Sylvelin : op. 55, [Nr.] 1 [for voice and piano] /

Text in Danish, German and English.

Unsane taukef : liturgick song of the Hebrew New Year and Day of Atonement ; [voice and piano solo]

by Joachim Kurantmann

Folk-songs, chanteys and singing games /

For medium voice and piano.

Farewell to Cucullain : (Londonderry air) : for violin and piano /

Mode of access: Internet.

A poesia, a música e a performance da canção: alma minha gentil - um estudo de caso na obra de Glauco Velásquez

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Vier ernste Gesänge : für hohe Stimme mit Klavierbegleitung = 4 chants graves : pour voix elevée avec accompagnement de piano = 4 serious songs : for high voice with piano accompaniment : op. 121 /

German words with English translation.

Thirty songs for medium and high voice. Great English poets series.

For voice and piano.

GABRIEL URBAIN FAURÉ, THE UNSUNG MODERNIST: A PERFORMANCE SURVEY OF SELECTED LATE WORKS WRITTEN AFTER 1892 FOR PIANO SOLO, AND PIANO IN COLLABORATION WITH VIOLIN, VIOLONCELLO, AND VOICE

Gabriel Urbain Fauré lived during one of the most exciting times in music history. Spanning a life of 79 years (1845-1924), he lived through the height of Romanticism and the experimental avant-garde techniques of the early 20th century. In Fauré's music, one can find traces of Chopin, Liszt, Mendelssohn, Debussy and Poulenc. One can even argue that Fauré presages Skryabin and Shostakovich. The late works of Gabriel Fauré, chiefly those composed after 1892, testify to the argument that Fauré holds an important position in the shift from tonal to atonal composition and should be counted among such transitional composers as Gustav Mahler, Claude Debussy, Erik Satie, Richard Strauss, and Ferruccio Busoni. Fauré's unique way of fashioning harmonic impetus of almost purely linear means, resulting in a synthesis of harmonic and melodic devices, led me to craft the term mélodoharmonique. This term refers to a contrapuntally motivated technique of composition, particularly in a secondary layer of musical texture, in which a component of harmonic progression (i.e. arpeggiation, broken chord, etc.) is fused with linear motivic or thematic development. This dissertation seeks to bring to public attention through exploration in lecture and recital format, certain works of Gabriel Fauré, written after 1892. The repertoire will be selected from works for solo piano and piano in collaboration with violin, violoncello, and voice, which support the notion of Fauré as a modernist deserving larger recognition for his influence in the transition to atonal music. The recital repertoire includes the following--Song Cycles: La bonne chanson, opus 61; La chanson d'Ève, opus 95; Le jardin clos, opus 106; Mirages, opus 113; L'horizon chimérique, opus 118; Piano Works: Prelude in G minor opus 103, No. 3; Prelude in E minor opus 103, No. 9; Eleventh Nocturne, opus 104, No.1; Thirteenth Nocturne, opus 119; Chamber Works: Second Violin Sonata, opus 108; First Violoncello Sonata, opus 109; Second Violoncello Sonata, opus 117.

Sixty Irish songs : for high voice /

For high voice and piano.

Opera songs. [music] : the choicest selection from all the standard operas, new and old.

French, German, or Italian words, with English translations.

Christmas and New Year songs. [music] /

"Reprinted from the first and second volumes of Folk songs of many peoples."

Album of songs : for high voice /

For voice and piano.

Album of eight songs : (German and English words) /

For high voice with piano.

Two songs with piano accompaniment : op. 8 /

Cover title.

Wit and mirth: or, Pills to purge melancholy : being a collection of the best merry ballads and songs, old and new having each their proper tune for either voice, or instrument: most of the songs being new set.

"A re-issue of Songs compleat, 1719 ... Volumes I and II ... consist of his own songs." Cambridge bibliography of English literature.