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Relevant bibliographies by topics / Clarinets (2)

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Academic literature on the topic 'Clarinets (2)'

Author: Grafiati

Published: 4 June 2021

Last updated: 24 January 2023

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Journal articles on the topic "Clarinets (2)"

1

Swift, Richard, Arthur Bird, and Gunther Schuller. "Nonet for Woodwinds (Marche miniature); For Piccolo, 2 Flutes, 2 Oboes, 2 Clarinets and 2 Bassoons." Notes 42, no. 2 (December 1985): 403. http://dx.doi.org/10.2307/897456.

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Weait, Christopher, Andrzej Panufnik, and Daniel Dorff. "Concerto for Bassoon and Small Orchestra [Flute, 2 Clarinets in B-Flat, Strings]." Notes 51, no. 3 (March 1995): 1141. http://dx.doi.org/10.2307/899346.

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Tawa, Nicholas E., and Charles Tomlinson Griffes. "The Kairn of Koridwen, a Dance-Drama in 2 Scenes (1916-1917) [For Flute, 2 Clarinets, 2 Horns, Celesta, Harp, and Piano]." Notes 51, no. 3 (March 1995): 1136. http://dx.doi.org/10.2307/899344.

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Lien, Joelle L., and Jere T. Humphreys. "Relationships among Selected Variables in the South Dakota All-State Band Auditions." Journal of Research in Music Education 49, no. 2 (July 2001): 146–55. http://dx.doi.org/10.2307/3345866.

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The purpose of this study was to examine the effects of school enrollment, distance to audition site, sex of auditionees, and instrument type on the results of the 1992–97 South Dakota all-state band auditions. Results include the following: (1) total audition scores were better for students from larger schools and for those who traveled a shorter distance to the audition; (2) female students' scores were significantly better than those of male students, but there was no significant difference in the percentages of successful auditions between males and females; (3) scores differed significantly between instrument groups, with flutes and double reeds receiving the best scores, followed by saxophones, trumpets and French horns, low brass and string basses, and clarinets; and (4) the variables of distance to audition site, instrument group, and sex accounted for 11% of the variance in total audition scores.

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Gantner, Sophia, Matthias Echternach, Reinhard Veltrup, Caroline Westphalen, Marie Christine Köberlein, Liudmila Kuranova, Gregor Peters, et al. "Impulse dispersion of aerosols during playing wind instruments." PLOS ONE 17, no. 3 (March 3, 2022): e0262994. http://dx.doi.org/10.1371/journal.pone.0262994.

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Musical activities, especially singing and playing wind instruments, have been singled out as potentially high-risk activities for the transmission of SARS CoV-2, due to a higher rate of aerosol production and emission. Playing wind instruments can produce condensation, droplets of saliva, and aerosol particles, which hover and spread in the environmental air’s convectional flows and which can be potentially infectious. The aim of this study is to investigate the primary impulse dispersion of aerosols that takes place during the playing of different wind instruments as compared to breathing and to speaking. Nine professional musicians (3 trumpeters, 3 flautists and 3 clarinetists) from the Bavarian Symphony Orchestra performed the main theme from the 4th movement of Ludwig van Beethoven‘s 9th symphony in different pitches and loudness. The inhaled air volume was marked with small aerosol particles produced using a commercial e-cigarette. The expelled aerosol cloud was recorded by cameras from different perspectives. Afterwards, the dimensions and dynamics of the aerosol cloud were measured by segmenting the video footage at every time point. Overall, the flutes produced the largest dispersion at the end of the task, reaching maximum forward distances of 1.88 m. An expulsion of aerosol was observed in different directions: upwards and downwards at the mouthpiece, at the end of the instrument, and along the flute at the key plane. In comparison, the maximum impulse dispersions generated by the trumpets and clarinets were lower in frontal and lateral direction (1.2 m and 1.0 m towards the front, respectively). Also, the expulsion to the sides was lower.

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Conway, Paul. "Thea Musgrave round-up." Tempo 57, no. 226 (October 2003): 50–51. http://dx.doi.org/10.1017/s004029820325035x.

