Journal articles on the topic 'Trios (Flute, violin, cello)'

Abstract Instrument preferences of third and fifth-grade students (N = 90) were investigated for eight instruments commonly found in orchestra and band: flute, clarinet, saxophone, violin, cello, trumpet, French horn, and trombone. Participants were divided into two groups and asked to identify their favorite and least favorite instrument from a list of the eight instruments. One class each of third and fifth-grade students, Group A, listened to aural examples of the instruments and rated preferences for each instrument. The other two classes, Group B, rated pictures of each instrument. Overall ratings placed the eight instruments in the following order of preference: violin, flute, cello, saxophone, clarinet, trumpet, trombone, and French horn. A significant interaction between grade, gender, and instruments indicated little difference between genders in instrument preference at the third-grade level, but in fifth-grade, females preferred flute, violin, and cello more than males. No significant difference was found between the two methods of testing.

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.

You're probably wondering why a violin concerto was given its UK première by the chamber ensemble Psappha? An informative programme note by Paul Griffiths for the 15 February concert revealed that Swedish composer Klas Torstensson (b. 1951) had in fact written a much longer, though still compactly scored, work in 2010 and had ‘squashed it down’ in length and further reduced the number of players. The work's full title is Pocket Size Violin Concerto – scored for soloist with unconducted accompaniment from piano, flute, and cello. Whilst compression of this kind is not uncommon in other branches of the arts, and concision is a noble artistic aim, one's fear was that such drastic pruning might have short-circuited the music's arguments. Happily this proved unfounded; and whilst the original half-hour's duration might have been pushing it a bit, the modified version (at a whisker under 17 minutes) seemed just about right.

Songs without Voices, composed in 1991–2, is a set of four pieces for small instrumental ensemble comprising flute, cor anglais, clarinet, horn, piano, violin, viola and cello, lasting about eleven minutes. It follows on naturally from Knussen's Whitman Settings which preceded it, as three of its four movements derive their main melodic lines from purely instrumental settings of Whitman texts from the collection Leaves of Grass. Indeed the first movement's source text, Soon shall the winter's foil be here, is placed by Whitman in the collection immediately after The Voice of the Rain, the final text of Knussen's Whitman Settings.

The article was based on a fragment of the author’s doctoral dissertation entitled The birth of cello as a solo instrument – instruments, practice, and selected literature examples (Academy of Music in Łódź, chapter The evolution of cello in the 17th century) and consists of two parts. The first part outlines of the evolution of cello from its birth in the 16th century to the 18th century (the text is supplemented with illustrations), whereas the second part describes the role and use of cello in music of that period. The introduction to the article includes a critical reference to the list of academic and popular science publications therein, in Polish and other languages, touching on the cello issue in the 17th and 18th centuries. The historical part touches on the circumstances of how the violin family emerged with a special attention paid to bass representatives of that group of instruments. Following a detailed analysis of preserved instruments, their reliable copies, luthier publications, illustrations and treatises from that period, the author discussed the construction of the earlies cellos. Apart from data concerning sizes and scale length of these instruments, the article includes information about their body, neck, fingerboard (with slope angle), bridge and tailpiece, materials they were made of, and types and gauge of strings used at that time. It also describes cello tuning methods. Moreover, the author mentions different types of cello (piccolo, da spalla, basse de violon) and different ways of how it was held. A separate issue are the bows, especially types of bows, their evolution and ways of holding. This part of the article is concluded with a list of different names of bass variants of the violin used in the 16th and 17th centuries before the name cello/violoncello finally settled. The second part of the article elaborates on the most important functions of cello: as a consort instrument, a universal continuo instrument or a solo instrument. Cello (along with viola da gamba or dulcian/bassoon) managed especially well as a melodic instrument co-rendering the continuo parts, and the result was that the basso continuo became the most important domain of cello in the Baroque, having a significant influence on the shape of playing technique and performance practice of that instrument. As one of melodic bass instruments, cello performed an important role in shaping the concertante style, along with the violin, shawm/oboe, cornet or flute. It was that practice combined with the improvisation practice developed simultaneously (which also influenced the development of the instrument itself) that the idea to write first autonomous compositions for the cello (solo, chamber or with basso continuo) emerged from at the end of the 17th century. Continuation of this article, which shall be devoted to Baroque works for the cello and their composers, will be published in the following issue of “Notes Muzyczny”.

Douglas Hensley has been an active chamber musician ever since he took up serious study of the classical guitar. He received bachelor and master's degrees under the direction of David Tanenbaum from the San Francisco Conservatory of Music and he has studied with many other musicians in private lessons and master classes. Over the past ten years he has premiered close to fifty new compositions, performed numerous U.S. premieres and the West Coast premiere of Elliott Carter's “Changes” for solo guitar. For Opus One Records in New York he has recorded Larry Polansky's “Hensley Variations” and David Loeb's “Trois Cansos” with flautist Kenneth Kramer and violist John Casten. He has also recorded a collection of duets with Japanese shakuhachi master Masayuka Koga, “Autumn Mist,” for Fortuna Records of Novato, California. His principal activities are as cofounder (with violist/violinist John Casten) and guitarist of the San Francisco-based contemporary performance ensemble ISKRA, which is made up of flute, clarinet, guitar, violin/viola, doublebass and soprano voice. Anyone with additional information about flute, viola, guitar trios (or other chamber music with guitar), or queries, is urged to contact him at 607-A Frederick St., San Francisco, CA 94117.

The article is aimed at presenting piano and chamber music written by the forgotten composer of the period of the Young Poland. Born in Cracow to a family with rich music traditions, Jerzy Gablenz learned to play the piano, flute, cello and organ. But his main interest was to write music himself. As early as in his youthful years, he wrote songs and piano miniatures mainly dedicated to Małgorzaa Schoen, his future wife. He graduated from law school, but he also studied composition and theory of music with Władysław Żeleński, Feliks Nowowiejski and Zdzisław Jachimecki. His main occupation was managing the vinegar and mustard factory. Despite that, he found time for writing symphonic, opera, chamber, piano and vocal pieces. His piano works – due to their tunefulness, diversified texture, mysteriousness and ballroom elegance – are unquestionably worth promoting. They include: 4 Small Bagatelles op. 1 no. 1, 4 Improvisations op. 1 no. 3, 3 Improvisations op. 1 no. 4, Intermezzo a la mazurka op. 2, 2 Morceaux op. 3, Two Small Bagatelles op. 8, 2 Skizzen op. 24 Es war niemal…, or Suite op. 35. Gablenz’s chamber works cover: Canzona op. 1 no. 2 for flute and piano, Sonata op. 15 for cello and piano, 5 Waltzes op. 28 for piano 4 hands, Arabesque op. 28 no. 6 for oboe and piano, Trios for three female voices and piano to lyrics by Leopold Staff op. 4 and op. 19. Unfortunately, Gablenz’s tragic death on 11 November 1937 in a plane crash near Piaseczno made the further development of his great talent impossible. I believe that his creative output deserves promoting among music lovers not only in the Dominican Republic and Canada, but first of all in Poland, where some of his works still have not had their premiere performances, despite numerous efforts of Tomasz Gablenz, the composer’s son.

