A graduate piano accompanying recital

The extended program notes include historical background on the composers and pieces being performed, as well as the analytical form regarding the works. Chapter One includes Piano and Violin Sonata in B flat Major, K 454 by Wolfgang Amadeus Mozart, Introduction and Rondo Capriccioso, Opus 28 by Camille Saint-Saens, Nocturne by Aaron Copland, Violin Concerto No. 2 in D minor, Opus 22 by Henryk Wieniawski. Chapter Two includes selected songs from Die Schone Mullerin D. 759 by Franz Schubert, La Regata Veneziana by Gioacchino Rossini, selected songs by Henri Duparc, Cowboy Songs by Libby Larsen, Poema enforma de canciones by Joaquin Turina.

Iberian and Latin American Music Scholarship on the Ascent: Reflections from the United States

In the early twentieth century, musicology was established as an academic discipline in the United States. Nonetheless, with the exception of Iberian medieval and Renaissance repertories, U.S. scholars largely overlooked the music of the Spanish- and Portuguese- speaking world. Why should this have been the case, especially in light of Spain’s strong historical presence in the United States? This autobiographical essay examines this question by tracing the career of an individual musicologist, the Hispanist musicologist Carol A. Hess. Evaluated here are disciplinary shifts in U.S. musicology —methodological, philosophical, and ideological— over the past thirty years. These transformations have combined to make this repertory a viable field of study today. Musicologists in the United States can now make their careers by specializing in Iberian and Latin American music, as well as the music of the Hispanic diaspora. They research topics ranging from the avant-garde composer Llorenç Barber to the rapper Nach Scratch or the popular bandleader Xavier Cugat and his U.S. audiences of the 1940s, while others also pursue the time-tested areas of medieval and Renaissance music. Iberian and Latin American music is regularly offered in postsecondary institutions while instructors now have a variety of textbooks and other pedagogical resources from which to choose. All add up to a disciplinary freedom that would have been unthinkable only a few decades ago.

St. Petersburg Court Chant and the Tradition of Eastern Slavic Church Singing

The present study examines the repertory of liturgical chant known as St. Petersburg Court Chant which emerged within the Imperial Court of St. Petersburg, Russia, and appeared in print in a number of revisions during the course of the 19th century, eventually to spread throughout the Russian Empire and even abroad. The study seeks answers to questions on the essence and composition of Court Chant, its history and liturgical background, and most importantly, its musical relationship to other repertories of Eastern Slavic chant. The research questions emerge from previous literary accounts of Court Chant (summarized in the Introduction), which have tended to be inaccurate and generally not based on critical research. The study is divided into eight main chapters. Chapter 1 provides a survey of the history of Eastern Slavic chant and the Imperial Court Chapel of St. Petersburg until 1917, with special emphasis on the history of singing traditional chant in polyphony, the status of the Court Chapel as a government authority, and its endeavours in publishing church music. Chapter 2 deals with the liturgical background of Eastern chant, the chant genres, and main repertories of Eastern Slavic chant. Chapter 3 concentrates on chant sources: it introduces the musical notations utilised, after which a typology of chant books is presented. The discussion continues with a survey of the sources of Court Chant and their content, the specimens selected for closer analysis, the comparative materials from other repertories, and ends with a commentary on some chant sources that have been excluded. The comparative sources include a specimen from around the beginning of the 12th century, a few manuscripts from the 17th century, and printed and manuscript chant books from the early 18th to early 20th century, covering the geographical area that delimits to the western Ukraine, Astrakhan, Nizhny Novgorod, and the Solovetsky Monastery. Chapter 4 presents the approach and methods used in the subsequent analytical comparisons. After a survey of the pitch organization of Eastern Slavic chant, the customary harmonization strategy of traditional chant polyphony is examined, according to which a method for meaningful analysis of the harmony is proposed. The method is based on the observation that the harmonic framework of chant polyphony derives from the standard pitch collection of monodic chant known as the Church Gamut, specific pitches of which form eight harmonic regions that behave like the usual tonalities of major and harmonic minor. Because of the considerable quantity of comparative chant forms, computer-assisted statistical methods are applied to the analysis of chant melodies. The primary chant forms and their respective comparative forms have been pre-processed into reduced chant prototypes and divided into redactions. The analyses are carried out by measuring the formal dissimilarities of the primary chant forms of the Court Chant repertory against each comparative form, and also by measuring the reciprocal dissimilarities of all chant versions in a redaction, the results of which are subjected to agglomerative hierarchical clustering in order to find out how the chant forms relate to each other. The dissimilarities are determined by applying a metric dissimilarity function that is based on the Levenshtein Distance. Chapter 5 provides the melodic and harmonic analyses of generic chants (chants used for multiple texts of different lengths), i.e., chants for stichera samoglasny and troparia, Chapter 6 of pseudo-generic chants (chants that are used for multiple texts but with certain restrictions), i.e., chants for heirmoi, prokeimena, and three other hymns, and Chapter 7 of non-generic chants, covering nine chants that in the Court repertory are not shared by multiple texts. The results are summarized and evaluated in Chapter 8. Accordingly, it can be established that, contrary to previous conceptions, melodically, Court Chant is in effect a full part of the wider Eastern Slavic chant tradition. Even if it is somewhat detached from the chant versions of the Synodal square-note chant books and the local tradition of Moscow, it is particularly close to chant forms of East Ukraine and some vernacular repertories from Russia. Respectively, the harmonization strategies of Court Chant do not show significant individuality in comparison with those of the available polyphonic comparative sources, the main difference being the part-writing, which generally conforms to western common practice standard, whereas the deviations from this tend to be more significant in other analysed repertories of polyphonic chant. Thus, insofar as the subsequent prevalence of Court Chant is not based on its forceful dissemination by authorities (as suggested in previous literature but for which little tangible evidence could be found in Chapter 1), in the present author’s interpretation, Court Chant attained its dominance principally because musically it was considered sufficiently traditional, and as a chant body supported by the government, was conveniently available in print in serviceable harmonizations.

