DOCSLIB.ORG

Pour Chant Et Piano : Oeuvre 1 Vienne 1860 Mus.III.91.558 2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Pour Chant Et Piano : Oeuvre 1 Vienne 1860 Mus.III.91.558 2 Nuty Data Lp. Autor Tytuł Miejsce wydania Sygnatura wydania 1. A. de L. Album de salon : pour chant et piano : Oeuvre 1 Vienne 1860 Mus.III.91.558 2. Abendroth, G. Fest-Gavotte Berlin 1900 Mus.III.91.888 3. Ábrányi, Kornél (1822-1903). Kompozytor Csárdás Album : Zongorára Alkalmazta : für Pianoforte bearbeitet : Piano solo Budapest 1910 Mus.III.96.277 4. Abt, Franz (1819-1885) Cicho śpij : op. 213 no. 3 Warszawa 1890 Mus.III.84.507 5. Abt, Franz (1819-1885) Czy ja cię kocham : (Irene) : [op. 39 nr 2] Warszawa 1902 Mus.III.85.002 6. Abt, Franz (1819-1885) Czy ja cię kocham : (Irene) : [op. 39 nr 2] Warszawa 1890 Mus.III.96.602 Des Liedes Verklärung : für Männerchor mit Begleitung des Orchesters oder des Pianoforte : 7. Abt, Franz (1819-1885) Leipzig 1868 Mus.III.84.958 op. 422 Siegesgesang : für vier Männerstimmen mit Begleitung von Blasinstrumenten oder des 8. Abt, Franz (1819-1885) Leipzig 1868 Mus.III.84.961 Pianoforte : op. 394 Siegesgesang des Deutschen nach der Hermannschlacht : für vierstimmigen Männerchor mit 9. Abt, Franz (1819-1885) Leipzig 1886 Mus.III.84.959 Instrumental- oder Clavier-Begleitung : op. 267 10. Abt, Franz (1819-1885) Tęsknota : (Agathe) : [op. 39 nr 1] : sopran [i fort.] Warszawa 1898 Mus.III.85.003 Wenn die Schwalben heimwärts zieh'n : [Agathe : aus dem "Buch der Liebe" von C. 11. Abt, Franz (1819-1885) Berlin 1915 Mus.III.88.232 Herlossohn : op. 39 no. 1] Zwei Gedichte von W. Floto : für eine Altstimme mit Begleitung des Pianoforte : op. 128. No. 1, 12. Abt, Franz (1819-1885) Wien 1880 Mus.III.88.150 Über den Sternen ist Ruh' 13. Achtel, Józef Belle rose : polka : op. 28 Varsovie 1849 Mus.III.75.555 Matinée au jardin = Poranek w ogrodzie : valse composée pour le orchestre : arrangées pour 14. Achtel, Józef Varsovie 1850 Mus.III.102.063 Cim. le piano forte : op. 34 Le Postillon de Lonjumeau : opéra comique en 3 actes. No. 13, Grand air "A la noblesse je 15. Adam, Adolphe (1803-1856) Mayence 1835 Mus.III.96.121 m'allie" 16. Adam, Adolphe (1803-1856) Modlitwa : (Cantique de Noël) : Głos duszy Warszawa 1905 Mus.III.72.539 Ulubione śpiewy z Opery Pocztylion z Lonżjumo : na [głos z] Piano Forte. No. 3, Mes amis 17. Adam, Adolphe (1803-1856) Warszawa 1838 Mus.III.99.335 Cim. écoutez l'histoire = (Więc chciejcie posłuchać) 18. Adamer, Giuseppe La Guerra musicale : In Quartetto per due Violini, Viola e Violoncello Vienna 1801 Mus.III.98.506 Cim. Adamowska-Szumowska, Antonina (1868-1938). 19. [4-głosowe ćwiczenia harmoniczno-kontrapunktyczne]. Miejsce nieznane 1890 Mus.290 Kompozytor Adamowska-Szumowska, Antonina (1868-1938). 20. Barcarolle Miejsce nieznane 1890 Mus.289 Kompozytor Adamowska-Szumowska, Antonina (1868-1938). 