Udvalg af danske viser fra midten af det 16de aarhundrede til henimod midten af det 18de, med melodier.

"Enforsættelse af de i aarene 1812-14 udgivne kjæmpeviser [(Udvalgte danske viser fra middelalderen, udgivne af Abrahamson, Nyerup, og Rahbek)]"

J.P. Hebel's sämmtliche werke.

"Leben des allemannischen dichters Johann Peter Hebel": v. 1, p. iii-lxxxiii.

Trois duos pour deux violons. Op. 7.

Mode of access: Internet.

Lectures delivered before the Young Men's Christian Association, at Centenery Hall and Freemasons' Hall ...

Vols. 3, 13, 16, 18 include music.

La música en el desarrollo de la espiritualidad y la religiosidad. Una aproximación al Cristianismo y al Budismo

La música puede afectar al individuo en todos sus niveles –físico, mental y espiritual–. El presente artículo se centra en el papel que ésta desempeña en el desarrollo de la vida espiritual y trascendental. Para ello, realizaremos un repaso histórico de su evolución estética y social, abordaremos dicho fenómeno a nivel fisiológico y presentaremos sus aplicaciones clínicas y sociales. Seguidamente y a modo de ejemplo de las concepciones de pensamiento occidental y oriental, trataremos la forma en que el cristianismo y el budismo conciben la música dentro de su doctrina. Finalizaremos con algunas reflexiones sobre el tema.

Plataforma digital de promoción y difusión musical

La industria musical a nivel mundial atraviesa una etapa de transición en varios procesos análogos a digitales y también de formatos físicos, como CD´s por mp3, esto representa para los artistas, nuevos caminos para generar ingresos y facilidades de introducción en la industria. En Ecuador, no se puede hablar de industria musical pues, lo que se ha desarrollado hasta este momento es solo una “escena musical” en donde los artistas intentan salir hacia mercados extranjeros utilizando diferentes herramientas de difusión tanto tradicionales como digitales, siendo pocos quienes consiguen este objetivo y además, rentabilidad en sus carreras musicales. El proyecto de intervención denominado “Construcción de una plataforma digital para la promoción y difusión de artistas musicales del género pop y rock de la ciudad de Cuenca, fundamentado en estrategias digitales creadas bajo el concepto ‘Mezcla de comunicaciones de marketing’, período 2015 -2016”, genera un modelo de negocio experimental basado en soportes digitales y estrategias de marketing y comunicación que benefician la difusión, venta y promoción de los artistas y su material musical. Todo esto con miras a aportar al desarrollo de la escena musical en Ecuador. El modelo de negocio experimental se basa en tres actividades que el Staff 4.32 (nombre de la plataforma digital) brindará como servicios a sus consumidores: 1) generador de contenidos con temáticas referentes a la industria musical, 2) distribución digital de música en tiendas online y 3) sello representante de artistas que forman parte del catálogo de músicos del Staff.

Quintet for wind instruments : (flute, oboe, clarinet, horn, bassoon) op. 24, no. 2 /

"Sole American issue of the original Schott edition."

Música de câmara de Rodil, Pla e Avondano: a flauta na 2ª metade do séc. XVIII e o estilo galante ibérico

O presente trabalho é uma abordagem teórica e interpretativa à música para traverso de António Rodil (c.1730-1787), Pedro Avondano (1714-1782) e dos irmãos Pla. A interação entre as duas componentes do discurso são fundamentos essenciais para uma global compreensão das obras, sendo por sua vez, foco central no tratamento do estilo galante ibérico. A dissertação esta dividida em 5 capítulos; 1. contextualização da prática musical em Portugal na segunda metade do séc. XVIII; 2. o percurso artístico do flautista António Rodil (c.1730-1787); 3. a música de câmara de Pedro Avondano (1714-1782) e a primeira obra conhecida para o traverso em Portugal A Collection ofLisbon Minuets for two Violins or two German flutes and bass (1766); 4. o traverso na obra dos irmãos PLA; 5. reflexões em torno das questões interpretativas.

Designing Web 2.0 ePortfolios for music postgraduate study : A practice-led enquiry

This article examines the design of ePortfolios for music postgraduate students utilizing a practice-led design iterative research process. It is suggested that the availability of Web 2.0 technologies such as blogs and social network software potentially provide creative artist with an opportunity to engage in a dialogue about art with artefacts of the artist products and processes present in that discussion. The design process applied Software Development as Research (SoDaR) methodology to simultaneously develop design and pedagogy. The approach to designing ePortfolio systems applied four theoretical protocols to examine the use of digitized artefacts to enable a dynamic and inclusive dialogue around representations of the students work. A negative case analysis identified a disjuncture between university access and control policy, and the relative openness of Web2.0 systems outside the institution that led to the design of an integrated model of ePortfolio.

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.

