The holy cross and other tales /

The Holy Cross -- The rose and the thrush -- The pagan seal-wife -- Flail, Trask, and Bisland -- The touch in the heart -- Daniel and the devil -- Methuselah -- Félice and Petit-Poulain -- The river -- Franz Abt -- Mistress Merciless -- The platonic bassoon -- Hawaian folk tales -- Lute Baker and his wife 'Em -- Joel's talk with Santa Claus -- The lonesome little shoe.

Makveth.

Modern Greek text.

Trio no. 1 for piano, violin and cello (both versions) in B minor, op.8.

Contains both the 1854 and the 1891 versions.

To Rizokastron : (apo tas palaias Athēnas) : historikos hodēgos /

Gift of the Program in Hellenic Studies with the support of the Stanley J. Seeger Hellenic Fund.

Dreimal sieben Gedichte aus Albert Girauds Pierrot Lunaire : op. 21 : für eine Sprechstimme, Klavier, Flöte (auch Piccolo), Klarinette (auch Bass-Klarinette), Geige (auch Bratsche), und Violoncello /

For narrator, flute (and piccolo), clarinet (and bass clarinet), violin (and viola), violoncello, and piano.

Psychiatric genetics in Australia

Australian research in psychiatric genetics covers molecular genetic studies of depression, anxiety, alcohol dependence, Alzheimer's disease, bipolar disorder, schizophrenia, autism, and attention deficit hyperactivity disorder. For each disorder, a variety of clinical cohorts have been recruited including affected sib pair families, trios, case/controls, and twins from a large population-based twin registry. These studies are taking place both independently and in collaboration with international groups. Microarray studies now complement DNA investigations, while animal models are in development An Australian government genome facility provides a high throughput genotyping and mutation detection service to the Australian scientific community, enhancing the contribution of Australian psychiatric genetics groups to gene discovery. (C) 2003 Lippincott Williams Wilkins.

Elaboração de material pré-composicional através de expansão de procedimentos do sistema Schillinger de composição musical

The work aims at investigating possibilities of extending compositional procedures, based on the Schillinger System of Musical Composition (SSMC). I start by elaborating a brief historical review on SSMC, which is followed by a critical review of the System. The work includes a state of the art on the research on this topic, performed upon analysis of the current work conducted by a research group from the UFRN Music School from which I also make part. The main line of the research is to elaborate on the suggestion of extending the SSMC concept of place of attack to the idea of place of instrumentation, through developing a binary instrumentation procedure. The experimentation on the thesis‟ hypothesis is presented in my composition titled “Suíte Grega” (Greek Suite), a compositional memoir for Oboe, Saxophone and 3 Cellos.

Explorando a execução de técnicas estendidas no oboé encontradas em quatro peças contemporâneas

This dissertation presents an investigation of the evolutionary process of extended oboe techniques, through literary analysis and practical research. The objective of this work is to provide assistance to oboists interested in learning these techniques. Additionally, this work encourages the student, through the process of experimentation, to explore the questions that may arise around the aesthetics of sound, the concept of gesture as an additional visual and aural element in music, and the collaboration and “real-time” creation processes. Discussed within the work, are the relationship between the instrument (the oboe) and extended techniques, and two possible definitions of extended techniques, provided by Luk Vaes (2009) and Gardner Read (1993). Also explored are the how and why some composers have utilized extended techniques in their compositions, including brief discussions relating to extended techniques in real-time composition (improvisation), extended techniques and technological resources, theatrical gesture as an extended technique, and suggestions of how musicians might approach theatrical gestures in performance. Four works were visited: “I Know This Room So Well” – Lisa Bielawa (2007-9); “Four Pieces for Oboe and Piano” – Ernst Krenek (1966); “In Freundschaft” – Karlheinz Stockhausen (1978); “Atem” – Mauricio Kagel (1969-70); and an exploration of the difficulties and solutions associated with each extended technique found within these pieces, was carried out. The following founding works on extended oboe techniques were used, as a basis for research: books - Heinz Holliger’s Pro Musica Nova (1972); Gardner Read’s Compendium of Modern Instrumental Techniques (1993); Peter Veale & Claus-Steffen Mahnkopf’s The Techniques of Oboe Playing (1994); and Libby Van Cleve’s Oboe Unbound: Contemporary Techniques (2004); and articles - Nora Post’s “Monophonic sound resources for the oboe: Part I – Timbre” (1984), “Part II- Pitch and other techniques” (1984), and “Multiphonics for the oboe” (1982).