The concerto evidently appeals to HK Gruber, as symphonies do not. He has so far written four works that are unambiguously in this form: ‘…aus schatten duft gewebt…’, a concerto for violin and orchestra of 1977–8; the concerto for percussion and orchestra Rough Music (Rauhetöne) of 1982–3; Nebelsteinmusik, for solo violin and string orchestra, of 1988; and the Concerto for Cello and Chamber Orchestra of 1989. Ambiguous examples of the form are his early Concerto for Orchestra (1960–64) – concertos for orchestra are by definition ambiguous – and Frankenstein!!, his ‘pan–demonium’ (rather than ‘concerto’) for baritone chansonnier and orchestra (on children's rhymes by H.C. Artmann), finalized in 1977. Then there are four works which remain in manuscript (withdrawn from circulation): Concerto No. l for flute, vibraphone, xylophone and percussion (1961); Concerto No. 2 for tenor saxophone, double bass and percussion (1961); ‘furbass’ for double bass and orchestra; and an unsatisfactory forerunner of the violin concerto, Arien (1974–5). The symphony he has not touched; and one is tempted to see in this reliance on solo/ensemble confrontation an attempt to hold together the self–splintered, all too globally diversified language of the late 20th century by an eloquent soloist's sheer persuasiveness, by musical force, so to speak, the soloist being dramatized as a kind of Atlas. In the same way Gruber's recourse to popular songs and idioms of ‘light music’ in these works can seem like a desperate attempt to find a tonal prop and sanction for a language so pervasively threatened by tone–deafness and gobbledygook.

The purpose of this study was fourfold: (a) to measure possible changes in gender association of musical instruments from earlier research, (b) to estimate current preferences of fourth-grade students for selected instruments, (c) to gain an understanding of reasons expressed by students for preferring certain instruments and not others, and (d) to compare students' perceptions of their peers' preferences to the actual choices their peers made. Findings indicate the magnitude of gender associations has lessened; however, such associations are still noticeably present. Instrument positions on the masculine-feminine continuum remain relatively stable. The majority of the fourth-grade subjects preferred drums, saxophone, or flute, followed in descending order by clarinet, trumpet, violin, trombone, and cello. “Quality of sound” was a primary reason cited for wanting to play an instrument; “too difficult to play” was a primary reason for not wanting to play an instrument. Children's perceptions of their peers' preferences bore a moderate relationship to what their peers actually chose, with girls more accurate in predicting preferences of boys than vice versa.

This article examines the communicative and interpretive significance of melodic embellishment in Beethoven's oeuvre, with a particular focus on multi-movement instrumental works from the period 1795–1824. Embellishment has received comparatively little attention in Beethoven studies; yet it formed a crucial part of his musicianship as both a performer and a composer. The article begins with a broad overview of Beethoven's embellishment practices, drawing examples primarily from his early piano trios and piano sonatas. It then goes on to examine a series of issues in more detail: first, the role of embellishments in the composition and performance of concertos (with a focus on the Piano Concertos Nos. 3–5); second, the role of embellishments in evoking musical character and expressive personae (with a focus on the Piano Sonata op. 31, no. 3, the Violin Sonata op. 30, no. 1, and the Cello Sonata op. 5, no. 1); and finally, the possibility of understanding embellishment as a musical topic in symphonic writing (with a focus on the slow movements of the Symphonies Nos. 4, 8, and 9). The article closes with reflections on the expressive function of embellishments in Beethoven's late style, arguing that melodic decorations, along with other rhetorical devices, provided a vehicle for the evocation of nostalgia and memory.

this research aims to design a new concept in keroncong music creation with an explorative method. Keroncong is one kind of entertainment musics in indonesia that has a long existece and evolved up to today. Keroncong music is a musical mixture of a western diatonic music with Javanese gamelan music. the term of keroncong comes from the sound “...crong crong crong...” on the ukulele instrument that played rasquardo. an instrumentation music consists of: vocals, violin, flute, cak, cuk, cello, guitar, and bass. during this moment, keroncong is basically just served as a vocal accompaniment music. this becomes a driving force for the author to compose a special composition for keroncong music solo instrument. there is a new concept used in the arranging of this composition, as follows. this composition is designing a concerto, which is a type of the instrumental musics with a western diatonic instrument on the part-one of the solo oboe and an English horn in part-two, with keroncong music and orchestra. the conclusion of these designs are as follows. Keroncong music will be able to stand on its own as an instrumental music.

Among the territories of the Carpathian Basin inhabited by Hungarians, Transylvania proved to be the most suitable field for the interethnic research of the music related to choreographic folklore. Most professional musicians in the rural areas, who receive regular or intermittent payment in money or other forms of remuneration, are of Romani ethnicity. The existence of musical instruments in the accompaniment of dances is richly documented since the 15th and 16th centuries. Hungarian ethnochoreology defines three types of musical accompaniments for the dances: rhythmic accompaniment (without melody), merely melodic accompaniment, and complex accompaniment created by the combination the first two types. A number of accompaniment types, considered ideal by local communities, had been established. These include the duos flute–gardon, fiddle–gardon (the gardon/gordunǎ being a stringed percussion instrument), fiddle or flute with koboz/cobzǎ, the trios made up of violin–cimbalom/ţambal–bass, or fiddle–kontra–double bass, the most common band consisting of a fiddle, a three-stringed kontra with flat bridge, and a bass (without cimbalom/ţambal). The rhythmic formulae provided by these instrumental ensembles specialized in accompaniment-playing constitute the musical support of the dances, at the same time they play an important role in defining the dance types. The three main types of rhythmic accompaniment are: slow dűvő/duva (in quarters), fast dűvő/duva (in eighths) and the estam (produced by eighth notes, alternately played by different instruments). The musical folklore of Transylvania inherited several principles of harmonization, such as the drone/ison principle, various forms of heterophony, polyphony focused on pivotal melodic notes, the accompaniment with mixtures of major triads, and the tonal-functional harmonization.