21. Rêverie Paryż 1890 Mus.288 Kompozytor 22. Adamowski, Wincenty Krakowiaczek : "Wesół i szczęśliwy" Varsovie 1905 Mus.III.73.331 23. Adamowski, Wincenty Paraphrase de deux valses : de Strauss "Du und Du" et Vollstedt "Lustige Brüder" : pour piano Varsovie 1905 Mus.III.92.024 24. Adamus, Zenobiusz Kujawiaki Zenobjusza Adamusa. Album 1szy Warszawa 1910 Mus.III.73.404 25. Adnyz, H. Immaculata : pour piano Posen 1910 Mus.III.75.573 Fingerübungen für das Piano-Forte : zur gleichmässigen Ausbildung der rechten und linken 26. Agthe, Albrecht (1790-1873) Berlin 1840 Mus.III.96.190 Hand 27. Ahle, Johann Rudolph (1625-1673) Ausgewählte Gesangswerke : mit und ohne Begleitung von Instrumenten Leipzig 1901 Mus.III.99.902 28. Ajinsky, M. Élégie : pour piano à 2 mains : op. 48 Varsovie 1898 Mus.III.72.444 29. Alâb'ev, Aleksandr Aleksandrovič (1787-1851) Izbrannye romansy i pesni : dlâ srednego i vysokogo golosov v soprovoždenii fortepiano Moskva 1985 Mus.III.120.549 30. Alâb'ev, Aleksandr Aleksandrovič (1787-1851) Izbrannye romansy i pesni : dlâ srednego i vysokogo golosov v soprovoždenii fortepiano Moskva 1985 Mus.III.120.549 31. Alard, Delphin (1815-1888) Barcarolle et Saltarelle : pour piano et violon : op. 26. No. 2, Saltarelle Mayence 1880 Mus.III.94.928 32. Alary, Giulio (1814-1891) Cudzoziemiec = L'etranger Warszawa 1903 Mus.III.92.251 33. Albéniz, Isaac (1860-1909) España : 6 feuilles d'album : op. 165 Mayence 1930 Mus.III.91.127 34. Albéniz, Isaac (1860-1909) Suite española : [op. 47]. 1, Granada : serenata Barcelona 1918 Mus.III.96.184 35. Albéniz, Isaac (1860-1909) Tango New York 1921 Mus.III.83.390 36. Albert, Emile (1822-1865) Nocturne : pour le piano : sur un motif de Fiorina de Pedrotti : op. 30 Varsovie 1854 Mus.III.78.075 37. Albert, Eugen d' (1864-1932) Die toten Augen : eine Bühnendichtung von Hanns Heinz Ewers und Marc Henry Berlin 1913 Mus.III.91.820 38. Albert, Eugen d' (1864-1932) Romans : (Klavierstück) : op. 5 no. 3 Warszawa 1888 Mus.III.80.071 39. Albert, Eugen d' (1864-1932) Walzer : für Klavier zu 4 Händen : op. 6 Berlin 1910 Mus.III.89.070 40. Albert, Heinrich (1604-1651) Arien. I. Ableitung Leipzig 1903 Mus.III.99.908/1 41. Albert, Heinrich (1604-1651) Arien. II. Ableitung Leipzig 1903 Mus.III.99.908/2 42. Albertson, R. Perły i kwiaty. No. 2, Rozetka-Polka francuzka Kraków 1888 Mus.III.63.866 43. Albinoni, Tomaso (1671-1750) Sonata in d-moll Mainz 1909 Mus.III.96.917 44. Aletter, Wilhelm (1867-1934) Asta! Asta! : tekst polski i niemiecki Warszawa 1905 Mus.III.91.237 45. Aletter, Wilhelm (1867-1934) Bianca : petite romance sans paroles Varsovie 1912 Mus.III.78.197 46. Aletter, Wilhelm (1867-1934) Danse hongroise Varsovie 1910 Mus.III.91.059 47. Aletter, Wilhelm (1867-1934) La Troika Varsovie 1910 Mus.III.78.251 48. Aletter, Wilhelm (1867-1934) Młoda