The Psalms of David, imitated in the language of the New Testament, and applied to the Christian state and worship.

Includes (p. [253]-460): Hymns and spritual songs. In three books. 1. Collected from the Scriptures. 2. Composed on divine subjects. 3. Prepared for the Lord's supper. By Isaac Watts ... Boston, 1819.

Hymns for Christian melody. Selected from various authors...

Without music.

The Psalms of David : imitated in the language of the New Testament, and applied to Christian use and worship /

Without music.

A collection of Psalms and hymns for Christian worship.

Includes indexes.

Organ repertoire : a book of pipe organ music for church and concert /

(cont.): Cradle song : berceuse / Walter Spinney -- Andantino from Fantasia in C minor / W.A. Mozart -- Marche de fête / Edgar A. Barrell -- Minster march : from Lohengrin / R. Wagner -- Sunrise : op. 7, no. 1 / Sigfrid Karg-Elert -- Song without words = Chant sans paroles : op. 2, no. 3 / P. Tschaikowsky -- Prayer on motives from R. Wagner's Lohengrin : op. 54 / B. Sulze -- Festal march : op. 67, no. 8 / E.R. Kroeger -- Christmas march / G. Merkel -- Duke Street : postlude II / Geo. E. Whiting -- Canzonetta from the Raymond overture / A. Thomas -- Anniversary march : introducing Auld lang syne : op. 10 / J. Lawrence Ebb -- Two cradle songs = Zwei Wiegenliedchen / Herbert Botting -- Minuet from the overture to Berenice / G.F. Handel -- Funeral march = Marche funèbre : op. 35 / Franz Chopin -- March in B♭ / Wm. Faulkes -- The Son of God goes forth to war : postlude VI / Geo. E. Whiting -- Nocturne des anges : op. 18, no. 1 / George F. Vincent -- Hosanna! / Paul Wachs -- Roumanian bridal march / Herbert W. Wareing.

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

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

CANTAI E MULTIPLICAI-VOS... : ESTUDO DA HARPA CRISTÃ COMO INSTRUMENTO DE EXPANSÃO DA MISSÃO NO PENTECOSTALISMO NO BRASIL (1910-1970)

Esta dissertação pretende estudar a Harpa Cristã, um dos principais hinários protestantes nacionais, buscando identificá-la como instrumento de expansão da missão no pentecostalismo do Brasil, no período comprendido entre os anos 1910 e 1970, apreciando a história e a formação deste livro litúrgico na pretensão de compreender sua utilização como elemento motivador para a prática missionária das igrejas pentecostais brasileiras. Consiste também em conhecer as características da construção deste compêndio, passando pela apresentação do perfil de seus hinistas e pelo estudo aplicado da sua estrutura musical e sua composição literária, conhecendo, ainda, algumas de suas importantes características constitutivas, como os conceitos teológicos de que faz uso em seu discurso. A procura por uma conceituação missiológica que se mostre mais identificada ao conteúdo teológico deste hinário e a indicação de vários exemplos de incentivo à prática evangelística encontrados em suas canções conduzem à compreensão da relevante importância da Harpa Cristã na vida litúrgica das igrejas de confissão pentecostal no Brasil e da sua marcante presença como eficiente agente fomentador do exercício missionário dessas comunidades de fé.

The Participation of Townspeople Making Music in Public Events in the Low Countries in the Fifteenth Century

Musicians, rhetoricians and crossbowmen, all of them employed by the city of Brussels, acted, sang and played instruments during the "Ommegang" procession in the 15th century in the main square, some of them during other processions, too. In Bruges, instrumentalists and singers took part in the representation of biblical scenes on street corners, which were part of the entry of Philip III the Good, Duke of Burgundy, into the city around the year 1440. The members of the clergy who knew music sang plainchant in all of these three roles, and independent musicians probably participated, too, even though the documents don't name them or describe their function. Except for the disabled, who marched in a procession on their own, the "common people" were only spectators of these events, which were planned in advance. The evidence that remains indicates that the voices of the "common people" remained hidden in these events, which were intended to promote civic unity.

