Gotowe bibliografie tematyczne / Concertos

Gotowa bibliografia na temat „Concertos”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 29 lipca 2024

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Artykuły w czasopismach na temat "Concertos"

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Rochester, Marc. "Concertos". Musical Times 126, nr 1707 (maj 1985): 291. http://dx.doi.org/10.2307/961323.

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O'Loughlin, Niall. "Multiple Concertos". Musical Times 127, nr 1723 (październik 1986): 567. http://dx.doi.org/10.2307/964403.

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Stowell, Robin. "Bach Concertos". Musical Times 126, nr 1711 (wrzesień 1985): 539. http://dx.doi.org/10.2307/964467.

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Lamb, Andrew. "Offenbach Concertos". Musical Times 128, nr 1734 (sierpień 1987): 421. http://dx.doi.org/10.2307/965001.

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O'Loughlin, Niall. "Flute Concertos". Musical Times 126, nr 1713 (listopad 1985): 677. http://dx.doi.org/10.2307/965056.

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O'Loughlin, Niall. "Clarinet Concertos". Musical Times 131, nr 1767 (maj 1990): 273. http://dx.doi.org/10.2307/966166.

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Smith, Richard Langham, Heinichen, Musica Antiqua Koln, Goebel i George J. Buelow. "Dresden Concertos". Musical Times 134, nr 1805 (lipiec 1993): 410. http://dx.doi.org/10.2307/1003112.

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Smith, Richard Langham, Bach, New London Consort i Pickett. "Brandenburg Concertos". Musical Times 136, nr 1823 (styczeń 1995): 42. http://dx.doi.org/10.2307/1003289.

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Humphreys, David. "Bach concertos". Early Music XXIII, nr 1 (luty 1995): 171–72. http://dx.doi.org/10.1093/earlyj/xxiii.1.171.

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Elcombe, Keith. "Baroque concertos". Early Music XXV, nr 2 (maj 1997): 329–30. http://dx.doi.org/10.1093/earlyj/xxv.2.329.

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Rozprawy doktorskie na temat "Concertos"

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Baczewski, Philip. "Vox Organalis". Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc331310/.

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Vox Organalis is a concerto for organ and orchestra. It employs an ensemble comprising the compliment of wind, percussion, and string instruments normally available within a contemporary symphony orchestra with augmented brass and woodwind sections. It is intended to be performed with a large organ such as might be found in a symphony hall or large church. The work is in two movements, and its intended performance time is twenty-five minutes. Use of the concerto format within Vox organalis results in a new approach to organizing the interaction between the solo part and the orchestral accompaniment. The organ part is notated in traditional metered notation, but the orchestral notation is organized in units of clock time (seconds). The horizontal spatial arrangement of the orchestral notation corresponds to the timing of the metered organ part. Pitch organization in Vox Oraanalis is derived from a twelve-tone row based upon the natural harmonic series. Several techniques of serial composition were used to organize and select elements of the tone row for use in the construction of the work. Use of the tone row for horizontal and vertical pitch structures provides unity to the pitch organization of the work. Vox Organalis is constructed in 12 sections which help define the formal shape of the work. Four of these sections comprise Movement I, and eight are contained by Movement II. The length of the formal sections are based upon the series of natural harmonic numbers from which the tone row was derived.
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Choroba, Volker. "Das Konzert für Orgel und Orchester im 19. und 20. Jahrhundert /". Kassel ; Basel ; London : Bärenreiter, 2001. http://catalogue.bnf.fr/ark:/12148/cb377129043.

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Billing, Sally. "Bacewicz : the violin concertos". Thesis, City University London, 2006. http://openaccess.city.ac.uk/8473/.

