2018-2019 Kinderkonzerts
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Wavelet Ridges for Musical Instrument Classification
J Intell Inf Syst (2012) 38:241–256 DOI 10.1007/s10844-011-0152-9 Wavelet ridges for musical instrument classification M. Erdal Özbek · Nalan Özkurt · F. Acar Savacı Received: 13 September 2010 / Revised: 25 January 2011 / Accepted: 25 January 2011 / Published online: 8 February 2011 © Springer Science+Business Media, LLC 2011 Abstract The time-varying frequency structure of musical signals have been an- alyzed using wavelets by either extracting the instantaneous frequency of signals or building features from the energies of sub-band coefficients. We propose to benefit from a combination of these two approaches and use the time-frequency domain energy localization curves, called as wavelet ridges, in order to build features for classification of musical instrument sounds. We evaluated the representative capability of our feature in different musical instrument classification problems using support vector machine classifiers. The comparison with the features based on parameterizing the wavelet sub-band energies confirmed the effectiveness of the proposed feature. Keywords Wavelet ridge · Musical instrument classification · Support vector machine 1 Introduction The classification of musical instruments is one of the main issues in the automatic transcription of music. There have been many features offered to represent musical signals which also targeted to reveal the differences of musical instrument sounds M. Erdal Özbek (B) · F. Acar Savacı Dept. of Electrical and Electronics Engineering, Izmir˙ Institute of Technology, Urla, 35430, Izmir,˙ Turkey e-mail: [email protected] N. Özkurt Dept. of Electrical and Electronics Engineering, Dokuz Eylül University, Buca, 35160, Izmir,˙ Turkey 242 J Intell Inf Syst (2012) 38:241–256 (Herrera-Boyer et al. -
Northern Ireland Tour March 21 – 26
WILLIAM WALTON An extravaganza in One Act based on the play by Anton Chekhov Northern Ireland Tour March 21 – 26 “There’s a real buzz and sense of purpose about what this company is doing” ~ The Guardian Welcome Welcome to this evening’s performance of The Bear. Tonight’s programme showcases not only a rarely performed jewel of an opera, but also brings to Northern Ireland three wonderful singers who are making a real name for themselves on the world stage. Anna Burford and Andrew Rupp are performing with NI Opera for the first time following recent engagements at the Royal Opera House Covent Garden, and English National Opera. Those of you who saw our production of Tosca back in 2011 will remember John Molloy who sang the roles of Angelotti and Sciarrone then, and sings the role of Luka tonight. We are also delighted that some of Northern Ireland’s finest choirs are appearing in the first part of tonight’s programme, singing a selection of George Shearing’s beautiful Songs and Sonnets from Shakespeare. The combination of Northern Irish talent, internationally-renowned singers and innovative programming has been highly evident throughout our 2012/13 season, which draws to a close with this tour. From commissioning exciting new short operas from leading Irish composers and playwrights, to performing a children’s opera in Belfast Zoo and at the Beijing Music Festival, to bringing a home grown production of a Wagner opera to the Belfast stage for the first time ever, this has certainly been a year to remember. 2012/13 has also seen NI Opera make its debuts at the prestigious Buxton Festival and in the Irish Republic, whilst our programmes for nurturing the best young Irish talent – particularly our Young Artists’ Programme and our annual Festival of Voice in Glenarm – continue to prosper. -
1 Pulse Magazine