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‘Pierrot Dreaming’. MUSGRAVE: Canta! Canta!; Ring Out Wild Bells; Threnody; Pierrot; Chamber Concerto No. 2. Victoria Soames Samek (cl), Gabrielle Byam-Grounds (fl), David Le Page (vn/va), Matthew Sharp (vc), Mark Troop (pno). Clarinet Classics CC0038.‘The Fall of Narcissus’. MUSGRAVE: Serenade; Narcissus; Impromptu for flute and cello; Wind Quintet; Impromptu No. 2 for flute, oboe and clarinet; Four Portraits for baritone, clarinet and piano. Victoria Soames Samek (cl), Members of English Serenata, David Le Page (va), Matthew Sharp (vc), Stephen Varcoe (bar), Rachel Masters (hp). Clarinet Classics CC0039.MUSGRAVE: Memento Vitae; Helios; Night Music; The Seasons. Nicholas Daniel (ob), Scottish Chamber Orchestra c. Nicholas Kraemer; BBC Symphony Orchestra c. Jac van Steen. NMC (ANCORA+) D074.‘Oriental Landscapes’. MUSGRAVE: Journey Through a Japanese Landscape. CHEN YI: Percussion Concerto. ZHOU LONG: Out of Tang Court. HOVHANESS: Fantasy on Japanese Wood Prints. Evelyn Glennie (perc), Singapore Symphony Orchestra c. Lan Shui. BIS CD 1222.

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Buyak, Halyna. "THE FORMATION OF BOHDAN KHAVARIVSKYI AS PERSONALITY, SOCIAL, POLITICAL, CULTURAL AND EDUCATIONAL FIGURE (THE SECOND HALF OF THE 20TH CENTURY – THE BEGINNING OF THE 21ST CENTURY)." Scientific Herald of Uzhhorod University. Series: History, no. 2 (47) (December 20, 2022): 67–74. http://dx.doi.org/10.24144/2523-4498.2(47).2022.266521.

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This article attempts to investigate the development of Bohdan Khavarivskyi as a philologist, teacher, archivist, local historian, artist, personality, public-political and cultural-educational figure in the second half of the 20th century and the beginning of the 21st century. This significant list of his interests testifies to this person's uniqueness, comprehensiveness, and talent. Based on the analysis of archival materials, it was found that the formation of B. Khavarivskyi took place in the traditions of family upbringing, his parents and teachers who encouraged him to draw, write poems, recite, and sing was an example to follow in childhood. Bohdan-Roman was a comprehensively gifted individual who could realize his talents later in life. His activities were traced during his studies at the philological faculty of Chernivtsi State University. He attended the literary studio named after Stepan Budny, designed and edited its handwritten newspapers "Sunny Clarinets" and "Vesely Ostap," and gave speeches at scientific conferences. Acquaintance with famous Ukrainian science and culture figures from Chernivtsi contributed to his formation as a mature personality with an active life position and deep national convictions. It has been proven that the beginnings of his pedagogical work were connected to his teaching activities in a rural school in the Ternopil region. Over time, Bohdan Khavarivskyi worked as an educator in the dormitory of Ternopil Technical School № 2. Also, as a teacher at Ternopil Special Vocational Technical School № 3. It was found that the center of the future writer's organization, a professional center of artists, free from the restrictions of the standards of socialist realism, was formed in this educational institution. Subsequently, he was a senior researcher at the Ternopil Regional State Archives, a teacher at the Ternopil State Pedagogical Institute, the head of the public education department of the Ternopil Regional Executive Committee, the director of the State Archives of the Ternopil Region. It is known that he thoroughly mastered the subjects he taught. He practiced original modern forms and teaching methods, involved pupils and students in Ukrainian and world cultural achievements, and worked in close contact with the Ternopil Art Gallery, the Ternopil Museum of Local History, and the creative organizations of the city. He organized fine art weeks and involved artists from Ternopil and Lviv in exhibitions of paintings and graphics.

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Zaidel-Rudolph, Jeanne. "Lifecycle: Flute (piccolo), oboe, clarinet (bass clarinet), bassoon, horn, 2 percussionists, 2 violins and cello, Xhosa vocal ensemble and indigenous instruments." Journal of Musical Arts in Africa 3, no. 1 (January 2006): 80–81. http://dx.doi.org/10.2989/18121000609486710.

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Rickards, Guy. "LEE HYLA." Tempo 58, no. 230 (October 2004): 86–87. http://dx.doi.org/10.1017/s0040298204290337.

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Rickards, Guy. "MARGARET BROUWER, CHEN YI, SADIE HARRISON, MISATO MOCHIZUKI, ONUTE NARBUTAITE, APPARENZE." Tempo 58, no. 229 (July 2004): 60–66. http://dx.doi.org/10.1017/s0040298204360225.

