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The Witches' Dream Book and Fortune Teller
Qass Book COPYRIGHT DEPOSIT Price, 25 Cents. THE UNIVERSAL HAUD-BOOKS. Wo. 2 / Universal Handbook, IN o. 2. THE Witches' Dream Book FORTUNE TELLER. EMBRACING FULL AND CORRECT RULES OF DIVINATIONIVLNATION CONCERNCONCERN- * ING DREAMS AND VISIONS, FORETELLING OF FUTURE EVENTS, THEIR SCIENTIFIC APPLICATION TO PHYSIOGNOMY, PALM- ISTRY, MOLES, CARDS, &C. ; TOGETHER WITH THE APPLICATION AND OBSERVANCE OF TALISMEN CHARMS, SPELLS AND INCANTATIONS. Of/ ILLUSTRATED. JAN 25 1886 NEW YORK: X<££_V*md HENRY J. WEHMAN. 1885. ^VO Copyright, 1885, by Hksby J. Wehman. — f REFAOE " To sleep, perchance to dream." Hamlet. This introductory page is inserted, not with the pur- pose of reviewing the contents of the book—a custom, to our mind, more honored in the breach than the ob- servance—but merely to inform those who look within the pages, the seekers after knowledge concerning the laws of Oneirology and the bases of Fortune Telling, that they will find much to instruct, interest and amuse. While avoiding undue prolixity, the subjects are com- prehensively and exhaustively treated, proving it to be more valuable as a book of reference than any other of similar character ever before given to the public. DEEAMS AND THEIR INTERPRETATION. Although much prejudice exists as to the origination of Dreams and the various interpretations given them, the fact is incontro- vertible that they have, in all ages and among all nations, borne a conspicuous part in shaping destinies. Both sacred and profane history is replete with dreams which have had more or less influ- ence upon the lives of the dreamers. Innumerable are the instances in which have been prefigured in dreams occurrences that have actually taken place, and many dangers have been averted by heeding warnings given during sleep. -
The Nortnal College Ne'ws
Eastern Michigan University DigitalCommons@EMU EMU Student Newspaper: The orN mal News & University Archives The Eastern Echo 1913 The orN mal College News, June 13, 1913 Eastern Michigan University Follow this and additional works at: https://commons.emich.edu/student_news p ,, The NortnalCollege Ne'Ws VOL. JO YPSILANTI MICHIGAN, FRIDAY, JUNE 13, 1913 NO. 34 OUT-DOOR PROGRAM One Week More olReal Work Before Commencement SENSATIONAL RALLY UND[R ELECTRIC LIGHTS The atmosphere on the campus ls President McKenny in Normal Hall SAV[S JUE DAY Girls' Gym Glasses to Present Program rapidly becoming charged with the on Sunday evening. Monday is given Normals Find U. D. in Ninth Inning spirit of Commencement, as the clos- to class day exercises. The Degrees of of Drills and Dances on Football ing da.ys of the school year draw near. hold theirs at ten in the morning, for Four Merry Runs; Game Field Tuesday It .seems diffi.,cult to realize that followed by the Senior class and Ivy Played at Bois BlanG a fl of l from Tungs- there is but one more week of real Day exercises in the afternoon. In Under ood ight The ball team successfully clashed ten lamps suspended over the football .school. Next week occur the final the evening the campus songfest. oc- exams for those unlucky ones who curs and the conservatory Commence- with University of Detroit at Bois field, the final public appearance of Blanc Wednesday, The Free Press the girls' gym classes will be made have to take them, and the rounding ment. Tuesday is set aside as Alumni m reported the game as follows: next Tuesday ev'3ning at eight o'clock. -
A Place – a Time Eva-Maria Houben
