Oeuvres complètes. Publiées pour la première fois d'après les manuscrits originaux. Accompagnées de notices biographique, littéraire & bibliographique, de variantes, d'un commentaire, d'une table des noms propres & d'un glossaire,

Title of v. 5-6 reads: "Oeuvres complètes de Théodore Agrippa d'Aubigné, pub. pour la première fois d'après les manuscrits originaux par MM. Eug. Réaume et de Caussade, accompagnées de notices biographique, littéraire & bibliographique, de notes & variantes, d'une table des noms propres & d'un glossaire, par A. Legouëz."

Sonata I für Violoncell mit Begleitung eines 2ten Violoncells /

Caption title.

A graduate piano recital

PROGRAM The Well-Tempered Clavier, Book I..............Johann Sebastian Bach (1685-1750) Prelude and Fugue XXI in B flat major Prelude and Fugue XXII in b flat minor Sonata N. 11 in A major, K.331.......Wolfgang Amadeus Mozart (1756 - 1791) Theme and Variations Menuetto Allegretto Intermission Images Series II................................Claude-Achille Debussy (1862-1918) Poission d' or (Goldfish) Rhapsodies Op. 79 .................................Johannes Brahms (1833-1897) No. 1 in b minor No. 2 in g minor Etude in A flat Major, Op. 1, No. 2.....................Paul de Schlozer (1841-1898)

Aprendizagem criativa na aula de piano em grupo

The central focus of this thesis was to investigate creative learning in music at piano group lessons. Thus, the theoretical framework adopted was guided by two main principles: (1) creativity in the field of music education and (2) Piano teaching and learning. As a methodological procedure we used a research-action with students of the disciplines Prática de Instrumento Harmônico I e II, at the Music Education Undergraduate Course of Federal University of Rio Grande do Norte (UFRN). This research-action was structured in four phases: 1) the identification of the starting points and the theme of creativity matters in piano group lessons, considering the context of a teacher training course in music; 2) the projection of actions, the definition of the objectives and the organization of instruments of data collection and analysis; 3) the realization of the planned actions; and 4) the evaluation of the results, the transcription, organization and analysis of the data collected through observation and interviews. Given the Creative Learning Cycle in Music, represented by the activities of composing, performing and criticizing Music, defended by Beineke (2009, 2013, 2015), we propose in this thesis a creative cycle of formation in music to promote creative learning in piano group lessons, in which teachers and students teach and learn creatively, expanding training opportunities in the field of Music Education. This was possible due to the joint experience of creative practices related to improvisation, elaboration of arrangements and musical compositions - elements that contributed positively to the learning process of the participants. But for this to occur, the planning, implementation and evaluation of the creative and pedagogical musical procedures adopted were decisive, considering the perspectives of students, their conceptions, musical creations, processes and collaborative exchange.

Aprendizagem criativa na aula de piano em grupo

The central focus of this thesis was to investigate creative learning in music at piano group lessons. Thus, the theoretical framework adopted was guided by two main principles: (1) creativity in the field of music education and (2) Piano teaching and learning. As a methodological procedure we used a research-action with students of the disciplines Prática de Instrumento Harmônico I e II, at the Music Education Undergraduate Course of Federal University of Rio Grande do Norte (UFRN). This research-action was structured in four phases: 1) the identification of the starting points and the theme of creativity matters in piano group lessons, considering the context of a teacher training course in music; 2) the projection of actions, the definition of the objectives and the organization of instruments of data collection and analysis; 3) the realization of the planned actions; and 4) the evaluation of the results, the transcription, organization and analysis of the data collected through observation and interviews. Given the Creative Learning Cycle in Music, represented by the activities of composing, performing and criticizing Music, defended by Beineke (2009, 2013, 2015), we propose in this thesis a creative cycle of formation in music to promote creative learning in piano group lessons, in which teachers and students teach and learn creatively, expanding training opportunities in the field of Music Education. This was possible due to the joint experience of creative practices related to improvisation, elaboration of arrangements and musical compositions - elements that contributed positively to the learning process of the participants. But for this to occur, the planning, implementation and evaluation of the creative and pedagogical musical procedures adopted were decisive, considering the perspectives of students, their conceptions, musical creations, processes and collaborative exchange.