Music creation is typically composed of two parts: composing the musical score, and then performing the score with instruments to make sounds. While recent work has made much progress in automatic music generation in the symbolic domain, few attempts have been made to build an AI model that can render realistic music audio from musical scores. Directly synthesizing audio with sound sample libraries often leads to mechanical and deadpan results, since musical scores do not contain performance-level information, such as subtle changes in timing and dynamics. Moreover, while the task may sound like a text-to-speech synthesis problem, there are fundamental differences since music audio has rich polyphonic sounds. To build such an AI performer, we propose in this paper a deep convolutional model that learns in an end-to-end manner the score-to-audio mapping between a symbolic representation of music called the pianorolls and an audio representation of music called the spectrograms. The model consists of two subnets: the ContourNet, which uses a U-Net structure to learn the correspondence between pianorolls and spectrograms and to give an initial result; and the TextureNet, which further uses a multi-band residual network to refine the result by adding the spectral texture of overtones and timbre. We train the model to generate music clips of the violin, cello, and flute, with a dataset of moderate size. We also present the result of a user study that shows our model achieves higher mean opinion score (MOS) in naturalness and emotional expressivity than a WaveNet-based model and two off-the-shelf synthesizers. We open our source code at https://github.com/bwang514/PerformanceNet

Music for the Aura Theater is not only a supporter of the presentation of the show, but also as a medium for conveying the core story in a performance that is packaged in the form of songs and becomes part of the storyline. This makes researchers interested in the process of creating songs in their musical dramas. This study aims to identify and describe the process of creating compositions for musical drama songs in Kulino scripts at the Aura Indonesia Theater performance. This study uses a qualitative descriptive method that produces descriptive data. The research location is in the center of theatrical activities of Theater Aura Indonesia with data sources from the chairman as well as the director of Kulino performances and composers. Data were collected by using observation, interview, and documentation techniques. The data analysis technique used in this study is an interactive model whose elements include data reduction, data presentation, and conclusions. The results showed that in the process of creating the composition of the Kulino musical drama song through stages (1) script review, namely the activities of appreciating, reviewing, discussing, or reviewing all the elements contained in the script to be worked on (2) observation, namely the stages carried out by the composer. to get musical inspiration which is then illustrated in the form of rough notes (3) pouring, namely pouring rough notes from observations into the form of musical compositions (4) embodiment, namely redeveloping the finished song by adding other musical instruments, namely keyboard, guitar melody, violin, cello, drum, bass, flute, and saxophone (5) presentation, in which the composer presents the finished song to the director and assistant director.

AbstractThis research creates a progressive or innovative keroncong rhythm pattern. Keroncong music is one of the musical genres that exist in Indonesia, which is a hybrid music from Javanese (Central Java and Yogyakarta) gamelan music, 'pop' music and Western diatonic orchestras. Keroncong music consists of vocals, ukulele or 'cuk' (derived from Hawai'i), 'cak' (Portugal), flute, violin, cello, and contrabass (instruments derived from Western diatonic orchestral instruments). Since the 1950s until today, the keroncong rhythm pattern has had very little development, so it needs to be developed. There are several rhythm patterns in keroncong music but the ones that are often played are 'engkel' and 'double' rhythm patterns. The aim of this research is to create a progressive keroncong rhythm pattern so that keroncong music is more interesting and it is hoped that it will have more fans. The creation of this progressive rhythm pattern is used in the compositions of the author's Kidung Panyuwun. This study used descriptive and experimental analytical methods with the following steps. First, examine the audio recording, transcribe, analyze, and conclude; second analyzes rhythm patterns on multiple references; the third records (audio-video) a 'standard' rhythm pattern; fourth, exploration of progressive rhythm patterns; the fifth recorded a progressive keroncong rhythm pattern. This research resulted in the creation of several rhythmic patterns and several formulations, namely: 1) the creation of a vertical progressive keroncong rhythm pattern (one-instrument solo, two-instrument solo, three-instrument solo) and 2) the creation of a horizontal progressive keroncong rhythm pattern (two-bar pattern and four-dimensional pattern). time frame). The important thing that has the meaning is the temuah cirikhas or 'ruh' keroncong music as the 'jati diri'.Keywords: rhythm; pattern; keroncong; progressive AbstrakPenelitian ini menciptakan pola irama keroncong progresif atau inovatif. Musik keroncong merupakan salah satu genre musik yang ada di Indonesia merupakan musik hibrid dari karawitan Jawa (Jawa Tengah dan Yogyakarta), musik ‘pop’ dan orkestra diatonis Barat. Musik keroncong terdiri dari vokal, ukulele atau ‘cuk’ (berasal dari Hawai’i), ‘cak’ (Portugal), flute, biola, cello, dan contrabass (merupakan instrumen-instrumen yang berasal dari instrumen orkestra diatonis Barat). Sejak tahun 1950-an sampai hari ini, pola irama keroncong sedikit sekali perkembangannya sehingga perlu dikembangkan. Ada beberapa pola irama dalam musik keroncong tetapi yang sering dimainkan hanya pola irama ‘engkel’ dan ‘dobel’. Tujuan penelitian ini untuk menciptakan pola irama keroncong progresif sehingga musik keroncong lebih menarik dan diharapkan lebih banyak penggemarnya. Penciptaan pola irama progresif ini digunakan pada komposisi Kidung Panyuwun ciptaan penulis. Penelitian ini menggunakan metode analitik deskriptif dan eksperimental dengan lankah-langkah sebagai berikut. Pertama mencermati rekaman audio, mentranskrip, menganalisis, dan menyimpulkan; kedua menganalisis pola irama pada beberapa referensi; ketiga merekam (audio-video) pola irama ‘pakem’; keempat eksplorasi pola irama progresif; kelima merekam pola irama keroncong progresif. Penelitian ini menghasilkan beberapa ciptaan pola irama dan beberapa formulasi, yaitu: 1) penciptaan pola irama keroncong progresif vertikal (solo satu instrumen, solo dua instrumen, solo tiga instrumen) dan 2) penciptaan pola irama keroncong progresif horizontal (pola dua birama dan pola empat birama). Hal penting yang bermakna adalah temuah cirikhas atau’ruh’ musik keroncong sebagai ‘jatidiri’nya.Kata kunci: pola irama; keroncong; progresif