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MARGARET BROUWER: Lament for violin, clarinet, bassoon and percussion12,4,6,10; Light for soprano, harpsichord, flute, clarinet, violin, cello and percussion1,7,2,5,13,14,11; Under the Summertree for piano8; Skyriding for flute, violin, cello & piano3,13,14,9; Demeter Prelude for string quartet15. 1Sandra Simon (sop), 2Sean Gabriel (fl), 3Alice Kogan Weinreb (fl), 4Jean Kopperud (cl), 5Amitai Vardi (cl), 6Donald McGeen (bsn), 7Jeanette Sorrell (hpschd), 8Kathryn Brown (pno), 9Mitsuko Morikawa (pno), 10Dominic Donato (perc), 11Scott Christian (perc), 12Laura Frautschi (vln), 13Gabriel Bolkosky (vln), 14Ida Mercer (vlc), 15Cavani String Quartet. New World 80606-2.CHEN YI: Momentum; Chinese Folk Dance Suite for violin and orchestra1; Dunhuang Fantasy for organ and chamber wind ensemble3; Romance and Dance for 2 violins and string orchestra1,2; Tu. 1Cho-Liang Lin (vln), 2Yi-Jia Susanne Hou (vln), 3Kimberley Marshall (org), Singapore SO c. Lan Shui. BIS-CD-1352.SADIE HARRISON: The Light Garden for mixed quintet1; The Fourteenth Terrace for clarinet and ensemble2; Bavad Khair Baqi! for solo violin3. Traditional Afghan Music4. 1Tate Ensemble, 2Andrew Spalding (cl), Lontano c. Odaline de la Martinez, 3Peter Sheppard Skærved (vln), 4Ensemble Bakhtar. Metier MSV CD92084.MISATO MOCHIZUKI: Si bleu, si calme1; All that is including me for bass flute, clarinet and violin1,2,3; Chimera; Intermezzi I for flute & piano1,4; La chamber claire. 1Eva Furrer (fl, bass fl), 2Bernhard Zachhuber (cl), 3Sophie Schafleitner (vln), 4Marino Formenti (pno), Klangforum Wien c. Johannes Kalitzke. Kairos 0012402KAIONUTE NARBUTAITE: Symphony No. 2; Liberatio for 12 winds, cymbals & 4 strings; Metabole for chamber orchestra. Lithuanian National SO c.Robertas Fervenikas. Finlandia 0927-49597-2.ALLA PAVLOVA: Symphony No. 1, Farewell Russia1,3,4; Symphony No.32,3,5. 1Leonid Lebedev (fl), Nikolay Lotakov (picc), Mikhail Shestakov (vln), Valery Brill (vlc), Mikhail Adamovich (pno); 2Olga Verdernikova (vln), 3Russian PO c. 4Konstantin D. Krimets, 5Alexander Vedernikov. Naxos 8.557157.‘APPARENZE: Collana di Nuove Musiche 1997’. Works by SILVIA DELITALA, RITA PORTERA, CATERINA DE CARLO, BEATRICE CAMPODONICO, PAOLA CIAR-LANTINI, JANET MAGUIRE, MARCO SANTAM BROGIO, PAOLO MINETTI, FEDERICO MONTAGNER, RINALDO BELLUCCI and BIAGIO PUTIGNANO. Maria Vittoria Vallese (sop), Pia Zanca, Fiametta Facchini, Rinaldo Bellucci (pnos), Duo Soncini-Flückiger, Italian Guitar Quartet, Ensemble Paul Klee, Fabrizio Fantini, Gianluca Calonghi (cls), Giuseppe Giannotti (ob). Radio Onda d'Urto E.F.B 001.

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Dissertations / Theses on the topic "Clarinets (2)"

1

Ti, Yu-Ju. "Duo sonatas and sonatinas for two clarinets, or clarinet and another woodwind instrument an annotated catalog /." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1243880660.

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Lewis, Stephen Edward Lewis Stephen Edward Lewis Stephen Edward Lewis Stephen Edward. "Three pieces." Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p1464858.

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Thesis (M.A.)--University of California, San Diego, 2009.
The 1st work for violin, clarinet, violoncello; the 2nd for piano with chamber orchestra; the 3rd for 2 flutes (1 doubling on piccolo), 2 clarinets, 2 violoncellos. Title from first page of PDF file (viewed July 7, 2009). Available via ProQuest Digital Dissertations. Accompanying disc contains PDF file of thesis and recordings of performances.

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Schulze, Lukas Andreas Schulze Lukas Andreas. "Sluggo ; and Elwaseem /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236633.

