Twelve romantic Scottish ballads : with the original airs, arranged for the pianoforte.

Compiled by R. Chambers. Cf. Preface.

Six mélodies pour une voix avec accompagnement de piano /

Feuille d'automne (Mme E. Tinel)--Comme une fleur (G. Mussely)--Petit enfant (A. Carteret)--Tout n'est qu'images fugitives (J. Reboul)--Plainte (Mme A. Tastu)--Le chant du cygne (poésie d'après l'allemand de E. Geibel, par Mme E. Tinel)

Ein hundert fünfzehn weltliche u. einige geistliche Lieder mit deutschem, lateinischem, französischem und italienischem Text zu vier, fünf und sechs Stimmen gesetzt von den bedeutendsten Meistern des XV. und XVI. Jahrhunderts...

Contains polyphonic vocal works by various composers, including Heinrich Isaac, Ludwig Senfl, Thomas Stoltzer, Stephan Mahu, Mathias Eckel, Wilhelm Braytengrässer, Sixt Dieterich, Arnold von Bruck, Crecquillon, Gombert, Lupus, Richafort, and Verdelot.

Eight songs with pianoforte accompaniment, op. 47 /

For medium voice and piano.

Lieder : für mittlere Singstimme mit Klavierbegleitung = Songs : for medium voice with pianoforte-accompaniment /

"Universal Edition, No. 1378/1379."

The harmonia : a collection of four-part songs, for male voices, with German and English words /

Parts for tenor I, tenor II, bass I, and bass II.

The Nativity : a play, with music, for children : founded on old French songs /

Includes instructions for performance.

Second book of airs : 1600 /

"General preface" and "Preface to Dowland's Second book of songs or airs": at beginning of each vol.

Cinq mélodies pour chant et piano, op. 54 /

Tristesse des Choses -- Le Colibri -- Les roses d'Ispahan -- Je n'en ai jamais aimé qu'une -- Ici bas.

Pairings: Quintets and Duos from the Collaborative Piano Repertoire

Chamber music with piano comprises some of the greatest masterpieces in the Western canon. The works range from duo sonatas with various instruments through septets. In regard to duo sonatas, the violin is the instrument most frequently paired with the piano. Of all the chamber works for larger ensembles, the most popular is the quintet. In this dissertation, I will be exploring the similarities and differences between the duo sonatas and quintets of a given composer. I will be surveying Robert Schumann’s Piano Quintet in E-flat Major, Op. 44 along with his Violin and Piano Sonata in A Minor, Op. 105. The next pairing will be Johannes Brahms’ Piano Quintet in F Minor, Op. 34 and his Piano and Violin Sonata in D Minor, Op. 108. Dmitri Shostakovich’s Piano Quintet in G Minor, Op. 57 and his Cello and Piano Sonata in D Minor, Op. 40 will be the last two works examined in this dissertation. This dissertation project consisted of three recitals, presented in the Gildenhorn Recital Hall at the Clarice Smith Performing Arts Center of the University of Maryland. The recitals featured works by Johannes Brahms, Robert Schumann and Dmitri Shostakovich and took place on March 14, 2014, February 13, 2015 and November 22, 2015. All three recitals were recorded on compact discs, which can be accessed at the Digital Repository at the University of Maryland (DRUM) and at the University of Maryland Hornbake Library.

TRADITION AND INNOVATION: ANALYSIS AND PERFORMANCE OF SELECTED COMPOSITIONS FOR VIOLONCELLO BY HEITOR VILLA-LOBOS

Brazilian composer Heitor Villa-Lobos (1887-1959) began his musical career as a cellist. When he was only twelve years old, it became imperativeupon the sudden and untimely death of his fatherthat the young Villa-Lobos earn money as a cellist to provide financial support for his mother and sisters. Villa-Lobos's intimate relationship with the cello eventually inspired him to compose great music for this instrument. This dissertation explores both the diversity of compositional technique and the evolution of style found in the music for cello written by Villa-Lobos. The project consists of two recorded recital performances and a written document exploring and analyzing those pieces. In the study of the music of Villa-Lobos, it is of great interest to consider the music's traditional European elements in combination (or even juxtaposition) with its imaginative and sometimes wildly innovative Brazilian character. His early works were greatly influenced by European Romantic composers such as Robert Schumann, Frédéric Chopin, and the virtuoso cellist/composer David Popper (whom Villa-Lobos idolized). Later, Villa-Lobos flourished in a newfound compositional independence and moved away from Euro-romanticism and toward the folk music of his Brazilian homeland. It is intriguing to experience this transition through an exploration of his cello compositions. The works examined and performed in this dissertation project are chosen from among the extensive number of Villa-Lobos's cello compositions and are his most important works for cello with piano, cello with another instrument, and cello with orchestra. The chosen works demonstrate the evolving range and combination of characteristic elements found in Villa-Lobos's compositional repertoire.