TROMBONE MUSIC OF SCANDINAVIA: A STUDY OF TROMBONE SOLO AND CHAMBER WORKS FROM SWEDEN, NORWAY, AND DENMARK

This dissertation project aims to establish Scandinavian trombone solo and chamber works as a major contribution to the trombone repertoire. From the late 19th century to modern day, Scandinavian composers have produced a steady output of trombone works of substantial musical quality. Deep-rooted in the traditions of strong military wind bands, Scandinavia has also produced an unusual number of trombone virtuosos, ranging from those holding positions in leading orchestras, and internationally renowned pedagogues, to trombonists enjoying careers as soloists. In this study I propose that it is the symbiotic relationship between strong performers and traditionally nationalist composers that created the fertile environment for the large number of popular trombone solo and chamber repertoire not seen in any other region besides the Paris Conservatory and its infamous test pieces. I also interpret the selected repertoire through the prism of nationalism and influence of folk music, and convey that the allure of the mystic Nordic folk influences enhances the appeal of the Scandinavian trombone repertoire to world-wide audiences and performers. The dissertation project was realized over three solo recitals, each showcasing the music of Sweden, Norway, and Denmark respectively. For each program, I looked to choose a standard work from the trombone solo repertoire, a work written for or by a native virtuoso, and a lesser-known work that warrants the attention of other performers for its musical qualities. The recital of Swedish music presented Mandrake in the Corner by Christian Lindberg, Subadobe by Frederik Högberg, A Christian Song by Jan Sandström, and Concertino for trombone and strings by Lars-Erik Larsson. The recital of Norwegian music presented Concerto for Trombone op. 76 by Egil Hovland, Ordner Seg by Øystein Baadsvik, Elegi by Magne Amdahl, and Concerto in F major by Ole Olsen. The recital of Danish music presented Rapsodia Borealis by Søren Hyldgaard, Madrigal by Bo Gunge, Romance for trombone and piano by Axel Jørgensen, Concerto for trombone by Launy Grøndahl, and Three Swedish Tunes by Mogens Andresen. Through the performance of works from these three countries, the dissertation establishes Scandinavia as a rich source of solo trombone repertoire perpetuated by nationalist composers and virtuosos, as well as providing a brief survey of Scandinavian trombone works of various instrumentation and difficulty levels to be enjoyed by student, professional, and amateur performers and their audience.

VIOLA MUSIC FROM THE AMERICAS: MUSIC FROM CANADA, UNITED STATES, CUBA, VENEZUELA, MEXICO, AND BRAZIL

The enthusiasm towards writing music for the viola that flourished in the early 1900’s thanks to the efforts of a number of twentieth-century violists and composers rapidly spilled over to North and South America. Viola works by American and Canadian composers have already become cornerstones of the viola repertoire worldwide. On the other hand, compositions from other parts of the American continent remain lesser known outside of their country of origin. This is due in part to the less developed publishing and recording industry in these countries which makes it difficult for performers and programmers from other countries to buy or rent performing materials. As a violist born and trained in Venezuela, performing works by important Latin American composers to new audiences is deeply important to me. This dissertation was completed by performing selected works by Canadian, American, Cuban, Mexican, Brazilian, and Venezuelan composers. Composers from these countries have mixed their rich musical traditions with modern compositional techniques, creating original works that have greatly enriched the viola repertoire. This eclectic mixture of styles makes the music from Latin American composers not only very different from that of American and Canadian composers, but also very different from those of their neighboring countries. Through my three dissertation recitals, I intend to share this music with new audiences and inspire other violists to become familiar with this repertoire. The first recital includes compositions by American composers George Rochberg (1918-2015), Elliott Carter (1908-2012), and Alan Shulman (1915-2002) and Canadian composer Elizabeth Raum (b. 1945). The second recital includes works by Cuban composers Cesar Orozco (b. 1980), and Keyla Orozco (b. 1969), Venezuelan composers Aldemaro Romero (1928-2007) and Modesta Bor (1926-1998), and Venezuelan-Uruguayan composer Efrain Oscher (b. 1974). The third recital includes works by Mexican composers Carlos Chavez (1899-1978), José Pablo Moncayo (1912-1958) and Manuel M Ponce (1882-1948), and Brazilian composers Francisco Mignone (1897-1986) and Brenno Blauth (1931-1993). This music represents a bouquet of a distinctive mixture of styles from different parts of the American continent. Recordings of all three recitals can be accessed at the University of Maryland Hornabake Library.

