Про склад оркестру і принципи оркестрового письма в Concerto grosso G-dur № 2 Й. Г. Пізенделя

The purpose of a work. The article examines the principles of orchestral writing in the instrumental works of J. G. Pisendel (1687-1755) in the context of the genre evolution of German orchestral music of the first half and middle of the eighteenth century. Material for analysis - Concerto Grosso number 2 G-dur. The methodology is an integrated approach and is based on the use of analytical and comparative methods. Scientific novelty. During the first half and middle of the eighteenth century German instrumental music sees an intense solo performance development and the role of individual musician’s skills is rising. Development of new genres, which can demonstrate performing skills, continues. One of them was a genre of instrumental concert, in which a triad "concerto grosso – instrumental solo concert – concert symphony" clearly reflected phased transition from Baroque to early classical style. The analyzed work by J. G. Pisendel as all the legacy of the artist as a whole, represents the initial phase of the process. The conclusions. Concerto grosso G-dur № 2 is written in typical concert form, with multiple alternation of ritornellos performed by all chapel instruments and musical constructions performed by a separate group of instrumentalists – so called trio. The composer tries to follow tradition and carefully constructs a typical composition of multiple bright ritornello in different keys and episodes of solo-ensemble type, which contrast in texture the full-toned tutti parts. Composition of the orchestra: 2 violins, a viola, bass (cello and harpsichord), 2 flutes, 2 oboes, bassoon, two horns. The trio is composed of two flutes, two oboes and bassoon as soloists as well as instruments of basso continuo group. Flutes and oboes solo in turns, but are often combined in a joint sound, as a result the trio becomes a quintet featuring masterfully interpreted woodwind instruments. The main function of tutti is to present the main theme, while the ensembles’ role is reduced to saturation the texture with virtuoso element.Цель работы. В статье изучаются принципы оркестрового письма в инструментальных произведениях И. Г. Пизенделя (1687 – 1755) в контексте жанровой эволюции немецкой оркестровой музыки первой половины и середины ХVІІІ века. Материал для анализа – Сoncertо grossо № 2 G-dur. Методология исследования состоит в комплексном подходе к изучению указанных явлений и основывается на аналитическом и компаративном методах. Научная новизна. На протяжении первой половины и середины ХVІІІ века в немецкой инструментальной музыке происходит интенсивное развитие сольного исполнительства и возрастает роль индивидуального мастерства музыкантов, происходит формирование новых жанров, в которых можно показать исполнительские возможности. Одним из них стал жанр инструментального концерта, в котором через триаду «сoncertо grossо – сольный инструментальный концерт – концертная симфония» четко отразилась поэтапность перехода от барочного к раннеклассическому стилю. Проанализированное сочинение И. Г. Пизенделя, как и все наследие композитора в целом, отображает начальный этап этих процессов. Выводы. Concerto grosso G-dur № 2 написан в типичной концертной форме, с многократным чередованием ритурнеля, который исполняется всеми инструментами оркестра, и музыкальных построений, исполняемых отдельной группой инструменталистов – т. н. трио. Композитор старается следовать традициям и мастерски выстраивает композицию, в которой многократные проведения блестящего ритурнеля в разных тональностях чередуются с эпизодами сольно-ансамблевого типа, фактурно контрастируюшими полнозвучному туттийному изложению. Состав голосов в tutti: 2 скрипки, альт, бас (виолончель и клавесин), 2 флейты, 2 гобоя, фагот, 2 валторны. В трио участвуют две флейты, два гобоя и фагот как солисты, а также инструменты группы basso continuo. Флейты и гобои солируют поочередно, однако довольно часто объединяются в совместном звучании, в результате чего трио преобразуется в квинтет с участием виртуозно трактованных деревянных духовых инструментов. Главной функциею tutti является изложение основной темы, в то время как роль ансамблевых эпизодов сводится к насыщению фактуры виртуозным элементом.Мета роботи. У статті вивчаються принципи оркестрового письма в інструментальних творах Й. Г. Пізенделя (1687 – 1755) у контексті жанрової еволюції німецької оркестрової музики першої половини і середини ХVІІІ століття. Матеріал для аналізу – Сoncertо grossо № 2 G-dur. Методологія дослідження полягає в комплексному підході до вивчення вказаних явищ і ґрунтується на застосуванні аналітичного та компаративного методів. Наукова новизна. Протягом першої половини і середини ХVІІІ століття в німецькій інструментальній музиці відбувається інтенсивний розвиток сольного виконавства і зростає роль індивідуальної майстерності музикантів, триває формування нових жанрів, у яких можна показати виконавські можливості. Одним з них став жанр інструментального концерту, у якому через тріаду «сoncertо grossо – сольний інструментальний концерт – концертна симфонія» чітко відобразилася поетапність переходу від барокового до ранньокласицичного стилю. Аналізований твір Й. Г. Пізенделя, як і вся спадщина митця у цілому, уособлює початковий етап цих процесів. Висновки. Concerto grosso G-dur № 2 написаний у типовій концертній формі, з багаторазовим чергуванням ритурнелю, який виконується усіма інструментами капели, та музичних побудов, що виконуються окремою групою інструменталістів – т. зв. тріо. Композитор намагається слідувати традиції і старанно вибудовує типову композицію, з багаторазовим проведенням блискучого ритурнелю в різних тональностях та епізодами сольно-ансамблевого типу, які фактурно контрастують повнозвучному туттійному викладу. Склад голосів у tutti: 2 скрипки, альт, бас (віолончель і клавесин), 2 флейти, 2 гобої, фагот, 2 валторни. У тріо беруть участь дві флейти, два гобої і фагот як солісти, а також інструменти групи basso continuo. Флейти і гобої солюють почергово, однак доволі часто об’єднуються у сумісному звучанні, внаслідок чого тріо перетворюється на квінтет за участю віртуозно трактованих дерев’яних духових інструментів. Головною функцією tutti є виклад основної теми, тоді як роль ансамблів зводиться до насичення фактури віртуозним елементом

