Andante et scherzo. [music] : for flute and piano /

Cover title.

Poem, for flute and orchestra. [music] : For flute and piano /

Mode of access: Internet.

AMERICAN WOMEN COMPOSERS: SELECTED PUBLISHED WORKS FOR FLUTE AND PIANO AND FOR UNACCOMPANIED FLUTE COMPOSED BETWEEN 1930 AND 2008

The music of women composers often comprises only a small percentage of flutists‘ repertoire, yet there are actually many active women composers, many of whom have written for the flute. The aim of this dissertation is to chronicle a selection of works by several American women composers that have contributed to accessible flute repertoire. For the purpose of this dissertation, accessibility is described by the following parameters: works that limit the use of extended techniques, works that are suitable for performers from high school through a reasonably advanced level, works that are likely to elicit emotionally musical communication from the performer to the listener, and works that are reasonably available through music stores or outlets on the Internet that have a fairly comprehensive reach to the general public. My subjective judgment also played a role in the final selection of the 25 works included as part of this dissertation, and performed on three musically well-balanced recitals. A variety of resources were consulted for the repertoire, including Boenke‘s Flute Music by Women Composers: An Annotated Catalog, and the catalogs of publishers such as Arsis Press and Hildegard Publishing, both of which specialize in the music of women composers. The works performed and discussed are the following: Adrienne Albert – Sunswept; Marion Bauer – Prelude and Fugue, Op. 43.; Marilyn Bliss – Lament; Ann Callaway – Updraft; Ruth Crawford – Diaphonic Suite; Emma Lou Diemer – Sonata; Vivian Fine – Emily’s Images; Cynthia Folio – Arca Sacra; Nancy Galbraith – Atacama; Lita Grier – Sonata; Jennifer Higdon – The Jeffrey Mode; Edie Hill – This Floating World; Katherine Hoover – Masks; Mary Howe – Interlude between Two Pieces; Laura Kaminsky – Duo; Libby Larsen – Aubade; Alex Shapiro – Shiny Kiss; Judith Shatin – Coursing Through the Still Green; Faye-Ellen Silverman – Taming the Furies; Augusta Read Thomas – Euterpe’s Caprice; Joan Tower – Valentine Trills; Ludmila Ulehla – Capriccio; Elizabeth Vercoe – Kleemation; Gwyneth Walker – Sonata; and Judith Lang Zaimont – ‘Bubble-Up’ Rag. All of these works are worthy alternatives to the more frequently played flute repertoire, and they serve as a good starting point for anyone interested i n exploring the works of women composers.

Differential cognitive responses to guqin music and piano music in Chinese subjects: an event-related potential study

目的 研究古琴(一种古老的中国乐器)和钢琴音乐对认知的影响.方法 记录和分析了中国被试在两种音乐背景(古琴音乐,钢琴音乐)下完成听觉oddball任务的行为和事件相关电位(event-related potential,ERP)数据.结果 中国被试在本土文化的音乐环境(古琴音乐)下,前额区诱导出更大的P300,这一结果和已有的相关研究是相符的.同时,不同音乐背景对ERP产生的影响在N1和LPC(包括P300和P500)上也表现出差别:中国被试在古琴音乐背景下比钢琴音乐背景下表现出更多的右前侧颞叶的参与.结论 因为古琴音乐的五声调式和汉语发音的音调具有对应关系,因此我们推断在古琴音乐下所表现出的这种特性与被试的汉语环境有关.

Crossmodal effects of Guqin and piano music on selective attention: An event-related potential study

To compare the effects of music from different cultural environments (Guqin: Chinese music; piano: Western music) on crossmodal selective attention, behavioral and event-related potential (ERP) data in a standard two-stimulus visual oddball task were reco

Crossmodal effects of Guqin and piano music on selective attention: An event-related potential study (vol 466, pg 21, 2009)

Special thanks to Christopher Blair and Mumtaz Baig for their suggestions. This work was supported by National Basic Research Program of China (973 Program, 2007CB411600), National Natural Science Foundation of China (30621092), and Bureau of Science and Technology of Yunnan Province.