1 PULSE MAGAZINE: An exploration of Athens Ohio’s entertainment culture ____________________________________ A Thesis Presented to The Honors Tutorial College Ohio University _______________________________________ In Partial Fulfillment of the Requirements for Graduation from the Honors Tutorial College with the degree of Bachelor of Science in Journalism ______________________________________ by Bridget Nora Mallon May 2013 2 The American public seeks repose in the entertainment industry because it gives them the chance to escape their everyday lives, to indulge in something that does not require critical thinking and to take a step back from the sadness and defeat that dominate most sources of news. Countless people look for something light at the end 3 of the day, whether that be a rerun of their favorite TV show, a new album by their favorite band, or the latest release of their favorite magazine, instead of sitting down to watch the evening news, or read the daily newspaper. Magazines, in and of themselves are a form of entertainment, which makes them one of the most appealing sources of information for Americans who consume some form of journalism. Even if they are hard news based, magazines are perceived as more entertaining and enjoyable than other news sources. The average consumer sees reading magazines as a leisure activity, not solely as a way to find information. Unlike newspapers or TV news broadcasts, which people are likely to consume while engaging with other stimuli, magazine readers spend extended, uninterrupted, periods of time with their favorite publications. The average magazine reader spends 42 minutes with each issue, and is unlikely to engage with any other media during that time (MPA, 2011-12, p. -
Don't Poke the Bear
Grade 1 ZB477F Full Conductor Score $7.00 Don’t Poke the Bear by Dean Sorenson K J O S F L E X J A Z Z SAMPLE Neil A. Kjos Music Company • San Diego, CA 2 Welcome to Kjos FlexJazz. This innovative new jazz series lets you create a jazz ensemble using any combination of instruments that are available. FlexJazz pieces are scored at the easiest levels and allow for maximum flexibility of instrumentation and instrument assignments. FlexJazz scores include four parts, plus parts for the rhythm section. Each of the four parts can be assigned to whatever instrumentation is available. As long as all four parts are covered, regardless of the instrumentation used, these pieces will sound full and complete. PART AVAILABLE FOR... One Trumpet, Clarinet, Alto Sax, Flute, Mallet Percussion Two Trumpet, Clarinet, Alto Sax, Tenor Sax Three Tenor Sax, Baritone T.C., Trombone, F Horn Four Baritone Sax, Trombone *Tuba has a separate part that can be added to any combination Guitar Piano Bass Drums INSTRUMENTATION LIST 1 – Alto Sax (part 1) 1 – Clarinet (part 2) 1 – Tuba* 1 – Alto Sax (part 2) 1 – Trumpet (part 1) 1 – Guitar 1 – Tenor Sax (part 2) 1 – Trumpet (part 2) 1 – Piano 1 – Tenor Sax (part 3) 1 – Trombone (part 3) 1 – Bass 1 – Baritone Sax (part 4) 1 – Trombone (part 4) 1 – Drums 1 – Flute (part 1) 1 – Baritone T.C. (part 3) 1 – Mallet Percussion (part 1) 1 – Clarinet (part 1) 1 – F Horn (part 3) 1 – Full Conductor Score THE COMPOSER Dean Sorenson is Associate Professor and Director of Jazz Studies at the University of Minnesota, as well as a prolific and highly sought-after composer, arranger, trombonist, educator, and clinician. -
The Operas of Paul Stuart Based on Libretti by Sally M. Gall Sandra Gayle Boysen
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2003 The Operas of Paul Stuart Based on Libretti by Sally M. Gall Sandra Gayle Boysen Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC THE OPERAS OF PAUL STUART BASED ON LIBRETTI BY SALLY M. GALL By Sandra Gayle Boysen A Trea ise submi ed to the School of Music in par ial fulfillment of the requirements for the degree of Doc or of Music Degree Awarded: Fall Semes er, 2003 The members of the Commi ee approve the rea ise of Sandra Gayle Boysen defended on November 7, 2003. ___________________________________ Roy Delp Professor Direc ing Trea ise ___________________________________ Timothy Hoekman Outside Commi ee Member ___________________________________ Larry Gerber Commi ee Member ___________________________________ 5anice Harsanyi Commi ee Member The Office of Gradua e S udies has verified and approved the above named commi ee members. ii AC6NO7LEDGMENTS To Paul S uar , his wife Karin and their daughter, Vanessa, go my gra i ude for heir willingness to share their time and their home for the many interviews held there during research for this trea ise. To Paul, I give special thanks for his generosi y in providing invaluable resources such as his primary research notebooks, his ini ial composi ional ske ches, and his thorough documenta ion of correspondence and other ma erials rela ed to the crea ion of these operas. My thanks go to Dr. Sally M. Gall for answering my many ques ions so pa iently hrough many e8mail e9changes. -
