503 research outputs found
Da Orfeo ad Anfione: mitizzazioni corelliane e il primato di Roma (ripensando la classicità di Corelli)
No full textLo studio interpreta la musica orchestrale di Corelli nel contesto del progetto pontificio (Clemente XI) di rilancio dell'imago Urbis tramite imponenti iniziative architettoniche. Detto «Anfione dei nostri tempi», Corelli venne inteso 'architetto' in quanto autore in grado di costruire con geometrica razionalità la composizione strumentale e, pertanto, di edificare monumenti sonori a maggior gloria di Roma e del papato. The study reconsiders Corelli's role within Pope Clement XI's project of renewal of the imago Urbis by means of great architectural initiatives. Named «Amphion of our times», Corelli was considered a musical architect since he was able to give geometric rationality to the instrumental composition and was then able to built musical monuments to the glory of Rome and of the Pope. Si richiede che il prodotto sia sottoposto a peer review e non a valutazione con criteri bibliometrici.The study interprets the orchestral music of Corelli in the context of the papal project (Clement XI) recovery of the imago Urbis by imposing architectural initiatives. Said, "Amphion of our times," Corelli was intended 'architect' as the author can build with geometric rationality and instrumental composition, therefore, to build monuments to sound greater glory of Rome and the papacy. The study reconsiders Corelli's Role Within Pope Clement XI's project of renewal of the Imago Urbis by means of great architectural Initiatives. Named "Amphion of our times," Corelli was Considered a musical architect since he was Able to give to the geometric rationality and instrumental composition was then built Able to musical monuments to the glory of Rome and of the Pope. It requires that the product is subjected to peer review and assessment with bibliometric criteria
Innovazione tecnologica nel controllo della crescita del frutto per una peschicoltura di qualità.
No full text(A) Study on the <variations on a theme of corelli, Op.42> by S. Rachmaninoff
No full textThis thesis is an analytical study on the <Variations on a Theme of Corelli, Op.42> by S. Rachmaninoff, which had been performed in the graduate recital for the completion of the master's degree of this writer. The purpose of this study is to investigate the characteristics in Rachmaninoff's piano style in general, and <Variations on a Theme of Corelli, Op.42> in particular, and promote understanding about it's performance.
<Variations on a Theme of Corelli, Op.42>, his last work for piano, follows the theme of <Violin Sonata Op.5, No.12> by Corelli and is divided into three parts, Theme∼Var.7, Var.8 ∼Intermezzo, and Var. 14 ∼Var.20 in which theme and each variations have organic relations.
It is appearing well the abundant imagination such as clear structure, lylic and gloomy melody, dotted and c m rhythm, and chromatic harmony.
Only two of the twenty variations do not have d minor as their basic key, and the tautness of construction and relative simplicity of style imposed by the theme show Rachmaninoff's compositional powers to good advantage, paving the way for the ever-popular <Rhapsody on a Theme of Paganini, Op.43>, written three years later.;본 논문은 필자가 석사과정 이수를 위한 졸업 연주회에서 연주한 곡들 가운데에서 S. Rachmaninoff의 <Variations on a Theme of Corelli, up. 42>를 연구한 것이다 S. Rachmaninoff(1873-1943)는 그의 활동시기와 사망연대로 말하면 틀림없는 현대의 작곡가라 할 수 있지만 그의 음악은 어디까지나 낭만주의 음악양식을 고수하고 있다. 그의 피아노곡은 그러한 낭만주의의 전형이며 러시아의 민족적 특색과 후기 낭만음악을 적절히 조화시켜 자유로운 형식을 구성하고 있다.
<Variationn on a Theme of Corelli, op. 42>는 그의 마지막 피아노 독주곡 으로 성격변주이며 20개의 비교적 짧은 변주들은 서로 유기적으로 연관되어 있다. 주제는 Corelli의 <Violin Sonata Op. 5, No. 12>의 주제선율을 그대로 사용하였으며, Violinist인 Fritz Kreisler에게 헌정되었다. 전체 구성은 세부분으로 나뉘어져 있고 Intermezzo와 짧은 Coda가 첨가되었다.
선율은 주로 주제선율에 근거한 반음계적 순차진행으로 나타나며, 리듬은 전 변주에 걸쳐 다양한 리듬이 나타나는데, 특히 주제에서 나타났던 당김음 표현이 두드러지고 붓점리듬과 불규칙적인 액센트의 사용으로 변화를 주었다. 화성은 후기 낭만주의의 특징인 반음계적 진행, 비화성음의 자유로운 사용, 명확한 종지를 피하려는 경향, 변화화음의 사용등으로 그시대의 화성기법을 그대로 따랐다.
