Dixie Music Score Collection - Accession 268 - M114 (146)

The “Dixie” Music Score Collection consists of two photographs of one of the four original autographed copies of the musical score Dixie which was presented to Winthrop College in 1923 by Professor Herman F. Arnold and a photograph of Professor Herman F. Arnold. The Dixie Score is inscribed "At the request of Miss Minnie Barker the copy of Dixie is presented to Winthrop College by Prof. Herman F. Arnold who wrote Dixie and was made the war tune of the south at the inauguration of Jefferson Davis Feb 18th 1861 at Montgomery, Ala." Minnie Barker was curator of the Winthrop museum and the music score was displayed there until Tillman Science Building was razed in 1962 which housed the museum. The collection also contains newspaper clippings and correspondence relating to the controversy surrounding Dixie and whether it is racially insensitive.

More than Tunes in Your Head: Dynamic Aspects of Auditory Imagery for Music

Auditory imagery is more than just mental “replaying” of tunes in one’s head. I will review several studies that capture characteristics of complex and active imagery tasks, using both behavioral and neuroscience approaches. I use behavioral methods to capture people’s ability to make emotion judgments about both heard and imagined music in real time. My neuroimaging studies look at the neural correlates of encoding an imagined melody, anticipating an upcoming tune, and also imagining tunes backwards. Several studies show voxel-by-voxel correlates of neural activity with self-report of imagery vividness. These studies speak to the ways in which musical imagery allows us not just to remember music, but also how we use those memories to judge temporally changing aspects of the musical experience.

Auditory Imagery and the Poor-Pitch Singer

The vocal imitation of pitch by singing requires one to plan laryngeal movements on the basis of anticipated target pitch events. This process may rely on auditory imagery, which has been shown to activate motor planning areas. As such, we hypothesized that poor-pitch singing, although not typically associated with deficient pitch perception, may be associated with deficient auditory imagery. Participants vocally imitated simple pitch sequences by singing, discriminated pitch pairs on the basis of pitch height, and completed an auditory imagery self-report questionnaire (the Bucknell Auditory Imagery Scale). The percentage of trials participants sung in tune correlated significantly with self-reports of vividness for auditory imagery, although not with the ability to control auditory imagery. Pitch discrimination was not predicted by auditory imagery scores. The results thus support a link between auditory imagery and vocal imitation.

The Alexander Technique and musicians: a systematic review of controlled trials

BACKGROUND: Musculoskeletal disorders, stress and performance anxiety are common in musicians. Therefore, some use the Alexander Technique (AT), a psycho-physical method that helps to release unnecessary muscle tension and re-educates non-beneficial movement patterns through intentional inhibition of unwanted habitual behaviours. According to a recent review AT sessions may be effective for chronic back pain. This review aimed to evaluate the evidence for the effectiveness of AT sessions on musicians' performance, anxiety, respiratory function and posture. METHODS: The following electronic databases were searched up to February 2014 for relevant publications: PUBMED, Google Scholar, CINAHL, EMBASE, AMED, PsycINFO and RILM. The search criteria were "Alexander Technique" AND "music*". References were searched, and experts and societies of AT or musicians' medicine contacted for further publications. RESULTS: 237 citations were assessed. 12 studies were included for further analysis, 5 of which were randomised controlled trials (RCTs), 5 controlled but not randomised (CTs), and 2 mixed methods studies. Main outcome measures in RCTs and CTs were music performance, respiratory function, performance anxiety, body use and posture. Music performance was judged by external experts and found to be improved by AT in 1 of 3 RCTs; in 1 RCT comparing neurofeedback (NF) to AT, only NF caused improvements. Respiratory function was investigated in 2 RCTs, but not improved by AT training. Performance anxiety was mostly assessed by questionnaires and decreased by AT in 2 of 2 RCTs and in 2 of 2 CTs. CONCLUSIONS: A variety of outcome measures have been used to investigate the effectiveness of AT sessions in musicians. Evidence from RCTs and CTs suggests that AT sessions may improve performance anxiety in musicians. Effects on music performance, respiratory function and posture yet remain inconclusive. Future trials with well-established study designs are warranted to further and more reliably explore the potential of AT in the interest of musicians.

A check-list and index of microfilm M-75, Dr. Alfred Einstein's mss. at Smith College, Mass. /

Cover title: Einstein (Alfred) mss. at Smith College : a checklist & index.

Kantate am siebenundzwanzigsten Sonntage nach Trinitatis über das Lied: Wachet auf, ruft uns die Stimme,

Parts for oboe 1, oboe 2, English horn, horn, trumpet (as alternative for horn), violin 1, violin 2, viola, and violoncello (double bass)

Grande sonate pastorale : pour la harpe ; avec une flu te oblige e /

For harp with flute obbligato.

Für Pianoforte und Saiteninstrumente /

Dual pagination.

Streichquartett, A dur, op. 7.

Pl. no. D.28866.

Siegfried-Idyll. Für Pianoforte, 2 Violinen, Viola und Violoncell nebst einem 2. Violoncell ad libitum,

Arrangement for pianoforte, 2 violins, viola, and violoncello.

Popular collection for[violin and piano]

Score for violin and piano, part for violin.

Classical collection for violin and piano.

Pl. no. 54415-83.

Pastorale aus der Weihnachtsmusik (Concerto grosso Nr. 8) für 1 Violine (2 Violinen) Klavier

Originally for 2 violins, violoncello, strings, and cembalo.

Quintette für Streichinstrumente.

Contains the Quintets for 2 violins, 2 violas and violoncello, K. 174, 516b (406), 515, 516, 593, and 614; Quintet for violin, 2 violas, violoncello and horn, K. 386c (407); Quintet for clarinet, 2 violins, viola and violoncello, K. 581; Eine kleine Nachtmusik, K. 525.

Concerto grosso, C moll, No. III (Op. 6, No. 3, 1712)

The continuo part is realized for keyboard instrument.