wdówka = (Die kleine Witwe) : kuplety śpiewane w krotochwili "Dama od Maksyma" Warszawa 1900 Mus.III.87.146 49. Aletter, Wilhelm (1867-1934) Młoda wdówka = (Die kleine Witwe) : kuplety śpiewane w krotochwili "Dama od Maksyma" Warszawa 1900 Mus.III.99.865 50. Aletter, Wilhelm (1867-1934) Rococo : (rendez-vous) Varsovie 1915 Mus.III.78.443 51. Aletter, Wilhelm (1867-1934) Rococo : (rendez-vous) Varsovie [etc 1922 Mus.III.87.984 52. Alkan, Charles Henri Valentin (1813-1888) Cinq préludes : op. 31 Varsovie 1901 Mus.III.96.852 53. Alkan, Charles Henri Valentin (1813-1888) Confidence Op. 63 nr 9 Varsovie 1901 Mus.III.81.407 54. Alkan, Charles Henri Valentin (1813-1888) Deux esquisses : Inflexibilité ; Fuguette : OP. 63 nr 28, 6 Varsovie 1901 Mus.III.81.406 55. Alkan, Charles Henri Valentin (1813-1888) Deux esquisses : op. 63. No. 28, Inflexibilité. No. 6, Fuguette Varsovie 1901 Mus.III.86.473 56. Alkan, Charles Henri Valentin (1813-1888) La vision Op. 63 nr 1 Warszawa 1901 Mus.III.79.167 57. Allier, Gabriel (18..-1924) Polka des clowns : pour piano Paris 1910 Mus.III.75.434 58. Amat, Léopold (1814-1872) Où vas-tu petit oiseau? : cantilene. No 1, Baryt-n ou Contr-o Paris 1850 Mus.III.98.433 59. Amator Słowik : śpiew z towarzyszeniem fortepianu Warszawa 1850 Mus.III.99.353 Cim. 60. Amator Słowik : (Miła ptaszyna) : śpiew z towarzyszeniem fortepianu Warszawa 1860 Mus.III.112.580 Cim. 61. Amator Pan Wo... Śpiewka z kom. opery Pamiętniki Szatana Warszawa 1842 Mus.II.22.516 Cim. 62. Amator Pan Wo... Śpiewka z kom. opery Pamiętniki Szatana Warszawa 1842 Mus.II.22.516 Cim. Różaniec do Najświętszej Maryi Panny : na cztery głosy mieszane w jedną całość zebrany : do 63. Ambraziejus, Juozas (1855-1915) Warszawa 1889 Mus.III.77.260 pojęcia ludu wiejskiego zastosowany 64. Amer, Josef (1840-1906) Marsz : op. 72 Warszawa 1899 Mus.III.99.130 65. Amerling, Fr Choral Kraków 1869 Mus.III.96.775 66. Ana, W. Deuxième quadrille : sur des motifs de St. Moniuszko : pour le piano : op. 8 Varsovie 1870 Mus.III.72.499 67. Anczyc, Władysław Ludwik (1823-1883) Marsz Strzelców z 1863 r. Kraków 1916 Mus.III.64.217 68. André, Johann Anton (1775-1842) Marche : à quatre mains pour Piano-Forté Offenbach s/M 1804 Mus.II.19.222 Cim. 69. André, Johann Anton (1775-1842) Sonatine en Do maj. : op. 34 no 1 Varsovie 1905 Mus.III.91.708 70. André, Ludwig (1858-1924) Naprzód! : galop cyklistów : [op. 25] Warszawa 1894 Mus.III.74.377 71. André, Ludwig (1858-1924) Naprzód! : galop cyklistów : [op. 25] Warszawa 1894 Mus.III.99.061 72. Ansorge, Conrad (1862-1930) Traumbilder : für Clavier : Op. 8 Berlin 1897 Mus.III.80.202 73. Antréassian, Edmond (18..-1937) El Guiro : tango argentin Varsovie 1910 Mus.III.87.678 74. Antréassian, Edmond (18..