<p><em>The main goal of the work</em> is to study the level of physical fitness of students of music specialties. The objectives of the study reflect the gradual achievement of the goal. It also gives the analysis of the static strength endurance of the muscles of the body <em>Methods of research</em>: analysis and generalization of data in literature, pedagogical methods of research (experiment, testing), methods of mathematical statistics. 154 students of the first and second year of the Vinnitsa School of Culture and Arts named after M. D. Leontovich participated in the pedagogical experiment. Such as students of the specialty “Music Art”, the specializations “piano, orchestra, string instruments” (violin, viola, cello, double bass); “Orchestral wind instruments and percussion instruments” (flute, oboe, clarinet, bassoon, saxophone, horn, trumpet, trombone, tubo, percussion instruments), “folk instruments” (accordion, accordion, domra, bandura, guitar); “Vocal, choral conducting”. <em>Results</em><em>.</em><strong> </strong> It is noted that the level of work capacity, health status and occupations depends on the effectiveness of their physical education. It is possible to increase the effectiveness of the process of physical education of students through optimization and development of professionally important physical qualities. Student’s educational and further activity of the specialty "Musical art" provides an unpleasant work pose and peculiarities of the manifestation of physical qualities, which level of development depends on the effectiveness of professional activity. <em>Findings.</em> The estimation of indicators of the physical readiness of students with the use of battery tests, which characterize the static strength endurance of the muscles of the torso is evaluated. Evaluation of the students' physical fitness made it possible to determine the general tendency of significant deterioration of the indicators for the period of study. </p>

Introduction. The article analyzes R. Schumann’s “Fantastic Pieces” op. 88 as a creative debut in the subsequent development of the piano trio genre. The “Fantastic Pieces” op. 88 are the first composer’s creative experience in combining such musical instruments. Theoretical Background. The analysis of musicological literature did not reveal any special research dedicated to this score, but only its references in E. Karelina’s (1996) thesis research and D. Zhitomirsky’s (1964) monograph. Thus, this article is the first special research of the compositional and ensemble analysis of R. Schumann’s “Fantastic Pieces”, op. 88. The objectives of the research: to analyze compositional-dramatic and ensemble features of R. Schumann’s “Fantastic Pieces”, op. 88, to identify their specific features. The object of the research: R. Schumann’s chamber-instrumental creative activity. The subject of the research: to identify the value of R. Schumann’s “Fantastic Pieces”, op. 88 in the further development of the piano trio genre. Methods: musical-theoretical, aimed at analyzing the musical text of the chosen work; genre-stylistic, allowing to identify the compositional-dramatic and ensemble features of R. Schumann’s “Fantastic Pieces”, op. 88. Research material: R. Schumann’s “Fantastic Pieces” op. 88 for piano, violin and cello. Results and Discussion. The first experience in mastering the piano trio genre of R. Schumann occurred in the “Fantastic Pieces” op. 88, composed in 1842. This was the first composer’s experience in combining such musical instruments. This work is a cycle of four pieces: “Romance”, “Humoresque”, “Duetto” and “Final”. It is noteworthy that R. Schumann used these names in other works. It is useful enough to recall his 3 piano romances op. 28, Humoresque op. 20a, 4 marches op. 76. Despite the four-part character of the work, this composition does not coincide with the sonata-symphonic structure, but is organized according to the suite principle. R. Schumann’s different vision of the trio-ensemble genre is represented by a clear differentiation of works with an individual composition. Therefore, the cycles op. 88 and op. 132 receive program names: “Fantastic Pieces” and “Fairytale Narratives”, respectively, and the trio with the classical (sonata) organization of the cycle acquire sequence numbers and are referred to as “piano trios”. The very names of the parts in the cycle reveal the opposition of two metaphoric spheres, characteristic of the romantic era: lyrical and genre-scherzo ones. The paired relationship of these metaphoric spheres stands out particularly. Such a metaphoric doubling gives the matching modes the rondality features within the whole cycle. This metaphoric paired relationship between the parts allows you to single out two macro parts in a cycle. The first macro part is represented by the lyric “Romance” and the scherzo “Humoresque”, the second one – by the tender song “Duetto” and the marching “Final”. At the same time, the macro parts demonstrate individual features of one or another semantic type. The metaphoric opposition of romantic pieces is also enhanced by tempo and ear-catching contrast. Such an alternation of various metaphoric types gives the entire cycle the features of a kaleidoscopic suite. The proportion of genre parts stands out particularly, which is manifested in both their scale and complexity of the compositional organization. Thus, the lyrical parts are represented by tripartite forms. Quick genre pieces are composed in various forms (“Humoresque” is created in a complex tripartite form with a developed polythematic middle part, and the “Final” is in a rondo form, with the links acting as refrains). Despite the romantic nature of the cycle organization, the “Fantastic Pieces” tone plan is a classical one: a-moll –F-dur– d-moll – a-moll (A-dur). Conclusions. It was revealed that the suite-based principle of composition organization and genre-stylistic features of the cycle (opposition of lyrical and genre-scherzo metaphoric spheres) connect the romantic “Fantastic Pieces” op. 88 with its piano miniatures of the 1830s. Ensemble analysis of R. Schumann “Fantastic Pieces”, op. 88 showed that in his first work for the piano trio, the composer “transplanted” solo piano works into a poly-timbre ensemble, taking it in the context of piano music. At the same time, the composer did not reduce the role of strings to the “service” function, but actively used all their melodic and proper ensemble possibilities in the chosen trio. For example, if “Romance” ensemble demonstrated the piano domination, “Humoresque” – the parity of the instruments, then in “Duetto” primacy was given to stringed instruments. In “Final”, each section of the musical form is highlighted by an appeal to one of the main ensemble techniques. A series of altering various semantic spheres, defining the suite properties of the “Fantastic Pieces”, subordinates the ensemble properties used by the composer. For each number and even its individual sections, their special complex was chosen, which in different semantic contexts had a metaphoric-semantic meaning. It was revealed that the organizing means of creating the ensemble in the R. Schumann’s trio was the polyphonic technique presented in his work in a wide variety, which would later be widely developed in his piano trios.

