This is a list of compositions by the Brazilian composer Heitor Villa-Lobos. It is still incomplete (he composed over 2000 works in his lifetime), and needs expansion. You can help. (More nearly complete lists of compositions may be found in the References or External Links listed below).

Johann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer and musician of the late Baroque period. He is known for his prolific output across a variety of instruments and forms, including the orchestral Brandenburg Concertos; solo instrumental works such as the Cello Suites and Sonatas and Partitas for Solo Violin; keyboard works such as the Goldberg Variations and The Well-Tempered Clavier; organ works such as the Schübler Chorales and the Toccata and Fugue in D minor; and choral works such as the St. Matthew Passion and the Mass in B minor. He is known for his mastery of counterpoint, as heard in The Musical Offering and The Art of Fugue. Felix Mendelssohn precipitated the Bach Revival with a performance of the St. Matthew Passion in 1829. Ever since, Bach has been acclaimed as one of the greatest composers of classical music. The Bach family had already produced several composers when Johann Sebastian was born in Eisenach, the youngest child of the city musician Johann Ambrosius Bach. After being orphaned at age 10, he lived for five years with his eldest brother, Johann Christoph, then continued his musical education in Lüneburg. In 1703 he returned to Thuringia, working as a musician for Protestant churches in Arnstadt and Mühlhausen. Around that time he also paid extended visits to the courts in Weimar, where he expanded his organ repertory, and the reformed court at Köthen, where he was mostly engaged with chamber music. By 1723 he was hired as Thomaskantor, church music director of the city of Leipzig and thus responsible for music in four Lutheran city churches and for the St. Thomas School. He decided to compose annual cycles of church cantatas, and also wrote music for Leipzig University's student ensemble, Collegium Musicum. In 1726 he began publishing his organ and other keyboard music. In Leipzig, he had difficult relations with his employer, as he had during some of his earlier positions. This situation was somewhat remedied when his sovereign, Augustus III of Poland, granted him the title of court composer of the Elector of Saxony in 1736. In the last decades of his life, Bach reworked and extended many of his earlier compositions. He died due to complications following eye surgery in 1750 at the age of 65. Four of his twenty children, Wilhelm Friedemann, Carl Philipp Emanuel, Johann Christoph Friedrich, and Johann Christian, became composers. Bach enriched established German styles through his mastery of counterpoint, harmonic and motivic organisation, and his adaptation of rhythms, forms, and textures from abroad, particularly Italy and France. His compositions include hundreds of cantatas, both sacred and secular. He composed Latin church music, Passions, oratorios, and motets. He adopted Lutheran hymns, not only in his larger vocal works but also in such works as his four-part chorales and his sacred songs. Bach wrote extensively for organ and other keyboard instruments. He composed concertos, for instance for violin and for harpsichord, and suites, as chamber music as well as for orchestra. Many of his works use contrapuntal techniques like canon and fugue. Several decades after his death, in the 18th century, Bach was still primarily known as an organist. Several biographies of Bach were published in the 19th century, and by the end of that century all of his known music had been printed. Dissemination of Bach scholarship continued through periodicals (and later websites) devoted to him, other publications such as the Bach-Werke-Verzeichnis (BWV, a numbered catalogue of his works), and new critical editions of his compositions. His music was further popularised by a multitude of arrangements, including the "Air on the G String" and "Jesu, Joy of Man's Desiring", and recordings, among them three boxed sets of performances of his complete oeuvre marking the 250th anniversary of his death.

This is a list of musical compositions for keyboard instruments such as the piano, organ or harpsichord and orchestra. See entries for concerto, piano concerto, organ concerto and harpsichord concerto for a description of related musical forms.

Heitor Villa-Lobos (March 5, 1887 – November 17, 1959) was a Brazilian composer, conductor, cellist, and classical guitarist described as "the single most significant creative figure in 20th-century Brazilian art music". Villa-Lobos has globally become one of the most recognizable South American composers in music history. A prolific composer, he wrote many orchestral, chamber, instrumental and vocal works, totaling over 2,000 works by his death in 1959. His music was influenced by both Brazilian folk music and stylistic elements from the European classical tradition, as exemplified by his Bachianas Brasileiras (Brazilian Bach-pieces) and his Chôros. His Etudes for classical guitar (1929), dedicated to Andrés Segovia, and his 5 Preludes (1940), dedicated to his spouse Arminda Neves d'Almeida, a.k.a. "Mindinha", are important works in the classical guitar repertory.

Haunted Heart is a jazz album by Renée Fleming with pianist Fred Hersch and guitarist Bill Frisell. The title track is a 1948 song by Arthur Schwartz (music) and Howard Dietz (lyrics) which was the main hit from the musical revue Inside U.S.A..

