Première rhapsody : pour clarinette en Si♭ : avec accompagnement d'orchestre (ou de piano) /

For piano, 4 hands.

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

Unfigured bass realizaed for piano.

Synopsis of the system of education established by the University of King's College, Fredericton, New Brunswick : founded by Royal Charter under the government of Sir Howard Douglas, Bart., A.D. 1828.

Mode of access: Internet.

The gospel according to Paul a sermon delivered Sept. 17, 1828, at the installation of the Rev. Bennet Tyler, D.D. as pastor of the Second Congregational Church in Portland, Maine /

Mode of access: Internet.

Piano concerto no. 2 in D minor, op. 40.

Mode of access: Internet.

For piano and orchestra : Candenzen zu den Pianoforte-Concerten; Phantasie mit Chor, op.80 in Cm /

Bound with: Choral fantasy, op. 80.

Second concerto, ré mineur, pour le violon, avec accompagnement d'orchestre ou de piano, op. 22 /

Orchestra part arranged for piano.

Ballade et polonaise : pour violon avec accompagnement d'orchestre ou de piano : opus 38 /

Arranged for violin and piano.

Concerto russe : pour le violon avec accompagnement d'orchestre ou de piano. : op. 29.

For violin and piano.

Siebenunddreissig predigten über das fünfte, sechste und siebente capitel Matthäi gehalten in Berlin im jahre 1828 und 1829 ... Mit einem vorwort von d. Dräseke ...

Mode of access: Internet.

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.

Diario, pour piano seul, de Heber Schuenemann - du déchiffrage de l'oeuvre à son interprétation: démarche et réflexions d'une pianiste

Cette thèse porte sur la recherche-création ayant menée à l’apprentissage et l’exécution publique de Diário, œuvre pour piano du compositeur brésilien Heber Schuenemann (né en 1971). Dans ce cycle, qui comprend 23 courtes pièces, le compositeur explore la notion de « hasard », propre à la musique aléatoire. Il utilise également des techniques de composition s’apparentant au sérialisme et au minimalisme. Après avoir présenté les principales caractéristiques des courants musicaux propres à l’œuvre, la chercheuse-pianiste procède à une analyse de l’œuvre, décrivant la structure et les techniques de composition de chaque pièce. Par la suite, elle décrit sa propre démarche d’interprète – du déchiffrage de l’œuvre à sa prestation publique et à son enregistrement en studio – et elle commente son expérience à la lumière de la littérature pertinente. Sont abordées, notamment, les difficultés inhérentes au déchiffrage d’une œuvre atonale et les diverses étapes menant à l’identification de ses éléments structuraux; les difficultés relatives à la technique pianistique; l’importance du regroupement d’unités et de l’acquisition d’automatismes corporels; la définition de l’image artistique. Des pistes pédagogiques favorisant l’enseignement et l’apprentissage de l’œuvre sont également présentées.

Cold Nuclear Matter Effects on J/psi Yields as a Function of Rapidity and Nuclear Geometry in d plus A Collisions at root S(NN)=200 GeV

We present measurements of J/psi yields in d + Au collisions at root S(NN) = 200 GeV recorded by the PHENIX experiment and compare them with yields in p + p collisions at the same energy per nucleon-nucleon collision. The measurements cover a large kinematic range in J/psi rapidity (-2.2 < y < 2.4) with high statistical precision and are compared with two theoretical models: one with nuclear shadowing combined with final state breakup and one with coherent gluon saturation effects. In order to remove model dependent systematic uncertainties we also compare the data to a simple geometric model. The forward rapidity data are inconsistent with nuclear modifications that are linear or exponential in the density weighted longitudinal thickness, such as those from the final state breakup of the bound state.

Nuclear modification factors of phi mesons in d plus Au, Cu plus Cu, and Au plus Au collisions at root s(NN)=200 GeV

The PHENIX experiment at the Relativistic Heavy Ion Collider has performed systematic measurements of phi meson production in the K(+)K(-) decay channel at midrapidity in p + p, d + Au, Cu + Cu, and Au + Au collisions at root s(NN) = 200 GeV. Results are presented on the phi invariant yield and the nuclear modification factor R(AA) for Au + Au and Cu + Cu, and R(dA) for d + Au collisions, studied as a function of transverse momentum (1 < p(T) < 7 GeV/c) and centrality. In central and midcentral Au + Au collisions, the R(AA) of phi exhibits a suppression relative to expectations from binary scaled p + p results. The amount of suppression is smaller than that of the pi(0) and the. in the intermediate p(T) range (2-5 GeV/c), whereas, at higher p(T), the phi, pi(0), and. show similar suppression. The baryon (proton and antiproton) excess observed in central Au + Au collisions at intermediate p(T) is not observed for the phi meson despite the similar masses of the proton and the phi. This suggests that the excess is linked to the number of valence quarks in the hadron rather than its mass. The difference gradually disappears with decreasing centrality, and, for peripheral collisions, the R(AA) values for both particle species are consistent with binary scaling. Cu + Cu collisions show the same yield and suppression as Au + Au collisions for the same number of N(part). The R(dA) of phi shows no evidence for cold nuclear effects within uncertainties.