Rachmaninoff는 이러한 기법들을 나름대로 뛰어난 감각으로 재구성하였으며, .Variations on a Theme of Corelli, op. 42>에는 그러한 그의 독창적인 스타일이 잘 나타나 있어 Rachmaninoff 말년의 성숙한 style과 음악적 취향을 아는데 좋은 예가 되는 작품이다.목차
논문개요 = ⅴ
Ⅰ. 서론 = 1
Ⅱ. S. Rachmaninoff의 피아노 음악 = 2
Ⅲ. S. Rachmaninoff의 〈Variations on a Theme of Corelli, Op. 42〉 = 9
A. 작품 배경 = 9
B. 작품 분석 = 10
Ⅳ. 결론 = 37
참고문헌 = 39
ABSTRACT = 4
Arcangelo Corelli - Sonate a tre (A corpus of annotated scores)
No full text<p>Arcangelo Corelli - Trio Sonatas (A corpus of annotated scores)</p>
<p>This corpus of annotated <a href="https://musescore.org">MuseScore</a> files has been created within the <a href="https://github.com/DCMLab/dcml_corpora">DCML corpus initiative</a> and employs the <a href="https://github.com/DCMLab/standards">DCML harmony annotation standard</a>. It was relased together with and as part of the "workflow paper"</p>
<blockquote>
<p>Hentschel, J., Moss, F. C., Neuwirth, M., & Rohrmeier, M. A. (2021). A semi-automated workflow paradigm for the distributed creation and curation of expert annotations. Proceedings of the 22nd International Society for Music Information Retrieval Conference, ISMIR, 262–269. <a href="https://doi.org/10.5281/ZENODO.5624417">https://doi.org/10.5281/ZENODO.5624417</a></p>
</blockquote>
<p>The corpus comprises 36 <code>Sonate a tre</code>, divided into 149 separate movements. Together they make up for three of the four famous cycles of 12 trio sonatas each:</p>
Opus
Cycle
Publication
Included
1
12 sonate da chiesa
Rome 1681
Yes
2
12 sonate da camera
Rome 1685
No
3
12 sonate da chiesa
Rome 1689
Yes
4
12 sonate da camera
Rome 1694
Yes
<p> </p>
<p>Versions</p>
<p> </p>
<p>See the <a href="https://github.com/DCMLab/corelli/releases">GitHub releases</a>.</p>
<p> </p>
<p>Getting the data</p>
<p> </p>
<p>With full version history</p>
<p>The dataset is version-controlled via <a href="https://git-scm.com/">git</a>. In order to download the files with all revisions they have gone through, git needs to be installed on your machine. Then you can clone this repository using the command</p>
<pre>git clone https://github.com/DCMLab/corelli.git</pre>
<p> </p>
<p>Without full version history</p>
<p>If you are only interested in the current version of the corpus, you can simply download and unpack <a href="https://github.com/DCMLab/corelli/archive/refs/heads/main.zip">this ZIP file</a>.</p>
<p> </p>
<p>Data Formats</p>
<p>Each piece in this corpus is represented by four files with identical names, each in its own folder. For example, the first movement of the first sonata has the following files:</p>
<ul>
<li><code>MS3/op01n01a.mscx</code>: Uncompressed MuseScore file including the music and annotation labels.</li>
<li><code>notes/op01n01a.tsv</code>: A table of all note heads contained in the score and their relevant features (not each of them represents an onset, some are tied together)</li>
<li><code>measures/op01n01a.tsv</code>: A table with relevant information about the measures in the score.</li>
<li><code>harmonies/op01n01a.tsv</code>: A list of the included harmony labels (including cadences and phrases) with their positions in the score.</li>
</ul>
<p> </p>
<p>Opening Scores</p>
<p>After navigating to your local copy, you can open the scores in the folder <code>MS3</code> with the free and open source score editor <a href="https://musescore.org">MuseScore</a>. Please note that the scores have been edited, annotated and tested with <a href="https://github.com/musescore/MuseScore/releases/tag/v3.6.2">MuseScore 3.6.2</a>. MuseScore 4 has since been released and preliminary tests suggest that it renders them correctly.</p>
<p> </p>
<p>Opening TSV files in a spreadsheet</p>
<p>Tab-separated value (TSV) files are like Comma-separated value (CSV) files and can be opened with most modern text editors. However, for correctly displaying the columns, you might want to use a spreadsheet or an addon for your favourite text editor. When you use a spreadsheet such as Excel, it might annoy you by interpreting fractions as dates. This can be circumvented by using <code>Data --> From Text/CSV</code> or the free alternative <a href="https://www.libreoffice.org/download/download/">LibreOffice Calc</a>. Other than that, TSV data can be loaded with every modern programming language.</p>
