scholarly journals R. Schumann’s romantic “Fantastic Pieces” op. 88 – on the way to the piano trio

2019 ◽  
Vol 16 (16) ◽  
pp. 126-142
Author(s):  
Lidiya Sokolova
Keyword(s):  
Subsequent Development ◽  
Theoretical Background ◽  
Middle Part ◽  
Musical Instruments ◽  
Solo Piano ◽  
Piano Trio ◽  
Ensemble Techniques ◽  
The Fantastic ◽  
Special Complex ◽  
Ensemble Analysis

Introduction. The article analyzes R. Schumann’s “Fantastic Pieces” op. 88 as a creative debut in the subsequent development of the piano trio genre. The “Fantastic Pieces” op. 88 are the first composer’s creative experience in combining such musical instruments. Theoretical Background. The analysis of musicological literature did not reveal any special research dedicated to this score, but only its references in E. Karelina’s (1996) thesis research and D. Zhitomirsky’s (1964) monograph. Thus, this article is the first special research of the compositional and ensemble analysis of R. Schumann’s “Fantastic Pieces”, op. 88. The objectives of the research: to analyze compositional-dramatic and ensemble features of R. Schumann’s “Fantastic Pieces”, op. 88, to identify their specific features. The object of the research: R. Schumann’s chamber-instrumental creative activity. The subject of the research: to identify the value of R. Schumann’s “Fantastic Pieces”, op. 88 in the further development of the piano trio genre. Methods: musical-theoretical, aimed at analyzing the musical text of the chosen work; genre-stylistic, allowing to identify the compositional-dramatic and ensemble features of R. Schumann’s “Fantastic Pieces”, op. 88. Research material: R. Schumann’s “Fantastic Pieces” op. 88 for piano, violin and cello. Results and Discussion. The first experience in mastering the piano trio genre of R. Schumann occurred in the “Fantastic Pieces” op. 88, composed in 1842. This was the first composer’s experience in combining such musical instruments. This work is a cycle of four pieces: “Romance”, “Humoresque”, “Duetto” and “Final”. It is noteworthy that R. Schumann used these names in other works. It is useful enough to recall his 3 piano romances op. 28, Humoresque op. 20a, 4 marches op. 76. Despite the four-part character of the work, this composition does not coincide with the sonata-symphonic structure, but is organized according to the suite principle. R. Schumann’s different vision of the trio-ensemble genre is represented by a clear differentiation of works with an individual composition. Therefore, the cycles op. 88 and op. 132 receive program names: “Fantastic Pieces” and “Fairytale Narratives”, respectively, and the trio with the classical (sonata) organization of the cycle acquire sequence numbers and are referred to as “piano trios”. The very names of the parts in the cycle reveal the opposition of two metaphoric spheres, characteristic of the romantic era: lyrical and genre-scherzo ones. The paired relationship of these metaphoric spheres stands out particularly. Such a metaphoric doubling gives the matching modes the rondality features within the whole cycle. This metaphoric paired relationship between the parts allows you to single out two macro parts in a cycle. The first macro part is represented by the lyric “Romance” and the scherzo “Humoresque”, the second one – by the tender song “Duetto” and the marching “Final”. At the same time, the macro parts demonstrate individual features of one or another semantic type. The metaphoric opposition of romantic pieces is also enhanced by tempo and ear-catching contrast. Such an alternation of various metaphoric types gives the entire cycle the features of a kaleidoscopic suite. The proportion of genre parts stands out particularly, which is manifested in both their scale and complexity of the compositional organization. Thus, the lyrical parts are represented by tripartite forms. Quick genre pieces are composed in various forms (“Humoresque” is created in a complex tripartite form with a developed polythematic middle part, and the “Final” is in a rondo form, with the links acting as refrains). Despite the romantic nature of the cycle organization, the “Fantastic Pieces” tone plan is a classical one: a-moll –F-dur– d-moll – a-moll (A-dur). Conclusions. It was revealed that the suite-based principle of composition organization and genre-stylistic features of the cycle (opposition of lyrical and genre-scherzo metaphoric spheres) connect the romantic “Fantastic Pieces” op. 88 with its piano miniatures of the 1830s. Ensemble analysis of R. Schumann “Fantastic Pieces”, op. 88 showed that in his first work for the piano trio, the composer “transplanted” solo piano works into a poly-timbre ensemble, taking it in the context of piano music. At the same time, the composer did not reduce the role of strings to the “service” function, but actively used all their melodic and proper ensemble possibilities in the chosen trio. For example, if “Romance” ensemble demonstrated the piano domination, “Humoresque” – the parity of the instruments, then in “Duetto” primacy was given to stringed instruments. In “Final”, each section of the musical form is highlighted by an appeal to one of the main ensemble techniques. A series of altering various semantic spheres, defining the suite properties of the “Fantastic Pieces”, subordinates the ensemble properties used by the composer. For each number and even its individual sections, their special complex was chosen, which in different semantic contexts had a metaphoric-semantic meaning. It was revealed that the organizing means of creating the ensemble in the R. Schumann’s trio was the polyphonic technique presented in his work in a wide variety, which would later be widely developed in his piano trios.

