Journal articles: 'Variations (Harp and piano)'

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Greenslade, Thomas B. "Marloye’s harp and the thumb piano." Physics Teacher 39, no. 5 (May 2001): 310–12. http://dx.doi.org/10.1119/1.1375472.

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D.G.V. "Reflections, Original Melodies for Harp & Piano (Lever or Pedal Harp)Reflections, Original Melodies for Harp & Piano (Lever or Pedal Harp). RoJean Loucks, Roharps Publications, 2002, $12." American String Teacher 53, no. 3 (August 2003): 120. http://dx.doi.org/10.1177/000313130305300347.

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Weidensaul, Jane B., and David Watkins. "Folk Songs; For Voice(s) and Harp (Or Piano)." Notes 45, no. 2 (December 1988): 397. http://dx.doi.org/10.2307/941381.

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Wang, Feng Yan, and Lin Jing Wang. "Design and Manufacture of Light String Electric Piano." Applied Mechanics and Materials 539 (July 2014): 515–18. http://dx.doi.org/10.4028/www.scientific.net/amm.539.515.

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The laser harp is expensive, not suitable for public use, a light string electric piano has designed by using laser tube and SCM. The feasibility of the scheme is verified in a series of experiments, at the same time,the product has a large market in promoting the teaching instrument and toy design with very broad prospects through the market survey.

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Hannigan, Barry, and John McCabe. "Haydn Variations for Piano (1983)." Notes 46, no. 2 (December 1989): 510. http://dx.doi.org/10.2307/941100.

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Burk, James M., Elliott Carter, Ursula Oppens, Michael Gielen, and David Schiff. "Piano Concerto; Variations for Orchestra." American Music 6, no. 1 (1988): 114. http://dx.doi.org/10.2307/3448359.

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M.S. "Las Posadas. (String orch. with optional harp or piano, Medium)Las Posadas. (String orch. with optional harp or piano, Medium). Arr. Doris Gazda. Carl Fischer, 2003, $40." American String Teacher 53, no. 3 (August 2003): 119. http://dx.doi.org/10.1177/000313130305300340.

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Hannigan, Barry, and Ralph Shapey. "Variations on a Cantus for Piano." Notes 46, no. 2 (December 1989): 509. http://dx.doi.org/10.2307/941099.

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MacDonald, Calum. "British Piano Music." Tempo 60, no. 235 (January 2006): 44–49. http://dx.doi.org/10.1017/s0040298206310042.

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KENNETH LEIGHTON: Sonatinas Nos. 1 and 2, op.1; Sonata No.1 op.2; Sonata No.2 op.17; Five Studies op.22; Fantasia Contrappuntistica (Homage to Bach) op.24; Variations op.30; Nine Variations op.36; Pieces for Angela op.47; Conflicts (Fantasy on Two Themes) op.51; Six Studies (Study-Variations) op.56; Sonata (1972) op.64; Household Pets op.86; Four Romantic Pieces op.95; Jack-in-the-Box; Study; Lazy-bones. Angela Brownridge (pno). Delphian DCD 34301-3 (3-CD set).PATRICK PIGGOTT: Fantasia quasi una Sonata; 8 Preludes and a Postlude (Third Set). Second Piano Sonata. Malcolm Binns (pno). British Music Society BMS 430CD.SORABJI: Fantasia ispanica. Jonathan Powell (pno). Altarus AIR-CD-9084.ROWLEY: Concerto for piano, strings and percussion, op.49. DARNTON: Concertino for piano and string orchestra. GERHARD: Concerto for piano and strings. FERGUSON: Concerto for piano and string orchestra, op.12. Peter Donohoe (pno and c.), Northern Sinfonia. Naxos 8.557290.Severnside Composers’ Alliance Inaugural Piano Recital. GEOFFREY SELF: Sonatina 1. IVOR GURNEY:Preludes, Sets 1, 2 and 3. JOLYON LAYCOCK: L’Abri Pataud. RICHARD BERNARD: On Erin Shore. STEVEN KINGS: Fingers Pointing to the Moon. SUSAN COPPARD: Round and Around. JOHN PITTS: Aire 1; Fantasies 1, 5. JAMES PATTEN: Nocturnes 3, 4. SULYEN CARADON: Dorian Dirge. RAYMOND WARREN: Monody; Chaconne. Peter Jacobs (pno). Live recording, 23 February 2005. Dunelm DRD0238.Severnside Composers’ Alliance – A Recital by two pianists. MARTINŮ: Three Czech Dances. BEDFORD: Hoquetus David. JOHN PITTS: Changes. HOLLOWAY: Gilded Goldbergs Suite. JOLYON LAYCOCK: Die! A1 Sparrow. POULENC: Élégie. LUTOSLAWSKI: Paganini Variations. Steven Kings, Christopher Northam (pnos). Live recording, 14 May 2005. Dunelm DRD0243.‘Transcendent Journey’. FOULDS: Gandharva-Music, op.49; April-England, op.48 no.1. CORIGLIANO: Fantasia on an Ostinato. PROKOFIEV: Toccata, op.11. With works by BACH-CHUQUISENGO, HANDEL, BEETHOVENLISZT, BACH-BUSONI, SCHUMANN. Juan José Chuquisengo (pno). Sony SK 93829.

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Milhiet, PE, F. Vacherot, JP Caruelle, D. Barritault, D. Caruelle, and J. Courty. "Upregulation of the angiogenic factor heparin affin regulatory peptide by progesterone in rat uterus." Journal of Endocrinology 158, no. 3 (September 1, 1998): 389–99. http://dx.doi.org/10.1677/joe.0.1580389.

