Vingt suites d'orchestre du XVIIe siècle français /

v. 1. Etude historique. Les facsimilés du manuscrit de Cassel avec l'ancien et le nouveau classement.--v. 2. Partition d'orchestre et réduction pour le piano.

Les oeuvres de Arcangelo Corelli /

Prefaces by Chrysander in English and German.

Mannheimer Kammermusik des 18. Jahrhunderts /

II. Verzeichnis der Druckausgaben und thematischer Katalog der Mannheimer Kammermusik des 18. Jahrhunderts. Musiktext (II. Teil: Trios und Duos (ohne Klavier und mit obligatem Klavier)) Richter, F. X. Klaviertrio nr. 6, G moll. Stamitz, Johann. Triosonate, Es dur. Sonata da camera op. 6 IV, A dur. Toeschi, Joseph. Klaviertrio nr. 4, G dur. Filtz, Anton. Streichtrio op. 3 II. A dur. Klaviertrio op. 4 III. C dur. Eichner, Ernst. Klaviertrio op. 1 III, C moll; op. 2 nr. I, A dur. Sterkel, F. X. Violinsonate op. 18 II, G dur. Cramer, Wilhelm. Streichtrio op. 3 II, B dur. Stamitz, Karl. Streichtrio op. 2 I, B dur. Sonata par la viola d'amore e basso. Edelmann, J. F. Klavier-Violin-Sonate op. 2 I, C moll; op. 4 III, F moll. Stamitz, Anton. Streichtrio op. 4 I, Es dur. Stamitz, Karl. Orchesterquartett op. 4 I, C dur.

Musikalisches Vielerley /

Vocal texts chiefly in German.

Vingt sui̧tes d'orchestre du XVIIe siècle français, publiees pour la première fois d'après un manuscrit de la Bibliothèque de Cassel et prédédées d'une étude historique

The editor's thesis, Paris.

Ausgewählte Werke des kurfürstlich bayerischen Concertmeister Evaristo Felice dall'Abaco (1675-1742) ...

No more published.

Danceries (Ier volume)

For 4-5 instruments.

Celebrities in El Dorado, 1850-1906.

"A biographic record of 111 prominent musicians who have visited San Francisco and performed here from the earliest days of the gold rush era to the time of the great fire, with additional lists of visiting celebrities (1906-1940), chamber music ensembles, bands, orchestras, and other music-making bodies."--2d prelim. leaf.

Musical commonplace book : manuscript, [approximately 1790-approximately 1810]

Contains songs, partly from English operas, and instrumental music.

Nowhere Landscape, for Clarinets, Trombones, Percussion, Violins, and Electronics and “The Map and the Territory: Documenting David Dunn’s Sky Drift”

1. nowhere landscape, for clarinets, trombones, percussion, violins, and electronics

nowhere landscape is an eighty-minute work for nine performers, composed of acoustic and electronic sounds. Its fifteen movements invoke a variety of listening strategies, using slow change, stasis, layering, coincidence, and silence to draw attention to the sonic effects of the environment—inside the concert hall as well as the world outside of it. The work incorporates a unique stage set-up: the audience sits in close proximity to the instruments, facing in one of four different directions, while the musicians play from a number of constantly-shifting locations, including in front of, next to, and behind the audience.

Much of nowhere landscape’s material is derived from a collection of field recordings

made by the composer during a road trip from Springfield, MA to Douglas, WY along US- 20, a cross-country route made effectively obsolete by the completion of I-90 in the mid- 20th century. In an homage to artist Ed Ruscha’s 1963 book Twentysix Gasoline Stations, the composer made twenty-six recordings at gas stations along US-20. Many of the movements of nowhere landscape examine the musical potential of these captured soundscapes: familiar and anonymous, yet filled with poignancy and poetic possibility.

2. “The Map and the Territory: Documenting David Dunn’s Sky Drift”

In 1977, David Dunn recruited twenty-six musicians to play his work Sky Drift in the

Anza-Borrego Desert in Southern California. This outdoor performance was documented with photos and recorded with four stationary microphones to tape. A year later, Dunn presented the work in New York City as a “performance/documentation,” playing back the audio recording and projecting slides. In this paper I examine the consequences of this kind of act: what does it mean for a recording of an outdoor work to be shared at an indoor concert event? Can such a complex and interactive experience be successfully flattened into some kind of re-playable documentation? What can a recording capture and what must it exclude?

This paper engages with these questions as they relate to David Dunn’s Sky Drift and to similar works by Karlheinz Stockhausen and John Luther Adams. These case-studies demonstrate different solutions to the difficulty of documenting outdoor performances. Because this music is often heard from a variety of equally-valid perspectives—and because any single microphone only captures sound from one of these perspectives—the physical set-up of these kind of pieces complicate what it means to even “hear the music��� at all. To this end, I discuss issues around the “work itself” and “aura” as well as “transparency” and “liveness” in recorded sound, bringing in thoughts and ideas from Walter Benjamin, Howard Becker, Joshua Glasgow, and others. In addition, the artist Robert Irwin and the composer Barry Truax have written about the conceptual distinctions between “the work” and “not- the-work”; these distinctions are complicated by documentation and recording. Without the context, the being-there, the music is stripped of much of its ability to communicate meaning.

Clarinetas em Si Bemol e em Fá: diferenças acústicas e interpretativas

ALBERTO,Gabriel Gagliano Pinto. Clarinetas em Si Bemol e em Lá: diferenças acústicas e interpretativas. Belo Horizonte, MG, 2004. Orientador: Prof. Dr. Maurício Alves Loureiro. Dissertação (Mestrado) - Escola de Música da Universidade Federal de Minas Gerais.

Deep Decline

Thesis (Ph.D.)--University of Washington, 2016-08

Instructivo pedagógico de “Guardianes del Cosmos”, 30 piezas de acercamiento a la música contemporánea de cámara

El presente trabajo es un instructivo pedagógico complementario de la obra de Cámara “Guardianes del Cosmos”, un material producto compositivo que se propone para la práctica de música contemporánea de cámara en niveles de iniciación instrumental, pre-banda y pre-orquesta -- Este instructivo se basa en los grados de dificultad sugeridos por el Ministerio de Cultura de Colombia para las prácticas aludidas y tiene, como punto de partida, la necesidad de un material multinivel que desarrolle, además, otras estéticas musicales -- Se incluyen lenguajes como politonalidad, bitonalidad, bimodalidad, polimetría, heterometría y formas de escrituras no convencionales, que puedan servir para la práctica instrumental, de cara a la formación de un instrumentista integral y con fundamentos para una formación profesional

Clarinetas em Si Bemol e em Fá: diferenças acústicas e interpretativas

ALBERTO,Gabriel Gagliano Pinto. Clarinetas em Si Bemol e em Lá: diferenças acústicas e interpretativas. Belo Horizonte, MG, 2004. Orientador: Prof. Dr. Maurício Alves Loureiro. Dissertação (Mestrado) - Escola de Música da Universidade Federal de Minas Gerais.

Tracing Beethoven Through the Ten Sonatas for Piano and Violin

Examination of Beethoven’s ten sonatas for piano and violin as a single arc, to uncover linkages between the individual sonatas and observe their stylistic evolution as a set, benefits from placing these works also in relation to the wider realm of Beethoven’s chamber music as a whole. During the years in which his sonatas for piano and violin were written, Beethoven often produced multiple works simultaneously. In fact, the first nine sonatas for piano and violin were written within a mere five-year span (1798 – 1803.) After a gap of nine years, Beethoven completed his tenth and final sonata, marking the end of his “Middle Period.” Because of this distribution, it is important to consider each of these sonatas not only as an interdependent set, but also in relation to the whole of Beethoven’s output for small ensemble. Beethoven wrote the last of his piano and violin sonatas in 1812, with a decade and a half of innovation still ahead of him. This provokes one to look beyond these sonatas to discover the final incarnation of the ideas introduced in these works. In particular, the key creative turning points within the ten sonatas for piano and violin become strikingly apparent when compared to Beethoven’s string quartets, which dramatically showcase Beethoven’s evolution in sixteen works distributed more or less evenly across his career. From the perspective of a string quartet player, studying the ten sonatas for piano and violin provides an opportunity to note similarities between the genres. This paper argues that examining the ten sonatas from a viewpoint primarily informed by Beethoven’s string quartets yields a more thorough understanding of the sonatas themselves and a broader conception of the vast network of interrelationships that produce Beethoven’s definitive voice. The body of this paper contains a full exploration of each of the ten sonatas for piano and violin, highlighting key musical, historical, and theoretical elements. Each of the sonatas is then put not only in context of the set of ten, but is contrasted with Beethoven’s sixteen string quartets, identifying unifying motives, techniques, and structural principles that recur across both bodies of work.