Friday Playlist
March 8, 2019: (Full-page version) Close Window “Works of art make rules; rules do not make works of art.” — Claude Debussy Start Buy CD Program Composer Title Performers Record Label Stock Number Barcode Time online Sleepers, 00:01 Buy Now! Blockx Flemish Dances BRT Philharmonic/Rahbari Marco Polo 8.223418 73009934182 Awake! 00:15 Buy Now! Berlioz Roman Carnival Overture, Op. 9 Suisse Romande Orchestra/Ansermet London 433 713 028943371322 00:26 Buy Now! Bennett Piano Concerto No. 5 in F minor Binns/Philharmonia/Braithwaite Lyrita 205 5020926020529 01:00 Buy Now! Mozart Violin Sonata in A, K. 305 Perlman/Barenboim DG 415 102 28941510228 01:16 Buy Now! Bach, C.P.E. Cello Concerto in B flat Rostropovich/Saint Paul CO/Wolff Teldec 77311 D 101707 01:40 Buy Now! Dvorak Rhapsody in A minor, Op. 14 Slovak Philharmonic/Pešek Marco Polo 7013 N/A Academy of St. Martin-in-the- 01:59 Buy Now! Rossini Overture ~ The Thieving Magpie EMI 49155 077774915526 Fields/Marriner 02:10 Buy Now! Bach French Suite No. 2 in C minor, BWV 813 Gould Sony 42267 07464422672 02:21 Buy Now! Bruch Eight Pieces for Clarinet and Piano, Op. 83 Meyer/Duchable Erato 45483 022924548321 Suite for Flute and Harp, Op. 245 "The 03:00 Buy Now! Hovhaness Kondonassis/Zukerman Telarc 80530 089408053023 Garden of Adonis" 03:17 Buy Now! Quantz Flute Concerto in C minor Rampal/Paris Orchestral Ensemble/Wallez Sony 39702 07464397022 03:38 Buy Now! Khachaturian Selections ~ Spartacus London Symphony/Black London 417 062 028941706225 04:01 Buy Now! Schumann Carnaval, Op. -
Turntable Jr
chapter 1 Turntable Jr. In August 2001, the last episode of the Bozo’s Circus television show was aired on WGN in Chicago. Though the show had been a staple of local Chicago television for forty years and over seven thousand episodes, the final WGN broadcast received national press coverage that hailed Bozo as the longest-running children’s television character in America, seen at one time on stations from coast to coast. Bozo’s television debut had been in Los Angeles in 1949, and in his heyday there were Bozos on the air in most major American cities, as well as in Brazil, Mexico, Thailand, and Greece. Among the many performers who played Bozo on local TV stations were Muppets creator Jim Henson and NBC weatherman Wil- lard Scott, who went on to be the first television Ronald McDonald—a figure who borrowed much of his visual style from Bozo.1 Sadly, Bozo’s reign as juggernaut of postwar children’s television was coming to an end by the 1990s, the victim of competition from cable stations such as Nickelodeon and Cartoon Network. The last Bozo broadcast in Chi- cago marked the end of an era and drew a variety of local celebrities, including Smashing Pumpkins lead singer Billy Corgan, who performed a version of Bob Dylan’s “Forever Young.” There was another music industry personality in the WGN studio that day, one who was probably not recognized by many in the audi- ence: Alan Livingston, a former Capitol Records executive. Best known as the man who signed both Frank Sinatra and the Beatles to his label, Livingston had another legacy, one that inspired the Saturday Evening 13 14 | Spoken Word Post to write in 1955 that he had “pioneered a branch of show business” that was earning twenty million dollars a year and had even influenced American educational theories. -
Shepherd School Chamber Orchestra
