Concertos for stringed or wind instruments and orchestra. [music] /

[v.1.] B flat major, K. 207; D major, K. 211; G major, K. 216; D major, K. 218 -- [v.2.] Concerto, A major, K. 219; Adagio for violin, K. 261; Rondo concertante, K. 269; Rondo, K. 373; Concertante for 2 solo violins, K. 186e (190).

Quintet for wind instruments : (flute, oboe, clarinet, horn, bassoon) op. 24, no. 2 /

"Sole American issue of the original Schott edition."

The modern band: a treatise on wind instruments, symphony band and military band,

Bk.I. pt.1. Wind instruments. - pt.2. Band instrumentation. -Bk.II. Score examples.

4 works for wind instruments.

Opus 24, Ouvertüre für Harmoniemusik.--(Opus) 103, Trauermarsch, in memory of Norberg Burgmüller, for military band.--(Opus) 113, Concertstück no. 1, F minor, for clarinet, basset horn and piano.--(Opus) 114, Concertstück no. 2, D minor, for clarinet, basset horn and piano.

W.A. Mozart's Die Zauberflöte An Arrangement and Performance Edition for Wind Instruments and Vocal Soloists

The purpose of this dissertation is to produce a new Harmonie arrangement of Mozart’s Die Zauberflöte suitable for modern performance, bringing Joseph Heidenreich’s 1782 arrangement—one of the great treasures of the wind repertoire—to life for future performers and audiences. I took advantage of the capabilities of modern wind instruments and performance techniques, and employed other instruments normally found in the modern wind ensemble to create a work in the tradition of Heidenreich’s that restored as much of Mozart’s original thinking as possible. I expanded the Harmonie band to include flute and string bass. Other instruments provide special effects, a traditional role for wind instruments in the Classical opera orchestra. This arrangement is conceived to be performed with the original vocal soloists, making it a viable option for concert performance or for smaller staged productions. It is also intended to allow the wind players to be onstage with the singers, becoming part of the dramatic action while simultaneously serving as the “opera orchestra.” This allows creative staging possibilities, and offers the wind players an opportunity to explore new aspects of performing. My arrangement also restores Mozart’s music to its original keys and retains much of his original wind scoring. This arrangement expands the possibilities for collaboration between opera studios, voice departments or community opera companies and wind ensembles. A suite for winds without voices (currently in production) will allow conductors to program this major work from the Classical era without dedicating a concert program to the complete opera. Excerpted arias and duets from this arrangement provide vocalists the option of using chamber wind accompaniment on recitals. The door is now open to arrangements of other operas by composers such as Mozart, Rossini and Weber, adding new repertoire for chamber winds and bringing great music to life in a new way.

La composition au moyen des quarts de ton

La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal.

La laringe y la ejecución de instrumentos de viento : rutinas de calentamiento y enfriamiento laríngeo

Se evaluó la función laríngea de oboístas, saxofonistas y trompetistas antes e inmediatamente después de la ejecución del instrumento. La evaluación consistió en examen ORL, acústico y electroglotográfico de laringe. Los resultados mostraron que son los oboístas los que afectan más su laringe y su tracto vocal por acción del uso del instrumento. Desarrollan, en general cuadros de esfuerzo a nivel del tracto vocal e inestabilidad a nivel de cuerdas vocales. Los saxofonistas evidencian una mejoría de la voz como resultado de la acción de descenso laríngeo en el momento de la ejecución del instrumento. Los trompetistas evidencian una recomposición vocal luego de la ejecución del instrumento debido a la calidad de columna de aire que forman, que produce también descenso laríngeo. A partir de los hallazgos encontrados se presentan ejercicios de calentamiento y enfriamiento laríngeo con la finalidad de ser incorporados a la ejecución de los instrumentos de viento.

Brevi cenni sul sistema Bohem [sic] e della sua applicazione al fagotto /

"Boehm" (i.e., "Böhm") misspelled as "Bohem" throughout.

