Douze chants avec accompagnement de piano. [music] /

Songs originally copyrighted between 1904 and 1906.

Variations on a nursery song, for full orchestra and piano concerante. Op. 25. Miniature score

Mode of access: Internet.

Concerto no. 1, (D major) for violin and piano /

Mode of access: Internet.

Concertino : violin and piano, D major, op. 54 /

Cover title.

Sonata, for violin and piano.

Mode of access: Internet.

The century of song : being a choice collection of the best vocal and instrumental music including the favorite gems of the day comprising ... a repository of the choicest melodies by the world's famous composers suitable for the home circle and public concerts and adapted to every range of voice /

Instrumental. Apple blossom march / Pemberton pierce -- The arrow dance / Arthur M. Cohen -- Beatrice, caprice / William R. Stobbe -- Belle of Cuba quickstep / Arthur M. Cohen -- Birds in the night / Arthur S. Sullivan -- Birdie waltz / Lena R. Lecroy -- Carnations Idyl / Heinrich Lichner -- El cielo / Arthur M. Cohen -- Five o'clock in the morning / Claribel -- Good night / A. Loeschorn -- Janet's choice / Claribel -- Just a little sunshine waltz / F. A. Lorrilliere -- Little maid of Arcadee / Arthur Sullivan -- Looking back / Arthur S. Sullivan -- Maggie's secret / Claribel -- Marie waltz / G. F. H. Laurence -- Nemesis gallop / Arthur M. Cohen -- Rays of sunshine march / Adam Geibel -- Rose et Marguerites / E. Waldteufel -- Rosebud waltz / Pemberton Pierce -- Silver chimes / Claribel -- Silver brook schottische / Arthur M. Cohen -- Slumber song / S. Heller -- Starlight polka / Pemberton Pierce -- Strangers yet / Claribel -- Sweetheart's waltz / G.F.H. Laurence -- Take back the heart ; Won't you tell me why, robin? ; You and I / Claribel.

Supplement: Suite in A major for violin and piano; Prelude from the Notebook of W. F. Bach (variant) Fugue in B minor (variant); Instrumentalsatz in F major; Two allemandes.

Mode of access: Internet.

Four works for violin and piano.

Rando brillant, op. 70, D.895-- Sonata, D major, op. 137, No. 1, D.384-- Sonata, A minor, op. 137, No. 2, D.385-- Sonata, G minor, op. 137, No. 3, D.408.

Works for piano and one other instrument.

Fantasy, op. 159.--Sonata, A major, op. 162.--Introduction & Variations on Trockne Blumen, op. 160.--Sonata for piano and arpeggione or cello.

Evolution of classifiers for pitch estimation of piano music using cartesian genetic programming

Pitch Estimation, also known as Fundamental Frequency (F0) estimation, has been a popular research topic for many years, and is still investigated nowadays. The goal of Pitch Estimation is to find the pitch or fundamental frequency of a digital recording of a speech or musical notes. It plays an important role, because it is the key to identify which notes are being played and at what time. Pitch Estimation of real instruments is a very hard task to address. Each instrument has its own physical characteristics, which reflects in different spectral characteristics. Furthermore, the recording conditions can vary from studio to studio and background noises must be considered. This dissertation presents a novel approach to the problem of Pitch Estimation, using Cartesian Genetic Programming (CGP).We take advantage of evolutionary algorithms, in particular CGP, to explore and evolve complex mathematical functions that act as classifiers. These classifiers are used to identify piano notes pitches in an audio signal. To help us with the codification of the problem, we built a highly flexible CGP Toolbox, generic enough to encode different kind of programs. The encoded evolutionary algorithm is the one known as 1 + , and we can choose the value for . The toolbox is very simple to use. Settings such as the mutation probability, number of runs and generations are configurable. The cartesian representation of CGP can take multiple forms and it is able to encode function parameters. It is prepared to handle with different type of fitness functions: minimization of f(x) and maximization of f(x) and has a useful system of callbacks. We trained 61 classifiers corresponding to 61 piano notes. A training set of audio signals was used for each of the classifiers: half were signals with the same pitch as the classifier (true positive signals) and the other half were signals with different pitches (true negative signals). F-measure was used for the fitness function. Signals with the same pitch of the classifier that were correctly identified by the classifier, count as a true positives. Signals with the same pitch of the classifier that were not correctly identified by the classifier, count as a false negatives. Signals with different pitch of the classifier that were not identified by the classifier, count as a true negatives. Signals with different pitch of the classifier that were identified by the classifier, count as a false positives. Our first approach was to evolve classifiers for identifying artifical signals, created by mathematical functions: sine, sawtooth and square waves. Our function set is basically composed by filtering operations on vectors and by arithmetic operations with constants and vectors. All the classifiers correctly identified true positive signals and did not identify true negative signals. We then moved to real audio recordings. For testing the classifiers, we picked different audio signals from the ones used during the training phase. For a first approach, the obtained results were very promising, but could be improved. We have made slight changes to our approach and the number of false positives reduced 33%, compared to the first approach. We then applied the evolved classifiers to polyphonic audio signals, and the results indicate that our approach is a good starting point for addressing the problem of Pitch Estimation.

Craft, process and art : teaching and learning music composition in higher education

This paper explores models of teaching and learning music composition in higher education. It analyses the pedagogical approaches apparent in the literature on teaching and learning composition in schools and universities, and introduces a teaching model as: learning from the masters; mastery of techniques; exploring ideas; and developing voice. It then presents a learning model developed from a qualitative study into students’ experiences of learning composition at university as: craft, process and art. The relationship between the students’ experiences and the pedagogical model is examined. Finally, the implications for composition curricula in higher education are presented.

Music for the Pria Dewasa : changes and continuities in class and pop music genres

This paper presents Rolling Stone Indonesia (RSI) and places it in an historical context to tease out some changes and continuities in Indonesian middle-class politics since the beginning of the New Order. Some political scientists have claimed that class interests were at the core of the transition from Guided Democracy to the New Order, and popular music scholars generally assert that class underlies pop genre distinctions. But few have paid attention to how class and genre were written into Indonesian pop in the New Order period; Indonesian pop has a fascinating political history that has so far been overlooked. Placing RSI in historical perspective can reveal much about the print media’s classing of pop under New Order era political constraints, and about the ways these modes of classing may or may not have endured in the post-authoritarian, globalised and liberalised media environment.