Relevant bibliographies by topics / Keyboard compositions / Books

Books on the topic 'Keyboard compositions'

To see the other types of publications on this topic, follow the link: Keyboard compositions.
Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 books for your research on the topic 'Keyboard compositions.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse books on a wide variety of disciplines and organise your bibliography correctly.

1

Bariolla, Ottavio. Keyboard compositions. [S.l.]: American Institute of Musicology, 1986.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Composing at the electronic keyboard. Harlow: Longman, 1988.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Haines, Nicholas. Composing at the electronic keyboard. Cambridge: Cambridge University Press, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Key + board = keyboard. Edina, Minn: Abdo Pub., 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Miller, Mary Anne. Communication skills at the keyboard. London: Pitman, 1986.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Kaye, Robert. The classical method: Classical improvisation & compositional theory and harmony. 4th ed. Blomington, IN: AuthorHouse, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

The classical method: Classical improvisation & compositional theory and harmony. Blomingtin, IN: AuthorHouse, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Kaye, Robert. The classical method: Classical improvisation & compositional theory and harmony. Blomingtin, IN: AuthorHouse, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Sweelinck's keyboard music: A study of English elements in seventeenth-century Dutch composition. 3rd ed. Leiden: E.J. Brill, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Jonathan, Feist, ed. The songwriter's workshop. Boston: Berklee Press, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
11

Sr, Paul a. Boer, and Johann Sebastian Bach. Goldberg Variations: Compositions for the Keyboard. Independently Published, 2018.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
12

Schulenberg, David. C. P. E. Bach’s Keyboard Music and the Question of Idiom. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041488.003.0003.

Full text
Abstract:
The keyboard music of Carl Philipp Emanuel Bach, commonly described as being for clavichord or generic “clavier,” reveals great variety of idiom, implying significant changes in players’ technical and interpretive approaches to performance of compositions from across the composer’s sixty-year career. This essay analyzes numerous sonatas, rondos, and fantasias, demonstrating the capabilities of both harpsichord and fortepiano for representing metaphoric speech in instances of instrumental recitative and in compositions that represent dialogues between opposing characters. Only the piano, however, can facilitate romantic effects appropriate to certain pieces through dynamics, legato articulation, and manipulation of dampers. Works that the composer described as “comic” actually juxtapose the serious and the farcical, as in the composer’s famous Empfindungen, a late work realizable only on a dynamic instrument.
APA, Harvard, Vancouver, ISO, and other styles
13

Miller, Leta E. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038532.003.0001.

Full text
Abstract:
This introductory chapter provides an overview of Aaron Jay Kernis's achievements. His current Schirmer catalog lists more than one hundred compositions: a dozen orchestral works; another dozen concerti with large orchestra or wind ensemble; a group of works for soloist with chamber orchestra; nearly two dozen compositions for two to six players and the same number of pieces for chorus; fourteen pieces for solo voice accompanied by piano or chamber groups; and a dozen compositions for keyboard. Quantity, however, is but one measure of achievement. In Kernis's case, quality has been repeatedly affirmed by a steady stream of awards and commissions, by the enthusiastic reception from renowned performers, and by the strong response his music elicits from audiences. Indeed, he has already won three major prizes coveted by contemporary composers: the Pulitzer Prize (1998), the Grawemeyer Award (2002), and the Nemmers Prize (2012).
APA, Harvard, Vancouver, ISO, and other styles
14

Parsons, Laurel, and Brenda Ravenscroft, eds. Analytical Essays on Music by Women Composers: Secular & Sacred Music to 1900. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190237028.001.0001.

Full text
Abstract:
This multi-author collection, the second to be published in an unprecedented four-volume series of analytical essays on music by women composers from the twelfth to the twenty-first centuries, presents detailed studies of compositions written up to 1900 by Hildegard of Bingen, Maddalena Casulana, Barbara Strozzi, Élisabeth-Claude Jacquet de La Guerre, Marianna Martines, Fanny Hensel, Josephine Lang, Clara Schumann, and Amy Beach. Each chapter opens with a brief biographical sketch of the composer, followed by an in-depth analysis of one representative composition or a small number of comparable compositions, linking analytical observations with broader considerations of music history, gender, culture, or hermeneutics. These essays, many by leading music theorists, are grouped thematically into three sections, the first focused on early music for voice, the second on seventeenth- and eighteenth-century keyboard music, and the third on lieder and piano music. The collection is designed to challenge and stimulate a wide range of readers. For academics, these thorough analytical studies can open new paths into unexplored research areas in music theory and musicology. Post-secondary instructors may be inspired by the insights offered here to include new works in graduate or upper-level undergraduate courses in early music, theory, history, or women and music. Finally, for performers, conductors, and music broadcasters, these thoughtful analyses can offer enriched understandings of this repertoire and suggest fresh, new programming possibilities to share with listeners—an endeavor of discovery for all those interested in music composed before 1900.
APA, Harvard, Vancouver, ISO, and other styles
15

