Academic literature on the topic 'Quintette Instrumental de Paris'

Este artigo apresenta a análise do processo de gênese instrumental pessoal a partir de atividades de geometria dinâmica desenvolvidas no Curso de Especialização Matemática - Mídias Digitais - Didática do Programa de Pós-Graduação em Ensino de Matemática da UFRGS, na modalidade a distância para professores do Ensino Básico. O artigo também apresenta análise de indícios de gênese instrumental profissional a partir de implementação de situações de aprendizagem utilizando o software GeoGebra. As análises encontram ancoragem na abordagem instrumental de Rabardel (1995) e fazem parte de pesquisa desenvolvida em cooperação com o Laboratoire de Didactique Andre Revuz da Université Denis Diderot – Paris 7. Identificou-se, mediante estudo de caso, avanços no processo de gênese instrumental pessoal do GeoGebra. Da mesma forma, identificou-se indícios do processo de gênese instrumental profissional, na qual o professor-cursista propôs o uso do GeoGebra como um instrumento didático.

AbstractDuring the Paris Commune of 1871, four spectacular concerts took place at the Tuileries Palace. Although the musical genre most often associated with the Communards is popular song, these Tuileries concerts primarily featured instrumental works and operatic numbers. Indeed, during much of their short reign the Communards sought to nurture elite music, in particular through attempts to control the Paris Opéra and its repertory. This article treats the Tuileries concerts as a starting point for understanding the Commune's brief direction of the Opéra, exploring ways in which the movement's attitude towards elite music at both venues engaged with a number of its central preoccupations. It suggests that Communards, often depicted as merely destructive, were anxious to rehabilitate their reputation and legitimise their status through the appropriation of high culture.

O artigo visa apresentar e destacar aspectos essenciais das palestras que Marcuse fez em Paris em 1974. Essas palestras contribuem para o entendimento da preocupação de Marcuse com o processo de contrarrevolução e mostram sua antecipação sobre determinados fenômenos que estavam em seu início: a terceirização, a globalização, o neoliberalismo. Marcuse já havia elaborado sua perspectiva crítica ao desenvolvimento do capitalismo tardio em O homem unidimensional (1964). E continua a utilizar seu instrumental crítico em sua análise dez anos depois.

Past optical astrometric observations are to be re-reduced in order to get a new evaluation of the Earth Orientation Parameters in the more accurate Hipparcos reference frame. Among the selected instruments is the Paris astrolabe, considered here. In this Paper, through multivariate statistical procedures, we deal with the preliminary step of the new evaluation which consists in detection and separation of sources of significant inconsistency and outstanding errors in the Paris reductions so far performed. The analysis is performed over two test periods — one per instrumental setting-that are compared in particular in terms of observer effects, magnitude, colour and sidereal time effects. The Paper also gives a synthetic overview on the statistical methods we used to obtain the main results so that they can be applied to other astrometric data.

Kelompok waria masih menjadi sorotan yang menarik untuk diteliti. Tulisan ini menguraikan tentang kelompok waria sebagai kelompok marginal, yang sulit untuk bertahan di tengah masyarakat dengan kesulitan dan tekanan yang mereka hadapi. Para waria tergabung dalam komunitas waria di kota Banjarmasin, berbeda dengan komunitas lain pada umumnya. Penelitian ini bertujuan untuk mengetahui tindakan waria bergabung dalam komunitas waria Paris Barantai Banjarmasin dan bentuk solidaritasnya. Hasil penelitian menunjukkan bahwa tindakan bergabung waria dalam komunitas Paris Barantai adalah tindakan rasionalitas instrumental, tindakan dilakukan dipertimbangkan dengan sadar untuk mencapai tujuan. Tujuan untuk menjadi waria yang baik dan dapat merubah citra waria. Waria memiliki motivasi dalam bertindak untuk memenuhi kebutuhan yang belum terpenuhi, yaitu rasa aman, cinta kasih, memiliki dan dimiliki, penghargaan, aktualisasi diri dan indentitas diri. Menjadi bagian komunitas waria mendapatkan manfaat yaitu mengembangkan diri, mendapat pengetahuan,merubah citra waria, menjadi waria berkualitas, mendapat lapangan pekerjaan, dan mendapatkan keluarga baru. Bentuk solidaritas komunitas waria yaitu solidaritas mekanik. Bentuk solidaritas mekanik dikomunitas ini karena kesadaran kolektif dan kesamaan. Kesamaan untuk menjadi waria yang lebih baik dan merubah citra waria, menginginkan kehidupan yang lebih baik dan normal, sama minat untuk mengekspresikan diri sebagai wanita, dan memiliki keadaan yang sulit, dan nasib yang tidak bebas untuk melakukan segala hal. Waria selalu memelihara solidaritas dengan kegiatan rutin dan tidak rutin yang mereka lakukan.