Sulfur isotope patterns of iron sulfide and barite nodules in the Upper Cretaceous Chalk of England and their regional significance in the origin of coloured chalks

2016 ◽  
Vol 66 (2) ◽  
pp. 227-256 ◽  
Author(s):  
Christopher V. Jeans ◽  
Alexandra V. Turchyn ◽  
Xu-Fang Hu
Keyword(s):  
Upper Cretaceous ◽  
Iron Sulfide ◽  
Sulfur Isotopes ◽  
Subsequent Development ◽  
Middle Part ◽  
Iron Sulfides ◽  
Sulfate Reducing ◽  
Basement Faults ◽  
Reducing Bacteria ◽  
The Relationship

AbstractThe relationship between the development of iron sulfide and barite nodules in the Cenomanian Chalk of England and the presence of a red hematitic pigment has been investigated using sulfur isotopes. In southern England where red and pink chalks are absent, iron sulfide nodules are widespread. Two typical large iron sulfide nodules exhibit δ34S ranging from −48.6‰ at their core to −32.6‰ at their outer margins. In eastern England, where red and pink chalks occur in three main bands, there is an antipathetic relationship between the coloured chalks and the occurrence of iron sulfide or barite nodules. Here iron sulfide, or its oxidised remnants, are restricted to two situations: (1) in association with hard grounds that developed originally in chalks that contained the hematite pigment or its postulated precursor FeOH3, or (2) in regional sulfidization zones that cut across the stratigraphy. In the Cenomanian Chalk exposed in the cliffs at Speeton, Yorkshire, pyrite and marcasite (both iron sulfide) nodules range in δ34S from −34.7‰ to +40.0‰. In the lower part of the section δ34S vary from −34.8‰ to +7.8‰, a single barite nodule has δ34S between +26.9‰ and +29.9‰. In the middle part of the section δ34S ranges from +23.8‰ to +40.0‰. In the sulfidization zones that cut across the Cenomanian Chalk of Lincolnshire the iron sulfide nodules are typically heavily weathered but these may contain patches of unoxidised pyrite. In these zones, δ34S ranges from −32.9‰ to +7.9‰. The cross-cutting zones of sulfidization in eastern England are linked to three basement faults – the Flamborough Head Fault Zone, the Caistor Fault and the postulated Wash Line of Jeans (1980) – that have affected the deposition of the Chalk. It is argued that these faults have been both the conduits by which allochthonous fluids – rich in hydrogen sulfide/sulfate, hydrocarbons and possibly charged with sulfate-reducing bacteria – have penetrated the Cenomanian Chalk as the result of movement during the Late Cretaceous or Cenozoic. These invasive fluids are associated with (1) the reduction of the red hematite pigment or its praecursor, (2) the subsequent development of both iron sulfides and barite, and (3) the loss of overpressure in the Cenomanian Chalk and its late diagenetic hardening by anoxic cementation. Evidence is reviewed for the origin of the red hematite pigment of the coloured chalks and for the iron involved in the development of iron sulfides, a hydrothermal or volcanogenic origin is favoured.

