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New Features and Applications of PRESTO a Computer Code for the Performance of Regenerative Superheated Steam Turbine Cycles
- Author : Yung K. Choo
- Publisher : Unknown
- Release Date : 1982
- Genre : Cogeneration of electric power and heat
- Pages : 39
- ISBN : NASA:31769000434095
In Hey Presto! Swift and the Quacks, Hugh Ormsby-Lennon reveals how medicine shows, both ancient and modern, galvanized Jonathan Swift's imagination and inspired his wittiest satiric voices. Swift dubbed these multifaceted traveling entertainments his Stage-itinerant or 'Mountebank's Stage.' In the course of arguing that the stage-itinerant formed an irresistible model for A Tale of a Tub, Ormsby-Lennon also surmises that the mountebank's stage will disclose that missing link, long sought, which connects the dual objects of Swift's ire: gross Corruptions in both Religion and Learning.
More than 170 symphonies from this repertoire are described and analyzed in The First Golden Age of the Viennese Symphony, the first volume of the series to appear.
Musicians who work professionally with ballet and dance companies sometimes wonder if they haven’t entered a foreign country—a place where the language and customs seem so utterly familiar and so bafflingly strange at the same. To someone without a dance background, phrases and terms--boy’s variation, pas d’action, apothéose—simply don’t fit their standard musical vocabulary. Even a familiar term like adagio means something quite different in the world of dance. Like any working professional, those conductors, composers, rehearsal pianists, instrumentalists and even music librarians working with professional ballet and dance companies must learn what dance professionals talk about when they talk about music. In Ballet Music: A Handbook Matthew Naughtin provides a practical guide for the professional musician who works with ballet companies, whether as a full-time staff member or as an independent contractor. In this comprehensive work, he addresses the daily routine of the modern ballet company, outlines the respective roles of the conductor, company pianist and music librarian and their necessary collaboration with choreographers and ballet masters, and examines the complete process of putting a dance performance on stage, from selection or existing music to commissioning original scores to staging the final production. Because ballet companies routinely revise the great ballets to fit the needs of their staff and stage, audience and orchestra, ballet repertoire is a tangled web for the uninitiated. At the core of Ballet Music: A Handbook lies an extensive listing of classic ballets in the standard repertoire, with information on their history, versions, revisions, instrumentation, score publishers and other sources for tracking down both the original music and subsequent musical additions and adaptations. Ballet Music: A Handbook is an invaluable resource for conductors, pianists and music librarians as well as any student, scholar or fan of the balle
Are you a visual learner? Than Teach Yourself VISUALLY Macs is the book for you! This resource: Offers a perfect introduction for visual learners looking to gain a general understanding of Macs and some of the common peripherals associated with them. Demonstrates everything you need to know about transitioning from Windows to a Mac, using iPhoto, creating home movies with iMovie, and connecting all those cool devices, like the iPhone or iPod, so you can maximize iTunes. Shows you how to browse the Web with Safari and use iCal to track appointments, and what to do if something should ever go wrong. Includes full-color, rich screen shots and illustrations as well as step-by-step instructions clearly explain how to get the most from your Mac.
Again available in paperback, this definitive work on the genius of Domenico Scarlatti (1685-1757) is the result of twelve years of devoted effort by America's foremost harpsichordist and one of the principal authorities on eighteenth-century harpsichord music. Mr. Kirkpatrick traveled extensively to collect material that has tripled the known facts about Scarlatti's life, providing the first adequate biography of one of the greatest harpsichord composers of the eighteenth century and one of the most original composers of all time. The second half of his book is an illuminating study of Scarlatti's 555 sonatas, concluding with a chapter on their performance. The book contains extensive appendixes, including discussions of ornamentation and Scarlatti's vocal music, and an updated section of addenda and corrigenda.
