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An annotated guide to works for horn and piano by female composers /Foulk, Lin. Fischer, Martha. January 1900 (has links)
Thesis (D.M.A.)--University of Wisconsin--Madison, 2005. / Materials submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts (Horn performance). Accompanied by CD, "Works for horn and piano by female composers" (Lin Foulk, horn ; Martha Fischer, piano). Includes bibliographical references (p. 72-73, 84-88).
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Doctoral Thesis Recital (horn)Vera, Felipe 22 February 2013 (has links)
Bagatelle / Hermann Neuling -- Sur les cimes / Eugene Bozza -- Gently weep / Thomas Hundemer -- Concerto for low horn / Kerry Turner. / text
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A creative pedagogical approach to Hindemith's music for horn and piano with thirty progressive etudesHansen, Jeremy Christian. Agrell, Jeffrey, January 2009 (has links)
Thesis (D.M.A.)--University of Iowa, 2009. / Thesis supervisor: Jeffrey Agrell. Includes bibliographical references (p. 194).
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Dedications for Dennis Brain a musical exploration of his additions to the repertoire of the French horn.Hart, Hilary, Brain, Dennis, Conlon, Frank. Sato, Erika. Rakers, Michelle A. January 2007 (has links)
Thesis (D.M.A.)--University of Maryland, College Park, 2007. / Compact discs.
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Manuel de Falla's "Siete Canciones populares Españolas" (1914): Study and Transcription for Horn and PianoPérez Alonso, Rubén 08 1900 (has links)
This survey presents a transcription for horn and piano of Siete Canciones populares Españolas (Seven Popular Spanish Songs) by Manuel de Falla (1876-1946). Siete Canciones populares was written originally for voice and piano and previous transcriptions with different instrumentation have been published after the original work. In order to provide a faithful representation in my version, my study explores three main subjects: the style of Manuel de Falla; the significance of Siete Canciones; and the composer's horn writing in his orchestral work The Three-Cornered Hat. The solo horn repertoire originates in the central European countries and remains a product of their traditions until the second half of the twentieth century, when it was broadened by composers worldwide. My transcription helps to fill a gap in the repertoire for horn and piano by Spanish composers before 1950. It will serve as both a resource for horn players and a valuable contribution to horn recital repertoire.
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