Estética del rock

El objetivo del presente artículo es el de analizar la estética del Rock en términos de la experiencia que ofrece este género musical. En primer lugar se construirá una relación entre el Nacimiento de la tragedia de Nietzsche y el surgimiento del Rock, bajo la premisa de que el origen del Rock es eminentemente dionisíaco; luego se mostrará una forma de la experiencia en la vida cotidiana de quien escucha Rock, en donde se da cuenta de la necesidad de expresar los sentimientos de placer y displacer en el individuo; por último, se verá el concierto como expresión última del Rock, expresión que se enmarca dentro de la característica de una celebración-ritual que guarda semejanzas con la tragedia griega. Estos elementos terminan por dar cuenta de una forma de ver el mundo en la que se constituye la individualidad dentro de la comunidad electiva

PHYSIOLOGICAL and NEUROMUSCULAR PROFILE DURING A BODYPUMP SESSION: ACUTE RESPONSES DURING A HIGH-RESISTANCE TRAINING SESSION

Oliveira, AS, Greco, CC, Pereira, MP, Figueira, TR, de Araujo Ruas, VD, Goncalves, M, and Denadai, BS. Physiological and neuromuscular profile during a Bodypump session: acute responses during a high-resistance training session. J Strength Cond Res 23(2): 579-586, 2009-The main purposes of this study were 1) to describe and to compare blood lactate ([La]), heart rate (HR), and electromyographic (EMG) parameters during high-repetition training sessions (HRTSs), 2) to analyze the influence of physical fitness levels in these parameters, and, 3) to analyze the relationship between metabolic ([La]) and neuromuscular (EMG) responses during the HRTS. Fifteen healthy untrained women (21.7 +/- 2.1 years) performed an HRTS called Bodypump for 1 hour, which incorporated the use of variable free weights and high repetitions in a group setting. This session involved 10 music selections (M1-M10) containing resistive exercises for different muscle groups. After music selections 2 (M2), 4 (M4), 6 (M6), 7 (M7), and 9 (M9), [La], HR, and EMG (vastus medialis [VM], vastus lateralis [VL], iliocostalis lumborum [IC], and longissimus thoracis <) were determined. The [La] (M2, 4.00 +/- 1.45 mM; M7, 5.02 +/- 1.73 mM) and HR (M2, 153.64 +/- 18.89 bpm; M7, 16.14 +/- 20.14 bpm) obtained at M2 and M7 were similar but were significantly higher than the other moments of the session. However, EMG (root mean square [RMS]) at M2 (VL, VM, and LT) was lower than at M7. There was no significant correlation of strength and aerobic physical fitness with [La], RMS. In the same way, there was no significant correlation of [La] with RMS at M2 and M7. on the basis of our data, we can conclude that metabolic, cardiovascular, and EMG variables present different and independent behavior during an HRTS. Accordingly, for neuromuscular conditions during HRTS, it seems to be enough to induce improvement in the muscular strength of inferior limbs in untrained subjects.

Interação silício e alumínio em plantas de arroz de terras altas e mamona

Pós-graduação em Agronomia (Agricultura) - FCA

A preparação para performance musical de quarteto de violões

Pós-graduação em Música - IA

Preparação para performance de música de câmara com violão: o uso do corpo no repertório com técnicas estendidas

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Ten little niggers.

In verse (p. [1] - [12]) with music (p. [2] and [3] of cover)

Violinschule,

Caption title.

Duettino concertante after Mozart : for two pianos /

Mode of access: Internet.

Introduction et allegro pour harpe avec acct. de quatuor à cordes, flûte et clarinette /

Arr. for piano, 4 hands.

Fantaisie sur des thèmes serbes : op. 6 /

Cover title also in Russian.

Ouverture to William Tell.

Pl. no. 11264.