Oxford Music Online Sample Clauses

Oxford Music Online. Oxford University Press, accessed December 15, 2014, xxxx://xxx.xxxxxxxxxxxxxxxxx.xxx. Xxxxx Xxxxxxx, "Xxxxxx," in Die Musik in Geschichte und Gegenwart, ed. Xxxxxx Xxxxxxxx (Kassel: Bärenreiter-Verlag, 1994). p. 1250. Xxxxxxx Xxxxxxxx, Il Seicento, 2nd ed., vol. 5, Storia della musica, Biblioteca di Cultura Musicale (Turin: EDT, 1991). p. xv. For a review of Clercx, by Xxxxxxxx, see Xxxxxxx X. Xxxxxxxx, "Le Baroque et la Musique by Xxxxxxx Xxxxxx," The Musical Quarterly 35, no. No. 4 (Oct.) (1949). pp. 652–655. Xxxxxx Xxxxxx, Xxxxx Xxxx Xxxxx, "Galant."
Sample 1Sample 2
AutoNDA by SimpleDocs
Oxford Music Online. Oxford University Press, accessed December 15, 2014, xxxx://xxx.xxxxxxxxxxxxxxxxx.xxx. 2 For the purpose of this study, the word ‘recorder’ has been used whenever the present author referred to the instrument, but previous mentions of the instrument as ‘flauto’ and ‘flute’ were kept as in the original, either in italics or between quotation marks. When used by the present author, ‘flutes’ and ‘flutists’ are generalist terms which include both recorder and xxxxxxxx. See the Glossary for the definition of ‘Baroque’, ‘Renaissance’ and ‘early Baroque’ recorders.
Sample 1Sample 2
Oxford Music Online. Oxford University Press, accessed December 8, 2012, xxxx://xxx.xxxxxxxxxxxxxxxxx.xxx. 16 As reported by Xxxxxx Xxxxx Xxxxx, “the earliest depiction [of a recorder] may be the anonymous Sienese Assumption of the Virgin […] dated 1340”. Now kept in the Alte Pinakothek in Munich, the painting is believed to be by Xxxxxx Xxxxxxx. Xxxxxx Xxxxx Xxxxx, "The recorder in the Middle Ages and the Renaissance," in The Cambridge Companion to the represented regularly in Italian artworks.17 Although depictions of recorder trios are often to be found in the fifteenth century (such as the wonderful frescoes of Palazzo Schifanoia in Ferrara from c. 147018), no ‘designated repertoire’ for the recorder has survived, though consorts of recorders were used to perform vocal music.19 In 1505, the Venetian wind player Xxxxxxxx Xxxxxx offered Xxxxxxxxx XX Xxxxxxx, Xxxxxxx of Mantua, a motet to be played on eight recorders.20 In 1515, Xxxxxxxxx Xxxxxxxxxx, Xxxxxx Xxxxxxx, Xxxxxxx Xxxxxxxx and Xxxxxxxx xx Xxx Xxxxxxxx played recorders as well as cornettos, trumpets and shawms for processions of the Scuola di San Marco in Venice.21 Xxxx Xxxxx XXXX of England “imported a consort of recorder players, five brothers of the Bassano family from Venice, in 1539–40.”22 It was also in the 1530s that the most elaborate Italian treatise for the recorder appeared (i.e. La Fontegara, which will be discussed next), and by then the presence of the recorder in the professional musical life of Italy is undeniable.23 The level of intellectual ability expected from sixteenth century ‘recorder players’ is noteworthy, as may be observed in the sophisticated 1535 Venetian treatise, La Fontegara. Written by a professional musician – Xxxxxxxxx Xxxxxxx was a member of the official wind
Sample 1Sample 2
Oxford Music Online. Oxford University Press, accessed October 8, 2014, xxxx://xxx.xxxxxxxxxxxxxxxxx.xxx. For a more detailed account, see also Xxxxxxx Xxxxxxxx, Il Seicento, 5. Xxxxx Xxxxxx,
Sample 1Sample 2
Oxford Music Online. Oxford: Oxford University Press, 2013. xxx.xxxxxxxxxxxxxxxxx.xxx/xxxxxxxxxx/xxxxxxx/xxxxx/xxxxx/00000. Xxxxxxxxxx, Xxx. "Xxx Xxxxxxxxxx About Xxxxx Xxxx" Interview by Xxxxx xxx Xxx. 2006. Xxxxxxxxx, Xxxxxx. "Klangerzeugung als Drama und Resonanzphänomen". In Klang (ohne) Xxxxxxxxx and Xxxxxx Xxxxxxxxx, 173–182. Bielefeld: transcript Verlag, 2010. Xxxxxxxxxx, Xxxxxxx X. "The Development of Radio". Annals of the American Academy of Political and Social Science 142 (1929): 1–7. Xxxxx, Xxxxx. Von Mozart Zu Xxxxxxx: Eine Kulturgeschichte der Popmusik. Frankfurt am Main: Suhrkamp, 2001.