Die Kindheit Jesu (1773). Die Auferweckung Lazarus (1773)

"Thematisches Verzeichnis der Werke von Johann Christoph Friedrich Bach": pp. [x]-xvii.

21 ausgewählte Kirchenkompositionen.

"Verzeichnis der 1684-1725 von J. Ph. Krieger in Weissenfels Aufgeführten eigenen Kirchenstücke, sowie der in bibliotheken Handschriftlich erhaltenen Werke": p. xxiv-lii.

Johann Rudolph Ahles ausgewählte Gesangswerke mit und ohne Begleitung von Instrumenten.

27. Motette: Unser keiner lebet ihm selber.--28. Dialog: Wer ist der, so von Edom kommet.--29. Ich hab's gewagt.--30. Fürchtet euch nicht.--31. Auf das fest der himmelfahrt.--32. Auf das fest des erzengels Michael.--33. Communion-andacht.--34. Von gnad' und recht. Ps. 101.--35. Cum Maria diluculo.--36. Wir glauben all' an einen Gott.--37. Magnificat.--38. Merk auf mein herz.--39. Zwingt die saiten in cithara.

English music (1604 to 1904) being the lectures given at the Music Loan Exhibition of the Worshipful Company of Musicians, held at Fishmongers' Hall, London Bridge, June-July, 1904.

The evolution of the pianoforte, by T.L. Southgate.- Our English songs, by W.H. Cummings.- The early English viols and their music, by H. Watson.- Madrigals, rounds, catches, glees, and part-songs, by E.M. Lee.- The recorder, flute, fife, and piccolo, by J. Finn.- Music in England in the year 1604, by Sir F. Bridge.- Our dances of bygone days, by A.S. Rose.- Masques and early operas, by A.H.D. Prendergast.- English opera after Purcell, by F.J. Sawyer.- Our cathedral composers and their works, by G.F. Huntley.- The single and double reed instruments, by D.J. Blaikley.- The water-organ of the ancients and the organ of to-day, by F.W. Galpin.- The regal and its successors: the harmonica, by T.L. Southgate.- The violin family and its music, by W.W. Cobbett.- The brass wind instruments, by J.E. Borland.- Some notes on early printed music, by A.H. Littleton.- Music of the country-side, by Sir E. Clarke.

Prevalência de lesões músculo-esqueléticas em praticantes de instrumentos de sopro ou percussão

Projeto de Graduação apresentado à Universidade Fernando Pessoa como parte dos requisitos para obtenção do grau de Licenciada em Fisioterapia

The Star collection of instrumental music; arranged for wind and string instruments, and for the use of small bands and orchestras.

Contains arrangements of songs, selections from operas, dances, etc.

The polar ionosphere at Zhongshan Station on May 11, 1999, the day the solar wind almost disappeared

The solar wind almost disappeared on May 11,1999: the solar wind plasma density and' dynamic pressure were less than 1 cm(-3) and 0.1 nPa respectively, while the interplanetary magnetic field was northward. The polar ionospheric data observed by the multi-instruments at Zhongshan Station in Antarctica on such special event day was compared with those of the control day (May 14). It was shown that geomagnetic activity was very quiet on May 11 at Zhongshan. The magnetic pulsation, which usually occurred at about magnetic noon, did not appear. The ionosphere was steady and stratified, and the F-2 layer spread very little. The critical frequency of dayside F-2 layer, f(0)F(2), was larger than that of control day, and the peak of f(0)F(2) appeared 2 hours earlier. The ionospheric drift velocity was less than usual. There were intensive auroral E-s appearing at magnetic noon. All this indicates that the polar ionosphere was extremely quiet and geomagnetic field was much more dipolar on May 11. There were some signatures of auroral substorm before midnight, such as the negative deviation of the geomagnetic H component, accompanied with auroral E-s and weak Pc3 pulsation.