54 research outputs found
The Piano Sonatas of Lowell Liebermann: A Performer's Analysis
No full textThis overview of Liebermann’s three piano sonatas is intended as a resource for teachers and performers. After a brief background of the composer, the author examines the compositional environment in the mid-twentieth century, features of the twentieth-century American piano sonata, trends in the twentieth-century nocturne, and Liebermann’s compositional style. The analyses of three works provide information on form, thematic and motivic development, textural contrast, harmonic content, rhythmic variety, and his integration of modern idioms into pre-existing forms.
Liebermann wrote his first major work, Piano Sonata No. 1, Op. 1, in 1977 while in high school studying under Ruth Schonthal. He follows classical traditions in the first of four movements, combining sonata and fugual forms. The second and third movements are simple ternary, and the fourth merges rondo and ABA forms. The performer must blend several characters, with sensitivity and tranquility in the slow movement and rhythmic vitality and clear articulation in the fast movements.
The Sonata No. 2, Op. 10, “Sonata Notturna,” was composed in 1983 while Liebermann was studying with David Diamond at Juilliard. Here, Liebermann merges the lyricism of the nocturne with the structure of the sonata into one movement containing a lengthy double exposition with a brief development and recapitulation.
After a nearly twenty-year hiatus, Liebermann wrote his longest piano solo work to date, the Piano Sonata No. 3, Op. 82. It is likely that Liebermann was influenced by the events of September 11, 2001. Published one year later, the third sonata includes a Dona Nobis Pacem and Lullabye in the middle of three sections/movements, giving the listener a sense of eternal peace amidst the agitation of the outer movements
Autoethnographie als Lippenbekenntnis des Experten. Ein Versuch über Salah Methnanis 'Immigrato'
No full textToward the end of 1989 Italy mutated from a country of emigration to a country of immigration. A transcultural penetration of society begins, in which interest in migration literature also moves into focus. This literary trend, in which the authors write about their liminal experiences and that of foreignness as part of an autoethnography, also ushered in a change in publishing strategy in Italy. Migrant writers suddenly have a market value: the example of Salah Methnani's novel Immigrato will be used to illustrate the interplay between author and language mediator, who usually acts as editor, if not as co-author of the literary work. Methnani's case is exemplary in that, as I will try to show, by co-editing his novel he is deprived of the possibility of self-expression, for he finds himself condemned to be represented and explained by another “voice”
Recomendaciones técnicas e interpretativas para la ejecución del concierto para Piccolo y Orquesta Op. 50 de Lowell Liebermann
No full textEl presente trabajo tiene como objetivo la elaboración de una propuesta interpretativa con
recomendaciones técnicas e interpretativas aplicadas a la obra titulada Concierto para Piccolo y
Orquesta, Op.50 del compositor americano Lowell Liebermann. La autora realiza un
acercamiento a la obra a través del contexto histórico y el estilo musical del compositor. Se
presenta un análisis formal, siguiendo los parámetros del Análisis de Formas Simples propuesto
por Margarita y Arantza Lorenzo de Reizábal. Se realiza también una exploración profunda de
los diversos métodos de técnica instrumental disponibles tanto para la flauta traversa como para
el piccolo. Finalmente, se presenta la propuesta interpretativa en la cual se incluyen ejercicios de
técnica desarrollados por destacados especialistas del área, enfocados a las dificultades
presentes en pasajes puntuales del concierto.The objective of the present work is the production of a performance proposal with technical
recommendations and interpretation resources for the Concerto for Piccolo and Orchestra Op. 50
by american composer Lowell Liebermann. The author first approaches the work by its historical
context and the composer’s musical style. She presents a formal analysis of the piece, following
the parameters of the Análisis de Formas Simples proposed by authors Margarita y Arantza
Lorenzo de Reizábal. A deep exploration of a variety of technical methods for both flute and
piccolo is also included. Finally, the author presents her performance proposal, which includes
technical exercises developed by experts in the field, with a focus on the challenges found in
specific passages of the concerto.0009-0007-9230-7702Licenciado en Instrucción MusicalCuenc
The perspective of the composer and performer: the interpretation and performance of selected flute works by Lowell Liebermann and Robert Beaser.
No full textThis submission investigates the interpretation and performance of selected solo and chamber works for flute by American composers Lowell Liebermann (b.1961) and Robert Beaser (b.1954). The exegesis presents a discussion of the interpretation and preparation of the included works from two differing perspectives. First, it examines the repertoire from the perspective of the composer, drawing on audio recordings of interviews and lessons conducted by the author in the United States of America. Second, it reviews the recitals from the perspective of the performer with emphasis on the preparation and performance of the selected repertoire.
The discussion draws on two recitals by the author and associate artists that were recorded and presented in Elder Hall, The University of Adelaide on 11 December 2008 and 16 June 2009. Excerpts from the recitals are used to demonstrate the discussion and the CDs of the complete recitals are therefore integral to the submission.Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 200
Opposite effects of isometric exercise on pain sensitivity of healthy individuals: the role of pain modulation
No full textAbstract. Introduction:. Exercise-induced hypoalgesia (EIHypo) among healthy individuals is well documented; however, the opposite effect of exercise, ie, exercise-induced hyperalgesia (EIHyper), has mainly been described in patients with chronic pain or after intense/painful exercise.