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Heparin affin regulatory peptide (HARP), also named pleiotropin, is a secreted polypeptide that belongs to a new family of heparin-binding growth/differentiation factors. In this study, we investigated the expression and distribution of HARP mRNA and protein in rat uterus. Semi-quantitative reverse transcriptase PCR experiments showed variations in HARP mRNA levels throughout the estrous cycle, with a maximum during diestrus, pointing to hormonal regulation of HARP mRNA expression. Uterine expression of HARP mRNA was studied in ovariectomized animals treated with 17 beta-estradiol, progesterone alone or progesterone and RU486. In these experiments, progesterone upregulated HARP mRNA expression. Induction was observed 6 h after progesterone injection and was inhibited by RU486 treatment. In contrast, after 17 beta-estradiol injection, a slight decrease in HARP mRNA expression was observed. In situ hybridization studies with digoxigenin-labeled DNA probe revealed that HARP mRNA was present in smooth muscle cells of both myometrium and blood vessels and also in endothelial cells from endometrium. Immunohistochemical studies showed that HARP expression was not limited to cells that expressed HARP mRNA, but also occurred in both the luminal and glandular epithelium even though its transcript was never detected. We conclude that HARP may mediate the effects of progesterone on the homeostasis and vascularization of uterine tissue.

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Deng, Liang. "Piano Performance Technical Analysis of The People United Will Never Be Defeated by Rzewski." European Journal of Social Science Education and Research 5, no. 3 (December 1, 2018): 161–71. http://dx.doi.org/10.2478/ejser-2018-0067.

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Abstract The piano variations The People United will Never be Defeated by Rzewski contains many modern piano performance techniques and skills. The difficulties of these techniques and skills in these enormous variations are far beyond the boundaries of traditional piano performance techniques and skills. This analysis will give a specific classification for these modern piano performance techniques and skills in order to provide a more comprehensive guide for the piano performers.

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Franklin, Peter, Viktor Ullmann, Konrad Richter, Staatsphilharmonie Bruun, and Israel Yinon. "Piano Concerto, Variations Op.5, Second Symphony." Musical Times 134, no. 1806 (August 1993): 468. http://dx.doi.org/10.2307/1003039.

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Pearsall, Edward. "George Crumb piano music." Tempo 58, no. 230 (October 2004): 78–79. http://dx.doi.org/10.1017/s0040298204240335.

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GEORGE CRUMB: The Complete Piano Music. Makrokosmos 1; Makrokosmos 2; Five Pieces for Piano; Gnomic Variations; Processional; A Little Suite for Christmas Philip Mead (pno). Metier MSV CD92067 (2-CD Set).

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14

Cook, Nicholas. "Inventing Tradition: Webern's Piano Variations in Early Recordings." Music Analysis 36, no. 2 (June 15, 2017): 163–215. http://dx.doi.org/10.1111/musa.12094.

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Rickards, Guy. "Skalkottas." Tempo 58, no. 229 (July 2004): 55–56. http://dx.doi.org/10.1017/s004029820432022x.

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SKALKOTTAS: Piano Trio; Eight Variations on a Greek Folk Tune for piano trio. Works for cello and piano – Largo; Bolero; Serenata; Sonatina; Tender Melody. Maria Kitsopoulos (vlc), Maria Asteriadou (pno), Georgios Demertzis (vln). BIS CD-1224.

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Øigård, Tor Arne, and Hans J. Skaug. "Fitting state–space models to seal populations with scarce data." ICES Journal of Marine Science 72, no. 5 (November 16, 2014): 1462–69. http://dx.doi.org/10.1093/icesjms/fsu195.

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Abstract We estimate temporal variation in fecundity, the reproduction rate, for Barents Sea and Greenland Sea harp seals using a state–space approach. A stochastic process model for fecundity is integrated with an age-structured population dynamics model and fit to available data for these two harp seal populations. Owing to scarceness of data, it is necessary to “borrow strength” from the Northwest Atlantic harp seal population in form of prior distributions on autocorrelation and variance in fecundity. Comparison is made to a simpler deterministic population dynamics model. The state–space model is more flexible and is able to account for the variations in the data. For Barents Sea harp seals, the state–space model gives a higher estimate of current population size but also a much higher associated uncertainty. In the Greenland Sea, the differences between the stochastic and deterministic models are much smaller.

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Kiraly, Philippa, Robert Basart, George Perle, Elliott Schwartz, Nikos Skalkottas, Gunther Schuller, and John G. Papaiouannou. "The Round Ocean and the Living Air; For Two Flutes, Clarinet, Vibraphone, Harp, and Piano." Notes 44, no. 3 (March 1988): 595. http://dx.doi.org/10.2307/941562.

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Tucker, Strahan, W. Don Bowen, Sara J. Iverson, and Garry B. Stenson. "Intrinsic and extrinsic sources of variation in the diets of harp and hooded seals revealed by fatty acid profiles." Canadian Journal of Zoology 87, no. 2 (February 2009): 139–51. http://dx.doi.org/10.1139/z08-145.

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Individuals of different age, sex, and morphology are expected to exhibit differences in dietary niches largely owing to sexual dimorphism, ontogenetic niche shifts, and resource polymorphism. Harp ( Pagophilus groenlandicus (Erxleben, 1777)) and hooded ( Cystophora cristata (Erxleben, 1777)) seals are geographically overlapping and highly migratory predators in the North Atlantic Ocean. These species differ in their diving behaviour, with hooded seals diving deeper, longer, and more associated with the continental shelf edge and deep ocean than harp seals. We examined blubber fatty acid (FA) composition (N = 37; 93% of total FA by mass) of harp (adults N = 294; juveniles N = 232) and hooded (adults N = 118; juveniles N = 38) seals to test hypotheses about sources of intrinsic (age and sex) and extrinsic (geographic location, season, year) variations in diets. A significant difference in FA profiles suggested dietary segregation between species. We found significant effects of sex and age class on FA profiles, with these being more pronounced in the highly size-dimorphic hooded seals than in harp seals. FA profiles of both species also varied between inshore and offshore sampling locations and between prebreeding and postbreeding periods. Finally, FA profiles of harp seals differed among years, which was coincident with large changes in prey distribution and availability in the mid-1990s.