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This study focuses upon the music of the now-neglected Polish composer Gralyna Bacewicz( 1909-1969). Her success as both a composer and concert violinist is well documented; along list of accolades and prestigious appointments serve as evidence of this. Her posthumous reputation, however, has declined at an alarming rate both inside and outside Poland. The study is introduced by a biography of the composer compiled from both English and Polish sources, providing details of her roles as composer and performer and offering a brief discussion of her music in general. The main body of text is devoted to a contextual analysis of Bacewicz's series of seven violin concertos and the study concludes with a consideration of a number of factors affecting Bacewicz's career and subsequent reception, addressing issues such as Polish cultural policy, the status of women composers, and her juggling of a number of professional and domestic roles. Appendices provide comprehensive listings of both her catalogue of works and recordings. Most importantly, however, the study uncovers the merit and originality of a number of works which exhibit a creative approach to string writing and a highly imaginative use of timbre. Such research should provide the invitation to others for further investigation into a catalogue containing over two hundred works.
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Forster, Robert. "Die Kopfsätze der Klavierkonzerte Mozarts und Beethovens : Gesamtaufbau, Solokadenz und Schlussbildung /". München : W. Fink, 1992. http://catalogue.bnf.fr/ark:/12148/cb355950647.

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Lopez, Richard C. "The piano concertos of Carl Maria von Weber : precursors of the romantic piano concerto". Connect to resource, 1989. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1228836117.

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Daussat, David M. "Birth of the modern concerto an explication of musical design and intention in Journey, concerto for contrabass tuba and orchestra /". connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6116.

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Thesis (D.M.A.)--University of North Texas, 2008.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded June 17, 2002, June 14, 2004, Oct. 18, 2004, and Nov. 26, 2007. Includes bibliographical references (p. 30-32).
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Stewart, Brandon (Brandon Gregory). "Horn Concerto in E-flat Major (C41) by Antonio Rosetti: A Critical Edition". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609216/.

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This project delivers to the scholar and performer a critical edition of a little-known horn concerto by Antonio Rosetti. Standing in contrast to performance or practical editions, critical editions demand that the editor exerts a non-trivial measure of authority over the state of the text. Performers often find this fact to be uncomfortable given the normal tendency to revere the perceived intent of the composers based upon the text that they set down. When engaging with sources, it is rarely clear what that intent is, or which of the available sources most closely represents that intent. Those available sources often disagree with one another, even those in the composer's own hand. It is vital for the editor to know, as precisely as is possible, who created the source material, when they created these sources, and why they created these sources. At that point the editor must decide which sources will best fit his or her framework for the creation of the critical edition. At that point the editor will grapple with numerous inconsistencies and ambiguities within those sources, and then use his or her own authority to fix the text of the composer's work into a single version for today's use. The Horn Concerto in E-flat Major (C41) by Rosetti presents a unique case to the editor, scholar, and performer, in that it exists in two versions that carry substantial differences in the solo part. These differences are so great that it is often difficult to consider them as representative of the same work. This edition presents both versions, as each have different original purposes, and edits them in parallel so that the performer may determine which usage is most appropriate for his or her needs.
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Rishton, Timothy J. "Thomas Chilcot and his concertos". Thesis, Bangor University, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282264.

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Howard, Christopher Eugene. "Piano concerto". Thesis, University of British Columbia, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0032/NQ27166.pdf.

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Parys, Marcin. "Tchaikovsky's Piano Concerto No. 1 In B-Flat Minor, Op. 23: A Newly Arranged Edition of the Orchestral Reduction". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609138/.

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As it stands, only one arrangement of Tchaikovsky's Piano Concerto No. 1, Op. 23 orchestral reduction exists, which is by Tchaikovsky himself. A number of critical editions of the piece exist, but none of them cover the subject of the material within the orchestral reduction. Tchaikovsky wrote the reduction from a compositional rather than a pianistic perspective, thus some passages present awkward technical challenges. The purpose of this dissertation is ultimately to contribute to the repertoire of accompanists by producing a new edition of Tchaikovsky's Piano Concerto No. 1. I created my arrangement through a process of practical trial and error as well as observing the strategies used by other arrangers of orchestral reductions. Through a series of carefully selected omissions, note rearrangements, visual adjustments, and editorial changes, I simplified the reduction as a whole. I sought to improve the readability of the music by reducing accidentals as much as possible and also incorporating small-print cues into the main staves. Each minor adjustment or major revision contributes cumulatively to the ease of execution of the accompanimental part as a whole. Although Tchaikovsky's reduction is authentic and authoritative, a newly revised and simplified version would be useful for collaborative pianists. Thus, I have chosen to create an alternative version of Tchaikovsky's reduction, while still retaining as much of the original material as possible. This edition focuses solely on the collaborative pianist's part.
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Książki na temat "Concertos"