-1937) El Guiro : tango argentin Warszawa : Łódź 1915 Mus.III.94.107 75. Arct, Aleksander Gavotte Warszawa 1903 Mus.III.75.537 76. Arditi, Luigi (1822-1903) Il bacio Berlin 1860 Mus.III.87.793 77. Arditi, Luigi (1822-1903) Il bacio : valse de chant Varsovie 1860 Mus.III.96.820 78. Arditi, Luigi (1822-1903) Il bacio = Der Kuss : Celèbre valse Mayence 1860 Mus.III.82.371 79. Arditi, Luigi (1822-1903) La farfalletta = Der Schmetterling : mazurka cantabile Mayence 1863 Mus.III.91.559 80. Arditi, Luigi (1822-1903) La stella : valse Varsovie 1864 Mus.III.84.522 81. Arditi, Luigi (1822-1903). Kompozytor Valse : Il bacio. Miejsce nieznane 1860 Mus.340 "Dźwięk walca wciąż słyszę zaklęty..." = Davno-l' pod volšebnye zvuki : na jeden głos z tow. 82. Arenskij, Anton Stepanovič (1861-1906) Warszawa 1922 Mus.III.64.753 fortepianu : op. 49 no. 5 83. Arenskij, Anton Stepanovič (1861-1906) Capriccio : <Peons> : op. 28 nr 2 : für Pianoforte Hamburg 1910 Mus.III.92.645 84. Arenskij, Anton Stepanovič (1861-1906) Davno-l' pod' volšebnye zvuki : romans' : op. 49 no. 5 Moskva 1910 Mus.III.64.754 85. Arenskij, Anton Stepanovič (1861-1906) Etûd = Etude : op.
Load more

Recommended publications
  • 93877 Handel CDROM Booklet
    Brilliant Classics INTEGRALE CHOPIN Programme du coffret Tous les détails sur les oeuvres de chaque disque figurent au dos de chaque pochette cartonnée CD 1 BALLADES ET IMPROMPTUS BELLA DAVIDOVICH TOTAL TIME : 58’25 Recording: 1981/1982; UK, Switzerland. Licensed from Decca Music Group Limited, a division of Universal Music Group. DDD CD 2 ÉTUDES LOUIS LORTIE TOTAL TIME: 67’21 Recording: April 1986, The Maltings, Snape, Suffolk, UK. Producer: Brian Couzens - Engineer: Ralph Couzens Licensed from Chandos Records Ltd, UK DDD CD 3 NOCTURNES VOL. 1 ADAM HARASIEWICZ TOTAL TIME 42’39 Recording: 1961/1963, The Netherlands. Licensed from Decca Music Group Limited, a division of Universal Music Group. ADD CD 4 NOCTURNES VOL. 2 ADAM HARASIEWICZ TOTAL TIME 61’45 Recording: 1961/1963, The Netherlands. Licensed from Decca Music Group Limited, a division of Universal Music Group. ADD 1 CD 5 SCHERZOS, FANTAISIE, BARCAROLLE, BERCEUSE ALWIN BÄR TOTAL TIME: 63’11 Recording producer: Pieter van Winkel - Recording engineer and editor: Peter Arts - Recording: Bachzaal, Amsterdam, 11-12 August, 1998 CD 6 VALSES ZOLTÁN KOCSIS TOTAL TIME: 51’55 Recording: 1982, Germany. Licensed from Decca Music Group Limited, a division of Universal Music Group. DDD CD 7 MAZURKAS VOL. 1 COR DE GROOT (Piano Pleyel 1847) TOTAL TIME 58’46 Recording: oktober/november 1988, Gemeentemuseum Den Haag - Recording producer & engineer: Dick van Schuppen. DDD CD 8 MAZURKAS - VOL. 2 VARIATIONS ON “LA CI DAREM LA MANO” COR DE GROOT (Piano Pleyel 1847) ET ARTUR MOREIRA, PIANO SOFIA PHILHARMONIC ORCHESTRA, DIMITER MANOLOV TOTAL TIME 73’38 Recording: oktober/november 1988, Gemeentemuseum Den Haag Recording producer & engineer: Dick van Schuppen.