Franz Liszt’s Piano Sonata in B Minor: Precedents for an Analytical Evolution

Franz Liszt has all too often been discarded as the virtuosic showman, despite the fact that his several of works have often gained great praise and attracted scholarly engagement. However, one also finds striking development of formal design and tonal harmony in many of the works for his principal composition medium, the piano. This paper seeks to explore the practical application of James A. Hepokoski and Warren Darcy’s 'Sonata Theory' upon Liszt’s magnum opus for the instrument, the Sonata in B Minor.

I shall first consider the historical analyses placed upon the work that deal with structural design, as it pertains to the paradigm of Classical sonata-form. Previous research reveals two main theoretical camps; those in favour of a multi-movement analysis (with conflicting hypotheses therein) and those in favour of a single movement sonata-form. An understanding of these historical conceptions of the piece allows one to then highlight areas of conflict and offer a new solution.

Finally, I shall use Sonata Theory to survey the Sonata in B Minor’s landscape in a new light. The title ‘Sonata’ has clear generic implications, many of which are met by Liszt; 'Sonata Theory' provides a model with which to outline the compositional deformations employed by the composer and the implications of this practice. In particular, I offer new perspectives on the validity of the double-function form, insight into the rhetorical layout of a rotational discourse, and propose a nuanced analysis befitting of this striking work.

Dimensionamento dell'azionamento elettrico di un piano vibrante

Questo elaborato riguarda il dimensionamento di un motore brushless lineare utilizzato in un piano vibrante per l’alimentazione di fiale, flaconi e carpule in macchine per il packaging farmaceutico: in particolare con questo piano vibrante si alimentano macchine astucciatrici e termoformatrici. Con packaging farmaceutico si intente tutto ciò che comporta il confezionamento di prodotti legati al mercato farmaceutico, ma macchinari simili soddisfano anche il mercato per il confezionamento di prodotti alimentari e cosmetici. Il piano vibrante descritto nella trattazione, svolge sia la funzione di alimentazione del prodotto nella macchina, sia quella di buffer. La tesi è stata svolta all’interno di Marchesini Group S.p.a., gruppo industriale fondato nel 1974 che vanta una posizione di livello mondiale nel settore delle macchine automatiche: in particolare si occupa dell’automazione per packaging nel settore farmaceutico, cosmetico e alimentare. Avendo dovuto fare un intervento di sostituzione di un motore su un gruppo già in funzione, nella riprogettazione dei particolari si è cercato di apportare il minor numero di modifiche possibile, per minimizzare il numero di pezzi da sostituire qualora un motore in funzione si rompa o venga danneggiato. Questo studio mi ha dato la possibilità di approfondire diversi aspetti della progettazione meccanica: in particolare ho avuto la possibilità di utilizzare Creo Parametric, il programma di disegno 3D usato in Marchesini, e quindi approfondire molteplici aspetti e regole del disegno e della messa in tavola. Insieme a questo, oltre a studiare le diverse tipologie di motori lineari ho potuto approfondire i metodi di scelta di un motore lineare, consultando anche i fornitori.

Metodi e strumenti di Facilty Management: una proposta di integrazione tra Piano di Manutenzione e Fascicolo dell’Opera nel caso della Grande Distribuzione Organizzata

