Schottische Bilder, Op. 112 : componirt für Clarinette und Pianoforte oder Violoncello und Piano ... /

Photocopy with label on title page: availables from J. Boonin, Inc., Music Publications, Hachensack, N.J.

2ème trio (en mi mineur) pour piano, violon et violoncelle, op. 92 /

Mode of access: Internet.

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.

Quintette, pour flûte, hautbois, clarinette, basson et piano.

Mode of access: Internet.

Kleine Kammermusik, für fünf Bläser (Flöte, Oboe, Klarinette, Horn, Fagott) Op. 24, Nr. 2.

For flute, oboe, clarinet, horn and bassoon, piccolo replacing flute in the 2d movement.

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

Contains both the 1854 and the 1891 versions.

"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.

The Emergence of Spanish Impressionism and its Interaction with French Impressionism in Music at the Turn of the Twentieth Century: selections from the solo and collaborative piano repertoire

French Impressionism is a term which is often used in discussing music originating in France towards the end of the nineteenth century. The term Spanish Impressionism could also be used when discussing Spanish music written by the Spanish composers who studied and worked in Paris at the same time as their French counterparts. After all, Spanish music written during this time exhibits many of the same characteristics and aesthetics as French music of the same era. This dissertation will focus on the French and Spanish composers writing during that exciting time. Musical impressionism emphasizes harmonic effects and rhythmic fluidity in the pursuit of evocative moods, sound pictures of nature or places over the formalism of structure and thematic concerns. The music of this time is highly virtuosic as well as musically demanding, since many of the composers were brilliant pianists. My three dissertation recitals concentrated on works which exhibited the many facets of impressionism as well as the technical and musical challenges. The repertoire included selections by Spanish composers Manuel de Falla, Isaac Albéniz, Enrique Granados, Joaquín Turina, and Joaquín Rodrigo and French composers Claude Debussy and Maurice Ravel. The recitals were on April 30, 2013, February 23, 2014 and October 11, 2015. They included solo piano works by Granados and Albéniz, vocal works by Debussy, Ravel, de Falla, Turina and Rodrigo, piano trios by Granados and Turina, instrumental duos by Debussy, Ravel and de Falla, and a two-piano work of Debussy transcribed by Ravel. All three recitals were held in Gildenhorn Recital Hall at the University of Maryland and copies of this dissertation and recordings of each recital may be found through the Digital Repository at the University of Maryland (DRUM).

The twentieth century jazz piano trio: the rise of an iconic jazz paradigm

Considerando a gravação de 1947 The Bud Powell Trio como a gravação referência de trio de piano de jazz moderno, esta tese centra-se no surgimento e evolução do trio de jazz moderno cujo líder é pianista. Começando por apresentar, uma resenha dos estilos e técnicas para piano de da época pre-Powell, esta tese investiga a génese dos trios de piano jazz e examina três dos mais influeciais pianostas de jazz e lideres dos mais legendários trios de piano jazz modernos: Bud Powell, Bill Evans e Keith Jarrett. Esta tese também abordará o paradoxo inerente a um sistema democrático - a expressão própria do individuo, em justaposição com a responsabilidade para com o todo – e a sua inequivoca analogia com o gestalt do trio de piano de jazz moderno. Desde a primeira gravação de um trio de jazz com pianista como líder em 1935, o trio de jazz moderno, evoluiu tornando-se um exemplo de democracia – um contexto de igualdade em que as funções rítmicas, harmónicas, e melódicas estão igualmente distribuídas entre os três instrumentistas, que são ao mesmo tempo solistas e acompanhadores. Esta tese sublinha a eficácia do trio de jazz moderno – o seu início, e porque subsiste – baseado na sua força e beleza estética; ABSTRACT: THE TWENTIETH CENTURY JAZZ PIANO TRIO – The Rise of an Iconic Jazz Paradigm by Susan Muscarella Designating Bud Powell’s 1947 recording, The Bud Powell Trio, as the modern jazz piano trio benchmark, here, this thesis traces the emergence and evolution of the pianistled, piano-bass-drums-comprised modern jazz piano trio. Beginning with a general overview of pre-Powell jazz piano styles and techniques, this thesis investigates the earliest, most salient pre-Powell jazz piano trios, and examines three seminal modern jazz pianists and leaders of legendary modern jazz piano trios, Bud Powell, Bill Evans and Keith Jarrett. This thesis also brings to the fore the paradox inherent in a democratic system – individual self-expression juxtaposed with responsibility to the whole – and its unequivocal analogy to the modern jazz piano trio gestalt. From the earliest recording of a primarily piano-dominated piano-bass-drums-comprised jazz piano trio in 1935, the modern jazz piano trio has evolved to become a paragon of democracy – an egalitarian playing field in which rhythmic, harmonic and melodic roles are evenly distributed among all three instrumentalists who have come to serve as both soloists and accompanists.

Zoroastrianism, Cosmology, and Chaos: A Detailed Analysis of the Musical Composition, Druj Aeterni

Druj Aeterni is a large chamber ensemble piece for flute, clarinet, French horn, two trumpets, piano, two percussionists, string quintet, and electric bass. My composition integrates three intellectual pursuits and interests, ancient mythology, cosmology, and mathematics. The title of the piece uses Latin and the language of the Avesta, the holy book of Zoroastrianism, and comments upon a philosophical perspective based in string theory. I abstract the cosmological implications of string theory, apply them to the terminology and theology of Zoroastrianism, and then structure the composition in consideration of a possible reconciliation. The analysis that follows incorporates analytical techniques similar to David Cope’s style of Vectoral Analysis.