Reliability of Urinary Bladder Pressure Measurement in Critical Care

Background of the study: Intra abdominal pressure (IAP) theoretically may be a predictor of enteral nutrition tolerance (EN). Urinary bladder pressure (UBP) is the gold standard for estimating IAP. Current recommendations for UBP measurement (UBPM) calls for the instillation of normal sterile saline (NSS) into the bladder while the patient is supine with a zero degree (0°) head of bed elevation (HOBE). How different instill volumes (IVs) and body positions influence UBPM were unknown, and the intra- and inter-observer reliability had not been adequately investigated. Specific aims: 1) Systematically evaluate the relative contribution of bladder IV and subject\u27s position upon UBPM. 2) Determine inter- and intra- observer reliability of UBPM. 3) Identify other factors that may influence IAP and UBPM: age, gender, Body Mass Index (BMI), net fluid balance (NFB), positive airway pressure, use of paralytic agents, EN and length of stay (LOS). Method: Prospective randomized study of 120 critically-ill adults who had UBPMs taken in four different positions and before and after three different IVs. All UBPMs except 20 were obtained by the principle investigator (PI). To determine inter-and intra-observer reliability the PI and a nurse co-investigator obtained 20 UBPMs each in 10 subjects. Results: Two way ANOVA showed a significant volume (p \u3c 0.053), position (p \u3c 0.007) and volume-position interaction (p \u3c 0.004). 200 ml IVs gave higher UBP estimates and variability, 0 ml IV gave lower UBP estimates, high variability and occasional negative values. The supine-0° HOBE yielded lower values. No statistically significant difference in UBP was observed among the three positions that were with a 30° HOBE when measured with a 25 ml IV. Intra-and inter-observer reliability was high. BMI, NFB, LOS, and EN use were found to be predictors of UBP. Significance to nursing: The findings of this study impacts critical care (CC) nurses\u27 bedside practice by contributing data to develop an evidenced based UBPM procedure. It also allows for further investigation of the relationship between increased IAP and the gastrointestinal tract in critical illness and will facilitate the exploration of the relationship between increased IAP and EN tolerance

Video is Easy!

