Results 31 to 40 of about 24,453 (205)
SONATAS FOR VIOLIN AND PIANO BY COMPOSERS FROM THE REPUBLIC OF MOLDOVA IN THE EDUCATIONAL PROCESS AT THE ACADEMY OF MUSIC, THEATRE AND FINE ARTS [PDF]
Studiul Artelor şi Culturologie: Istorie, Teorie, PracticăThe article provides an overview of sonatas for violin and piano by the local composers L. Gurov, V. Verhola, V. Ciolac, B. Dubosarschi, V. Rotaru used in the educational process of AMTAP in the discipline „Chamber ensemble”.
SAULOVA, INESSA
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An Exploration of the Jazz Elements in the Music of Maurice Ravel [PDF]
E-Journal of Humanities, Arts and Social SciencesThis study explored the genre and stylistic integration of jazz and classical music through the works of Maurice Ravel, focusing on L’enfant et les sortilèges, the Sonata for Violin and Piano, and the Concerto in G major.
Stacy Jarvis
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Review of Artistic Education, 2020 The evolution of the genre of violin and piano sonata in the Romanian composition creation in the first half of the 20th century, marked by the tendency towards getting close to the European musical phenomenon by assimilating stylistic influences of ...
Florea Augustina
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Emanuel Borok, violin and Boris Berman, piano, November 7, 1983 [PDF]
, 1983 This is the concert program of the Emanuel Borok, violin and Boris Berman, piano performance on Monday, November 7, 1983 at 8:00 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were Sonata for violin and piano, Op.
School of Music, Boston University
core
Cognitive Theories of Galant Music at the Margins of Experience
Music Analysis, Volume 44, Issue 3, Page 293-339, October 2025.ABSTRACT Leading cognitive studies of galant music treat schematism as both a device and an ethos. The devices – whether called pre‐fabs, tiles or schemata – undergird a mechanistic and passive ethos of inventiveness. In vision and practice, this constellation of approaches directs inquiry away from a musical depth that one contemplates and towards a ...
Edmund J. Goehring
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Michael Zaretsky, violin and viola and Vytas Baksys, piano, February 23, 2015 [PDF]
, 2015 This is the concert program of the Michael Zaretsky, violin and viola and Vytas Baksys, piano performance on Monday, February 23, 2015 at 8:00 p.m., at the Concert Hall, 855 Commonwealth Avenue. Works performed were Sonata No. 5 in F for violin and piano,
School of Music, Boston University
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Faculty Concert, Friday, February 23, 2001 [PDF]
, 2001 This is the concert program of the Faculty Concert on Friday, February 23, 2001 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts.
School of Music, Boston University
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Music Analysis, Volume 44, Issue 1, Page 3-43, March 2025.ABSTRACT Is musical analysis meant to guide performance – or to be based on it? Can a Schenkerian analysis of a piece be corroborated by a performance or an arrangement? This article addresses these questions through a well‐known test case – the first prelude of the first book of Bach's Well‐Tempered Clavier, as analysed by Heinrich Schenker in Five ...
NAPHTALI WAGNER, RAM REUVEN
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Faculty recital series: Ketty Nez, piano, Katie Wolfe, violin, March 15 2006 [PDF]
, 2006 This is the concert program of the Faculty recital series: Ketty Nez, piano, Katie Wolfe, violin performance on Wednesday, March 15, 2006 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue.
School of Music, Boston University
core
Music Analysis, Volume 44, Issue 1, Page 73-99, March 2025.ABSTRACT In contrast to the teleological nature of Western art music, minimalism has long been purported to be ‘anti‐teleological’ (Meyer 1963) – that is, the latter lacks the goal‐directedness that Wim Mertens (1983) views as a defining feature of the former.
Hunter Hoyle
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