Zwei lyrische Stücke (aus Opus 68) für kleines Orchester eingerichtet von Componisten.

Opus 68, no. 4 and 5.

Concerto for horn no. 2. [music] : solo French horn and piano /

Originally for horn and string orchestra.

Konzert, C moll, für Violine und Oboe oder für zwei Violinen mit Klavierbegleitung /

Publisher's no.: Edition Peters no. 3722.

Konzert in D moll : für Violine, Oboe (oder für 2 Violinen) und Streichorchester (BWV 1060) /

Mode of access: Internet.

What's the Matter with Extended Techniques? Getting Beyond the Stigma in the Horn and Percussion Repertoire

For this project I prepared a series of recitals featuring music for horn and percussion, in which the horn part featured extended horn techniques. For this project, I considered anything beyond the open or muted horn an extended technique. These techniques range from the common hand-stopped note passages to complex new techniques involving half-valves, multi-phonics, and more, for new sounds desired by the composer. There are several pieces written for solo horn and percussion, with ensembles ranging from simple duets to solo horn with a full percussion ensemble. However, few include extended techniques for the horn. All of these select pieces are lesser known because of their difficulty, primarily because of the challenge of the extended techniques requested by the composer. In the introduction to this paper I give a brief background to the project, where the current repertoire stands, and my experiences with commissioning works for this genre. I then give a brief history and how-to on the more common extended techniques, which were found in almost every piece. I separated these techniques so that they could be referenced in the performance notes without being extremely repetitive in their description. Then follows the main performance notes of the repertoire chosen, which includes a brief description of the piece itself and a longer discussion for performers and composers who wish to learn more about these techniques. In this section my primary focus is the extended techniques used and I provide score samples with permission to further the education of the next musicians to tackle this genre. All works performed for this project were recorded and accompany this paper in the Digital Repository at the University of Maryland (DRUM). The following works were included in this project: o Howard J. Buss, Dreams from the Shadows (2015) o Howard J. Buss, Night Tide (1995) o George Crumb, An Idyll for the Misbegotten, trans. Robert Patterson (1986/1997) o Charles Fernandez, Metamorphosis: A Horn’s Life, “Prenatal and Toddler” (2016, unfinished) o Helen Gifford, Of Old Angkor (1995) o Douglas Hill, Thoughtful Wanderings… (1990) o Pierre-Yves Level, Duetto pour Cor en Fa et Percussion (1999) o David Macbride, Elegy for Horn and Timpani (2009) o Brian Prechtl, A Song of David (1995) o Verne Reynolds, HornVibes (1986) o Pablo Salazar, Cincontar (2016) o Mark Schultz, Dragons in the Sky (1989) o Faye-Ellen Silverman, Protected Sleep (2007) o Charles Taylor, Sonata for Horn and Marimba (1991) o Robert Wolk, Tessellations (2016) With this project, I intend to promote these pieces and the techniques used to encourage more works written in this style, and reveal to fellow horn players that the techniques should not prevent these great works from being performed. Due to the lack of repertoire, I successfully commissioned new pieces featuring extended techniques, which were featured in the final recital.

A pagan poem : (after Virgil) composed for orchestra with piano, English horn and three trumpets obligato /

Mode of access: Internet.

Russian suite for string orchestra with violin obligato ... Op. 81.

Mode of access: Internet.

Search for microscopic black holes and string balls in final states with leptons and jets with the ATLAS detector at √s = 8 TeV

A search for an excess of events with multiple high transverse momentum objects including charged leptons and jets is presented, using 20.3 fb−1 of proton-proton collision data recorded by the ATLAS detector at the Large Hadron Collider in 2012 at a centre-of-mass energy of √s = 8TeV. No excess of events beyond Standard Model expectations is observed. Using extra-dimensional models for black hole and string ball production and decay, exclusion contours are determined as a function of the mass threshold for production and the fundamental gravity scale for two, four and six extra dimensions. For six extra dimensions, mass thresholds of 4.8–6.2TeV are excluded at 95% confidence level, depending on the fundamental gravity scale and model assumptions. Upper limits on the fiducial cross-sections for non-Standard Model production of these final states are set.

Nonet, F major, for violin, viola, violoncello, double-bass, flute, oboe, clarinet, horn and bassoon, op. 31. [music] /

"Edition Eulenburg no. 97".