Rayner, Clare G., and Christian Erbach. CEKM 36 CHRISTIAN ERBACH (ca. 1570-1635), Collected Keyboard Compositions, Edited by Clare G. Rayner. Vol. V Introits, an Intonation, a Hymn, Magnificats, Kyries, Appendix. American Institute of Musicology, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
16

Cron, Matthew. Music from Heaven. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040191.003.0006.

Full text
Abstract:
This chapter provides an eighteenth-century context for Johann Sebastian Bach’s cantatas with obbligato organ by showing how their various components engage in a larger discourse about the German Baroque organ: namely, its intimation of Heaven. There are almost 200 surviving church cantatas by Bach, eighteen of which contain movements where the organist transitions from a continuo player to a concertist. Modern scholarship has considered such compositions primarily from two perspectives: a historiographical perspective, which places them in the larger context of the history of the keyboard concerto; and a compositional perspective, which considers them as examples of the arrangement and reworking of previous musical material. This chapters examines how a particular yet widespread way of thinking about the organ gave rise to a fruitful context for the obbligato organ cantata in the early eighteenth century by analyzing Bach’s works from the perspective of an original listener—that is, as a member of the congregation. It argues that Bach’s libretto guided his instrumentation and that he often took advantage of the longstanding identification of the organ with Heaven.
APA, Harvard, Vancouver, ISO, and other styles
17

Parsons, Laurel, and Brenda Ravenscroft. Élisabeth-Claude Jacquet de La Guerre, Sarabandes from the Suites in A minor (1687) and D minor (1707). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190237028.003.0005.

Full text
Abstract:
Born into a family of musicians and instrument makers, Élisabeth-Claude Jacquet de La Guerre made her mark early by performing for Louis XIV when she was five years old. By the age of twelve, she was composing as well. Her compositions require the analyst to attend to far more than sight and sound. Like other musicians of her era, she requires us to consider touch, kinetic movement, taste, temporality, color, timbre, space, and even fragrance as we work to bring her notated scores to the ear. This chapter seeks to tease out the ways these parameters intersect to produce their effects in two sarabandes for keyboard.
APA, Harvard, Vancouver, ISO, and other styles
18

Gooley, Dana. The School of Abbé Vogler. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190633585.003.0002.

Full text
Abstract:
Chapter 1 tracks a line of improvisational influence that issued from the organ playing and theoretical teachings of Georg Joseph (Abbé) Vogler, whose most famous students were Carl Maria von Weber and Giacomo Meyerbeer. Although Vogler was in many respects a product of eighteenth-century aesthetic and theoretical dispositions, he also had a progressive, even experimental streak that manifested itself in his improvisations. He anticipated the figure of the modern virtuoso by touring and playing organ concerts that featured dramatic improvisations depicting biblical narratives. Most important, he made keyboard improvisation an integral part of his pedagogical method, requiring students to improvise simultaneously with him and with each other. While Vogler instructed his students in thoroughbass methods, his improvisational teaching featured freer types of contrapuntal and figural elaboration that influenced their performances and compositions. Vogler’s approach to improvisation encouraged harmonic experimentation that influenced Weber’s and Meyerbeer’s expanded use of tonality.
APA, Harvard, Vancouver, ISO, and other styles
19

Composing at the Electronic Keyboard Book 2. Cambridge University Press, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
20

Composing at the Electronic Keyboard Book 2. Cambridge University Press, 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
21

Haines, Nick. Composing at the Electronic Keyboard Book 1. Cambridge University Press, 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
22

Corea, Chick. Keyboard Workshop: Methods of Composition, Improvisation, and Practice. Alfred Pub Co, 2003.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
23

Miller, James, and Mary Anne Miller. Communication Skills at the Keyboard. Longman, 1986.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
24

Press, Minkyo. Sleep All Day Keyboard All Night: Unruled Composition Book. Independently Published, 2018.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
25

Parsons, Laurel, and Brenda Ravenscroft. Marianna Martines, Sonata in A Major, I (1765). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190237028.003.0006.