Broad-band observations of the solar photosphere began in Meudon in 1875 under the auspices of Jules Janssen. For his part, Henri Deslandres initiated imaging spectroscopy in 1892 at Paris observatory. He invented, concurrently with George Hale in Kenwood (USA), but quite independently, the spectroheliograph designed for monochromatic imagery of the solar atmosphere. Deslandres developed two kinds of spectrographs: the ‘ spectrohéliographe des formes’, that is, the narrow bandpass instrument to reveal chromospheric structures; and the ‘ spectrohéliographe des vitesses’, that is, the section spectroheliograph to record line profiles of cross sections of the Sun. This second apparatus was intended to measure the Dopplershifts of dynamic features. Deslandres moved to Meudon in 1898 to build the large quadruple spectroheliograph. The service of Hα and CaII K systematic observations was organized by Lucien d’Azambuja and continues today. The digital technology was introduced in 2002. The collection is one of the longest available: it contains sporadic images from 1893 to 1907 (during the development phase) and systematic observations along 10 solar cycles since 1908. This paper summarizes 130 years of observations, instrumental research and technical advances.

Abstract In Western art music, the idea of the professional performer as a versatile interpreter of someone else’s music consolidated around the turn of the nineteenth century. The institutionalization of instrumental training in dedicated schools (such as the Paris Conservatoire, established in 1795) favoured an increasing specialization of composers and performers in their respective tasks. Scholars have often traced the development of these modern professional identities to fundamental innovations in the fabric and conceptions of musical notation. The newly detailed scores by Haydn, Mozart, and Beethoven specify articulation, phrasing, and even fingerings, suggesting a growing authority of the composer over the performer’s moves, and the score itself as an increasingly important focus of the musical event (scripting both what performers should do and what listeners, ideally, should discern). Rather than focusing on how music was notated by composers, this article proposes to explore the perspective of the performers handling it: how they understood their role in bringing the score to life, and the realms of commentary they inspired in Parisian debates about the progress of the art and the mechanization of performance in the early nineteenth century. At the core of the Paris Conservatoire’s universal pedagogical project, the violinist Pierre Baillot (1771–1842) devised a prototype professional figure for the future of instrumental performance across genres: not a puppet-musician controlled via invisible strings, but an architect of musical impersonations, able to stimulate images or stories in the listeners’ minds and leave them theatrically spellbound.

