Music as the Source of Information Influence and Soul Education

Unlike other works of art (painting, sculpture, etc.) a musical composition should be performed, it should sound to become accessible. Therefore, the role of the musical masterly performance is extremely important. But presently it has increased in importance when music through mass communication media i.e. radio, television, sound recording becomes in the full sense of the word the property of millions. Art in all its genres as a means of information helps to recreate a picture of one or other epoch as a whole. Moreover, art has a profound impact on education: it can be positive or negative, creative or destructive. Let us dwell on such aspect of music as means of information and the value of musical mastery activity for brining information to hearers of the alternating generations. Unlike other works of art (painting, sculpture etc.) a musical composition should be performed, it should sound to become intelligible. Therefore, the role of the musical masterly performance is extremely important. But presently it becomes particularly great in the XXI century when music becomes a true property of the masses due to mass media – radio, television, sound recording

JITKA FRANKOVA Piano DOCTORAL RECITAL Monday, April .19, 2004 5:30 p.m. Lillian H. Duncan Recital Hall

No sound recording is available for this performance.This recital is given in partial fulfillment of the requirements for Doctor of Musical Arts degree

YING ZHANG, Piano DOCTORAL RECITAL Sunday, September 28, 2003 5:30 p.m. Lillian H. Duncan Recital Hall

No sound recording is available for this performance.This recital is given in partial fulfillment of the requirements for Doctor of Musical Arts degree

HYOJIN AHN Piano DOCTORAL CHAMBER MUSIC RECITAL Tuesday, December 2, 2003 5:30 p.m. Lillian H. Duncan Recital Hall

No sound recording is available for this performance.This recital is given in partial fulfillment of the requirements for Doctor of Musical Arts degree

SARAH SPENCER Piano DOCTORAL RECITAL Wednesday, December 3, 2003 5:30 p.m. Lillian H. Duncan Recital Hall

No sound recording is available for this performance.This recital is given in partial fulfillment of the requirements for Doctor of Musical Arts degree

Factors in human recognition of timbre lexicons generated by data clustering

Since the development of sound recording technologies, the palette of sound timbres available for music creation was extended way beyond traditional musical instruments. The organization and categorization of timbre has been a common endeavor. The availability of large databases of sound clips provides an opportunity for obtaining datadriven timbre categorizations via content-based clustering. In this article we describe an experiment aimed at understanding what factors influence the process of learning a given clustering of sound samples. We clustered a large database of short sound clips, and analyzed the success of participants in assigning sounds to the “correct” clusters after listening to a few examples of each. The results of the experiment suggest a number of relevant factors related both to the strategies followed by users and to the quality measures of the clustering solution, which can guide the design of creative applications based on audio clip clustering

FRE-Bird: An Evidentiary Tale of Two Colliding Copyrights

Sound recordings are not musical compositions. Sound recordings embody musical compositions. Thus, when sound recordings appear in musical composition infringement trials, they do so as an imperfect facsimile of the composition they actualize. As a result, they can confuse and mislead juries tasked only with evaluating the similarity of the underlying composition. On the other hand, music is an aural medium: how can juries be expected to compare two songs without listening to their commercial embodiments? Several recent cases have hinged on the admissibility of sound recordings in composition infringement trials. In doing so, they have implicated three fundamental questions: (1) Where does composition end and sound recording begin? (2) How has the evolution of creative and business practices in the music industry complicated the formerly tidy separation of composition and performance/recording? (3) What are the policy implications for courts defining “composition” more broadly or more narrowly, and how do these interact with the underlying policies governing sound recording evidentiary decisions? This Note targets a seemingly simple question: how should courts approach the use of sound recordings in composition infringement trials? Any thorough answer, however, must grapple with the many underlying creative, industry, and public policy complexities that bear on that debate. Thus, this Note necessarily traces the historical convergence of composition and recording in creative, industry, and judicial contexts. It then discusses the underlying policy arguments that favor and oppose the unrestricted use of sound recordings in composition infringement trials. Finally, it marshals all of this context into a proposed “Triad” judicial framework that explicitly links a court’s inquiry into the “compositionality” of a recorded element to litigants’ burdens in seeking to admit, or preclude, that element as evidence of substantial similarity among compositions

ANNA MARIE FLUSCHE, O.P. Organ DOCTORAL RECITAL Sunday, April 1, 1990 7:00 p.m. at First Presbyterian Church

No sound recording is available for this performance.This recital is given in partial fulfillment of the requirements for Doctor of Musical Arts degree