Full text
Abstract:
Marianna Martines, a Viennese contemporary of Haydn and Mozart, combined the fruits of instruction in the strict style with the devices and schemata of the new galant style. She was an excellent harpsichordist and singer as well as composer, and her compositional craft is amply displayed in the opening movement of her Sonata in A Major for Keyboard, written around 1765. This movement skillfully handles various layouts, schemata, and compositional devices that were standard at the time. Furthermore, it cleverly manipulates these features with rhythmic and formal devices—some of which are quite daring—in an expressive and dramatic fashion.
APA, Harvard, Vancouver, ISO, and other styles
26

Miller, Leta E. Learning the Craft. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038532.003.0002.

Full text
Abstract:
This chapter studies Kernis's early years and training. During the seventh grade, Mary Jane Scholl, a freelance music teacher, started Kernis on the violin. She also introduced him to some basic concepts of music theory and elementary composition—writing simple counterpoints and four-part chorales—which eventually led him into free composition and his first instrumental pieces. Kernis then began to teach himself piano “by sight-reading all the music [he] could get [his] hands on.” During high school, he studied jazz keyboard harmony at Temple University. He also took private piano lessons there, but after acting as his own teacher for so many years, he had developed enough bad habits that both he and the teacher were frustrated. By the time Kernis left for college in the fall of 1977, he had already won awards in composition from the National Federation of Music Clubs (NFMC).
APA, Harvard, Vancouver, ISO, and other styles
27

Publishing, Greenyx. Keyboard Mom 1. a Mom, Just Even More Remarkable: Unruled Composition Book. Independently Published, 2019.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
28

Rooksby, Rikky. How to Write Songs on Keyboards: A Complete Course to Help You Write Better Songs. Backbeat Books, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
29

South, Way Down. Composition Book: Pink Workplace Mouse Keyboard Headphones Book 140 Pages College Ruled Lined Book. Independently Published, 2019.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
30

Publications, Noteworthy. College Ruled 200 Pages: Purple Piano Notes Composition Notebook, Music Lover College Composition Book, Notebook For Musicians, Pianists, Keyboard Players. Independently published, 2019.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
31

Publications, Noteworthy. College Ruled 200 Pages: Yellow Piano Notes Composition Notebook, Music Lover College Composition Book, Notebook For Musicians, Pianists, Keyboard Players. Independently Published, 2019.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
32

Publications, Noteworthy. College Ruled 200 Pages: White Piano Notes Composition Notebook, Music Lover College Composition Book, Notebook For Musicians, Pianists, Keyboard Players. Independently Published, 2019.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
33

Publications, Noteworthy. College Ruled 200 Pages: Red Piano Notes Composition Notebook, Music Lover College Composition Book, Notebook For Musicians, Pianists, Keyboard Players. Independently Published, 2019.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
34

Ream, Leaf and. Music Composition & Notes: Piano Music Composition Staff Manuscript Book with Teacher and Student Note Pages for Piano and Keyboard Lessons. Independently Published, 2019.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
35

Publications, Noteworthy. College Ruled 200 Pages: Dark Blue Piano Notes Composition Notebook, Music Lover College Composition Book, Notebook For Musicians, Pianists, Keyboard Players. Independently published, 2019.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
36

Publications, Noteworthy. College Ruled 200 Pages: Dark Pink Piano Notes Composition Notebook, Music Lover College Composition Book, Notebook For Musicians, Pianists, Keyboard Players. Independently published, 2019.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
37

Ream, Leaf and. Music Composition and Notes: Piano Music Composition Staff Manuscript Book with Teacher and Student Note Pages for Piano and Keyboard Lessons. Independently Published, 2019.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
38

Publications, Noteworthy. College Ruled 200 Pages: Pale Green Piano Notes Composition Notebook, Music Lover College Composition Book, Notebook For Musicians, Pianists, Keyboard Players. Independently published, 2019.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
39

Ivanovitch, Roman. The Brilliant Style. Edited by Danuta Mirka. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199841578.013.0013.