- Author : Anonim
- Publisher : Unknown
- Release Date : 1916
- Genre : Uncategorized
- Pages : 109
- ISBN : COLUMBIA:CU55814085
Die britische Sinfonik ist erst in jüngster Zeit ins allgemeine Interesse gerückt. Ein Überblick über die sinfonische Entwicklung im Vereinigten Königreich seit den Anfängen im 18. Jahrhundert bis ins 20. Jahrhundert blieb aber bis heute ein Desideratum. Der hier vorgelegte Überblick zeigt, wie sich die Identität einer britischen Sinfonik über mehr als hundert Jahre entwickelte, geprägt durch Einflüsse vom europäischen Kontinent und von dem Bedürfnis, eigene Wege zu finden. Gegen Ende des 19. Jahrhunderts nahm das sinfonische Schaffen in Großbritannien stark zu, brachte jedoch erst mit Edward Elgar einen prominenten Vertreter von internationalem Rang hervor. Ein besonderer Schwerpunkt dieser Publikation liegt auf jenen Werken, die zu einem gewissen Grade von anderen überschattet wurden, unveröffentlicht oder unaufgeführt blieben. Das Ergebnis ist das Bild einer vielgestaltigen sinfonischen Landschaft Großbritanniens, das die ästhetischen Perspektiven der einzelnen Komponisten wie auch ihre soziokulturellen Kontexte erhellt. Ein umfangreiches Verzeichnis aller bekannten Werke und eine ausführliche Bibliographie laden zu weiterer Erkundung des Sujets ein. Only in relatively recent times has any real attention been given to British symphonies. So a comprehensive survey, showing what exists and how the situation in the United Kingdom developed, from the beginnings in the 18th century until well into the 20th century, is long overdue. The preliminary survey presented here shows how a British symphonic identity gradually took shape over more than a century, through influences from abroad and, at home, enterprising attempts to find new ways of expression. By the end of the 19th century, British symphonists had produced an impressive body of work, yet only with the appearance of Elgar’s two symphonies in the following decade did this flourishing school find a champion of international renown. In this publication, light is shone on those works that have
A reference book for the musician's practical work of interpretation, this volume, after a general presentation of 18th century principles for determining a tempo, offers a compendium of all Mozart's autograph tempo markings in 420 lists of pieces of similar character. Thus, a comparison of slower and quicker movements is made possible by 434 music examples, and there follows a wide-ranging collection of relevant texts taken from historical sources. The book does not claim to know "the single correct tempo" for the works of Wolfgang Amadeus Mozart. It hopes to be of assistance in the unavoidable search by every interpreter for the "true mouvement" of each work—for the work itself, for the performer, the instrument or instruments, the room, the public, the nature of the event. It follows that there can be no absolutely "authentic" tempo for Mozart's works. And yet his tempo markings, since he chose them so meticulously, should be taken equally seriously with the other parameters of his famously precise notation. Alfred Brendel writes: "an astonishing opus ... one of those rare and important books in which music and musicology form a vital association; a lifelong study that makes one very much aware of a field to which attention is rarely paid. It accomplishes this by bringing to bear an understanding that never loses sight of the musical foundation on which it is built, and by a discerning intelligence that does not shy away from raising debatable topics, although without ever claiming infallibility ... One cannot be grateful enough to Helmut Breidenstein for his methodological accuracy which allows us Mozart interpreters to orientate ourselves with ease and pleasure ... His book sharpens our perception, at the same time giving an overview and making us sensitive to each individual case. Admiration and gratitude."
The Classical period comes alive with The Classical Spirit, part of an outstanding series that features an integrated arts approach to guide you through the different musical eras. Repertoire from both familiar and lesser-known composers are included along with commentary about the composers' lives and social changes between 1750 and 1820. Repertoire in Book 1 ranges from the early-intermediate through intermediate levels.