En 1922, le flûtiste René Le Roy eut l'idée de créer une formation chambriste dont l'effectif instrumental atypique (flûte, harpe et trio à cordes) n'est pas sans rappeler celui de la Sonate pour flûte alto et harpe de Debussy qu'il affectionnait particulièrement. Le Quintette Instrumental de Paris poursuit une intense carrière musicale jusqu'en 1940, grâce à l'investissement et à la rigueur de ses membres originels : Marcel Grandjany puis Pierre Jamet à la harpe, René Bas au violon, Pierre Grout à l'alto et Roger Boulmé au violoncelle. Le groupe est dissous durant la guerre, à la suite du départ de René Le Roy pour l'Amérique et de la mort au combat de Roger Boulmé. Le Quintette se reforme en 1944, sous l'impulsion de son harpiste dont il portera le nom. À la séparation définitive de l'ensemble en 1958, le Quintette Pierre Jamet trouve un nouvel élan en la personne de Marie-Claire Jamet, fille de Pierre Jamet, et de son mari le flûtiste Christian Lardé. Cette thèse, qui se concentre sur la première période d'activité de l'ensemble (1922-1940), se propose d'examiner la manière dont le groupement est parvenu à s'implanter et pérenniser son activité, alors même qu'il ne correspondait à aucune tradition chambriste et qu'il ne disposait d'aucun répertoire préexistant. Les interprètes sollicitèrent les compositeurs de leur temps afin d'enrichir progressivement leur répertoire. À la lumière de documents d'archives pas ou peu exploités jusqu'à maintenant, la première partie du travail s'attache à reconstituer la trajectoire musicale de l'ensemble et à mesurer la place qu'il occupe dans la vie musicale de son époque. Il jouit d'un contexte historique favorable à la pratique de la musique de chambre et suscite l'intérêt des compositeurs, séduits par le potentiel expressif de cette nouvelle combinaison instrumentale. Une deuxième partie revient sur les stratégies de carrière mises en place par l'ensemble lui-même pour promouvoir son activité en France comme à l'étranger. L'occasion nous est donnée de revenir sur la figure de l'imprésario qui, à l'instar de Marcel de Valmalète, exerce une influence de plus en plus grandissante dans la vie musicale française. Dans une période de grands bouleversements géopolitiques, l'Association Française d'Action Artistique (A.F.A.A.), qui œuvre pour la promotion de la musique française à l'étranger, favorise grandement le déploiement de la carrière du Quintette en Europe et en Amérique. À ce titre, les deux tournées américaines réalisées en 1934 et 1935 s'érigent comme un modèle de rayonnement artistique. Proche de René Le Roy et surtout de Pierre Jamet, Nadia Boulanger facilite l'introduction du Quintette dans le milieu musical new-yorkais, en endossant un rôle d'intercesseur. La programmation de concerts, également reconstituée, repose sur le principe d'alternance de pièces d'effectifs différents, tout en s'attachant à remettre à l'honneur des pages méconnues du répertoire baroque et présenter les dernières productions de compositeurs contemporains. Afin d'en mesurer les spécificités, le répertoire interprétatif du Quintette est mis en regard d'autres formations de la même époque, en particulier le Trio Cortot-Thibaud-Casals, le Trio Pasquier et le Quatuor Calvet, qui bénéficiaient également d'une grande visibilité sur les mêmes années d'exercice. Enfin, la troisième partie aborde spécifiquement l'esthétique du répertoire en quintette progressivement constitué entre 1923 et 1938, et qui comprend près d'une trentaine d'œuvres composées à l'intention du Quintette Instrumental de Paris. Un corpus plus resserré comprenant les dix quintettes les plus représentatifs de leur répertoire (Jongen, Roussel, d'Indy, Pierné, Cras, Ropartz, Schmitt, Malipiero et Françaix) font l'objet d'une analyse approfondie de l'écriture et de la gestion de l'effectif instrumental. Ce travail permet d'aborder les questions d'homogénéité sonore, d'explorations timbriques et de configuration instrumentale
