Musical commonplace book : manuscript, [approximately 1790-approximately 1810]

Contains songs, partly from English operas, and instrumental music.

"Double Rainbow," "Appalachiana," and "'The Invisible Mass': Exploring Compositional Technique in Alfred Schnittke's Second Symphony"

This dissertation consists of three distinct components: (1) “Double Rainbow,” a notated composition for an acoustic ensemble of 10 instruments, ca. 36 minutes. (2) “Appalachiana”, a fixed-media composition for electro-acoustic music and video, ca. 30 minutes, and (3) “'The Invisible Mass': Exploring Compositional Technique in Alfred Schnittke’s Second Symphony”, an analytical article.

(1) Double Rainbow is a ca. 36 minute composition in four movements scored for 10 instruments: flute, Bb clarinet (doubling on bass clarinet), tenor saxophone (doubling on alto saxophone), french horn, percussion (glockenspiel, vibraphone, wood block, 3 toms, snare drum, bass drum, suspended cymbal), piano, violin, viola, cello, and double bass. Each of the four movements of the piece explore their own distinct character and set of compositional goals. The piece is presented as a musical score and as a recording, which was extensively treated in post-production.

(2) Appalachiana, is a ca. 30 minute fixed-media composition for music and video. The musical component was created as a vehicle to showcase several approaches to electro-acoustic music composition –fft re-synthesis for time manipulation effects, the use of a custom-built software instrument which implements generative approaches to creating rhythm and pitch patterns, using a recording of rain to create rhythmic triggers for software instruments, and recording additional components with acoustic instruments. The video component transforms footage of natural landscapes filmed at several locations in North Carolina, Virginia, and West Virginia into a surreal narrative using a variety of color, lighting, distortion, and time-manipulation video effects.

(3) “‘The Invisible Mass:’ Exploring Compositional Technique in Alfred Schnittke’s Second Symphony” is an analytical article that focuses on Alfred Schnittke’s compositional technique as evidenced in the construction of his Second Symphony and discussed by the composer in a number of previously untranslated articles and interviews. Though this symphony is pivotal in the composer’s oeuvre, there are currently no scholarly articles that offer in-depth analyses of the piece. The article combines analyses of the harmony, form, and orchestration in the Second Symphony with relevant quotations from the composer, some from published and translated sources and others newly translated by the author from research at the Russian State Library in St. Petersburg. These offer a perspective on how Schnittke’s compositional technique combines systematic geometric design with keen musical intuition.

Organ Recital by students of Walter A, Eichinger December 1, 1970

Concert Program

Littlefield Organ Series presents a Guest Artist Recital: Fabio Ciofini September 25, 2012

Concert Program

Ansiedade na performance musical: estudo de caso com a Orquestra Filarmonia das Beiras

A ansiedade na performance musical (APM) é um distúrbio que afeta alguns músicos independentemente da sua idade, experiência, dedicação ou tipo de instrumento. A APM se faz presente em músicos de orquestras, coros e solistas e surge como um fenômeno fisiológico, psicológico, cognitivo e emocional. Este trabalho consiste em uma pesquisa acerca da ansiedade na performance musical em uma orquestra portuguesa. Através da aplicação do questionário STAI-Y comparou-se como 36 músicos da Orquestra Filarmonia das Beiras se sentiram antes do concerto (ansiedade-estado) e em uma situação geral (ansiedade-traço). Além disso, correlacionou-se os dados obtidos com dados sobre a população portuguesa. Concluiu-se que os músicos da OFB não apresentaram diferenças significativas entre os dois momentos e apresentaram baixos índices de ansiedade-estado e ansiedadetraço comparativamente à população portuguesa.

EXTENDED-RANGE OBOE: THE IMPACT OF TECHNICAL AND MUSICAL ADVANCEMENTS IN 19th-CENTURY AND CONTEMPORARY OBOE REPERTOIRE

I believe that the purpose of expanding the oboe’s repertoire is to not only create original compositions, but to also utilize technical advancements in order to achieve access to a wider range of repertoire through the art of transcription. This paper examines the various paths to achieving such expansion, including utilizing unique performer skills, use of auxiliary instruments, advancements in the instrument itself and musical developments that challenge the perception of the oboe’s solo role in a particular era of music history. The oboe need not be relegated to the confines of a compositionally limited stereotype. The goal of my “extended-range” dissertation project is to expand the “range” of programmable repertoire, with a focus on music in both the 19th and 21st-centuries, while simultaneously expanding the technical capabilities and expectations of the modern oboe—in part by exploiting the new possibilities of the recently invented low-A extension key.

