Quartet no. 10, E♭ major for 2 violins, viola and violoncello, Op. 74 /

Mode of access: Internet.

Trio VI in E♭, op. 70, no. 2

Mode of access: Internet.

Quartet, D major for 2 violins, viola and violoncello, composed 1814, Deutsch Cat. No. 94,

Mode of access: Internet.

Trio (No. 2, Es dur) für Piano forte, Violine und Violoncell. Op. 62.

Mode of access: Internet.

Dominica XIX post trinit.: Ich will den Xstab gerne tragen : a 2 hautbois o violini, viola o taille, S.A.T. et Basso conc: con continuo.

Facsim. of the orginal ms. in the Preussische Staatsbibliothek, Berlin.

Klavier-trio no. 2, op. 100, Es dur. [music] /

At head of title: Volksausgabe Breitkopf & Härtel, no. 3857.

Trio VI [i.e. 5] in E[flat], op. 70, no. 2. [music] /

Mode of access: Internet.

Quintet for piano, 2 violins, viola and cello.

Mode of access: Internet.

Elaboración del registro de evaluación del continuo deportividad-violencia en la competición del fútbol base (REPF)

[ES] En este estudio se describe el proceso seguido para la elaboración del auto-registro, diseñado específicamente para la medición de los estructos "deportividad”, “agresividad" y “violencia”. Este instrumento permite la recogida de información sobre actitudes y conductas relacionadas con la deportividad, la agresividad y la violencia de los diferentes agentes sociales que rodean a los jóvenes deportistas en categorías deportivas de formación (padres/espectadores, entrenadores y árbitros). Por otro lado, se detalla la estructura de este instrumento y las características psicométricas del mismo -validez y fiabilidad-.

Biossorção de tório com emprego de Sargassum filipendula

Com o aumento do rigor para descarte de efluentes contaminado com metais pesados, as pesquisas têm se intensificado na busca de métodos de remoção, que tragam bons resultados de captação dos metais, aliado a um baixo custo. O uso de biomassas como bactérias, fungos e algas marinhas como material adsorvente, tem se apresentado como uma alternativa, principalmente para soluções com baixo teor de metais. Neste trabalho, a alga marinha Sargassum filipendula foi avaliada na sua capacidade de remoção do metal tório de uma solução sintética e do efluente dos laboratórios de análises ambientais do IRD. A cinética desta biossorção foi estudada em regime de batelada e o equilíbrio foi alcançado com 180 min de reação. Dois modelos cinéticos foram utilizados nesta avaliação, um de primeira ordem e um modelo de pseudo segunda ordem, tendo o modelo de segunda ordem apresentado um melhor ajuste dos dados. Na avaliação da capacidade máxima de captação do tório pela biomassa marinha em regime de batelada, foi construída a isoterma que apresentou um perfil crescente na captação alcançando um máximo de 2,59 mol/g. Os modelos de Langmuir e Freundlich foram utilizados para ajustar os dados da isoterma, tendo apresentado maior correlação com os dados o modelo de Langmuir, resultando num valor de captação máxima calculado pelo modelo de 2,92 mol/g. A capacidade de remoção do metal tório da alga Sargassum filipendula também foi avaliada em regime contínuo. Um estudo de altura crítica de leito foi realizado preenchendo-se uma coluna com diferentes massas de alga correspondendo a diferentes alturas de leito. A concentração de tório residual foi quantificada na solução de saída e a menor concentração na saída foi alcançada com 40 cm de leito ou 96 g de biomassa. Após este estudo um sistema contínuo com duas colunas, com 96 g de biomassa cada, e uma bomba peristáltica foi utilizado para o tratamento do efluente real do IRD, contendo não apenas o metal tório, mas outros metais como urânio, cálcio, cromo, ferro, chumbo, etc. Cento e cinco litros de efluente foram tratados numa concentração de 6 mg/L, a concentração do efluente de saída foi de 3,75 mg/L. A caracterização do efluente quanto aos metais presentes foi realizada em ICP-MS, os resultados demonstraram que não houve competição pelos sítios ligantes da biomassa entre o tório e os demais metais. Além disso, alguns metais como cálcio, ferro e magnésio, tiveram um aumento na concentração de saída indicando a presença do mecanismo de troca iônica na biossorção do tório por Sargassum filipendula

Interpreting the input admittance of violins and guitars

The most widespread vibration measurement on musical instrument bodies is of the point mobility at the bridge. Analysis of such measurements is presented, with a view to assessing what range of information could feasibly be extracted from the corpus of data. Analysis approaches include (1) pole-residue extraction; (2) damping trend analysis based on time decay information; (3) statistical estimates based on SEA power-balance and variance theory. Comparative results are shown for some key quantities. Damping trends with frequency are shown to have unexpectedly different forms for violins and for guitars. Linear averaging to estimate the "direct field" component gives a simple and clear visualisation of any local resonance behaviour near the bridge, such as the "bridge hill", and reveals some violins that show a double hill, while viols show only weak hills, and guitars none at all. © S. Hirzel Verlag · EAA.