<p> </p>
<p>Loading TSV files in Python</p>
<p>Since the TSV files contain null values, lists, fractions, and numbers that are to be treated as strings, you may want to use this code to load any TSV files related to this repository (provided you're doing it in Python). After a quick <code>pip install -U ms3</code> (requires Python 3.10) you'll be able to load any TSV like this:</p>
<pre>import ms3
labels = ms3.load_tsv('harmonies/op01n01a.tsv')
notes = ms3.load_tsv('notes/op01n01a.tsv')</pre>
<p> </p>
<p>Column names</p>
<p>You can look up meaning and data type of the columns of all TSV files including <code>metadata.tsv</code> in <a href="https://johentsch.github.io/ms3/columns">ms3's documentation</a> (simply search through the page).</p>
<p> </p>
<p>Generating all TSV files from the scores</p>
<p>When you have made changes to the scores and want to update the TSV files accordingly, you can use the following command (provided you have pip-installed <a href="https://github.com/johentsch/ms3">ms3</a>):</p>
<pre>ms3 extract -M -N -X -D # for measures, notes, expanded annotations, and metadata</pre>
<p>If, in addition, you want to generate the reviewed scores with out-of-label notes colored in red, you can do</p>
<pre>ms3 review -M -N -X -D # for extracting measures, notes, expanded annotations, and metadata</pre>
<p>By adding the flag <code>-c</code> to the review command, it will additionally compare the (potentially modified) annotations in the score with the ones currently present in the harmonies TSV files and reflect the comparison in the reviewed scores.</p>
<p> </p>
<p>Score origin</p>
<p>To create the dataset we downloaded the musicXML conversion available on Craig Sapp's <a href="http://kern.humdrum.org/search?s=t&keyword=Corelli">KernScores</a> (thanks to the engraver(s) who first encoded the scores in **kern format), converted them to MuseScore, and had them corrected and completed by the transcription service <a href="https://www.tunescribers.com/">tunescribers.com</a>. This involved adding thorough bass figures throughout and engraving a few missing movements from scratch. The commission was performed based on the Pepusch prints available on the International Music Score Library Project (IMSLP) which are included in the folder <code>pdf</code>:</p>
Opus
File
IMSLP
1
Corelli op. 1 12 Triosonaten - Partitur.pdf
<a href="https://imslp.org/wiki/Special:ReverseLookup/1666">https://imslp.org/wiki/Special:ReverseLookup/1666</a>
3
Corelli op. 3 12 Triosonaten - Partitur.pdf
<a href="https://imslp.org/wiki/Special:ReverseLookup/1689">https://imslp.org/wiki/Special:ReverseLookup/1689</a>
4
Corelli op. 4 12 Triosonaten - Partitur.pdf
<a href="https://imslp.org/wiki/Special:ReverseLookup/1690">https://imslp.org/wiki/Special:ReverseLookup/1690</a>
<p>(The scan of op. 3 is missing page 46, corresponding to <code>op03n12a</code>)</p>
<p>Whenever pitches, bass figures or their placement were obviously wrong they have been corrected based on the Rome princeps editions.</p>
<p> </p>
<p>Caveats</p>
<p> </p>
<p>Wrong positions</p>
<p>Two files have different time signatures in the upper and lower staff pairs which leads to wrong positions:</p>
<ul>
<li><code>op03n10d</code> has 12/8 vs. 2/2</li>
<li><code>op04n06g</code> has 12/8 vs. 4/4</li>
</ul>
<p>Since the parser deals only with one time signature per measure, and since positions are computed additively, the positions are currently incorrect for</p>
<ul>
<li>all events in these two pieces which</li>
<li>occur in staff 3 or 4</li>
<li>after beat 1.</li>
</ul>
<p>As a remedy, staves 1 and 2 could be re-written in simple meters (2/2 or 4/4) sporting triplets. For now, users could multiply <code>mc_onset</code> values for staves 3 and 4 by 1.5 as a remedy. The quarterbeats would then need to be re-computed by adding the stretched onset values to the MC's quarterbeat.</p>
<p> </p>
<p><code>.warnings</code></p>
<p>As long as such files exist in the <code>reviewed</code> folder, the <code>ms3 review</code> command has detected</p>
<ul>
<li>incongruent phrase beginnings <code>{</code> and endings <code>}</code>, and/or</li>