As percepções de alunos, professores e encarregados de educação sobre a disciplina de educação musical: Um estudo de caso no âmbito do 2º ciclo do ensino básico

Este estudo teve como grande finalidade conhecer as percepções de alunos do 2° Ciclo do Ensino Básico de uma escola da periferia de Lisboa e dos respectivos professores e encarregados de educação, relativamente à disciplina de Educação Musical. No estudo foi utilizado um desenho metodológico de cariz naturalista, com aproximação ao estudo de caso, em que a técnica de recolha de dados de suporte foi o inquérito por questionário, aplicado aos três elementos da comunidade educativa antes referidos. Os principais objectivos do estudo foram, entre outros, os seguintes: #) Conhecer a importância que é dada à Educação Musical, enquanto disciplina integrante do currículo escolar, por alunos, professores e encarregados de educação; #) Contribuir para uma tomada de consciência, por parte da comunidade educativa em geral, sobre a importância da Educação Musical na formação integral do cidadão. A análise dos resultados obtidos permitiu chegar a diversas inferências e conclusões, destacando-se, entre outras, as seguintes: - Em relação aos alunos, a Educação Musical foi por eles considerada uma disciplina razoavelmente importante para a sua formação face à qual afirmaram nutrir algum interesse, sobretudo quando nela são promovidas actividades práticas; - No que diz respeito aos professores, estes consideraram, na sua maioria, que a disciplina, apesar das suas potencialidades formativas, acaba por não ser aproveitada na sua plenitude; - Os encarregados de educação tenderam a considerá-la uma disciplina importante, parecendo estar informados sobre as actividades e as funções a ela associadas. A música pareceu, além disso, fazer parte da vida da maior parte dos inquiridos dos três grupos participantes no estudo, tendo os mesmos indicado que ouviam música todos os dias e que já haviam assistido a, pelo menos, um concerto ao vivo. ABSTRACT; The aim of this study was to acknowledge the perceptions of students of the fifth and sixth grades of a Basic school in Lisbon periphery, their parents and teachers, about the subject of Musical Education. ln that purpose, we are in front of a naturalist investigation, approaching the case study, were the support instrument of data collecting was the questionnaire, applied to the three members of the educative community we have already referred to. This study had, as main goals, the following, among others: #) To know the importance that is given to Musical Education, as a subject which is part of the school curriculum, by students, parents and teachers; #) To contribute for the acknowledgement, by the general educative community, of the importance of Musical Education, for the growth and formation of the individuals. The analisys of the results allowed us to reach, among others, several conclusions and inferences: - Concerning the students, musical education was considered a subject of reasonable importance for their formation, and by which they showed some interest, especially when teachers promote practical activities; - The majority of the teachers considered that the subject was very important for the formation of the individual. However, and in spite of its formative potentialities, musical education is not applied and used as much as it should be; - Parents seem to consider it an important subject and also seem to be well informed about the activities and functions associated to it; Music seemed to be part of the lives of all the inquiries, who revealed listening to music every day and, in the majority of cases, have already been to a live concert.