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Vass, George. "Gloucester Cathedral: Variations on ‘Down Ampney’." Tempo 59, no. 231 (January 2005): 52. http://dx.doi.org/10.1017/s0040298205290058.

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Commissioned by the Three Choirs Festival and performed there for the first time on 13 August by the Philharmonia Orchestra under Martyn Brabbins, these variations on Vaughan Williams's hymn tune ‘Down Ampney’ (so named after the village of the composer's birth), were surprising individual successes. The overall shape of the work, arch-like with a slow-fast-slow-fast-slow structure, was suggested by John McCabe, celebrating his 65th birthday year and featured composer at this year's Three Choirs. McCabe, joined in this collaborative effort by Robert Saxton, James Francis Brown, David Matthews and Judith Bingham, also sensibly requested that the orchestration be limited to double woodwind, modest brass and percussion sections, harp and the usual strings.

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Terhune, J. M., G. MacGowan, L. Underhill, and K. Ronald. "Repetitive rates of harp seal underwater vocalizations." Canadian Journal of Zoology 65, no. 8 (August 1, 1987): 2119–20. http://dx.doi.org/10.1139/z87-326.

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Underwater recordings of harp seal (Phoca groenlandica) vocalizations, obtained within the breeding herd during March, were examined with respect to calling rate and repetition of calls. Vocalizations typically overlapped one another. Calling rates ranged from 32 to 88 calls/min. Repetition rates averaged between 1.9 and 4.7 sound pulses/call (maximum repetition 24 times). Approximately 30% of the calls were not repeated and 40% were repeated twice. We found no significant relationships between calling rates and repetition rates. There were no variations in these factors throughout the day or month. An automatic level control on the recorder and the overlapping of the calls may have compromised the counts by altering the effective sampling area. The use of vocalization indexes in association with population estimations may be possible only when calls do not overlap.

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Greer, Amy. "Wrestling the Goldbergs: Piano Variations as a Spiritual Practice." Spiritus: A Journal of Christian Spirituality 18, no. 2 (2018): 176–89. http://dx.doi.org/10.1353/scs.2018.0023.

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Купіна, Д. Д., and Г. О. Гребенюк. "Genre of variations for piano in the context of stylish plurality of F. Mendelssohn-Bartholdy's creativity." Музикознавча думка Дніпропетровщини, no. 16 (December 19, 2019): 73–85. http://dx.doi.org/10.33287/221924.

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The purpose of the article is to determine the genre and stylefeatures of the piano cycle „Serious Variations” by F. Mendelssohn-Bartholdy. The round of specific methods is due to the use of empiricalscientific approaches of observation and generalization. The methodsidentified form a pronounced practical component of the proposedscientific intelligence. The structural and analytical approach allows you toform a sequence of presentation of scientific material, and draw theappropriate conclusions on the features of „Serious Variations”. Using thehistorical-typological approach, the sequence of the development processof the variation genre as a whole is revealed. The novelty of the proposedtopic is determined by the fact that the first analysis of the piano cycle„Serious Variations” by F. Mendelssohn was carried out in the context ofthe historical development of the genre of variations and its stylisticdetermination. Conclusions. Variations for piano occupy a rather modestplace in Mendelssohn’s music compared to the work of other composers.The piano series „Serious Variations” was created by Mendelssohn inaccordance with romantic trends in contemporary composer in a dialoguewith the stylistic features of the Baroque and classical era. The styleguidelines for creating the cycle was the work of L. Beethoven andI.S. Bach. The texture of the work is very “pianistic”, although itinfluences both the orchestral writing and Mendelssohn’s organ music.The dramaturgy of „Serious Variations” is organized in such a way that itclearly senses the movement from Baroque to classical stylistics,manifesting the essence of style modulation within the cycle. The mainfeature of „Serious Variations” on the implementation of which thepianist’s efforts should be aimed at working on this cycle is the stylemultiplicity, which is the main characteristic of musical material and theways of its presentation.

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Anderson, Martin. "Estonian Composers (combined Book and CD Review)." Tempo 59, no. 232 (April 2005): 60–66. http://dx.doi.org/10.1017/s0040298205210161.

