J. S. Bach's violoncello piccolo

Thesis (DM) – Indiana University, Music, 202

Designing Transport & Urban Forms for the Australia of the 21st Century

Papers presented at workshop on “Designing Transport & Urban Forms for the Australia of the 21st Century” on Tuesday 30 April 1996 at the Institute of Transport Studies (Sydney), University of Sydney. Four papers critically review the direction of current Australian policies for transport and urban form and make recommendations for the development of affective policies for the Australia of the 21st Century

History, Authenticity and the Experimental : An Ethnography of the Historically Informed Performance Movement in Sydney, Australia 2016-2017

This thesis concerns itself with the manner in which history is perceived, produced, marketed, and received through the medium of classical music performance. Specifically, it is concerned with a group of classically-trained musicians operating in Sydney, Australia who describe their practice as ‘historical’ or (at the very least) ‘historically informed’. In this thesis, I introduce the reader to the world of Historically Informed Performance, or ‘HIP’ as it is acronymized by insiders. Specifically, this thesis sets out as an ethnography of HIP grounded in participant-observation. Drawing on phenomenological and semiotic theories of J. Lowell Lewis and Samuel Weber it seeks to answer the questions: ‘what is the Historically Informed Performance ‘movement’ to insiders, and how do they police its boundaries? And what sort of thing is HIP to insiders?’ Looking firstly to texts on and in HIP, this approach reveals a struggle between two seemingly irreconcilable insider discourses of HIP: on the one hand the historical ‘Authenticist’ position and on the other the ‘nondogmatic’ or ‘Experimentalist’ position. However, this thesis argues that such discursive definitions, while important, do not accurately describe HIP, and in the best case, they must be disseminated into practice. As such, notions of Historicity, Authenticity and Experimentalism must be understood as performed on an embodied level in events; through interacting habituated and habituating bodies. In this sense, HIP is constructed out of much more than rigidly defined notions of historicity. It is borne as much of a specific and contingent intimacy, the enactment of historical, consensual social-roles and the complex discipline of instrumental practices

Musicology and Mediation: an examination of the cultural materialisms of Raymond Williams and Pierre Bourdieu in relation to the fields of contemporary music and musicology, with a case study of Arvo Part and ECM

Merged with duplicate record 10026.1/2795 on 06.20.2017 by CS (TIS)This thesis examines the usefulness of the work of Pierre Bourdieu and Raymond Williams for discussions of material mediation in musicology. In part I, I focus on Bourdieu's discussions of cultural production as set out in The Rules of Art and "The Field of Cultural Production", and reconstruct the terms of Williams's late theoretical project. In establishing the terms of these projects, I draw a parallel between their attempts to materialize the categories of Marx's superstructure - noting in Williams's subsequent use of a revised Marxist production paradigm a proximity to the work of Adorno - before noting the differences imposed by the pressures and limits of their respective intellectual cultures. The tensions between these two models are therefore identified as the opportunity for dialogue between theoretical traditions. In part 2, these reflections are tested through a discussion of Arvo Pärt's music and the record label Edition of Contemporary Music (ECM). Using data from musical scores, CDs, reviews, critical essays, magazine articles, interviews, and so on, Part's emergent field position in the late 1970s and early 1980s is reconstructed and ECM's function as both institution and artistic formation is argued. These instances of musical practice remain rhetorically committed to the ideals of autonomy while spanning the opposition of autonomy and heteronomy. This ambiguity puts strain on Williams's and Bourdieu's readings of cultural production, allowing for a critical approach to this range of debate. In this sense, the method becomes part of the subject matter, and the discussions combine both theoretical and musical reflection

Volume 37, Number 08 (August 1919)

Intimate Glimpses of Grieg and Dvorák Cause of Satisfactory Piano Playing Beethoven\u27s Tardy Fame Habit Lessens Fatigue That Awkward Fourth Finger Ten Famous Rules Ten Years After: A Thoroughly Democratic Artistic Senate of Men and Women of Experience Epitomize Their Best Thoughts on Piano Practice New Ideals of Pianistic Art Mentally Photographing Music Let There Be Tunes Luck and Success Plan of Musical Study for the Busy Birds as Inspiration for Great Composers American Opera One Hundred Years Ago What Jazz Is, and Why One Great Source of Mastery Pianist and the Relaxation Fad Music Teacher\u27s Prescription Box Origin of Some Masterpieces of Music Never Too Young to Begin Youth\u27s Day of Opportnity Best Relaxation Exercise Making Pupils Work Secrets of the Success of Great Musicians—Tschaikovsky Year in the Fundamentals of Musical Composition: The Minor Key and Other Musical Matters Stupid Pupil What is the Best Way to Read a Piece of Music the First Time? Velocity in Scale Playing Platform Nervousness—Its Cure How to Understand Conflicting Accidentals Piano vs. Instruments of Small Repertoire Pleasure of Memorizinghttps://digitalcommons.gardner-webb.edu/etude/1659/thumbnail.jp