Jazz, identidade musical e o piano Jazz em Portugal

Ao longo de todo o séc. XX, o jazz construiu um espaço alternativo às dicotomias heurísticas tradicionais, como por ex. tradição/inovação, erudito/popular, composição/improvisação, entre outras. Por entre discursos polarizados, o jazz afirmou-se como domínio musical conciliador de diferenças culturais e sociais, configurando um espaço novo de mediação, um “jazz art world” como definido pelo sociólogo Paul Lopes. Nesse espaço, a individualidade sempre assumiu enorme centralidade, em virtude do papel particularmente criativo do performer e também da sua relação elástica com os «modelos» referenciais para a performance. Assim, o jazz afigura-se um domínio privilegiado para a expressão da individualidade e, por conseguinte, para a construção e identificação de uma «identidade musical», tal como a expressão é proposta nesta tese. Para a discussão destes problemas conceptuais, esta tese recorre, como estudos de caso, a um conjunto de pianistas portugueses: António Pinho Vargas (1951-), Mário Laginha (1960-), João Paulo Esteves da Silva (1961-) e Bernardo Sassetti (1970-2012). É traçada a sua trajectória pessoal e formativa, e é apresentada uma análise da sua produção musical, com recurso à «teoria das tópicas» enquanto modelo particularmente orientado para a análise da música popular. No sentido de compreender os processos de construção das identidades musicais destes pianistas, são ainda abordadas outras temáticas, como a própria definição de «jazz», o jazz enquanto música dialógica, ou os fluxos diaspóricos do jazz (incluindo as respectivas implicações e variantes terminológicas, como “jazz diaspora”, “musical cosmopolitanism” e “glocalization”). Recorrendo a pesquisa bibliográfica, trabalho de campo (mormente a entrevista) e técnicas de análise musical, esta tese realiza uma exploração aprofundada destes tópicos e do trabalho dos músicos em particular. Desta forma, pretende oferecer um contributo para uma reflexão conceptual sobre o jazz em geral no âmbito dos jazz studies, e também para um mapeamento estilístico e identitário do jazz em Portugal.

A construção do habitus musical dos músicos amadores

Com esta dissertação pretende-se estudar a construção dos habitatus musicais nos projetos musicais amadores, com base, sobretudo, na teoria da prática de Pierre Bourdieu, procurando-se igualmente compreender o papel da reflexividade e dos quadros de interação ao longo das trajetórias musicais. Entende-se que os músicos amadores assumem uma relação específica com a música, ainda que entre si seja heterogénea e, desta forma, tomou-se como objetivos centrais apreender as matrizes e os modos de socialização, analisar o papel da reflexividade na produção musical e também comparar os habitatus musicais dos músicos amadores. Para tal, utilizou-se uma metodologia qualitativa, dado o cariz analítico do estudo, através da aplicação de entrevistas semidiretivas e, complementarmente, de observação direta não participante; ABSTRACT: With this dissertation it is intended to study the construction of the musical habitatus in amateur musical projects, based, especially, in the Theory of Practice of Pierre Bourdieu, looking for to understand, as well, the role of reflexivity and the interaction settings along the musical trajectories. It is considered that the amateur musicians assume a specific relation with music, even if it’s heterogeneous between them and, therefore, it was taken as the main objectives to learn the pattern and methods of socializing, to analyze the role of reflexivity in the musical production and to compare the musical habitatus between amateur musicians. For such, was used a qualitative methodology, given the analytical nature of the study, through the application of semi directive interviews and, complementarily, of the nonparticipating direct observation.

Design, construction, and applications of a high-resolution terahertz time-domain spectrometer

This thesis reports on the design, construction, and initial applications of a high-resolution terahertz time-domain ASOPS spectrometer. The instrument employs asynchronous optical sampling (ASOPS) between two Ti:sapphire ultrafast lasers operating at a repetition rate of approximately 80 MHz, and we thus demonstrate a THz frequency resolution approaching the limit of that repetition rate. This is an order of magnitude improvement in resolution over typical THz time-domain spectrometers. The improved resolution is important for our primary effort of collecting THz spectra for far-infrared astronomy. We report on various spectroscopic applications including the THz rotational spectrum of water, where we achieve a mean frequency error, relative to established line centers, of 27.0 MHz. We also demonstrate application of the THz system to the long-duration observation of a coherent magnon mode in a anti-ferromagnetic yttrium iron oxide (YFeO3) crystal. Furthermore, we apply the all-optical virtual delay line of ASOPS to a transient thermoreflectance experiment for quickly measuring the thermal conductivity of semiconductors.

Design de comunicação aplicado à educação musical

Dissertação de Mestrado para obtenção do grau de Mestre em Design de Comunicação, apresentada na Universidade de Lisboa - Faculdade de Arquitectura.

