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Libros sobre el tema "SOLO DANCERS"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 7 de febrero de 2022

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1

Seeger, Mike. Talking feet: Buck, flatfoot, and tap : solo Southern dance of the Appalachian, Piedmont, and Blue Ridge Mountain Regions. Berkeley, Calif: North Atlantic Books, 1992.

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2

Bartók, Béla. Roumanian folk dances: Piano solo. London: Boosey & Hawkes, 1993.

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3

Bartók, Béla. Dance suite: For piano solo. [U.S.A.]: Boosey & Hawkes, 1991.

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4

Lasky, Kathryn. The solo. New York: Macmillan, 1994.

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5

1955-, Déry Louise, Massoutre Guylaine, Pocreau Yann, Galerie de l'UQAM y Fortier danse-création (Compagnie de danse), eds. Paul-André Fortier: Solo 30x30. [Montréal]: Fortier Danse-Création, 2011.

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6

Singer, Marilyn. Tallulah's solo. Boston: Clarion Books, 2012.

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7

Turetzky, Bertram. Meditation and dance: For solo contrabass (1988). Bryn Mawr, Pa: Elkan-Vogel, 1991.

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8

Parker, Monica. Benesh movement notation: Elementary solo syllabus : ballet application. London: Benesh Institute, 1996.

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9

Samuel, Adler. The road to Terpsichore: A suite of dances for piano solo. New York, NY: G. Schirmer, 1989.

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10

Ray, Ollie M. All the right moves: Classical, solo, and line dances for children. [Charleston, Ill.]: Siddall and Ray Research Foundation, 2002.

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11

Suderburg, Robert. Solo music II: Ritual cycle of lyrics and dances : for unaccompanied viola. Bryn Mawr, Pa: T. Presser, 1991.

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12

Modernism's mythic pose: Gender, genre, solo performance. New York: Oxford University Press, 2011.

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13

Massignan, Marco. La danza del sole dei Lakota. Milano: Xenia edizioni, 1996.

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14

Bengal Art Lounge (Dhaka, Bangladesh), ed. Invitation to the dance: Solo painting exhibition, Bengal Art Lounge, 29 Sep--9 Oct, 2013. Dhaka: Bengal Art Lounge, 2013.

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15

Grainger, Percy. Spoon River: American folk-music settings no. 1 ; Eastern intermezzo : for solo piano, op. 75. Boca Raton, Fla: Masters Music Publications, 1998.

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16

Fofana, Abdoulaye Sayon. Le kania soli: Ode et danse traditionnelles guinéennes. Paris: L'Harmattan, 2015.

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17

Seeger, Mike. Talking feet: Buck, flatfoot and tap : solo Southern dance of the Appalachian, Piedmont and Blue Ridge Mountain Regions. Berkeley, Calif: North Atlantic Books, 1992.

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18

Henrichs, Albert. Warum soll ich denn tanzen?: Dionysisches im Chor der griechischen Tragödie. Stuttgart: B.G. Teubner, 1996.

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19

Institute, Lumbini International Research, ed. The Sherpa Dhumji Masked Dance Festival: An ethnographic description of the 'great liturgical performance' as celebrated annually according to the tradition of the Lamaserwa clan in the village temple of Gonpa Zhung, Solu. Lumbini: Lumbini International Research Institute, 2008.

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20

Mcdermott, Leeanne. GamePro Presents: Sega Genesis Games Secrets: Greatest Tips. Rocklin: Prima Publishing, 1992.

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21

Tom, Badgett, ed. Official Sega Genesis and Game Gear strategies, 2ND Edition. Toronto: Bantam Books, 1991.

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22

Sandler, Corey. Official Sega Genesis and Game Gear strategies, 3RD Edition. New York: Bantam Books, 1992.

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23

Winkler, Kevin. Dancin’ Solo. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199336791.003.0010.

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This chapter focuses on Fosse’s show Dancin’, an evening of numbers performed to preexisting music from a variety of composers. Having dismissed all collaborators and untethered to a narrative, Fosse was free to create dances around his favorite music, which included classical, swing, rock, and pop. Dancin’ had moments of startling eroticism, and his ability to sculpt stage pictures with bodies, space, and light remained unmatched. But there were also cringeworthy attempts at comedy and moments of maudlin sentimentality. By now, Fosse’s choreographic style had shifted from traditional musical comedy with touches of antic vaudeville to a more lyrical, self-serious approach that he could not always support. A sameness crept into much of his work, with similar steps, patterns, and groupings carried over from one show or film to another. Choreographing for character seemed no longer important, and all his dancers appeared to be performing the role of Bob Fosse.
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24

Sellers-Young, Barbara. Men and the Happiness Dance. Editado por Anthony Shay y Barbara Sellers-Young. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199754281.013.014.