Sample 1Sample 2
Oxford Music Online. Oxford University Press, accessed January 11, 2015, xxxx://xxx.xxxxxxxxxxxxxxxxx.xxx. (Italics in the original, square brackets by the present author). It is important to point out that both Tutto il Bisognevole and Compendio Musicale continue Xxxxxxx’s legacy, in presenting fingerings for rather high notes in those early times. These are the only two Italian treatises on the ‘Baroque’ recorder, and therefore to claim here that Italian recorder makers had been invested in proposing fingerings for high notes from early on is inconclusive, although relevant. The meager number of treatises in the seventeenth century in Italy, and the fact that no other treatise deals with the recorder in the eighteenth century, contrasts sharply with the enormous number of similar manuals available – and aimed mostly at amateurs – in other parts of Europe, especially England, as can be noted from Table A. The fact that most of these treatises were indeed aimed at a wide reach of amateurs might possibly explain why the fingering charts of so many of those do not include the higher notes – and neither does the repertoire intended for them. The range of the fingerings presented in Baroque treatises for the recorder is also shown in Table A.76 76 For the sake of completion, and in order to show that the range mostly remains the same after the Baroque period (with only a few exceptions), Table A also includes treatises dated later than 1759. Xxxx Xxxxxxxxx, Xxxxxxxxxx Xxxxxxxxx, eds., Xxxxxxxx & Traités 8 – Flûte à Bec, 4 vols., vol. 1-4, Série III – Europe (Courlay: X. X. Xxxxxx, 2001–2006). City, year Format Author Title Fingering range Remarks Venice?,1630 MS Anonymous Tutto il Bisognevole F4-G6 (no F#6) Xxxxxxx?, 1677– 1694 XX Xxxxxxxxxx Xxxxxxxxxx Compendio Musicale G4-G6 (no G#4, F#6) G alto London, 1679 print Xxxx Xxxxxxxx A Xxxx Xxxxx F4-D6 London, 1683 print Xxxxxxxx Xxxxxx The Genteel Companion F4-D6 (+E6-G6) London, 1686 print Xxxx Xxxx The Delightful Companion F4-D6 late 1680s, revised c.1701 XX Xxxxxxx Xxxxxx Méthode pour apprendre à jouer de la flûte douce F4-G6 (no F#6) London, 1695 print Anonymous The Compleat Flute Master F4-E6 Franeker, 1699 print X. Xxxxxx Xxxxxxx Ondersoek van xx Xxxxxx der Musijk C4-D6 (no C#4, D#4) soprano Paris, 1700 print J.-P. Xxxxxxxx-Xxxxxxx La véritable manière F4-G6 (no F#6) London, 1706 print Anonymous The fifth book of the New Flute Master F4-F6 Amsterdam, 1707 print Xxxxxxx Xxxxxxxxxx Principes de la flute traversiere F4-G6 (no F#6)...
Sample 1
Oxford Music Online. Oxford University Press, accessed December 29, 2014, xxxx://xxx.xxxxxxxxxxxxxxxxx.xxx. 657 Xxxxxx Xxxxx, Meter in Music, 1600–1800 – Performance, Perception and Notation, ed. Xxxxxx Xxxxxxx, Music: Scholarship and Performance (Bloomington & Indianapolis: Indiana University Press, 1987). p. 23. Xxxxxxxx Xxxxx Xxxxxxxxx, Xxxxxx xxxxxxxx xxx breuemente dimostra il modo di giungere xxxx xxxxxxxx cognizione di tutte quelle cose, che concorrono all acomposizione de i Canti, di ciò ch'all'Arte del Contrapunto si recerca (Bologna: Xxxxxxx Xxxxx, 1673). This first print is available online from xxxx://xxxxxxxx.xxxxx.xxxx/files/imglnks/usimg/9/9d/IMSLP126026‐PMLP248460‐ musico_prattico_1673.pdf. 658 Xxxxxx Xxxxx, Meter in Music, 1600–1800 – Performance, Perception and Notation. p. 24. Xxxxxxx Xxxxx, Xx primi albori musicali per li principianti della musica figurata, 4th ed. (Bologna: Xxxxxxx Xxxxx, 1684). 659 Xxx Xxxxxxx, private communication. [sic] anzudeuten/ so ist das Signum quantitatis mensuralis uberflüssig/ unnöthig/ und also/ vermöge … abzuschaffen.660 As Xxxxxx Xxxxx writes, “[e]ven in 1714, the fractional number of the time signature is explained as a proportion, but the omission of the mensural sign is explained as if it did not affect the proportional interpretation of the signature.”661 I believe this to be the case in the works examined in this study that include mensural signs.
