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Recorder/Solos. A small, but representative collection of well-known and lesser-known beautiful melodies from the Balkans. the carefully-chosen melodies offer a rich, enjoyable and varied book. the arrangements and other adaptations (keys, ornaments, etc.) have been introduced to make this beautiful South-Eastern European music more suitable for performance on the recorder. It is recommended to repeat each piece 3-4 times because the melodies (like all folk songs in the world) are very short. A free piano accompaniment plus audio downloads are available for use with this title. Free audio files and piano accompaniment available.
The collection of folk songs from the Americas, Europe, and Australia should provide many hours of pleasant music-making for intermediate-level recorder players. Several tunes can be easily sight -read, while others may prove to be more challenging. Every effort has been made to create interesting lines for each player, consequently, many arrangements do not confine the melody to the uppermost part, but allow it to move from instrument to instrument. Flexibility of scoring is a hallmark of these arrangements, and players will find that almost any combination of three recorders can be used effectively for one piece or another. To aid them in finding those pieces which can be played with a specific set of instruments, an index has been included which classifies the contents by instrumentation.
In Balkan Fascination, ethnomusicologist Mirjana Lausevic, a native of the Balkans, investigates this remarkable phenomenon to explore why so many Americans actively participate in specific Balkan cultural practices to which they have no familial or ethnic connection.
While there are books about folk dances from individual countries or regions, there isn’t a single comprehensive book on folk dances across the globe. This illustrated compendium offers the student, teacher, choreographer, historian, media critic, ethnographer, and general reader an overview of the evolution and social and religious significance of folk dance. The Encyclopedia of World Folk Dancefocuses on the uniqueness of kinetic performance and its contribution to the study and appreciation of rhythmic expression around the globe. Following a chronology of momentous events dating from prehistoryto the present day, the entries in this volume include material on technical terms, character roles, and specific dances. The entries also summarize the historical and ethnic milieu of each style and execution, highlighting, among other elements, such features as: origins purpose rituals and traditions props dress holidays themes
Miguel Mera and David Burnand present a volume that explores specific European filmic texts, composers and approaches to film scoring that have hitherto been neglected. Films involving British, French, German, Greek, Irish, Italian, Polish and Spanish composers are considered in detail. Important issues that permeate all the essays involve the working relationship of composer and director, the dialectic between the diegetic and non-diegetic uses of music in films, the music-image synergism and the levels of realism that are created by the audio-visual mix.
This book explores composed scores and pre-existing music in French cinema from 1985 to 2015 so as to identify critical musical moments. It shows how heritage films construct space through music, generating what Powrie calls “third space music,” while also working to contain the strong women characters found in French heritage films through the use of leitmotifs and musical cues. He analyses fiction films in which the protagonists perform at the piano, showing how musical performance supports the performance of gender. Building on aspects of musical performance, and in particular the use of songs performed in films, Powrie uses a database of 300 films since 2010 to theorize the intervention of music at critical moments as a “crystal-song”. Applying Roland Barthes’s concept of the “punctum” and Gille Deleuze’s concept of the “crystal-image,” Powrie establishes the importance of the crystal-song, which reconfigures time as a crystallization of past, present and future.
Includes a few dances with music.