Suite aus "Lustige Feldmusic" 1704, für 2 Violinen, Viola, Violoncello (Kontrabass)

Edited for string orchestra.

Quatuor pour 2 violons, alto et violoncelle, op. 112. [music] /

Pl. no. D.& F.6462.

Concerto for violin, violoncello.

Mode of access: Internet.

Venere e Amore ; serenata a due voci con flauto e violini, violoncello. Manuscrit de la Bibliothèque Royale de Belgique, Catalogue Fètis, no. 2528 /

For soprano, alto, flute, 2 violins, and continuo, the figured bass realized for harpsichord.

Lowe's collection of reels, strathspeys, & jigs. : Being a new and complete selection of the best dancing tunes in their proper keys, as performed at the different assemblies and public meetings throughout Scotland. Carefully arranged with appropriate basses for the piano forte & violoncello. Book 1[-6].

Book 1: 3d ed.; book 2: 2d ed.

Eine kleine Nachtmusik (Serenade) für 2 Violinen, Viola und Violoncello

Mode of access: Internet.

Eighteen progressive exercises for violoncello, op. 120/

Mode of access: Internet.

Trio in D for two violins and violoncello : concerto no. IV, op. 2 /

For two violins, violoncello, and piano.

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.

Violoncello recital

Program: Passacaglia for Violin and Cello ........... Johan Halvorsen (1864-1935) Cello Concerto in E minor Op. 85 .............. Edward Elgar (1857-1934) Sonata for Cello and Piano Op. 38 .......... Johannes Brahms (1833-1897)

Characterizing chaotic melodies in automatic music composition

In this paper, we initially present an algorithm for automatic composition of melodies using chaotic dynamical systems. Afterward, we characterize chaotic music in a comprehensive way as comprising three perspectives: musical discrimination, dynamical influence on musical features, and musical perception. With respect to the first perspective, the coherence between generated chaotic melodies (continuous as well as discrete chaotic melodies) and a set of classical reference melodies is characterized by statistical descriptors and melodic measures. The significant differences among the three types of melodies are determined by discriminant analysis. Regarding the second perspective, the influence of dynamical features of chaotic attractors, e.g., Lyapunov exponent, Hurst coefficient, and correlation dimension, on melodic features is determined by canonical correlation analysis. The last perspective is related to perception of originality, complexity, and degree of melodiousness (Euler's gradus suavitatis) of chaotic and classical melodies by nonparametric statistical tests. (c) 2010 American Institute of Physics. [doi: 10.1063/1.3487516]