THE DISTINCTIVE VOICE OF PAUL HINDEMITH THROUGH THE VIOLA

Paul Hindemith has made numerous contributions to the viola, both as a composer and performer. As a composer, he has written 7 sonatas for the viola, as well as a number of chamber and orchestral works which feature the viola as a solo instrument. As a violist, Hindemith was one of the only virtuoso soloists of his lifetime, and premiered virtually all of his solo compositions. Many of his pieces remain an integral part of the viola repertoire; Der Schwanendreher is one of the three major Twentieth-Century concertos for the viola. While some of his pieces are well-known, there are many others which are not performed with much frequency, due in part to the sheer output of this prolific composer. In this dissertation project, I performed Hindemith's compositions for the viola as a solo instrument. Consideration was given to exclusively performing his 4 solo sonatas and 3 sonatas for viola and piano. His only viola duet, his only non-sonata written for viola and piano, and 2 of his viola concertos (Der Schwanendreher and Trauermusik) were included in this dissertation project to provide contrast and supplement the three recital programs. Through this dissertation project I have been able to gain a deeper understanding of the complex language of Hindemith and interpret his music in an approach that is accessible to both the performer and the audience. All performances took place in the Gildenhom Recital Hall and Ulrich Recital Hall at the University of Maryland. All collaborations with piano were performed with Eliza Ching. The Duett for Viola and Violoncello was performed with Daniel Shomper, and the assisting musicians performing in the Trauermusik were Joel Ciaccio, Daniel Sender, Daniel Shomper, Cassandra Stephenson and Dana Weiderhold.

Effects of territorial intrusions on eavesdropping neighbors: communication networks in nightingales

Animal communication often occurs in communication networks in which multiple signalers and receivers are within signaling range of each other. In such networks, individuals can obtain information on the quality and motivation of territorial neighbors by eavesdropping on their signaling interactions. In songbirds, extracting information from interactions involving neighbors is thought to be an important factor in the evolution of strategies of territory defense. In a playback experiment with radio-tagged nightingales Luscinia megarhynchos we here demonstrate that territorial males use their familiar neighbors' performance in a vocal interaction with an unfamiliar intruder as a standard for their own response. Males were attracted by a vocal interaction between their neighbor and a simulated stranger and intruded into the neighbor's territory. The more intensely the neighbor had interacted with playback, the earlier the intrusions were made, indicating that males eavesdropped on the vocal contest involving a neighbor. However, males never intruded when we had simulated by a second playback that the intruder had retreated and sang outside the neighbor's territory. These results suggest that territorial males use their neighbors' singing behavior as an early warning system when territorial integrity is threatened. Simultaneous responses by neighboring males towards unfamiliar rivals are likely to be beneficial to the individuals in maintaining territorial integrity.

Relatório de estágio

I (Prática Pedagógica) - O estágio foi realizado na Academia de Música de Almada (AMA) com três alunos de níveis diferentes: Aluno x, Iniciação Musical; Aluna y, 2º grau; e Aluna z, 5º grau. A planificação do trabalho foi feita com a colaboração do professor Vasco Broco e sob a supervisão do professor Pedro Saglimbeni Muñoz, tendo por base o programa da AMA e procurando corresponder às necessidades individuais de cada aluno, bem como respeitar os diferentes ritmos de aprendizagem. Dadas as diferenças de idade e de nível, os objectivos que procurei atingir com cada aluno durante o ano lectivo são naturalmente díspares, bem como a perspectiva de cada um em relação ao próprio instrumento e ao ensino da música. Enquanto que os mais novos encaram a aprendizagem musical como uma actividade meramente recreativa, pelo menos por enquanto, a Aluna z ambiciona fazer uma carreira como instrumentista. Mesmo entre os mais novos há diferenças, pois apesar de o Aluno x ainda estar a frequentar a Iniciação Musical, já iniciou a sua aprendizagem há mais tempo do que a Aluna y, encarando o ensino com mais seriedade. A AMA tem a vantagem de ter um pianista acompanhador disponível para cada dia da semana, o que tornou possível desenvolver um trabalho consistente com os alunos em termos de ensaios e audições. As audições e momentos de avaliação foram marcados em reuniões de Departamento Curricular, à excepção da calendarização das Provas Globais que foi feita em reunião de Conselho Pedagógico. O aproveitamento foi positivo para os três alunos no final do estágio, tendo todos transitado para o nível de ensino seguinte.

Trois compositions, trois genres musicaux et une démarche programmatique : Le chat noir, La nébuleuse de la tour, Le livre de Thot

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l'Université de Montréal (www.bib.umontreal.ca/MU).