scholarly journals Piano Trio by Amanda Maier in the Context of Genre Evolution

2021 ◽  
pp. 63-79
Author(s):  
Yaroslava Serdiuk
Keyword(s):  
Comparative Method ◽  
Solo Piano ◽  
Piano Trio ◽  
Romantic Era ◽  
German School ◽  
Long Time ◽  
Characteristic Features ◽  
Classical Traditions ◽  
Historical Comparative ◽  
The Individual

The relevance of the study. The name of Swedish composer and violin virtuoso of the Romantic era Amanda Maier-Röntgen is virtually unknown in Ukrainian musicology. Her work was forgotten for long time and rediscovered by European (particulary Swedish) and American musicians. But at one time she was the first woman who received the title of “Musik Direktor” after graduating from the Royal Academy of Music in Stockholm. She also perfected her performing and composing mastership in Leipzig, her work was praised by critics and leading European musicians: E. Grieg, J. Brahms, K. Schumann, with whom A. Maier maintained creative contacts. Existing research in European and American musicology considers basically only biography and performing activity of A. Maier, not her composer style or genre-stylistic and compositional features of her works. The main objective of the research is to consider the stylistic parameters in chamber music works by A. Maier, in particular, her interpretation of the piano trio genre. The methodology of the study is based on the main methods of music science: compositional, harmonic, polyphonic, intonation genre-stylistic analysis, historical-comparative method. The main findings and conclusions of the study. The Trio in E flat major by A. Maier embodies both the most characteristic features of this genre that have developed in the works of classical composers, and the achievements of Romantic composers of the Austrian-German school of the first half of the nineteenth century, and the latter have priority in this work. Continuity with classical traditions can be traced in the four-part structure of the cycle, which has become typical for the trio genre, beginning with the works by L. van Beethoven; in specific techniques of ensemble writing (unison presentation of the initial theme with all instruments, dialogicity — comparison of the sound of ensemble tutti and solo piano; elements of imitation in strings part; polyphonic work with themes in development). Fundamental role of lyrics, reliance on the song and romance intonations, the kinship of themes within each of the parts, end-to-end thematic development, and thematic arches between the movements in composer thinking of A. Maier comes from Romanticism. Among the individual features inherent in the Trio A. Maier — laconic composition, plasticity of melodic lines, exceptional fluidity and coherence of form, which is achieved due to intonational similarity of the themes, openness of the syntactic structures or veiling of the cadences, organicity of the modulation transitions; dynamism of the developing sections. Also, some melodic and harmonic elements of the Trio (for example, in the themes of the middle sections of Scherzo and Andante) hint at the Scandinavian national folklore. Amanda Mayer's trio represents the best achievements of the romantic stage in the evolution of the genre: your embodiment of classical traditions together with the disclosure of personal lyrical and psychological content.

Micropatterning of Permalloy Films by Electron Lithography

1976 ◽  
Vol 34 ◽  
pp. 448-449
Author(s):  
J. K. Maurin
Keyword(s):  
Electron Beam ◽  
Subsequent Development ◽  
Electron Optical System ◽  
Microelectronic Device ◽  
Magnetic Bubble ◽  
Control Beam ◽  
Photosensitive Material ◽  
Direct Exposure ◽  
Electron Lithography ◽  
Scanning Electron

Conductor, resistor, and dielectric patterns of microelectronic device are usually defined by exposure of a photosensitive material through a mask onto the device with subsequent development of the photoresist and chemical removal of the undesired materials. Standard optical techniques are limited and electron lithography provides several important advantages, including the ability to expose features as small as 1,000 Å, and direct exposure on the wafer with no intermediate mask. This presentation is intended to report how electron lithography was used to define the permalloy patterns which are used to manipulate domains in magnetic bubble memory devices.The electron optical system used in our experiment as shown in Fig. 1 consisted of a high resolution scanning electron microscope, a computer, and a high precision motorized specimen stage. The computer is appropriately interfaced to address the electron beam, control beam exposure, and move the specimen stage.