In 1922, the flutist René Le Roy had the idea of creating a chamber ensemble with an atypical combination of instruments (flute, harp and string trio) which recalls Debussy's Sonate pour flute, alto et harpe that he was particularly fond of. The Quintette Instrumental de Paris had a well-filled musical career until 1940, thanks to the dedication and rigour of its founder members: Marcel Grandjany, and then Pierre Jamet on the harp, René Bas on the violin, Pierre Grout on the viola and Roger Boulmé on the cello. The ensemble was disbanded during the war, when René le Roy left for America, and Roger Boulmé was killed in action. In 1944, the harpist Pierre Jamet re- formed the quintet, which now bears his name. When the group finally split up in 1958, the Pierre Jamet Quintet was given a new lease of life by Marie-Claire Jamet, Pierre Jamet's daughter, and her husband, the flutist Christian Lardé. This thesis, which focusses on the ensemble's first period of activity (1922-1940), sets out to examine how the group managed to get established and sustain its activity, even though it did not belong to any chamber music tradition and had no pre-existing repertoire. The players turned to contemporary composers in order to gradually enrich their repertoire. The first part sets out to reconstruct the musical trajectory of the ensemble, in the light of documentary evidence scarcely used until now., and to assess its place in the musical life of its time. The ensemble benefited from a favourable historical context for the practice of chamber music, and it attracted composers who were interested in the expressive potential of this new combination of instruments. The second part looks at the career strategies implemented by the ensemble itself to promote its activities in France and abroad. This provides an opportunity to reconsider the figure of the impresario who, like Marcel de Valmalète, exerted an ever-growing influence on French musical life. In this period of great geopolitical upheaval, the Association Française d'Action Artistique (A.F.A.A.), which promoted French music abroad, greatly encouraged the Quintet's career in Europe and America. This is perfectly illustrated by the two American tours in 1934 and 1935. Nadia Boulanger, who was close to René Le Roy and more particularly to Pierre Jamet, acted as an intermediary to facilitate the Quintet's introduction into the New York musical milieu. The concert programme, which had also been restructured, was based on the principle of alternating pieces for different sized groups, endeavouring to give pride of place to little-known pages from the Baroque repertoire and to present the latest works by contemporary composers.In order to assess the particular nature of the Quintet's interpretative repertoire, it is compared with that of other groups from the same period, in particular the Trio Cortot-Thibaud-Casals, the Trio Pasquier and the Quatuor Calvet, which were also popular at the time. Finally, the third part deals specifically with the aesthetics of the quintet as it progressed between 1923 and 1938, including some thirty works composed for the Quintette Instrumental de Paris. A more restricted corpus comprising the ten quintets which best exemplify their repertoire (Jongen, Roussel, d'Indy, Pierné, Cras, Ropartz, Schmitt, Malipiero and Françaix) is the focus of an in-depth analysis of the writing and management of this particular combination of instruments. We can hereby tackle the questions of sound homogeneity, exploration of timbre and instrumental configuration