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Ancient Song Recovered: The Life and Music of Veljo Tormis, by Mimi S. Daitz. Pendragon Press, $54.00/£36.00.The Works of Eduard Tubin: Thematic-Bibliographical Catalogue of Works by Vardo Rumessen. International Eduard Tubin Society/Gehrmans Musikförlag, E.57.TORMIS: ‘Vision of Estonia’ II. The Ballad of Mary's Land; Reflections with Hando Runnel; Days of Outlawry; God Protect Us from War; Journey of the War Messenger; Let the Sun Shine!; Voices from Tammsaare's Herdboy Days; Forget-me-not; Mens' Songs. Estonian National Male Choir c. Ants Soots. Alba NCD 20.TORMIS: ‘Vision of Estonia’ III. The Singer; Songs of the Ancient Sea; Plague Memory; Bridge of Song; Going to War; Dialectical Aphorisms; Song about a Level Land; We Are Given; An Aboriginal Song; The Estonians' Political Parties Game; Song about Keeping Together; Martinmas Songs; Shrovetide Songs; Three I Had Those Words of Beauty. Estonian National Male Choir c. Ants Soots. Alba NCD 23.TAMBERG: Cyrano de Bergerac. Soloists, Orchestra and Chorus of Estonian National Opera c. Paul Mägi. CPO 999 832-2 (2-CD set).ROSENVALD: Violin Concerto Nos. 11 and 2, Quasi una fantasia2; Two Pastorales3; Sonata capricciosa4; Symphony No. 35; Nocturne6. 1,2Lemmo Erendi (vln), Tallinn CO c. Neeme Järvi, 2Estonian State SO c. Jüri Alperten; 3Estonian State SO c. Vello Pähn; 4Valentina Gontšarova (vln); 56Estonian State SO c. Neeme Järvi. Antes BM-CD 31.9197.DEAN: Winter Songs. TÜÜR: Architectonics I. VASKS: Music for a Deceased Friend. PÄRT: Quintettino. NIELSEN: Wind Quintet. Berlin Philharmonic Wind Quintet, with Daniel Norman (tenor), c. Hermann Bäumer. BIS-CD–1332.TULEV: Quella sera; Gare de l'Est; Adiós/Œri Ráma in memoriam; Isopo; Be Lost in the Call. NYYD Ensemble c. Olari Elts. Eesti Raadio ERCD047.ESTONIAN COMPOSERS I: MÄGI: Vesper.1 KANGRO: Display IX.2 SUMERA: Shakespeare's Sonnets Nos. 8 & 90.3TAMBERG: Desiderium Concordiae.4 TULEV: String Quartet No. 1.5 EESPERE: Glorificatio.6 TORMIS: Kevade: Suite.71Estonian National SO c. Aivo Välja; 24NYYD Ensemble c. Olari Elts; 3Pirjo Levadi (soprano), Mikk Mikiver (narrator), Estonian National Boys' Choir, Estonian National SO c. Paul Mägi; 5Tallinn String Quartet; 6Kaia Urb (sop), Academic Male Choir of Tallinn Technical University c. Arvo Volmer; 7Estonian National SO c. Paul Mägi Eesti Raadio ERCD 031.ESTONIAN COMPOSERS II: TULVE: Traces.1 TALLY: Swinburne.2 KÕRVITS: Stream.3 STEINER: Descendants of Cain.4 KAUMANN: Long Play.5 LILL: Le Rite de Passage.6 SIMMER: Water of Life.71,5,6NYYD Ensemble c. Olari Elts; 2Ardo-Ran Varres (narrator), Iris Oja (sop), Alar Pintsaar (bar), Vambola Krigul (perc), Külli Möls (accordion), Robert Jürjendal (elec guitar); 3Virgo Veldi (sax), Madis Metsamart (perc); 4The Bowed Piano Ensemble c. Timo Steiner; 7Teet Järvi (vlc), Monika Mattieson (fl). Eesti Raadio ERCD032.ESTONIAN COMPOSERS III: GRIGORJEVA: Con misterio;1On Leaving. SUMERA: Pantomime; The Child of Dracula and Zombie. 1Tui Hirv (sop), 1Iris Oja (mezzo), 1Joosep Vahermägi (ten), 1Jaan Arder (bar), Hortus Musicus c. Andres Mustonen. Eeesti Raadio ERCD 045ESTONIAN COMPOSERS IV: KRIGUL: Walls.1 JÜRGENS: Redblueyellow.2 KÕRVER: Pre.3 KOTTA: Variations.4 SIIMER: Two Pieces.5 KAUMANN: Ausgewählte Salonstücke.6 AINTS: Trope.7 STEINER: In memoriam.81,6New Tallinn Trio; 2Liis Jürgens (harp); 3,8Voces Musicales Ensemble c. Risto Joost; 4Mati Mikalai (pno); 5Mikk Murdvee (vln), Tarmo Johannes (fl), Toomas Vavilov (cl), Mart Siimer (organ); 7Tarmo Johannes (fl). Eeesti Raadio ERCD 046.BALTIC VOICES 2: SISASK: Five songs from Gloria Patri. TULEV: And then in silence there with me be only You. NØRGÅRD: Winter Hymn. GRIGORJEVA: On Leaving (1999). SCHNITTKE: Three Sacred Hymns. Estonian Philharmonic Chamber Choir c. Paul Hillier. Harmonia Mundi HMU 907331.SCHNITTKE: Concerto for Chorus; Voices of Nature. PÄRT: Dopo la vittoria; Bogoróditse Djévo; I am the True Vine. Swedish Radio Choir c. Tõnu Kaljuste. BIS-CD-1157.PÄRT: Es sang vor langen Jahren; Stabat Mater; Magnificat; Nunc Dimittis; My Heart's in the Highlands; Zwei Sonatinen; Spiegel im Spiegel. Chamber Domaine; Stephen de Pledge (pno), Stephen Wallace (counter-ten), Choir of St Mary's Cathedral, Edinburgh c. Matthew Owens. Black Box BBM1071.

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Woody, Robert H. "The Relationship between Explicit Planning and Expressive Performance of Dynamic Variations in an Aural Modeling Task." Journal of Research in Music Education 47, no. 4 (December 1999): 331–42. http://dx.doi.org/10.2307/3345488.

