scholarly journals Sergei Prokofiev's Third Piano Sonata, OP. 28: Stylistic Analysis and Performance Suggestions

2020 ◽  
Author(s):  
YOUNGJU LEE
Keyword(s):  
Stylistic Analysis ◽  
Piano Sonata ◽  
Performance Suggestions ◽  
And Performance

Serenade in D Major for Orchestra

10.31022/n084 ◽  
2021 ◽  
Author(s):  
Ethel Smyth
Keyword(s):  
Royal College ◽  
Critical Edition ◽  
British Library ◽  
Biographical Sketch ◽  
Crystal Palace ◽  
The Press ◽  
Performance Suggestions ◽  
Orchestral Work ◽  
And Performance ◽  
Critical Notes

Ethel Smyth's first orchestral work, the Serenade in D Major for Orchestra, was composed in 1889 (and possibly early 1890) and was premiered at a Crystal Palace concert on 26 April 1890. The work was received well by the audience and garnered positive notices in the press. This critical edition is based on a photocopy of the autograph manuscript, now in the Royal College of Music Library, with reference also to a fair copy of the score, now in the British Library. The extensive critical notes document the changes made by the composer, as well as editorial and performance suggestions made by both the composer and August Manns, who conducted the premiere performance. The present whereabouts of Ethel Smyth's autograph score for her Serenade in D Major are unknown. The facsimile supplement presents a photocopy of the score that was made, according to the label on the cover, in August 1993, and which is now in the Royal College of Music Library. The introduction to this edition includes a biographical sketch of August Manns, conductor of the premiere performance.

Turning Points (1945–1948)

2018 ◽  
Author(s):  
David Schiff
Keyword(s):  
Turning Points ◽  
Close Friend ◽  
Innovative Approach ◽  
Aaron Copland ◽  
Piano Sonata ◽  
New Directions ◽  
And Performance ◽  
First Time ◽  
Rhythmic Organization ◽  
Cello Sonata

Until the appearance of his Piano Sonata in 1946, and Sonata for Violoncello and Piano in 1948 Carter seemed to lack a distinctive voice. Aaron Copland, a close friend, taunted Carter about the “difficulty” of works that Carter had tried to make accessible, and did not mention Carter in an important 1948 article on emerging composers. Carter’s music at this time, however, was moving in new directions. The two sonatas for the first time deploy the distinctive formal and contrapuntal techniques of his mature style. Their idioms also reflect Carter’s realignment with ultra-modernism in his renewed friendship with Varèse and involvement with the publication and performance of Ives’ works. The appearance of metrical modulation in the Cello Sonata, an innovative approach to rhythmic organization, also sprang from Rudolf Kolisch’s study of tempo in Beethoven’s music.

scholarly journals D4.2 Profiling report of the partner’s tools, complete with performance suggestions

2021 ◽  
Author(s):  
R. Amela ◽  
R. Badia ◽  
S. Böhm ◽  
R. Tosi ◽  
C. Soriano ◽  
...  
Keyword(s):  
Performance Analysis ◽  
Programming Model ◽  
Storage Systems ◽  
Performance Suggestions ◽  
Multi Level ◽  
Multiple Levels ◽  
And Performance ◽  
The One ◽  
Dynamic Scheduler ◽  
And Storage

This deliverable focuses on the proling activities developed in the project with the partner's applications. To perform this proling activities, a couple of benchmarks were dened in collaboration with WP5. The rst benchmark is an embarrassingly parallel benchmark that performs a read and then multiple writes of the same object, with the objective of stressing the memory and storage systems and evaluate the overhead when these reads and writes are performed in parallel. A second benchmark is dened based on the Continuation Multi Level Monte Carlo (C-MLMC) algorithm. While this algorithm is normally executed using multiple levels, for the proling and performance analysis objectives, the execution of a single level was enough since the forthcoming levels have similar performance characteristics. Additionally, while the simulation tasks can be executed as parallel (multi-threaded tasks), in the benchmark, single threaded tasks were executed to increase the number of simulations to be scheduled and stress the scheduling engines. A set of experiments based on these two benchmarks have been executed in the MareNostrum 4 supercomputer and using PyCOMPSs as underlying programming model and dynamic scheduler of the tasks involved in the executions. While the rst benchmark was executed several times in a single iteration, the second benchmark was executed in an iterative manner, with cycles of 1) Execution and trace generation; 2) Performance analysis; 3) Improvements. This had enabled to perform several improvements in the benchmark and in the scheduler of PyCOMPSs. The initial iterations focused on the C-MLMC structure itself, performing re-factors of the code to remove ne grain and sequential tasks and merging them in larger granularity tasks. The next iterations focused on improving the PyCOMPSs scheduler, removing existent bottlenecks and increasing its performance by making the scheduler a multithreaded engine. While the results can still be improved, we are satised with the results since the granularity of the simulations run in this evaluation step are much ner than the one that will be used for the real scenarios. The deliverable nishes with some recommendations that should be followed along the project in order to obtain good performance in the execution of the project codes.

