Includes an introduction by the composer's son Peter Bartok. In 1945 Bela Bartok described Mikrokosmos as a cycle of 153 pieces for piano written for "didactic" purposes, seeing them as a series of pieces in many different styles, representing a small world, or as the "world of the little ones, the children." Stylistically Mikrokosmos reflects the influence of folk music on Bartok's life and the rhythms and harmonies employed create music that is as modern today as when the cycle was written. The 153 pieces making up Mikrokosmos are divided into six volumes arranged according to technical and musical difficulty. Major teaching points highlighted in Mikrokosmos 1: Unison melodies, Question and answer, Imitation and Inversion. Volume with pink covers have text in English, French, German, and Hungarian.

    Includes an introduction by the composer's son Peter Bartok. (English/French/German/Hungarian text). In 1945 Bela Bartok described Mikrokosmos as a cycle of 153 pieces for piano written for "didactic" purposes, seeing them as a series of pieces in many different styles, representing a small world, or as the "world of the little ones, the children." Stylistically Mikrokosmos reflects the influence of folk music on Bartok's life and the rhythms and harmonies employed create music that is as modern today as when the cycle was written. The 153 pieces making up Mikrokosmos are divided into six volumes arranged according to technical and musical difficulty. Major teaching points highlighted in Mikrokosmos 2: Staccato, legato, accompaniment in broken triads, accents

    Rosamond Johnson, presents 120 of these melodic -- and intensely moving -- religious folk songs for contemporary performance. The original language has been faithfully preserved in this convenient performing edition, so that the spirituals can be sung today exactly as they were more than a hundred years ago. Included in this special, two-volumes-in-one publication are such perennial favorites as Swing Low Sweet Chariot, Deep River, Joshua Fit de Battle of Jericho, and Go Down Moses -- songs handed down from generation to generation in a rich oral tradition, and painstakingly assembled and edited for the enjoyment of future generations. The songs are prefaced by James Weldon Johnson's masterful discussions of their origins, musical quality, and historical significance. Above all, he stresses the essential dignity of the Negro spirituals, which, though no doubt inspired by the religious faith of their masters, -- are purely and solely the creation of the American Negro.