Russian suite for string orchestra with violin obligato ... Op. 81.

Mode of access: Internet.

El movimiento continuo : comedia en tres actos, en verso, original, escrita expresamente para el primer actor D. Manuel Catalina /

Incluye relación completa de obras de los autores.

Scale studies : for violin /

Mode of access: Internet.

Commentarius ad librum sacrum Exodum : quo argumentum rerum ad textum sacrum, continuo tenore, in se, et nexu, auxilio philologiae sacrae, et aliorum, quae pertiment ad antiquitates Hebraicas, earumque rationes literales et mysticas, ex professo, explicantur. Accedunt adnotationes miscellaneae nec non indices, varii, necessarii /

At head of title: Aggaei Haitsma ...

Analecta Güstroviensia, h. d., De inclyta Meclenburgensium civitate Güstrovia urbium in vetustissimo Venedorum Principatu principe : quædam ad notitiam antiquariam ac literariam facientia, memoriamque illustrium ac clarissimorum virorum resuscitantia momenta : et variis editorum pariter ac ineditorum documentorum documentorum latebris studiose conquista, & continuo rerum annorumque nexu ita disposita : ut seriem Historiæ Güstroviensis per DC. annos summatin exhibere, rebusq[ue] Meclenburgicis lucem aliquam afferre possint /

Cuts: head and tail pieces, initials.

The heart of music; the story of the violin,

Mode of access: Internet.

Burrowes' throrough-base primer, containing explanations and examples of the rudiments of harmony; with fifty exercises.

Mode of access: Internet.

Trio in D for two violins and violoncello : concerto no. IV, op. 2 /

For two violins, violoncello, and piano.

24 Exercices pour le violin : préparatoire aux Etudes de R. Kreutzer et P. Rode /

Mode of access: Internet.

Violin concerto in D major, op. 77.

Mode of access: Internet.

Organ repertoire : a book of pipe organ music for church and concert /

(cont.): Cradle song : berceuse / Walter Spinney -- Andantino from Fantasia in C minor / W.A. Mozart -- Marche de fête / Edgar A. Barrell -- Minster march : from Lohengrin / R. Wagner -- Sunrise : op. 7, no. 1 / Sigfrid Karg-Elert -- Song without words = Chant sans paroles : op. 2, no. 3 / P. Tschaikowsky -- Prayer on motives from R. Wagner's Lohengrin : op. 54 / B. Sulze -- Festal march : op. 67, no. 8 / E.R. Kroeger -- Christmas march / G. Merkel -- Duke Street : postlude II / Geo. E. Whiting -- Canzonetta from the Raymond overture / A. Thomas -- Anniversary march : introducing Auld lang syne : op. 10 / J. Lawrence Ebb -- Two cradle songs = Zwei Wiegenliedchen / Herbert Botting -- Minuet from the overture to Berenice / G.F. Handel -- Funeral march = Marche funèbre : op. 35 / Franz Chopin -- March in B♭ / Wm. Faulkes -- The Son of God goes forth to war : postlude VI / Geo. E. Whiting -- Nocturne des anges : op. 18, no. 1 / George F. Vincent -- Hosanna! / Paul Wachs -- Roumanian bridal march / Herbert W. Wareing.

Different routes to pure food allergens: extraction, recombinant techniques and total chemical synthesis for obtaining the plant-food pan-allergen LTP

La richiesta di allergeni puri è in continuo aumento per scopi diagnostici, come standard per metodi di rilevamento e di quantificazione, per l'immunoterapia e per lo studio a livello molecolare dei meccanismi delle reazioni allergiche, al fine di facilitare lo sviluppo di possibili cure. In questa tesi di dottorato sono descritte diverse strategie per l’ottenimento di forme pure di non-specific Lipid Transfer Proteins (nsLTPs), le quali sono state riconosciute essere rilevanti allergeni alimentari in molti frutti e verdure comunemente consumati e sono state definite come modello di veri allergeni alimentari. Una LTP potenzialmente allergenica, non nota in precedenza, è stata isolata dalle mandorle, mentre una LTP dall’allergenicità nota contenuta nelle noci è stata prodotta mediante tecniche di DNA ricombinante. Oltre a questi approcci classici, metodi per la sintesi chimica totale di proteine sono stati applicati per la prima volta alla produzione di un allergene, utilizzando Pru p 3, la LTP prototipica e principale allergene della pesca nell'area mediterranea, come modello. La sintesi chimica totale di proteinepermette di controllarne completamente la sequenza e di studiare la loro funzione a livello atomico. La sua applicazione alla produzione di allergeni costituisce perciò un importante passo avanti nel campo della ricerca sulle allergie alimentari. La proteina Pru p 3 è stata prodotta nella sua intera lunghezza e sono necessari solo due passaggi finali di deprotezione per ottenere il target nella sua forma nativa. Le condizioni sperimentali per tali deprotezioni sono state messe a punto durante la produzione dei peptidi sPru p 3 (1-37) e sPru p 3 (38-91), componenti insieme l'intera proteina. Tecniche avanzate di spettrometria di massa sono state usate per caratterizzare tutti i composti ottenuti, mentre la loro allergenicità è stata studiata attraverso test immunologici o approcci in silico.

