5,458 research outputs found
The evolving perception of Charles Ives and his music
No full textWhen Charles Ives\u27s music began to appear in performances and publications in the 1920s, his admirers often regarded him as an American experimentalist who had created radically new kinds of music that was independent from the European musical tradition. This outlook characterized much of what was written on Ives before the 1980s. At that time, a different picture of Ives gradually began to emerge. It argues that in fact, Ives\u27s music owes as much to the European classical tradition as to American vernacular traditions. Scholars began to reconsider Ives\u27s place in music history and stress his debt to the European tradition. This research paper traces the evolution of the scholarly response to Charles Ives, by examining significant studies of the composer written over the span of several decades---from Henry and Sidney Cowell\u27s pioneering book on Ives (1955), to Frank R. Rossiter\u27s biography (1975), J. Peter Burkholder\u27s books and essays (1983-1996), and finally to Stuart Feder\u27s psychoanalytical study (1992). From these works, we can observe how and why the traditional image of Ives was cultivated and what evidence was provided by later scholars for the revision of that image.*.;*This dissertation is a compound document (contains both a paper copy and a CD as part of the dissertation). The CD requires the following system requirements: Adobe Acrobat
The Dream Bridge:Songs by Charles Ives & Henry Cowell
No full textMétier CD release MSV28577: 'The Dream Bridge - Songs by Ives and Cowell’. Performed by Aylish Kerrigan (mezzo-soprano), Vladimir Valdivia (piano) and William Dowdall (flute / piccolo). Recorded in the Sonic Lab, Queen’s University Belfast. Engineered and produced by Chris Corrigan
Toxicity of Pb and of Pb/Cd combination on the springtail Folsomia candida in natural soils: Reproduction, growth and bioaccumulation as indicators
No full textThe toxicity of Pb and Cd+Pb was assessed on the Collembola F. candida in two cultivated soils (SV and AU) with low organic matter (OM) content and circumneutral to basic pH, and an acid forested soil (EPC) with high OM content. Collembola reproduction and growth as well as metal content in Collembola body, in soil, exchangeable fraction and soil solutions, pH and DOC were investigated. Pb and Cd+Pb were the highest in exchangeable fraction and soil solution of the acidic soils. Soil solution pH decreased after metal spiking in every soil due to metal adsorption, which was similar for Cd and the highest in AU for Pb. With increasing Pb and Cd+Pb, the most important reproduction decrease was in EPC soil. The LOEC for reproduction after metal addition was 2400 (Pb) and 200/2400 (Cd/Pb), 1200 and 100/1200, 300 and 100/1200 μg g−1 for AU, SV and EPC, respectively. The highest and the lowest Pb toxicity was observed for EPC and AU bulk soil, respectively. The metal in Collembola increased with increasing soil concentration, except in AU, but the decreasing BFsolution with increasing concentrations indicates a limited metal transfer to Collembola or an increased metal removal. Loading high Pb concentrations decreases Cd absorption by the Collembola, but the reverse was not true. The highest Pb toxicity in EPC can be explained by pH and OM content. Because of metal complexation, OM might have a protective role but its ingestion by Collembola lead to higher toxicity. Metal bioavailability in Collembola differs from soil solution indicating that soil solution is not sufficient to evaluate toxicity in soil organisms. The toxicity as a whole decreased when metals were combined, except for Pb in AU, due to adsorption competition between Cd and Pb on clay particles and OM sites in AU and EPC soils, respectively
Transcribing Charles Ives Violin Sonatas Nos 1 and 3 for clarinet
No full textThe chamber music of Charles Ives is largely underrepresented in modern performance. This study has taken two of Ives' Violin Sonatas and transformed them into works for the clarinet. The main objective of this project was to create the clarinet transcriptions that are included in the appendix of this document. However, the process of transcribing these pieces has also incorporated other topics relating to transcription and performance from the perspective of a clarinetist. The lecture and document go into both the personal details and the technical aspects involved in tackling a project of this nature. Both the written and recorded can be used as resources for clarinetists and other performers who are looking to expand their repertoire and explore new music. A final result of this lecture, are the premiere performances and recordings of the Ives Sonatas Nos. 1 and 3 for clarinet and piano.**This dissertation is a compound document (contains both a paper copy, DVD and a CD as part of the dissertation). The CD requires the following system requirements: Windows MediaPlayer or RealPlayer.</p
Ascorhynchus japonicus Ives 1892
No full textAscorhynchus japonicus Ives, 1892 Nakamura, 1987, 30– 31; figs 27, 38. Material: 2 subadults (MNHNPy 1009), station CP 126, SE Coast of Taiwan. N/ O 'Ocean Researcher 1 ' TAIWAN 2001, 22º 13.8 'N 121 º01.8'E, 1222–1226 m; 21 /08/ 2001, coll. Chan. 1 male, 1 females (NHM. 2004.35 – 36), CD 227, East Coast of Taiwan, N/ O 'Fishery Researcher 1 ' TAIWAN 2003, 22º 12.04 'N 121 º05.29'E to 22 º08.04'N 121 º05.06'E, 1232 to 1260 m; 29 /08/ 2003, coll. TY Chan. 8 males, 1 juvenile (NHM. 2004.37 – 45), CD 226, East Coast of Taiwan, N/ O 'Fishery Researcher 1 ' TAIWAN 2003, 22º 19.15 'N 121 º04.63'E to 22 º 13.68 'N 121 º06.00'E, 1171 to 1212 m; 29 /08/ 2003, coll. TY Chan. Remarks: This species has been recorded around the north Pacific from Japan to California, and at a wide range of depths between 53 and 1923 m. The present specimens are the southernmost records for the western side of the Pacific.Published as part of Bamber, Roger N., 2004, with description of three new species, pp. 1-12 in Zootaxa 458 on pages 4-5, DOI: 10.5281/zenodo.15799