Nietzsche's orphans: music and the search for unity in revolutionary Russia, 1905-1921

At the dawn of the twentieth century, Imperial Russia was in the throes of immense social, political and cultural upheaval. The effects of rapid industrialization, rising capitalism and urbanization, as well as the trauma wrought by revolution and war, reverberated through all levels of society and every cultural sphere. In the aftermath of the 1905 revolution, amid a growing sense of panic over the chaos and divisions emerging in modern life, a portion of Russian educated society (obshchestvennost’) looked to the transformative and unifying power of music as a means of salvation from the personal, social and intellectual divisions of the contemporary world. Transcending professional divisions, these “orphans of Nietzsche” comprised a distinct aesthetic group within educated Russian society. While lacking a common political, religious or national outlook, these philosophers, poets, musicians and other educated members of the upper and middle strata were bound together by their shared image of music’s unifying power, itself built upon a synthesis of Russian and European ideas. They yearned for a “musical Orpheus,” a composer capable of restoring wholeness to society through his music. My dissertation is a study in what I call “musical metaphysics,” an examination of the creation, development, crisis and ultimate failure of this Orphic worldview. To begin, I examine the institutional foundations of musical life in late Imperial Russia, as well as the explosion of cultural life in the aftermath of the 1905 Revolution, a vibrant social context which nourished the formation of musical metaphysics. From here, I assess the intellectual basis upon which musical metaphysics rested: central concepts (music, life-transformation, theurgy, unity, genius, nation), as well as the philosophical heritage of Nietzsche and the Christian thinkers Vladimir Solov’ev, Aleksei Khomiakov, Ivan Kireevskii and Lev Tolstoi. Nietzsche’s orphans’ struggle to reconcile an amoral view of reality with a deeply felt sense of religious purpose gave rise to neo-Slavophile interpretations of history, in which the Russian nation (narod) was singled out as the savior of humanity from the materialism of modern life. This nationalizing tendency existed uneasily within the framework of the multi-ethnic empire. From broad social and cultural trends, I turn to detailed analysis of three of Moscow’s most admired contemporary composers, whose individual creative voices intersected with broader social concerns. The music of Aleksandr Scriabin (1871-1915) was associated with images of universal historical progress. Nikolai Medtner (1879-1951) embodied an “Imperial” worldview, in which musical style was imbued with an eternal significance which transcended the divisions of nation. The compositions of Sergei Rachmaninoff (1873-1943) were seen as the expression of a Russian “national” voice. Heightened nationalist sentiment and the impact of the Great War spelled the doom of this musical worldview. Music became an increasingly nationalized sphere within which earlier, Imperial definitions of belonging grew ever more problematic. As the Germanic heritage upon which their vision was partially based came under attack, Nietzsche’s orphans found themselves ever more divided and alienated from society as a whole. Music’s inability to physically transform the world ultimately came to symbolize the failure of Russia’s educated strata to effectively deal with the pressures of a modernizing society. In the aftermath of the 1917 revolutions, music was transformed from a symbol of active, unifying power into a space of memory, a means of commemorating, reinterpreting, and idealizing the lost world of Imperial Russia itself.

UW School of Music Strings Concerto Competition November 15, 2016

Concert Program

Egfr Activating Mutations And Their Association With Response To Platinum-doublet Chemotherapy In Brazilian Non-small Cell Lung Cancer Patients.