SHEPHERD SCHOOL CHAMBER ORCHESTRA LARRY RACHLEFF, conductor DAVID PECK, clarinet BENJAMIN KAM/NS, bassoon Sunday, October 6, 1996 8:00 p.m. Stude Concert Hall RICE UNNERSITY PROGRAM Overture to "La Gazza Ladra" Gioacchino Rossini (1792-1868) Duet-Concertino for Clarinet and Bassoon Richard Strauss with String Orchestra and Harp (1864-1949) David Peck, clarinet Benjamin Kamins, bassoon INTERMISSION Suite from "Pulcinella" Igor Stravinsky Sinfonie. Allegro moderato (1882-1971) Serena ta. Larghetto Scherzino. Allegro -Andantino Tarantella Toccata. Allegro Gavotta con due variazioni. Allegro moderato-Allegretto Vivo Finale. Allegro assai In consideration of the performers and members of the audience, please check audible paging devices with the ushers and silence audible timepieces. The taking ofphotographs and use of recording equipment are prohibited. SHEPHERD SCHOOL CHAMBER ORCHESTRA Violin I Cello (cont.) Horn t David Brubaker, Benjamin Noyes Elizabeth Matchett concertmaster Jeness Johnson Kimberly Penrod Gregory Ewer Rebecca Gilmore Martina Snell Tiffany Model/ Philip King Carey Szendel Gabrielle Stebbins Curt Thompson Double Bass Trumpet Jo Nardolillo Ali Yazdanfar, Brian Seitz Zhang Zhang principal Peter Wiseman David Murray Violin II Christopher Simison Trombone Adam DeGraff, Steven Wills principal Flute Barbara Downie Kris Guthrie Harp Iman Khosrowpour Lisa Jelle Deidre Henson Angela Marroy Piccolo Kristen Anthony Timpani Wendy Lin Martha Walvoord Che-ming Tsai Sasha Callahan Oboe Margo Carlson Percussion ;,,... _ Viola Kim Ross Elizabeth Muncaster Jonah Sirota, principal Jason Sudduth Meredith Nelson Ann Weaver Philip Rothman Paul Reynolds Clarinet Karen Slatter Kimberly Buschek Juliet Lai Alexis Bacon Rochelle Oddo Orchestra Manager Martin Merritt Cello Bassoon Gregory Beaver, Damian Montano Orchestra Librarian principal Michael Sundell Lisa Vosdoganes WINDS, BRASS, AND PERCUSSION LISTED ALPHABETICALLY. -
How to Shop the Catalog
How to Shop the Catalog Click on the musical instrument title or picture to quick link to it’s location in the online store. a season for giving F WINTER COLLECTION Like the skills needed to create these handcrafted musical instruments, these gifts will be passed from generation to generation G MOUNTAIN DULCIMER New Design These Mountain Dulcimers are one of our brand A new designs. They feature a scroll peghead, an improved strum hollow, and arches on the underside of the fretboard for improved sound. • DMARSH4 $259 D CUTAWAY DULCIMER The CutAway Dulcimer is very similar in B appearance and sound to the standard dulcimer except it is thinner on one side. This allows it to be played “guitar style”. It can also be played in the lap position like a traditional mountain dulcimer. • DMCRT4 $259 WILDWOOD DULCIMER Fun, lightweight, and easy to play, our Wildwood C C Dulcimer has the rich sound of a mountain dulcimer with just a little bit of banjo twang. The body style of the Wildwood allows it to be played like a guitar instead of the traditional “flat in the lap” position of the mountain dulcimer. • DMW $200 • DMWFS $259 BOWED PSALTERY The Bowed Psaltery creates an ethereal and D mysterious sound. This zither’s ancestry dates back to the ancient lyre, but the modern derivation is less than 100 years old. • PSSRR $170 • PSARR $229 • PSBRR $289 KANJIRA H E A South Indian frame drum, the traditional Kanjira E was made using skin of the now endangered Monitor Lizard. The 7” Skyndeep lizard graphic drum head creates a similar look and feel. -
Ii the Interpretation of Opera Excerpts for Bassoon
The Interpretation of Opera Excerpts for Bassoon: A Pedagogical Analysis of Selected Excerpts D.M.A Document Presented in Partial Fulfillment of the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Erik Soren Malmer, M.M. Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee Professor Karen Pierson, Advisor Doctor Arved Ashby Professor Katherine Borst Jones Professor Robert Sorton ii Copyrighted by Erik Soren Malmer 2019 iii Abstract Although opera presents a sizeable portion of classical music, many bassoonists are oblivious of opera literature. Besides the Marriage of Figaro many bassoonists are blithely unaware of the excerpts on opera bassoon audition lists. This document attempts to introduce and analyze the most popular opera excerpts for principal and second bassoon. Thirty-four opera companies were contacted in an effort to obtain the most accurate