Thematische Bibliographien / Trios (Piano, flute, vibraphone)

Auswahl der wissenschaftlichen Literatur zum Thema „Trios (Piano, flute, vibraphone)“

Autor: Grafiati
Veröffentlicht am 25. Juli 2024
Zuletzt aktualisiert am 26. Juli 2024

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Zeitschriftenartikel zum Thema "Trios (Piano, flute, vibraphone)"

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Mikolon, Anna. „Piano and chamber works by Jerzy Gablenz (1888-1937)“. Notes Muzyczny 2, Nr. 10 (20.12.2018): 123–43. http://dx.doi.org/10.5604/01.3001.0012.9815.

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The article is aimed at presenting piano and chamber music written by the forgotten composer of the period of the Young Poland. Born in Cracow to a family with rich music traditions, Jerzy Gablenz learned to play the piano, flute, cello and organ. But his main interest was to write music himself. As early as in his youthful years, he wrote songs and piano miniatures mainly dedicated to Małgorzaa Schoen, his future wife. He graduated from law school, but he also studied composition and theory of music with Władysław Żeleński, Feliks Nowowiejski and Zdzisław Jachimecki. His main occupation was managing the vinegar and mustard factory. Despite that, he found time for writing symphonic, opera, chamber, piano and vocal pieces. His piano works – due to their tunefulness, diversified texture, mysteriousness and ballroom elegance – are unquestionably worth promoting. They include: 4 Small Bagatelles op. 1 no. 1, 4 Improvisations op. 1 no. 3, 3 Improvisations op. 1 no. 4, Intermezzo a la mazurka op. 2, 2 Morceaux op. 3, Two Small Bagatelles op. 8, 2 Skizzen op. 24 Es war niemal…, or Suite op. 35. Gablenz’s chamber works cover: Canzona op. 1 no. 2 for flute and piano, Sonata op. 15 for cello and piano, 5 Waltzes op. 28 for piano 4 hands, Arabesque op. 28 no. 6 for oboe and piano, Trios for three female voices and piano to lyrics by Leopold Staff op. 4 and op. 19. Unfortunately, Gablenz’s tragic death on 11 November 1937 in a plane crash near Piaseczno made the further development of his great talent impossible. I believe that his creative output deserves promoting among music lovers not only in the Dominican Republic and Canada, but first of all in Poland, where some of his works still have not had their premiere performances, despite numerous efforts of Tomasz Gablenz, the composer’s son.
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Dissertationen zum Thema "Trios (Piano, flute, vibraphone)"

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Edwards, Peter Ivan Edwards Peter Ivan. „Two explorations in musical objects /“. Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2005. http://wwwlib.umi.com/cr/ucsd/fullcit?p3170275.

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Thesis (Ph. D.)--University of California, San Diego, 2005.
Includes 2 compositions: Puer natus est nobis (zu irgendeiner Zeit) for full orchestra, and Annicha, for flute, clarinet, and piano. Vita. Includes audio reel tape of compositions (analog, stereo., 7 1/2 ips : 7 in.).
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Wang, Jennifer. „Wind in her hair for alto flute, vibraphone, electric guitar, voice, piano, violin, violoncello, and tape /“. Cincinnati, Ohio : University of Cincinnati, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1085678411/ucin1085678411.pdf.

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Hannesson, Mark Joel. „Folie à deux : a musical composition for flute, clarinet, violin, cello, piano and vibraphone with electroacoustic music and live audio processing“. Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/13908.

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Folie à deux is a musical composition for flute, clarinet, violin, cello, piano and vibraphone with electroacoustic music and live audio processing. It explores the idea of musical influence through the metaphor of shared delusion. This dissertation is made up of four main sections. The first will look at the background to the piece, the historical and personal influences that led to its composition. The second section will discuss those aspects of the piece that are somewhat unique as well as an examination of how it does not correspond to standard practices. Next, a detailed examination of the steps taken to bring the piece to fruition will be explored. Finally, some concluding remarks will be made about the piece and the future creative directions that may be followed in its wake.
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Chan, Sze-rok Chan Sze-rok Chan Sze-rok Chan Sze-rok Chan Sze-rok. „Inspired by the Hindu tradition compositions and reflections /“. Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B37933966.

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Cheng, Yu-sum Anthony, und 鄭汝森. „An application of Arnold Schoenberg's gedanke manuscript as a blueprint theory for a portfolio of original compositions“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hdl.handle.net/10722/209587.

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Chan, Sze-rok, und 陳詩諾. „Inspired by the Hindu tradition: compositionsand reflections“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37933966.

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Copeland, Warren. „Time for bee: a recital of compositions“. Thesis, 1994. http://hdl.handle.net/2429/5123.

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Time for Bee consists of a series of ten original musical/theatrical compositions created between September 1992 and January 1994, first performed on the evening of January 28, 1994 in the Recital Hall of the University of British Columbia. While each of the works can be performed individually, it was the composer’s intent to create a recital which is logical in its progression. This should suggest that in some way the pieces belong together as a larger whole. The concept of “waiting” circulates throughout all the works, in the sense that the actual material is either minimalist (and so one is forced to “wait” for changes), or the philosophy behind a given piece is similarly based, but may not be evident in the sounding music. The studies in the music machine, for example, try to incorporate necessary stage changes between pieces (and the waiting the audience goes through) into musical events about such waiting. A secondary interest concerns the concept of contradiction. The majority of the works are, for example, based upon high-sounding textures (flute, violin, clarinet, high piano and mallets, etc). The studies in the music machine attempt to introduce low-sounding textures as a contrast, however, and throughout the recital a timpani and a bass drum sit off to the side of the stage, unplayed. These ideas, and others, are meant to serve as a contradiction to the unified high-sounding textures of the majority of the recital. Individual pieces are similarly based upon concepts of contradiction and waiting. Memory, as a concept, plays a prominent role in several pieces as well.
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Barkoskie, Alvez Theodore. „Rasgueado for flute, clarinet in Bb, violin, cello, percussion and piano“. Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-12-4822.

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"Rasgueado” is an expansion of a chorale from an earlier work I composed for brass quintet. It is based on a seven measure progression that appears in many several different variations throughout the work. Traditionally, this form is known as a passacaglia, which has origins in Spain and Italy. In Spain, the pasacalle, is a rasgueado, or strummed interlude between dances or the verses of a song. I choose to name this piece “Rasgueado” since parts of the piece are loosely based on the idea of the passacaglia and since the piece opens and closes with the strumming of the cello.
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„Three compositions“. Chinese University of Hong Kong, 1994. http://library.cuhk.edu.hk/record=b5895456.

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by Lee Chui Ling.
Thesis (M.Mus.)--Chinese University of Hong Kong, 1994.
Preface --- p.1
Chapter I. --- Twinkling --- p.3
Chapter i) --- Analysis-----Introduction --- p.4
Chapter ----- --- Formal structure
Chapter ----- --- Musical elements
Chapter ii) --- Score (with performance notes) --- p.8
Chapter II. --- Emancipation --- p.14
Chapter i) --- Analysis 226}0ؤ Introduction --- p.15
Chapter ----- --- First movement ~ Formal structure
Chapter ~ --- Orchestration
Chapter ----- --- Second movement ~Formal structure
Chapter ~ --- Harmony
Chapter ----- --- Third movement ~ Formal structure
Chapter ~ --- Musical elemets
Chapter ii) --- Score (with 226}0بorchestra' & performance notes) --- p.25
Chapter III. --- Once Upon a Time --- p.105
Chapter i) --- Analysis 226}0´ؤؤIntroduction --- p.106
Chapter ----- --- Formal structure
Chapter ----- --- Scale
Chapter ----- --- Quotation
Chapter ii) --- Score (with performance notes) --- p.111
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Bazala, Alison Andrist Audrey Vadala Kathleen Newman Edward Boyle Tara. „Bohuslav Martinů's chamber music for violoncello and piano“. 2005. http://hdl.handle.net/1903/9747.

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Bücher zum Thema "Trios (Piano, flute, vibraphone)"

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Willoughby, Robert. French flute favorites. Nashville, TN: Gasparo, 1985.

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Wuorinen, Charles. Arabia Felix: Flute, violin, bassoon, vibraphone, amplified guitar and piano. New York: C.F. Peters, 1995.

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Sowerby, Leo. Flute trio: Trio for flute, viola, and piano, H. 149. [Rochester, N.Y.]: Leo Sowerby Foundation, 1996.

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Carr, Paul. Divertimento for flute or oboe, bassoon, and piano. Bryn Mawr, Pa: Elkan-Vogel, 1988.

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Foote, Arthur. Sarabande and rigaudon: For oboe (or flute), viola (or violin) and piano. Boca Raton, Fla: Masters Music Publications, 1991.

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Prévost, André. Triptyque: Hautbois (ou violon), flûte et piano = oboe (or violin), flute and piano = Oboe (oder Violine), Flöte und Klavier. Saint-Nicolas, Qué., Canada: Doberman, 1985.

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Wolff, Christian. For Morty. New York, N.Y: C.F. Peters, 1989.

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Bernstein, Leonard. Ḥalil: Nocturne for flute, percussion, and piano. [United States]: Jalni Publications, 1987.

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Devienne, François. A favourite trio concertante (1787) for the pianoforte, flute, & bassoon or violoncello. Lemars, Ia: Medici Music Press, 1989.

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Snell, Keith. Favorite hymns for flute: Solos, duets, and trios with piano accompaniment. Miami, Fla: Studio 224, 1986.

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Buchteile zum Thema "Trios (Piano, flute, vibraphone)"

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„Princess Paolina Borghese – Seguito de Ser Marcantonio – Mazzetto di Fiori – Sacerdotessa d’Irminsul – Duos, trios, and quartets for piano, flute, oboe, and bassoon“. In Giovanni Pacini, 15–20. 3rd Party UK, 2018. http://dx.doi.org/10.2307/j.ctv1zcm3h1.8.

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