a place – a time percussion (1 player) eva-maria houben © edition wandelweiser 2021 catalogue number ew16.359 a place – a time flying leaves for a percussionist eva-maria houben 2021 for aaron butler. a place: a place outdoors or indoors where you could have a good mind to spend a good time. a time: a time you spend at a certain place staying there for a while. maybe you are inviting the light, the wind, or the thunderstorm to enter. maybe you are inviting the rustling foliage, the run of water, the speaking stones, the branches, the birdsongs, the traffic, the working noises, or fragments of speaking voices or shouts to accompany you. finding a place filling the place with one’s own breath feeling the special atmosphere of the place putting together some loose sheets that could respond to this place performing—any order of the sheets, any order of the sounds on one sheet ending somehow, somewhen the score opens for all sounds of the environment. intervening and letting (something) happen have the same nature as intentional activities. the score touches both realms of actively doing something and actively letting something be. here and there undetermined instrumentation. all sounds are (rather) soft. repetition sign: number of repetitions ad libitum. all sounds find themselves in a one-line system. sometimes you find two, three or more sounds distributed above, on, or below the line: the different distances from the line for an instrument with pitched sounds indicate higher or lower (defined) pitches, not exactly a certain pitch. the sounds of an unpitched instrument appear in the same way in different distances from the line as different tones (of the material / instrument); this difference of ‘tones’ depends on different touch points. -
The Natural Language Problem
The Natural Language Understanding Problem A literature review of recent work using an embodied, usage-based, cognitive linguistic approach MSc ProjectMSc Painting by John William Waterhouse, Pandora, 1896 Steven Bos, June 2012 Milestone 1 for MSc Project TU Delft Supervisor: Dr. Ir. Pascal Wiggers Painting by John William Waterhouse, Pandora, 1896 The Natural Language Understanding Problem 2012 Contents About this research assignment .......................................................................................................... 5 1 Introduction ................................................................................................................................ 6 2 Embodiment and the Neural Theory of Language ........................................................................ 8 3 A new philosophical framework for NLU ................................................................................... 10 3.1 The current definitions of meaning and understanding ...................................................... 10 3.2 The relation between meaning and understanding ............................................................ 11 3.3 The Embodied definitions of meaning and understanding ................................................. 13 3.3.1 Defining Meaning....................................................................................................... 13 3.3.2 Defining Understanding ............................................................................................. 15 3.4 Epistemology: Study -
Local Music History Research Los Angeles Area Libraries
. Local Music History Research lll Los Angeles Area Libraries Part I INTHE FIRST EDITION of Grove (A Dictionary of stanced: the sole source listed under "Chicago" was Music and Musicians [A.D. /450-1880). n [London, • 'Karleton Hackett, The Beginnings of Grand Opera Macmillan and Co., 1880), 163), Charles Allan in Chicago 1850-1859 (1913)." Woefully limited Fybee, "Barrister-at-Law," limited himself in his ar though they wcre, at least Einstein's bibliographies ticle headed "London" toan account of the music did underline this fact-histories of music in Euro degrees offered by the University of London. Else pean music centers deal chiefly with institutions and where had appeared George Grove's own article, their leaders. Rarely does everyday music life in "Edinburgh, Professorship of," but nothing else trude. Nor do middling achievers enter histories of concerning musical life in Edinburgh. No foreign institutions. city gained so much as a nod. Dictionaries and encyclopedias originating in the The second edition, entrusted in 1904 to J. A. United States have followed the same rule. Asan ex Fuller Maitland, included articles