Twenty sonatas for violin and piano. [music] : Original version (Urtext).

V. 1. No.19 (K. 57) F major. No.20 (K. 58) E (flat) major. No.22 (K. 60) E minor. No.24 (K. 296) C major. No.25 (K.301) G major. No.26 (K. 302 E (flat) major. No.27 (K.303) C major. No.28 (K. 304) E minor. No.29 (K. 305) A major No.30 (K. 306) D major. No.32 (K. 376) F major. No.33 (K. 377) F major -- v. 2. No.34 (. 378) B major. No.35 (K. 379) G major. No.36 (K. 380) E (flat) major. No.37 (K. 402) A major. No.40 (K. 454) B major. No.41 (K. 481) E (flat) major. No.42 (K. 526) A major. No.43 (K. 547) F major.

Two romances, opus 40 and opus 50, for violin and piano. [music] /

Acc. arr. for piano.

Scotch phantasy for violin and piano. [music] : opus 46 /

Mode of access: Internet.

Concerto no. 19 in D minor for violin and piano. [music] /

Mode of access: Internet.

Hungarian dances for violin and piano. [music] /

For violin and piano ; originally for piano, 4 hands.

Tracing Neoclassical Influences in selected solo and chamber music for the clarinet

The musical period of Neoclassicism began in the 1920's, between the first and second world wars. It was initiated by French composers and eventually spread to other countries. One of the most important themes to emerge from the movement was to escape from the formless, rather emotional music of the Romantic era and instead, emphasize balance, order, objectivity and clarity in musical form. Many popular clarinet repertoires are enjoyed by performers and listeners because the music is enjoyable to play and easy to listen to. In particular, classically influenced clarinet music is quite interesting because it features musical elements from both the past and contemporary musical styles. For instance, some composers have integrated preexisting, more traditional styles of composition with lighter styles of modern culture such as popular music and Jazz. It is difficult to discover purely neoclassical clarinet repertoires even though many composers created their pieces during the neoclassical era. What we most commonly find are both neoclassical and non-neoclassical influences in compositions from that time period. Thus, I aim to trace the influence of neoclassicism in selected clarinet repertoires that exist today. It is my hope that increased awareness and knowledge about accessible clarinet music may encourage the general public to develop a deeper interest in a wider sphere of clarinet music, beyond what is considered popular today. The works performed and discussed in this dissertation are the following: (Recital I) Duo Concertante by Darius Milhaud; Sonata by Leonard Bernstein; Sonata for Two Clarinets by Francis Poulenc; Duos for Flute and Clarinet, Op. 34 by Robert Muczynski; Dance Preludes by Witold Lutoslawski, (Recital II) Sonatine by Arthur Honegger; Time pieces by Robert Muczynski; Suite for Clarinet, Violin and Piano by Darius Milhaud; Sonate for Clarinet, Flute and Piano by Maurice Emmanuel; Tarantelle for Flute, Clarinet and Piano, Op. 6 by Camille Saint-Saëns, (Recital III) Sonatina by Joseph Horovitz; Suite from L'histoire du Soldat for Clarinet, Violin and Piano by Igor Stravinsky; Contrasts for Clarinet, Violin and Piano by Béla Bartók The recitals that took place on December 1, 2012 and on April 25, 2013 were performed in the Ulrich Recital Hall of the Clarice Performing Arts Center in College Park, Maryland. The recital that took place on November 2, 2013 was performed at the Gildenhorn Recital Hall of the same performing arts center.

[Collection of music arranged for violin and piano.]

Contains works by Beethoven, Appollinaire de Kontski, G. Scheller, H. Vieuxtemps, J.W. Kalliwoda, Mozart, F. von Suppé, F. Doppler, and L. Spohr.

Concertino : pour flûte avec accompagnement de piano, op. 107. [music] /

Caption title.

Fantasia in C major, op. 159. [music] : for violin and piano /

Mode of access: Internet.