Tumor slices as a model to evaluate doxorubicin in vitro treatment and expression of trios of genes PRSS11, MTSS1, CLPTM1 and PRSS11, MTSS1, SMYD2 in canine mammary gland cancer

Background: In women with breast cancer submitted to neoadjuvant chemotherapy based in doxorubicin, tumor expression of groups of three genes (PRSS11, MTSS1, CLPTM1 and PRSS11, MTSS1, SMYD2) have classified them as responsive or resistant. We have investigated whether expression of these trios of genes could predict mammary carcinoma response in dogs and whether tumor slices, which maintain epithelial-mesenchymal interactions, could be used to evaluate drug response in vitro. Methods: Tumors from 38 dogs were sliced and cultured with or without doxorubicin 1 mu M for 24 h. Tumor cells were counted by two observers to establish a percentage variation in cell number, between slices. Based on these results, a reduction in cell number between treated and control samples >= 21.7%, arbitrarily classified samples, as drug responsive. Tumor expression of PRSS11, MTSS1, CLPTM1 and SMYD2, was evaluated by real time PCR. Relative expression results were then transformed to their natural logarithm values, which were spatially disposed according to the expression of trios of genes, comprising PRSS11, MTSS1, CLPTM1 and PRSS11, MTSS1, SMYD2. Fisher linear discrimination test was used to generate a separation plane between responsive and non-responsive tumors. Results: Culture of tumor slices for 24 h was feasible. Nine samples were considered responsive and 29 non-responsive to doxorubicin, considering the pre-established cut-off value of cell number reduction = 21.7%, between doxorubicin treated and control samples. Relative gene expression was evaluated and tumor samples were then spatially distributed according to the expression of the trios of genes: PRSS11, MTSS1, CLPTM1 and PRSS11, MTSS1, SMYD2. A separation plane was generated. However, no clear separation between responsive and non-responsive samples could be observed. Conclusion: Three-dimensional distribution of samples according to the expression of the trios of genes PRSS11, MTSS1, CLPTM1 and PRSS11, MTSS1, SMYD2 could not predict doxorubicin in vitro responsiveness. Short term culture of mammary gland cancer slices may be an interesting model to evaluate chemotherapy activity.

Altered inhibitory synaptic transmission in superficial dorsal horn neurones in spastic and oscillator mice

The spastic (spa) and oscillator (ot) mouse have naturally occurring mutations in the inhibitory glycine receptor (GlyR) and exhibit severe motor disturbances when exposed to unexpected sensory stimuli. We examined the effects of the spa and ot mutations on GlyR- and GABA(A)R-mediated synaptic transmission in the superficial dorsal horn (SFDH), a spinal cord region where inhibition is important for nociceptive processing. Spontaneous mIPSCs were recorded from visually identified neurones in parasagittal spinal cord slices. Neurones received exclusively GABA(A)R-mediated mIPSCs, exclusively GlyR-mediated mIPSCs or both types of mIPSCs. In control mice (wild-type and spa/+) over 40 % of neurones received both types of mIPSCs, over 30 % received solely GABA(A)R-mediated mIPSCs and the remainder received solely GlyR-mediated mIPSCs. In spa/spa animals, 97 % of the neurones received exclusively GABA(A)ergic or both types of mIPSCs. In ot/ot animals, over 80 % of the neurones received exclusively GABA(A)R-mediated mIPSCs. GlyR-mediated mIPSC amplitude and charge were reduced in spa/spa and ot/ot animals. GABA,Rmediated mIPSC amplitude and charge were elevated in spa/spa but unaltered in ot/ot animals. GlyR- and GABA(A)R-mediated mIPSC decay times were similar for all genotypes, consistent with the mutations altering receptor numbers but not kinetics. These findings suggest the spastic and oscillator mutations, traditionally considered motor disturbances, also disrupt inhibition in a sensory region associated with nociceptive transmission. Furthermore, the spastic mutation results in a compensatory increase in GABA(A)ergic transmission in SFDH neurones, a form of inhibitory synaptic plasticity absent in the oscillator mouse.

Rationalization, Kunstwollen and technical means of expressivity. The example of the romantic piano

This article seeks to retrace some of the empirical, historical and sociological elements of Max Weber Sociology of music. Even if he is first and foremost interested in the process of rationalisation throughout western civilisation, his Sociology of music is founded on the idea of the technical medium, which he explores in several different directions. This idea will be examined here by means of several examples drawn from western music, particularly from the romantic piano repertoire.

A Ku-band active transmit-array module with a horn or patch array as a signal launching/receiving device

This paper is concerned with the design of a Ku-band active transmit-array module of transistor amplifiers excited by either a pyramidal horn or a patch array Optimal distances between the active transmit array and the signal-launching:receiving device, which is either a passive corporate-fed array or a horn, are determined to maximise the power gain at a design frequency: Having established these conditions, the complete structure is investigated in terms of operational bandwidth and near-field and far-field distributions measured at the output side of the transmit array, The experimental results show that the use of a corporate-fed array as an illuminating/receiving device gives higher gain and significantly larger operational bandwidth, An explanation for this behavior is sought.

O piano (bem) informado : processos de interiorização e crescimento

Este livro debruça-se sobre questões ligadas à metodologia do piano, incluindo aspectos técnicos, musicais e artísticos, num enquadramento que engloba algumas das principais reflexões éticas, estéticas e filosóficas de referência. O objetivo deste trabalho é a partilha de uma visão baseada na experiência pessoal e profissional na área do piano. Este texto assume uma certa continuidade com as grandes contribuições de autores tais como Ludwig Deppe, Matthay Tobias, Grigory Kogan, Heinrich Neuhaus e George Kochevitsky publicado. Ao mesmo tempo que se integra e complementa alguma dessa literatura especializada, aponta ideias, sugestões e pontos de vista caracterizados pela inovação e aplicabilidade racional e científica.