Te Deum laudamus : (Herr Gott, dich loben wir) D dur, für Chor- und Solo-Stimmen, mit Begleitung des Orchesters und der Orgel /

For solo voices (SSAA), chorus (SATB), orchestra and organ; Latin and German words.

The Lord is King (Dominus regnavit) Psalm XCVII.

English words.

Stabat Mater. Partitur für das grosse Orchester, und mit Choeren instrumentirt

For solo voices (SA), chorus (SATB) and orchestra; originally for SA, 2 violins, viola, and figured bass.

Stabat Mater.

Latin words.

Sanctus in C major; Sanctus in D major; Sanctus in D minor; Sanctus in G major; Sanctus in D major; Kyrie eleison; Christe eleison; Sinfonia in F major /

Mode of access: Internet.

L'an mil; poème symphonique, avec choeurs.

Pl. no. E.& C.3697.

Scène de ballet for violin with accompaniment of orchestra or piano, op. 100. [music] /

Mode of access: Internet.

I palpiti : op. 13 : for violin with accompaniment of orchestra (or piano) /

Introduction, theme (from Rossini's Tancredi), and 3 variations.

Andante and scherzo capriccioso : for the violin, with accompaniment of orchestra or piano, op. 16 /

Originally for violin and orchestra; acc. arr. for piano.

Taylor's Choral anthems : no. 1 : a new collection of choruses, anthems, quartetts, trios, duets and solos : original and selected, for singing societies, choirs and social musical circles /

Bound in blue, paper covered boards with cloth spine. Advertisements for "Choruses, anthems, quartetts, trios, duets and solos to appear in the following numbers of Taylor's choral anthems" p. p [4] of cover.

Musica sacra : or Springfield and Utica collections united: consisting of psalm and hymn tunes, anthems and chants; arranged for two, three or four voices, with a figured bass for the organ or piano forte.

Combines the "Springfield collection", edited by Warriner (Springfield, 1813) and "Musica sacra", published for the Oneida musical society (Utica, 1816)

Male quartettes : sacred and secular : A choice collection of the most popular sacred and seculat male quartettes /

Sacred. Beyond the smiling and the weeping -- Come, ye disconsolate -- Consolation -- I am with thee -- I can trust -- It is not death -- Jesus, my Lord -- Keep praying at the gate -- Nearer -- Nearer my home -- Pray for the wanderer -- Remember me, o mighty one -- Rock of ages -- Steal away -- Sweet hour of prayer -- They crucified my Lord -- We are going down the valley -- When the mists have cleared away -- Secular. A little farm well tilled -- Brightly now the moon is beaming -- Call John -- Gideon's band -- Love -- Night wind -- Oft in the stilly night -- O, I am a merry sailor lad -- Poor old Joe -- Say so -- Sleep on thy pillow -- Stars of the summer night -- The cobbler and the crow -- The school master -- The tack -- Three crows -- Three little kittens -- Who built the ark? -- Wouldn't you like to know.

Song of triumph for tenor solo, men's chorus and orchestra. Op.55.

Mode of access: Internet.

Resonance : a music director’s theomusicological study of ‘praise’ and ‘glory’ in a selection of four liturgical music excerpts

Some of my most powerful spiritual experiences have come from the splendorous and sublime sounding hymns performed by a choir and church organ at the traditional Anglican church I’ve attended since I was very young. In the later stage of my life, my pursuit of education in the field of engineering caused me to move to Australia where I regularly attended a contemporary evangelical church and subsequently became a music director in the faith community. This environmental and cultural shift altered my perception and musical experiences of Christian music and led me to enquire about the relationship between Christian liturgy and church music. Throughout history church musicians and composers have synthesised the theological, congregational, cultural and musical aspects of church liturgy. Many great composers have taken into account the conditions surrounding the process of sacred composition and arrangement of music to enhance the experience of religious ecstasy – they sought resonances with Christian values and beliefs to draw congregational participation into the light of praising and glorifying God. As a music director in an evangelical church this aspiration has become one I share. I hope to identify and define the qualities of these resonances that have been successful and apply them to my own practice. Introduction and Structure of the Thesis In this study I will examine four purposively selected excerpts of Christian church vocal music combining theomusicological and semiotic analysis to help identify guidelines that might be useful in my practice as a church music director. The four musical excerpts have been selected based upon their sustained musical and theological impact over time, and their ability to affect ecstatic responses from congregations. This thesis documents a personal journey through analysis of music and uses a context that draws upon ethno-musicological, theological and semiotic tools that lead to a preliminary framework and principles which can then be applied to the identified qualities of resonance in church music today. The thesis is comprised of four parts. Part 1 presents a literature study on the relationship between sacred music, the effects of religious ecstasy and the Christian church. Multiple lenses on this phenomenon are drawn from the viewpoints of prominent western church historians, Biblical theologians, and philosophers. The literature study continues in Part 2, where the role of embodiment is examined from the current perspective of cognitive learning environments. This study offers a platform for a critical reflection on two distinctive musical liturgical systems that have treated differently the notion of embodied understanding amidst a shifting church paradigm. This allows an in-depth theological and philosophical understanding of the liturgical conditions around sacred music-making that relates to the monistic and dualistic body/mind. Part 3 involves undertaking a theomusicological methodology that utilises creative case studies of four purposively selected spiritual pieces. A semiotic study focuses on specific sections of sacred vocal works that express the notions of ‘praise’ and ‘glorification’, particularly in relation to these effects,which combine an analysis of theological perspectives around religious ecstasy and particular spiritual themes. Part 4 presents the critiques and findings gathered from the study that incorporate theoretical and technological means to analyse the purposive selected musical artefact, particularly with the sonic narratives expressing notions of ‘Praise' and 'Glory’. The musical findings are further discussed in relation to the notion of resonance, and then a conceptual framework for the role of contemporary musicdirector is proposed. The musical and Christian terminologies used in the thesis are explained in the glossary, and the appendices includes tables illustrating the musical findings, conducted surveys, written musical analyses and audio examples of selected sacred pieces available on the enclosed compact disc.

TRIO LOGIC REGRESSION - DETECTION OF SNP - SNP INTERACTIONS IN CASE-PARENT TRIOS

Statistical approaches to evaluate higher order SNP-SNP and SNP-environment interactions are critical in genetic association studies, as susceptibility to complex disease is likely to be related to the interaction of multiple SNPs and environmental factors. Logic regression (Kooperberg et al., 2001; Ruczinski et al., 2003) is one such approach, where interactions between SNPs and environmental variables are assessed in a regression framework, and interactions become part of the model search space. In this manuscript we extend the logic regression methodology, originally developed for cohort and case-control studies, for studies of trios with affected probands. Trio logic regression accounts for the linkage disequilibrium (LD) structure in the genotype data, and accommodates missing genotypes via haplotype-based imputation. We also derive an efficient algorithm to simulate case-parent trios where genetic risk is determined via epistatic interactions.