<li>harmony labels where over 60 % of the note heads in the segment are out-of-label, and/or</li>
<li>other warnings related to parsing the scores or annotations.</li>
</ul>
<p>Pull requests addressing any of these warnings would be highly appreciated.</p>
<p> </p>
<p>Instruments</p>
<p>The information on the four parts in the MuseScore files has not been curated. That concerns the staff names, brackets, behaviour of barlines, and instruments. If someone could send us a good configuration that looks and sounds decent, we would be glad to automatically apply it to the entire dataset.</p>
<p> </p>
<p>License</p>
<p>Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International Public License (<a href="https://creativecommons.org/licenses/by-nc-sa/4.0/">CC BY-NC-SA 4.0</a>).</p>
<p> </p>
<p>Naming convention</p>
<p>For example, all files starting with <code>op03n02</code> are movements of Sonata number 2 from opus 3. The sequence of movements is indicated by appended letters <code>op03n02a</code>, <code>op03n02b</code>, etc.</p>
<p> </p>
<p>Questions, Suggestions, Corrections, Bug Reports</p>
<p>For questions, remarks etc., please create an issue and feel free to fork and submit pull requests.</p>
Marie Corelli: Science, Society and the Best Seller
No full textIssues which faced Britain in the late nineteenth and early twentieth centuries include the effects of new scientific theories on traditional religious belief, the impact of technological innovation, the implications of mass literacy and the changing role of women. This thesis records how such issues are reflected in contemporary literature, focusing on the emergence of popular culture and the best seller, a term which conflates author and novel. The first English best seller was Marie Corelli and, by way of introduction, Part I offers a summary of her life and her novels and a critical overview of her work. Part II of the thesis examines how the theory of evolution undermined traditional religious belief and prompted the search for a new creed able to defy materialism and reconcile science and religion. Contemporary literature mirrors the consequent interest in spiritualism during the 1890s and the period immediately following the Great War, and critical readings of Corelli�s A Romance of Two Worlds and The Life Everlasting demonstrate that these novels - which form the nucleus of her personal theology, the Electric Creed - are based on selections from the New Testament, occultism and, in particular, science and spiritualism. Part III of the thesis looks at the emergence of �the woman question�, the corresponding backlash by conservatives and the ways in which these conflicting views are explored in the popular literature of the time. A critical examination of the novella, My Wonderful Wife, reveals how Corelli uses social Darwinism in an ambivalent critique of the New Woman. Several of Corelli�s essays are discussed, showing that her views about the role of women were complex. A critical analysis of The Secret Power engages with Corelli�s peculiar kind of feminism, which would deny women the vote but envisages female scientists inventing and operating airships in order to secure the future of the human race. Interest in Marie Corelli has re-emerged recently, particularly in occult and feminist circles. Corelli�s immense popularity also makes her an important figure in cultural studies. This thesis adds to the body of knowledge about Corelli in that it consciously endeavours to avoid spiritualist or feminist ideological frameworks, instead using contemporary science as a context for examining her work
(A) Study of &lt;Variations on a Theme of Corelli, Op.42&gt; by S. Rachmaninoff
No full text본 논문은 본인의 석사과정 이수를 위한 졸업 연주회의 연주 곡목 중 S. Rachmaninoff의 &lt;Variations on a Theme of Corelli, Op.42&gt;에 관한 연구이다. 본 연구는 Rachmaninoff의 피아노 음악과 &lt;Variations on a Theme of Corelli, Op.42&gt;의 음악적 특징을 연구함으로써 연주에 대한 이해를 돕는 것을 목적으로 한다.
S. Rachmaninoff는 러시아 후기 낭만파 음악을 대표하며 당시의 현대음악적 경향을 따르지 않고 낭만주의 음악양식을 고수한 작곡가이다. 또한 그는 뛰어난 피아니스트였기 때문에 피아노 작품을 많이 남겼는데, 그의 피아노 음악은 낭만주의의 전형적이고 독창적인 특징과 감정의 섬세한 표현력과 대담성이 잘 어우러진 러시아 낭만 음악의 특징을 이루어 자유로운 형식으로 구성되었고, 다양한 리듬을 표현하였으며 풍부하고 서정적인 선율과 발전된 반주형태, 음악적 변화를 주기 위한 반음계적 진행이 자주 사용되었다.