Some dielectric studies of molecular and intramolecular relaxation processes

Dielectric relaxation studies of some potential systems involving molecular interaction particularly intermolecular and/or intramolecular hydrogen bonding as well as of some related molecules have been carried out in which atactic polystyrene and several other glass-forming media, namely, glassy o-terphenyl, bis(m-(m-phenoxy phenoxy)- phenyl) ether (commonly known as Santovac®), cis-decalin and carbontetrachloride were utilized as solvents. Sample preparations and the dielectric measurements by the use of a General Radio 1621 Precision Capacitance Measurement system with appropriate temperature controllable cells have been described. The glass transition temperature (T[subscript g]) measurements using the Glass Transition Temperature Measurement Apparatus have also been described. The experimental data as a function of frequency at different temperatures were subject to analysis by a series of computer programmes written in the APL language. The activation energy barriers opposing the dielectric relaxation processes were obtained by the application of the Eyring rate equation. Different types of polar, fairly spherical, rigid molecules have been studied mainly to provide sources of relaxation data and activation parameters for comparison with those of flexible molecules of analogous size. The molecular relaxation parameters for these rigid molecules were found to depend on the size, shape and volume of the molecules and the nature of the dispersion medium. The solute concentration has a negligible effect on the molecular relaxaton parameters but it influences the dielectric loss factor, e", significantly. At lower .concentration, the dielectric loss factor increases linearly with the solute concentration and at higher concentration after a certain point it begins to decrease towards the value observed for the pure molecule. This is accounted for by intermolecular interactions. Of the flexible molecules, a variety of some simple almost spherical alcohols, and some long-chain aliphatic normal alcohols and thiols have been studied in different g1ass-forming media. In the usual concentration range of polystyrene matrices ('^5% by.wt.) no evidence of intermoleculr hydrogen bonding was found in simple alcohols, long-chain alcohols and thiols. For simple alcohols only molecular relaxation was observed. Long-chain alcohols and thiols exhibited two relaxation processes. The lower temperature processes were attributed to segmental rotation involving CH[subscript 2]X movement while the higher temperatures were respective molecular rotation.. Relaxation due to hydroxyl group rotation was not found in any case. At higher concentration molecular relaxation followed by hydrogen bond breaking and in some cases relaxation for hydrogen bonded species was observed in G.O.T.P., carbontetrachloride and polystyrene. As in the case of rigid molecules, similar effects of solute concentration upon the molecular relaxation parameters and dielectric loss factor, e[symbol], have been observed for simple alcohols in carbontetrachloride. A wide variety of potentially intramolecular hydrogen bonded substituted phenols has been examined in cis-decalin, G.O.T.P. and Santovac® and in most cases, hydroxyl group relaxation was observed. The relaxation parameters for hydroxyl group rotation were found to be significantly influenced by the strength of the intramolecular hydrogen bond but it was virtually independent of the nature of the dispersion medium as well as the nature of the substituent at the para-position of the ring. No evidence for proton tunneling was detected in these molecules

Neoclassicism in British Instrumental Music 1918-45

The early twentieth century saw music fracture into many individual dialects; one of the most significant of these was Neoclassicism. Given that the Neoclassical compositional aesthetic was so significant to early twentieth-century music there is relatively little written on Neoclassicism. While there has been research into the music of some British composers writing between 1918 and 1945 there has been no research into British Neoclassicism, or any attempt to create a universal model to define Neoclassical music. This thesis is an extension of the research carried out in my MA by Thesis Neoclassicism in the Music of William Alwyn which was inspired by his turn to Neoclassicism in 1938, particularly his Divertimento for Solo Flute. It will firstly examine the state of British music in the period 1918-45 to determine the factors influencing British composers to turn to the Neoclassical aesthetic. I will examine the roots of Neoclassicism through the French and German stems together with other manifestations of the style. I will argue that Neoclassicism is an aesthetic which represents a break from the preceding musical tradition since it looks back to pre-Romantic music for inspiration. I will outline a universal model for Neoclassicism which will attempt to reconcile the varying opinion on Neoclassicism by identifying four characteristics: old, new, borrowed, blue (anti-romantic). I will then apply that model to case studies provided by the instrumental music of ten British composers writing between 1918 and 1945. These composers will include those familiar to a general audience, but also those whose music will be less well- known