Album of solo pieces for the harp. [music] /

V. 1. Prelude / W. Loukine. The music-box / Franz Poenitz. Prayer ; Will-o'-the-wisp / A. Hasselmans. Slumber-song / Gabriel Fauré. Marguerite at the spinning-wheel. Polonaise / Margaret Hoberg -- v. 2. Minuet / L. van Beethoven. Serenade / Christian Sinding. Aeolian harp ; The brook / A. Hasselmans. Pattuglia Spagnuola / L.M. Tedeschi. Romance / A. Zabel. Harp solo from the opera Lucia di Lammermoor / Gaetano Donizetti ; arranged by Albert Zabel.

Fleurette for piano and harp. [music] /

Distributor from stamp on cover.

Romance for violin, organ, violoncello and harp. [music] /

Caption title: Romance in B for violin, violoncello, harp and organ (or piano).

From music to silence: an exploration of music-thanatology vigils at end of life

Research in Australia into use of music-thanatology, evaluating provision of harp music in vigils with palliative care patients in a hospice. The concept of music-thanatology is outlined, and the findings of the study in alleviating suffering and creating tranquil environments are reported.

A choice collection of 51 Welsh airs, adapted for the harp, piano-forte, harpsichord, violin, or flute.

Mode of access: Internet.

Spring time ; Modern dance. [music] /

Composed for harp.

Sieben progressive Sonatinen für Harfe, [music].

V. 1: No.1, E maj. ; No.2, C min. ; No.3, B maj. ; No.4, G min. -- v. 2: No.5, F maj. ; No.6, D min. ; No.7, C maj.

Groves of blarney. [music] : last rose of summer /

Distributor from stamp on cover.

An cruitire.

Mode of access: Internet.

Six pièces : pour harpe à pédales /

1. Matin sur l'eau -- 2. Scherzetto -- 3. En barque le soir -- 4. Ballade -- 5. Reflets dans l'eau -- 6. Fantaisie.

Exaltation : for violin, violoncello, harp (or piano) and organ. [music] /

Cover title.

The American harp : being a collection of new and original church music,

Title taken from cover.

STUDENT'S-t MIXTURE MODEL BASED MULTI-INSTRUMENT RECOGNITION IN POLYPHONIC MUSIC

We address the problem of multi-instrument recognition in polyphonic music signals. Individual instruments are modeled within a stochastic framework using Student's-t Mixture Models (tMMs). We impose a mixture of these instrument models on the polyphonic signal model. No a priori knowledge is assumed about the number of instruments in the polyphony. The mixture weights are estimated in a latent variable framework from the polyphonic data using an Expectation Maximization (EM) algorithm, derived for the proposed approach. The weights are shown to indicate instrument activity. The output of the algorithm is an Instrument Activity Graph (IAG), using which, it is possible to find out the instruments that are active at a given time. An average F-ratio of 0 : 7 5 is obtained for polyphonies containing 2-5 instruments, on a experimental test set of 8 instruments: clarinet, flute, guitar, harp, mandolin, piano, trombone and violin.

"Thought-Tormented Music": Joyce and the Music of the Irish Revival

"In this special issue's opening essay, Martin Dowling devotes almost half of "'Thought-Tormented Music': Joyce and the Music of the Irish Revival" to what he calls "the situation of music in the Irish literary revival." He focuses chiefly on 1904, which was both an intensely productive period for the revival movement and a year chock-full of crucial events and decisions for Joyce. Drawing on the works of Pierre Bourdieu and Jaques Lacan, Dowling explores the revivalists' efforts to "de-anglicize" Irish music, to remove foreign influences that distorted the "pure tradition of Irish song," and to achieve an improbable harmony between the music favoured by the disappearing Anglo-Irish aristocracy and the Irish-speaking peasantry. Inevitably, disputes occurred over what constituted "authentic" Irish music. Factions quarrelled over whether pristine Irish music existed in the Atlantic seaboard or more inland; whether "authentic" songs were sung with or without instrumental accompaniment; and whether the piano, rather than the traditional harp, was a legitimate instrument of accompaniment. Having delineated the historical and theoretical context, Dowling offers a richly detailed analysis of Joyce's story "A Mother." He reveals how almost every element in the story--from the Eire Abu Society to the Antient Concert Rooms, from the conflict between Mrs. Kearney and Hoppy Holohan to the plight of Kathleen Kearney--is charged with meaning by the subtextual conflicts of the revivalists' agenda. Dowling explains also the "authenticity" in Joyce's depiction of vocal performances of "The Lass of Aughrim" in "The Dead" and "The Croppy Boy" in "Sirens," which he calls two "true gems" of authentic Irish music." --Introduction by Charles Rossman and Alan W. Friedman, Guest Editors, pp. 409-410

Concerto for the organ with orchestra (strings, brass, harp and drums), op. 55 /

Mode of access: Internet.