Vacation Discrepancy: Correlates of Individual Differences and Outcomes

1989 ◽  
Vol 65 (3) ◽  
pp. 867-882 ◽  
Author(s):  
Kathleen M. Utecht ◽  
Ramon J. Aldag
Keyword(s):  
Individual Differences ◽  
Organizational Outcomes ◽  
Type A Behavior ◽  
Protestant Work Ethic ◽  
Perceived Fairness ◽  
Job Level ◽  
Cash Payment ◽  
Performance Suggestions ◽  
Job Growth ◽  
And Performance

This paper examines individual differences and individual and organizational outcomes as correlates of vacation discrepancy. Vacation discrepancy, the degree to which actual and ideal vacation characteristics are discrepant, is operationalized by five vacation indices—duration, usage, nature, sacrifice, and banking and cash payment. These vacation discrepancy indices are seen to be related to five individual difference characteristics—age, job level, Type A behavior, adherence to protestant work ethic ideals, and valence of vacations—and to six individual and organizational outcomes—job growth satisfaction, perceived fairness of vacations, vulnerability to stress, health, absenteeism and performance. Suggestions for research on vacation discrepancy in particular, and on the effects of vacation policies in general, are presented.

Some Anticipatory, Kinesthetic, and Dynamic Aspects of Auditory Imagery

2019 ◽  
pp. 147-172
Author(s):  
Timothy L. Hubbard
Keyword(s):  
Inner Ear ◽  
Inner Speech ◽  
Auditory Imagery ◽  
Auditory Verbal Hallucinations ◽  
Musical Imagery ◽  
Dynamic Representation ◽  
Inner Voice ◽  
Performance Suggestions ◽  
Cognitive Activities ◽  
And Performance

Timothy Hubbard offers a discussion of recent findings related to auditory imagery. These findings allow Hubbard to focus on how auditory imagery can occur automatically and involuntarily and can be evoked by different activities and/or triggered by memories from previous musical exposure. Hubbard discusses different forms of auditory imagery (e.g., anticipatory musical imagery, earworms, notational audiation, inner speech, in silent reading of text, auditory verbal hallucinations), and he explores differences between the inner ear and the inner voice, possible contributions of subvocalization to auditory imagery, and potential of auditory imagery as a component in musical practice and performance. Suggestions that auditory imagery reflects dynamic representation are considered, and Hubbard speculates that auditory imagery has a more profound role in a wider range of cognitive activities than is commonly assumed.

Integrating multimodal analysis and the stylistics of drama: a multimodal perspective on Ian McKellen'sRichard III

2008 ◽  
Vol 17 (4) ◽  
pp. 309-334 ◽  
Author(s):  
Dan McIntyre
Keyword(s):  
Methodological Problem ◽  
Critical Discussion ◽  
Level Of Detail ◽  
Stylistic Analysis ◽  
Original Play ◽  
Richard Iii ◽  
Multimodal Analysis ◽  
Film Version ◽  
Dramatic Text ◽  
And Performance

Traditionally, stylistic analyses of drama have tended to concentrate on the analysis of dramatic texts rather than dramatic performances. This has been on the basis that no two performances of the same text are entirely alike, and that accurate critical discussion is therefore impossible unless we can be sure that everyone concerned has seen the particular performance we are analysing (Short, 1981). Nonetheless, some performances of plays incorporate production elements that seem to add substantially to the original play script, and which arguably guide our interpretation of the play. In such cases, a stylistic analysis which ignores these production elements is arguably impoverished and incomplete. There appears, then, to be some tension between being methodologically rigorous and producing a complete stylistic analysis of a play which takes into account production and performance elements. However, in the case of plays which have been filmed this methodological problem can be circumvented, since the film version constitutes a permanent record of a particular production of the play in question. In this article I demonstrate the value of taking into account the multimodal aspects of drama by analysing the soliloquy scene from Ian McKellen's film version of Shakespeare's Richard III. I argue that in order to provide a multimodal analysis of the play that matches a traditional stylistic analysis in terms of level of detail, it is necessary to work from a transcript that incorporates linguistic, paralinguistic and non-linguistic elements of the production. As a result of my analysis, I suggest that the multimodal elements of the production contribute to our interpretation of the play as much as the linguistic elements of the dramatic text.

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