VIRTUOSIC ELEMENTS IN THE COLLABORATIVE PIANIST’S REPERTOIRE: SELECTED SOLO, VOCAL, AND CHAMBER WORKS OF RACHMANINOFF AND RAVEL

This dissertation project explores some of the technical and musical challenges that face pianists in a collaborative role—specifically, those challenges that may be considered virtuosic in nature. The material was chosen from the works of Rachmaninoff and Ravel because of the technically and musically demanding yet idiomatic piano writing. This virtuosic piano writing also extends into the collaborative repertoire. The pieces were also chosen to demonstrate these virtuosic elements in a wide variety of settings. Solo piano pieces were chosen to provide a point of departure, and the programmed works ranged from vocal to two-piano, to sonatas and a piano trio. The recitals were arranged to demonstrate as much contrast as possible, while being grouped by composer. The first recital was performed on April 24, 2009. This recital featured five songs of Rachmaninoff, as well as three solo piano preludes and his Suite No. 2 for two pianos. The second recital occurred on November 16, 2010. This recital featured the music of both Rachmaninoff and Ravel, as well as a short lecture introducing the solo work “Ondine” from Gaspard de la nuit by Ravel. Following the lecture were the Cinq mélodies populaires grecques and the program closed with the substantial Rachmaninoff Sonata for Cello and Piano. The final program was given on October 10, 2011. This recital featured the music of Ravel, and it included his Sonata for Violin and Piano, the Debussy Nocturnes transcribed for two pianos by Ravel, and the Piano Trio. The inclusion of a transcription of a work by another composer highlights Ravel’s particular style of writing for the piano. All of these recitals were performed at the Gildenhorn Recital Hall in the Clarice Smith Performing Arts Center at the University of Maryland. The recitals are recorded on compact discs, which can be found in the Digital Repository at the University of Maryland (DRUM).

Bridging the Divide Between the Soloist and the Ensemble Player

In conservatories and music schools, the general practice for an aspiring pianist is to focus on solo performance learning mainly solo repertoire. With the advent of the advanced degree in collaborative piano, pianists could submerge themselves in the study of duo sonatas, larger chamber music ensembles, and art song. The appearance of this degree was an important step in the development of pianists, as this kind of work requires specific training and focus to master the vast repertoire involved. However it also more clearly brought out the invisible divide separating the solo pianist from the collaborative pianist, a.k.a. the accompanist. While geniuses such as Bach, Beethoven and Brahms were known to compose and perform all types of music, the appearance of super stars such as Liszt and Paganini helped bring into being the term accompanist and since then music world has tacitly embraced this divide. The goal of my dissertational study is to show that this divide need not exist. The three recitals which comprise this dissertational project were all performed at the University of Maryland, the first on 12 November 2010 at Gildenhom Recital Hall, the second at Ulrich Recital Hall on 10 September 2011, and the third at Gildenhorn Recital Hall on 11 November 2011. The repertoire included Rachmaninoff Prelude in g# minor op. 32 no. 12 and Etude-Tableaux in Eb minor op. 29 no. 5, Brahms Sonata for Piano and Violin in d minor op. 108, Mendelssohn Piano Trio in d minor op. 49, Chopin Sonata No.2 in Bb minor, Franck Sonata for Piano and Violin, Prokofiev Piano Concerto no. 2 in g minor op. 16 with pianist Elizabeth Brown as orchestra, Beethoven Sonata for Piano and Violin in A op 47 (Kreutzer), and Paul Schoenfield Cafe Music. All works with violin and cello were performed with violinist Rebecca Racusin, and cellist Devree Lewis. The recitals were recorded on compact discs and are archived within the Digital Repository at the University of Maryland(DRUM).

Post-1945 Danish Piano Trio Literature: A Recording Dissertation

This recording dissertation surveys post-1945 literature written for piano trio (violin, violoncello and piano) by ten Danish composers. The literature was first considered for inclusion by searching a database provided by the Danish Music Information Center (www.mic.dk). Scores were rented from the publisher Edition Wilhelm Hansen AS, or purchased from the publisher Samfundet til Udgivelse af Dansk Musik. An additional score published by Viking Musikforlag was used as well. The music was then studied and evaluated for selection. During the selection process, the following criteria were considered: 1) quality of the compositions; 2) recognition of the composers at the national or international level; 3) whether the compositions had been previously recorded; and 4) variety of compositional styles. The selected works are written by Niels Viggo Bentzon, Vagn Holmboe, Anders Koppel, Herman D. Koppel, Bent Lorentzen, Anders Nordentoft, Per Norgard, Michael Nyvang, Karl Aage Rasmussen, and Poul Rovsing Olsen. The selected compositions were practiced, rehearsed, and performed under direct supervision of the composers and other expert musicians. In order to better understand the compositional style of each composer, relevant books, articles, and recordings were researched and studied. This recording dissertation is supported by a written document. A subjective preference for program balance was exercised to determine the order of recorded works. The written document is divided into chapters defined by composer, following the order of the recorded document, which include the composers' biographies and notes referring to the recorded compositions. The recording took place at the Manzius Gaarden, Birkerod, Denmark during three sessions: July 31-August 2, 2002, March 2 and 3, 2003, and June 2-4, 2003. The music for this dissertation was recorded by the members of the Jalina Trio; Line Fredens, violin, Janne Fredens, cello and Natsuki Fukasawa, piano. Aksel Trige, a well-respected recording engineer, was engaged for the recording and editing. Additionally, a Hamburg Steinway concert grand piano was rented and a Joseph Guarnerius filius Andreas Cremona violin (1706) was provided by the Augustinus Fonden, Denmark. The cellist used her own instrument, Vuillaume of Paris (c. 1850). The expense of this recording was partially paid by generous grants from the Augustinus Fonden, the Solist Foreningen af 1921, and the Dansk Musikerforbunds Kollective Rettighedsmidler. The compositions selected for this recording dissertation are assumed to be previously unrecorded, with the exception of Poul Rovsing Olsen's Trio II.