» (1993) by B. Filtz are the works which testify to the diversity of creative and human rela-tionships between artists, their communication about universal values, and the important role of ar-tistic communications in the organization of cultural space. It is noted that musical compositions-dedications have a successful mnemonic function, ob-jectify the category of «memory of culture» in sounds, establish semantic and interpretive correla-tions between individuals and their artistic and imaginative ideas. It is emphasized that culture is what is «here and now», it is a way of existence on the crossroad of Present, Past and Future which opens the new horizons of the meaning of human life and creativity.
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Haroutounian, Joanne. "Perspectives of Talent Identification." In Kindling the Spark. Oxford University Press, 2002. http://dx.doi.org/10.1093/oso/9780195129489.003.0015.

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In part I the discussion of talent began with a poetic scene and ended with reflective after-thoughts, befitting the theoretical nature of the subject. The quest to recognize the spark of potential talent in young children brings us into the very real world of the school classroom. Suppose it is your task to observe student behavior in a third grade elementary music class and identify students who show evidence of potential talent. Your attention is drawn to the following students: . . . Student A is playing a melody from her music book on a xylophone. She decides to elaborate by creating a “variation.” Excited, she busily starts notating and revising her ideas on manuscript paper. . . . . . . Observation Notes: Musical training is evident. Performs with ease. Shows curiosity, creativity in musical tasks. An outstanding student. . . . . . . Student B is sitting in a listening center with headphones on, totally absorbed in the activity of circling patterns he hears. He taps his pencil as he listens, quickly working through the ear-training exercise. A quick check shows that his answers are correct. . . . . . . Observation Notes: Fine-tuned listening. Quite perceptive and quick in complex listening tasks. He is rather shy in group activities. . . . . . . Student C volunteers to sing and act out a solo in a cowboy song. He performs with confidence, singing in tune and with expression, obviously enjoying himself. His performance is met with spontaneous applause. . . . . . . Observation Notes: Quite a showman. Comfortable in front of an audience. Clear, clean vocal quality and intonation. Performs with personal flair. Shows leadership skills in group activities. Energy plus enthusiasm. . . . . . . Student D works with a number of Orff instruments, simply “fooling around” with sounds and rhythms. Each repetition shows a bit more development of an imaginative improvisation, which she describes as a “summer storm.” . . . . . . Observation Notes: Sensitive awareness of mood in music. Syncopated rhythms used in improvisation—retained well by ear. Adept at learning by ear. Not comfortable working with notation. . . . . . .
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Konferenzberichte zum Thema "Czech musical vocal works"

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Kokkinidis, Kostas, Theodoros Mastoras, Athanasia Stergiaki, and Paraskevi Kritopoulou. "Gesture Recognition & Chanting Assessment For Byzantine Music Learning." In 2nd International Conference on Advanced Research in Education. Acavent, 2019. http://dx.doi.org/10.33422/2nd.educationconf.2019.11.806.

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Recent works related to digital self-instruction environments, present scarce efforts to provide combined instruction for gestural and vocal skills. Based upon a recently introduced learning and teaching method of vocal music, this research utilizes existing technologies to achieve the development of such a learning environment. The presented system administers the learning experience in order to improve the motion, sound and rhythm related skills of the student. Student performance is compared with a pre-recorded instructor performance in order to provide customized feedback that bespeaks the
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Vyshpinska, Yaryna. "Formation of Creative Personality of Students Majoring in «Preschool Education» in the Process of Studying the Methods of Musical Education." In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/38.

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The body of the article goes on to discuss the creative models of a student’s personality’s development in the process of mastering the course «Theory and methods of musical education of the preschool children». In general, the teacher's profession accumulates a big number of opportunities for the creative improvement of a would-be teacher's personality. All types of activities used while working with children in the process of mastering the artistic competencies (like fine arts, modeling, designing, appliqué work or musical activities) require not only technical skills, but also sufficient cr
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Marcaletti, Livio. "»Strafspiel« und satirische Stilmittel in musikdramatischen Gattungen des frühen 18. Jahrhunderts." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.63.

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The tendency of today’s historiography to portray early 18th-century Italian opera as a dichotomy between opera seria and opera buffa takes too little account of the existence of genera mixta. However, contemporary composers and authors sometimes referred to a tripartiton. In his treatise Der vollkommene Capellmeister (1739), Johann Mattheson distinguishes between tragedy, comedy and satire. His description of the melodies from a satirical opera is limited to the statement that they are “ridiculous, poseuristic and prickly”. This definition can be applied to the analysis of dramatic vocal work
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Berichte der Organisationen zum Thema "Czech musical vocal works"

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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of
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