WorldCat Identities

Von Gunden, Heidi 1940-

Works: 14 works in 42 publications in 1 language and 1,615 library holdings
Genres: Criticism, interpretation, etc  Bibliography  Biography  Discographies  Music 
Roles: Author
Classifications: ML410.O5834, 780.924
Publication Timeline
Most widely held works about Heidi Von Gunden
Most widely held works by Heidi Von Gunden
The music of Pauline Oliveros by Heidi Von Gunden( Book )

5 editions published in 1983 in English and held by 505 WorldCat member libraries worldwide

The music of Ben Johnston by Heidi Von Gunden( Book )

6 editions published in 1986 in English and held by 369 WorldCat member libraries worldwide

The music of Vivian Fine by Heidi Von Gunden( Book )

5 editions published in 1999 in English and held by 358 WorldCat member libraries worldwide

The music of Lou Harrison by Heidi Von Gunden( Book )

5 editions published in 1995 in English and held by 337 WorldCat member libraries worldwide

Timbre as symbol in selected works of Olivier Messiaen by Heidi Von Gunden( )

11 editions published between 1977 and 2000 in English and held by 27 WorldCat member libraries worldwide

The beginner's mind : some thoughts for musicians for narrator and sounder(s) by Heidi Von Gunden( )

in English and held by 2 WorldCat member libraries worldwide

Triggers II : for two trombones and two celli by Heidi Von Gunden( )

and held by 1 WorldCat member library worldwide

Modern Finnish choral music and Joonas Kokkonen's Requiem by Jeffrey Richard Sandborg( )

1 edition published in 1991 in English and held by 1 WorldCat member library worldwide

The purpose of this study is to illuminate a diverse and refreshing body of music literature that is virtually unknown in North America--Finnish choral music. Because the arts reflect the cultures in which they are created, Chapter One will present an overview of Finland's history which is an important source of insight into the Finnish personality. Also, the first chapter will identify some qualities of "Finnishness" that give Finnish arts their distinctive character. Chapter Two outlines and discusses the Finnish choral tradition. The long-standing national interest in choral singing has provided a broad-based appetite for choral music both by performing groups and their audiences, though not always for the purpose of entertainment and recreation. Chapter Three focuses on Finnish choral literature of the last thirty years (c. 1960-1990). Towards this end, the "Fazer (music publishing company) Chorus Sarja" (Choral Series) provides a useful way to measure some of the characteristics of this music. A stylistic profile of it can be drawn from a survey of the music of this period's most important choral composers. First among them is Erik Bergman whose contributions to modern Finnish choral music lie not only in his music but in his work as a choral conductor. Finally, Chapter Four examines, in detail, Joonas Kokkonen's Requiem, a recent choral work by Finland's most internationally respected living composer
Performance suggestions for Franz Liszt's operatic arrangements on Don Juan (Don Giovanni), La sonnambula, Robert le diable, and Norma by Charles Joseph Smith( Book )

1 edition published in 2002 in English and held by 1 WorldCat member library worldwide

Daria Semegen : her life, work, and music by Elizabeth Hinkle-Turner( )

1 edition published in 1991 in English and held by 1 WorldCat member library worldwide

Studies of women's achievements in western musical history have expanded considerably in the past twenty years. Little research and writing, however, has concentrated on the extensive and specific study of a selected woman composer including the discussion and analysis of her works. Most notably, currently active women composers of the post-World War II modern musical era have been neglected. My work on Daria Semegen, director of the electronic music studios at the State University of New York at Stony Brook, is designed to contribute significantly to the growing amounts of analytical surveys of music by women and to serve as a model for future research by myself and other scholars. The thesis is divided into five chapters, the first four discussing Semegen's life, early education and composition, electronic works and dance collaborations, and recent instrumental pieces. The fifth chapter addresses issues that are unique to Semegen's experiences as a woman composer and her teaching philosophy and musical aesthetic. Materials in the thesis include analytical discussions of sixteen instrumental pieces and four electronic works. Study with Semegen as well as the contents of numerous phone interviews with the composer and her colleagues contribute greatly to the research
Dame Ethel Smyth, Mass in D by Linda J Farquharson( )

1 edition published in 1996 in English and held by 1 WorldCat member library worldwide

The Mass in D is an extension of Smyth's personality--powerful, colorful, and gifted. This thesis first queries the embryonic beginnings of Ethel Smyth, the student composer. In Chapter I, a condensed annotated chronology lists specific sociological events which had a direct influence on Smyth; while the supplemental annotations, beneficently utilized throughout Chapter I and each of the following chapters, actualize a portrait of Smyth's character and sentiments. They show an Ethel Smyth, who from childhood on and with undaunted determination, chose demanding avenues of study and performance mediums for a nineteenth-century British woman. Secondly, this study explores Smyth's struggles in procuring for the Mass in D a debut performance. Chapter II demonstrates how Smyth, without the complete support of her family or a collegial British network, won an "audience" for the Mass before the two most politically-powerful and influential women of the day, exiled-Empress Eugenie of France and Queen Victoria, ruler of the British Empire. Chapter III expatiates Smyth's compositional approach, while Chapter IV confronts Michael Hurd's criticism ("Ethel Smyth" article in the New Groves) of Smyth's music having "no settled, personal voice." This research will bring to light the Mass' unifying structural devices--a possible description of that which Sir Barnby (the conductor of the debut performance) called the "iron-rod." Finally, Chapter V bears out the fate of the Mass in D, via audience reaction, reviews, and the performances which and which did not follow, and ending with Smyth's reaction to this realized destiny
The harpsichord: a research and information guide by Sonia Lee( )

1 edition published in 2012 in English and held by 1 WorldCat member library worldwide

Korean-Euro dualism and selected string compositions by Hyo-Shin Na by Hanna Yu( )

1 edition published in 2008 in English and held by 1 WorldCat member library worldwide

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The music of Vivian Fine
Alternative Names
Gunden, Heidi Von

Gunden, Heidi Von 1940-

English (41)