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Zigeuner[weisen]

File consists of Leslie Bell's arrangement of the song by Pablo de Sarasate.

Zigeunerlieder, op. 103

Lehmann, Lotte, 1888-1976 (soprano) ; Ulanowsky, Paul, 1908-1968 (piano). Zigeunerlieder, op. 103. Brahms, Johannès, 1833-1897 (composer). RCA Victor: DM 1188 (10-1393 to 10-1394). Recorded in Camden, New Jersey.

Zigeuner (426) : music for jazz ensemble

File contains parts for the Ray Norris Quintette (Jack "Jackie" Williamson, drums and vibraphone; "Bud" Henderson, piano; Ray Norris, guitar; "Doc" Hamilton, bass; and Phil Nimmons, clarinet).

Zhizn za Tzarya : Rechitativ Susanina : Ay, gde zhe ty moya Antonidushka = A life for the Czar : Susanin's recitative : Where are you, my dearest Antonidushka?

Chaliapin, Feodor Ivanovitch, 1873-1938 (bass). Zhizn za Tzarya : Rechitativ Susanina : Ay, gde zhe ty moya Antonidushka = A life for the Czar : Susanin's recitative : Where are you, my dearest Antonidushka?. Glinka, Michail Ivanovich, 1804-1857 (composer). His Master's Voice: DB 758. Matrix Cc-4890-1. Recorded in London, England.

Zhizn za Tzarya : Chuyut pravdu

Kastorskij, Vladimir Ivanovich, 1871-1948 (bass). Zhizn za Tzarya : Chuyut pravdu. Glinka, Michail Ivanovič, 1804-1857 (composer). Historic Masters ; Gramophone: HM 120. Matrix 4959L. Recorded in St. Petersburg, Russia.

Zhizn za Tzarya : Chuyut pravdu

Kastorskij, Vladimir Ivanovich, 1871-1948 (bass). Zhizn za Tzarya : Chuyut pravdu. Glinka, Michail Ivanovič, 1804-1857 (composer). Gramophone & Typewriter Company: GC 3-22565. Matrix 4959L. Recorded in St. Petersburg, Russia.

Zhizn za Tzarya : Chuyut pravdu

Tihonov, Pavel Il'ic, 1877-1944 (bass). Zhizn za Tzarya : Chuyut pravdu. Glinka, Michail Ivanovich, 1804-1857 (composer). Matrix 2788¾c. Recorded in Moscow, Russia.

Zhidovka : Rakhil, ti mne dana

Davydov, Aleksandr Mikhailovich, 1872-1944 (tenor). Zhidovka : Rakhil, ti mne dana. Halévy, Fromental, 1799-1862 (composer). Gramophone Monarch: 022100. Matrix 274m. Recorded in St. Petersburg, Russia.

Zémire et Azor : Rose chérie

Teyte, Maggie, 1888-1976 (soprano). Zémire et Azor : Rose chérie. Grétry, André-Ernest-Modeste, 1741-1813 (composer). RCA Victor: MO 1169. Matrix D6-RB-2876.

Zémire et Azor : Rose chérie

Teyte, Maggie, 1888-1976 (soprano). Zémire et Azor : Rose chérie. Grétry, André-Ernest-Modeste, 1741-1813 (composer). RCA Victor: 10-1370. Matrix D6-RB-2876. Recorded in Camden, New Jersey.

Zeitungsausschnitte : für Gesang und Klavier, op. 11 / Hanns Eisler

File consists of two copies of Zeitungsausschnitte. One indicates op. 11, the other two indicate op. 10 (op. 8 crossed out), Heft I and II.

The op. 11 copy has 5 movements, rather than the 8 in the published version. It includes no. 1, Mariechen; no. 2, Kinderlied aus dem Wedding; no. 3, Liebeslied eines Kleinbürgermädchens; no. 5, Aus einer Enquête; no. 8 Frühlingsrede an einen Baum im Hinterhaushof. A note in pencil on title page instructs the insertion of Lustige Ecke (Noblesse oblige), "siehe Beilage" (see attachment), between no. 3 and no. 5.

The op. 10, Heft I and II manuscripts are complete, with the addition of Lustige Ecke.

Heft I: Mariechen; Kinderlied aus dem Wedding; Liebeslied eines Kleinbürgermädchens; Kriegslied eines Kindes; Lustige Ecke (Noblesse oblige - Der Kleine Kohn).