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Transcribing Charles Ives Violin Sonatas Nos 1 and 3 for clarinet
No full textThe chamber music of Charles Ives is largely underrepresented in modern performance. This study has taken two of Ives' Violin Sonatas and transformed them into works for the clarinet. The main objective of this project was to create the clarinet transcriptions that are included in the appendix of this document. However, the process of transcribing these pieces has also incorporated other topics relating to transcription and performance from the perspective of a clarinetist. The lecture and document go into both the personal details and the technical aspects involved in tackling a project of this nature. Both the written and recorded can be used as resources for clarinetists and other performers who are looking to expand their repertoire and explore new music. A final result of this lecture, are the premiere performances and recordings of the Ives Sonatas Nos. 1 and 3 for clarinet and piano.**This dissertation is a compound document (contains both a paper copy, DVD and a CD as part of the dissertation). The CD requires the following system requirements: Windows MediaPlayer or RealPlayer.</p
Author Co-Citation Analysis (ACA): a powerful tool for representing implicit knowledge of scholar knowledge workers
No full textIn the last decade, knowledge has emerged as one of the most important and valuable organizational assets. Gradually this importance caused to emergence of new discipline entitled ―knowledge management‖. However one of the major challenges of knowledge management is conversion implicit or tacit knowledge to explicit knowledge. Thus Making knowledge visible so that it can be better accessed, discussed, valued or generally managed is a long-standing objective in knowledge management. Accordingly in this paper author co- citation analysis (ACA) will be proposed as an efficient technique of knowledge visualization in academia (Scholar knowledge workers)
18 Ann Street (Charles Ives) [00:53] (KD 24, 2 CDs, CD 2)
No full textWerk: Ann Street
Komposition: Charles Ives (1874-1954)
Interpret*innen: Thomas MEGLIORANZA – Bariton (USA), Ying-Chien LIN – Klavier (Taiwan)
Album: 5. Internationaler Wettbewerb 2003 "Franz Schubert und die Musik der Moderne"; 2003 (KUG KD 24, 2 CDs) © Kunstuniversität Graz;
in Kooperation mit Ö
Portfolio of recorded performances and exegesis: Messiaen’s musical language for the jazz pianist - an exploration through performance.
No full textMoving beyond Gunther Schuller’s Third Stream amalgamation of classical and jazz, this study explores whether the musical language of Olivier Messiaen can make a valid contribution to jazz piano performance. Initially, my project sought to answer such questions as: What elements of the musical language of Messiaen already exist in the jazz vocabulary? Am I able to extend this further? What are the timbral structures and pianistic effects within Messiaen’s musical language? What will be the most effective application of Messiaen’s musical language to jazz piano performance? Endeavouring to answer the final question led me to consider such aspects as whether the project should be limited to quoting Messiaen motifs, arranging Messiaen melodies, replacing jazz harmonic structures on standards with examples from Messiaen’s musical language or whether it would be better to approach the research conceptually. The work of Hubert Nuss provided encouraging reassurance that this was not an impossible task. In order to articulate this conception, the initial challenge was to decide how the classical and jazz worlds might meet in a ‘Messiaen’ technique. The approach adopted was similar to that used for undergraduate jazz study, namely, immersion in the piano scores and recordings of Messiaen’s music as well as by live performances. This was followed by the development and assessment of a contrived approach when specific techniques, such as tonal colourings or harmonic structures, were developed through prepared exercises and consciously included in my performance. It was then compared with an intuitive approach when no such precise parameters were established. This submission consists of CD recordings of two public recitals and an exegesis. It documents the development of this Messiaen technique and discusses its application in my performances. It also demonstrates the ways that Messiaen’s musical language can be used within jazz piano performance to provide a colour that distinguishes jazz piano performance in a competitive field.Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 201
Spinal anaesthesia for brachytherapy for carcinoma of the cervix a comparison of two dose regimes of hypebaric bupivacaine
No full textIncludes abstract.Includes bibliographical references.The main purpose of the study was to help establish the best dose regimen of hyperbaric bupivacaine, when combined with intrathecal fentanyl, for spinal anaesthesia for brachytherapy for carcinoma of the cervix. This procedure is performed as a day case at Groote Schuur Hospital
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