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The present study is an examination of the performance of expressive dynamic variations by advanced pianists in an aural modeling (imitative) performance task. Twenty-four university musicians listened to expressive performances of short piano excerpts played for them via MIDI on a Yamaha Disklavier acoustic piano. These expressive models contained idiomatic features (musically appropriate) and nonidiomatic features (musically inappropriate). After hearing each model, subjects reported their thoughts regarding dynamic variations they had heard and then attempted to imitate the model in their own performance on the piano. Results indicated that expressive performance of dynamic variations is influenced by the performer's explicit identification of dynamic features and their incorporation into a specific goal performance plan. Analyses of individual dynamic features revealed that subjects who identified features consistently performed the features differently than did the subjects who did not identify them. Subjects who identified features played nonidiomatic features more accurately and played idiomatic features at more pronounced overall levels.

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Cui, W. Q., Y. Y. Won, M. H. Baek, K. K. Kim, and J. H. Cho. "Variations of the ‘grand-piano sign’ during total knee replacement." Journal of Bone and Joint Surgery. British volume 88-B, no. 11 (November 2006): 1441–47. http://dx.doi.org/10.1302/0301-620x.88b11.17648.

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Hétu, Jacques, and Réjean Beaucage. "Variations et variantes." Circuit 15, no. 1 (February 9, 2010): 19–26. http://dx.doi.org/10.7202/902338ar.

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Le compositeur Jacques Hétu revient sur l’expérience qualifiée de « choc » violent qu’a représenté pour lui l’enregistrement de ses Variations pour piano par Glenn Gould en 1967. Il rappelle, dans un premier temps, que ce musicien qui s’est exprimé essentiellement à travers l’interprétation rêvait aussi d’être compositeur. Il s’interroge sur la façon dont il « s’emparait parfois de la musique des autres et la transformait, parfois en la défigurant, parfois en la transfigurant ». Il cible, à travers des exemples tirés de chacune des variations, les écarts de tempi, d’articulations, de dynamiques de même que les changements dans les jeux de pédale que s’est autorisé un Gould qui s’éloignait de plus en plus de la partition au fur et à mesure que l’oeuvre se déroulait. Admettant que cette interprétation possède sa propre logique, Jacques Hétu salue en Gould un authentique créateur qui « nous communiquait impérieusement son propre univers de musicien ».

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Hammill, M. O., M. C. S. Kingsley, G. G. Beck, and T. G. Smith. "Growth and condition in the Northwest Atlantic harp seal." Canadian Journal of Fisheries and Aquatic Sciences 52, no. 3 (March 1, 1995): 478–88. http://dx.doi.org/10.1139/f95-049.

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We analysed the relationship of length to age in a sample of 204 harp seals collected in 1976–1979 and of 437 animals collected in 1988–1992, by fitting asymptotic growth curves. The only significant variations were in asymptotic length, which for 1988–1992 was significantly larger for males (170.4 cm) than for females (165.3 cm). This sexual dimorphism was not significant in 1976–1979, because the fitted asymptotic length of females varied greatly from year to year, being large in the 1976–1979 samples. An index of body condition (total weight/length2.6) and a volume index constructed by regressing body weight on length × axillary girth squared indicated that harp seals collected in 1988–1992 were in poorer condition than animals collected during 1976–1979. Although this suggests a decline in available resources, the possibility of differences arising from sampling bias cannot be excluded.

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Maksimov, Evgenii Ivanovich. "FRANZ SCHUBERT’S PIANO VARIATIONS THROUGH THE LENSES OF THE GENRE DEVELOPMENT." Manuscript, no. 11 (November 2019): 282–88. http://dx.doi.org/10.30853/manuscript.2019.11.53.

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Conway, Paul. "John McCabe CD round-up." Tempo 58, no. 229 (July 2004): 53–54. http://dx.doi.org/10.1017/s0040298204290222.

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JOHN McCABE: Concerto for Piano and Wind Quintet; Musica Notturna; Fauvel's Rondeaux; Postcards for wind quintet. The Fibonacci Sequence. Dutton CDLX 7125.‘Old City New Image’. McCABE: String Trio; String Quartet No. 2. DAVID ELLIS: Trio for violin, viola and cello; String Quartet No. 1. Camerata Ensemble. Campion Cameo 2027.McCABE: Piano Concerto No. 2; Concertante Variations on a theme of Nicholas Maw; Six-Minute Symphony; Sonata on a Motet. Tamami Honma (pno), St Christopher Chamber Orchestra c. Donatas Katkus. Dutton CDLX 7133.‘Tenebrae’. McCABE: Variations; Intermezzi; Sostenuto (Study No. 2); Capriccio (Study No. 1); Aubade (Study No. 4); Tenebrae; Scrunch (Study No. 8); Evening Harmonies (Study No. 7). Tamami Honma (pno). Metier MSV CD92071.

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Wright, David, Nicholas Daniel, Jane Manning, Jane's Minstrels, and Roger Montgomery. "William Alwyn: Concerto for Flute and Eight Wind Instruments; Suite for Oboe and Harp; Naiades: Fantasy for Flute and Harp; Music for Three Players; Trio for Flute, Cello and Piano." Musical Times 134, no. 1807 (September 1993): 524. http://dx.doi.org/10.2307/1002755.

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Christiansen, Jørgen S., Asbjørn Gildberg, Kjell T. Nilssen, Charlotta Lindblom, and Tore Haug. "The gastric properties of free-ranging harp (Pagophilus groenlandicus (Erxleben, 1777)) and hooded (Cystophora cristata (Erxleben, 1777)) seals." ICES Journal of Marine Science 61, no. 2 (January 1, 2004): 287–92. http://dx.doi.org/10.1016/j.icesjms.2004.01.002.