Sample 1
AutoNDA by SimpleDocs
Oxford Music Online. Oxford University Press, accessed December 28, 2014, xxxx://xxx.xxxxxxxxxxxxxxxxx.xxx. xxxxx xx’ determinerà appresso l’elettione d’altro Istrum[en]to a’ corda.”665 As mentioned in Chapter 3, a harp was present in the Royal Chapel until at least 1704, but no longer mentioned in 1708.666 The harp is not mentioned at all in any of the works that include recorder parts. The first unequivocal mention of the cello in Naples is made in that same 1708 payment list of the Royal Chapel, which also lists double basses.667 As Xxxxx Xxxxxxxx writes668 [I]t is unlikely that this instrument appeared so late and so abruptly in Naples. The characteristic elusiveness of terminology for string bass instruments around this time makes it extremely difficult to identify with certainty the instruments used and to determine exactly when the violoncello took the place of the violone or of other transitional instruments. Although thorough research on the continuo instruments used in Naples has yet to be done, it is reasonable to presume that the developments in the Neapolitan milieu were not very dissimilar from those that occurred in Rome, where the term “xxxxx” was still commonly employed before the first quarter of the eighteenth century to describe the string instruments of the continuo group (including the 8’ violone), and a widespread use of the term “violoncello” began only around the 1720’s. This hypothesis seems to be confirmed by the existence of a set of 28 duets for 2 cellos written in 1699 by Xxxxx Xxxxx (ca. 1650-1718), a teacher of string instruments at the Conservatorio dei Poveri di Xxxx Xxxxxx, which bears as a title “Sonate a due viole.” Certainly by 1708 a fine cello school already existed in Naples. It is otherwise difficult to explain the sudden advent of several exceptional virtuosi such as Xxxxxxxxx Xxxxxxx, Xxxxx Xxxxx, or Xxxxxxxxx Xxxxxxxx coming from the Neapolitan training.669 665 Translation by the present author: “the Harp does not combine well with the other instruments, more precisely because of the ripieno that is customary now. [...] in exchange, another [harmonic] string instrument will be elected.” Xxxxx Xxxxxxxx, Xxxxxxxxxxxxx Xxxxxx, Gli Splendori Armonici del Tesoro: Appunti sull'attività musicale xxxxx Xxxxxxxx tra Sei e Settecento (Naples: Deputazione della Real Cappella del Tesoro di San Gennaro, Arte Tipografica S.A.S., 2002). p. 43. Squared brackets by Columbro and Maione. 666 Xxxxxxxxx Xxxxxxxxxx, Xxxxxxxxxxxxx Xxxxxx, Le Istituzioni M...
Sample 1
Oxford Music Online. Press dellâUniversità di Oxford URL consultato lâ8 giugno 2007. (abbonamento richiesto) ^ Xxxxxxx, X. (1969, p.19) Xxxxxxxx Chamber Music. Londra, BBC ^ Xxxxxxx, X. (2018, p.131) La musica come arte. Londra, Bloomsbury Continuum ^ Xxxxxxx, R. (2018, p.133) La musica come arte. Londra, Bloomsbury Continuum ^ Xxx Xxxxxxxxxxxx, C. (1976, p.56) La forgiatura dell'»Xxxxxx.» Press dellâUniversità di Cambridge. ^ Xxxxxxxxx, X. (1963, p.278) Xxxxxx xx Xxxxxx ed i relativi simboli. Londra, Faber. ^ Xxxxxxx, Xxxxxx (2012). Revisiting Music Theory: A Guide to the Practice ^ Xxxxxx Xxxxxxx (1999). I Beatles come musicisti:Revolver Attraverso lâAntologia. Oxford e New York: Oxford University Press, pag. 310. ISBNà 9 780 195 129 410. URL consultato il 22 Xxxxxxx, X. (1973, p.117) p.117)"Womanizer by Xxxxxxx Xxxxxx: Digital Sheet Music". xxxxxxxxxx.xxx Retrieved 25 June 2019. ^ Xxx XxXxxx, a Xxxxxx letter reproduced in the CD liner notes, BGO CD693 "Xxxx Xxx Xxx Video Games – Digital Sheet Music". Xxxxxxxxxx.xxx EMI Music Publishing. "G.U.Y by Xxxx Xxxx: Digital Sheet Music". xxxxxxxxxx.xxx Retrieved 15 March 2015. ^ Xxxxxxx, Xxxxx (2006.) British Hit Singles & Albums (19th ed.) London:
Sample 1

