The Home circle; a collection of piano-forte music consisting of the most favorite marches, waltzes, polkas, redowas, schottisches, galops, mazurkas, quadrilles, dances, &c., being a repository of music for parlor and drawing-room recreations.

Mode of access: Internet.

The home treasure, a collection of pianoforte music, for four hands, consisting of rondos, variations, nocturnes, romances, fantaisies, waltzes, polkas, schottisches, mazurkas, marches, quicksteps, galops, and selections from the operas.

Mode of access: Internet.

Zuleikha : a set of favorite waltzes /

For piano.

Six waltzes : for the piano forte /

Mode of access: Internet.

I zingari : a set of waltzes for the piano forte /

Mode of access: Internet.

Waltzes, op. 39 for the pianoforte. [music] /

Mode of access: Internet.

Waltzes, op. 39 /

Mode of access: Internet.

Gems of the waltz. A collection of standard and popular waltzes by such authors as Waldteufel, Lamothe, Faust, Resch, Strauss, Zikoff, d'Albert, Capitani, Thorne, etc.

Mode of access: Internet.

Sanderson's duettinos, or, Select violin miscellany : comprising a series of the most esteemed songs, airs, marches, waltzes, quadrilles, &c arranged in their proper keys as duetts for two violins /

Mode of access: Internet.

Walzer zu 4 Händen. Valses à 4 mains. Waltzes for piano duet.

Mode of access: Internet.

Musical pastime; a new collection of popular melodies, arranged as duets for the violin and piano. Consisting of the latest and best marches, galops, waltzes. polkas, round and square dances &c. Together with a choice selection of solos upon classical airs, arranged for amateurs.

Mode of access: Internet.

The Home companion. [music] : a collection of vocal and instrumental music for the piano-forte, consisting of songs, ballads, duets, trios and quartettes, rondos, variations, nocturnes, romances, waltzes, polkas, schottisches, mazurkas, polka mazurkas, galops, marches, and selections from operas, designed for the parlor or concert room.

Mode of access: Internet.

Strauss album : a collection of ten famous waltzes for piano. Selected and edited by W. Strasser.

Mode of access: Internet.

THE COMPLETE PRELUDES OF ALEXANDER SCRIABIN: THE EVOLUTION OF HIS REVOLUTIONARY COMPOSITIONAL STYLE

During the second half of the nineteenth century, a series of remarkable advances in musical composition emerged in the works of such innovative spirits as Franz Liszt, Hector Berlioz and Richard Wagner. Their pioneering works exerted an extraordinary impact on the music of the subsequent generation of composers--of disparate nationalities-who were active at the dawn of the 20th century: Including most notably Claude-Achille Debussy, Gustav Mahler, Richard Strauss, and Alexander Nikolayevich Scriabin. These important musical figures, each one leaving an indelible and formative imprint on late-nineteenth century Romantic style, together launched the modern era in music. Scriabin stands alone as a transcendental visionary: His music, initiated in the fashion of Chopin and Liszt, wanders through the realms of Debussy and Wagner, and, ultimately abandoning late Romantic tradition, unlocks the heretofore unforeseen power of atonality, bitonality, polyrhythms and key-signature free compositions. Arguably, Scriabin's compositions count among the most innovative, idiosyncratic and bewitching of all time. The development of Scriabin's groundbreaking compositional style is best understood by means of his piano works, which comprise the majority of his oeuvre. Beyond the larger works-his twelve sonatas, a concerto and a fantasy-Scriabin's piano explorations are also represented by miniature gems: The mazurkas, impromptus, waltzes, poems, a polonaise, etudes, nocturnes, morceaux and, in particular, the preludes. Scriabin's 90 preludes for piano, arranged in several opus numbers, richly exemplify the striking evolution of his ingenious music, his idiosyncratic philosophy and his provocative personality.

Beat deafness: développement d'un outil de dépistage et nouveaux cas.

Le terme beat deafness désigne une forme d’amusie congénitale spécifique à l’aspect temporel en musique qui a été découverte récemment par l’étude d’un cas unique (Phillips-Silver et al., 2011). L’objectif principal de ce mémoire était d’identifier de nouveaux cas. Nous avons évalué, chez 100 étudiants universitaires, les capacités à percevoir le beat à se synchroniser sur celui-ci. Les capacités de perception ont été évaluées au moyen de deux tests: un test de détection de perturbations rythmiques et un test de classification de courts extraits musicaux en marches et valses. Les capacités de synchronisation ont été évaluées au moyen d’une tâche consistant à taper du doigt sur les temps forts des mêmes marches et valses. Quatre personnes se sont démarquées du groupe par des difficultés de perception et de synchronisation, et sont dès lors considérées comme des nouveaux cas de beat deafness.