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

"Sole American issue of the original Schott edition."

Le carnaval des animaux, grande fantaisie zoologique.

Suite for 2 pianos, 2 violins, viola, violoncello, double bass, flute (& piccolo) clarinet, glockenspiel & xylophone.

Mus Hs 1156 - Offertorium ex A# "O salutaris hostia" : à 2 cantis, 2 alto, tenore et basso, violino primo, violino secondo, viola, violone con organo

Auth.: Lösel

Mus Hs 1525 - Sinfonia in D# : [la chasse] ; à 2 violini, 2 oboe, 2 fagotti, 2 corni, flauto traverso, viola è basso

del Giuseppe Haydn

Trio in F dur für 2 Violinen und Violoncello (B[asso] c[ontinuo] /

Possibly based on Ms.2423,Q7, of the Dresden Staatsbibliothek.

Quintette für Streichinstrumente.

Contains the Quintets for 2 violins, 2 violas and violoncello, K. 174, 516b (406), 515, 516, 593, and 614; Quintet for violin, 2 violas, violoncello and horn, K. 386c (407); Quintet for clarinet, 2 violins, viola and violoncello, K. 581; Eine kleine Nachtmusik, K. 525.

Molly on the shore; Irish reel on 2 Cork reel tunes set for string four-some or string band.

For 2 violins, viola, violoncello.

Concerto a due violini concertini, 2 violini ripieni, viola, violone e organo, op. 8 /

Publisher's no.: Augener's edition 7417.

Konzert in F-dur für Laute, 2 Violinen und Violoncello /

Mode of access: Internet.

Grand quintuor pour pianoforte, hautbois, (ou flute, ou clarinette, ou violon) violon, viola et violoncelle /

Mode of access: Internet.

Twelve sonatas for two violins : with a bass for the violoncello or harpsichord /

Mode of access: Internet.

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.

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.

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.

[Sonata a tre] Op. 3, No. 5, D dur (da chiesa) für 2 Violinen, Violoncell und Pianoforte /

Mode of access: Internet.