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Michael, Steinberg. The concerto: A listener's guide. New York: Oxford University Press, 1998.

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Robert, Layton, red. A Companion to the concerto. London: Christopher Helm, 1988.

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Robert, Layton, red. A guide to the concerto. Oxford [Oxfordshire]: Oxford University Press, 1996.

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You Nakai, Kay Festa, Jay Barnacle, Earle Lipski, Ai Chinen. Concertos. Brooklyn, NY: Ugly Duckling Presse, 2011.

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Bartók, Béla. Piano concertos. Milan, Italy: Urania, 2006.

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Shostakovich, Dmitriĭ Dmitrievich. Piano concertos. Arles [France]: Harmonia Mundi, 2011.

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Siegfried, Mauser, red. Theorie der Gattungen. Laaber: Laaber-Verlag, 2005.

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Roeder, Michael Thomas. A history of the concerto. Portland, OR: Amadeus Press, 1994.

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Roeder, Michael Thomas. A history of the concerto. Portland, Or: Amadeus Press, 1994.

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Roeder, Michael Thomas. Das Konzert. Laaber: Laaber-Verlag, 2000.

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Części książek na temat "Concertos"

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King, Richard. "Recording Concertos". W Recording Orchestra and Other Classical Music Ensembles, 95–101. Wyd. 2. New York: Focal Press, 2024. http://dx.doi.org/10.4324/9781003319429-14.

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"Concertos". W The Life and Music of John Field 1782-1837, 145–81. University of California Press, 2023. http://dx.doi.org/10.2307/jj.7968066.21.

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Watson, Derek. "Concertos". W Liszt, 258–63. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198164999.003.0012.

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Abstract Two piano concertos of c.1825 mentioned in Adam Liszt’s correspondence have not survived, so their content and connection with any later works is unknown. It is unsurprising that the prodigy-composer had such concertos in his repertoire. What may surprise is that Liszt did not publish any concerto-type works until the 1850s, some years after ending his virtuoso career. But, as with much of the piano output already discussed, the works known as the Concerto No. 1 in E flat and the Concerto No. 2 in A were evolved over many years (sketches exist for them at Weimar from the early 1830s) before eventual publication in their final form: No. 1 in 1857 and No. 2 in 1863.
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"Violin Concertos". W The Szymanowski Companion, 271–78. Routledge, 2016. http://dx.doi.org/10.4324/9781315552378-52.

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Kerman, Joseph. "The concertos". W The Cambridge Companion to Schumann, 173–94. Cambridge University Press, 2007. http://dx.doi.org/10.1017/ccol9780521783415.010.

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Sammartini, Giovanni Battista. "Four Concertos". W Recent Researches in the Music of the Classical Era, 67. A-R Editions, 2002. http://dx.doi.org/10.31022/c067.

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Riepel, Joseph. "Violin Concertos". W Recent Researches in the Music of the Classical Era, 90. A-R Editions, 2013. http://dx.doi.org/10.31022/c090.

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"11. Concertos". W The Career of an Eighteenth-Century Kapellmeister, 237–68. Boydell and Brewer, 2014. http://dx.doi.org/10.1515/9781580468268-017.

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"Chamber ‘Concertos’". W Brian Ferneyhough, 101–28. Intellect Books, 2013. http://dx.doi.org/10.2307/j.ctv36xvgkg.11.

