32,130 research outputs found
Morning light on Little Horn, Cradle Mountain, Tasmania, 1995 [transparency] /
No full textTitle from acquisitions documentation, see file NLA06/1618.; Part of the Peter Dombrovskis archive of photographs.; Inscriptions: "Morning light on Little Horn, Cradle Mountain, Postcard T076, 173%"--On label.; Dombrovskis number: 1008.; Condition: Pinholes.; Also available in an electronic version via the Internet at: http://nla.gov.au/nla.pic-vn4977081
Morning light on Little Horn, Cradle Mountain-Lake St Clair National Park, Tasmania, 1995 [transparency] /
No full textTitle from acquisitions documentation, see file NLA06/1618.; Part of the Peter Dombrovskis archive of photographs.; Inscriptions: "National Library 1; 69; 29; Little Horn, Hall of Fame November 1999"--On labels.; Dombrovskis number: 254.; Condition: Pinholes.; Also available in an electronic version via the Internet at: http://nla.gov.au/nla.pic-vn4758840; Published in: Dombrovskis : a photographic collection / photographs by Peter Dombrovskis ; essay by Bob Brown ; a personal and natural history by Jamie Kirkpatrick. Sandy Bay, Tas. : West Wind Press, 1998, p. 95
Little Horn and Cradle Mountain, Cradle Mountain-Lake St Clair National Park, Tasmania, 1987 [transparency] /
No full textTitle from acquisitions documentation, see file NLA06/1618.; Part of the Peter Dombrovskis archive of photographs.; Inscriptions: " Little Horn Cradle, Crade - St Clair Nat. Pk, Unpublished"--On label.; Dombrovskis number: 2207.; Condition: Pinholes.; Also available in an electronic version via the Internet at: http://nla.gov.au/nla.pic-vn5742657
Susan Ursin Niemcewicz with Peter and Sarah Van Horn, May 2, 1829
Get PDFThis legal document, between Susan Ursin Niemcewicz and Peter and Sarah Van Horn, is for the manumission (release from slavery) of Peter and Sarah Van Horn. The husband and wife were guaranteed payment, food, and clothing for future service to Susan. If one of them were to die, their wages would go to their son, Robert, at the completion of his service at the age of 25. It was signed in the presence of Mose Chandler. The file includes the original with signatures and marks, as well as a copy. There\u27s additional text on the original verso stating that Peter and Sarah were paid after Susan\u27s death, witnessed by James Crane.https://digitalcommons.kean.edu/lhc_1820s/1000/thumbnail.jp
Miniature for horn and Piano
No full textThis is a world premiere of a work written for me by Brisbane based composer Michal Rosiak. The composer based the work around my surname Luff. The motif used is LA-FA (Luff), based around LA = Concert pitch "A" and FA = Concert pitch "F". The composer collaborated with me consistently throughout the compositional process to achieve the best musical result considering the technical strengths and constraints of the instrument. This is a unique addition to the solo horn repertoire and represents a significant contribution to a slowly growing body of works for horn and piano by Australian composers. The world premiere was given in Ghent (Belgium) after I received an invitation to perform at the 51st international horn symposium held at the School of Arts Ghent/Royal Conservatory. This work is significant in it's composition through the use of the motif LA-FA underpinning the harmonic structure of the work. As a live performance of an original work, which was also an international premiere in a different country, this represents a significant performance on the world stage for an Australian performer and composer.No Full Tex
Clarino horn, hunting horn, and hand horn : their comparative roles in the classic music of the eighteenth century
No full textThe thesis of this study is that there were three general styles of horn playing in the music of the classic period. The most basic horn style was closely related to the hunting horn as it was played in the field, and it is therefore termed the hunting-horn style. The use of hand stopping as a systematic technique broadened the melodic capability of the natural horn and brought about a school of performers who played in what is referred to as the hand-horn style. The hand-horn style in the classic period was essentially an extension of the hunting-horn style, retaining much of the musical character of the hunting horn. In addition to these two styles, the high-tessitura clarino style, which had been especially important in the trumpet and horn music of the late-baroque period, continued to be used in the classic period in a form consistent with the style characteristics of the later-eighteenth century.It is argued that the clarino style of the baroque period represents an adaptation of the natural brass instrument to a preconceived musical style. Most of the horn music of the classic period, on the other hand, is expressly suited to the acoustical properties of the natural instrument. It appears, in fact, that the introduction of the hunting horn into the orchestra influenced the classic style in its formative stages. At the same time, the cultural and musical trends of the eighteenth century were especially receptive of the innate musical qualities of the natural horn.A section of the fourth chapter, which deals with hand horn, treats at some length a phenomenon which has been noticed by other writers: the scarcity of hand stopping in the horn parts of classic orchestra scores. The present writer finds that the hand-horn style requires a more closed hand position than what is normally considered a good position by modern players. The hand position used by the handhornist gives the sound a more subdued quality. Thus, the hand-horn timbre did not afford the kind of resonance and blend which the classic composer sought from the horns in the orchestra.The appendices include photographs of an antique Raoux hand horn.Thesis (D.A.
Author Peter FitzSimons speaking at the National Library of Australia, Canberra, 13 November 2012 /
No full textTitle from acquisitions documentation.; Part of the collection: Portraits of author Peter FitzSimons speaking at the National Library of Australia, Canberra, 13 November 2012.; Acquired in digital format; access copy available online.; Mode of access: Online.; Photographed by a staff member of the National Library of Australia
Hein Retter: Reformpädagogik und Protestantismus im Übergang zur Demokratie. Studien zur Pädagogik Peter Petersens. Frankfurt a.M. u.a.: Lang 2007
No full textHein Retter: Reformpädagogik und Protestantismus im Übergang zur Demokratie. Studien zur Pädagogik Peter Petersens. Frankfurt a.M. u.a.: Lang 2007
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