Venere e Amore ; serenata a due voci con flauto e violini, violoncello. Manuscrit de la Bibliothèque Royale de Belgique, Catalogue Fètis, no. 2528 /

For soprano, alto, flute, 2 violins, and continuo, the figured bass realized for harpsichord.

Passionsmusiken

The 1st work for 5 voices (cantus, altus, tenor 1 and 2, bassus) strings, and continuo. The 2d, for 5 voices (canto 1 and 2, alto, tenore, basso) strings, and continuo. The continuo parts are realized for organ.

Johann Rudolph Ahles ausgewählte Gesangswerke mit und ohne Begleitung von Instrumenten.

27. Motette: Unser keiner lebet ihm selber.--28. Dialog: Wer ist der, so von Edom kommet.--29. Ich hab's gewagt.--30. Fürchtet euch nicht.--31. Auf das fest der himmelfahrt.--32. Auf das fest des erzengels Michael.--33. Communion-andacht.--34. Von gnad' und recht. Ps. 101.--35. Cum Maria diluculo.--36. Wir glauben all' an einen Gott.--37. Magnificat.--38. Merk auf mein herz.--39. Zwingt die saiten in cithara.

Sonate en fa majeur /

With facsim. of original title page.

Sonata III : in D : for violin : with accompaniement of piano /

Unfigured bass realizaed for piano.

Sonata VIa : per violino e basso /

Unfigured bass realized for piano.

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.

Beethoven and his forerunners,

The periods of musical history.--Palestrina and the music of mysticism.--The modern spirit.--The principles of pure music.--Haydn.--Mozart.--Beethoven.--Conclusion.

Twee sonates voor viool met pianobegeleiding /

Sonata 1 in G major, from Op. 8 according to Scheurleer's preface, is Op. 2, no. 5, the Andante from Op. 6, no. 12; sonata 2 in F minor, from Op. 4 according to Scheurleer, is Op. 6, no. 7. cf. Altmann. Kammermusik-katalog.

English music (1604 to 1904) being the lectures given at the Music Loan Exhibition of the Worshipful Company of Musicians, held at Fishmongers' Hall, London Bridge, June-July, 1904.

The evolution of the pianoforte, by T.L. Southgate.- Our English songs, by W.H. Cummings.- The early English viols and their music, by H. Watson.- Madrigals, rounds, catches, glees, and part-songs, by E.M. Lee.- The recorder, flute, fife, and piccolo, by J. Finn.- Music in England in the year 1604, by Sir F. Bridge.- Our dances of bygone days, by A.S. Rose.- Masques and early operas, by A.H.D. Prendergast.- English opera after Purcell, by F.J. Sawyer.- Our cathedral composers and their works, by G.F. Huntley.- The single and double reed instruments, by D.J. Blaikley.- The water-organ of the ancients and the organ of to-day, by F.W. Galpin.- The regal and its successors: the harmonica, by T.L. Southgate.- The violin family and its music, by W.W. Cobbett.- The brass wind instruments, by J.E. Borland.- Some notes on early printed music, by A.H. Littleton.- Music of the country-side, by Sir E. Clarke.

Does Music Matter to Museum Visitors?: Understanding the Effect of Music in an Exhibit on the Visitor Experience

Thesis (Master's)--University of Washington, 2016-06

The Populist Message of Australian Country Music

Australian country music is influenced by American country music and Australian bush ballads. This music idealises genuine true blue inhabitants of an idealised rural heartland and fuses nationalism with agrarian mythology. The lyrics of a number of country songs contain a populist political message, which is frequently nationalistic but is a form of nationalism.

Teaching Australian cello music to Intermediate students: An exploratory study of motivation through repertoire

This paper explores the motivational aspects of repertoire for intermediate student cellists. Research into interest and intrinsic motivation related to the learning of instrumental music has been limited to date. As a cello teacher interested in including contemporary and Australian music in my students' studies I started to research availability of Australian repertoire for intermediate cellists and found that there was limited accessibility to such pedagogical material at this level. This study emerged as a way of providing useful information to composers. It investigates intrinsic motivation by questioning students and their teachers about which aspects of music repertoire are most likely to inspire students to practice more and strive for excellence. This paper presents the findings of the purpose-designed questionnaire distributed to cello teachers in Queensland. A similar set of questions has been prepared for student cellists and information gathering from students is still underway. Musical aspects investigated include technique and its development, style, harmony, tempo (speed), and rhythm. The questionnaire gathered information on the most frequently used teaching repertoire and teachers' experiences in teaching contemporary and Australian repertoire. This information was balanced with questions regarding the technical developmental requirements perceived necessary for intermediate students as well as other motivational aspects. It is hoped that information collated from this research will be of benefit in the selection of motivational repertoire for intermediate student cellists and especially in promoting the composition of Australian pieces for intermediate cellists.