Littlefield Organ Series Halloween Organ Concert October 28, 2016

Concert Program

Littlefield Organ Series presents a Guest Artist Recital: Robert Huw Morgan February 26, 2012

Concert Program

Music of Today Series presents Newband featuring the Harry Partch Instrument Collection November 7, 2012

Concert Program

Vidéos contre lectures: Une évaluation de l'utilisation de vidéos pour accomplir la construction initiale de connaissances

Abstract : The goal of this study was to determine whether providing videos for students to watch before class would be more effective than assigning readings. The study took place within a flipped classroom: a methodology designed to engage students in the initial construction of knowledge before class, freeing up classroom time for active learning pedagogies. Preparing for class by watching videos should require less of the students’ time than doing readings, and they should respond better to videos than to readings because these more closely mimic this generation’s interactions with information and media. Consequently, flipped classroom students provided with videos should perceive a lower workload, which could translate into more positive learning outcomes. From an instructor’s perspective, however, developing and organizing videos is extremely time consuming. Thus, a teacher giving consideration to flipping their class would likely want to know whether videos would lead to positive outcomes for their students before actually committing to developing these. However, no research to date was identified which has examined the question of whether flipped class videos would be more effective than readings. The hypotheses for the study were that videos would result in measurable learning gains for the students, and would lead to lower time demands and perceived workloads, as well as more positive attitudes. These were tested using a quasi-experimental design involving a convenience sample of two small college General Biology 1 courses taught by the same teacher. One group had videos to watch before class for the first 1/3 of the course (treatment; Class A), during which the other was assigned readings (control; Class B). Following this, both groups were provided with videos. Student scores were compared on pre-instruction and in-class quizzes, activities, four unit tests, and a final exam. Further, students completed a 44 item survey as well as a demographic questionnaire. Results suggest greater learning gains for students provided with videos. Certainly, students from Class B improved significantly when provided with videos, especially as compared to Class A, whose improvement over the same time span was marginal. However, conclusions based on these results are somewhat tentative, as Class A performed rather poorly on all summative assessments, and this could have driven the patterns observed, at least partially. From the surveys, Class B students reported that they spent more time preparing for class, were less likely to do the necessary preparations, and generally perceived their effort and workload levels to be higher. These factors were significant enough that they contributed to four students from Class B (10% of the class) dropping the course over the semester. In addition, students from both groups also reported more positive attitudes towards videos than readings, although they did not necessarily feel that videos were (or would be) a more effective study and learning tool. The results of this study suggest that any effort on the part of an instructor to prepare or organize videos as pre-class instructional tools would likely be well spent. However, even outside of the context of a flipped classroom, this study provides an indication that assigned readings can place heavy workload requirements on students, which should give cause for any instructor employing mandatory readings to reassess their approach. Finally, since both groups were statistically equivalent across all measured demographic variables, it appears that some of the observed disparities in assessment scores may have been driven by differences in group dynamics. Consequently, the suggestion is made that an instrument to measure classroom climate should be incorporated into any research design comparing two or more interacting groups of students, as group dynamics have the potential to play a key role in any outcomes.