그의 마지막 피아노 작품인 &lt;Variations on a Theme of Corelli, Op.42&gt;는 Corelli의 Violin Sonata Op.5, No.12의 주제를 그대로 사용하였으며, Theme~Var.7, Var.8~lntermezzo, Var.14~var.20의 세 부분으로 나뉘며, 주제와 각 변주들은 서로 유기적인 관계를 맺고 있다. 각 변주들은 반음계적 선율의 진행 위에 붓점리듬, 교차리듬, 당김음 등의 다양한 리듬을 보여주었고 반음계적 화성과 비화성음 등의 사용으로 곡의 분위기를 나타내었다.;This thesis is a study of &lt;Variations on a Theme of Corelli, Op.42&gt; by Rachmaninoff which was part of the repertoire of the recital for the completion of the graduate school course. The purpose of this study is to investigate the characteristics in Rachmaninoffs piano music style in general, and &lt;Variations on a Theme of Corelli, Op.42&gt; in particular, and promote understanding about it&apos;s performance.
S. Rachmaninoff is the conservative composer who represented late romantic music of Russia and didn&apos;t follow then modern musical tendency and adhered to romantic style. Also he was an excellent pianist that he composed lots of works for piano, which have typical and unique characteristics, sensitive express boldness and darlingness of Russian Romantic music. In then, he used free forms, diverse rhythms and often chromatic scales to develop rich, lyrical melodies and accompaniments and give musical variations.
&lt;Variations on a Theme of Corelli, Op.42&gt;, his last work for piano, follows the theme of &lt;Violin Sonata Op.5, No.12&gt; by Corelli and is divided into three parts, Theme-Var.7, Var-8-Intermezzo, and Var.14-Var.20 in which theme and each variations have organic relations. Each variations show various rhythms such as dotted and cross rhythms and syncopation on chromatic melodies and accomplish certain atmosphere of each pieces through the use of chromatic and non-chromatic chords.목차
논문개요 = ⅳ
Ⅰ. 서론 = 1
Ⅱ. S. Rachmaninoff의 피아노 음악 = 2
Ⅲ. S. Rachmaninoff의 &lt;Variations on a Theme of Corelli, Op.42&gt; = 6
A. 작품 배경 = 6
B. 작품 분석 = 7
Ⅳ. 결론 = 37
참고문헌 = 39
ABSTRACT = 4
Solution-phase parallel synthesis of S-DABO analogues
No full textA simple and straightforward methodology for the parallel, solution-phase synthesis of a new series of S-DABO derivatives 1 and 2, bearing aromatic substituents at the C2 and C6 positions, has been developed. Starting from potassium ethyl malonates 3, thiouracil intermediates 5 were prepared through parallel synthesis and isolated as pure products by simple extraction with ethyl acetate. Selective S-benzylation of 5 was achieved in few minutes under microwave irradiation to give the title compounds 1, which were oxidized in parallel to the corresponding sulfones 2. Some of the new compounds 1 showed potent inhibitory activity against HIV-1 RT
XII Sonata's or solo's for a violin, a bass violin or harpsicord... his fifth opera. This edition has the advantage of haveing the graces to all the adagio's and other places where the author thought proper by Arcangelo Corelli.... [Op. 5]
No full textTitre uniforme : Corelli, Arcangelo (1653-1713). Compositeur. [Sonates (12). Violon, basse continue. Op. 5]Présentation musicale : [Partition]Appartient à l’ensemble documentaire : RISMImpSonates (violon et basse continue) -- +* 1700......- 1799......+:18e siècle
The effect of defruiting at different stages of fruit development on leaf photosynthesis of 'Golden Delicious' apple
No full textNet photosynthetic rates (A) of leaves on 11-year-old, field-grown apple trees (Malus domestica Borkh. cv. Golden Delicious) were measured after removal of fruits at four different stages of development. Defruiting decreased A by 21, 42, 27 and 7% when fruits were growing at 311, 293, 229 and 113 mg(DW) day(-1), respectively. Photosynthesis was inhibited more in the afternoon than in the morning, but it was not affected during the first 8 h after fruit removal. Inhibition of A was positively correlated with crop sink strength, but it was not correlated with fruit relative growth rate or crop load. Defruiting decreased A at saturating irradiances (PPFD > 1000 mu mol m(-2) s(-1)), but did not modify the apparent quantum yield of single leaves. These results suggest that the overall effect of defruiting on carbon fixation is negligible in dense canopies, but it may be significant in sparse canopies and in single shoots
Has a “Chemical Magic” Opened up New Prospects for Glaucoma?
No full textChemical modification of the prototype CB1R ago-PAM, GAT211, yielded new CB1R allosteric modulators
(−)-(S,R)-13 and (+)-(R,S)-14, which showed significant bias for CB1R signaling pathways, as supported by docking studies.
Compound 14 efficiently lowered elevated intraocular pressure when it is due to an increase in endocannabinoid tone. This article
may open new avenues to meet the therapeutic needs presented by glaucoma
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