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Careri, Enrico. "The Concertos". W Francesco Genminiani (1687–1762), 59–83. Oxford University PressOxford, 1993. http://dx.doi.org/10.1093/oso/9780198163008.003.0005.

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Abstract ‘GEMINIANI with all his harmonica! abilities, was so circumscribed in his invention, that he was obliged to have recourse to all the arts of musical cookery, not to call it quackery, for materials to publish.’ The charge that Burney levels against the composer refers to his alleged lack of imagination, which caused him to recycle the same compositions several times over. Indeed, if we exclude all his numerous elaborations and transcriptions, the musical output of Geminiani seems rather exiguous: two sets of violin sonatas (Opp. I and N), one of cello sonatas (Op. V), three of Concerti grossi (Opp. II, ill, and VII), The Inchanted Forrest, and the compositions published in his treatises. Nevertheless, the same reproof could be addressed to Corelli and several other contemporary composers of note. Burney’s irritation probably stemmed from the disproportion between the success of Geminiani in England, where he had no rivals in the instrumental domain and was considered the equal of Handel, and the reason for this same success, which was almost entirely connected with his Op. ill concertos. His other compositions, with few exceptions, were rarely performed and little appreciated; in contrast, his Op. ill enjoyed an extraordinarily wide circulation, which even rivalled that of the celebrated works of Corelli. ‘Handel, Geminiani & Corelli’, Burney notes elsewhere, ‘were the sole Divinities of my Youth, but I was drawn off from their exclusive worship before I was 20, by keeping company with travelled & heterodox gentlemen, who were partial to the Music of more modem composers whom they had heard in Italy.’ The openmindedness of the young Burney was an exception in contemporary English musical circles, which in the years around the middle of the eighteenth century remained faithful to Corelli and Geminiani and showed little interest in what was going on beyond the English Channel.
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Streszczenia konferencji na temat "Concertos"

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Pu, Lihua. "Jenő Hubay and His Four Violin Concertos". W 7th International Conference on Humanities and Social Science Research (ICHSSR 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210519.253.

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"Historical Importance of Two Cello Concertos by Joseph Haydn on the Development of Concerto Composing Tradition for Solo Cello". W May 2022 International Conferences. Dignified Researchers Publication, 2022. http://dx.doi.org/10.17758/dirpub11.dir0522424.

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Ngai, E. C. "Novel synthetic phased-array antenna systems for wide-view concertos platforms". W 2016 IEEE International Conference on Wireless for Space and Extreme Environments (WiSEE). IEEE, 2016. http://dx.doi.org/10.1109/wisee.2016.7877319.

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Zhang, Jindi. "Study on Artistic Characteristics of Erhu Concertos before Reform and Opening-up". W International Conference on Education, Management and Computing Technology (ICEMCT-15). Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icemct-15.2015.140.

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Araújo, Carlos G., Gustavo Martins, Genildo Gomes, João Gustavo Kienen, Rosiane de Freitas, Thais Castro i Bruno Gadelha. "Coffee Break Virtual: uma experiência musical interativa e colaborativa". W Simpósio Brasileiro de Sistemas Colaborativos. Sociedade Brasileira de Computação, 2022. http://dx.doi.org/10.5753/sbsc.2022.19482.

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Concertos e recitais de música geralmente são apresentações formais de peças musicais, executadas por um ou mais músicos, tendo uma audiência quase totalmente passiva que se restringe a aplaudir ao final de cada peça executada. Esse formato de apresentação é o mais comum, apesar de algumas peças serem escritas com finais alternativos para ajuste à audiência, ainda assim sem prever uma interação mais efetiva. Propomos, neste trabalho, uma apropriação desta possibilidade de interferência do público, em performances colaborativas, através da utilização de tecnologia para interação em tempo real, possibilitando à audiência definir a sequência de execução desses trechos pré-determinados de repertório popular. Isso é definido no contexto de um coffee break de evento científico como uma atividade de descontração, visando integração dos participantes. Foi realizado um estudo piloto simulando essa experiência inicial em um coffee break e os resultados destacam maior interação, entusiasmo e engajamento dos participantes.
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Swatling, Todd. "Concerto". W the 2013 ACM annual conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2504776.2504784.