This is a list of compositions by the Brazilian composer Heitor Villa-Lobos. It is still incomplete (he composed over 2000 works in his lifetime), and needs expansion. You can help. (More nearly complete lists of compositions may be found in the References or External Links listed below).

Heitor Villa-Lobos (March 5, 1887 – November 17, 1959) was a Brazilian composer, conductor, cellist, and classical guitarist described as "the single most significant creative figure in 20th-century Brazilian art music". Villa-Lobos has globally become one of the most recognizable South American composers in music history. A prolific composer, he wrote many orchestral, chamber, instrumental and vocal works, totaling over 2,000 works by his death in 1959. His music was influenced by both Brazilian folk music and stylistic elements from the European classical tradition, as exemplified by his Bachianas Brasileiras (Brazilian Bach-pieces) and his Chôros. His Etudes for classical guitar (1929), dedicated to Andrés Segovia, and his 5 Preludes (1940), dedicated to his spouse Arminda Neves d'Almeida, a.k.a. "Mindinha", are important works in the classical guitar repertory.

Samba (Portuguese pronunciation: [ˈsɐ̃bɐ] ) is a broad term for many of the rhythms that compose the better known Brazilian music genres that originated in the Afro-Brazilian communities of Bahia in the late 19th century and early 20th century, It is a name or prefix used for several rhythmic variants, such as samba urbano carioca (urban Carioca samba), samba de roda (sometimes also called rural samba), among many other forms of samba, mostly originated in the Rio de Janeiro and Bahia states. Having its roots in West African musical traditions, especially those linked to the primitive rural samba of the colonial and imperial periods, is considered one of the most important cultural phenomena in Brazil and one of the country symbols. Present in the Portuguese language at least since the 19th century, the word "samba" was originally used to designate a "popular dance". Over time, its meaning has been extended to a "batuque-like circle dance", a dance style, and also to a "music genre". This process of establishing itself as a musical genre began in the 1910s and it had its inaugural landmark in the song "Pelo Telefone", launched in 1917. Despite being identified by its creators, the public, and the Brazilian music industry as "samba", this pioneering style was much more connected from the rhythmic and instrumental point of view to maxixe than to samba itself. Samba was modernly structured as a musical genre only in the late 1920s from the neighborhood of Estácio and soon extended to Oswaldo Cruz and other parts of Rio through its commuter rail. Today synonymous with the rhythm of samba, this new samba brought innovations in rhythm, melody and also in thematic aspects. Its rhythmic change based on a new percussive instrumental pattern resulted in a more drummed and syncopated style – as opposed to the inaugural "samba–maxixe" – notably characterized by a faster tempo, longer notes and a characterized cadence far beyond the simple ones used till then. Also the "Estácio paradigm" innovated in the formatting of samba as a song, with its musical organization in first and second parts in both melody and lyrics. In this way, the sambistas of Estácio created, structured and redefined the urban Carioca samba as a genre in a modern and finished way. In this process of establishment as an urban and modern musical expression, the Carioca samba had the decisive role of samba schools, responsible for defining and legitimizing definitively the aesthetic bases of rhythm, and radio broadcasting, which greatly contributed to the diffusion and popularization of the genre and its song singers. Thus, samba has achieved major projection throughout Brazil and has become one of the main symbols of Brazilian national identity. Once criminalized and rejected for its Brazilian origins, and definitely working-class music in its mythic origins, the genre has also received support from members of the upper classes and the country's cultural elite. At the same time that it established itself as the genesis of samba, the "Estácio paradigm" paved the way for its fragmentation into new sub-genres and styles of composition and interpretation throughout the 20th century. Mainly from the so-called "golden age" of Brazilian music, samba received abundant categorizations, some of which denote solid and well-accepted derivative strands, such as bossa nova, pagode, partido alto, samba de breque, samba-canção, samba de enredo and samba de terreiro, while other nomenclatures were somewhat more imprecise, such as samba do barulho (literally "noise samba"), samba epistolar ("epistolary samba") ou samba fonético ("phonetic samba") – and some merely derogatory – such as sambalada, sambolero or sambão joia. The modern samba that emerged at the beginning of the 20th century is predominantly in a 24 time signature varied with the conscious use of a sung chorus to a batucada rhythm, with various stanzas of declaratory verses. Its traditional instrumentation is composed of percussion instruments such as the pandeiro, cuíca, tamborim, ganzá and surdo accompaniment – whose inspiration is choro – such as classical guitar and cavaquinho. In 2005 UNESCO declared Samba de Roda part of Intangible Cultural Heritage of Humanity, and in 2007, the Brazilian National Institute of Historic and Artistic Heritage declared Carioca samba and three of its matrices – samba de terreiro, partido-alto and samba de enredo – as cultural heritage in Brazil.

This is a non exhaustive compilation of pieces for solo violin. See also the entries on violin and the List of compositions for violin and orchestra and list of compositions for violin and piano. Ordering is by surname of composer.