A study was carried out to determine the effect of the amplitude of performer movement on judgments of performance quality. The movements of eight live solo performances were captured (two each for flute, clarinet, violin, and cello). For each original recording, three stick figure animations were created: one with augmented performance motion, one with the original motion, and one with diminished motion. The three animations were combined into single dynamic videos that allowed participants to continuously adjust the range of motion in the animation via a slider—from diminished through original to augmented motion. Participants were instructed to adjust the overall amount of performance motion to create the best musical performance. Consistent with the hypothesis, participants elected to significantly augment the motions of the performers.

Legenda Kahyangan merupakan sepenggal kisah penting dalam legenda peradaban Tanah Jawa karena berkisah mengenai Panembahan Senopati yang merupakan raja besar pertama Kerajaan Mataram.Kahyangan terletak di Kecamatan Tirtomoyo, Kabupaten Wonogiri, Provinsi Jawa Tengah. Situs Kahyangan menjadi objek wisata spiritual yang ramai dikunjungi peziarah dari dalam dan luar kota Wonogiri. Menurut legenda, Kahyangan adalah salah satu tempat bertemunya Nyai Roro Kidul dan Panembahan Senopati.Tujuan pertunjukan ini adalah menggarap kisah legenda Kahyangan dalam bentuk komposisi musik agar dipahami masyarakat Wonogiri karena banyak warga Wonogiri yang tidak mengetahui legenda Kahyangan. Berangkat dari masalah tersebut, pengkarya melakukan observasi kepustakaan dan observasi lapangan untuk mencari legenda yang sebenarnya dari Kahyangan. Setelah mendapatkan data dari buku, internet, dan juru kunci, pengkarya melakukan eksplorasi untuk mencari bentuk pertunjukan dan membuat komposisi musik. Hasil eksplorasi pengkarya memutuskan untuk membuat pertunjukan komposisi musik dengan bentuk Chamber Orchestra yang disertai dengan teatrikal urutan ritual peziarah Kahyangan. Tujuan teatrikal adalah agar masyarakat mengetahui lokasi yang diceritakan dalam legenda Kahyangan, yaitu Selo Bethek dan Selo Payung. Instrumen yang digunakan adalah Piano, Biola alto, Viola, Violin,Cello, French Horn, dan Flute. Komposisi terdiri atas tujuh repertoar yang masing-masing berbeda suasana untuk menggarap kisah legenda Kahyangan. Suasana yang digarap dalam pertunjukan ini adalah nuansa pedesaan, sakral, agung, dan surgawi. Pertunjukan dilaksanakan di Situs Kahyangan pada sore hari.Kata Kunci: legenda, Kahyangan, peziarah, dan komposisi.