The aim of the study was to analyze the frequency of epidermal growth factor receptor (EGFR) mutations in Brazilian non-small cell lung cancer patients and to correlate these mutations with response to benefit of platinum-based chemotherapy in non-small cell lung cancer (NSCLC). Our cohort consisted of prospective patients with NSCLCs who received chemotherapy (platinum derivates plus paclitaxel) at the [UNICAMP], Brazil. EGFR exons 18-21 were analyzed in tumor-derived DNA. Fifty patients were included in the study (25 with adenocarcinoma). EGFR mutations were identified in 6/50 (12 %) NSCLCs and in 6/25 (24 %) adenocarcinomas; representing the frequency of EGFR mutations in a mostly self-reported White (82.0 %) southeastern Brazilian population of NSCLCs. Patients with NSCLCs harboring EGFR exon 19 deletions or the exon 21 L858R mutation were found to have a higher chance of response to platinum-paclitaxel (OR 9.67 [95 % CI 1.03-90.41], p = 0.047). We report the frequency of EGFR activating mutations in a typical southeastern Brazilian population with NSCLC, which are similar to that of other countries with Western European ethnicity. EGFR mutations seem to be predictive of a response to platinum-paclitaxel, and additional studies are needed to confirm or refute this relationship.

[climacteric Syndrome In A Northeastern Brazilian City: A Household Survey].

To assess the prevalence of Climacteric Syndrome (CS) in women from a municipality of Northeastern Brazil which is less developed socioeconomically. A prospective household survey was performed in São Luís, Maranhão, Brazil with 1,210 climacteric women aged 45 to 60 years. Interviews were applied using previously tested standard questionnaires from April to July 2008. The severity of climacteric symptoms was analyzed by circulatory and psychological indexes and the latter were associated with menopausal status. Multiple correspondence analysis was used to assess the relation among climacteric symptoms. Most patients were 55 to 60 years old (35.3%), mulatto (37.9%), with 9-11 years of schooling (39.8%), with a partner (56%), Catholic (73.9%) and belonged to the socioeconomic class C (51.1%). The prevalence of CS was 85.9%, and hot flashes (56.4%) and sweating (50.4%) were the most prevalent symptoms. The most frequent psychological symptoms were nervousness (45%) and emotional liability (44.8%). The severity of vasomotor and psychological symptoms was significantly higher during the peri and postmenopausal period (p<0.05). Vaginal dryness (62.7%) was the most prevalent urogenital complaint. The prevalence of CS was high among women from São Luís, Maranhão, Brazil.

Profile Of The Use Of Disease Modifying Drugs In The Brazilian Registry Of Spondyloarthritides.

Few studies have evaluated the profile of use of disease modifying drugs (DMD) in Brazilian patients with spondyloarthritis (SpA). A common research protocol was applied prospectively in 1505 patients classified as SpA by criteria of the European Spondyloarthropathies Study Group (ESSG), followed at 29 referral centers in Rheumatology in Brazil. Demographic and clinical variables were obtained and evaluated, by analyzing their correlation with the use of DMDs methotrexate (MTX) and sulfasalazine (SSZ). At least one DMD was used by 73.6% of patients: MTX by 29.2% and SSZ by 21.7%, while 22.7% used both drugs. The use of MTX was significantly associated with peripheral involvement, and SSZ was associated with axial involvement, and the two drugs were more administered, separately or in combination, in the mixed involvement (p < 0.001). The use of a DMD was significantly associated with Caucasian ethnicity (MTX , p = 0.014), inflammatory back pain (SSZ, p = 0.002) , buttock pain (SSZ, p = 0.030), neck pain (MTX, p = 0.042), arthritis of the lower limbs (MTX, p < 0.001), arthritis of the upper limbs (MTX, p < 0.001), enthesitis (p = 0.007), dactylitis (MTX, p < 0.001), inflammatory bowel disease (SSZ, p < 0.001) and nail involvement (MTX, p < 0.001). The use of at least one DMD was reported by more than 70% of patients in a large cohort of Brazilian patients with SpA, with MTX use more associated with peripheral involvement and the use of SSZ more associated with axial involvement.