A Concert of 17th and 18th Century Music, November 16, 1953

Concert Program for A Concert of 17th and 18th Century Music, November 16, 1953

Chamber Music Recital, May 1, 1960

Concert Program for Chamber Music Recital, May 1st, 1960

A Concert of Japanese Music, January 20, 1966

Concert Program for A Concert of Japanese Music, January 20, 1966

Noon Recital, Joel Salsman, pianist, Music of Alan Hovhaness, February 11, 1966

Concert program for Noon Recital, Joel Salsman, pianist, Music of Alan Hovhaness, February 11, 1966

A Concert of American Music, February 9, 1964

Concert Program for A Concert of American Music, February 9, 1964

Twentieth Century Music December 6, 1971

Concert Program for Twentieth Century Music, Dec. 6, 1971

New Music by Young Composers, performed by Members of the Contemporary Group, December 4, 1978

Concert Program for New Music by Young composers, performed by Members of the Contemporary Group, December 4, 1978

New Music by Young Composers, performed by Members of the Contemporary Group, May 31, 1978

Concert Program for New Music by Young composers, performed by Members of the Contemporary Group, May 31, 1978

Rare Gems: Uncommon Chamber Music January 18, 2001

Concert Program for Rare Gems: Uncommon Chamber Music January 18, 2001

Modern Music Ensemble December 4, 2015

Concert Program

Teacher placement report: investigation: action research project investigating methods for promoting creativity in double bass students attending a portuguese music school

The investigation which employed the action research method (qualitative analysis)was divided into four fases. In phases 1-3 the participants were six double bass students at Nossa Senhora do Cabo Music School. Pilot exercises in creativity were followed by broader and more ambitious projects. In phase 4 the techniques were tested and amplified during a summer course for twelve double bass students at Santa Cecilia College.

Music and evolutionary computation

This paper presents a brief history of the western music: from its genesis to serialism and the Darmstadt school. Also some mathematical aspects of music are then presented and confronted with music as a form of art. The question is, are these two distinct aspects compatible? Can computers be of real help in automatic composition? The more appealing algorithmic approach is evolutionary computation as it offers creativity potential. Therefore, the Evolutionary Algorithms are then introduced and some results of GAs and GPs application to music generation are analysed.

A director’s approach to art and religion : o quadro, um musical da Paixão segundo o sr. João (The masterpiece, a musical of The passion according to John): trabalho de projecto

Trabalho de Projecto submetido à Escola Superior de Teatro e Cinema para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Teatro - especialização em Encenação.

Sound levels and risk perceptions of music students during classes

It is well recognized that professional musicians are at risk of hearing damage due to the exposure to high sound pressure levels during music playing. However, it is important to recognize that the musicians’ exposure may start early in the course of their training as students in the classroom and at home. Studies regarding sound exposure of music students and their hearing disorders are scarce and do not take into account important influencing variables. Therefore, this study aimed to describe sound level exposures of music students at different music styles, classes, and according to the instrument played. Further, this investigation attempted to analyze the perceptions of students in relation to exposure to loud music and consequent health risks, as well as to characterize preventive behaviors. The results showed that music students are exposed to high sound levels in the course of their academic activity. This exposure is potentiated by practice outside the school and other external activities. Differences were found between music style, instruments, and classes. Tinnitus, hyperacusis, diplacusis, and sound distortion were reported by the students. However, students were not entirely aware of the health risks related to exposure to high sound pressure levels. These findings reflect the importance of starting intervention in relation to noise risk reduction at an early stage, when musicians are commencing their activity as students.