on " Boston Music ample: institutions occupy what space the University Societies" (1, 367-369); "Cincinnati Music Festival" Dictionary of Music and Musicians (New York: The (1, 537-538); " London Academy of Music," "Lon University Society, 1912, 1, 111-112, 11 9-120; 11, don Musical Society," and "London Sacred Har 435- 439) allotted Chicago, Cincinnati, and New monic Society" (11, 768-769); but no articles headed York (characterized as "the largest city in the two "Berlín," "París," or "St. Petersburg." By way of Americas," and the possessor "in 1909 of the a beginning, an article headed "Rome" by A. -
Extended Performance Techniques and Compositional Style in the Solo
EXTENDED PERFORMANCE TECHNIQUES AND COMPOSITIONAL STYLE IN THE SOLO CONCERT VIBRAPHONE MUSIC OF CHRISTOPHER DEANE Joshua D. Smith, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2008 APPROVED: Mark Ford, Major Professor Eugene Migliaro Corporon, Minor Professor Christopher Deane, Committee Member Terri Sundberg, Chair of the Division of Instrumental Studies Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Smith, Joshua D., Extended performance techniques and compositional style in the solo concert vibraphone music of Christopher Deane. Doctor of Musical Arts (Performance), August 2008, 66 pp., 1 table, 8 figures, 20 musical examples, references, 29 titles. Vibraphone performance continues to be an expanding field of music. Earliest accounts of the presence of the vibraphone and vibraphone players can be found in American Vaudeville from the early 1900s; then found shortly thereafter in jazz bands as early as the 1930s, and on the classical concert stage beginning in 1949. Three Pieces for Vibraphone, Opus 27, composed by James Beale in 1959, is the first solo concert piece written exclusively for the instrument. Since 1959, there have been over 690 pieces written for solo concert vibraphone, which stands as evidence of the popularity of both the instrument and the genre of solo concert literature. Christopher Deane has contributed to solo vibraphone repertoire with works that are regarded as staples in the genre. Deane’s compositions for vibraphone consistently expand the technical and musical potential of the instrument. -
Percussion-Instrumente Percussion Instrumente
Percussion-Instrumente Percussion Instrumente Unsere Neuheiten: Triangel mit Anschlagvorrichtung Tamburine mit Klemm- und Kreuzhalterung Freischwingende Innenaufhängung für Große Trommeln übergroße und zerlegbareTrommeln Trommeln mit Kupferkessel Seiltrommeln Pedal-Tomtom Klaviaturglockenspiel Celesta Marimbaphone Liegende Röhrenglocken weitere Flight-Case-Modelle modifizierte Pauken-Modelle neue Produktserie „Solist“ für Schulen, Musikvereine und Solisten Bühnenpodeste für Orchester und Chor Eigenprodukte und Fremdfabrikate aller Marken Zuvor noch eine Bemerkung zur Qualität und Vielseitigkeit Wir sind stolz darauf, sämtliche großen und international renommierten Orchester der Welt zu unseren Kunden zählen zu dürfen. Das verpflichtet natürlich. Deshalb bieten wir nur Produkte an, die technisch ausgereift, perfekt verarbeitet und mehrfach geprüft sind. Bei uns gibt es keine Massenherstellung. Jedes Kolberg Produkt wird mit größter Präzision und handwerklichem Können einzeln gefertigt, in Kenntnis der praktischen und klanglichen Anforderungen, mit ausgewählten Materialien und modernster Technologie. Das Ergebnis: klanglich perfekte und gut zu handhabende Instrumente sowie „intelligentes“ Zubehör, robust genug, nicht nur e i n e Musiker-Generation zu überstehen. Die Benutzung hochwertiger Materialien und die sorgfältige Bearbeitung sowie die elegante Formgebung verleihen allen Kolberg Produkten ein klassisch-edles Design. Kolberg Percussion bietet eine riesige Produktpalette an: von latein-amerikanischen Effekt- Instrumenten über asiatische -
Contimbre Modes