Slides from a presentation given for a Teaching and Learning Department Summer Retreat at the University of Maryland University Libraries on July 30, 2014.Discusses the three main barriers which prevent librarians from experimenting with video: 1. Don’t have access to production equipment 2. Not able to achieve the production values students/faculty expect 3. No time And explains why none of these things is actually a problem by demonstrating a decently-wide range of sources of ready-made video and video production tools which can easily be adapted to a library instruction context

Creative Commons Licenses and You

Slides from a presentation given to the Emerging Technologies Discussion Group at the University of Maryland University Libraries on November 16, 2014.Discusses how to interpret and use Creative Commons licenses, with an emphasis on their uses in a library context

Teaching Copyright to Faculty and Students as a Non-Lawyer

Slides from a presentation given at National Media Market in Albuquerque, NM on October 13, 2015.Because of the nature of the collections they work with, media librarians are often called upon to answer questions about copyright. This presentation will discuss best practices for helping faculty and students make informed decisions about legal issues related to audiovisual media like public performance rights (PPR) and fair use without presuming to practice law without a license, and also introduce useful resources for those who want to learn more

Designing a Media Commons in an Era of Increasingly-Rapid Change

Slides for a presentation delivered at the CCUMC annual conference in Portland, OR on October 19, 2014. Part of a group presentation called "The Media Spaces Life Cycle."This panel discussion will discuss the planning, design, and implementation of new media spaces such as media commons, digital media studios, multimedia labs, etc. by gathering perspectives from people at different stages in the life cycle of such spaces

Articulating a Vision for a Media Commons at the University of Maryland

Slides for a presentation delivered at the Canadian Learning Commons Conference on June 10, 2014.In September, 2013 the University of Maryland Libraries charged a Media Commons Task Force with developing a framework for a “Media Commons” environment that integrated the Nonprint Media Services Library into the services offered by the learning commons already in existence and the research commons under development at the Libraries. Over the next six months the committee employed a variety of means to assess the needs of the University of Maryland community and generate ideas, including quantitative surveys of faculty and students, interviews with on-campus groups identified as potential partners, interviews with representatives from successful media commons at other universities, a literature review, and innovative focus group meetings utilizing “design thinking” to elicit ideas and feedback from participants. This presentation will discuss the committee’s findings and recommendations

Copyright and Fair Use in the Digital Age

Slides from a presentation given for an ETS Brown Bag at the University of Maryland's College of Education on February 18, 2015.Discusses copyright and fair use issues relevant to educators and education scholars

THE CHALLENGES OF PROFESSIONAL COMPETENCE OF LVIV REGION MILITARY CONDUCTORS IN THE FIRST DECADES OF THE XXth CENTURY

Internal application and social functions of the orchestras of different military formations on the territory of Ukrainian lands during the first half of the XXth century had their own history, including Lviv Region. This Region as the whole Galicia had gone through the numerous political transformations and changes of political systems. Each of such transformation put forward new requirements to the military musical art, thus, to the activity of military conductors. The aim of the article is the analysis of the tasks, demands, social and cultural background of the conditions of work, potential audience, the peculiarities of performance repertoire, professional training of the membership of the orchestra companies and the conductors of the orchestra’s groups of the Regular Army during the first decades of the XXth century. Such investigation based on historical, structural and systemic methods has been made for the first time. The military subunits of Lviv region of the period of Austrian regime (infantry regiments 10, 15, 23, 30, 55, 80) involved in their units Germans, Czechs, Austrians, Hungarians and less numerously presented Russians and Poles (55 and 80 infantry regiments that had their headquarters in Lviv and dislocated partially in Stryj and Zolochiv). Each of them obligatory had their own musical groups: mainly brass or competent symphony orchestra which included numerous Czech musicians and trumpeters as a separate unit. Each orchestra performer, as a rule, played two different instruments (brass and stringed). Their work was supervised by bandmaster and warrant officer – tambour major (who supervised group’s training as a conductor of the orchestra and their preparation to the defile), they were mainly Austrians, Germans and Czechs. Besides applicable military functions the orchestras took part in the civilian ceremonies, divine services and funeral ceremonies, every week at holidays and Sundays they carried out unmounted and hoarse defile along the city with march and light music of European authors under arrangements of their conductors (namely, arrangements of folk songs and dances), performed programs of European classical music in concert halls; and in public places: in park platforms, skating rigs; they also made guest-performance tours to the recreation resorts. In 1918 with the formation of Polish State there were some transformations in musical sphere of Polish Army and the USS Army. The conductors of military orchestras of Lviv region of the first decades of the XXth century faced the vast complex of tasks: the ability to work with the variety of personnel in the open air (in the field), in the square, hoarse defile and unmounted defile) in the covered concert-theatrical, theatrical buildings; mastering, providing, creation and adaptation of the universal repertoires to the real performance, potential and concert conditions, ensuring the training conditions of the new generation to the range of professional orchestras of academic level, the creation of programs, which provide with image and representative functions of the army, as well as to satisfy the needs of social and cultural topicality