The aim of this essay is to investigate the translation problems translating a travel book about Paris, with cultural and historic connotations, from French, source language, into Swedish, target language. The method that is used is Nords’ text analysis model, which is functionalist and pragmatic. Her theory of action is based on Vermeers’ skopos theorie and on Reiss’ text typology. Nords’ looping model includes analysis, transfer and synthesis. She focuses on three important aspects which are the translation brief, the role of the source-text analysis and the importance of the functional hierarchy of translation problems. Nord proposes two different translation strategies: Documentary translation and Instrumental translation. The first one is source text oriented and the second one is target text oriented. Our study focuses on pragmatic and cultural equivalence concerning the different aspects as style, lexis (vocabulary) and syntax in the source language and the translation into the target language. The purpose of the translation is target text oriented which means that different strategies, as adaptations and explanations, are used in the target text. The conclusions that are drawn from this study are that historical and cultural connotations, that are present in the source text, require a deep knowledge on the French culture and language, this being a necessary competence for the translator to produce a comprehensible translation for the target text audience.

碩士
國立臺灣大學
音樂學研究所
94
“Implication-realization” is the foundation of Leonard B. Meyer’s theory of tonal music. Based on Meyer’s theory, this paper introduces George Gershwin’s musical style by analyzing his orchestral works includung “Rhapsody in Blue,” “An American in Paris,” and “Concerto in F for Piano and Orchestra.” This paper begins with the analysis of melodies, applying the “implication-realization” model and the theory of musical rhetorics to explore the strategies of Gershwin’s musical phrases. Then this paper discusses the relationship between harmony and melody. Finally, this paper intends to highlight Gershwin’s musical style by comparing strategies of “implication-realization” in Aaron Copland’s “Concerto for Piano and Orchestra” and Gershwin’s music. This paper analyzes that different musical elements result in special style of “implication-realization” on the continuous ways of music. Music fused with jazz expands the possibilities of Meyer’s theory, and also provide clues for Gershwin’s strategies of style. To construct the “complete” strategies of style for the melody, Gershwin uses materials such as blue scales, special broken chord, Tetrachords and fifth intervals, and sequences such as tension, motive and contrast; besides, he constructs the particularity of the rhythms, Gershwin uses “upbeat emphasis” and “phrases starting from upbeat emphasis”. Although Gershwin’s harmony fusing with jazz shapes special sounds, its function on the holistic design is to produce musical color and increase melody texture, especially to form interest by making corresponding variations under repetitive melody phrases. In Gershwin’s music processing, the dominance of the harmony is inferior to that of the melody. In the end, this paper makes comparison between Gershwin’s work and Copland’s “Concerto for Piano and Orchestra mov.2”. The analysis shows that, different composers, who choose the same elements in the same period of time, do not necessarily present the same strategies of style. Therefore, the particularity of Gershwin’s strategies of style is examined.

Trombone concerto (first movement) -- Post-Zero -- Trio for flute, violin and cello, no. 2.
submitted by Tang Pan-hang Benny.
Thesis submitted in: December 1997.
Thesis (M.Mus.)--Chinese University of Hong Kong, 1998.
Abstract also in Chinese.
Abstract --- p.i
摘要 --- p.ii
Acknowledgment --- p.iii
Declaration --- p.iv
Introduction --- p.1
Trombone Concerto (first movement) --- p.2
Programme notes --- p.3
Remarks --- p.5
Instrumentation --- p.6
Seating Plan --- p.7
Scores --- p.8
Post-Zero 零後 --- p.56
Introduction --- p.57
Programme notes --- p.57
Performance direction --- p.61
Instrumentation --- p.62
Seating plan --- p.62
Scores --- p.63
"Trio for Flute, Violin and Cello No.2" --- p.144
Programme notes --- p.145
Performance direction --- p.145
Scores --- p.146
Biography --- p.159
Music Works List --- p.160

After obtaining first prize in oboe and chamber music at the Conservatoire National Supérieur de Musique de Paris, David Walter won international prizes in Ancona, Prague, Munich, Belgrade, and Geneva. He is a founding member (1980) of the Quintette Moragues. At twenty-nine years old, he was appointed the youngest-ever oboe and chamber music professor at the Paris Conservatoire. In this interview, he examines the relationship between being a conductor and being a performer. He talks about ensemble playing skills and those specific to chamber music. Walter discusses competitions, teaching, “schools” of oboe playing, and finding your own voice. He shares artists who inspire him, reminiscences on his career, and his activities outside of music.

Abstract These are wonderful performances of their kind. But if you buy them, you should be aware of what their kind is: namely, nineteenthcentury renditions on eighteenth-century instruments.They make a marvelous sound, and feature an endless array of instrumental felicities. The “Paris” Symphony, in particular, comes off brilliantly, for it is a virtual study in marvelous sounds and instrumental felicities-a send-up, in fact, of the empty orchestral pyrotechnics then fashionable in the French capital, as Mozart confided in a couple of funny letters to his father. The period band really digs into the showy fanfares and rockets of the first movement. I admired, too, the gorgeous string curtsy at the beginning of the Andantino, where the oft-deplored “Amsterdam swell” and the nonvibrato production are exquisitely apropos. And in the finale I was struck by the superb articulation of the whole notes at the head of the second theme, which, carried over into the contrapuntal development, floods the texture with light.

