Wit and mirth: or, Pills to purge melancholy : being a collection of the best merry ballads and songs, old and new having each their proper tune for either voice, or instrument: most of the songs being new set.

"A re-issue of Songs compleat, 1719 ... Volumes I and II ... consist of his own songs." Cambridge bibliography of English literature.

The songs of Scotland, ancient and modern; with an introduction and notes, historical and critical, and characters of the lyric poets.

"Introduction to Scottish song" and "Characters of lyric poets": v. 1, p. 1-255.

Songs of the sea, with other poems.

BAL 17223; Sabin 76965.

The idyllic Avon; being a simple description of the Avon from Tewkesbury to above Stratford-on-Avon, with songs & pictures of the river and its neighbourhood,

Mode of access: Internet.

Cottages; or, Hints on economical building, containing twenty-four plates of medium and low cost houses, contributed by different New York architects. Together with descriptive letterpress, giving practical suggestions for cottage building.

Mode of access: Internet.

Concerto in E flat for violin and orchestra : Köchel no. 268 : with orchestral accompaniment arranged for piano /

Mode of access: Internet.

Ancient and modern Scottish songs, heroic ballads, etc.; reprinted from the edition of 1776, with an appendix containing the pieces substituted in the edition of 1791 for omissions from that of 1776.

Mode of access: Internet.

Week of Jazz at the UW April 12-19, 2010 20th Anniversary UW Jazz Studies Program with a Faculty Recital Marc Seales American Songs April 13, 2010

Concert Program

A voice unknown: Undercurrents in Mussorgsky's 'Sunless'

Mussorgsky's Sunless cycle is aesthetically and stylistically an anomalous member of his oeuvre. Its notably effaced, pared-down, and withdrawn qualities present challenges to critical interpretation. Its uniqueness, however, renders it a crucial work for furnishing the fullest possible picture of Mussorgsky as a creative artist. The author of its texts, Golenishchev-Kutuzov (whose relationship with Mussorgsky at the time of its writing possibly extended beyond the platonic) has been identified by recent scholarship as an essential eye-witness for those to whom Stasov's populist characterization of the composer does not ring entirely true. Golenishchev-Kutuzov believed that in Sunless Mussorgsky first revealed his authentic artistic self. According to Golenishchev-Kutuvoz, Mussorgsky regarded his signal achievement in Sunless to have been the eradication of all elements other than feeling. In other words, he had thrown off the stylistic shackles imposed by the aesthetics of realism and relied entirely on intuitive harmonic invention as the sole conveyor of a purely subjective, affective meaning in the cycle. This hypothesis forms the point of departure for an investigation of select numbers of the cycle. Analysis reveals that the affective aspect is riot the only significant element operative. Alongside remnants of the realist style, there is evidence, of varying degrees of subtlety, for a knowing use of symmetrical pitch organization. Mussorgsky not only adapted the usual referential attachments of symmetrically based chromaticism-typically found in Russian operas of the second half of the nineteenth century-he also, through extremely simple but effective means, synthesized the intuitive harmonic and rational symmetrical elements of the cycle's pitch organization so that the latter emerges seamlessly out of the former. This remarkable synthesis ensures the cycle's uniformity of tone while also allowing for a reading that extends beyond the generally affective to the symbolically more specific. This symbolic level of reading offers several interpretative possibilities, one of which may refer even to the relationship of the poet and the composer. Irrespective of such potentials for interpretation, the most significant achievement in the cycle remains the synthesis of the intuitive/affective and rational/symbolic elements of its organization. Songs 1, 2, 3, and 6 of the cycle are considered in detail.

First clinical experience with a new non-indwelling voice prosthesis (Provox (R) NID (TM)) for voice rehabilitation after total laryngectomy

Conclusion. The new Provox(R) NID (TM) non- indwelling voice prosthesis investigated in this study provides a good option for laryngectomized patients using non- indwelling voice prostheses and can potentially improve safety and increase patients' satisfaction with their voice and speech. Objective. To investigate the feasibility of and patient satisfaction with the Provox NID non- indwelling voice prosthesis. Material and methods. Pre- and post- study questionnaires were used to evaluate the patients' former voice prosthesis and the Provox NID voice prosthesis. In addition, measurements of pull- out force, maximum phonation time and loudness were made for both voice prostheses. In vitro measurements of airflow characteristics were also made. Following a 6- week trial, all patients provided feedback on the new voice prosthesis and the results were used to further improve the Provox NID. This final version of the new voice prosthesis was subsequently trialled and evaluated by 10 patients 6 months later. Results. Overall results showed that patient satisfaction with the Provox NID non- indwelling voice prosthesis was favourable. The pull- out force for the new prosthesis was significantly higher than that for the formerly used prosthesis and its aerodynamic characteristics were better.