Objectives:. We investigated the extent to which EIHypo and/or EIHyper occur among healthy participants and whether these responses are associated with individuals' pain modulation capacity.
Methods:. Fifty-seven participants (mean age 29.20 ± 5.21 years) underwent testing of pressure pain threshold as an index of EIHypo/EIHyper: pain adaptation, offset analgesia (OA), and conditioned pain modulation as indices of pain modulation, prior to and immediately postsubmaximal isometric exercise (n = 40) or rest (n = 17, control group). Body awareness and exercise-evoked stress were also evaluated. Test–retest repeatability of the pain modulation indices was performed as well.
Results:. Twenty-four participants (60%) exhibited EIHypo, whereas 16 (40%) exhibited EIHyper. Pressure pain threshold did not change in the control group. Baseline (preexercise) OA efficacy predicted EIHypo/EIHyper. Furthermore, OA significantly decreased postexercise in the EIHyper subgroup and slightly increased in the EIHypo subgroup. Exercise-induced hypoalgesia was associated with magnitude of daily exercise while EIHyper was associated with increased exercise-evoked stress and body awareness.
Conclusion:. Submaximal isometric exercise can induce opposite effects on pain sensitivity among healthy participants—EIHypo or EIHyper. Descending pain inhibition pathways, and top-down influences over these pathways, seem to be involved in EIHypo/EIHyper effects. As such isometric exercise is often preferred in early stages of rehabilitation, preliminary screening individuals' vulnerability to this exercise is important; OA test may be used for this purpose
THE KINETICS OF THE OXIDATION OF ALCOHOLS BY BROMINE IN THE PRESENCE OF SILVER SALTS IN NON-AQUEOUS SOLUTION
No full textThe kinetics of the reactions of alcohols with bromine and silver salts in carbon tetrachloride at 25(DEGREES)C have been studied. Alcohols studied included cyclohexanol, 2-hexanol, 3-hexanol, 3-methyl-3-hexanol, 2-methyl-2-hexanol, 2-pentanol, 3-pentanol, and 2-octanol. Three silver salts (silver carbonate, silver acetate, and silver trifluoroacetate) have been investigated, with sodium carbonate used to neutralize the acid formed in the reaction. Reaction mixtures were analyzed by iodometric and spectrophotometric methods. In the case of the reactions employing silver carbonate and silver trifluoroacetate, spectrophotometric analysis indicated the presence of free bromine initially which decreased with time and the build-up of a hypobromite intermediate. When silver acetate was employed spectrophotometric analysis indicated only the presence of a hypobromite initially and no free bromine. First order rate constants for the decomposition of the hypobromites produced by the action of bromine and the silver salts have been determined in all cases from titrimetric kinetic data and, in some cases, also from spectrophotometric kinetic data. Differences in rates have been explained in terms of the stabilities of the hypobromite intermediates and available reaction pathways.Experimental evidence has also been found for an intermediate that forms prior to the hypobromite in the reactions employing silver acetate and silver trifluoroacetate. The intermediate is an acyl hypobromite, acetyl and trifluoroacetyl hypobromite, respectively. The intermediate can be explained by analogy to the Hunsddiecker reaction (see R. G. Johnson and R. K. Ingham, Chem. Rev., 56, 219 {1956}). The acyl hypobromite undergoes a facile exchange with the alcohol to convert it to its hypobromite. Acetyl hypobromite forms immediately, while trifluoroacetyl hypobromite forms more slowly resulting in an induction period.The kinetics of the oxidation of cyclohexanol, 2-hexanol, 3-hexanol, 2-pentanol, and 3-pentanol by bromine in the presence of sodium carbonate in carbon tetrachloride at 25(DEGREES)C have also been investigated. These reactions were found to be first order with respect to bromine. First order rate constants have been determined from titrimetric kinetic data.Source: Dissertation Abstracts International, Volume: 41-11, Section: B, page: 4125.Ph.D. American University 1980.Englis
About Prof. Albrecht Encke, author of the article, "An outstanding ISS/SIC surgeon: Fritz Linder"
No full textLe travail de la caméra : une pratique intermédiale. La conception de l’image du caméraman Eugen Schüfftan (1886–1977)
No full textCette étude vise à analyser le travail de la caméra, dans le cinéma narratif, en tant que pratique intermédiale, à partir de l’exemple d’un des plus grands opérateurs du XXe siècle, le caméraman Eugen Schüfftan. Après avoir offert un bref parcours de sa carrière artistique, l’analyse cherche à montrer la manière avec laquelle Schüfftan a développé une conception personnelle de l’image cinématographique, en s’appuyant sur les traditions de la peinture (Max Liebermann) et sur les expériences de la photographie contemporaine (László Moholy-Nagy, Otto Umbehr Umbo, Helmar Lerski).This article aims to analyse the work of the camera, in narrative cinema, as an intermedial practice, by taking as an example the work of the cameraman Eugen Schüfftan. After a brief overview of his artistic career, the author seeks to demonstrate the way by which Schüfftan developed a personal conception of the cinematographic image, based on painterly traditions (Max Liebermann) or on experimentations of contemporary photography (László Moholy-Nagy, Otto Umbehr Umbo, Helmar Lerski)
Śafah ḥayah sefer le-lamed et yalde Yiśraʾel li-ḳero ṿeli-khetov bi-śefat ʻEver ʻal-pi shiṭat ha-otiyot ʻim tsiyurim u-temunot
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