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An approach to the teaching of music composition, illustrated by an original work for orchestra, Symphony with prologue /Stryker, Lee William January 1955 (has links)
No description available.
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592 |
An Appalachian Fantasy for Violin and OrchestraGorby, Roderick B. 09 September 2010 (has links)
No description available.
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593 |
Genetic and gender influences on the changing phenotypic, total body and body component mineral compositions of pigs from 20 to 125 kilogram body weightWiseman, Theodore G. 15 March 2006 (has links)
No description available.
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594 |
Long-distance nationalism: persuasive invocations of militant hinduism in North AmericaChakravarty, Subhasree 01 December 2006 (has links)
No description available.
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595 |
A comparison of several methods for estimating body composition changes occurring in growing and reproducing swine.Shields, Richard G. January 1981 (has links)
No description available.
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596 |
Part I: Evocation as a compositional device : Part II: Concerto for chamber orchestra /Reuter, Rocky J. January 1986 (has links)
No description available.
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597 |
Problems of composing choral music for high school use /Adams, Leslie January 1973 (has links)
No description available.
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598 |
Mineralogy of some orthic podzols in Quebec.Gold, Christopher M., 1944- January 1970 (has links)
No description available.
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599 |
A physico-chemical study of four soil types under the influence of a number of leaf litters and earthworms species.Leger, Roland Georges. January 1970 (has links)
No description available.
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600 |
"Music for the End of the World": Sound, Nature, and the AnthropoceneMacedo de Castro Lima, Marcel 07 1900 (has links)
In this document, I discuss the creative process of a piece for instruments, electronics, and video titled Music for the End of the World in the context of the Anthropocene and music's relationship with it. The document is divided into two parts: Part I, divided into three chapters, is a critical essay and Part II, the score for Music for the End of the World. In the first two chapters, I present the conceptual basis for the creation of the piece and discuss relevant musical references. In the third chapter, I describe the creative process in detail and explain how the aesthetic decisions I made relate to the original concept. The first chapter starts by defining the Anthropocene and pointing out some connections between music, colonialism, and ecology. It also highlights some of the Anthropocene potential implications for the arts through the lens of Timothy Morton's post-humanist philosophy. In the second chapter, three important references for the creation of Music for the End of the World are presented: Luigi Nono's Prometeo; Francisco López La Selva; and João Pedro Oliveira's Neshamah. In the third chapter, I present the creative process of Music for the End of the World in detail. It starts by describing how the piece was created after the composition of shorter study pieces for different chamber ensembles. Regarding electronics, in that chapter, I discuss the use of synthesized sounds in addition to field recordings. For the synthesized part, the paper also describes each of the instruments I developed in Max/MSP. Finally, it explains the creation of the video using AI image synthesis in Midjourney and their implementation in the piece.
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