"Double Rainbow," "Appalachiana," and "'The Invisible Mass': Exploring Compositional Technique in Alfred Schnittke's Second Symphony"

This dissertation consists of three distinct components: (1) “Double Rainbow,” a notated composition for an acoustic ensemble of 10 instruments, ca. 36 minutes. (2) “Appalachiana”, a fixed-media composition for electro-acoustic music and video, ca. 30 minutes, and (3) “'The Invisible Mass': Exploring Compositional Technique in Alfred Schnittke’s Second Symphony”, an analytical article.

(1) Double Rainbow is a ca. 36 minute composition in four movements scored for 10 instruments: flute, Bb clarinet (doubling on bass clarinet), tenor saxophone (doubling on alto saxophone), french horn, percussion (glockenspiel, vibraphone, wood block, 3 toms, snare drum, bass drum, suspended cymbal), piano, violin, viola, cello, and double bass. Each of the four movements of the piece explore their own distinct character and set of compositional goals. The piece is presented as a musical score and as a recording, which was extensively treated in post-production.

(2) Appalachiana, is a ca. 30 minute fixed-media composition for music and video. The musical component was created as a vehicle to showcase several approaches to electro-acoustic music composition –fft re-synthesis for time manipulation effects, the use of a custom-built software instrument which implements generative approaches to creating rhythm and pitch patterns, using a recording of rain to create rhythmic triggers for software instruments, and recording additional components with acoustic instruments. The video component transforms footage of natural landscapes filmed at several locations in North Carolina, Virginia, and West Virginia into a surreal narrative using a variety of color, lighting, distortion, and time-manipulation video effects.

(3) “‘The Invisible Mass:’ Exploring Compositional Technique in Alfred Schnittke’s Second Symphony” is an analytical article that focuses on Alfred Schnittke’s compositional technique as evidenced in the construction of his Second Symphony and discussed by the composer in a number of previously untranslated articles and interviews. Though this symphony is pivotal in the composer’s oeuvre, there are currently no scholarly articles that offer in-depth analyses of the piece. The article combines analyses of the harmony, form, and orchestration in the Second Symphony with relevant quotations from the composer, some from published and translated sources and others newly translated by the author from research at the Russian State Library in St. Petersburg. These offer a perspective on how Schnittke’s compositional technique combines systematic geometric design with keen musical intuition.

Formal function and phrase structure in contemporary music : Pierre Boulez’s late solo works and Sean Clarke’s "Lucretia Overture" and "4 Impromptus"

Cette thèse présente une théorie de la fonction formelle et de la structure des phrases dans la musique contemporaine, théorie qui peut être utilisée aussi bien comme outil analytique que pour créer de nouvelles œuvres. Deux concepts théoriques actuels aident à clarifier la structure des phrases : les projections temporelles de Christopher Hasty et la théorie des fonctions formelles de William Caplin, qui inclut le concept de l’organisation formelle soudée versus lâche (tight-knit vs. loose). Les projections temporelles sont perceptibles grâce à l’accent mis sur les paramètres secondaires, comme le style du jeu, l’articulation et le timbre. Des sections avec une organisation formelle soudée ont des projections temporelles claires, qui sont créées par la juxtaposition des motifs distincts, généralement sous la forme d'une idée de base en deux parties. Ces projections organisent la musique en phrases de présentation, en phrases de continuité et finalement, à des moments formels charnières, en phrases cadentielles. Les sections pourvues d’une organisation plus lâche tendent à présenter des projections et mouvements harmoniques moins clairs et moins d’uniformité motivique. La structure des phrases de trois pièces tardives pour instrument soliste de Pierre Boulez est analysée : Anthèmes I pour violon (1991-1992) et deux pièces pour piano, Incises (2001) et une page d’éphéméride (2005). Les idées proposées dans le présent document font suite à une analyse de ces œuvres et ont eu une forte influence sur mes propres compositions, en particulier Lucretia Overture pour orchestre et 4 Impromptus pour flûte, saxophone soprano et piano, qui sont également analysés en détail. Plusieurs techniques de composition supplémentaires peuvent être discernés dans ces deux œuvres, y compris l'utilisation de séquence mélodiques pour contrôler le rythme harmonique; des passages composés de plusieurs couches musicales chacun avec un structure de phrase distinct; et le relâchement de l'organisation formelle de matériels récurrents. Enfin, la composition de plusieurs autres travaux antérieurs a donné lieu à des techniques utilisées dans ces deux œuvres et ils sont brièvement abordés dans la section finale.