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Abstract The study of trophic relationships in seals is based primarily on prey remains recovered from the digestive tract or scats. Basic data on the gastric properties of seals are scarce and are considered to be important to interpret data from dietary studies of these animals. Hence, we examined the key properties of the gastric chyme post mortem (i.e. temperature, acidity, and the concentration of the proteolytic enzyme pepsin) in free-ranging harp (Pagophilus groenlandicus, n=40) and hooded (Cystophora cristata, n=41) seals. Seals displayed huge inter-individual variations in their gastric properties with ranges in temperature: 23.9–37.9°C, acidity: pH 1.16–7.34, and pepsin concentration: 11–1059 μg ml−1 chyme. The stomach weight and the mean values of gastric parameters revealed, however, significant species-specific differences. The stomach weight relative to body weight of hooded seal exceeded that of harp seal (t=13.77, d.f.=75, p<0.001). Furthermore, the gastric temperature and pepsin concentration were lower for harp (32.8°C and 75 μg ml−1) compared to that for hooded (35.3°C and 344 μg ml−1) seal. The reason for this disparity may be linked to the feeding mode and diet composition displayed by these seal species.

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Lynch-Aird, Nicolas, and Jim Woodhouse. "Comparison of Mechanical Properties of Natural Gut and Synthetic Polymer Harp Strings." Materials 11, no. 11 (November 1, 2018): 2160. http://dx.doi.org/10.3390/ma11112160.

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The long-term mechanical behaviour of a number of fluorocarbon and gut harp strings has been examined, and the results compared with a previous study of rectified nylon strings. The stretching behaviour of the three materials was studied via different measures of the Young’s modulus; with test time scales on the order of weeks, minutes, and milliseconds. The strings were subjected to cyclic variations in temperature, enabling various aspects of their thermal behaviour to be investigated. The effects of humidity changes on gut strings were also examined. The behaviour of the fluorocarbon strings was found to be similar in many ways to that of the nylon strings, despite their different chemical formulation and significantly higher density. In particular, the faster measures of Young’s modulus were found to show an almost identical strong variation with the applied stress; while the thermal behaviour of both materials was largely determined by the balance between opposing effects associated with thermal contraction and thermal variations in the Young’s modulus. The gut strings showed some similarities of behaviour to the synthetic materials, but also major differences. All three measures of the Young’s modulus remained constant as the applied stress was increased. The gut strings were far more sensitive to changes in humidity than the synthetic materials, although some of the results, especially the thermal tuning sensitivity of the strings when held at constant length, displayed remarkable stability under changing humidity. The observed behaviour suggests very strongly that there is significant coupling between humidity-related changes in the linear density of a gut string and complementary changes in its tension.

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Skurko, Evgeniya R. "Sergei Rachmaninoff’s Variations for Piano: Concerning the Question of Interpreting the Genre." Music Scholarship / Problemy Muzykal'noj Nauki, no. 2 (June 2016): 50–56. http://dx.doi.org/10.17674/1997-0854.2016.2.050-056.

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Laurance, Emily. "The History of the Erard Piano and Harp in Letters and Documents, 1785–1959 ed. by Robert Adelson, et al." Notes 73, no. 3 (2017): 559–61. http://dx.doi.org/10.1353/not.2017.0022.

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Gotlieb, Heidi, and Vladimir J. Konečni. "The Effects of Instrumentation, Playing Style, and Structure in the Goldberg Variations by Johann Sebastian Bach." Music Perception 3, no. 1 (1985): 87–101. http://dx.doi.org/10.2307/40285323.

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Different recordings and arrangements of the Goldberg Variations by Johann Sebastian Bach were evaluated on cognitive, emotional, and perceptual dimensions. In Study 1, eight different renditions of the piece were classified as Classical or Romantic interpretations. Both harpsichord and piano versions of each style were included. Only minimal differences were found in subjects' appreciation for the harpsichord versus the piano recordings. Comparisons between the Classical and Romantic styles also revealed only slight differences in subjects' ratings. In addition, no differences were found in subjects' enjoyment of different recordings made by a single artist at different points in his career. In Study 2, the structure of the piece was modified by rearranging the order of the variations. A preference for the original version over the modified arrangements was indicated on only 1 of the 15 dimensions measured. In Study 3, specific triplets of variations were played to subjects in their original order and in a random sequence. No differences were found in subjects' appreciation for the original versus the modified versions.

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Lawes, Carolyn J. "Trifling with Holy Time: Women and the Formation of the Calvinist Church of Worcester, Massachusetts, 1815-1820." Religion and American Culture: A Journal of Interpretation 8, no. 1 (1998): 117–44. http://dx.doi.org/10.1525/rac.1998.8.1.03a00050.

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It was half past nine on a quiet Monday night in April 1818. Elizabeth Tuckerman Salisbury, known throughout Worcester as “Madame Salisbury” in deference to her family's wealth and social position, was passing a serene evening at home with her niece and adopted daughter, Eliza Weir. Her husband, Stephen, a merchant and the town's wealthiest Citizen, was away on business. The Salisbury mansion's comfortable drawing room was pleasant, graced by Elizabeth's harp and a piano bought expressly for Eliza.Suddenly, the peace was shattered as something crashed violently against the front window. Salisbury immediately “call'd in the people” (the servants) for protection. Venturing outside, they spotted no one lurking about but did find two good-sized stones, one weighing over half a pound. Peering out into the now still night, Elizabeth Salisbury noted that “it was very dark, & no one appeared to be in the street. [Y]ou may suppose I did not recover my tranquil[l]ity very soon.”

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Bozanic, Mina. "Musical space organisation exemplified by variations for piano op. 27 by Anton Webern." Zbornik Akademije umetnosti, no. 4 (2016): 110–21. http://dx.doi.org/10.5937/zbakum1604110b.