    [Show full text]
  • Polish Female Composers in the Nineteenth Century
    Polish Female Composers in the Nineteenth Century MAGDALENA DZIADEK Institute of Musicology, Jagiellonian University in Cracow Email: [email protected] This publication has been financed from the funds of the Ministry of Science and Higher Education allocated for the promotion and dissemination of science under agreement 730/P-DUN/2019. Open Access. © 2019 Magdalena Dziadek, published by Sciendo. This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License. Polish Female Composers in the Nineteenth Century Musicology Today • Vol. 16 • 2019 DOI: 10.2478/muso-2019-0002 ABSTRACT Adam Mickiewicz, consciously basking in the rays of the poet’s glory. However, because Szymanowska maintained The article discusses the activities of selected women-composers who worked in Poland in the 19th century. They have been presented in close contacts with the European artistic world and co- a broad social-political context. Specific historical conditions have created, rather than merely imitated, the current trends been taken into account, which have contributed to the perception of in music; she therefore remains a separate phenomenon women’s creativity as a mission. The model of women’s activity discussed in the history of Polish female composers. in the categories of social and political mission influenced the shape and The vast majority of nineteenth-century female forms of Polish women’s creativity in the first half of the century. In the second half of the century, women’s access to education increased composers from Poland did not make their mark in the and finally a milieu of professional women-composers emerged.
    [Show full text]
  • 111036-37 Bk Fledermaus
    112054 bk Legends EU 4/5/10 08:33 Page 5 Princess Marcelina Czartoryska. Here, Janotha plays For Liszt and pedagogues like Theodor Leschetizky and pupil, Friedheim became Liszt’s teaching assistant, Friedheim, born in St Petersburg. Twice offered the ADD from Chopin’s own manuscript of a Bach-inspired Anton Rubinstein, the piano was a one-piece orchestra, personal secretary, and confidant. He was probably the directorship of the New York Philharmonic, honoured at Legends of the Piano youthful work (with Chopin’s handwritten notations) the synthesizer of its time, to be “conducted” for a full closest student of all to Liszt, both in piano technique the Taft White House and the courts of Europe, 8.112054 given her by the princess. Even in an age of range of colour and effect through rubato, individual (the sweeping “grand manner”) and general Friedheim was banned from the concert stage and eccentricity, Mme Janotha stood apart: as Mark accentuations, and pedal artistry. In the twentieth temperament (intensely philosophical, with spiritual reduced overnight to playing for the silent movies and Hambourg observed, her concerts were always adorned century, these two approaches survived in the mellow overtones), even sharing a physical resemblance. the vaudeville circuit. His combustible reading of by “a magnificent black cat, without which she declared singing line of Artur Rubinstein, protégé of Joseph “Friedheim’s recital,” to one newspaper critic in 1922, Hungarian Rhapsody No. 2, says a 1915 review in that it was impossible for her to play a single note, and Joachim, the great violinist and intimate of Brahms and “was more of a séance”.
    [Show full text]
  • Matrix Series Suffix-E
    <IGNORE> -e The Gramophone Company Limited, 31 Maiden Lane, London Matrix Series Suffix-e Ten Inch Wax Process Recordings made by W C Gaisberg et al (1903 to 1921) Compiled by ALAN KELLY October, 1994 (File: C:\MATRIX\SUF\SUF-e.DOC) William Conrad Gaisberg, 1877-1918. From newsprint. The Gramophone Company Limited - Matrix Series Suffix-e (Head Office series from 1911). </IGNORE> Recordings made in Milan, Italy (Matrix numbers prefixed Con) (piano accompanied by SALVATORE COTTONE) (for Con 1 to Con 99 and for list of recording sessions see 7” matrix series Suffix d) ELVINO VENTURA Con 100 -10-03 52726 Manon Lescaut: Ah, non v’avvicinate (Puccini) X-92093 Con 101 -10-03 52746 Rigoletto: Cantabile del Duca (Verdi) TULLIO QUERCIA Con 102 -10-03 Il Trovatore: Pura siccome un angelo (Verdi) STANISLAVA DE MICHALSKA Con 103 R -10-03 53313 Manon Lescaut: In quelle trine (Puccini) X-93048 Con 104 -10-03 do EMMA LONGHI Con 105 R -10-03 53314 Cavalleria Rusticana: Voi lo sapete (Mascagni) DE MICHALSKA, ELVINO VENTURA Con 106 R -10-03 54042 La Tosca: Duetto atto 1 (Puccini) X-94015 Con 107 -10-03 La Favorita: Duetto (Donizetti) K WIDTMANN, HERMANN LANDERER (recorded in Zürich) Con 108 -10-03 44249 Schwyzer Walzer-Jodler Con 109 -10-03 44251 Entlebucher Kuhreigen Con 110 -10-03 44252 Der Ustig wott cho Con 111 -10-03 44253 s’ Brienzer Burli Con 112 -10-03 44254 Morge früe wenn d’Sunne lacht JOSEF KAUFMANN (Zürich) Con 113 R -10-03 41391 Eine Fahrt auf der Schweizerischen Bundesbahn ELVINO VENTURA Con 114 -10-03 Fedora: Racconto (Giordano) DE MICHALSKA,
    [Show full text]
  • MAGDALENA DZIADEK This Publication Has Been Financed From
    Polish Female Composers in the Nineteenth Century MAGDALENA DZIADEK Institute of Musicology, Jagiellonian University in Cracow Email: [email protected] This publication has been financed from the funds of the Ministry of Science and Higher Education allocated for the promotion and dissemination of science under agreement 730/P-DUN/2019. Open Access. © 2019 Magdalena Dziadek, published by Sciendo. This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License. Polish Female Composers in the Nineteenth Century Musicology Today • Vol. 16 • 2019 DOI: 10.2478/muso-2019-0002 ABSTRACT Adam Mickiewicz, consciously basking in the rays of the poet’s glory. However, because Szymanowska maintained The article discusses the activities of selected women-composers who worked in Poland in the 19th century. They have been presented in close contacts with the European artistic world and co- a broad social-political context. Specific historical conditions have created, rather than merely imitated, the current trends been taken into account, which have contributed to the perception of in music; she therefore remains a separate phenomenon women’s creativity as a mission. The model of women’s activity discussed in the history of Polish female composers. in the categories of social and political mission influenced the shape and The vast majority of nineteenth-century female forms of Polish women’s creativity in the first half of the century. In the second half of the century, women’s access to education increased composers from Poland did not make their mark in the and finally a milieu of professional women-composers emerged.
    [Show full text]
  • Chopin in Great Britain, 1830 to 1930: Reception, Performance, Recordings
    Chopin in Great Britain, 1830 to 1930: reception, performance, recordings Inja Davidović PhD in Music Department of Music Faculty of Arts and Humanities The University of Sheffield January 2016 Chopin in Great Britain, 1830 to 1930: reception, performance, recordings 2 Chopin in Great Britain, 1830 to 1930: reception, performance, recordings Table of Contents List of Figures p.6 List of Tables p.7 List of Graphs p.8 Acknowledgements p.9 Abstract p.11 Introduction p.13 Chapter 1: Chopin's Reception during his Lifetime p.17 1.1 Introduction p.17 1.2 The Industrial Revolution and Changes in Music in the First Half of the Nineteenth Century: a short overview p.18 1.3 British Reception and Early Press Coverage: 1834 to 1839 p.22 1.4 The Diversification of British Reception of Chopin: 1840 to 1843 p.30 1.5 A Continuation of Diversification: 1844 to 1848 p.38 1.6 Chopin in England and Scotland: 1848 to 1849 p.42 1.7 Obituaries p.49 1.8 Conclusion p.51 Chapter 2: Chopin’s Reception from 1849 to 1899 p.53 2.1 Introduction p.53 2.2 Historical Overview: 1849 to 1899 p.54 2.3 Reception from 1850 to 1854: continuing the established tropes p.58 2.4 An Increase in Popularity: 1855 to 1876 p.62 2.5 A Further Rise in Popularity and Weekly Articles about his Life and Work: 1877 to 1879 p.68 2.6 Reception between 1879 and 1899: following the established paths p.72 2.7 Conclusion p.83 3 Chopin in Great Britain, 1830 to 1930: reception, performance, recordings Chapter 3: Chopin’s Playing: written evidence and sound evidence p.85 3.1 Introduction p.85 3.2
    [Show full text]
  • Xerox University Microfilms
    INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred imége. You will find a good image of the page in the adjacent frame. 3. When e map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a la ^ sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
    [Show full text]