Training Methods With Clinicians and Students—A Personal Story and Change: Narrative Therapy for Stuttering

2008 ◽  
Vol 18 (1) ◽  
pp. 37-42 ◽  
Author(s):  
Margaret Leahy
Keyword(s):  
Narrative Therapy ◽  
Evidence Based Practice ◽  
Theoretical Background ◽  
Evidence Based ◽  
Training Methods ◽  
Sense Of Control ◽  
Case Description ◽  
General Outline ◽  
Personal Story ◽  
Fluency Disorders

Abstract Educating students and informing clinicians regarding developments in therapy approaches and in evidence-based practice are important elements of the responsibility of specialist academic posts in universities. In this article, the development of narrative therapy and its theoretical background are outlined (preceded by a general outline of how the topic of fluency disorders is introduced to students at an Irish university). An example of implementing narrative therapy with a 12-year-old boy is presented. The brief case description demonstrates how narrative therapy facilitated this 12-year-old make sense of his dysfluency and his phonological disorder, leading to his improved understanding and management of the problems, fostering a sense of control that led ultimately to their resolution.

Status of nondestructive control of transport function metal products at JSC EVRAZ NTMK

2020 ◽  
Vol 76 (6) ◽  
pp. 586-590
Author(s):  
S. P. Bersenev ◽  
E. M. Slobtsova
Keyword(s):  
Crack Detection ◽  
Middle Part ◽  
Control Line ◽  
Magnetic Powder ◽  
Nondestructive Control ◽  
Automated Control ◽  
Ultrasonic Control ◽  
Acoustic Contact ◽  
In Series

Achievements in the area of automated ultrasonic control of quality of rails, solid-rolled wheels and tyres, wheels magnetic powder crack detection, carried out at JSC EVRAZ NTMK. The 100% nondestructive control is accomplished by automated control in series at two ultrasonic facilities RWI-01 and four facilities УМКК-1 of magnetic powder control, installed into the exit control line in the wheel-tyre shop. Diagram of location, converters displacement and control operations in the process of control at the facility RWI-01 presented, as well as the structural diagram of the facility УМКК-1. The automated ultrasonic control of rough tyres is made in the tyres control line of the wheel-tyre shop at the facility УКБ-1Д. The facility enables to control internal defects of tyres in radial, axis and circular directions of radiation. Possibilities of the facility УКБ-1Д software were shown. Nondestructive control of railway rails is made at two facilities, comprising the automated control line of the rail and structural shop. The УКР-64Э facility of automated ultrasonic rails control is intended to reveal defects in the area of head, web and middle part of rail foot by pulse echo-method with a immersion acoustic contact. The diagram of rail P65 at the facility УКР-64Э control presented. To reveal defects of the macrostructure in the area of rail head and web by mirror-shadow method, an ultrasonic noncontact electromagnetic-acoustic facility is used. It was noted, that implementation of the 100% nondestructive control into the technology of rolled stuff production enabled to increase the quality of products supplied to customers and to increase their competiveness.

Severe Head Injury linked to Subsequent Development of Malignant Brain Tumour within a Short Period- A Case Report

2018 ◽  
Vol 3 (2) ◽  
Keyword(s):  
Head Injury ◽  
Brain Tumour ◽  
Severe Head Injury ◽  
Case Reports ◽  
Subsequent Development ◽  
Malignant Brain Tumour ◽  
Tumour Development ◽  
Short Period ◽  
The Brain

There have been a few case reports of head injury leading to brain tumour development in the same region as the brain injury. Here we report a case where the patient suffered a severe head injury with contusion. He recovered clinically with conservative management. Follow up Computed Tomography scan of the brain a month later showed complete resolution of the lesion. He subsequently developed malignant brain tumour in the same region as the original contusion within a very short period of 15 months. Head injury patients need close follow up especially when severe. The link between severity of head injury and malignant brain tumour development needs further evaluation. Role of anti-inflammatory agents for prevention of post traumatic brain tumours needs further exploration.

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