Zwei lyrische Stücke (aus Opus 68) für kleines Orchester eingerichtet von Componisten.

Opus 68, no. 4 and 5.

Concerto for horn no. 2. [music] : solo French horn and piano /

Originally for horn and string orchestra.

Konzert, C moll, für Violine und Oboe oder für zwei Violinen mit Klavierbegleitung /

Publisher's no.: Edition Peters no. 3722.

Konzert in D moll : für Violine, Oboe (oder für 2 Violinen) und Streichorchester (BWV 1060) /

Mode of access: Internet.

What's the Matter with Extended Techniques? Getting Beyond the Stigma in the Horn and Percussion Repertoire

For this project I prepared a series of recitals featuring music for horn and percussion, in which the horn part featured extended horn techniques. For this project, I considered anything beyond the open or muted horn an extended technique. These techniques range from the common hand-stopped note passages to complex new techniques involving half-valves, multi-phonics, and more, for new sounds desired by the composer. There are several pieces written for solo horn and percussion, with ensembles ranging from simple duets to solo horn with a full percussion ensemble. However, few include extended techniques for the horn. All of these select pieces are lesser known because of their difficulty, primarily because of the challenge of the extended techniques requested by the composer. In the introduction to this paper I give a brief background to the project, where the current repertoire stands, and my experiences with commissioning works for this genre. I then give a brief history and how-to on the more common extended techniques, which were found in almost every piece. I separated these techniques so that they could be referenced in the performance notes without being extremely repetitive in their description. Then follows the main performance notes of the repertoire chosen, which includes a brief description of the piece itself and a longer discussion for performers and composers who wish to learn more about these techniques. In this section my primary focus is the extended techniques used and I provide score samples with permission to further the education of the next musicians to tackle this genre. All works performed for this project were recorded and accompany this paper in the Digital Repository at the University of Maryland (DRUM). The following works were included in this project: o Howard J. Buss, Dreams from the Shadows (2015) o Howard J. Buss, Night Tide (1995) o George Crumb, An Idyll for the Misbegotten, trans. Robert Patterson (1986/1997) o Charles Fernandez, Metamorphosis: A Horn’s Life, “Prenatal and Toddler” (2016, unfinished) o Helen Gifford, Of Old Angkor (1995) o Douglas Hill, Thoughtful Wanderings… (1990) o Pierre-Yves Level, Duetto pour Cor en Fa et Percussion (1999) o David Macbride, Elegy for Horn and Timpani (2009) o Brian Prechtl, A Song of David (1995) o Verne Reynolds, HornVibes (1986) o Pablo Salazar, Cincontar (2016) o Mark Schultz, Dragons in the Sky (1989) o Faye-Ellen Silverman, Protected Sleep (2007) o Charles Taylor, Sonata for Horn and Marimba (1991) o Robert Wolk, Tessellations (2016) With this project, I intend to promote these pieces and the techniques used to encourage more works written in this style, and reveal to fellow horn players that the techniques should not prevent these great works from being performed. Due to the lack of repertoire, I successfully commissioned new pieces featuring extended techniques, which were featured in the final recital.

A pagan poem : (after Virgil) composed for orchestra with piano, English horn and three trumpets obligato /

Mode of access: Internet.

Russian suite for string orchestra with violin obligato ... Op. 81.

Mode of access: Internet.

Larghetto for Horn and Orchestra

Soitinnus: Käyrätorvi, ork.

Search for microscopic black holes and string balls in final states with leptons and jets with the ATLAS detector at √s = 8 TeV

A search for an excess of events with multiple high transverse momentum objects including charged leptons and jets is presented, using 20.3 fb−1 of proton-proton collision data recorded by the ATLAS detector at the Large Hadron Collider in 2012 at a centre-of-mass energy of √s = 8TeV. No excess of events beyond Standard Model expectations is observed. Using extra-dimensional models for black hole and string ball production and decay, exclusion contours are determined as a function of the mass threshold for production and the fundamental gravity scale for two, four and six extra dimensions. For six extra dimensions, mass thresholds of 4.8–6.2TeV are excluded at 95% confidence level, depending on the fundamental gravity scale and model assumptions. Upper limits on the fiducial cross-sections for non-Standard Model production of these final states are set.

Nonet, F major, for violin, viola, violoncello, double-bass, flute, oboe, clarinet, horn and bassoon, op. 31. [music] /

"Edition Eulenburg no. 97".

Bob Ufer, with "General Patton's horn" and Wolverine paraphanelia

[crop marks removed from scanned image]

Observed supersymmetry of hadrons and the tachyonless string models

The experimental mesonic density of states ρmeson(m)≃ρbaryon(m) from 0.9 to 1.3 GeV. In this region the ρmeson fits the ρ(m) deduced for it from discrete bag model states. Beyond 1.3 GeV one can expect exotic mesons. If ρmeson is replaced by the baryon density (as suggested by string model studies [D. Kutasov and N. Seiberg, Nucl. Phys. B 358 (1991) 600; P.G.O. Freund and J.L. Rosner, Phys. Rev. Lett. 68 (1992) 765]), agreement with theory is obtained up to 1.7 GeV. Beyond 1.7 GeV exotic baryons may be expected.

New phenomenon of nonlinear Regge trajectory and quantum dual string theory

The relation between the spin and the mass of an infinite number of particles in a q-deformed dual string theory is studied. For the deformation parameter q a root of unity, in addition to the relation of such values of q with the rational conformal field theory, the Fock space of each oscillator mode in the Fubini-Veneziano operator formulation becomes truncated. Thus, based on general physical grounds, the resulting spin-(mass)2 relation is expected to be below the usual linear trajectory. For such specific values of q, we find that the linear Regge trajectory turns into a square-root trajectory as the mass increases.

GAIP is membrane-anchored by palmitoylation and interacts with the activated (GTP-bound) form of Gαi subunits

GAIP (G Alpha Interacting Protein) is a member of the recently described RGS (Regulators of G-protein Signaling) family that was isolated by interaction cloning with the heterotrimeric G-protein Gαi3 and was recently shown to be a GTPase-activating protein (GAP). In AtT-20 cells stably expressing GAIP, we found that GAIP is membrane-anchored and faces the cytoplasm, because it was not released by sodium carbonate treatment but was digested by proteinase K. When Cos cells were transiently transfected with GAIP and metabolically labeled with [35S]methionine, two pools of GAIP—a soluble and a membrane-anchored pool—were found. Since the N terminus of GAIP contains a cysteine string motif and cysteine string proteins are heavily palmitoylated, we investigated the possibility that membrane-anchored GAIP might be palmitoylated. We found that after labeling with [3H]palmitic acid, the membrane-anchored pool but not the soluble pool was palmitoylated. In the yeast two-hybrid system, GAIP was found to interact specifically with members of the Gαi subfamily, Gαi1, Gαi2, Gαi3, Gαz, and Gαo, but not with members of other Gα subfamilies, Gαs, Gαq, and Gα12/13. The C terminus of Gαi3 is important for binding because a 10-aa C-terminal truncation and a point mutant of Gαi3 showed significantly diminished interaction. GAIP interacted preferentially with the activated (GTP) form of Gαi3, which is in keeping with its GAP activity. We conclude that GAIP is a membrane-anchored GAP with a cysteine string motif. This motif, present in cysteine string proteins found on synaptic vesicles, pancreatic zymogen granules, and chromaffin granules, suggests GAIP’s possible involvement in membrane trafficking.

Concerto grosso for string orchestra, no. 5, D major. [music] /

"Edition Eulenburg, no. 268".