Every act of art is able to reveal, balance and revive the relations between a territory and its inhabitants (François Davin, Southern Forest Sculpture Walk Catalogue)Introducing the Understory Art in Nature TrailIn February 2015, a colossal wildfire destroyed 98,300 hectares of farm and bushland surrounding the town of Northcliffe, located 365 km south of Perth, Western Australia (WA). As the largest fire in the recorded history of the southwest region (Southern Forest Arts, After the Burn 8), the disaster attracted national attention however the extraordinary contribution of local knowledge in saving a town considered by authorities to be “undefendable” (Kennedy) is yet to be widely appreciated. In accounting for a creative scene that survived the conflagration, this case study sees culture mobilised as a socioeconomic resource for conservation and the healing of community spirit.Northcliffe (population 850) sits on a coastal plain that hosts majestic old-growth forest and lush bushland. In 2006, Southern Forest Arts (SFA) dedicated a Southern Forest Sculpture Walk for creative professionals to develop artworks along a 1.2 km walk trail through pristine native forest. It was re-branded “Understory—Art in Nature” in 2009; then “Understory Art in Nature Trail” in 2015, the understory vegetation layer beneath the canopy being symbolic of Northcliffe’s deeply layered caché of memories, including “the awe, love, fear, and even the hatred that these trees have provoked among the settlers” (Davin in SFA Catalogue). In the words of the SFA Trailguide, “Every place (no matter how small) has ‘understories’—secrets, songs, dreams—that help us connect with the spirit of place.”In the view of forest arts ecologist Kumi Kato, “It is a sense of place that underlies the commitment to a place’s conservation by its community, broadly embracing those who identify with the place for various reasons, both geographical and conceptual” (149). In bioregional terms such communities form a terrain of consciousness (Berg and Dasmann 218), extending responsibility for conservation across cultures, time and space (Kato 150). A sustainable thematic of place must also include livelihood as the third party between culture and nature that establishes the relationship between them (Giblett 240). With these concepts in mind I gauge creative impact on forest as place, and, in turn, (altered) forest’s impact on people. My abstraction of physical place is inclusive of humankind moving in dialogic engagement with forest. A mapping of Understory’s creative activities sheds light on how artists express physical environments in situated creative practices, clusters, and networks. These, it is argued, constitute unique types of community operating within (and beyond) a foundational scene of inspiration and mystification that is metaphorically “rising from the ashes.” In transcending disconnectedness between humankind and landscape, Understory may be understood to both culturalise nature (as an aesthetic system), and naturalise culture (as an ecologically modelled system), to build on a trope introduced by Feld (199). Arguably when the bush is cultured in this way it attracts consumers who may otherwise disconnect from nature.The trail (henceforth Understory) broaches the histories of human relations with Northcliffe’s natural systems of place. Sub-groups of the Noongar nation have inhabited the southwest for an estimated 50,000 years and their association with the Northcliffe region extends back at least 6,000 years (SFA Catalogue; see also Crawford and Crawford). An indigenous sense of the spirit of forest is manifest in Understory sculpture, literature, and—for the purpose of this article—the compilation CD Canopy: Songs for the Southern Forests (henceforth Canopy, Figure 1).As a cultural and environmental construction of place, Canopy sustains the land with acts of seeing, listening to, and interpreting nature; of remembering indigenous people in the forest; and of recalling the hardships of the early settlers. I acknowledge SFA coordinator and Understory custodian Fiona Sinclair for authorising this investigation; Peter Hill for conservation conversations; Robyn Johnston for her Canopy CD sleeve notes; Della Rae Morrison for permissions; and David Pye for discussions. Figure 1. Canopy: Songs for the Southern Forests (CD, 2006). Cover image by Raku Pitt, 2002. Courtesy Southern Forest Arts, Northcliffe, WA.Forest Ecology, Emotion, and ActionEstablished in 1924, Northcliffe’s ill-founded Group Settlement Scheme resulted in frontier hardship and heartbreak, and deforestation of the southwest region for little economic return. An historic forest controversy (1992-2001) attracted media to Northcliffe when protesters attempting to disrupt logging chained themselves to tree trunks and suspended themselves from branches. The signing of the Western Australian Regional Forest Agreement in 1999 was followed, in 2001, by deregulation of the dairy industry and a sharp decline in area population.Moved by the gravity of this situation, Fiona Sinclair won her pitch to the Manjimup Council for a sound alternative industry for Northcliffe with projections of jobs: a forest where artists could work collectively and sustainably to reveal the beauty of natural dimensions. A 12-acre pocket of allocated Crown Land adjacent to the town was leased as an A-Class Reserve vested for Education and Recreation, for which SFA secured unified community ownership and grants. Conservation protocols stipulated that no biomass could be removed from the forest and that predominantly raw, natural materials were to be used (F. Sinclair and P. Hill, personal interview, 26 Sep. 2014). With forest as prescribed image (wider than the bounded chunk of earth), Sinclair invited the artists to consider the themes of spirituality, creativity, history, dichotomy, and sensory as a basis for work that was to be “fresh, intimate, and grounded in place.” Her brief encouraged artists to work with humanity and imagination to counteract residual community divisiveness and resentment. Sinclair describes this form of implicit environmentalism as an “around the back” approach that avoids lapsing into political commentary or judgement: “The trail is a love letter from those of us who live here to our visitors, to connect with grace” (F. Sinclair, telephone interview, 6 Apr. 2014). Renewing community connections to local place is essential if our lives and societies are to become more sustainable (Pedelty 128). To define Northcliffe’s new community phase, artists respected differing associations between people and forest. A structure on a karri tree by Indigenous artist Norma MacDonald presents an Aboriginal man standing tall and proud on a rock to become one with the tree and the forest: as it was for thousands of years before European settlement (MacDonald in SFA Catalogue). As Feld observes, “It is the stabilizing persistence of place as a container of experiences that contributes so powerfully to its intrinsic memorability” (201).Adhering to the philosophy that nature should not be used or abused for the sake of art, the works resonate with the biorhythms of the forest, e.g. functional seats and shelters and a cascading retainer that directs rainwater back to the resident fauna. Some sculptures function as receivers for picking up wavelengths of ancient forest. Forest Folk lurk around the understory, while mysterious stone art represents a life-shaping force of planet history. To represent the reality of bushfire, Natalie Williamson’s sculpture wraps itself around a burnt-out stump. The work plays with scale as small native sundew flowers are enlarged and a subtle beauty, easily overlooked, becomes apparent (Figure 2). The sculptor hopes that “spiders will spin their webs about it, incorporating it into the landscape” (SFA Catalogue).Figure 2. Sundew. Sculpture by Natalie Williamson, 2006. Understory Art in Nature Trail, Northcliffe, WA. Image by the author, 2014.Memory is naturally place-oriented or at least place-supported (Feld 201). Topaesthesia (sense of place) denotes movement that connects our biography with our route. This is resonant for the experience