Abstract This chapter addresses the sectors that migrant workers joined because most migration flows were organised within individual industrial sectors. Four sectors were especially important and will be the focus of this chapter. The first was iron and steel. South Wales had developed a dynamic iron and then steel industry and several continental ironmasters set up ‘forges à l’anglaise’ for which they were willing to hire Welsh puddlers or rollers, despite the high costs of such labour. The second major sector that shaped continental labour migration was machinery. British expertise in steam-powered machinery was unrivalled. The third major sector was textiles. William Cockerill set up a thriving woollen industry in Belgium, while thousands of lace workers from the East Midlands, especially from Nottinghamshire, went to northern France, especially to the Calais area. This craft-based, hand-worked industry shifted to factory production in the 1850s, but British input persisted until the 1870s. The fourth and final sector considered in this chapter is railways. British engineers and investors were instrumental in the early stages of European railway construction, in France, Belgium, Italy, and Spain. In other sectors, such as mining, some smaller-scale recruitment was also organised. This chapter addresses the diversity and specificities of labour migration flows. Such migration brought together workers from different regions and prompted settlement in an array of different areas.

Discussion of why choral and instrumental concerts were only lightly regulated by the state provides a springboard for examining the freedom the French provinces enjoyed and the considerable expansion of concert life that was based on individual and collective initiative. Core institutions such as the orphéon, “concerts populaires” and reconstituted cathedral choir schools (maîtrises—some of them state-subsidized) complemented private clubs and chamber ensembles in a bourgeois musical economy that often displayed a varied mix of high and low genres in comparison with Paris. Local administrative machinery aided a “democratizing” shift from private to public (accessibility). Parisian modes of choral and orchestral concert life are introduced as a prelude to discussion in chapters 3 and 4 of the distinctiveness of provincial centers. Discussion touches on provincial attitudes to touring ensembles from Paris and the increasing extent of soft power exerted by the capital.

What today we might term “orchestration” or “arranging” would have fallen under the term “disposition” in Naples. The same counterpoint, for example, could be realized as a “disposition in three voices” or “in four voices.” Each voice or instrumental part would be written on its own staff. Unlike in partimento playing, where small errors in counterpoint could be ignored, dispositions made every interrelationship visible and open to inspection and evaluation. The French four-voice realizations (realisations) in open score that figured so prominently in the contests for harmony and fugue at the Paris Conservatory were direct descendants of Neapolitan dispositions.

Abstract The eighteenth century was for France a period of massive economic decline, with the French people becoming increasingly unwilling to foot the bill for royal extravagance and for the disastrous series of wars in which the country was engaged. By the end of the Seven Years War (1756-63) fought against Britain and Prussia, France was virtually bankrupt.But against this backdrop of national insolvency, the elegant life of the titled and wealthy continued unabated, refusing to recognize the mounting economic crisis in France. Art, and in particular music, was eagerly patronized by the privileged strata of society. Opera thrived, as did instrumental concerts, the most celebrated being the regular concerts of the Concert Spirituel in Paris,1 which were held on days of religious significance when opera was considered unsuitable. This patronage encouraged singers and musicians throughout Europe to try their fortune in Paris (and in Lyon which was the second city of France),

Abstract To conquer the stage of the Paris Opera at some point in his career was a necessity felt by every Italian composer who aspired to international fame. The advantages it presented have already been mentioned in Vol. 1 - a greater variety of musical forms than were available at home, a wealth of choral and instrumental resources, more interesting libretti free from the shackles of the Italian convenienze, and above all an audience eager for novelty. It represented a challenge, similar tp that of the symphony for the German romantic, and on the same analogy not to be undertaken lightly or without due preparation. Verdi had chosen the cautious approach of Rossini and Donizetti.