All available playing techniques of conTimbre 1 brass ho rns ho rn in f bisbigliando 2 brass horns horn in f flutter-tongue/tongue-R 3 brass horns horn in f half depressed valves 4 brass horns horn in f hit on mouthpiece 5 brass horns horn in f insert straight mute into bell 6 brass horns horn in f kiss 7 brass horns horn in f mouthpiece backwards 8 brass horns horn in f mouthpiece only 9 brass ho rns ho rn in f o rdinario 10 brass horns horn in f play and sing/woman 11 brass horns horn in f silent brass mute 12 brass horns horn in f slap 13 brass horns horn in f snap with a finger on the bell 14 brass horns horn in f snap with a finger on the bell/coin on finger 15 brass horns horn in f stop mute/closed 16 brass horns horn in f stop mute/open 17 brass horns horn in f stop mute/wahwah effect 18 brass horns horn in f straight mute 19 brass horns horn in f without mouthpiece/air noise/english 'f' 20 brass horns horn in f without mouthpiece/air noise/english 'h' 21 brass horns horn in f without mouthpiece/air noise/english 'k' 22 brass horns horn in f without mouthpiece/air noise/english 'p' 23 brass horns horn in f without mouthpiece/air noise/english 's' 24 brass horns horn in f without mouthpiece/air noise/english 'sh' 25 brass horns horn in f without mouthpiece/air noise/english 't' 26 brass horns horn in f without mouthpiece/air noise/flutter-tongue/tongue-R 27 brass horns horn in f without tubings/bb-horn 28 brass horns horn in f without tubings/f-horn 29 brass ho rns natural ho rn in a o rdinario 30 brass horns natural horn in ordinario -
BEE GEES Bee Gees: the Studio Albums 1967-1968 Bee Gees’ 1St Horizontal Idea
BEE GEES Bee Gees: The Studio Albums 1967-1968 Bee Gees’ 1st Horizontal Idea Reprise’s Restoration Of The Bee Gees’ Legendary Catalog Begins With A 6-Disc Limited-Edition Boxed Set Housing Expanded & Remastered 2-CD Reissues Of Their First Three Hit Records! Featuring The Original Albums In Stereo & Mono, Plus A Full Disc Each Of Rare & Previously Unreleased Tracks! BACKGROUND: One of the most popular and influential groups in popular music, The Bee Gees’ career spanned five decades, five GRAMMY®s and eight platinum albums—but until now, the group’s extraordinary catalog has never been upgraded. Reprise begins its complete restoration of their repertoire with 2-CD expanded remasters of their first three internationally released albums. THE STUDIO ALBUMS 1967-1968 is the definitive overview of the 5-piece Bee Gees line-up that shot to stardom in the late ’60s: harmonizing brothers Barry, Robin, and Maurice Gibb, and Australian musicians Vince Melouney and Colin Petersen. The revitalization of these three early albums marks the first time the group has opened their extensive tape vaults for archival mining. On BEES GEES’ 1ST, HORIZONtal and IDEA, the musical genius of the Bee Gees now sounds better than ever. Album Facts c Each reissue features the original album remastered in stereo and mono, plus a second disc of rare and unreleased tracks pulled for the first time ever from the Bee Gees’ tape vaults. c In-depth liner notes featuring brand-new interviews from Barry and Robin Gibb. c Booklets also feature rare and previously unseen photos. c Deluxe gatefold digipaks in individually-numbered limited-edition slipcase. -
Poppy Fields Câmpuri De Maci
Livia Teodorescu-Ciocănea Poppy Fields Câmpuri de maci Oratorio in memory of the soldiers who died during the First World War Poppy Fields Câmpuri de maci Oratorio in memory of the soldiers who died during the First World War for Mezzo-Soprano (ossia Soprano Dramatico), Tenor, Baritone, mixt choir and full orchestra Parts 1. Big Ben Eleven - Declaration of War (Baritone, choir and orchestra) 2. In Flanders Fields (Tenor, choir and orchestra) 3. "Români!" - Proclamația către țară a regelui Ferdinand ("Romanians" - King Ferdinand's proclamation to the Romanian people) (Baritone and orchestra) 4. În vârful Carpaților (On top of the Carpathians) (Tenor, choir and orchestra) 5. Rugăciunea Reginei Maria pentru cei căzuți (Prayer of Queen Marie for the Dead) (Mezzo-Soprano and orchestra) Biografie Muzica are putere nelimitată. A compune muzică înseamnă a împărtăși imaginația, inteligența și sentimentele tale. Ceea ce rezultă