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Thesis (Ph. D.--Music)--University of California, San Diego, 2006.
First work for 2 flutes, 2 clarinets, violoncello, and piano; 2nd for oboe and violin solo with 2 trumpets, horn, trombone, crotales, vibraphone, and percussion. Vita. With sound recording (1 sound disc : digital ; 4 3/4 in.) containing thesis works.

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Thorvaldsdottir, Anna S. Thorvaldsdottir Anna S. Thorvaldsdottir Anna S. Thorvaldsdottir Anna S. "Music and ideas." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453657.

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Thesis (M.A.)--University of California, San Diego, 2008.
Accompanying disc contains sound files of recordings of the musical compositions. The 1st work for 13 instruments; 2nd for 2 oboes, 2 clarinets, 2 bassoons, and 2 horns; 3rd for voice, 6 stethoscopes, and computer which manipulates sounds picked up by the stethoscopes. Title from first page of PDF file (viewed July 11, 2008). Available via ProQuest Digital Dissertations. Includes bibliographical references: P. 137.

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Behnen, Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar Behnen Severin Hilar. "Volume I. The construction of motion graphics scores Volume II. Seven motion graphics scores /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1581435611&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of California, Los Angeles, 2008.
CD-ROM entitled "The motion graphics scores of Severin Behnen" includes the animated scores. Includes bibliographical references (v. 1, leaves 138-142).

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Figueiredo, Virginia Costa. "Music by contemporary Portuguese composers a study of extended clarinet techniques in selected clarinet works /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1835614371&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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McConnell, Michael (Woodwind instrument player). "A Grundgestalt Analysis of the Clarinet Trio and Clarinet Quintet by Johannes Brahms." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538725/.

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The Grundgestalt (Ger: 'basic shape') is a term coined by Arnold Schoenberg to describe the basis for coherence within a musical composition. Although neither precisely defined, nor adequately supported by examples from his literature, the Grundgestalt remains an important facet of Schoenbergian theory. Composed of several gestalten that occur repeatedly, Schoenberg's Grundgestalt functions as a germinating factor within a piece that allows its motivic, thematic, and rhythmic information to become more accessible through their frequent repetition and diverse presentation. In addition to Schoenberg's definition, the first part of this dissertation discusses the individual findings of Schoenberg's pupils Josef Rufer and Rudolf Réti. Subsequently developed by the contributions of David Epstein, Walter Frisch, Patricia Carpenter, Michael Schiano, and Brent Auerbach, their combined efforts then attempt to illustrate the organicism of the Grundgestalt, to clarify its terminology, and to refine the framework of its analysis. Based upon the framework described in the previous chapter, the second half of this dissertation presents the criteria for the determination of the Grundgestalt. Beginning with a derivation of Brent Auerbach's proto-Grundgestalt analysis that catalogs the various voice-leading strands of a given composition into a summary chart that tracks the frequency of each motive's occurrence within its underlying musical segments, the analysis then evaluates the basis for each motive's hierarchy through a relative valuation according to the principles of cardinality and individuality. Following a subsequent expansion of the rules governing the organic map that Auerbach proposed to provide a visual representation of the hierarchy described in the proto-Grundgestalt analysis, summary chart, and relative valuation, Part III this dissertation uses that data to specify the location of the Grundgestalt in Johannes Brahms' Trio, Op. 114. A subsequent analysis of Brahms' Quintet, Op. 115 then provides the information necessary to qualify the Trio as emergent Grundgestalt archetype, and the Quintet as a cyclic Grundgestalt archetype.

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Lin, Sheng. "Ran, Shulamit: Concerto da Camera II, Analysis of Pitch and Formal Structure." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2518/.

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The thesis speculates upon the three movements of Concerto da Camera II (1987), scored for Bb clarinet, string quartet and piano) in these four aspects: 1) the formal structure, 2) the manipulation of the notes of whole-tone, octatonic, and chromatic scales in octave displacement, 3) the potential combination of subsets that present different levels of pitch transformation in melodic and harmonic structure, and 4) the usage of intervals of minor seconds, tritones, and perfect fourths or fifths which dominates the linear writing. All of these features demonstrate that the music has strong structural elements in form, motives, and sonorities, which unify the piece in an aurally coherent style as an organic whole. This study should provide more insight into the understanding of Ran's unique compositional technique and style.

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Bolles, Marita. "What exit /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2002. http://wwwlib.umi.com/cr/ucsd/fullcit?p3049669.

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Steele, Andrea, and Andrea Steele. "A Comprehensive Biography of Jacques-Jules Bouffil (1783-1868) with a New Performance Edition of His Trio No. 2, Op. 7." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/624285.