Abstract Luigi Boccherini, the Italian composer, son of an Italian bass player, was born at Lucca, and studied at Rome, where he became a fine cellist, and soon began to compose. He returned to Lucca, where for some years he was prominent as a player; and there he produced two oratorios and a cantata. He toured in Europe, and in 1768 was received in Paris by Gossec and his circle with great enthusiasm, his instrumental pieces being highly applauded; and from 1 770 to 1785 he held the post of’ composer and virtuoso’ to the king of Spain’s brother, the infante Luis, at Madrid. He afterwards became ‘chamber-composer’ to King Frederick William II of Prussia till 1797, when he returned to Spain. He died at Madrid on 28 May 1805.

Abstract Chapter 7 describes how J. F. C. Fuller and Victor Neuburg’s shift from Agnosticism to Thelema came with an enthusiastic embrace of the occult. Neuburg was the first to apply to the mystic society A∴A∴, and he played an instrumental role in foundational magical experiments such as The Vision and the Voice (1909), The Rites of Eleusis (1910), and The Paris Working (1913). He would also become subeditor of later issues of The Equinox, which would publish his next collection of verse, The Triumph of Pan (1910). Fuller’s occult shift, meanwhile, was obvious as early as his final contributions to the Agnostic Journal. He would subsequently provide many illustrations for The Equinox, which also serialized his “Temple of Solomon the King”—an extensive “magical biography” of Crowley—in every issue. Thus, The Equinox provided, for a time, a mutually beneficial place for three ex-Agnostics united by their newfound love of magick.

Abstract The Scale Game has been devised out of exercise no. 4 in Dix-sept grands exercices journaliers de mécanisme de flûte by Paul Taffanel and Philippe Gaubert. Paul Taffanel taught them at the Conservatoire National de Paris at the turn of the twentieth century. They were formalized by Gaubert and published in 1923.2 Scales are the essential part of daily instrumental practice, as much as or more than tone exercises, because tone is always present in them. For greatest profit, they should be considered as music, which, in truth, they are. The transition that concludes each scale and introduces the new one through modulation serves as relaxation, as reassessment of the sound, as an ever more refined intonation and flavor of the various keys’ color. Therefore, regardless of the tempo of the previous articulation, or of the next, this beautiful transition should always be played slowly and freely, slurred, phrased with the fingers as much as with the tone, with no precise reference to tempo. Structural breaths are mandatory and are placed after each low and high tonic. The tempo can then be suspended to perform noiselessly a good inhalation with the “hhaah” sound. This is the time to open your tone and reposition your instrumental playing. The tonic of the new key should be repeated. Emergency breaths are optional and caused by necessity. They can be taken at any time, provided that they are quick (without suspension of the tempo) and barely audible, and that the sound is balanced with the same dynamic on either side of the interruption. I prefer to place these “911 breaths” after the first note of a group of four, or after a strong beat instead of before.

This research focuses on predicting the profitability of the Bank of Albania, specifically measured by Return on Assets (ROA), by employing advanced time series analysis techniques. ROA is a fundamental financial metric reflecting the bank's ability to efficiently utilize its assets to generate profit, and it holds crucial implications for the stability and sustainability of the central bank. In this research, we have obtained a monthly dataset regarding the profitability of Albanian banks (Roa), covering the period from January 2016 to March 2023. Following an extensive data analysis, we have determined that the SARIMAX(0, 0, 1)x(2, 0, [1, 2], 12) model is the most suitable option for modeling our dataset. The SARIMAX(0, 0, 1) element signifies a non-seasonal moving average component, addressing short-term fluctuations and irregularities in the data. The seasonal component, (2, 0, [1, 2], 12), takes into account both annual and semi-annual patterns, aligning with the observed seasonal trends in the data. The results are expected to be instrumental for policymakers, financial analysts, and stakeholders concerned with the Bank of Albania's financial health. By applying time series analysis to ROA prediction, this research not only aims to enhance the central bank's financial decision-making capabilities but also contributes to the broader understanding of financial stability within the context of Albania's economic landscape