THE LESSER-KNOWN PIANO CHAMBER MUSIC OF CAMILLE SAINT-SAENS: A RECORDING PROJECT

Throughout his long and industrious lifetime, Camille Saint-Saens (1835-1921) devoted himself unconditionally to music both as a composer and a performer. Saint-Saens was a self-described traditionalist and musical purist, yet his works are distinctly expressive and imaginative, and they reflect the composer's own unique musical language which incorporates recognizably modem traits such as chromaticism and frequent modulation. As a performer, Saint-Saens preferred to premiere his own works and often included his chamber music in his concert programs. Regarded primarily as a symphonic composer in the present day, however, his extensive and varied collection of chamber music works is sadly neglected. Six varied small-ensemble works with piano from his chamber music repertoire have been selected for study and recording for this project: Piano Trio No. 1 in F Major, Op. 18 (1864); Sonata for Cello and Piano No. 1 inC Minor, Op. 32 (1872); two pieces for two pianos, Le Rouet d'Omphale (The Spinning Wheel ofOmphale), Op. 31 (1871) and Phaeton, Op. 39 (1874); piano duet Konig Harald Haifagar (King Harald Haarfager), Op. 59 (1880); and a wind quartet, Caprice sur des airs Danois et Russes (Caprice on Danish and Russian Airs) for Flute, Oboe, Clarinet and Piano, Op. 79 (1887). Analyses of the forms and harmonic structures of these compositions will be included in this dissertation paper as well as studies from the viewpoint of Saint-Saens' compositional style, ensemble characteristics, and writing for the piano. The recordings for this project were made in four sessions in LeFrak Concert Hall at Queens College, the City University of New York. On September 24, 2003, Op. 31, Op. 39 and Op. 59 were recorded with Professor Morey Ritt, piano. On March 2, 2004, Op. 18 was recorded with Elena Rojas, violin, and Clare Liu, cello, and on March 15, 2004, Op. 32 was recorded, also with Ms. Liu. The Caprice, Op. 79 was recorded on June 27, 2008 with Laura Conwesser, flute; Randall Wolfgang, oboe; and Steve Hartman, clarinet. The recordings may be found on file in the library at the University of Maryland, College Park.

BAROQUE MUSIC FOR TRUMPET: A STUDY OF SOLO AND CHAMBER REPERTOIRE

The trumpet experienced important changes in terms of its musical use during the middle and late Baroque period. Prior to the Baroque, and even in to the first half of the 17th century, the trumpet had historically been used for rather "non-musical" purposes, sometimes as an instrument for battle or as a tool to be used in the town square to announce the arrival of a dignitary. On the whole, the trumpet was most certainly not used as an instrument of melody -that was typically reserved for violins, flutes, and oboes. However, in the late 1600's, composers such as Allesandro Stradella and Henry Purcell began to treat the trumpet differently. They saw the melodic potential in the trumpet and began to feature the trumpet more as an instrument of melody, as opposed to relegating it to only outlining triads and emphasizing harmony. Of course, keyboard, string, and woodwind instruments had long established a significant catalogue of works by the late 17th century. Additionally, even after the trumpet had been established as an instrument of melody, prominent composers of the time still wrote significantly more solo music for these other instrument families than for the trumpet. Consequently, the overall Baroque repertoire for the solo trumpet pales in comparison to that of the other families of instruments. But, much of this Baroque literature not originally written for trumpet can be presented effectively in the form of a transcription, thereby adding greatly to the repertoire of the Baroque solo trumpet. The goal of these three dissertation recitals is twofold: 1) to perform literature that offers music from a variety of countries of origin that span the entire Baroque era and 2) to feature music that has remained relatively unknown in the trumpet world, yet is musically strong. I will also introduce viable "new" music to the trumpet repertoire through Baroque transcriptions originally written for other instruments or voice. The majority of the transcriptions I will be performing have originated from my own listening and study of Baroque music, and I have selected music that I felt would translate well for the trumpet.

Tracing Neoclassical Influences in selected solo and chamber music for the clarinet

The musical period of Neoclassicism began in the 1920's, between the first and second world wars. It was initiated by French composers and eventually spread to other countries. One of the most important themes to emerge from the movement was to escape from the formless, rather emotional music of the Romantic era and instead, emphasize balance, order, objectivity and clarity in musical form. Many popular clarinet repertoires are enjoyed by performers and listeners because the music is enjoyable to play and easy to listen to. In particular, classically influenced clarinet music is quite interesting because it features musical elements from both the past and contemporary musical styles. For instance, some composers have integrated preexisting, more traditional styles of composition with lighter styles of modern culture such as popular music and Jazz. It is difficult to discover purely neoclassical clarinet repertoires even though many composers created their pieces during the neoclassical era. What we most commonly find are both neoclassical and non-neoclassical influences in compositions from that time period. Thus, I aim to trace the influence of neoclassicism in selected clarinet repertoires that exist today. It is my hope that increased awareness and knowledge about accessible clarinet music may encourage the general public to develop a deeper interest in a wider sphere of clarinet music, beyond what is considered popular today. The works performed and discussed in this dissertation are the following: (Recital I) Duo Concertante by Darius Milhaud; Sonata by Leonard Bernstein; Sonata for Two Clarinets by Francis Poulenc; Duos for Flute and Clarinet, Op. 34 by Robert Muczynski; Dance Preludes by Witold Lutoslawski, (Recital II) Sonatine by Arthur Honegger; Time pieces by Robert Muczynski; Suite for Clarinet, Violin and Piano by Darius Milhaud; Sonate for Clarinet, Flute and Piano by Maurice Emmanuel; Tarantelle for Flute, Clarinet and Piano, Op. 6 by Camille Saint-Saëns, (Recital III) Sonatina by Joseph Horovitz; Suite from L'histoire du Soldat for Clarinet, Violin and Piano by Igor Stravinsky; Contrasts for Clarinet, Violin and Piano by Béla Bartók The recitals that took place on December 1, 2012 and on April 25, 2013 were performed in the Ulrich Recital Hall of the Clarice Performing Arts Center in College Park, Maryland. The recital that took place on November 2, 2013 was performed at the Gildenhorn Recital Hall of the same performing arts center.

Valse mignonne, op. 16, no. 2 ... [music] /

Mode of access: Internet.

The dance music of Scotland; a collection of all the best reels and strathspeys both of the highlands and lowlands, for the pianoforte; arranged and edited by J. T. Surenne. 2. ed.

"Printed collections of ancient and modern Scottish melodies": p. xi-xvi.