of regional character, including the tactile, olfactory, gustatory, visual, and auditory qualities of a place (Ryan 307). By walking, we are in a dialogue with the environment; both literally and figuratively, we re-situate ourselves into our story (Schine 100). For example, during a summer exploration of the trail (5 Jan. 2014), I intuited a personal attachment based on my grandfather’s small bush home being razed by fire, and his struggle to support seven children.Understory’s survival depends on vigilant controlled (cool) burns around its perimeter (Figure 3), organised by volunteer Peter Hill. These burns also hone the forest. On 27 Sept. 2014, the charred vegetation spoke a spring language of opportunity for nature to reassert itself as seedpods burst and continue the cycle; while an autumn walk (17 Mar. 2016) yielded a fresh view of forest colour, patterning, light, shade, and sound.Figure 3. Understory Art in Nature Trail. Map Created by Fiona Sinclair for Southern Forest Sculpture Walk Catalogue (2006). Courtesy Southern Forest Arts, Northcliffe, WA.Understory and the Melody of CanopyForest resilience is celebrated in five MP3 audio tours produced for visitors to dialogue with the trail in sensory contexts of music, poetry, sculptures and stories that name or interpret the setting. The trail starts in heathland and includes three creek crossings. A zone of acacias gives way to stands of the southwest signature trees karri (Eucalyptus diversicolor), jarrah (Eucalyptus marginata), and marri (Corymbia calophylla). Following a sheoak grove, a riverine environment re-enters heathland. Birds, insects, mammals, and reptiles reside around and between the sculptures, rendering the earth-embedded art a fusion of human and natural orders (concept after Relph 141). On Audio Tour 3, Songs for the Southern Forests, the musician-composers reflect on their regionally focused items, each having been birthed according to a personal musical concept (the manner in which an individual artist holds the totality of a composition in cultural context). Arguably the music in question, its composers, performers, audiences, and settings, all have a role to play in defining the processes and effects of forest arts ecology. Local musician Ann Rice billeted a cluster of musicians (mostly from Perth) at her Windy Harbour shack. The energy of the production experience was palpable as all participated in on-site forest workshops, and supported each other’s items as a musical collective (A. Rice, telephone interview, 2 Oct. 2014). Collaborating under producer Lee Buddle’s direction, they orchestrated rich timbres (tone colours) to evoke different musical atmospheres (Table 1). Composer/Performer Title of TrackInstrumentation1. Ann RiceMy Placevocals/guitars/accordion 2. David PyeCicadan Rhythmsangklung/violin/cello/woodblocks/temple blocks/clarinet/tapes 3. Mel RobinsonSheltervocal/cello/double bass 4. DjivaNgank Boodjakvocals/acoustic, electric and slide guitars/drums/percussion 5. Cathie TraversLamentaccordion/vocals/guitar/piano/violin/drums/programming 6. Brendon Humphries and Kevin SmithWhen the Wind First Blewvocals/guitars/dobro/drums/piano/percussion 7. Libby HammerThe Gladevocal/guitar/soprano sax/cello/double bass/drums 8. Pete and Dave JeavonsSanctuaryguitars/percussion/talking drum/cowbell/soprano sax 9. Tomás FordWhite Hazevocal/programming/guitar 10. David HyamsAwakening /Shaking the Tree /When the Light Comes guitar/mandolin/dobro/bodhran/rainstick/cello/accordion/flute 11. Bernard CarneyThe Destiny Waltzvocal/guitar/accordion/drums/recording of The Destiny Waltz 12. Joel BarkerSomething for Everyonevocal/guitars/percussion Table 1. Music Composed for Canopy: Songs for the Southern Forests.Source: CD sleeve and http://www.understory.com.au/art.php. Composing out of their own strengths, the musicians transformed the geographic region into a living myth. As Pedelty has observed of similar musicians, “their sounds resonate because they so profoundly reflect our living sense of place” (83-84). The remainder of this essay evidences the capacity of indigenous song, art music, electronica, folk, and jazz-blues to celebrate, historicise, or re-imagine place. Firstly, two items represent the phenomenological approach of site-specific sensitivity to acoustic, biological, and cultural presence/loss, including the materiality of forest as a living process.“Singing Up the Land”In Aboriginal Australia “there is no place that has not been imaginatively grasped through song, dance and design, no place where traditional owners cannot see the imprint of sacred creation” (Rose 18). Canopy’s part-Noongar language song thus repositions the ancient Murrum-Noongar people within their life-sustaining natural habitat and spiritual landscape.Noongar Yorga woman Della Rae Morrison of the Bibbulmun and Wilman nations co-founded The Western Australian Nuclear Free Alliance to campaign against the uranium mining industry threatening Ngank Boodjak (her country, “Mother Earth”) (D.R. Morrison, e-mail, 15 July 2014). In 2004, Morrison formed the duo Djiva (meaning seed power or life force) with Jessie Lloyd, a Murri woman of the Guugu Yimidhirr Nation from North Queensland. After discerning the fundamental qualities of the Understory site, Djiva created the song Ngank Boodjak: “This was inspired by walking the trail […] feeling the energy of the land and the beautiful trees and hearing the birds. When I find a spot that I love, I try to feel out the lay-lines, which feel like vortexes of energy coming out of the ground; it’s pretty amazing” (Morrison in SFA Canopy sleeve) Stanza 1 points to the possibilities of being more fully “in country”:Ssh!Ni dabarkarn kooliny, ngank boodja kookoorninyListen, walk slowly, beautiful Mother EarthThe inclusion of indigenous language powerfully implements an indigenous interpretation of forest: “My elders believe that when we leave this life from our physical bodies that our spirit is earthbound and is living in the rocks or the trees and if you listen carefully you might hear their voices and maybe you will get some answers to your questions” (Morrison in SFA Catalogue).Cicadan Rhythms, by composer David Pye, echoes forest as a lively “more-than-human” world. Pye took his cue from the ambient pulsing of male cicadas communicating in plenum (full assembly) by means of airborne sound. The species were sounding together in tempo with individual rhythm patterns that interlocked to create one fantastic rhythm (Australian Broadcasting Corporation, Composer David Pye). The cicada chorus (the loudest known lovesong in the insect world) is the unique summer soundmark (term coined by Truax Handbook, Website) of the southern forests. Pye chased various cicadas through Understory until he was able to notate the rhythms of some individuals in a patch of low-lying scrub.To simulate cicada clicking, the composer set pointillist patterns for Indonesian anklung (joint bamboo tubes suspended within a frame to produce notes when the frame is shaken or tapped). Using instruments made of wood to enhance the rich forest imagery, Pye created all parts using sampled instrumental sounds placed against layers of pre-recorded ambient sounds (D. Pye, telephone interview, 3 Sept. 2014). He takes the listener through a “geographical linear representation” of the trail: “I walked around it with a stopwatch and noted how long it took to get through each section of the forest, and that became the musical timing of the various parts of the work” (Pye in SFA Canopy sleeve). That Understory is a place where reciprocity between nature and culture thrives is, likewise, evident in the remaining tracks.Musicalising Forest History and EnvironmentThree tracks distinguish Canopy as an integrative site for memory. Bernard Carney’s waltz honours the Group Settlers who battled insurmountable terrain without any idea of their destiny, men who, having migrated with a promise of owning their own dairy farms, had to clear trees bare-handedly and build furniture from kerosene tins and gelignite cases. Carney illuminates the culture of Saturday night dancing in the schoolroom to popular tunes like The Destiny Waltz (performed on the Titanic in 1912). His original song fades to strains of the Victor Military Band (1914), to “pay tribute to the era where the inspiration of the song came from” (Carney in SFA Canopy sleeve). Likewise Cathie Travers’s Lament is an evocation of remote settler history that creates a “feeling of being in another location, other timezone, almost like an endless loop” (Travers in SFA Canopy sleeve).An instrumental medley by David Hyams opens with Awakening: the morning sun streaming through tall trees, and the nostalgic sound of an accordion waltz. Shaking the Tree, an Irish jig, recalls humankind’s struggle with forest and the forces of nature. A final title, When the Light Comes, defers to the saying by conservationist John Muir that “The wrongs done to trees, wrongs of every sort, are done in the darkness of ignorance and unbelief, for when the light comes the heart of the people is always right” (quoted by Hyams in SFA Canopy sleeve). Local musician Joel Barker wrote Something for Everyone to personify the old-growth karri as a king with a crown, with “wisdom in his bones.”Kevin Smith’s father was born in Northcliffe in 1924. He and Brendon Humphries fantasise the untouchability of a maiden (pre-human) moment in a forest in their song, When the Wind First Blew. In Libby Hammer’s The Glade (a lover’s lament), instrumental timbres project their own affective languages. The jazz singer intended the accompanying double bass to speak resonantly of old-growth forest; the cello to express suppleness and renewal; a soprano saxophone to impersonate a bird; and the drums to imitate the insect community’s polyrhythmic undercurrent (after Hammer in SFA Canopy sleeve).A hybrid aural environment of synthetic and natural forest sounds contrasts collision with harmony in Sanctuary. The Jeavons Brothers sampled rustling wind on nearby Mt Chudalup to absorb into the track’s opening, and crafted a snare groove for the quirky eco-jazz/trip-hop by banging logs together, and banging rocks against logs. This imaginative use of percussive found objects enhanced their portrayal of forest as “a living, breathing entity.”In dealing with recent history in My Place, Ann Rice cameos a happy childhood growing up on a southwest farm, “damming creeks, climbing trees, breaking bones and skinning knees.” The rich string harmonies of Mel Robinson’s Shelter sculpt the shifting environment of a brewing storm, while White Haze by Tomás Ford describes a smoky controlled burn as “a kind of metaphor for the beautiful mystical healing nature of Northcliffe”: Someone’s burning off the scrubSomeone’s making sure it’s safeSomeone’s whiting out the fearSomeone’s letting me breathe clearAs Sinclair illuminates in a post-fire interview with Sharon Kennedy (Website):When your map, your personal map of life involves a place, and then you think that that place might be gone…” Fiona doesn't finish the sentence. “We all had to face the fact that our little place might disappear." Ultimately, only one house was lost. Pasture and fences, sheds and forest are gone. Yet, says Fiona, “We still have our town. As part of SFA’s ongoing commission, forest rhythm workshops explore different sound properties of potential materials for installing sound sculptures mimicking the surrounding flora and fauna. In 2015, SFA mounted After the Burn (a touring photographic exhibition) and Out of the Ashes (paintings and woodwork featuring ash, charcoal, and resin) (SFA, After the Burn 116). The forthcoming community project Rising From the Ashes will commemorate the fire and allow residents to connect and create as they heal and move forward—ten years on from the foundation of Understory.ConclusionThe Understory Art in Nature Trail stimulates curiosity. It clearly illustrates links between place-based social, economic and material conditions and creative practices and products within a forest that has both given shelter and “done people in.” The trail is an experimental field, a transformative locus in which dedicated physical space frees artists to culturalise forest through varied aesthetic modalities. Conversely, forest possesses agency for naturalising art as a symbol of place. Djiva’s song Ngank Boodjak “sings up the land” to revitalise the timelessness of prior occupation, while David Pye’s Cicadan Rhythms foregrounds the seasonal cycle of entomological music.In drawing out the richness and significance of place, the ecologically inspired album Canopy suggests that the community identity of a forested place may be informed by cultural, economic, geographical, and historical factors as well as endemic flora and fauna. Finally, the musical representation of place is not contingent upon blatant forms of environmentalism. The portrayals of Northcliffe respectfully associate Western Australian people and forests, yet as a place, the town has become an enduring icon for the plight of the Universal Old-growth Forest in all its natural glory, diverse human uses, and (real or perceived) abuses.ReferencesAustralian Broadcasting Commission. “Canopy: Songs for the Southern Forests.” Into the Music. Prod. Robyn Johnston. Radio National, 5 May 2007. 12 Aug. 2014 <http://www.abc.net.au/radionational/programs/intothemusic/canopy-songs-for-the-southern-forests/3396338>.———. “Composer David Pye.” Interview with Andrew Ford. The Music Show, Radio National, 12 Sep. 2009. 30 Jan. 2015 <http://canadapodcasts.ca/podcasts/MusicShowThe/1225021>.Berg, Peter, and Raymond Dasmann. “Reinhabiting California.” Reinhabiting a Separate Country: A Bioregional Anthology of Northern California. Ed. Peter Berg. San Francisco: Planet Drum, 1978. 217-20.Crawford, Patricia, and Ian Crawford. Contested Country: A History of the Northcliffe Area, Western Australia. Perth: UWA P, 2003.Feld, Steven. 2001. “Lift-Up-Over Sounding.” The Book of Music and Nature: An Anthology of Sounds, Words, Thoughts. Ed. David Rothenberg and Marta Ulvaeus. Middletown, CT: Wesleyan UP, 2001. 193-206.Giblett, Rod. People and Places of Nature and Culture. Bristol: Intellect, 2011.Kato, Kumi. “Addressing Global Responsibility for Conservation through Cross-Cultural Collaboration: Kodama Forest, a Forest of Tree Spirits.” The Environmentalist 28.2 (2008): 148-54. 15 Apr. 2014 <http://link.springer.com/article/10.1007/s10669-007-9051-6#page-1>.Kennedy, Sharon. “Local Knowledge Builds Vital Support Networks in Emergencies.” ABC South West WA, 10 Mar. 2015. 26 Mar. 2015 <http://www.abc.net.au/local/stories/2015/03/09/4193981.htm?site=southwestwa>.Morrison, Della Rae. E-mail. 15 July 2014.Pedelty, Mark. Ecomusicology: Rock, Folk, and the Environment. Philadelphia, PA: Temple UP, 2012.Pye, David. Telephone interview. 3 Sep. 2014.Relph, Edward. Place and Placelessness. London: Pion, 1976.Rice, Ann. Telephone interview. 2 Oct. 2014.Rose, Deborah Bird. Nourishing Terrains: Australian Aboriginal Views of Landscape and Wilderness. Australian Heritage Commission, 1996.Ryan, John C. Green Sense: The Aesthetics of Plants, Place and Language. Oxford: Trueheart Academic, 2012.Schine, Jennifer. “Movement, Memory and the Senses in Soundscape Studies.” Canadian Acoustics: Journal of the Canadian Acoustical Association 38.3 (2010): 100-01. 12 Apr. 2016 <http://jcaa.caa-aca.ca/index.php/jcaa/article/view/2264>.Sinclair, Fiona. Telephone interview. 6 Apr. 2014.Sinclair, Fiona, and Peter Hill. Personal Interview. 26 Sep. 2014.Southern Forest Arts. Canopy: Songs for the Southern Forests. CD coordinated by Fiona Sinclair. Recorded and produced by Lee Buddle. Sleeve notes by Robyn Johnston. West Perth: Sound Mine Studios, 2006.———. Southern Forest Sculpture Walk Catalogue. Northcliffe, WA, 2006. Unpaginated booklet.———. Understory—Art in Nature. 2009. 12 Apr. 2016 <http://www.understory.com.au/>.———. Trailguide. Understory. Presented by Southern Forest Arts, n.d.———. After the Burn: Stories, Poems and Photos Shared by the Local Community in Response to the 2015 Northcliffe and Windy Harbour Bushfire. 2nd ed. Ed. Fiona Sinclair. Northcliffe, WA., 2016.Truax, Barry, ed. Handbook for Acoustic Ecology. 2nd ed. Cambridge Street Publishing, 1999. 10 Apr. 2016 <http://www.sfu.ca/sonic-studio/handbook/Soundmark.html>.