Gli ultimi 10 anni hanno visto un crescente aumento delle richieste di fornitura di servizi legati alla manutenzione edilizia da parte della Grande Distribuzione Organizzata; la domanda è quella di servizi riconducibili al Facility Management, ovvero rapporti basati sul raggiungimento di standard qualitativi predefiniti in sede contrattuale e garanzia di intervento 24h/24. Nella prima parte del progetto di tesi viene inquadrata la disciplina del FM, le motivazioni, gli strumenti e gli attori coinvolti. Dopo un excursus normativo sulla manutenzione in Italia, una classificazione delle tipologie di intervento manutentivo e una valutazione sull’incidenza della manutenzione nel Life Cycle Cost, viene effettuata un’analisi delle modalità interoperative del FM applicato alla manutenzione edilizia nel caso della GDO. La tesi è stata svolta nell'ambito di un tirocinio in azienda, il che ha permesso alla laureanda di affrontare il caso di studio di un contratto di Global Service con un’importante catena di grande distribuzione, e di utilizzare un software gestionale (PlaNet) con il quale viene tenuta traccia, per ogni punto vendita, degli interventi manutentivi e della loro localizzazione nell’edificio. Questo permette di avere un quadro completo degli interventi, con modalità di attuazione già note, e garantisce una gestione più efficace delle chiamate, seguite tramite un modulo di Call Center integrato. La tesi esamina criticamente i principali documenti di riferimento per l’opera collegati alla manutenzione: il Piano di Manutenzione e il Fascicolo dell’Opera, evidenziando i limiti legati alla non completezza delle informazioni fornite. L’obbiettivo finale della tesi è quello di proporre un documento integrativo tra il Piano di Manutenzione e il Fascicolo, al fine di snellire il flusso informativo e creare un documento di riferimento completo ed esaustivo, che integra sia gli aspetti tecnici delle modalità manutentive, sia le prescrizioni sulla sicurezza.

Pairings: Quintets and Duos from the Collaborative Piano Repertoire

Chamber music with piano comprises some of the greatest masterpieces in the Western canon. The works range from duo sonatas with various instruments through septets. In regard to duo sonatas, the violin is the instrument most frequently paired with the piano. Of all the chamber works for larger ensembles, the most popular is the quintet. In this dissertation, I will be exploring the similarities and differences between the duo sonatas and quintets of a given composer. I will be surveying Robert Schumann’s Piano Quintet in E-flat Major, Op. 44 along with his Violin and Piano Sonata in A Minor, Op. 105. The next pairing will be Johannes Brahms’ Piano Quintet in F Minor, Op. 34 and his Piano and Violin Sonata in D Minor, Op. 108. Dmitri Shostakovich’s Piano Quintet in G Minor, Op. 57 and his Cello and Piano Sonata in D Minor, Op. 40 will be the last two works examined in this dissertation. This dissertation project consisted of three recitals, presented in the Gildenhorn Recital Hall at the Clarice Smith Performing Arts Center of the University of Maryland. The recitals featured works by Johannes Brahms, Robert Schumann and Dmitri Shostakovich and took place on March 14, 2014, February 13, 2015 and November 22, 2015. All three recitals were recorded on compact discs, which can be accessed at the Digital Repository at the University of Maryland (DRUM) and at the University of Maryland Hornbake Library.

RACHMANINOFF AND MEDTNER: SELECTED WORKS FROM THE SOLO AND COLLABORATIVE PIANO REPERTOIRE

Sergei Rachmaninoff and Nikolai Medtner occupy a special place in the history of Russian music. Both composers were exceptional pianists and left us some of the greatest works in the piano repertoire. Although these composers shared many similarities, and were often compared, their musical languages and views on composition were very different. Unfortunately, Medtner’s music, which Rachmaninoff admired greatly, has remained neglected for several generations of performers and listeners. In my dissertation I will explore the similarities and contrasts in Rachmaninoff’s and Medtner’s music. Through these performances, I hope to encourage other musicians to discover the imaginative power of Medtner’s music. Of course, no such encouragement is needed for Rachmaninoff’s extremely popular music; however, the technical and musical challenges of performing that repertoire are an invaluable part of every pianist’s education. This dissertation project was presented in three recitals which were performed in Gildenhorn Recital Hall at the Clarice Smith Performing Arts Center of the University of Maryland on May 8, 2014, December 5, 2014 and March 21, 2016. The following pieces comprised the survey of Rachmaninoff music: Vocalise Op. 34, Variations on a Theme of Corelli Op. 42, Piano Concerto No 2 Op. 18, Selected Songs Opp. 4 and 8, and two Moments Musicaux Op. 16 - Nos 3 and 4. The following pieces were included to represent Medtner: Sonata for Violin and Piano Op. 57 in E minor “Epica”, Fairy Tales for solo piano Op. 20 No 1, Op. 26 No 3 and Op. 51 No 1, and Selected Songs Op. 6 and 15. My partners in this project were Lilly Ahn, soprano, Jennifer Lee, violin and Nadezhda Christova, piano. All three recitals can be found in the Digital Repository at the University of Maryland (DRUM).