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Jacques-Jules Bouffil was a prominent nineteenth-century French clarinetist and composer. Much of the existing biographical information for Bouffil is in French, it is often in obscure locations, and the sources available often contain discrepancies. This document provides the most comprehensive and accurate biography to date of clarinetist and composer Jacques-Jules Bouffil through examination of his studies at the Paris Conservatoire, as well as his performance career with the Paris Opéra-Comique orchestra, the Reicha Wind Quintet, and other organizations. The compositional contributions of Bouffil include a number of chamber music pieces, most notably, six trios for three B-flat clarinets, op. 7 nos. 1-3 and op. 8 nos. 1-3. These six trios comprise some of the most substantial works composed for the medium. They deserve to be better known because of their unusual concertant style writing and compositional rigor. This study offers a new performance edition with rehearsal score of Bouffil’s Trio no. 2, op. 7, a work that is not readily available to modern performers.

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Books on the topic "Clarinets (2)"

1

Wilson, Richard. Line drawings. New York: Southern Music, 1986.

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Poulenc, Francis. Sonata for two clarinets. Boca Raton, Fla: Masters Music Publications, 1995.

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Walden, Stanley. Double sonata for B♭ clarinet and bass clarinet. Bryn Mawr, Pa: T. Presser Co., 1989.

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Denisov, Ėdison Vasilʹevich. Oktett für 2 Oboen, 2 Klarinetten, 2 Fagotte und 2 Hörner. Hamburg: H. Sikorski, 1991.

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Babbitt, Milton. Quatrains: For soprano voice and two clarinets. Baltimore, MD: Smith Publications, 1996.

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Beethoven, Ludwig van. Sextett für zwei Klarinetten, zwei Hörner und zwei Fagotte, Es-Dur =: Sextet for two clarinets, two horns and two bassoons in E flat major, op. 71. Wiesbaden: Breitkopf & Härtel, 1990.

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James, O. J. Fugue no. 1 in E flat for woodwind trio. Delaware Water Gap, Pa: Shawnee Press, 1987.

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Fauré, Gabriel. Nocturne for flute, two oboes, two clarinets, two horns, and two bassoons, op. 33, no. 1. Boca Raton, Fla: Masters Music Publications, 1998.

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Reinecke, Carl. Octet, op. 216. New York: International Music Co., 1989.

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Wolpe, Stefan. From here on farther: For violin, B-flat clarinet, bass clarinet, and piano. New York: Southern Music, 1993.

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Book chapters on the topic "Clarinets (2)"

1

"Table of Contents." In The Clarinet, v—vi. Boydell US, 2021. http://dx.doi.org/10.2307/j.ctv1jpf29c.2.

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Rice, Albert R. "Music for the Chalumeau." In The Baroque Clarinet and Chalumeau, 43–79. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190916695.003.0002.

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Chapter 2 provides an overview of chalumeau music written from 1694 to 1780. Seventeen works are discussed that represent the large chalumeau repertoire: opera, oratorio, cantata, psalm, concerto, stage, chamber, and orchestral. The chalumeau was prominently used in European courts, schools, and concerts in Vienna, Hanover, Düsseldorf, Venice, Prague, Darmstadt, Hamburg, Liechtenstein, Frankfurt, London, Darmstadt, Zerbst, Eisenstadt, Dresden, and other cities, and in monasteries at Göttweig in Austria, and Osek and Lubens in Poland. Chalumeaux were made in five sizes: soprano, alto, tenor, bass, and basset bass (extended range bass). Soprano and bass chalumeaux were used in Vienna by several composers; soprano chalumeaux in Amsterdam by Dreux; alto, tenor, and bass chalumeaux by Graupner and Telemann in Darmstadt, Hamburg, and Frankfurt; and basset bass by Steffani in Düsseldorf and Pichler in Göttweig.

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Fraser, Benjamin. "The Urban Soundscapes of Modern Jazz." In Beyond Sketches of Spain, 47—C2.F1. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197549285.003.0003.

