Готові списки джерел за темами / Concert Works

Добірка наукової літератури з теми "Concert Works"

Автор: Grafiati
Опубліковано: 19 червня 2021
Оновлено: 14 лютого 2022

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Зміст

  1. Статті в журналах
  2. Дисертації
  3. Книги
  4. Частини книг
  5. Тези доповідей конференцій
  6. Звіти організацій

Статті в журналах з теми "Concert Works":

1

Kirkpatrick, Brad, B. Belet, S. Korde, R. Reynolds, and M. Tezges. "Concert of New Works." Computer Music Journal 17, no. 1 (1993): 66. http://dx.doi.org/10.2307/3680571.

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2

Goldberg, Halina. "Chamber Arrangements of Chopin's Concert Works." Journal of Musicology 19, no. 1 (January 1, 2002): 39–84. http://dx.doi.org/10.1525/jm.2002.19.1.39.

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3

Petroudi, Georgia. "The Cypriotization of Beethoven or Beethoven’s Cypriotization: The Composer’s Traces Throughout the Foundation of the “Westernized” Cypriot Music Scene." Studia Musicologica 61, no. 1-2 (April 13, 2021): 149–59. http://dx.doi.org/10.1556/6.2020.00011.

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The focus of this paper is the reception of Ludwig van Beethoven’s works at the turn of the twentieth and twenty-first centuries, from the establishment of symphony orchestras and other cultural institutions. These works include symphonic and chamber music, performed in the framework of symphonic concerts as presented by the Cyprus Symphony Orchestra and chamber music as presented by chamber music festivals. This paper will shine a light onto the preserved concert programs of the orchestras, as well as other concerts that can be traced in newspapers and other printed magazines, in order to demonstrate how Beethoven’s compositions became part of the concert programming. The rapid but simultaneously abrupt growth of the cultural scene in the twentieth century, was interweaved with what kind of compositions and what composers could be included in concert programs, taking into consideration the restrictions that governed large performances such as performers’ numbers and the diversity of instrumental players, who would support the staging of certain works. The reception of Beethoven’s works is studied in the changing local political, historical, social and cultural context.
4

Revenko, Natalia. "Ukrainian piano concert in the repertoire of the future teacher of music art." Scientific Visnyk V.O. Sukhomlynskyi Mykolaiv National University. Pedagogical Sciences 66, no. 3 (2019): 191–95. http://dx.doi.org/10.33310/2518-7813-2019-66-3-191-195.

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The article highlights the methods of working on a Ukrainian piano concert with students-pianists in the lessons on "Instrumental Performance (Piano)" in higher education institutions. The stages of the formation and development of the Ukrainian piano concert are presented: the end of the 20s-30s of the XX century – the origin and formation, the 40-60s – the development period, the 80-90s – the heyday of the concert genre. The best examples of this genre in the works of domestic composers of the past and the present are analyzed, namely, piano concerts by L. Revutsky, M. Skorik, V. Ptushkin. It has been proved that the positive qualities of the piano concerto No. 2 of L. Revutsky consist in the organic development of Ukrainian classical traditions, in the deep embodiment of elevated, cheerful moods, lyrical-excited pathetics, and strong-willed images. The piano concerto No. 1 by M. Skorik is characterized by an artistic-figurative emotionality combined with brilliant virtuosity and is designed for vivid external effects. Marked by neoclassical style, M. Skorik’s concert is built on the free competition of a virtuoso pianist with an orchestra and refers to the type of concerts with relatively equal parts of solo and orchestra. When performing the interpretation of the first part of the piano concert of V. Ptushkin, the main attention is paid to the nature of the performance of the main themes, namely the contrast and dialogue between them. It was found out that acquaintance of students-pianists in the instrumental performance classes with the genre of the Ukrainian piano concerto expands the knowledge of future music art teachers in developing this genre in our country. Processing the best examples of piano concerts by composers of the past and the present develops a sense of ensemble playing among students, influences timbre hearing, introduces composers' innovations in the fields of style, musical language, means of shaping, as well as a wide emotional palette of musical images. The concerts focused on the functions of a soloist and orchestra, the artistic content of works, shaping, composer innovations in the field of musical language.
5

Miller, Benjamin. "Explaining the emergence of great power concerts." Review of International Studies 20, no. 4 (October 1994): 327–48. http://dx.doi.org/10.1017/s0260210500118157.

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The purpose of this article is to provide a theoretical analysis of the conditions affecting the emergence of a great power concert, in order to gain a better understanding of this phenomenon. In contrast to some recent important theoretical works which underline the role of various systemic factors in the formation of a concert, I will argue that it is unit-level factors that make the difference with regard to great power concerts. The article will also provide historical illustrations for the influence of the explanatory factors on the emergence or non-emergence of concerts. The only historical case of a great power concert to date is the nineteenth-century European Concert. Comparisons will be made between this period and the Cold War, when a great power concert manifestly did not take place.
6

Dashak, Yevhen. "“Romantic Concert” for Piano and Orchestra by Joseph Marx in the Aspect of Aesthetics of Late Romanticism." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 130 (May 17, 2021): 69–88. http://dx.doi.org/10.31318/2522-4190.2021.130.231198.

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There is considered the “Romantic Concert” for piano and orchestra in E major (1919) by the Austrian composer, pianist, teacher, theoretician and public figure Joseph Marx (1882–1964). The “Romantic Concert” was included in the repertoire of such pianists as W. Gieseking, J. Bolet, M.-A. Hamelin and D. Lively. The relevance of the study consists not only in the absence in Ukraine publications devoted to the study of the “Romantic Concert”, but also in the need to introduce this work into the creative practice of native performers. The main objective of this study is to explore how the realization of the traditions of the piano concerto genre in the opus of J. Marx is combined with the composer’s thinking as a late romantic and his individual creative style. Scientific novelty lies in an attempt to spread the scientific understanding of the existence of late romanticism in the musical art of the early twentieth century and to determine features of its embodiment in the genre of a concert for piano and orchestra on the example of the “Romantic Concert” by J. Marx. The research methodology is based on the methods of holistic and stylistic analysis described in the works by M. Mikhaylov and Ye. Ruch’yevskaya. Also this article is based on the concept of late romanticism by L. Nebolyubova, which is supplemented by the theses set forth in the works of Russian musicologist O. Sheludyakova.All three parts of the “Romantic Concert” were analyzed in detail, which made it possible to produce the findings set out in article. In his work, J. Marx reproduces in detail the type of piano concerto of the Romantic era, using almost all possible genre-compositional and style parameters. “Romantic Concert” is an example of an instrumental concert of a symphonic type, where the soloist and orchestra act as a comprehensive whole, and the cycle itself is based on the dramatic basis of the symphonic work. The musical fabric of the concert is based on a huge number of style allusions to the work of composers of different eras and styles, which is a vivid manifestation of the synthetic, conclusive character of the late stage of musical romanticism. Piano concert of J. Marx played a part in the formation of “romantic-centric” trends in the musical art of the twentieth century.
7

MacDonald, Calum. "Further reviews." Tempo 60, no. 238 (October 2006): 49–50. http://dx.doi.org/10.1017/s0040298206330318.

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CYRIL SCOTT: Piano Concerto No.1; Symphony No.4; Early One Morning. Howard Shelley (pno), BBC Philharmonic c. Martyn Brabbins. Chandos CHAN 10376.SCOTT: Complete Piano Music Volume One – Suites and Miniatures. Leslie De'Ath, Cyril Scott (pnos). Dutton Epoch CDLX 7150 (2-CD set).SCOTT: Complete Piano Music Volume Two – Complete Piano Sonatas. Leslie De'Ath (pno). Dutton Epoch CDLX 7155.SCOTT: Complete Piano Music Volume Three – Concert Pieces, Ballet Scores, Unpublished Works, Two-piano Works. Leslie De'Ath, Anya Alexeyev (pnos). Dutton Epoch CDLX 7166 (2-CD set).SCOTT: Sonata op.66; Second Sonata; Sonata III; Sphinx op.63; Rainbow Trout; Rondeau de Concert; Ballad; Victorian Waltz. Michael Schäfer (pno). Genuin GEN 85049.
8

Nikolic, Olivera. "Ivan Jevtic’s musical universe at a crossroads of traditional and new music expression. Tendencies of changes on the example of selected works of the concert genre." Muzikologija, no. 23 (2017): 219–37. http://dx.doi.org/10.2298/muz1723217n.

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Our interest in the position and significance of the concert music of Ivan Jevtic in the development of this genre in the Serbian music of the second half of the 20th century is based on several facts. Judging from the number of concerts and the variety of their stylistic, aesthetic, technical, expressive and historical qualities, Jevtic comes across as a composer who was the pioneer of several particular and general tendencies in the development of Serbian concert music, especially when we have the following in mind: his relationship to the musical heritage; his aspirations to master new contemporary tendencies; the time of general stylistic turmoil; compositional techniques etc. The comparative analysis of three concerts: Concerto for Tuba, Cello Symphony and Concerto for Viola points to the basic elements of traditional heritage, his reshaping of this heritage, as well as the elements of modern musical expression in the works of this composer. The analyzed paths of a part of his entire oeuvre do not exemplify the complete development of the concert genre in the Serbian music of the second half of the 20th century but, alongside with other important aspects such as historical, aesthetic, technical etc. they assist us in a better understanding of the tendencies in the development of this genre in Serbia, but also of the tendencies in Serbian music after 1945.
9

Rothenberg, David. "The Concert of Humans and Nightingales: Why Interspecies Music Works." Performance Philosophy 1, no. 1 (April 10, 2015): 214. http://dx.doi.org/10.21476/pp.2015.1115.

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10

Mottershead, Tim. "Manchester, Bridgewater Hall: Yoshiro Kanno." Tempo 67, no. 263 (January 2013): 85–86. http://dx.doi.org/10.1017/s0040298212001453.

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Between April and June 2012, pianist Noriko Ogawa presented four recitals titled Reflections on Debussy, in the Mirror of the East, which presented his major piano works, with compositions by Japanese composers Takemitsu, Yoshimatsu, and two commissions from Yoshihiro Kanno (b.1953). The first of the Kanno works presented, on 25 May, was Sky Maze (2011) for piano and organ (featuring Jonathan Scott), oddly placed in a concert otherwise devoted to two-piano repertoire (with Martin Roscoe). The programme note revealed the work was originally to have been premièred in August 2011 at the MUZA Kawasaki concert hall – which was badly damaged by the earthquake and tsunami of the previous March – but offered no clue as to the work's intriguing title.
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Статті в журналах Дисертації Книги

Дисертації з теми "Concert Works":

1

Bidgood, Lee, and ETSU Faculty Bluegrass Band. ""Biscuits and Bluegrass" Concert." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1072.

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2

Reed, Delanna. "United We Stand Interfaith Storytelling Concert." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/1273.

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Tellers from a variety of faiths will celebrate their traditions in story, song and dance in "United We Stand," an interfaith storytelling concert to benefit the Katheleen M. Stern and Milagros M. Argueta Endowment for Storytelling at ETSU. This endowment will provide scholarships and an endowed chair in storytelling with a focus on therapeutic, homiletic and community-building story. The storytelling concert will be held Saturday, Jan. 7, from 2-5 p.m. at the McKinney Center, 103 Franklin Ave., Jonesborough. Storytellers representing Christian, Jewish, Muslim and Native American faiths will participate in the program. Those slated to appear include Rev. Vincent Dial and Wendolin Elrod (Christian), Dr. Joseph Sobol (Jewish), Terry Shinn (Cherokee, following the Lakota spiritual tradition) and Taneem Aziz (Islam). Master of ceremonies will be Dr. Delanna Reed, interim coordinator of the ETSU Storytelling Program.
3

Bidgood, Lee, and ETSU Faculty Band. "Performance at Music on the Lawn concert." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1067.

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4

Bidgood, Lee, and Adam Tanner. "Performance at the Swannanoa Gathering Faculty Concert." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1070.

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5

Bidgood, Lee, and Great Smokey Mountain Bluegrass Band. "Performance at Bluegrass on Broad Concert Series." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1066.

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6

Bidgood, Lee. "Performance at Music in the Valle Concert Series." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/3256.

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7

Whittle, David. "Bruce Montgomery (1921-1978) : a biography with a catalogue of the musical works." Thesis, University of Nottingham, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.285461.

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8

Olivier, Ryan K. "Musica speculativa| An exploration of the multimedia concert experience through theory and practice part I| Imaginary cognition| Interpreting the Topoi of intermedia electroacoustic concert works part II| Musica speculativa| A multimedia concert work in five movements and three intermezzi." Thesis, Temple University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3703038.

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Musica Speculativa is a final project in two parts in which I explore, through both theory and practice, the role of metaphors in our understanding of reality with special attention given to the use of visual representation in multimedia concert works that employ electroacoustics. Part I, entitled, "Imaginary Cognition: Interpreting the Topoi of Intermedia Electroacoustic Concert Works," explores how metaphors play a core role in our musical experience and how aural metaphors can be enhanced by and ultimately interact with visual metaphors to create a contrapuntal intermedia experience. Part II, "Musica Speculativa: A Multimedia Concert in Five Movements and Three Intermezzi," for mezzo-soprano, flute, B-flat bass clarinet, violin, cello, piano, a percussionist performing an array of lightning bottles, a dancer with a gesture-sensing wand, and a technologist operating interactive audio and video processing, focuses on the medieval philosophy of Musica Speculativa and how it relates to our current understanding of the world.

In part I explore the heightened experience of metaphorical exchange through the utilization of multimedia. The starting point is the expansion of visual enhancement in electroacoustic compositions due to the widespread availability of projection in concert halls and the multimedia expectations created through 21st-century Western culture. With the use of visual representation comes the potential to map musical ideas onto visual signs, creating another level of cognition. The subsequent unfolding of visual signifiers offers a direct visual complement and subsequent interaction to the unfolding of aural themes in electroacoustic compositions. The paper surveys the current research surrounding metaphorical thematic recognition in electroacoustic works whose transformational processes might be unfamiliar, and which in turn create fertile ground for the negotiation of meaning. The interaction of media and the differences created among the various signs within the music and the visual art create a heightened concert experience that is familiar to and in many ways expected by contemporary listeners.

Composers such as Jaroslaw Kapuscinski have sought to use multimedia as a means to enhance the concert experience, giving movement to the acousmatic presence in their electroacoustic works. In turn, these works create a concert experience that is more familiar to the 21st-century audience. Through examining Kapuscinski's recent work, Oli's Dream, in light of cognitive research by Zbikowski (1998 & 2002), topic theory by Agawu (1991 & 2009), and multimedia research by Cook (1998), I propose a theory for analyzing contrapuntal meaning in multimedia concert works.

The themes explored in Part I, regarding the use of metaphor to interpret both visual and aural stimuli, ultimately creating a metaphor for a reality never fully grasped due to the limits of human understanding, are further explored artistically in the multimedia concert work, Musica Speculativa. The medieval philosophy of Musica Speculativa suggests that music as it is understood today (musica instrumentalis) is the only tangible form of the metaphysical music ruling human interactions (musica humana) and ordering the cosmos (musica mundana). I found the concept of Musica Speculativa to be a fitting metaphor for how music and art allude to our own perception of reality and our place within that world. The project as a whole re-examines the concept of Musica Speculativa in light of our current technological landscape to gain a deeper understanding of how we interact with the world around us.

9

Pantelidis, Christopher. "Understanding Reification in the Composition of New Concert Music." Thesis, Luleå tekniska universitet, Institutionen för ekonomi, teknik, konst och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-85346.

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This thesis explores the relationships that exist between reification, the conceptualisation of music, and the composition of new concert music. In general terms, reification can be described as the mental process of conceiving abstract concepts as tangible and concrete things. The problem of reification in the conceptualisation of musical works is one that exists between a rock and a hard place: we rely on something like reification in order to gain any sense of meaning from our experiences of the abstract aspects of musical works, but treating the reified understanding of these aspects as if they are what makes musical works meaningful ignores the emergent and transitory aspects of our interactions with musical works as being inherently meaningful in and of themselves. Through a variety of ethnographic, phenomenological and narrative methods, this thesis aims to challenge the long-held notions of meaning construction within the field of analytical aesthetics. It also aims provide a conceptual framework with which composers can use to practically study, collect data and analyse the conceptualisation of meaning in their compositions, as well as apply this understanding to audiences’ conceptualisation of meaning in musical works. The results of this thesis project culminate in the creation and presentation of three artistic outcomes: a new and original work for chamber ensemble, and two audio papers that explore the synthesis of interview responses and recordings of musical works within the framework of an audio-based discourse. Semi-structured interviews in the form of stimulated recall sessions were conducted as a means of obtaining data from participants about their interpretation of meaning in musical works. The use of metaphors as a conceptual framework with which to code and analyse data collected from these sessions allowed for the linguistic conceptualisation of musical meaning that avoided the theory construction and analytical aesthetic tendencies of modern music philosophy. This conceptual framework was also applied in the coding and analysis of a compositional perspective of the new work in order to compare and contrast the similarities and differences between composers and audiences in their interpretations of musical meaning. While this thesis does not purport to offer a “theory” for the conceptualisation of meaning in musical works (such an exercise is both impossible and pointless), the findings presented in the analysis of the new composition and audio papers allows for a conceptual framework that takes into account the everyday use of language in communicating the experiences of composers and audience members in their conceptualisation of meaning in musical works.
10

Olivier, Ryan. "Musica Speculativa: An Exploration of the Multimedia Concert Experience through Theory and Practice." Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/329943.

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Анотація:
Music Composition
D.M.A.
Musica Speculativa is a final project in two parts in which I explore, through both theory and practice, the role of metaphors in our understanding of reality with special attention given to the use of visual representation in multimedia concert works that employ electroacoustics. Part I, entitled, "Imaginary Cognition: Interpreting the Topoi of Intermedia Electroacoustic Concert Works," explores how metaphors play a core role in our musical experience and how aural metaphors can be enhanced by and ultimately interact with visual metaphors to create a contrapuntal intermedia experience. Part II, "Musica Speculativa: A Multimedia Concert in Five Movements and Three Intermezzi," for mezzo-soprano, flute, B-flat bass clarinet, violin, cello, piano, a percussionist performing an array of lightning bottles, a dancer with a gesture-sensing wand, and a technologist operating interactive audio and video processing, focuses on the medieval philosophy of Musica Speculativa and how it relates to our current understanding of the world. In part I explore the heightened experience of metaphorical exchange through the utilization of multimedia. The starting point is the expansion of visual enhancement in electroacoustic compositions due to the widespread availability of projection in concert halls and the multimedia expectations created through 21st-century Western culture. With the use of visual representation comes the potential to map musical ideas onto visual signs, creating another level of cognition. The subsequent unfolding of visual signifiers offers a direct visual complement and subsequent interaction to the unfolding of aural themes in electroacoustic compositions. The paper surveys the current research surrounding metaphorical thematic recognition in electroacoustic works whose transformational processes might be unfamiliar, and which in turn create fertile ground for the negotiation of meaning. The interaction of media and the differences created among the various signs within the music and the visual art create a heightened concert experience that is familiar to and in many ways expected by contemporary listeners. Composers such as Jaroslaw Kapuscinski have sought to use multimedia as a means to enhance the concert experience, giving movement to the acousmatic presence in their electroacoustic works. In turn, these works create a concert experience that is more familiar to the 21st-century audience. Through examining Kapuscinski's recent work, Oli's Dream, in light of cognitive research by Zbikowski (1998 & 2002), topic theory by Agawu (1991 & 2009), and multimedia research by Cook (1998), I propose a theory for analyzing contrapuntal meaning in multimedia concert works. The themes explored in Part I, regarding the use of metaphor to interpret both visual and aural stimuli, ultimately creating a metaphor for a reality never fully grasped due to the limits of human understanding, are further explored artistically in the multimedia concert work, Musica Speculativa. The medieval philosophy of Musica Speculativa suggests that music as it is understood today (musica instrumentalis) is the only tangible form of the metaphysical music ruling human interactions (musica humana) and ordering the cosmos (musica mundana). I found the concept of Musica Speculativa to be a fitting metaphor for how music and art allude to our own perception of reality and our place within that world. The project as a whole re-examines the concept of Musica Speculativa in light of our current technological landscape to gain a deeper understanding of how we interact with the world around us.
Temple University--Theses
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Книги з теми "Concert Works":

1

Field, John. Concert works and miniatures: Supplement. New York: Maestro Scope Publications, 1990.

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2

Jarre, Jean-Michel. Concert d'images. [Paris]: Paris Audiovisuel, 1989.

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3

Murphy, Thomas. The Gigli concert. London: Metheun Drama, 1991.

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4

Morton, Arthur. Monday Evening Concerts 1954-1971: The Lawrence Morton years : composers and works played, conductors & performing artists. Los Angeles: Arthur and Herbert Morton for the Lawrence Morton Fund, 1993.

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5

Kessler, Milton. Free concert: New and selected poems. Silver Spring, MD: Etruscan Press, 2003.

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6

Kessler, Milton. Free concert: New and selected poems. Silver Spring, MD: Etruscan Press, 2002.

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7

Hillmore, Peter. Live Aid: World wide concert book. Parsippany, N.J: Unicorn Publishing House, 1985.

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8

Hillmore, Peter. Live Aid: World wide concert book. Parsippany, N.J: Unicorn Publishing House, 1985.

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9

Aster, Misha. Berlin Philharmonic: Concert programs and posters, 1882-2006. Oakville, Ont: Mosaic Press, 2007.

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10

various. Steven Isserlis's Cello World: 10 Concert Works for Cello and Piano. London: Faber Music, 1999.

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Частини книг з теми "Concert Works":

1

Roust, Colin. "The concert works of Georges Auric, 1945 to 1983." In Double Lives, 20–29. London ; New York : Routledge, 2019. | Series: Routledge research in music: Routledge, 2019. http://dx.doi.org/10.4324/9780429019319-3.

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2

O’Toole, Anita Werner, and Sheila Rouslin Welt. "Process and Concept of Learning." In Hildegard E. Peplau, Selected Works, 348–52. London: Macmillan Education UK, 1994. http://dx.doi.org/10.1007/978-1-349-13441-0_23.

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3

Basu, D. "The Concept of Asymptotic Efficiency." In Selected Works of Debabrata Basu, 65–68. New York, NY: Springer New York, 2010. http://dx.doi.org/10.1007/978-1-4419-5825-9_15.

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4

Takagi, Teiji. "On the concept of numbers." In Springer Collected Works in Mathematics, 271–340. Tokyo: Springer Japan, 1990. http://dx.doi.org/10.1007/978-4-431-54995-6_28.

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5

Adams, Robert. "Concept of Empowerment." In Social Work and Empowerment, 1–24. London: Macmillan Education UK, 1996. http://dx.doi.org/10.1007/978-1-349-14033-6_1.

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Bolland, Eric, and Carlos Lopes. "The Concept of Generations." In Generations and Work, 29–59. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137348227_2.

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Holtz, Herman. "The Work-Station Concept." In Computer Work Stations, 1–5. Boston, MA: Springer US, 1985. http://dx.doi.org/10.1007/978-1-4613-2537-6_1.

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Rakova, Marina. "Words and Concepts." In The Extent of the Literal, 105–8. London: Palgrave Macmillan UK, 2003. http://dx.doi.org/10.1057/9780230512801_7.

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DeRose, Steven J., and David G. Durand. "Hypermedia Concepts." In Making Hypermedia Work, 13–33. Boston, MA: Springer US, 1994. http://dx.doi.org/10.1007/978-1-4615-2754-1_2.

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Bhat, Naveen Chandran. "Ancient concepts." In Indian Social Work, 107–17. New York : Routledge, 2020.: Routledge India, 2020. http://dx.doi.org/10.4324/9780429321818-10.

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Тези доповідей конференцій з теми "Concert Works":

1

Chmielewski, Ryszard, and Leopold Kruszka. "Design errors and performance defects as causes of the risk for a collapse of the ceiling of the concert hall." In The 13th international scientific conference “Modern Building Materials, Structures and Techniques”. Vilnius Gediminas Technical University, 2019. http://dx.doi.org/10.3846/mbmst.2019.123.

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The issue presented concerns the proper assessment of a ceiling underneath a modernised concert hall in a historic building as a case study. The reason for a reconstruction was to replace a wood block floor with stone slab floor made of marble. Shortly after the construction works, cracks which appeared, made the floor unsuitable for further use. In order to determine the cause of the damage, a detailed analysis of a state of the construction was performed within the technical diagnostics. The first element that was inspected was the way the cracks were distributed. This layout was typical for overloading of ceiling. It was assumed that the thickness of the concrete overlay of the Ackerman floor was 9 cm. In order to verify the actual layout of the floor layers, five different opencast works were taken from the top level of the floor cavity blocks. The actual layout of the uncovered parts differed from both the assumptions that were made and the new design. The arrangement of the floor layers that differed from the design documents, caused the overloading of the supporting structure of the Ackerman floor. Additionally, an incorrect design assumption has overlapped.
2

Felli, Marco, and Antonello Incerto. "Recovering of an identity: restoration works of the Orsini-Colonna castle in Avezzano, Italy." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11482.

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The Orsini Colonna castle of Avezzano represents one of the most important historic buildings in the internal area of Abruzzo. Founded at the end of the fifteenth century, on the rests of an older structure, with continuing modification till the sixteenth century, the building had several damages with the earthquake of January thirteenth 1915, which destroyed the entire city Avezzano and the neighborhood, causing more than 30000 victims. After the quake event, the efforts and the works for the preservation didn’t have the time to start, because of the beginning of the world wars; in particular, the castle suffered more damages with the three different bombardments on the city in 1943 and 1944. The first works of recovering and restoration were achieved in 1964 by the Genio Civile of Avezzano, the corps of engineers, with the direction of Tommaso Orlandi; in this intervention, the building had been interested by the recovering of the structures, with the reconstruction of the perimeter walls, also with the purpose of avoiding deterioration and the complete abandonment. The second works were conducted by the architect Alessandro Del Bufalo, who designed the restoration of the entire building, inserting an internal concert hall in the courtyard with a new structure in steel and glass, recovering the castle basement under the towers, and creating a modern art gallery museum in the second level. The works finished in 1994. This paper aims to redefine the historical development of the building, focusing in particular on the restoration interventions of the last century, and their different methods in the efforts of preservation, which approached to the preservation and reconstruction of the building in different ways.
3

Reichwald, Siegwart. "Die Leiden der jungen Clara: Das Klaviertrio Opus 17 als Ausdruck einer Neu-Romantikerin." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.69.

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Two reasons precipitated the move of the Schumanns to Dresden: Robert Schumann’s health and the reconciliation with Clara Schumann’s father. Yet Dresden quickly turned into disappointment: Robert’s mental condition worsened, relations with her father deteriorated. Burdened with familial responsibilities and no time for concert tours, Clara found expression in her most ambitious and melancholic composition, creating one of the most individualistic and innovative chamber works of her generation. Central to this narratological reading is the composer’s use of the Clara theme (diatonically descending fifth) and its many derivatives throughout the work. Substantial revisions found in the autograph (RSH 12897-A1) present obvious clues about overarching thematic and harmonic strategies and early reviews emphasizing the composer’s individualistic voice offer further hermeneutic insights. To express her disappointing Dresden experience defiantly, Clara explored the possibilities of thematic integration among all four movements as well as a super-imposed sonata form design across the whole work.
4

Lehmann, Christian. "Tempobezeichnungen von Julius Stockhausen für Die schöne Müllerin: Ein Quellenfund." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.61.

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Julius Stockhausen (1826–1906) is known as the first singer who performed Schubert’s Die schöne Müllerin as a whole cycle in a public concert. A celebrated lieder singer, friend of Brahms, author of pedagogical works, and most prominent German singing teacher of his time, Stockhausen’s influence on lieder singing cannot be overestimated. Recently a manuscript with “Tempo indications for Die schöne Müllerin by Julius Stockhausen” has been found. The document, containing tempo suggestions for every single lied of the song cycle, was written down by the German singing professor Clara Klatte (1867–1945). Some of the suggested tempi are surprisingly fast. In this article the authenticity of the document is discussed under several aspects. The Klatte-Stockhausen document is published here for the first time.
5

Day, Steven W., James C. McDaniel, Phillip P. Lemire, and Houston G. Wood. "Measurements of Mean Velocity and Turbulent Statistics in a Centrifugal Blood Pump." In ASME 2002 International Mechanical Engineering Congress and Exposition. ASMEDC, 2002. http://dx.doi.org/10.1115/imece2002-32517.

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An estimated 150,000 patients in the Western World require heart transplantation every year, while only 4,000 (2.5%) of them actually receive a donor heart [1]. This lack of available donors for heart transplantation has led to a large effort since the 1960s to develop an artificial mechanical heart as an alternative to heart transplant. Most end stage cardiac failures result from cardiac disease or tissue damage of the left ventricle. After this failure, the ventricle is not strong enough to deliver an adequate supply of oxygen to critical organs. A left ventricular assist device (LVAD) is a mechanical pump that does not replace the native heart, but rather works in concert with it. An LVAD can effectively relieve some strain from a native heart, which has been weakened by disease or damage, and increase blood flow supplied to the body to maintain normal physiologic function. The inlet to the LVAD is attached to the native left ventricle, and the output of the assist pump rejoins the output of the native heart at the aorta, as shown in Figure 1. Blood flow from both the aortic valve and the assist pump combine and flow through the body. The clinical effectiveness of LVADs has been demonstrated; however, all of the currently available pumps have a limited life because of either the damage that they cause to blood or their limited mechanical design life.
6

Kim, Mi-Ran, and Su-Jeong Han. "A Study on the Relationship among Health Concern, Environment Concern and Pro-environmental Behavior in Women’s College Students." In 10th International Workshop Series Convergence Works. Global Vision School Publication, 2016. http://dx.doi.org/10.21742/asehl.2016.8.01.

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7

Clayton, Chris, Chan Joshi, Wim Leemans, Ken Marsh, and Ron Williams. "Beat wave development work." In Advanced accelerator concepts. AIP, 1989. http://dx.doi.org/10.1063/1.38744.

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8

Ferro, Maria Chiara. "Church Slavonic words имарменя (имаръмения), фатунъ и фортунa (фуртуна) in Maksim the Greek’s works". У Tenth Rome Cyril-Methodian Readings. Indrik, 2020. http://dx.doi.org/10.31168/91674-576-4.35.

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The report raises the question about the peculiarities of the individual intellectual vocabulary in the works of Maxim the Greek. The object of this study is the use by the author of some words that convey the concept of “fate”, in particular three borrowings from the Greek and Latin languages, i.e. the ChurchSlavonic lemmas имарменя(имаръмения), фатунъифортунa (фуртуна). Special attention is paid to the comparison of Maksim the Greek’s usage of individual words and their functioning in examples taken from the historical section of the National Corpus of the Russian language in order to identify the charac-teristics of the lexical preferences of the author.
9

Guy, Elizabeth S. ""...real, concrete facts about what works..."." In the 2005 international ACM SIGGROUP conference. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1099203.1099219.

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Ayrapetyan, Mamicon. "SYNTHETIC CONCEPT OF CYCLICAL DEVELOPMENT." In Theory and Practice of Institutional Reforms in Russia [Text]: Collection of Scientific Works. CEMI RAS, 2019. http://dx.doi.org/10.33276/978-5-8211-0781-7-72-79.

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Звіти організацій з теми "Concert Works":

1

Sharp, Jeremy, Locke Williams, Duncan Bryant, Jake Allgeier, Kevin Pigg, Gary Bell, and Dana Moses. Rough River Outlet Works physical model study. Engineer Research and Development Center (U.S.), June 2021. http://dx.doi.org/10.21079/11681/41043.

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The US Army Corps of Engineers, Louisville District, requested the support and assistance of the US Army Engineer Research and Development Center, Coastal and Hydraulics Laboratory (CHL), in the evaluation of the hydraulic performance of the replacement Outlet Works for Rough River Dam. To support the design effort, CHL constructed a 1:25.85 scale physical model. The proposed features of the model in the domain are the curved approach channel, intake structure, transition, curved conduit, stilling basin, concrete apron, and retreat channel. Tests performed to evaluate the hydraulic performance illuminated a few design concerns. To address these issues, several key design changes were made. These included the retreat channel slope, end sill design, and transition design.
2

Pedro, Jose O. Repair Works for Uplift and Seepage control in Existing Concrete Dams. Fort Belvoir, VA: Defense Technical Information Center, October 1987. http://dx.doi.org/10.21236/ada191385.

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3

Hoff, George C. Guide for the Use of Low-Density Concrete in Civil Works Projects. Fort Belvoir, VA: Defense Technical Information Center, August 2002. http://dx.doi.org/10.21236/ada406634.

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4

Washington TRU Solutions LLC. WIPP Facility Work Plan for Solid Waste Management Units and Areas of Concern. Office of Scientific and Technical Information (OSTI), March 2002. http://dx.doi.org/10.2172/925556.

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5

Washington TRU Solutions LLC. WIPP Facility Work Plan for Solid Waste Management Units and Areas of Concern. Office of Scientific and Technical Information (OSTI), March 2002. http://dx.doi.org/10.2172/925557.

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6

Felipe, Jesus, Scott Fullwiler, Gemma Estrada, Maria Hanna Jaber, Mary Ann Magadia, and Remrick Patagan. How “Monetization” Really Works—Examples from Nations’ Policy Responses to COVID-19. Asian Development Bank, December 2020. http://dx.doi.org/10.22617/wps200368-2.

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The coronavirus disease (COVID-19) has forced governments to provide stimulus packages amid falling tax revenues, prompting debate on “monetization” of government debt. Drawing on selected country experiences, this paper shows through actual central bank operations and accounting that “monetization,” commonly equated with “printing money,” is operationally impossible and that inflationary concerns are misplaced.
7

Buckstad, Robert D. Armored Family of Vehicles (AFV) Concept Exploration Definition (CE) automation-Communication Work Plan (ACWP). Fort Belvoir, VA: Defense Technical Information Center, August 1988. http://dx.doi.org/10.21236/ada199362.

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8

Hugo, Jacques. Work Domain Analysis Methodology for Development of Operational Concepts for Advanced Reactors. Office of Scientific and Technical Information (OSTI), May 2015. http://dx.doi.org/10.2172/1179386.

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9

Chornodon, Myroslava. FEAUTURES OF GENDER IN MODERN MASS MEDIA. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11064.

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The article clarifies of gender identity stereotypes in modern media. The main gender stereotypes covered in modern mass media are analyzed and refuted. The model of gender relations in the media is reflected mainly in the stereotypical images of men and woman. The features of the use of gender concepts in modern periodicals for women and men were determined. The most frequently used derivatives of these macroconcepts were identified and analyzed in detail. It has been found that publications for women and men are full of various gender concepts that are used in different contexts. Ingeneral, theanalysisofthe concept-maximums and concept-minimum gender and their characteristics is carried out in the context of gender stereotypes that have been forme dand function in the society, system atizing the a ctual presentations. The study of the gender concept is relevant because it reveals new trends and features of modern gender images. Taking into account the special features of gender-labeled periodicals in general and the practical absence of comprehensive scientific studies of the gender concept in particular, there is a need to supplement Ukrainian science with this topic. Gender psychology, which is served by methods of various sciences, primarily sociological, pedagogical, linguistic, psychological, socio-psychological. Let us pay attention to linguistic and psycholinguistic methods in gender studies. Linguistic methods complement intelligence research tasks, associated with speech, word and text. Psycholinguistic methods used in gender psychology (semantic differential, semantic integral, semantic analysis of words and texts), aimed at studying speech messages, specific mechanisms of origin and perception, functions of speech activity in society, studying the relationship between speech messages and gender properties participants in the communication, to analyze the linguistic development in connection with the general development of the individual. Nowhere in gender practice there is the whole arsenal of psychological methods that allow you to explore psychological peculiarities of a person like observation, experiments, questionnaires, interviews, testing, modeling, etc. The methods of psychological self-diagnostics include: the gender aspect of the own socio-psychological portrait, a gender biography as a variant of the biographical method, aimed at the reconstruction of individual social experience. In the process of writing a gender autobiography, a person can understand the characteristics of his gender identity, as well as ways and means of their formation. Socio-psychological methods of studying gender include the study of socially constructed women’s and men’s roles, relationships and identities, sexual characteristics, psychological characteristics, etc. The use of gender indicators and gender approaches as a means of socio-psychological and sociological analysis broadens the subject boundaries of these disciplines and makes them the subject of study within these disciplines. And also, in the article a combination of concrete-historical, structural-typological, system-functional methods is implemented. Descriptive and comparative methods, method of typology, modeling are used. Also used is a method of content analysis for the study of gender content of modern gender-stamped journals. It was he who allowed quantitatively to identify and explore the features of the gender concept in the pages of periodicals for women and men. A combination of historical, structural-typological, system-functional methods is also implemented in the article. Descriptive and comparative methods, method of typology, modeling are used. A method of content analysis for the study of gender content of modern gender-labeled journals is also used. It allowed to identify and explore the features of the gender concept quantitatively in the periodicals for women and men. The conceptual perception and interpretation of the gender concept «woman», which is highlighted in the modern gender-labeled press in Ukraine, requires the elaboration of the polyfunctionality of gender interpretations, the comprehension of the metaphorical perception of this image and its role and purpose in society. A gendered approach to researching the gender content of contemporary periodicals for women and men. Conceptual analysis of contemporary gender-stamped publications within the gender conceptual sphere allows to identify and correlate the meta-gender and gender concepts that appear in society.
10

Naves, Claudia, David Amorim, David Geisler-Moroder, Thorbjörn Laike, Justyna Martyniuk-Peczek, Barbara Szybinska Matusiak, Wilfried Pohl, and Natalia Sokol. Literature review of user needs, toward user requirements. Edited by Barbara Szybinska Matusiak. IEA SHC Task 61, September 2020. http://dx.doi.org/10.18777/ieashc-task61-2020-0001.

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This report has been developed in the frame of the IEA SHC Task 61 Subtask A “User requirements”. The main objective was to rethink and reformulate user requirements to lighting (daylighting and electric lighting) in public buildings on the basis of a thorough literature study. The work is a joint effort of a number of scientists and represents collective knowledge in this topic. The concept of Lighting quality is the one, among many lighting concepts, which expresses the user perspective best. Lighting quality is the important goal of lighting designers and planners; however, it is difficult to define and to measure.

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