Compositions, musical

Maher, 1989] Maher, R. (1989). An Approach for the Separation of Voices in Composite Musical Signals. PhD thesis, Department of Electrical Engineering and Computer Science, U. Illinois. 

Hardness is increased appreciably. Wood-polymer composites are currently used in certain sporting equipment, musical instmments, decorative objects, and high performance flooring. 

The Right of Public Performance. Certain types of works, for example, musical compositions, plays, and choreographic works, are meant to be performed. PubHc performance of these works is the copyright owner s exclusive right. 

The improved physical and mechanical properties of the wood-plastic composites lead to a diversity of applications, e.g., automotive parts, furniture, construction (e.g., building panel, flooring veneers), toys, cutlery handles, industrial pattern, sports equipment, musical... 

Born in Salzburg, Austria, on January 27, 1756, Wolfgang was five when he learned his first musical composition—in less than half an hour. He quickly learned other pieces, and by age five composed his first original work. Leopold settled on a plan to take Nannerl and (1V Wolfgang on tour to play before the European courts. Their first venture was to nearby Munich where the children played for Maximillian III Joseph, elector of Bavaria. Leopold soon sethis sights on the capital of the Hapsburg Empire, Vienna. On their way to Vienna, the... 

Many people have been profoundly affected by great works of art. Describe a work of art—a book, a movie, a photograph, a drawing, a painting, a song, or a musical composition—that had a powerful impact on your life. What work of art was it How did it affect you Why ... 

Nevertheless, it is mostly in the iconographic context of the Atlanta Fugiens that Duchamp s odd, and previously completely unexplained venture into musical composition acquires important meaning. As it turns out (and as Walter Arensberg must also have known), Maier s is the only alchemical publication, illustrated or not, that is known to have contained complete musical scores, in fact one for each one of his fifty emblems. Among this other claims to fame, Maier was a pioneer Alchemist-Musician. ... 

In any event, Duchamp himself had tied this same title. La Mariee mise h nu, to his own, Maierlike musical fugue (MD-78). Likewise now tied to common alchemical symbolism is Duchamp s unique effort at musical composition, itself probably explicitly hermetic in its formal realization and initial purposes. Duchamp s musical hermeticism most likely has a decipherable formal component. Unfortunately, since I am myself quite unable to read musical scores, I must leave to a properly trained musicologist the onerous task of matching the strictly formal details of Duchamp s and Maier s scores. In any event, the matter of analogous content and purposes between Maier s and Duchamp s three-part fugues seems now perfectly clear. 

Clair, Catalogue, 60-61, nos. 77 Erratum Musical 78 La Mariee mise a nu. . . (with a complete transcription of the text for no. 78) see also Byars C. L. P. James, Duchamp s Silent Noise/Music for the Deaf, in Kuenzli and Naumann, 106-26. At one time, but evidently no longer, there was available a recording of these two pieces with a typically numbing, chance composition by John Cage on the other side. 

Musical Composition Finally, music composers working with pre-recorded material find it interesting to be given an independent control over time and pitch. In this context, time and pitch-scale modification systems are used as composition tools and the quality of the modified signal is an important issue. 

In Chowning s original work [Chowning, 1973], he explored three different classes of musical signals brass tones, woodwind tones, and percussive-like sounds. An important characteristic of these musical sounds, in addition to their spectral composition, is the amplitude envelope of the sound and its relation to its instantaneous bandwidth. 

Mozart, with the sublime assurance of the truly gifted, replies in astonishment that there were just as many notes as were needed not too many and not too few. The ability to judge the appropriate balance between the decorative complexity of a composition, whether it be in music, painting, or perfumery, and its underlying structure is one of the marks of true creative greatness. 

As in a musical composition, there is a major chord, and on most occasions there is a minor chord. The same can be applied to phosphatidylinositol and its phosphorylated derivatives. Immediately above, there was mention of three major inositol-containing phosphoglycerides. Over the past few years, identification of so-called minor inositol phosphoglycerides has received in-... 

Alloys of nickel, copper, and zinc are known as nickel-silver, and have a large industrial application. One such was known to the Chinese in early times under the name of Packfong, being used for gongs and other musical instruments. Individual specimens exhibit considerable variation in composition, ranging from 8-75 to 31-9 per cent, of nickel. 

Overall, the experience was hard work, mentally and physically grueling. Much of the experience was extracted like the bitter liquid from an orange rind. This was most apparent during a period when I was squeezing complex original musical compositions from my head. 

Additives Effect on the Catalyzed Monomer Solution. Soluble dyes can be added to the catalyzed monomer solution to color the final wood-polymer composite. Any color of the visible spectrum can be added, browns to simulate black walnut, red and blues for national colors. The color emphasizes the grain structure of the particular species and combines with the polymer to add a three-dimensional depth not present in surface-finished wood. A dense black wood-polymer, so desirable for musical instruments, is difficult to obtain because of wood s light color and the tendency of the microstructure to chromatographically separate a dye of several components into its separate colors. Dyes have an inhibiting effect on the polymerization of wood-monomer composites, some more so than others. Additional catalyst can be added to overcome this inhibition, but in the radiation process of a given geometry additional time must be allowed for complete curing. 

Solutions are usually classified according to their physical state, as solid, liquid, or gaseous. The physical state of a solution is determined by the solvent. Many alloys are solid solutions of one metal dissolved in another. For example, brass, which is used to make musical instruments and many other objects, is a solution of copper and zinc. Air is a gaseous solution containing nitrogen, oxygen, and other gases. Carbon dioxide (a gas), alcohol (a liquid), and salt (a solid) each dissolve in water (a liquid) to form liquid solutions. Water is the most common solvent in the laboratory and in many fields. Water solutions are known as aqueous solutions. Because they are so important, in this section we will concentrate on the properties of aqueous solutions. Some solutions and their compositions are illustrated in Table 1. 

When Beethoven reached his goal by trial and error and finished the composition, he strung sounds together in a sequence that never existed before and laid down the composition in an exact order of notes, making its revocation accessible to anyone with the necessary knowledge. In the brain of Beethoven the piece of music as an integral whole was also necessarily coupled to emotions in a highly complicated, never repeatable manner. 

In the brain of the audience, even in those who hear the composition for the first time, the music activates a population of cortical neurons essentially similar to those activated in the brain of the artist who transmitted the message. Due to the substantial individual differences in experiences there is of course an immense variety in the cognitive/affective reception of the performance. However, despite these differences, when a piece of music is authentically rendered by an inspired artist, the brilliant performance captures the emotions of the whole audience. It is easy to see that in the unanimous final ovation of the artist the mass-effect also comes across and makes the performance a delightful and memorable experience even for those who are less initiated in music appreciation. 

With the fragmentation of the object and the proper coloring of geometri-cized shapes, hitherto unseen rhythmic compositions were created, capable of exciting millions of cortical neurons in the brain of the initiated viewer inseparable from feelings of harmony and satisfaction similar to those elicited by music. The final step of course was the complete omission of objects and the deconstruction of compositions that act only by the power of colors, as music does with sounds. 

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