listing of opera bassoon excerpts. This document intends to enlighten the reader on a pedagogical approach to opera bassoon excerpts through the history of the composition, a synopsis of the opera, and a pedagogical approach to each excerpt. ii Acknowledgments I wish to express my sincere gratitude and appreciation to my advisor, Professor Karen Pierson. She has helped me grow immensely as a bassoonist and a human over the course of my studies and no amount of thanks can repay her for all of the support. I would like to thank the members of my doctoral committee, Dr. Arved Ashby, Professor Katherine Borst Jones, and Professor Robert Sorton for time and support of my studies at The Ohio State University. -
The Bear Proof 6
04 preface 09.qxp 17/09/2010 14:03 Page 1 preface The Bear is the second of Walton’s two operas and his only Britten’s Peter Grimes and Douglas Moore’s The Ballad of Baby comedy. Based on the vaudeville of the same name by the Doe.Walton had originally been contacted through his pub- Russian playwright Anton Chekhov, it had its premiere at lisher on 6 October 1958,1 but had clearly put the matter the 20th Aldeburgh Festival, in the Jubilee Hall on 3 June to the back of his mind, for by March 1965 John Ward, 1967. OUP’s music representative in New York, was writing to In the first half of the 1960s,Walton was emerging from Alan Frank that Olga Koussevitzky, the late conductor’s his 60th-birthday celebrations, and from almost a year of daughter, was very perturbed about the delay in the com- travel: his visits in 1963 took him all round the world— pletion of the commission.The OUP music staff were adept Israel, USA, New Zealand, and Australia—during which at dealing with Walton’s delays;Ward told Frank ‘Of course period he wrote little.When, on his return, he began com- I made the usual remarks about Walton’s perfectionism and posing again, things did not go smoothly.The results of an so on’, but it was clear that things were not progressing, attempt to write a small orchestral piece for George Szell and there was potential for embarrassment on all sides. were met with negative comments from both Szell and There was an extra dimension to the project; Madame Oxford University Press’s Head of Music, Alan Frank. -
Over 100 Opera Makers
#OPERAHARMONY CREATING OPERAS IN ISOLATION 1 3 WELCOME TO #OPERA HARMONY FROM FOUNDER – ELLA MARCHMENT Welcome to #OperaHarmony. #Opera Harmony is a collection of opera makers from across the world who, during this time of crisis, formed an online community to create new operas. I started this initiative when the show that I was rehearsing at Dutch National Opera was cancelled because of the lockdown. Using social media and online platforms I invited colleagues worldwide to join me in the immense technical and logistical challenge of creating new works online. I set the themes of ‘distance’ and ‘community’, organised artist teams, and since March have been overseeing the creation of twenty new operas. All the artists involved in #OperaHarmony are highly skilled professionals who typically apply their talents in creating live theatre performances. Through this project, they have had to adapt to working in a new medium, as well as embracing new technologies and novel ways of creating, producing, and sharing work. #OperaHarmony’s goal was to bring people together in ways that were unimaginable prior to Covid-19. Over 100 artists from all the opera disciplines have collaborated to write, stage, record, and produce the new operas. The pieces encapsulate an incredibly dark period for the arts, and they are a symbol of the unstoppable determination, and community that exists to perform and continue to create operatic works. This has been my saving grace throughout lockdown, and it has given all involved a sense of purpose. When we started building these works we had no idea how they would eventually be realised, and it is with great thanks that we acknowledge the support of Opera Vision in helping to both distribute and disseminate these pieces, and also for establishing a means in which audiences can be invited into the heart of the process too .