Full text
Abstract:
The brilliant style, described loosely by Leonard Ratner as rapid passages for virtuoso display, has been a mainstay of modern topic theory, often invoked in conjunction with the singing style to account for the basic contrastive mechanism of the classical style. This chapter explores some contextual bases for the topic, suggesting that eighteenth-century linguistic usage can offer useful nuance and proposing a topical home in the genre of the concerto. Illustrations relate to the concerto, aria, symphony, and quartet, and examine both keyboard and string virtuosity. At the heart of the brilliant style is a set of propensities for public and theatrical modes, tied to a sense of occasion; it can highlight tensions between composer and performer, and relates directly to our constructions of the active “persona” in a composition or performance.
APA, Harvard, Vancouver, ISO, and other styles
40

Fulton, Will. Stevie Wonder’s Tactile Keyboard Mediation, Black Key Compositional Development, and the Quest for Creative Autonomy. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.22.

Full text
Abstract:
There has been limited examination of Stevie Wonder’s compositional process and performance style as they relate to his disability. One largely unaddressed aspect of Wonder’s work is the keyboard performance technique used on his funk recordings, which feature a style of performance that he developed in part due to his blindness. Wonder’s studio recordings of the early 1970s exhibit what could be understood as the problem of autonomy for a disabled musician. As Wonder creates recordings as a technological one-man band using the assistance of multitrack recording, he strives toward creative autonomy. At the same time, the recording studio serves as a site for “complex power relations” that are common between people with disabilities and those who assist them. The availability of newer, smaller electronic instruments later made it possible for Wonder to increase his personal control over music production and to pioneer the use of new recording technologies.
APA, Harvard, Vancouver, ISO, and other styles
41

Gooley, Dana. Schumann and the Economization of Musical Labor. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190633585.003.0005.

Full text
Abstract:
Chapter 4 details Robert Schumann’s evolution from an eager and fluent improviser into a composer who advocated writing music away from the piano entirely. His evolution demonstrates the growing polarization between improvisation and composition, modes of music-making that were generally viewed as mutually beneficial until the 1830s. His early, piano-centered output provides clues into how certain transitional and rhetorical strategies were rooted in keyboard improvisational practices, but consciously invested with a “depth” or “psychology” that gave them a romantic cast. The chapter’s interpretive lens is then broadened to consider how Schumann’s anxiety over improvisation was shaped by an “ethos of economy” then common to the educated classes. Improvisation thrived on certain anti-economic impulses—a dilated sense of temporal unfolding, a strenuous type of performer training, a risk of inefficacious communication—that ran counter to bourgeois ethical codes such as the containment of excess and the rational ordering of available resources.
APA, Harvard, Vancouver, ISO, and other styles
42

Bugdal, Anna. Music Manuscript : Blank Sheet Music Composition and Notation Notebook: Staff Paper, Music Composing, Songwriting, Piano, Keyboard, Guitar, Violin. Independently Published, 2020.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
43

The Songwriter's Workshop: Melody (Berklee Press). Berklee Press, 2003.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
44

Kachulis, Jimmy. Songwriter's Workshop: Melody. Leonard Corporation, Hal, 2003.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
45

Kachulis, Jimmy. Songwriter's Workshop: Harmony. Leonard Corporation, Hal, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
46

Kachulis, Jimmy. The Songwriter's Workshop: Harmony. Berklee Press, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
47

The Songwriter's Workshop: Lyrics. Berklee Press Publications, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
48

Kachulis, Jimmy. Songwriter's Workshop: Harmony. Leonard Corporation, Hal, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
49

david, michel. Enjoy Music Enjoy Life : : Blank Sheet Music Composition and Notation Notebook /Staff Paper/Music Composing / Songwriting/Piano/Guitar/Violin/Keyboard. Independently Published, 2020.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
50

AF, Karina Mathis. Bullies Behind Keyboards Are Still Bullies: Bullying Notebook Journal Composition Blank Lined Diary Notepad 120 Pages Paperback White. Independently Published, 2019.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the bibliographies on the topic 'Keyboard compositions' for other source types:
Journal articles
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography