Relevant bibliographies by topics / Prelued

Academic literature on the topic 'Prelued'

Author: Grafiati
Published: 11 March 2023

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Journal articles on the topic "Prelued"

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Carvalho, Larissa Paggioli de. "Bach's Well-Tempered Clavier: Pedagogical Approaches and the Different Styles of Preludes." Per Musi, no. 33 (April 2016): 97–115. http://dx.doi.org/10.1590/permusi20163305.

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Abstract: The present article discusses pedagogical aspects aiming to contribute to teaching and learning Bach's Preludes of the Well-Tempered Clavier. Section one presents a review of the prelude as a musical genre and the different styles that influenced the Well-Tempered Clavier Preludes. Then, there is an analysis of selected preludes that will exemplify the variety of styles found in this work of Bach.
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Dragomirescu, Daniel. "Stylistic-Interpretative Statistics of The Creation for Guitar Solo (Preludes no. 1-5) by Heitor Villa Lobos." Review of Artistic Education 17, no. 1 (March 1, 2019): 141–58. http://dx.doi.org/10.2478/rae-2019-0016.

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Abstract In the past, more precisely in the Fifteenth and Sixteenth centuries, both pieces for keyboard instruments (organ or clavecin) and those for the guitar’s ancestor, the lute, were preceded by an introduction bearing the title of prelude. In the seventeenth century, this prelude was used as an introduction to some religious works, being synonymous to the preamble, as both were meant to prepare the atmosphere and tone of a musical piece. Johann Sebastian Bach played a decisive role in the evolution of the prelude, using it as the first part of the preclassic instrumental suite, with the intention of setting the unique tone, the tone in which the whole work will be performed. Later, in the 19th and 20th centuries, taking over the tradition of J.S.Bach, the composers will write cycle pieces for various instruments, which, through their rich, melodic, harmonic, rhythmic variety of form and genre, will enjoy success in the concert halls. Examples include the cycles of preludes of Frederich Chopin, Claude Debussy, Alexandr Skriabin, Serghey Rachmaninov, Mihail Jora, and others. Villa-Lobos preludes touch the audience’s sensitivity more directly than studies. Their appearance is an essential contribution to the guitar repertoire of the 20th century. In the small form, the author proved a brilliant sense of balance, intense feelings, great conceptual originality, making the most of the technical and sound resources of the instrument. These short compositions, always present in the repertory of all great guitarists, require our attention and admiration. Written shortly before 1940, in the original manuscript these preludes were six. Unfortunately, one of them, “the best of all” as the composer said, was lost. As regards this statement, John Duarte, in his work, the Preludes of Villa-Lobos. Some notes” considers this would have an ironic character. “Just like the Three Musketeers who were actually four, so the 5 Preludes were originally six”.143
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Moya, Liao. "Influence Of Preludes by G.Gershwin on Zhang Shuai's Composer’s Thinking." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(50) (March 18, 2021): 36–48. http://dx.doi.org/10.31318/2414-052x.1(50).2021.233103.

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The specifics of Zhang Shuai’s creative thinking are considered on the basis of drawing parallels between J. Gershwin’s Three Preludes and a similar cycle of Chinese composer’s Ppreludes according to the model and the ratio of ―Gershwin’s‖ and individual. It was found that Zhang Shuai’s creative thinking is manifested at the general compositional level, ie at the level of the cycle with the sequence ―fast — slow — fast‖ and the dominance of rhythmic energy in extreme preludes, and at the level of expressive melody and lyrical mood — in the central prelude. The ―Gershwin‖ influence on the specifics of Zhang Shuai’s creative thinking and on the stylistic level was revealed, in particular: the reliance on the model is manifested in the appeal to the jazz idiom, which affects the nature of rhythmic formulas, as well as harmony and order (combination of diatonic and chromatic structures, application of block chords, orientalism in the final prelude). If G. Gershwin’s creative thinking is characterized by the use of blues tones and chromatic moves, then Zhang Shuai’s creative thinking is characterized by a certain rationalism, due to the appropriate way of constructing new music according to the ―Gershwin‖ model. Analogies between the melodic and rhythmic formulas of the Second Preludes of J. Gershwin and Zhang Shuai, as well as analogies between the logic of the initial exposure of the elements of the theme — their First Preludes. It is proved that the most significant differences between the ―Gershwin‖ model and the music of Zhang Shuai appear at the level of ways of textural development of the material. G. Gershwin’s preludes usually contain two key layers of texture — melody and accompaniment, their texture is ―more graphic‖, more transparent, while in Zhang Shuai it is immediately condensed by a figurative undertone or an additional chord-rhythmic layer. Another difference is in the field of order, because Zhang Shuai has a desire to combine artificially symmetrical structures and the pentatonic basis of melody, which determines the stylistic originality of his music. Individual features of Zhang Shuai’s prelude interpretation as a sample of the pianist’s competitive repertoire are determined.
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Pierova, Maryna. "“CINQ PRELUDES FRAGILES” FOR PIANO BY A. LOURIÉ: THE ATTEMPT OF COMPOSITIONAL AND DRAMATURGICAL ANALYSIS." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (March 10, 2021): 53–64. http://dx.doi.org/10.34064/khnum1-58.04.

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Background. The article identifies the stylistic principles of composer’s thinking of A. Lourié on the basis of the “Cinq preludes fragiles” for piano op. 1. The musical science works of recent years, which include the articles by M. Gorodilova, L. Sitsky and D. Gojowy, deal with the problem of repressed Russian avant-garde. Objective. The purpose of the research is to reveal the specifics of individual composer style of A. Lourié on the basis of the “Cinq preludes fragiles” for piano op. 1. Methods. Achieving the goal of the research involves using the following methods: stylistic approach, genre approach and compositional approach. Results and Discussion. Exposition of the main material of the study includes the compositional, dramaturgical and stylistic analysis of the cycle, which is recognized as the first piece by A. Lourié. The analysis of the intonational dramaturgy of the cycle by A. Lourié is a necessary stage in the theoretical understanding of the composer’s artistic thinking and the stylistic features of his heritage. Prelude No. 1 (Lento, es-moll) is a kind of introduction to the holistic “plot” of the cycle, as it represents the world of the lyric hero. It can be assumed that this is the image of the Poet, which is characteristic of the romantic tradition. Prelude No. 2 (Calme, pas vite, es-moll) is also lyrical in nature, with a touch of melancholy, but more active and strong-willed. Prelude No. 3 (Tendre, pensif, B-dur) is the lyric center of the cycle. This is a musical pastoral. In this prelude, various psychological modes are combined: the union of man and nature (contemplation), the thoughts of a man alone with himself (reflection), an internal conversation with the creator (prayer). Prelude No. 4 (Affabile, F-dur) is recognized as a bright intermezzo. The miniature is imbued with states of exultation, delight, joy of being. The general mood of the prelude is supported by the author’s remark “joyeux, capricieusement” (“fun, capriciously”) and corresponds to the intermezzo compositional function. The character of Prelude No. 5 (Modéré, gis-moll) is melancholic and detached. This miniature is very close to the Prelude No. 1, with which it creates an arch of images of the dialectic of the protagonist’s soul. It seems that the hero had lost his life goals again. The dramaturgical author’s intention is realized as follows: Preludes No. 1 and No. 2 represent a double exposure, which reveals the figurative dichotomy of «melancholia – activity» as two hypostases of a lyrical hero; Prelude No. 3 shows the picture of nature and a man’s attitude to it; Prelude No. 4 is the bright culmination of the image of a dream; in Prelude No. 5, a lyrical hero returns to reality. The results of the research support the idea that the main features of A. Lourié’s individual compositional style are the semantics of “fragility”, the principle of thematic concentration and miniaturism of intellection. The semantics of “fragility” is manifested in the poetic aura of the symbolism of the “silver age”, which represented an idea of beauty as the ultimate, vanishing state. The principle of thematic concentration is manifested in the saturation of events in a unit of musical time. The miniaturism of thinking is the ability to model and reflect global ideas of human life in the performing process in a chamber chronotope. Conclusion. In the article the unity of the content and form-building levels of the cycle “Cinq preludes fragiles” for piano op. 1 is revealed. The refraction of the romantic tradition of interpreting the piano in the works of A. Lourié was studied. The role of the miniature genre in the context of the composer’s piano heritage is described. The specificity of metro-rhythm, harmonic and intonational semantics of A. Lourié’s piano works is revealed. The prospects for further researches include the necessity of in-depth study of composer heritage of A. Lourié.
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Daugulis, Ēvalds. "Preludes and Fugues op. 82 by Nikolai Kapustin." Musicological Annual 56, no. 1 (June 30, 2020): 133–47. http://dx.doi.org/10.4312/mz.56.1.133-147.

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The early 20th century witnessed growing interest in the Baroque polyphony genres: prelude and fugue in jazz. Preludes and fugues op. 82 (1997) by the Russian composer Nikolai Kapustin are particularly interesting. The way he integrates the expression of classical music and the specificity of jazz music is very original.
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Nikolenko, R. "The specifics of composer’s interpretation of the genre of prelude in Samuil Feinberg’s creativity." Culture of Ukraine, no. 74 (December 20, 2021): 55–60. http://dx.doi.org/10.31516/2410-5325.074.09.

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The aim of the article is to determine the specifics of the composer’s embodiment of the prelude genre in the works of S. Feinberg on the example of two cycles “Four preludes” op. 8 and “Three Preludes” op. 15. The methodology is based on an integrated approach and includes analytical, comparative, as well as structural-functional and genre-style methods. The results are based on the identification of features of the composer’s interpretation of the piano prelude genre in the works of S. Feinberg. Due to the current trend towards the discovery of rarely-performed music, there is a growing interest in the works of S. Feinberg, whose compositional heritage is still poorly known by a wide range of performers and scientists. Some of his works, which are of undoubted artistic value, remain out of the field of view of researchers. This remark is especially appropriate in relation to the genre of prelude in the artist’s legacy, which is represented by two cycles of “Four preludes” op. 8 and “Three Preludes” op. 15. Despite the fact that the composer addressed him in the early period of his work, the originality of the composer’s writing style is clearly manifested in this genre. In the context of the relationship between the compositional style of S. Feinberg and the Scriabin creative tradition, key points are identified that distinguish the manner of interpretation of this genre. It is noted that the originality of composer’s thinking is manifested at various levels of organization of a piece of music. Focusing on the Scriabin’s style of the second period of creativity, which manifests itself in laconic thematism and the absence of a pronounced сantilena, S. Feinberg reinterprets it in figurative, semantic and pianistic terms. The manner of musical utterance of S. Feinberg is marked by greater emotional tension and expression. The composer uses a richer texture, which presents a wide variety of types of small and large piano techniques, with the latter prevailing. It applies elements of polyphonic development. Thanks to this approach to the textured solution, the virtuoso component is even more pronounced in preludes. The scientific novelty of the results obtained lies in the fact that for the first time in Ukrainian musicology, an attempt was made to comprehend the features of the interpretation of the piano prelude genre in the works of S. Feinberg, as well as to trace the features of the creative reinterpretation of the Scriabin composer tradition in the early period of S. Feinberg’s work. The practical significance of the study lies in the possibility of using its results in higher educational institutions of art education when working on the works of S. Feinberg in the class of special piano, as well as to deepen ideas about the specifics of the composer’s style of this artist.
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Kopeliuk, Oleh. "THE “24 PRELUDES” FOR THE PIANO BY IVAN KARABYTS AS AN ENCYCLOPAEDIA OF THE UKRAINIAN RENAISSANCE OF THE 1970S." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (March 10, 2021): 65–95. http://dx.doi.org/10.34064/khnum1-58.05.

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Background. The research is devoted to revealing the semantic analysis of the dramaturgy of one of the large-scale compositions in the creative work of IvanKarabyts – the cycle “24 Preludes” for the piano. The composition was written by Ivan Karabyts in 1976 and today it is of great interest to concert performers and fans of modern piano music. The attention of pianists to the cycle “24 Preludes” by I. Karabyts is attracted, firstly, by the distinctive, original musical language, secondly – by a wide range of performing capabilities and means of expression, and thirdly – by vivid images that inspire pianists to reproduce artistic ideas, hidden philosophical implications. The object of research is the cycle “24 preludes” for the piano as a musical encyclopaedia, reflecting the artistic era in the context of the Ukrainian renaissance of tthe 1970s, and the aim is to identify stylistic patterns by means of the semantic analysis of the dramaturgy of the cycle, finding the intersection in a kind of dialogue with a diverse, significant fund of the music of the 20th century. The methodology of research is focused on the relationship of special methods of analysis: functional-structural, intonation, genre, style, semantic and interpretative one. Results. Ivan Karabyts chooses for his cycle a model of tonal dramaturgy of the cycle “24 Preludes”, introduced by F. Chopin and later by D. Shostakovich, namely – the movement along the circle of fifths in the ratio of major-minor. From the point of view of musical semantics of the preludes of the cycle they can be divided into 5 thematic groups (contemplative and introspective lyrics; grotesque and dance; sound imitation and spatial-visual; stylistic allusions; and tragedy ones), varied in genre-stylistic sense (according to the criteria of modelling the awareness of the lyrical hero (I – the world around me.) The dramaturgy of the cycle is built through their correlation, while forming a certain plot, which begins with the image of the lyrical hero, and ends with a demonstration of the society which is ambiguous and problematic for a human. The composer chooses the prelude as a genre with a historical memory of culture, which allows performers and listeners to experience the range of psychological moments of the human spirit in the turbulent world of events of the last third of the 20th century. The composer is fascinated by this genre not by chance, because the prelude allows reflecting in miniature numerous states of “fixed” moments of existence, the inner balance of the artist and the world. Each prelude in the cycle is a kind of creative laboratory, a field of creative experiments. It reflected both already developed and new methods and principles of the composer’s thinking. While performing one prelude after another as a whole composition, one realizes that this genre expresses the freedom of creativity, the element of existence: it is a fantasy, and a story of the heart, and the revelation of the spirit, and at the same time – bright genre sketches. Conclusions. The analysis of the musical semantics of I. Karabyts’s piano cycle “24 Preludes” testified to the presence of 5 genre-stylistic groups in the cycle (according to the criterion of the dual world notion “psychology I – the world around”). Thus, the genre-semantic analysis of the piano cycle “24 Preludes” has shown that I. Karabyts does not lose touch with history and time, by paying tribute to the masters of the 18th–20th centuries, continuing to develop the type of tonal dramaturgy, laid down by J. S. Bach. In the cycle there is a special “counterpoint” of the “blues” stylistic. The dramaturgy of the cycle has a detailed plot, which begins with the image of the lyrical hero, and ends with a demonstration of the society ambiguous and problematic for a human (“I – World”). The dramaturgy of the romantic dual world turns into a harmony of the modern world with multiple images, echoes of time and inner drama. The genre semantics and its analysis allow the performer to comprehend the large-scale cycle as an artistic picture of the world, and its stylistic unity – as a spiritual universe which belongs to the Ukrainian art of the 21st century.
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Хатипова, Инна. "ПРЕЛЮДИИ ДЛЯ ФОРТЕПИАНО КОМПОЗИТОРОВ РЕСПУБЛИКИ МОЛДОВА В РЕПЕРТУАРЕ СТУДЕНТОВ-ПИАНИСТОВ АКАДЕМИИ МУЗЫКИ, ТЕАТРА И ИЗОБРАЗИТЕЛЬНЫХ ИСКУССТВ." Педагогічні науки: теорія, історія, інноваційні технології, no. 5-6(99-100) (August 31, 2020): 281–92. http://dx.doi.org/10.24139/2312-5993/2020.05-06/281-292.

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In the present article the author presents a review of piano preludes written by Moldovan composers in the second half of 20th century which are frequently studied at the Academy of Music, Theatre and Fine Arts of the Republic of Moldova. The author seeks to characterize their imagery, musical language means and technical difficulties that can be encountered by young performers. The works analyzed are approved in the author's teaching practice. The preludes were written by Gheorghe Neaga, Vladimir Rotaru, Semion Lungul, Constantin Rusnac, Alexei and Marian Stârcea, Vitaly Sechkin. Some information about these miniatures can be found in research by musicologists E. Kletinich, A. Miroshnikova, E. Gupalova. A detailed analysis from a performer's standpoint presented in the article is made for the first time. The piano pieces indicated above are diverse. The two preludes by A. Stârcea contrast with one another: one has a lyrical character, whereas the other one differs in its drama and flustered character. The piece by Gh. Neaga bears the traces of impressionist music. C. Rusnac’s and V. Rotaru’s creations are composed using Moldovan doina stylistics, and S. Lungul’s lyrical miniature is nationally neutral. In the two preludes by M. Stârcea, modern musical language means are used, and sharp rhythms and dissonant harmonies abound. The article also presents five preludes-pictures by Vitaly Sechkin, a Ukrainian composer who spent his last period of life in Moldova. Inspired by Moldovan vivid landscapes, they differ in their imagery and tempo. Nonetheless, each of the miniatures has its own individual appearance and peculiarities of style. All the works reviewed are distinguished by bright themes and original music language. They represent a substantial enrichment of national piano repertoire and are a striking contribution of autochthonous authors to the development of the prelude genre in the world’s piano music.
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HAN, ZHANG. "Unique features of the performing style of Ivan Karabyts 24 preludes for piano." CONTEMPORARY ART, no. 18 (November 29, 2022): 277–84. http://dx.doi.org/10.31500/2309-8813.18.2022.269743.

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The article attempts to understand the legacy of Ivan Karabyts from the perspective of modern piano performance, in particular his landmark work 24 Preludes for the Piano with comprehensive analyses of the composer’s creative method, specifics of the artist’s stylistic decisions in the field of piano music, interpretive analysis of the piano cycle 24 Preludes…, which will uncover a wide field for the stage performance of this work and its role in the establishment of the distinctive performance style of Karabyts’ works. That is why cycle 24 Preludes for Piano by Karabyts paints a wide visual and sonic world, which is quite difficult for a pianist to implement. The creative and individualized approach of the pianist should absorb a wide range of figurative and content saturation, often sharply contrasting. For the performer, it remains important to implement the author’s concept of the series’ pieces by focusing on three fundamental artistic layers — folk-musical thinking and folklore genres, stylistic elements of the music of outstanding masters in a retrospective implementation, some features of those styles that exist and develop in parallel with the so-called serious music (jazz, pop music). In addition, the presence of such a diverse foundation determines not only the versatile coverage of the genre content open for the prelude but also the ramification of cross-semantic connections between the parts of the cycle
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Long, Christopher P. "Socrates and the Politics of Music: Preludes of the Republic." Polis: The Journal for Ancient Greek Political Thought 24, no. 1 (2007): 70–90. http://dx.doi.org/10.1163/20512996-90000108.

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At least since the appearance of Aristotle’s Politics, Plato’s Republic has been read as arguing for a politics of unity in which difference is understood as a threat to the polis. By focusing on the musical imagery of the Republic, and specifically on its compositional organization around three ‘preludes’, this essay seeks an understanding of Socratic politics that moves beyond the hypothesis of unity. In the first ‘prelude’, Thrasymachus and his insistence that justice is the self-interest of the stronger threatens to subject the harmony of the community to the tyrannical whims of the individual. In the second, the perfected justice of Adeimantus’s city threatens to destroy the erotic rhythm of difference that is the very condition for the possibility of the polis. It is only in the song of dialectic, which itself is called a ‘prelude’, that the tension between the rhythm of plurality and the rational homophony of unity is dynamically tuned in such a way that both the anarchic politics of self-interest and the totalitarian politics of rationalized oppression are equally muted. This conception of politics is embodied in the relationship that emerges between Glaucon and Socrates. Ultimately, the true political community is established here, between rational, erotic individuals seeking justice in concrete, living dialogue.
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Dissertations / Theses on the topic "Prelued"

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Pereira, Renata. "Flauta doce e a arte de preludiar: tradução comentada do tratado L\'Art de Preluder (1719) de Jacques Martin Hotteterre - Le Romain." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-27102010-141600/.

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Esta dissertação consiste na tradução comentada do tratado L\'Art de Preluder de Jacques Martin Hotteterre - Le Romain (1674-1763), publicado em Paris em 1719. Este trabalho teve como objetivo ampliar a literatura em língua portuguesa para a flauta doce, tornando-o acessível aos estudantes de música e principalmente aos instrumentistas de sopro que se preocupam com uma performance historicamente orientada. Para tanto, foram estudados termos importantes que circundam a Arte de Preludiar de Hotteterre de acordo com as fontes primárias, como os dicionários setecentistas de Furetière e Brossard, e fontes secundárias, como o dicionário de Benoit. A pesquisa de termos indicou a dimensão retórica de diversos conceitos utilizados no tratado, tais como arte, engenho, capricho, princípios, método etc. Além da pesquisa de elementos gerais pertencentes ao estilo barroco francês, uma biografia do instrumentista e compositor, a relação de suas obras e, ainda, o resgate do significado setecentista do gênero musical \"prelúdio\", são partes integrantes deste trabalho. Este trabalho mostra que a técnica de improvisação apresentada por Hotteterre é baseada em práticas francesas e italianas. Esse fato permitiu conhecer uma nova dimensão da influência italiana na música francesa do início do Setecentos.
This work is a commented translation of the treaty L\'Art de Preluder by Jacques Martin Hotteterre Le Romain (1674-1783), published in Paris in 1719. The purpose of this work is to extend the recorder references in Portuguese language, making it accessible to music students and wind musicians that care about historical performance. For that, all-important terms that were used in the treaty were studied with the primary sources, like Brossard and Furetières eighteenth dictionaries, and with secondary sources, like the Benoit Dictionary. This research of terms points to a rhetorical dimension of various terms used in the treated, like art, wit (ingenium), caprice, principles, method, etc. Beyond the research of French styles general elements, a musician composers biography, his works list, and so the eighteenth means of the prelude musical genre, are part of this work. The research points that Hotteterres improvisation technique is based in Italian and French practices. This fact allowed to know a new dimension of the Italian influence in the French early eighteenth century music.
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Aaku-Saraste, E. (Eeva). "A prelude to neurogenesis." Doctoral thesis, University of Oulu, 1999. http://urn.fi/urn:isbn:9514253655.

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Abstract All neurons and macroglial cells of vertebrates derive from the neuroepithelium. Neuroepithelial (NE) cells first proliferate and, after closure of the neural tube, some cells start generating neurons. It is still unclear what triggers differentiation but apparently there is interplay between extrinsic (secreted or transmembrane signals) and intrinsic factors. Diriving from the embryonic ectoderm, the NE cells inherit epithelial characteristics. It has been shown in other developmental systems that epithelial determinants, such as cell-cell contacts and contact to basal laminar components can guide differentiation. The key epithelial features include cell polarity, and tight junctions. We studied these in the NE at two developmental stages, the neural plate, a proliferative stage and the neural tube, a differentiative stage. The polarity of membrane proteins in NE cells was studied with polarly budding viruses. Mouse embryos were infected with Fowl plague- and vesicular stomatitis viruses and cultured in a whole embryo culture system. Viral envelope proteins (HA and G-protein) were localized by indirect immunofluorescence and immunoelectron microscopy. HA was polarized in the plate stage neuroepithelial cells, whereas in the tube it was not polarized anymore. It is also shown by penetrance of apically injected horseradish peroxidase that in the neural plate, NE cells have functional tight junctions. At this stage, they also express occludin, a transmembrane protein of tight junctions, as shown by indirect immunofluorescence. In the neural tube, the paracellular barrier is lost and there is no occludin expression. In contrast, expression of ZO-1, a cytoplasmic protein binding to occiudin, is upregulated. The downregulation of these epithelial features occurs in all NE cells, irrespective of their mode of division and before any neurons are generated in the NE. The change is initiated already at the plate stage and coincides with the switch from E- to N-cadherin. Later, with birth of neurons, the proliferative cell layer also looses contact to basal lamina. This is probably an important step in the regulation of neurogenesis. Furthermore, lack of apico-basolateral polarity of non-anchored membrane proteins may contribute to the mechanism of rapid neuron generation. Until now, it has been impossible to distinguish a neuroepithelial cell preparing for neuron generation from the surrounding cells that give rise to two precursor cells. In this study, the immediate neuron precursors are shown to express the antiproliferative gene TIS2 1. Using this new marker and ISH in serial sections, we show that the switch to differentiation is initiated in single NE cells.
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Williams, Evan Michael. "Prelude in Tempore Belli." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363527260.

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Strand, Kenneth Allan. "Big prelude : for orchestra /." Connect to title online (Scholars' Bank), 2009. http://hdl.handle.net/1794/9166.

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Strand, Kenneth Allan 1974. "Big Prelude for Orchestra." Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/9166.

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ix, 60 p. : music. A print copy of this title is available through the UO Libraries. Search the library catalog for the location and call number.
This thesis is a study in large-scale musical form and utilization of the Western symphony orchestra. It explores the problems of large-scale musical structure by employing symmetrical, yet radically contrasting sections held together by a framework of liberally interpreted classical forms (rondo and sonata in particular). Problems of orchestration have been resolved through consultation with experts, coursework and individual study, and the emulation of pre-existing masterworks.
Committee in Charge: Dr. David Crumb, Chair; Dr. Rob Kyr; Dr. Jack Boss
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Clark, John E. "The Chiefly Prelude to Mesoamerica." Pontificia Universidad Católica del Perú, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/113311.

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This article explores the beginnings of Mesoamerican civilization (meaning the origins of institutionalized, hereditary inequality, rank societies, and chiefdoms) during the Early Formative period (1900-100 BC). Before one can identify the processes of socio-political evolution it is first necessary to identify concrete examples of societies, and their attributes, which underwent this transformation. I outline data for six Mesoamerican cases of the shift from egalitarian societies to chiefdoms. Four of them are from the Tropical lowlands (Paso de la Amada, San Lorenzo, Puerto Escondido, and Cahal Pech), and two are from the Mexican Highlands (Tlapacoya and San José Mogote).
Este artículo trata acerca de los inicios de la civilización en Mesoamérica, es decir, los orígenes de la complejidad social, las desigualdades hereditarias institucionalizadas, las sociedades diferenciadas por rangos y las jefaturas durante el Periodo Formativo Temprano (c. 1900-100 a.C.). Antes de que se puedan discernir los procesos de evolución sociopolítica, primero es necesario identificar ejemplos concretos de sociedades, y sus atributos correspondientes, que experimentaron esa transformación. Aquí se resaltan los datos de seis casos del cambio de sociedades igualitarias a jefaturas de Mesoamérica: cuatro de tierras bajas tropicales (Paso de la Amada, San Lorenzo, Puerto Escondido y Cahal Pech) y dos de la sierra de México (Tlapacoya y San José Mogote).
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Jacobs, Angela F. "Prelude to a Saturday Nighter." University of Dayton / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1281357729.

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Racadag, Alan. "One: Prelude And Partial Postlude." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1428503782.

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Edin, Martin. "Pianoimprovisation enligt Czerny och Liszt : 1800-talets preludierings- och pianoimprovisationspraxis i analys och exempel." Thesis, Örebro University, School of Music, Theatre and Art, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-8525.

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This essay in musicology is combined with a CD-recording of piano improvisations. Its purpose is, on the one hand, to examine some of the ideas permeating piano improvisation during the first part of the nineteenth century, and, on the other, to find ways to apply these nineteenth century ideas of improvising to modern piano playing. The artistic part of the work is as important as the theoretical, and the two strands are supporting and reinforcing each other.

The first section of the text focuses on preluding – that is, a genre of improvisation. The second section investigates some aspects of the improvising of Franz Liszt – that is, different types of improvisation as practised by an important nineteenth century musician. The instructional music literature written by Carl Czerny is the basic source of reference in both portions.

The text and the recordings of my piano improvisations aim to show that monothematic strategies are simple and useful tools for improvising, regardless of tonal language used.

Half of the recordings consist of improvisations of separate pieces in a contemporary musical language. The other half are preludes, interludes and a cadenza improvised in the context of compositions by Liszt, Chopin, Mozart, Mendelssohn and Grieg.

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Bagnara, Maurizio. "Modelling biogeochemical cycles in forest ecosystems: a Bayesian approach." Doctoral thesis, country:IT, 2015. http://hdl.handle.net/10449/25094.

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Forest models are tools for explaining and predicting the dynamics of forest ecosystems. They simulate forest behavior by integrating information on the underlying processes in trees, soil and atmosphere. Bayesian calibration is the application of probability theory to parameter estimation. It is a method, applicable to all models, that quantifies output uncertainty and identifies key parameters and variables. This study aims at testing the Bayesian procedure for calibration to different types of forest models, to evaluate their performances and the uncertainties associated with them. In particular,we aimed at 1) applying a Bayesian framework to calibrate forest models and test their performances in different biomes and different environmental conditions, 2) identifying and solve structure-related issues in simple models, and 3) identifying the advantages of additional information made available when calibrating forest models with a Bayesian approach. We applied the Bayesian framework to calibrate the Prelued model on eight Italian eddy-covariance sites in Chapter 2. The ability of Prelued to reproduce the estimated Gross Primary Productivity (GPP) was tested over contrasting natural vegetation types that represented a wide range of climatic and environmental conditions. The issues related to Prelued's multiplicative structure were the main topic of Chapter 3: several different MCMC-based procedures were applied within a Bayesian framework to calibrate the model, and their performances were compared. A more complex model was applied in Chapter 4, focusing on the application of the physiology-based model HYDRALL to the forest ecosystem of Lavarone (IT) to evaluate the importance of additional information in the calibration procedure and their impact on model performances, model uncertainties, and parameter estimation. Overall, the Bayesian technique proved to be an excellent and versatile tool to successfully calibrate forest models of different structure and complexity, on different kind and number of variables and with a different number of parameters involved
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Books on the topic "Prelued"

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A, Leaver Robin, ed. J. S. Bach's "Leipzig" chorale preludes: Music, text, theology. Lanham, Md: Scarecrow Press, 2011.

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Prelude. Waterville, ME: Thorndike Press, 2003.

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Prelude. Portage, Mich: Public Interest Communication, 2010.

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Prelude. Soest: Catullus, 2009.

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Prelude. New York: Soho, 2009.

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J, Hoff B. Prelude. Nashville, Tenn: W Pub. Group, 2002.

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Gilbert, Lela. Prelude. Dallas: Word Pub., 1992.

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Prelude. New York]: Prelude, 2014.

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Bach, Johann Sebastian. Prelude and fugue in E flat ; and, The Catechism chorale preludes: For organ. New York: G. Schirmer, 1988.

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Stinson, Russell. Bach, the Orgelbüchlein. New York: Schirmer Books, 1996.

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Book chapters on the topic "Prelued"

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Altierí, Charles. "‘Preludes’ as Prelude: In Defence of Eliot as Symboliste." In T. S. Eliot: A Voice Descanting, 1–27. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-10104-7_1.

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Batt, Ronald E. "Prelude." In A History of Endometriosis, 1–12. London: Springer London, 2011. http://dx.doi.org/10.1007/978-0-85729-585-9_1.

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Thomas, J. W. "Prelude." In Texts in Applied Mathematics, 1–4. New York, NY: Springer New York, 1995. http://dx.doi.org/10.1007/978-1-4899-7278-1_1.

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Slack, Patricia, and Frank Mulville. "Prelude." In Sweet Adeline, 1–18. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-10152-8_1.

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Si, Hongchang. "Prelude." In A School in Ren Village, 43–55. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-7225-3_2.

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Bertin, Emile M. J., Ioan Cuculescu, and Radu Theodorescu. "Prelude." In Unimodality of Probability Measures, 1–17. Dordrecht: Springer Netherlands, 1997. http://dx.doi.org/10.1007/978-94-015-8808-9_1.

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Van Bendegem, Jean Paul, and Karen François. "Prelude." In Philosophical Dimensions in Mathematics Education, 1–9. Boston, MA: Springer US, 2007. http://dx.doi.org/10.1007/978-0-387-71575-9_1.

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Shahi, Deepshikha. "Prelude." In Kautilya and Non-Western IR Theory, 1–12. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-01728-6_1.

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Clair, R. P. "Prelude." In Zombie Seed and the Butterfly Blues, 1–3. Rotterdam: SensePublishers, 2013. http://dx.doi.org/10.1007/978-94-6209-308-9_1.

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Di Biase, Fausto. "Prelude." In Fatou Type Theorems, 3–25. Boston, MA: Birkhäuser Boston, 1998. http://dx.doi.org/10.1007/978-1-4612-2310-8_1.

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Conference papers on the topic "Prelued"

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Li, Qian. "Prelude." In ACM SIGGRAPH 2008 art gallery. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1400385.1400455.

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Dethise, Arnaud, Marco Chiesa, and Marco Canini. "Prelude." In the 2nd Asia-Pacific Workshop. New York, New York, USA: ACM Press, 2018. http://dx.doi.org/10.1145/3232565.3232570.

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Allen, Mark. "The shapemaker prelude." In ACM SIGGRAPH 97 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '97. New York, New York, USA: ACM Press, 1997. http://dx.doi.org/10.1145/259081.259478.

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Van Nispen, D. J., B. S. Hodgson, C. E. Sims, K. Leong, and I. Willyams. "Prelude FLNG - Field Development Challenges." In International Petroleum Technology Conference. International Petroleum Technology Conference, 2016. http://dx.doi.org/10.2523/18781-ms.

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Van Nispen, D. J., B. S. Hodgson, C. E. Sims, K. Leong, and I. Willyams. "Prelude FLNG - Field Development Challenges." In International Petroleum Technology Conference. International Petroleum Technology Conference, 2016. http://dx.doi.org/10.2523/iptc-18781-ms.

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PARASHAR, PRACHI, KIMBALL A. MILTON, INÉS CAVERO-PELÁEZ, and K. V. SHAJESH. "ELECTROMAGNETIC NON-CONTACT GEARS: PRELUDE." In Proceedings of the Ninth Conference. WORLD SCIENTIFIC, 2010. http://dx.doi.org/10.1142/9789814289931_0006.

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Lee, Seungjoo, Sangmyung Kim, Minjin Kim, Seungmin Oh, and Andy Stephens. "Prelude Hull Cargo Containment System." In Offshore Technology Conference. Offshore Technology Conference, 2020. http://dx.doi.org/10.4043/30844-ms.

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Torres Torres, M. "Seizure as a Prelude for Pulmonary Embolism." In American Thoracic Society 2019 International Conference, May 17-22, 2019 - Dallas, TX. American Thoracic Society, 2019. http://dx.doi.org/10.1164/ajrccm-conference.2019.199.1_meetingabstracts.a6776.

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Kazansky, Alexander B. "Planetary Bootstrap: A Prelude to Biosphere Phenomenology." In COMPUTING ANTICIPATORY SYSTEMS: CASYS'03 - Sixth International Conference. AIP, 2004. http://dx.doi.org/10.1063/1.1787347.

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Szopinski, Daniel, Thorsten Schoormann, and Dennis Kundisch. "Criteria as a Prelude for Guiding Taxonomy Evaluation." In Hawaii International Conference on System Sciences. Hawaii International Conference on System Sciences, 2020. http://dx.doi.org/10.24251/hicss.2020.622.

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Reports on the topic "Prelued"

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Weihl, William, Eric Brewer, Adrian Colbrook, Chrysanthos Dellarocas, Wilson Hsieh, Anthony Joseph, Carl Waidspurger, and Paul Wang. Prelude: A System for Portable Parallel Software. Fort Belvoir, VA: Defense Technical Information Center, October 1991. http://dx.doi.org/10.21236/ada243114.

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Viale, Charles R. Prelude to War: Japan's Goals and Strategy in World War II. Fort Belvoir, VA: Defense Technical Information Center, May 1988. http://dx.doi.org/10.21236/ada202272.

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Tracy, Mary. Operation Avalanche: Prelude to Stalemate a Case Study in Operational Unit. Fort Belvoir, VA: Defense Technical Information Center, May 1995. http://dx.doi.org/10.21236/ada298121.

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Leadbetter, Wyland F., Bury Jr, and Stephen J. Prelude to Desert Storm: A Case Study in the Politicization of Intelligence. Fort Belvoir, VA: Defense Technical Information Center, May 1992. http://dx.doi.org/10.21236/ada440540.

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Roberts, Thomas Phillip, Scott Anthony Ouellette, and Adam Joseph Wachtor. Dynamic Effects of Preload in Hyperelastic Foam Models. Office of Scientific and Technical Information (OSTI), August 2019. http://dx.doi.org/10.2172/1557171.

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Wood, Colin. The human domain and the future of Army warfare : present as prelude to 2050. Construction Engineering Research Laboratory (U.S.), July 2017. http://dx.doi.org/10.21079/11681/22770.

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Smith, Gerald L. Afghanistan and Chechnya: Low Intensity Preludes to Another Revolution. Fort Belvoir, VA: Defense Technical Information Center, January 1997. http://dx.doi.org/10.21236/ada516265.

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Atack, Jeremy, and Fred Bateman. Louis Brandeis, Work and Fatigue at the Start of the Twentieth Century: Prelude to Oregon's Hours Limitation Law. Cambridge, MA: National Bureau of Economic Research, May 1991. http://dx.doi.org/10.3386/h0025.

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Kantor, Shawn. A Prelude to the Welfare State: Compulsory State Insurance and Workers' Compensation in Minnesota, Ohio, and Washington, 1911-1919. Cambridge, MA: National Bureau of Economic Research, December 1994. http://dx.doi.org/10.3386/h0064.

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Landolt, Peter, Ezra Dunkelblum, Robert Heath, and Moshe Kehat. Host Plant Kairomonal Effects on Heliothis Mate-Finding Behavior. United States Department of Agriculture, February 1993. http://dx.doi.org/10.32747/1993.7613016.bard.

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We investigated the possible attraction of species of Helicoverpa and Heliothis to host plant odors and to male pheromone as a prelude to a larger investigation of host chemical effects on moth sexual and reproductive behavior. Both sexes of H. armigera and H. peltigera were attracted to particular host plants or host plant extracts. Heliothis virescens was also found to be attracted to a flowering shrub it may use as a nectar source. Unmated females of H. armigera and H. peltigera were attracted to live males and to a male pheromone extract prepared from exposed filter papers in cages of males. Some attraction of unmated female H. zea to males was also evident, but at much lower response rate.
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