ar trebui să fie mai mult decât ți-ai imaginat inițial și dincolo de propria înțelegere. Misterul intangibil al muzicii tale va crește odată cu sensibilitatea, imaginația și așteptările fiecărui ascultător. Livia Teodorescu-Ciocănea Livia Teodorescu-Ciocănea este o compozitoare și pianistă concertistă română, profesor universitar doctor la Universitatea Națională de Muzică București, Departamentul de Compoziție, unde predă compoziție, stilistică și poetică, forme și analize muzicale. Numeroasele sale compoziții și înregistrări sunt apreciate internațional pentru viziunea lor puternică, impactul emoțional și rafinamentele timbrale remarcabile. O serie de lucrări muzicologice (cărți și capitole de carte) au fost publicate în țară, în timp ce câteva dintre articolele sale recenzate au fost acceptate în jurnale muzicologice internaționale de vârf. În 2008 a câștigat un grant internațional Endeavour Award – Postdoctoral Research Fellowship (2008) - finanțat de guvernul australian și efectuat la Universitatea Monash. -
An Historical Survey of the Development of the Vibraphone As an Alterna Tive Accompanying Instrument in Jazz
AN HISTORICAL SURVEY OF THE DEVELOPMENT OF THE VIBRAPHONE AS AN ALTERNA TIVE ACCOMPANYING INSTRUMENT IN JAZZ. BY FRANK A MALLOWS (MLLFRA002) A MINOR DISSERTATION SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE A WARD OF THE DEGREE OF MASTER OF MUSIC. SOUTH AFRICAN COLLEGE OF MUSIC UNIVERSITY OF CAPE TOWN SOUTH AFRICA 2004 The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town 11 DECLARATION This work has not been previously submitted in whole, or in part, forthe award of any degree. It is my own work. Each significant contribution to, and quotation in, this dissertation from the work, or works, of other people has been attributed, and has been cited and referenced. SIGNATURE DATE (Frank Arthur Mallows) III ABSTRACT AN HISTORICAL SURVEY OF THE DEVELOPMENT OF THE VIBRAPHONE AS AN ALTERNATIVE ACCOMPANYING INSTRUMENT IN JAZZ. by Frank Arthur Mallows 7 Muswell Hill Road Mowbray Cape Town A minor dissertation submitted in partial fulfilment of the requirements for the award of the degree of Master of Music. South African College of Music University of Cape Town South Africa 2004 The vibraphone, a melodic percussion instrument in which metal bars are struck with mallets to produce the sound and with a chromatic range of usually three octaves, was developed in the United States of America in the early 1900s. -
New Music for Orchestra
Michel van der Aa (*1970) Johannes Boris Borowski (*1979) Reversal (2016) 11’ Stretta (2016–17) 23’ Releases 2016–18 for orchestra for piano and orchestra WP: 13 Jan 2017 Staatsoper, Hamburg WP: 15 Nov 2017 Philharmonie, Berlin Andrey Kaydanowskiy, choreographer / Daniel Barenboim, piano / Staatskapelle Berlin / Bundesjugendballett / Bundesjugendorchester / Zubin Mehta Alexander Shelley for piano and orchestra 1.1.2(II=bcl).2(II=dbn)—4.2.2.btrbn.0—perc(2):vib/glsp/ 2.2.2.2.dbn—4.2.2.1—timp.perc(3):marimba/vib/glsp/t.bells/ marimba/BD/SD/maracas/bongo/tgl/bamboo chimes/glass SD/BD/4tom-t/2bongo/2Conga/tamb/2lion’s roar/2splash cym/ chimes/BD/log dr/cyms/whip/church bell or t.bells—harp— 2crash cym/2ride cym/3Chin.cym/tam-t/5opera gong/rainmaker/ strings(16.14.12.10.8) whip(lg)/2ratchet/wind machine/mark tree/wood chimes—harp— strings(10.8.6.6.3; alternatively 6db) John Adams (*1947) Walter Braunfels (1882–1954) Lola Montez Tag- und Nachtstücke (1933–34) 30’ Does the Spider Dance (2016) 4’ for piano and orchestra from ‘Girls of the Golden West’ WP: 13 Jul 2017 Ruhrfestspielhaus, Recklinghausen for orchestra Michael Korstick, piano / Neue Philharmonie WP: 06 Aug 2016 Civic Auditorium, Santa Cruz, CA Westfalen / Peter Ruzicka Cabrillo Festival of Contemporary Music / Marin Alsop 2(I,II=picc).2.2.2(II=dbn)—4.2.2.1—timp.perc(1):tamb/tgl/xyl/SD/ 3(III=picc).2.corA.2.bcl.2.dbn—4.3.3.0—perc(1):BD—pft—strings glsp/cyms—harp—strings (*1939) Louis Andriessen Enrico Chapela (*1974) Agamemnon (2017) 20’ Antikythera (2016) 10’ RCHESTRA for orchestra