||Résumé : L'objectif de cette étude était de déterminer si fournir des vidéos aux étudiants avant une classe serait plus efficace comme méthode d’apprentissage individuel que de leur donner une liste de lectures à compléter. L'étude a eu lieu dans une classe renversée – une stratégie plus reconnu sous le nom de «classroom flipping» – ce qui ce trouve à être une méthodologie qui vise à obliger les élèves d’accomplir le transfert de connaissances initial avant la classe, en vue de libérer du temps de classe pour des activités pédagogiques plus approfondie. En théorie, pour les élèves, se préparer pour une classe renversé en regardant des vidéos devrait exiger moins de temps que d’être obligé à apprendre le matériel en lisant. En plus, présenter le matériel d’un cours avec des vidéos imite de plus près les genres d’interactions qu’on les étudiants de cette génération avec de l'information et les médias, ce qui devrait faciliter leur tâche. Par conséquent, les élèves d’une classe renversée fournies avec des vidéos devraient percevoir une charge de travail moins élevée, et ceci pourrait se traduire en bilans d'apprentissage plus positifs. Cependant, du point de vue du professeur, avoir à développer et organiser des vidéos se présente comme un gros défi, surtout en vue du temps et de l’effort qui sont requis. Ainsi, un enseignant qui songe à renversée sa classe voudrait probablement savoir si le fait d’offrir des vidéos mène à des résultats positifs avant de réellement s'engager dans le développement de ces derniers. Par contre, lors de l’écriture de ce texte, aucune étude n’a été identifié qui répond à cette question, et aucune publication compare la performance des étudiants lorsqu’ils ont des vidéos à regarder avec lorsqu’ils sont obligés de faire de la lecture pour se préparer. Alors, les hypothèses de l'étude étaient que des étudiants ayant accès à des vidéos démontreraient des gains d’apprentissages évidents, qu’ils apercevraient des requêtes de temps moins encombrantes et une charge de travail plus faible, et, en vue de ces derniers, que les étudiants auraient des attitudes plus positives envers le cours et le matériel. Les hypothèses ont été testés à l'aide d'un modèle quasi-expérimental, avec comme échantillon deux classes collégiales de Biologie générale 1, tout les deux enseignés par le même professeur. Un de ces groupes avaient accès à des vidéos pour se préparer pour chaque classe lors du premier tiers du cours, alors que l’autre groupe étaient obligé de faire de la lecture. Après le premier tiers du cours, ce qui fut 10 des 30 classes du semestre, les deux groupes ont été fournis avec des vidéos pour le restant du cours. Des notes ont été ramassées et comparées sur des mini-examens préparatoires avant et durant les classes, sur des activités complétées en classe, sur quatre examens en classe, et un examen final. En outre, les étudiants ont rempli un questionnaire composé de 44 items, ainsi qu’un autre questionnaire démographique. Les résultats de l’étude suggèrent qu’une décision d’offrir des vidéos aux élèves peut mener à des gains d'apprentissage plus élevés comparativement à l’option lecture. En particulier, les élèves du groupe initial de lecture se sont considérablement améliorées lorsqu'ils ont été fournis avec des vidéos, surtout par rapport au groupe initial de vidéos, dont l’amélioration durant la même période était marginale. Cependant, ces conclusions sont un peu incertaines, parce que la performance du groupe initial de vidéos était globalement médiocre, ce qui aurait pu mener aux résultats observés. Par contre, les résultats obtenus des questionnaires étaient moins incertains, et indiquent que les élèves qui se sont vues attribués des lectures passaient plus de temps pour préparer leurs classes, étaient plus aptes à ne pas faire les préparatifs nécessaires, et ont aperçus leurs niveaux d'efforts et leurs charges de travails comme étant plus élevés. Ces facteurs étaient suffisamment importants qu'ils ont contribué au fait que quatre étudiants du groupe de lecture, soit 10% de la classe, ont abandonnés le cours durant le premier tiers du semestre. Finalement, les élèves ont démontrés des attitudes plus positives envers les vidéos, bien qu'ils ne trouvaient pas nécessairement que ceux-ci étaient plus efficaces que les lectures lorsqu’ils voulaient étudier pour les examens. Basé sur ces résultats, il est possible de conclure que tout effort de la part d'un instructeur pour préparer ou organiser des vidéos pédagogiques serait probablement un bon investissement. En plus, et même en dehors du contexte d'une classe renversée, cette étude offre une indication qu’une stratégie pédagogique qui oblige les étudiants à faire beaucoup de lecture peut imposer des exigences et une charge de travail très élevée pour les étudiants, ce qui devrait donner cause à tout instructeur qui attribue des lectures à réévaluer leur approche. Enfin, puisque les deux groupes étaient équivalents d’un point de vue statistique sur toutes les mesures démographiques, il semble que certaines disparités entre les deux groupes dans les notes d'évaluation et d’examens peuvent possiblement avoir été entraînées par des différentes dynamiques dans chaque group. Par conséquent, il est suggéré que des mesures de relations entre étudiants et de dynamiques de groupes devraient être incorporé dans n’importe qu’elle recherche comparant deux ou plusieurs groupes d’étudiants, et surtout quand ces étudiants sont en interaction, parce-que en toute apparence les dynamiques de groupes ont le potentiel de jouer un rôle clé dans les résultats obtenus.