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Abstract Chapter 2 makes the argument for urbanizing the study of jazz by exploring how the urban experience shaped Tete Montoliu’s career and his modernist piano style. It blends statements on jazz by E. Taylor Atkins, Burton W. Peretti, Robert Witkin, Andrew Berish, Eric Lott, and Fumi Okiji with insights from spatial and urban thinkers Henri Lefebvre, Jane Jacobs, Louis Wirth, Lewis Mumford, Georg Simmel, and Manuel Delgado Ruiz. It explores the presence of urban toponyms and imagery in Tete’s jazz work as well as how the urban experience becomes represented aesthetically in his piano style. Discussion focuses on the speed, spontaneity, and shifting conditions of the modern urban experience; the artistic movements that evolved in parallel to the jazz form in Europe; and in particular on Tete’s collaborations with saxophonist Rahsaan Roland Kirk, clarinet player Perry Robinson, and free jazz pioneer Archie Shepp.

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Aringer, Klaus. "»Bey dem Concert ex A sind 2 clarinetti« Anmerkungen zum Bläsersatz in Mozarts Klavierkonzert KV 488." In Mozart Studien Band 10, 81–102. Hollitzer Verlag, 2001. http://dx.doi.org/10.2307/j.ctvg8p392.6.

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"1 Turpine] b; Terpine c. 40.6 knowne] b; knowen c. 33.1 Artegall)?] c; ~?) b. 43.3 loues] b; loue c. 35.1 repryu’d] c; repry’ud b. 45.2 caused] c; causcd b. 36.1 watchmen] b; watchman c. 48.6 whether] b; whither c. 36.8 her selfe, halfe] Smith; her selfe ^ halfe, b; her 49.1 mad] b; bad c. self, arm’d c. 39.3 diuide] c; dauide b. Canto ix 48.3 Clarin] b; Clarind’ c passim. 18.4 hard] c; hart b. 26.4 FONT] Smith; FONS b, c. Canto v 31.4 hight ^ ] c; ~, b. Arg.3 her] c; hcr b. 31.5 Litae,] c; ~ ^ b. Arg.4 Clarins] b; Clarind’s c. 33.8 rebellions] b; rebellious c. 18.4 to’a] b; to a c. 41.5 inspyred ^ ] c; ~. b. 20.8 a napron] b; an apron c. 44.1 appose] b; oppose c. 38.8 vnlike,] b; (~) c. 45.7 Nobilitie] c; Nobilitie b. 41.2 he] b; she c. 45.9 Griefe] c; Griefe b. 55.7 maladie,] c; ~; b. 48.4 there with] with there P.V. in b. Canto vi Canto x4.7 from] b; for c. Arg.2 ﬁght:] c; ~, b. 13.9 singulfs] b; singults c. 1.3 Mercie,] c; ~ ^ b. 17.5 Heard] Here P.V. in b. 6.4 and of her] b; and her c. 19.3 th’euen-tide] b; the euen-tide c. 16.8 mount,] c; ~; b. 20.1 salute ^ ] c; ~. b. 17.4 care,] c; ~; b. 21.9 empeach.] c; ~ ^ b. 17.8 Artegall] c; Artigall b. 24.1 their] b; her c. 22.7 where] c; wherc b. 24.4 of her] c; ofher b. 37.3 past,] c; ~; b. 27.2 of his] c; ofhis b. 37.6 hard] b; had c. 29.2 arm’d] b; armed c. 30.5 euer] c; eucr b. Canto xi 31.3 to abide] b; t’abide c. 16.2 sight,] c; ~; b. 34.7 their] b; that c. 24.7 And] b; An c. 35.5 family.] c; ~ ^ b. 30.3 stonied] stonished P.V. in b. 39.5 vnrighteous] c; vnrigteous b. Canto vii 40.5 reare,] c; ~ ^ b . Arg.1 comes] b; come c. 41.2 to] Smith; too b, c. 13.1 seem’d, as] c; seem’, das b. 41.6 know] Smith; knew b, c. 13.5 red,] c; ~. b. 51.1 this] b; his c. 21.4 couldst] c (could’st); coulst b. 56.9 dissemble] c; disscmble b. 25.9 hold.] c; ~ ^ b. 57.9 with all] c; withall b. 28.8 tie ^ ] c; ~. b. 60.2 had] b; haue c. 38.5 bad] b ; sad c. 61.8 forward] b; froward c. 42.3 Princess] c; Princes b. 62.1 What] c; what b. 63.5 defaced?] c; ~. b. Canto viii 63.9 hold.] c; ~; b. 8.1 him] c; hm b. 13.1 Sir] Smith; sir b, c. Canto xii 14.3 Since] b; Sith c. 1.9 endure] b; enduren c. 16.1 them] c; then b. 3.5 hethertoo] hether too P.V. in b." In Spenser: The Faerie Queene, 772. Routledge, 2014. http://dx.doi.org/10.4324/9781315834696-145.

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