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Crisp, Deborah. "Liszt’s monument to Bach: The variations onWeinen, Klagen, Sorgen, Zagen, for Solo Piano." Musicology Australia 21, no. 1 (January 1998): 37–49. http://dx.doi.org/10.1080/08145857.1998.10415952.

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Terefenko, Dariusz. "Valentine: For Piano = Für Klavier, and: Three Character Studies: For Piano Solo, and: Saloon Songs: For Solo Piano, and: 24 Variations on a Bach Chorale: Piano Solo (review)." Notes 68, no. 3 (2012): 670–73. http://dx.doi.org/10.1353/not.2012.0026.

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Heneghan, Áine. "The Theme of Webern's Variationen für Klavier, Op. 27, Third Movement." Music Theory and Analysis (MTA) 6, no. 1 (April 30, 2019): 129–38. http://dx.doi.org/10.11116/mta.6.1.4.

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Webern's lectures on form (1934) offer insights into the composer's thinking on musical organization, yet they are rarely invoked to illuminate his own music. Inspired by his analyses of Beethoven, the author provides a reading of the theme from the final movement of Webern's Variations for Piano, Op. 27.

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Nilssen, Kjell T., Ole-Petter Pedersen, Lars P. Folkow, and Tore Haug. "Food consumption estimates of Barents Sea harp seals." NAMMCO Scientific Publications 2 (May 25, 2004): 9. http://dx.doi.org/10.7557/3.2968.

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The consumption of various prey species, required by the Barents Sea harp seal (Phoca groenlandica) stock in order to cover their energy demands, has been estimated by combining data on the energy density of prey species and on seasonal variations in the energy expenditure and body condition of the seals. Data on diet composition and body condition were collected in the period 1990-1996 by sampling harp seals during different seasons, in various areas of the Barents Sea. All diet composition data were based on reconstructed prey biomass, and adjustments were made for differences in digestibility of crustaceans and fish. The number of seals representing different age and sex groups were calculated for the entire population, and the monthly food requirements were estimated. In 1998, the total Barents Sea harp seal stock was estimated to comprise 2.22 million seals based on a mean production of 301,000 pups. After adjustments for a pup mortality of 30% its total annual food consumption was estimated to be in the range of 3.35-5.05 million tonnes (depending on choice of input parameters). Assuming that there are seasonal changes in basal metabolic rate associated withchanges in body mass, and that the field metabolic rate of the seals corresponded to two times their predicted basal metabolic rate, the annual food consumption of the Barents Sea harp seal stock was estimated. If capelin (Mallolus villosus) was assumed to be abundant, the annual total consumption was estimated to be 3.35 million tonnes, of which 1,223,800 tonnes were crustaceans, 807,800 tonneswere capelin, 605,300 tonnes were polar cod (Boreogadus saida), 212,400 tonnes were herring (Clupea harengus), 100,500 tonnes were cod (Gadus morhua) and 404,200 tonnes were "other fish". A very low capelin stock in the Barents Sea (as it was in the period 1993-1996) led to switches in seal diet composition, with increased consumption of polar cod (from ca. 16%-18 % to ca. 23%-25 % oftotal consumption), other gadoids (dominated by cod, but also including haddock (Melanogrammus aeglefinus) and saithe (Pollachius virens)), herring, and "other fish". Using the same set of assumptions as in the previous estimate, the total consumption would have been 3.47 million tonnes, divided between various prey species as follows (in tonnes): polar cod 876,000, codfish (cod, saithe and haddock) 359,700, "other fish" 618,800, herring 392,500, and crustaceans 1,204,200. Overall, the largest quantities of food were estimated to be consumed in the period June-September.In 1999, the total Barents Sea harp seal stock size was estimated to be 2.18 (95% CI, 1.79 to 2.58) million animals, which would give an annual food consumption in the range of 2,69 - 3.96 million tonnes (based on upper and lower 95% confidence limits and adjusted for a pup mortality rate of 0.3) if capelin is assumed to be abundant.

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Busse, Walter Gerard. "Toward Objective Measurement and Evaluation of Jazz Piano Performance Via MIDI-Based Groove Quantize Templates." Music Perception 19, no. 3 (2002): 443–61. http://dx.doi.org/10.1525/mp.2002.19.3.443.

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The purpose of this study was to (a) objectively measure and analyze performance deviations from mechanical regularity for three jazz pianists via MIDI-based "groove quantize" procedures and (b) measure how experts rate musical examples incorporating these deviations as being representative of the swing style. The "groove quantize" software procedure was used to measure performance deviations from mechanical regularity for (a) note placements (timings), (b) note durations (articulations), and (c) note velocities (dynamics) contained in 281 measures from 33 performances by three professional jazz pianists. Differences among the performers and for relationships between the performance variables and tempi were measured. Performance models or "grooves" were developed representative of each performer's style and a general swing style. For comparison, "mechanical" models were constructed on the basis of mathematical ratios. Forty-two judges rated the "swing representativeness" of an unaltered melody from each pianist and seven variations of each, four based on the derived performance models and three based on the mechanical model. Analysis revealed that four derived performance model variations were rated significantly more representative of the swing style than were the mechanical variations. Swing ratings did not differ significantly between an unaltered melody and variations based on individual performance models for two of the performers, suggesting that they were representative grooves.

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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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Șoitu, Cristina-Nicoleta. "The Variational Principle in Dinu Lipatti’s Sonatina for Violin and Piano." Artes. Journal of Musicology 19, no. 1 (March 1, 2019): 62–78. http://dx.doi.org/10.2478/ajm-2019-0003.