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Li, Yiran, Kevin Gao, Xin Jin i Wei Xu. "Concerto". W APSys '20: 11th ACM SIGOPS Asia-Pacific Workshop on Systems. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3409963.3410499.

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Arasu, Arvind, Ken Eguro, Raghav Kaushik, Donald Kossmann, Pingfan Meng, Vineet Pandey i Ravi Ramamurthy. "Concerto". W SIGMOD/PODS'17: International Conference on Management of Data. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3035918.3064030.

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Synofzik, Thomas. "„Würde Sie’s zu sehr ermüden zu begleiten?“ – Clara Schumann als Lied- und Kammermusikpartnerin". W 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/10.25366/2020.82.

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80 percent of Clara Schumann‘s playbills in her complete collection of concert programmes (Robert-Schumann-Haus Zwickau) include vocal participation of solo singers, choirs or actors. The question is to which extent Clara Schumann used to accompany these vocal contributions herself on the piano. Only rarely are other accompanists named on the concert playbills, but evidence from concert reviews suggests that these vocal contributions normally served as rests for the solo pianist. Sometimes separate accompanists are named in the concert reviews. In orchestral concerts it was usually the conductor who accompanied solo songs on the piano, not the solo pianist. The Popular Concerts in St. James’s Hall in London were chamber concerts, which had a regular accompanist who was labelled as „conductor“ though there was no orchestra participating. These accompanists sometimes also performed with instrumentalists, e. g. basso continuo music from the 18th century or piano reductions of orchestral concerts.
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Tlili, Mounir, Ludovic Dubost, Sergiu Dumitriu, Stéphane Laurière, Fabio Mancinelli, W. Kokou Dedzoe, Esther Pacitti i in. "XWiki concerto". W the 4th International Symposium. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1822258.1822297.

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Raporty organizacyjne na temat "Concertos"

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Bellovin, S. Security Concerns for IPng. RFC Editor, sierpień 1994. http://dx.doi.org/10.17487/rfc1675.

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Kelley, David A. Peacekeeping: The Operational Concerns. Fort Belvoir, VA: Defense Technical Information Center, luty 1994. http://dx.doi.org/10.21236/ada279615.

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McKown, Bradford. LANL LA Canyon Concerns. Office of Scientific and Technical Information (OSTI), listopad 2020. http://dx.doi.org/10.2172/1699431.

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Krishnan, S., D. Thaler i J. Hoagland. Security Concerns with IP Tunneling. RFC Editor, kwiecień 2011. http://dx.doi.org/10.17487/rfc6169.

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Seybold, Patricia. Current Concerns of Customer Visionaries. Boston, MA: Patricia Seybold Group, lipiec 2005. http://dx.doi.org/10.1571/psgp7-8-05cc.

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Jordon, Stephen W. Environmental Concerns of Operational Warplanning. Fort Belvoir, VA: Defense Technical Information Center, maj 1997. http://dx.doi.org/10.21236/ada328133.

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McLendon, James W. Information Warfare: Impact and Concerns. Fort Belvoir, VA: Defense Technical Information Center, kwiecień 1994. http://dx.doi.org/10.21236/ada328933.

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Cossa, Ralph A. Iran: Soviet Interests, US Concerns. Fort Belvoir, VA: Defense Technical Information Center, lipiec 1990. http://dx.doi.org/10.21236/ada271341.

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Seybold, Patricia. Current Concerns of Customer Visionaries. Boston, MA: Patricia Seybold Group, grudzień 2005. http://dx.doi.org/10.1571/bp12-15-05cc.

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Exley, Christine, i Judd Kessler. Equity Concerns are Narrowly Framed. Cambridge, MA: National Bureau of Economic Research, grudzień 2018. http://dx.doi.org/10.3386/w25326.

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Do bibliografii