Music theory.
概要
| 作品: | 218 作品在 3 項出版品 3 種語言 | |
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書目資訊
Techniques and materials of tonal music : = with an introduction to twentieth-century techniques /
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Techniques and materials of music : = from the common practice period through the twentieth century /
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The shaping forces in music : = an inquiry into the nature of harmony, melody, counterpoint, form /
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Feeling Machines: Immersion, Expression, and Technological Embodiment in Electroacoustic Music of the French Spectral School.
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"Welcome to the World of Pokemon!": Music and the Player's Experience in Chunsoft's Pokemon Mystery Dungeon.
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Musicianship for Musical Theatre: A New Instructional Resource for the Musical Theatre Student Studying Music Theory.
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A Jazz Pianist's Guide to Developing Rhythmic Independence through the Adaptation of Afro-Cuban Rhythms.
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Diction for Mandarin/Chinese Singers: A Methodology to Achieve Resonant Tone and Vowel Unification in Western Choral Music.
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Born in The Twentieth Century: Contemporary Flute Works by East Asian Female Composers.
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A Transcription and Performance Edition of Four Last Songs by Richard Strauss for Solo Double Bass.
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Three Empirical Studies on the Evolution of Musical Syntax in Popular Music from the 1960s.
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Music Education Transformation: How Orff, Kodaly, and Suzuki Promote Academic Success.
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The Emotional Illusion of Music: Contemporary Western Musical Aesthetics in Dialogue with Ancient Eastern Philosophy.
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Franz Schubert's Use of Harmony to Express the Texts in His Musical Settings of Franz Grillparzer's Poetry.
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Gerhard Krapf, Organist: His Life, Pedagogy, Works, and Place in the North American Orgelbewegung.
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Spectacles of Sensational Science: Locating the "Real" Bodies of Verismo Opera 1880-1926.
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Analytical Problems of Aesthetics, Genre, and Large-Scale Form in Germanic Music, 1905-15.
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Analysis as Dialogue: Bakhtinian Narrative Theory in the Music of Dmitri Shostakovich.
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Seven Nocturnes for Solo Piano: An Original Composition with Critical Essay and Suggestions for the Performer.
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"What I Do Is All I Have": Gesture and Contour in Harrison Birtwistle's Trio for Violin, Cello, and Piano.
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Contrapuntal Strategies in the Music of Giralomo Frescobaldi (1583-1643): Reimagining Polyphonic Genres.
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A Study of Selected Collaborations: Preparing and Coaching Piano Chamber Music for Performance.
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A Performance Practice Guide to Segunda Sonata-Fantasia for Violin and Piano by Heitor Villa-Lobos.
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Reframing the Wagnerian Form Debate: Continuity, Working Narrative, and Operatic Convention in Der Ring Des Nibelungen.
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Repurposing Sound: A Conductor's Guide and a Focused Analysis of Viet Cuong's Wind Ensemble Version of Re(new)al.
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The Pedagogical Reasoning and Action of Popular Music Theory Professors in Higher Popular Music Education Programs.
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There Is a Body in the Sound: Timbre and Embodiment in the Overlap of Film, Music, and Dance.
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Mathematicians and Music: Implications for Understanding the Role of Affect in Mathematical Thinking.
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In Search of Clear Execution: An Eighteenth-Century Approach to Franz Schubert's Piano Sonata in a Major D. 959.
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Los Angeles Noisescapes: Culture and Aesthetics in the Early Twenty-First Century Experimental 'Noise' Scenes.
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A Cognitively Inspired Method for the Statistical Analysis of Eighteenth-Century Music, as Applied in Two Corpus Studies.
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Triangles of Soul---Schubert the "Wanderer" and His Music Explained by Neo-Riemannian Graphs.
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Joining Forces in Technology: Three Analytical Case Studies of Early Corporate-Sponsored Electronic Music.
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Cross-Sensory Perception in Music and Visual Media: A Neurocognitive Approach to Multimedia Counterpoint.
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A Performer's Guide to Astor Piazzolla's "Tango-Etudes pour flute seule": An Analytical Approach.
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The Influences of Argentinean Criollo Dance and Folk Music in the Orchestral Works of Alberto Ginastera.
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Sunken II Chords and Inwardness: A Correspondence Complex in Robert Schumann's Liederjahr Songs.
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How to Apply the Schenkerian Method to the Performance and Teaching of Chopin's and Mozart's Piano Music.
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'Why Do You Play The Way You Do?': Musical Improvisation, Identity, and Social Interaction.
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These Decorated Fragments of Time: An Original Composition for Pierrot Ensemble and Electronics.
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Benjamin Britten's Symphony for Cello and Orchestra, Op. 68: Context, Analysis, and Performer's Guide.
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Ghost-Keys in Bach, Debussy, and Schumann; and Two Movements from Brooklyn Narcissus, for Soprano and Chamber Orchestra.
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An Original Band Composition: Including A Guide for Creating Instructional Materials Based on Performance Literature.
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A Pedagogical Approach for Incorporating Extended Techniques into the Undergraduate Clarinet Curriculum.
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The Music of Chaya Czernowin: An Analytic Approach Based on Embodied Cognition and Crossmodal Mappings.
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The Dynamics of Composer-Performer Relationships: A Study of Long-Term Creative Collaboration.
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Planal Analysis and the Emancipation of Timbre: Klangfarbenmelodie and Timbral Function in Mahler, Schoenebrg, and Webern.
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The Classical-period Development Section: Compositional Strategies of Haydn, Mozart, Beethoven, and Schubert.
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Diffusion-Based Music Analysis: A Non-Linear Approach for Visualization and Interpretation of the Geometry of Music.
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Harmonic and Thematic Interactions in Richard Strauss's Vier Letzte Lieder: A Synthesis of Two Analytical Approaches.
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Harmonic Schemata of Popular Music: An Empirical Investigation of Analytical Patterns and Their Mental Representations.
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"Night and Silence - Who Is Here?": The Impact of Vocal Variety in Arnold Schoenberg's Early Sprechstimmen.
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Pop Goes the Theory: Incorporating Popular Music into the Undergraduate Music Theory Curriculum.
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Escaping Time: Messiaen's Musical Language, Religious Symbolism, and Undermining Time in Quatour pour la fin du Temps.
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Music Borrowing in Organ Literature Through History: Couperin, Bach, Brahms, Ives, Alain, and Cage.
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Influence and Innovation: Beethoven's Impact on the Sonatas for Piano and Cello by Mendelssohn and Chopin.
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Russian Jazz with Bolshevik Trimmings: Modernist Composer-Pianists in Revolutionary Russia.
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