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Abstract This study aims to analyze the variational principle, as it is applied in Dinu Lipatti’s Sonatina for Violin and Piano, from a theoretical-analytical perspective, but also from the standpoint of the interpretative implications. The variational processes, in close connection with the specificity of the neoclassical language of the work, determine an atypical classification of the form of variations in the gender structure, which implies a resizing of the interpretative means by which the musical dramaturgy of the piece can be achieved. The comparison with the classic model of variations as a component of the sonata genre dedicated to the violin-piano duo, as it appears in the works of composers such as Mozart or Beethoven, as a method of analytical research, highlights the language aspects that condition the performer’s vision in the case of Lipatti’s Sonatina, such as character, tempo, metrics, the type of writing, elements of virtuosity or timbre, whose valences are distinct from those determined by a music discourse from the classical era. Understanding the correlation between the succession of movements and the composition of the variational plan constitutes a priority in approaching this work and shaping the desired artistic message; this is why the study attempts to highlight the necessary connection between the structural elements of the composition and those implicitly generated by them, namely the technical and expressive elements required by the interpretative act.

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Thomson, Andrew, Janet Hilton, Raphael Wallfisch, and Peter Wallfisch. "Kenneth Leighton: Fantasy on an American Hymn Tune; Alleluia Pascha nostrum; Piano Sonata; Variations." Musical Times 134, no. 1804 (June 1993): 350. http://dx.doi.org/10.2307/1003077.

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Carruthers, Glen. "Scriabin: The Complete Piano Sonatas. Marc-André Hamelin, piano. Hyperion CDA 67131/2 [DDD], produced by Andrew Keener Beethoven: Diabelli Variations. William Kinderman, piano. Hyperion CDA 66763 [DDD], produced by Marc Seiffge." Canadian University Music Review 17, no. 2 (1997): 129. http://dx.doi.org/10.7202/1014798ar.

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Perry, Jeffrey. "The Wanderer's Many Returns: Schubert's Variations Reconsidered." Journal of Musicology 19, no. 2 (2002): 374–416. http://dx.doi.org/10.1525/jm.2002.19.2.374.

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Franz Schubert composed four instrumental movements that form a distinct repertoire: the "Trout" Quintet D. 667/iv; the Octet D. 803/ iv; Piano Sonata in A minor, D. 845/ii; and the Impromptu in B-flat, D. 935/iii. Each of them comprises a set of variations on a major-key theme. Each includes (not unexpectedly) one variation in the parallel minor and (more remarkably) a variation in VI followed by a retransition leading to a dominant interruption that prepares the final tonickey variation. Examination of these movements reveals the intimate relationship and common derivation of variation set, sonata form, character piece, Lied, and aria in Schubert. Schubert's formal integrations are made in the service of a Romantic sensibility of distance, loss, memory, and regret. He joins musical aspects of distance (from the theme, from a home key, from a home register) to distance in its poetic aspects: from the past, from home, from old loves and places. Schubert not only continues the 18th-century tradition of musical depictions of distance, he transforms and expands them in unprecedented ways. The result is a poignant intersection of formal innovation and musical poetics.

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Tirasuntarakul, Narongsak, and Arbtip Dheeravongkit. "Design and Analysis of a Micro Actuating Mechanism Driving Multi-Degree of Freedom." Applied Mechanics and Materials 851 (August 2016): 464–69. http://dx.doi.org/10.4028/www.scientific.net/amm.851.464.

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This paper presents design concept and implementation of a micro actuating mechanism that uses a single drive to operate many degrees of freedom. The challenge of this research is to reduce the complexity of the multi-dof actuator mechanism in order to optimize its size and weight so that it is small and light enough to be implemented on other robots or automatic systems where mobility is needed. For example, on the development of the automatic tuning system of multi-string music instruments like piano or harp, instead of implementing one actuator to tune each string, this paper proposed an actuator mechanism that uses a single motor to tune several strings at a time. In the proposed actuator mechanism, a new tiny magnetic clutch is designed to control the direction of the rotation. The worm gear trains are selected to hold the position of the rotation with self-locking ability, which helps prevent rotation when the clutch is disengaged. The size and weight of the mechanism are optimized to fit properly on the musical stringed instrument. In this paper, the prototype and analysis of performance of the proposed mechanism is presented.

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Rickards, Guy. "Berlin: Hindemith's ‘Klaviermusik mit orchester’." Tempo 59, no. 233 (June 21, 2005): 55–56. http://dx.doi.org/10.1017/s0040298205260230.

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Paul Wittgenstein's commissioning of concertos for piano left-hand is as enviable a legacy as any performer could wish to have, centred as it is on concertos by Korngold, Franz Schmidt (who also penned for Wittgenstein a set of Concertante Variations on a theme of Beethoven with orchestra and three piano quintets), Richard Strauss, Prokofiev, Britten (his op. 21 Diversions) and Ravel. Yet the maimed pianist's quixotic attitude to the works he received is almost as remarkable. Ravel he offended by the liberties he took with the solo part, while Prokofiev's Concerto No. 4 languished unplayed for a quarter of a century, until three years after the composer's death. Yet these cases pale into insignificance compared to the treatment meted out to the concerto that Paul Hindemith wrote for Wittgensein in 1923.

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Nilssen, Kjell Tormod, Tore Haug, and Charlotta Lindblom. "DIET OF WEANED PUPS AND SEASONAL VARIATIONS IN BODY CONDITION OF JUVENILE BARENTS SEA HARP SEALS PHOCA GROENLANDICA." Marine Mammal Science 17, no. 4 (October 2001): 926–36. http://dx.doi.org/10.1111/j.1748-7692.2001.tb01306.x.

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Journal articles on the topic 'Variations (Harp and piano)'

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