Heft II: Aus einer Enquête (Mutter und Vater - Der Tod - Die Sünde); Liebeslied eines Grundbesitzers - Heiratsannonce; Aus einer Romanbeilage; Frühlingsrede an einen Baum im Hinterhaushof.

Zeit und Raum der musikalischen Erfarhung

An essay exploring the facets of music that make possible musical experience, including tone, movement, time, and space. Zuckerkandl writes that the experience of tone is always interpreted in relation to a tonal field, and that the difference between an acoustic event and a musical event is the dynamism of the latter. On movement, he writes that the idea of sound movement is problematic as sounds are not physical things that can move; the solution is to regard the movement of tones as pure movement that is separated from physical space. Time, on the other hand, is always pervaded by tactical experience through the experience of grouping; Zuckerkandl writes that we do not feel rhythm as equal division, but as a series of departures from and returns to an origin point, thus musical rhythm is felt as a wave, which can be felt at multiple levels. Musical time is thus felt qualitatively, not as absolute measurement. Finally, Zuckerkandl addresses musical space as a dynamic ordering of tones in relation to each other, rather than as a geometric concept, into which a person gains insight by placing themselves within the musical space as a participant. Zuckerkandl references prominent figures of Gestalt psychology throughout the article, including Max Wertheimer, Kurt Koffka, and Geza Revesz, as well as other figures from psychology and philosophy. Minor edits in pencil to phrasing.

Zeit und Raum der musikalischen Erfahrung [Version B]

Zuckerkandl explores the spatial and temporal experience of music. The text is comprised of four sections: pitch, movement, time, and space. In the first section, Zuckerkandl explains that pitches “refer” to each other; they do not correspond to objects in the real world. Zuckerkandl’s discussion of movement outlines problems with conceptualizing pitch movement as an object "in different positions in pitch-space.” In the section on time, Zuckerkandl asserts that music is experienced in groupings of twos and threes. In the final section on space, Zuckerkandl explores issues regarding the “placelessness” of “audible space.”

Zeit und Raum der musikalischen Erfahrung [Version A]

Zuckerkandl explores the spatial and temporal experience of music. The text is comprised of four sections: pitch, movement, time, and space; section headers have been pencilled in. In the first section, Zuckerkandl explains that pitches “refer” to each other; they do not correspond to objects in the real world. Zuckerkandl then explores issues in concepts of pitch movement. In the section on time, Zuckerkandl asserts that musical rhythm is experienced in groupings of twos and threes and is felt as a “wave” or “pulse.” In the final section on space, Zuckerkandl explores issues regarding the “placelessness” of “audible space.”

Zeige mir den weg: texte fur alle tage von aschermittwoch bis ostern

Item consists of a book written by Nouwen containing excerpts from his previously published writings. The translated title is: Show Me the Way : Readings for Each Day of Lent. The 40-day Lenten path includes readings for Ash Wednesday, the four weeks of Lent, Passion Week, Holy Week, Good Friday, and Easter Sunday.

Zefiro torna : part 2

Cuénod, Hugues, 1902-2010 (tenor) ; Ensemble Nadia Boulanger ; Derenne, Paul, 1907-1988 (tenor). Zefiro torna : part 2. Monteverdi, Claudio, 1567-1643 (composer). His Master's Voice: DB 5039. Matrix 2LA-1521-1. Recorded in Paris, France.

Zefiro torna : part 1

Cuénod, Hugues, 1902-2010 (tenor) ; Ensemble Nadia Boulanger ; Derenne, Paul, 1907-1988 (tenor). Zefiro torna : part 1. Monteverdi, Claudio, 1567-1643 (composer). His Master's Voice: DB 5039. Matrix 2LA-1520-1. Recorded in Paris, France.

Zdes khorosho = How fair is this spot, op. 21, no. 7 ; Solovey = The rose and the nightingale, op. 2, no. 2

Nezhdanova, Antonina Vasil'evna, 1873-1950 (soprano). Zdes khorosho = How fair is this spot, op. 21, no. 7 ; Solovey = The rose and the nightingale, op. 2, no. 2. Rachmaninoff, Sergei, 1873-1943 (composer) ; Rimsky-Korsakov, Nikolay, 1844-1908 (composer). Matrix 325af. Recorded in Moscow, Russia.

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