Trio VIII in D minor, K.442, for piano, violin and violoncello. [music] /

Cover title.

Concerto no. 3 in G major, Köchel no. 216 for violin & pianoforte. [music] /

Acc. originally for orchestra.

Sonate, violin and piano, op. 21. No. 710 (S.). [music].

Mode of access: Internet.

Exaltation : for violin, violoncello, harp (or piano) and organ. [music] /

Cover title.

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

Mode of access: Internet.

First violin sonata. [music].

Mode of access: Internet.

Trio III [in C minor] [Music] op. 1, no. 3, for piano, violin and violoncello.

Mode of access: Internet.

Romance for violin, organ, violoncello and harp. [music] /

Caption title: Romance in B for violin, violoncello, harp and organ (or piano).

Nonet, F major, for violin, viola, violoncello, double-bass, flute, oboe, clarinet, horn and bassoon, op. 31. [music] /

"Edition Eulenburg no. 97".

The school of violin-technics. [music] /

Section I. Exercises for promoting dexterity in the various positions -- Section II. Exercises in double-stops -- Section III. Exercises in the different modes of bowing.

La folia. [music] : variations sérieuses pour le violin /

Stamped on t.p.: Sole agents: C. F. Peters Corp., New York, N.Y.

Märchenbilder = [music] : Pictures from fairyland : four pieces for viola (or violin) and piano, op. 113 /

Reproduction (printout).

The heart of music; the story of the violin,

Mode of access: Internet.

STUDENT'S-t MIXTURE MODEL BASED MULTI-INSTRUMENT RECOGNITION IN POLYPHONIC MUSIC

We address the problem of multi-instrument recognition in polyphonic music signals. Individual instruments are modeled within a stochastic framework using Student's-t Mixture Models (tMMs). We impose a mixture of these instrument models on the polyphonic signal model. No a priori knowledge is assumed about the number of instruments in the polyphony. The mixture weights are estimated in a latent variable framework from the polyphonic data using an Expectation Maximization (EM) algorithm, derived for the proposed approach. The weights are shown to indicate instrument activity. The output of the algorithm is an Instrument Activity Graph (IAG), using which, it is possible to find out the instruments that are active at a given time. An average F-ratio of 0 : 7 5 is obtained for polyphonies containing 2-5 instruments, on a experimental test set of 8 instruments: clarinet, flute, guitar, harp, mandolin, piano, trombone and violin.

STUDIES AND PERFORMANCES OF TRANSCRIPTIONS FOR CELLO FROM THE VIOLIN REPERTOIRE

The potential of the violoncello as a solo instrument was recognized and supported by cellists such as Luigi Boccherini (1743-1805), Luis Duport (1749-1819), Auguste Franchomme (1808-1884), and Alfredo Piatti (1822-1901). These pioneers composed technically demanding etudes, exercises, and caprices for the cello that were comparable to those already present in the violin literature. Even so, in the late nineteenth century and early twentieth century, considerably fewer substantial works were brought forth for the cello as compared with the violin. Consequently, many cellists such as Luigi Silva (1903-1961), Gregor Piatigorsky (1903-1976), Pierre Fournier (1906-1986), and Janos Starker (b. 1924) selected notable pieces from the violin repertoire and transcribed these for the cello. Some composers themselves actually adapted for the cello their own works originally written for the violin. Johannes Brahms with his Violin Sonata Op. 78, Igor Stravinsky with his Suite Italienne, and Béla Bartók with his First Rhapsody all belong to this category. Adaptations such as these further raised awareness among composers and performers of the possibilities of the cello as an independent and expressive instrument. Thus, many composers from the early 1900s to the present were encouraged to write increasing numbers of more soloistic and demanding works for cello. Herein, I explore the repertoire of cello transcriptions in order to analyze the differences between the original and transcribed versions and the challenges found therein. The performer may attempt to recreate the effect originally intended for the violin or, more daringly, may strive to search for alternate presentations of the music more suitable and expressive of the cello's own character. The project includes two recitals of the following transcribed works presented at the University of Maryland College Park, School of Music: Sonata in A by César Franck, transcribed by Jules Delsart, Variations on a Theme from Rossini by Nicolo Paganini, transcribed by Fournier, Suite Italienne by Igor Stravinsky, transcribed with the help of Piatigorsky, Sonatina Op. 137, No. 1 by Franz Schubert, transcribed by Starker, First Rhapsody by Béla Bartók and Sonata, Op. 108 by Johannes Brahms, transcribed by Hsiao-mei Sun.