Uma descrição sonora contemporânea do imagético tradicional armorial como subsídio para abordagens interpretativas do ciclo de canções “Visagem” de Nelson Almeida

This study suggests sonorous ambiences from the propose of images configured according to the description in “A Visagem da Moça Caetana” by Ariano Suassuna in order to create individual sonorous possibilities that may help musicians to play the piece. The cycle, composed in 1996 (for voice, viola, cello, bass clarinet/clarinet), is formed by three untitled songs. Its text is an excerpt from the “Folheto XLIV”, from the Romance d’A Pedra do Reino e o príncipe do sangue do vai-e-volta, and describes a sentence of death illustrated by symbols of the Armorial imagery, with neologisms and the peculiar accent from the Sertão in northeast Brazil. In addition to the analysis of technical difficulties to play, this study informs interpreters of the sonorous timbre and texture used by Nelson Almeida to describe tradition through contemporary musical language. The metaphors and transgressions of reason in Suassuna’s book were explored to create three image compositions so that they may lead interpreters to the sonorous description of the inanimate objects and the affections to which the poetry refers, expanding any technical-interpretative indications limited by musical notation. This research used the Visagem scores, the literature on the theme, discussions with the musicians that played the piece, interviews with Almeida, and composers’ reports. To illustrate the theory, the three images are available, printed as woodcut in cordel literature.

Short-term temporal and spatial variations in physical, optical and biogeochemical parameters in June of 2013 in Alfacs Bay (NW Mediterranean)

With the aim of analyzing the complex physical and biogeochemical interactions at high temporal and spatial resolution in the complex estuarine waters of Alfacs Bay, a beam attenuation-based approach was used as optical proxy of different biogeochemical variables. Thus, the dataset contains the attenuation proxies as well as laboratory results from the analysis of water samples, which were used to validate our approach. In addition, the major physical forcing in the Bay was also measured.

Downwelling spectral irradiance as measured in different depths, remote sensing reflectance and phytoplankton pigment concentration during POLARSTERN cruises ANT-XXIV/1, ANT-XXIV/4, ANT-XXVI/4 and Maria S. Merian cruise MSM18/3

The composition and abundance of algal pigments provide information on phytoplankton community characteristics such as photoacclimation, overall biomass and taxonomic composition. In particular, pigments play a major role in photoprotection and in the light-driven part of photosynthesis. Most phytoplankton pigments can be measured by high-performance liquid chromatography (HPLC) techniques applied to filtered water samples. This method, as well as other laboratory analyses, is time consuming and therefore limits the number of samples that can be processed in a given time. In order to receive information on phytoplankton pigment composition with a higher temporal and spatial resolution, we have developed a method to assess pigment concentrations from continuous optical measurements. The method applies an empirical orthogonal function (EOF) analysis to remote-sensing reflectance data derived from ship-based hyperspectral underwater radiometry and from multispectral satellite data (using the Medium Resolution Imaging Spectrometer - MERIS - Polymer product developed by Steinmetz et al., 2011, doi:10.1364/OE.19.009783) measured in the Atlantic Ocean. Subsequently we developed multiple linear regression models with measured (collocated) pigment concentrations as the response variable and EOF loadings as predictor variables. The model results show that surface concentrations of a suite of pigments and pigment groups can be well predicted from the ship-based reflectance measurements, even when only a multispectral resolution is chosen (i.e., eight bands, similar to those used by MERIS). Based on the MERIS reflectance data, concentrations of total and monovinyl chlorophyll a and the groups of photoprotective and photosynthetic carotenoids can be predicted with high quality. As a demonstration of the utility of the approach, the fitted model based on satellite reflectance data as input was applied to 1 month of MERIS Polymer data to predict the concentration of those pigment groups for the whole eastern tropical Atlantic area. Bootstrapping explorations of cross-validation error indicate that the method can produce reliable predictions with relatively small data sets (e.g., < 50 collocated values of reflectance and pigment concentration). The method allows for the derivation of time series from continuous reflectance data of various pigment groups at various regions, which can be used to study variability and change of phytoplankton composition and photophysiology.

Les caractères musicaux au sein d'une démarche artistique dramatique : exploration des indices acoustiques jouant un rôle dans l'évocation des états affectifs en musique

Cette thèse de doctorat en composition comprend deux projets de nature différente et complémentaire : (1) un projet de recherche théorique sur la communication des caractères musicaux; (2) un projet artistique s'articulant autour de la composition de trois pièces : L'homme à deux têtes - opéra de chambre, Un instant dans l'esprit de Lovecraft - pour clarinette solo, orchestre à cordes et percussions, et Balade ornithologique - pour orchestre à vents. La conception de la musique comme un moyen de communication est à l'origine de cette recherche théorique qui est motivée par un désir de compréhension des stratégies d'expressions des émotions en musique, à partir du point de vue du compositeur. Cette thèse aborde les modèles de communication, le concept de personnage virtuel et la théorie de la contagion des humeurs. Par la suite, nous détaillerons les indices acoustiques menant à la perception des caractères musicaux. Toutes ces notions sont illustrées et explorées par la composition de miniature ayant un caractère bien ciblé. Finalement, nous proposons un système d'analyse musical des caractères et des émotions qui est appliqué à l'analyse de sections des pièces composées au cours de ce projet de doctorat. Ce dernier chapitre met en lumière les stratégies utilisées pour créer un discours dramatique tout en exposant l'évocation de différents caractères musicaux.

"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.