Bob Ufer, with "General Patton's horn" and Wolverine paraphanelia

[crop marks removed from scanned image]

Albert Einstein playing the violin with small orchestra; Princeton, New Jersey Portraits Men

Digital Image

Albert Einstein playing violin with small orchestra; Princeton, New Jersey Portraits; Groups

Digital Image

Albert Einstein playing violin with small orchestra; Princeton, New Jersey portraits groups

Digital Image

New technologies driving decade-bandwidth radio astronomy : quad-ridged flared horn and compound-semiconductor LNAs

Among the branches of astronomy, radio astronomy is unique in that it spans the largest portion of the electromagnetic spectrum, e.g., from about 10 MHz to 300 GHz. On the other hand, due to scientific priorities as well as technological limitations, radio astronomy receivers have traditionally covered only about an octave bandwidth. This approach of "one specialized receiver for one primary science goal" is, however, not only becoming too expensive for next-generation radio telescopes comprising thousands of small antennas, but also is inadequate to answer some of the scientific questions of today which require simultaneous coverage of very large bandwidths.

This thesis presents significant improvements on the state of the art of two key receiver components in pursuit of decade-bandwidth radio astronomy: 1) reflector feed antennas; 2) low-noise amplifiers on compound-semiconductor technologies. The first part of this thesis introduces the quadruple-ridged flared horn, a flexible, dual linear-polarization reflector feed antenna that achieves 5:1-7:1 frequency bandwidths while maintaining near-constant beamwidth. The horn is unique in that it is the only wideband feed antenna suitable for radio astronomy that: 1) can be designed to have nominal 10 dB beamwidth between 30 and 150 degrees; 2) requires one single-ended 50 Ohm low-noise amplifier per polarization. Design, analysis, and measurements of several quad-ridged horns are presented to demonstrate its feasibility and flexibility.

The second part of the thesis focuses on modeling and measurements of discrete high-electron mobility transistors (HEMTs) and their applications in wideband, extremely low-noise amplifiers. The transistors and microwave monolithic integrated circuit low-noise amplifiers described herein have been fabricated on two state-of-the-art HEMT processes: 1) 35 nm indium phosphide; 2) 70 nm gallium arsenide. DC and microwave performance of transistors from both processes at room and cryogenic temperatures are included, as well as first-reported measurements of detailed noise characterization of the sub-micron HEMTs at both temperatures. Design and measurements of two low-noise amplifiers covering 1--20 and 8—50 GHz fabricated on both processes are also provided, which show that the 1--20 GHz amplifier improves the state of the art in cryogenic noise and bandwidth, while the 8--50 GHz amplifier achieves noise performance only slightly worse than the best published results but does so with nearly a decade bandwidth.

TALLY HORN! ECHOES OF HOOFBEATS AND HAUNTS: RECORDED SELECTIONS FOR HORN AND PIANO

In the 17th and 18th centuries, the European hunting horn was an instrument associated with the thrill of the chase, rustic scenes, and the pageantry of royal hunts. The sound of this horn and the music that evolved from its heritage would inspire composers writing for the modern horn. TALLY HOrn! Echoes of Hoofbeats and Haunts: Recorded Selections for Horn and Piano are two compact discs of works for horn and piano as well as solo horn reflecting this association with the hunt and include additional works of expressive contrast – lyrical pieces and nocturnes. Nine of the pieces reflect the modern horn’s beginnings and they are Abbot’s Alla Caccia, Berge’s Horn-Lokk, Boutry’s Chassacor, Bozza’s En Fôret, Büsser’s La Chasse de St. Hubert, Pessard’s In the Forest, Piantoni’s Air de Chasse, Schmid’s Im Tiefsten Walde, and Vinter’s Hunter’s Moon. By contrast, three of the selections, Gliére’s Nocturne, Strauss’ Nocturno, and Van Ecchaute’s Nachtpoëma are nocturnes that showcase the expressive quality of the horn. In addition, Bush’s Autumn Poem, Bacon’s Song After the Rain, and Webber’s Summer Pastures are included for their lyric qualities and evocations of nature. The largest work of the project is John Williams’s Concerto for Horn. Its five movements feature both hunting horn traits and expressive qualities. Alejandro Hernandez-Valdez and Grace Cho were the two pianists engaged for the recording. The recording engineer was Edward Kelly. The producer was Carlos Rodriquez. The pieces were recorded at the Spencerville Seventh-day Adventist Church sanctuary in Spencerville, Maryland between November 2010 and February 2011.