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The solo improvisational forms of North Africa and the Middle East, most often referred to as belly dance, have played a definitive role in the global social imaginary of masculine and feminine identity. This essay looks at the life of three male dancers, Mahmoud Reda, John Compton, and Tito Seif, and the position they have played in their social and historical contexts in Egypt and the United States.
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25

Brahms, Johannes. Hungarian Dances: Piano Solo. Yokai Publishing, 2010.

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26

Dances for Solo Piano. Dover Publications, 1989.

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27

Easy Dances for Solo Piano. Dover Publications, 2004.

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28

Barry, John. Dances with Wolves (Piano Solo). Hal Leonard Corporation, 1991.

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29

McCormick, Robert M. 3 Dances For Solo Timpani (Timpani Solo) (Warner Bros. Performance). Warner Bros. Publications, 2003.

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30

(Composer), John Corigliano y Dolores Fredrickson (Editor), eds. Adagio (from Gazebo Dances): Piano Solo. G. Schirmer, Inc., 1993.

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31

Albeniz, Issac. Six Spanish Dances for Solo Piano. Masters Music Pubns, 1992.

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32

Howell, Robert. Easy Level Solo Dances: The Bob Howell Collection Line Dances. Natl Dance Assn, 1993.

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33

Three Dance Portraits: Piano Solo. Marks, 1991.

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34

Singer, Marilyn y Alexandra Boiger. Tallulah's Solo. Houghton Mifflin Harcourt Publishing Company, 2012.

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35

Berne, Emma Carlson, Jake Maddox y Katie Wood. Dancing Solo. Capstone, 2014.

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36

Berne, Emma Carlson. Dancing Solo. Capstone, 2014.

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37

Hungarian Dances and Other Works for Solo Piano. Dover Publications, 2007.

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38

Soho Dives Soho Divas. Image Comics, 2013.

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39

Hughes, Rian. Soho Dives, Soho Divas. Image Comics, 2013.

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40

Granados, Enrique. Goyescas, Spanish Dances and Other Works for Solo Piano. Dover Publications, 1987.

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41

Strauss, Johann. Favorite Waltzes, Polkas and Other Dances for Solo Piano. Dover Publications, 1994.

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42

Respighi, Ottorino. Ancient Airs and Dances & Other Works for Solo Piano. Dover Publications, 2006.

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43

Brahms, Johannes. Hungarian Dances: Piano Solo (Schirmer's Library of Musical Classics). G. Schirmer, Inc., 1994.

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44

Joseph, Haydn. Variations, Dances and Other Shorter Works for Solo Piano. Dover Publications, 1999.

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45

Glaser, Katherine. Technique Dances: Early Intermediate Piano Solos. Hal Leonard Corp, 1993.

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46

Rossen, Rebecca. Dancing Jews and Jewesses. Editado por Anthony Shay y Barbara Sellers-Young. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199754281.013.019.

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In the 1930s, “Jewish dance” emerged in the United States as a category that drifted between ethnic and modern dance. Although some Jewish choreographers were able to transcend their ethnicity through the universalism of modern dance, others, like Belle Didjah and Dvora Lapson, were ghettoized by their overtly Jewish characterizations of Hasidic Jews or exotic Jewesses. Despite their exclusion from modern-dance history, Didjah and Lapson identified with modern dance, reinvented cultural traditions and rituals for the stage, and used the solo form to imagine expanded roles for women. Although some of their dances emphasized Jewish difference over assimilation, they aimed to make a place for Jewish expression on the American concert stage, and to expand possibilities for constructing Jewish-American identities through a mode of performance that was both ethnic and modern.
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47

József, Eötvös. Mel Bay Johannes Brahms: Hungarian Dances transcribed for Solo Guitar. Mel Bay Pubns, 2003.

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48

Schubert, Franz. Dances for Piano: Piano Solo (Schirmer's Library of Musical Classics). G. Schirmer, Inc., 1994.

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49

Witt, Anne. Scottish Airs and Dances for Two Violins: Or Solo Violin. Mel Bay Publications, Inc., 2011.

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50

Joseph, Smith. Tangos, Milongas and Other Latin-American Dances for Solo Piano. Dover Publications, 2003.

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