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Books on the topic 'Folk songs, arrangement'

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Author: Grafiati

Published: 26 July 2024

Last updated: 28 July 2024

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1

Režný, Pavel. Od folklorních kořenů po soudobou hudbu: Sborová tvorba Jiřího Pavlici. Olomouc: Univerzita Palackého v Olomouci, 2006.

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2

1919-, Bray Kenneth, Barron John P, Telfer Nancy, and Wuensch Gerhard 1925-, eds. Pine tree gently sigh: 45 two-part arrangements of Canadian folk songs. Oakville, Ont: F. Harris Music Co., 1985.

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3

1919-1999, Bray Kenneth I., Telfer Nancy, and Wuensch Gerhard 1925-, eds. The Raftsmen: 35 three-part arrangements of Canadian folk songs. Oakville, Ont: F. Harris Music, 1986.

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4

Brahms, Johannes. Brahms' complete song texts: In one volume containing solo songs, duets, Liebeslieder waltzes (both sets), the Alto rhapsody, folk song arrangements. Geneseo, N.Y: Leyerle, 1999.

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5

1818, Prach Ivan d., and Booze Elmer, eds. A Collection of Russian folk songs with vocal arrangements set to music: In two parts. [Washington, D.C: E. Booze, 1985.

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6

Benjamin, Britten. Eight Folk Song Arrangements. Faber & Faber, 2001.

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7

Benjamin, Britten. Eight Folk Song Arrangements. Faber & Faber, 2001.

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8

Snyder, Jean E. Bringing Spirituals to the Concert Stage. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039942.003.0016.

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This chapter focuses on the popularity of Harry T. Burleigh's spirituals in recitals and other concerts. Burleigh published his first solo arrangement of spirituals from 1911 to 1916, at a time when the tide of interest in African American folk music, especially spirituals, was gathering momentum. At least nineteen white American composers joined the stream. Black composers also produced compositions reflecting their folk heritage during these years. From the 1916–1917 concert season, when his solo arrangement of “Deep River” became the hit of the recital season, Burleigh's role as pioneer arranger and interpreter of spirituals began to eclipse his role as recital singer and art song composer. This chapter explores how the recurring controversy over the origins of African American music made Burleigh a spokesman for the uniquely expressive gifts of African Americans who, he argued, had created America's first genuine folk music. In particular, it considers Burleigh's view that the spirituals were the primary artistic contribution of African Americans. It also discusses the influence of Edward MacDowell on Burleigh's movement toward arranging spirituals as art songs.

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9

Lott, Marie Sumner. “Domesticating” the Foreign in Arrangements of Operas, Folk Songs, and Other Works for Chamber Ensembles. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039225.003.0002.

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This chapter looks at string quartet transcriptions and arrangements. These arrangements differ from their piano-oriented counterparts in significant ways, and they reflect the changing role of chamber music—and that of opera and folk song—in musical life over the course of the nineteenth century. In translating an opera or other work for string quartet, arrangers combined seemingly opposed genres and social settings, bringing the opera house into the parlor in some cases and the countryside into the city in others. The chapter then focuses on Berlin-based publisher Adolph Martin Schlesinger. His firm produced dozens of opera transcriptions, collections of folk songs, and arrangements of Classical works for amateur chamber musicians between 1800 and 1900.

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10

Benjamin, Britten. Benjamin Britten - Complete Folksong Arrangements: 61 Songs. Boosey and Hawkes, 2006.

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11

My First Book of American Folk Songs : 25 Favorite Pieces in Easy Piano Arrangements. Dover Publications, 1996.

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12

Hal Leonard Publishing Corporation (COR). 15 Easy Folksong Arrangements - Low Voice: Low Voice Introduction by Joan Frey Boytim. Hal Leonard Corporation, 2004.

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13

Hal Leonard Publishing Corporation (COR). 15 Easy Folksong Arrangements - High Voice: High Voice Introduction by Joan Frey Boytim. Hal Leonard Corporation, 2004.

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14

'Twas in the moon of wintertime: 30 four-part arrangements of Canadian folk songs. Oakville, Ont: F. Harris Music, 1987.

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15

(Composer), Benjamin Britten, and Richard Walters (Editor), eds. Benjamin Britten - Complete Folksong Arrangements: 61 Songs for High Voice. Boosey and Hawkes, 2006.

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16

12 Selected Folksong Arrangements: With Online Audio of Performances and Accompaniments Medium/Low Voice, Book/Online Audio. Boosey & Hawkes, Incorporated, 2008.

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17

Rutter, John. Folk Songs for Choirs: Book 2: Thirteen Arrangements for Unaccompanied Mixed Voices, All from the British Isles (Folk Songs for Choirs). Oxford University Press, USA, 1985.

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18

Folk Songs for Choirs: Book 1: Twelve Arrangements for Unaccompanied Mixed Voices of Songs from the British Isles and North America (Folk Songs for Choirs). Oxford University Press, USA, 1985.

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19

(Composer), Benjamin Britten, and Richard Walters (Editor), eds. Benjamin Britten - Complete Folksong Arrangements: 61 Songs for Medium/Low Voice. Boosey and Hawkes, 2006.

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20

Issiyeva, Adalyat. Representing Russia's Orient. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190051365.001.0001.

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This book examines the musical ramifications of Russia’s nineteenth-century expansion to the east and south and explores the formation and development of Russian musical discourse on Russia’s own Orient. It traces the transition from music ethnography to art songs and discusses how various aspects of (music) ethnographies, folk song collections, music theories, and visual representations of Russia’s ethnic minorities, or inorodtsy, shaped Russian composers’ perception and musical representation of Russia’s oriental “others.” Situated on the periphery, minority peoples not only defined the geographical boundaries of the empire, its culture, and its music but also defined the boundaries of Russianness itself. Extensively illustrated with music examples, archival material, and images from long-forgotten Russian sources, this book investigates the historical, cultural, and musical elements that contributed to the formation and creation of Russia’s imperial identity. It delineates musical elements that have been adopted to characterize Russians’ own national hybridity. Three case studies—well-known leader of the Mighty Five Milii Balakirev, lesser known Alexander Aliab’ev, and the late-nineteenth-century composers affiliated with the Music-Ethnography Committee—demonstrate how and why, despite the overwhelming number of pejorative images and descriptions of inorodtsy, these composers decided to disregard their social and political differences and sometimes confused and combined diverse minorities’ identities with that of the Russian “self.” The analysis of the arrangements of folk songs of Russia’s eastern and southern minorities reveals the trajectory of the ways their music was treated, from denigration and “othering” to embracing peoples from all the provinces of the empire.

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21

Umbarger, Mary. Harp Song - The Golden Thread with Selected Arrangements for the Folk Harp. Mel Bay Publications, Inc., 2015.

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22

Mattison, Mike, and Ernest Suarez. Poetic Song Verse. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496837271.001.0001.

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This unique and accessibly written study discusses the relationship between the blues, rock, folk, jazz, and poetry in the twentieth and twenty-first centuries, but it is anchored in the 1960s, when a concentration of artists transformed modes of popular music from entertainment to art-that-entertains. The authors (a professional musician and a literary historian) synthesize a wide range of writing about music—biographies, histories, articles in popular magazines, personal reminiscences, and a selective smattering of academic studies—and examine the development of a relatively new literary genre that they call poetic song verse. Poetic song verse was nurtured in the 50s and early 60s by the blues and in Beat coffee houses, and matured in the mid-to-late 60s in the art of Bob Dylan, the Beatles, the Rolling Stones, the Doors, Jimi Hendrix, Joni Mitchell, Leonard Cohen, Gil Scott-Heron, and others who used voice, instrumentation, arrangement, and production to foreground semantically textured, often allusive, and evocative lyrics that resembled and engaged poetry. Among the topics Mattison and Suarez consider are: What, exactly, is this new genre? What were its origins? And how has it developed? How do we study and assess it? To answer these questions, the authors engage in an extended discussion of the roots of the relationship between blues-based music and poetry, and address how it developed into a distinct literary genre. The book balances historical details and analysis of particular songs with readability to create a lively, intelligent, and cohesive narrative that will provide a wide range of readers with an overarching perspective on the development of an exciting, relatively new literary genre.

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23

Bober, Melody. Grand Favorites for Piano, Bk 3: 13 Late Elementary Arrangements of Classical Themes and Folk Songs. Alfred Music, 2019.

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24

Grand Favorites for Piano, Bk 6: 12 Late Intermediate Arrangements of Classical Themes and Folk Songs. Alfred Music, 2019.

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25

Roller, Peter. Hal Leonard Lap Slide Songbook: Play Solo Slide Guitar Arrangements of 22 Country, Folk, Blues and Rock Songs. Leonard Corporation, Hal, 2019.

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26

Roller, Peter. Hal Leonard Lap Slide Songbook: Play Solo Slide Guitar Arrangements of 22 Country, Folk, Blues and Rock Songs. Leonard Corporation, Hal, 2019.

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27

Hal Leonard Lap Slide Songbook: Play Solo Slide Guitar Arrangements of 22 Country, Folk, Blues and Rock Songs. Leonard Corporation, Hal, 2019.

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