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A memorial concert : Samuel Barber (1910-1981)
No full textRecorded during a live performance at Kanley Chapel, Western Michigan University, Kalamazoo, Michigan on January 20, 1982, 4:00 p.m., program no. 163 of the School of Music's 1981-1982 season.In the 1st work: ""Opus Five"" Woodwind Quintet (Cheryl Ogonowski, flute ; Joanne Bauschke, oboe ; Craig Suhusky, clarinet ; Luanne Allgood, bassoon ; Connie Hutchinson, french horn). In the 2nd work: Joyce Zastrow, soprano ; Robert Byrens, piano. In the 3rd work: Mary Ann Sabato, Beth Hawley, Lisa Grover, Jennifer Silk, violin I ; Marshall Meade, Marlena Yarger, Russ Conte, Lisa Williams, violin II ; Evelyn Grau, Robert Byrens, Linn Van Meter, Martha Schimelpfenig, viola ; Margery Viswat, Susan Zahrt, John Reikow, Diana Schaeffer, Sharlene Kobb, violoncello ; Marshall Hutchinson, Leo Richard Hazen, double bass ; Michael Meade, conductor.Summer music -- Despite and still, op. 41. A last song (Robert Graves, text) ; My lizzard-wish for a young woman (Theodore Roethke, text) ; In the wilderness (Robert Graves, text) ; Solitary hotel (James Joyce, text, from Ulysses) ; Despite and still (Robert Graves, text) -- Adagio for strings (from String quartet, op. 11)
Steven DeGroote, Semi-finals (Part 1), 5th Van Cliburn Competition (1977)
No full textBallade, op. 46 / Barber -- Piano sonata in A minor, D. 784 / Schubert -- Announcements
YING ZHANG Piano DOCTORAL RECITAL Wednesday, February 22, 2006 5:30 p.m. Lillian H. Duncan Recital Hall
No full textProgram: Sonata in E-flat Major, Op. 31 No. 3 / Ludwig van Beethoven (1770-1827) -- Ballade No.1 in G Minor, Op. 23 / Frederic Chopin (1810-1849) -- Ballade No. 4 in F Minor, Op. 52 / Frederic Chopin -- Sonata for Piano, Op. 26 / Samuel Barber (1910-1981).This recital is given in partial fulfillment of the requirements for Doctor of Musical Arts degree
Helen Bernice Morarre, Bachelor of Science in Music Education recital, voice, November 25, 1969
No full textWarum Betrübst Du Hich (Bach, J. S.); Willst Du Dein Herz Mir Schenken (Bach, J. S.); Was Gott tut, das ist wohlgetan (Bach, J. S.); Traumgekrönt (Berg, Alban); Im Zimmer (Berg, Alban); Schilflied (Berg, Alban); Morgen (Strauss, Richard); Schlagende Herzen (Strauss, Richard); The Monk and His Cat (Barber, Samuel); Church Bell At Night (Barber, Samuel); Promiscuity (Barber, Samuel); The Crucifixion (Barber, Samuel); The Heavenly Banquet (Barber, Samuel); Lilacs (Rachmaninoff, Sergei); To the Children (Rachmaninoff, Sergei); Floods of Springs (Rachmaninoff, Sergei). Instrumentation: piano; sopran
ROBERT AMES, Baritone SENIOR RECITAL Saturday, March 21, 1992 8:00 p.m. Lillian H. Duncan Recital Hall
No full textProgram: Dichterliebe, op. 48 / Robert Schumann -- Don Quichotte à Dulcinée / Maurice Ravel (1875-1937) -- Three songs, opus 10 / Samuel Barber.This recital is given in partial fulfillment of the requirements for the degree Bachelor of Music
CAMPANILE ORCHESTRA Monday, October 21, 1991 8:00 p.m. Stude Concert Hall
No full textProgram: Overture to Die Meistersinger von Nürnberg, Richard Wagner (1860-1937) -- Piano concerto no. 1 in F♯ minor, op. 1, Sergei Rachmaninoff (1873-1943) -- Second Essay, op. 17, Samuel Barber (1910-1981)
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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