Perform fast interactive analytics against different data sources using the Presto high-performance, distributed SQL query engine. With this practical guide, you’ll learn how to conduct analytics on data where it lives, whether it’s Hive, Cassandra, a relational database, or a proprietary data store. Analysts, software engineers, and production engineers will learn how to manage, use, and even develop with Presto. Initially developed by Facebook, open source Presto is now used by Netflix, Airbnb, LinkedIn, Twitter, Uber, and many other companies. Matt Fuller, Manfred Moser, and Martin Traverso show you how a single Presto query can combine data from multiple sources to allow for analytics across your entire organization. Get started: Explore Presto’s use cases and learn about tools that will help you connect to Presto and query data Go deeper: Learn Presto’s internal workings, including how to connect to and query data sources with support for SQL statements, operators, functions, and more Put Presto in production: Secure Presto, monitor workloads, tune queries, and connect more applications; learn how other organizations apply Presto
As the first book of its kind, Nancy Lee Harper’s Portuguese Piano Music: An Introduction and Annotated Bibliography fills the gap in the historical record of Portuguese piano music from its start in the 18th century to the present. While although Spanish piano music is well documented owing to the reputation of such composers as Isaac Albéniz, Enrique Granados, and Manuel de Falla, our knowledge of compositions in the tradition of Portuguese piano music has not fared as well, barring the work of Carlos Seixas (1704–1742). This obscurity, however, reflects poorly on the history of early piano music in light of the many compositions written for fortepiano on behalf of the Portuguese court during the first half of the 18th century. Indeed, it was in the royal halls of King John V during his reign from 1706 to 1750 where the early fortepiano was frequently heard. In Portuguese Piano Music, Harper explores this rich musical tradition, offering a brief introduction to the pianistic history of Portugal and overviews of Portugal’s contributions to solo piano music, piano in instrumental chamber music, piano concerti, piano for multiple pianists including with works with electronics, and didactic piano. While paying close attention to female composers, Harper adds an annotated and graded bibliography that presents readers with a comprehensive inventory of compositions. Appendixes include a selected discography, list of publishers, and other types of critical source information. To further illustrate its contents, Portuguese Piano Music contains a CD on which Harper performs representative repertoire, some of which are world premieres. This work is aimed at pianists, teachers, pupils, musicologists, and music lovers seeking to discover the remarkable world of Portuguese piano music.
A world-renowned conductor and composer who has lead most of the major orchestras in North America and Europe, a talented musician who has played under the batons of such luminaries as Toscanini and Walter, and an esteemed arranger, scholar, author, and educator, Gunther Schuller is without doubt a major figure in the music world. Now, in The Compleat Conductor, Schuller has penned a highly provocative critique of modern conducting, one that is certain to stir controversy. Indeed, in these pages he castigates many of this century's most venerated conductors for using the podium to indulge their own interpretive idiosyncrasies rather than devote themselves to reproducing the composer's stated and often painstakingly detailed intentions. Contrary to the average concert-goer's notion (all too often shared by the musicians as well) that conducting is an easily learned skill, Schuller argues here that conducting is "the most demanding, musically all embracing, and complex" task in the field of music performance. Conducting demands profound musical sense, agonizing hours of study, and unbending integrity. Most important, a conductor's overriding concern must be to present a composer's work faithfully and accurately, scrupulously following the score including especially dynamics and tempo markings with utmost respect and care. Alas, Schuller finds, rare is the conductor who faithfully adheres to a composer's wishes. To document this, Schuller painstakingly compares hundreds of performances and recordings with the original scores of eight major compositions: Beethoven's fifth and seventh symphonies, Schumann's second (last movement only), Brahms's first and fourth, Tchaikovsky's sixth, Strauss's "Till Eulenspiegel" and Ravel's "Daphnis et Chloe, Second Suite." Illustrating his points with numerous musical examples, Schuller reveals exactly where conductors have done well and where they have mangled the composer's work. As he does so, he also illuminates the interpretive sty
A New Dictionary of the Italian and English Languages Based Upon that of Baretti Compiled by John Davenport and Guglielmo Comelati
- Author : Anonim
- Publisher : Unknown
- Release Date : 1868
- Genre : Uncategorized
- Pages : 753
- ISBN : IBNF:CF003814183
- Author : Wolfgang Amadeus Mozart
- Publisher : Alfred Music
- Release Date : 1996-08-01
- Genre : Music
- Pages : 152
- ISBN : 1457454351
Many of Mozart's own cadenzas are preserved, but many more that he improvised in performance were never written down. In that spirit, famed pianist Lili Kraus sensed an obligation and a challenge to follow the tradition of using her own cadenzas where no original was available. This collection, then contains Mozart's original cadenzas as well as editorial versions by Ms. Kraus for Concertos 1-27.