Related to Oxford Music Online

  • Music You must have our written permission for performance of live music and the playing of recorded music under the Deregulation Xxx 0000. This Agreement confers that permission.

  • Network Management 60.1 CLEC and CenturyLink will exchange appropriate information (e.g., network information, maintenance contact numbers, escalation procedures, and information required to comply with requirements of law enforcement and national security agencies) for network management purposes. In addition, the Parties will apply sound network management principles to alleviate or to prevent traffic congestion and to minimize fraud associated with third number billed calls, calling card calls, and other services related to this Agreement. 60.2 The Parties will employ characteristics and methods of operation that will not interfere with or impair the Parties’ networks, or the network of any third parties or Affiliated companies, connected with or involved directly in the network or facilities of CenturyLink. 60.3 CLEC shall not interfere with or impair service over any circuits, facilities or equipment of CenturyLink, its Affiliated companies, or its connecting and concurring carriers. 60.4 If CLEC causes any impairment or interference, CenturyLink shall promptly notify CLEC of the nature and location of the problem and that, unless promptly rectified, a temporary discontinuance of the use of any circuit, facility or equipment may be required. The Parties agree to work together to attempt to promptly resolve the impairment or interference. If CLEC is unable to promptly remedy, then CenturyLink may, at its option, temporarily discontinue the use of the affected circuit, facility or equipment until the impairment is remedied. 60.5 Any violation of Applicable Law or regulation regarding the invasion of privacy of any communications carried over CenturyLink’s facilities, or that creates hazards to the employees of CenturyLink or to the public, is also considered an impairment of service. 60.6 CenturyLink shall give advanced notice to CLEC of all non-scheduled maintenance or other planned network activities to be performed by CenturyLink on any Network Element, including any hardware, equipment, software, or system, providing service functionality of which CLEC has advised CenturyLink may potentially impact CLEC End Users. 60.7 The Parties shall provide notice of network changes and upgrades in accordance with 47 C.F.R. §§51.325 through 51.335. CenturyLink may discontinue any Interconnection arrangement, Telecommunications Service, or Network Element provided or required hereunder due to network changes or upgrades after providing CLEC notice as required by this Section. CenturyLink agrees to cooperate with CLEC and/or the appropriate regulatory body in any transition resulting from such discontinuation of service and to minimize the impact to customers which may result from such discontinuance of service.

  • Moonlighting Employment as a physician in a professional capacity outside of what is outlined in this Agreement, whether temporary special medical activity (“TSMA”) or external moonlighting, must be approved in writing, in advance, by the Departmental Chair, Program Director and Director of Graduate Medical Education (or designee). Even if approved, professional and general liability insurance as outlined in Section 5.4 is not provided to Trainee engaged in external moonlighting. Trainee acknowledges he or she has the responsibility to obtain insurance for such engagement. TSMA and external moonlighting must be included and reported as part of Trainee's hours spent on clinical experience and education. Trainee shall not be required to engage in any outside work.

  • Přetrvající platnost This Section 3 “

  • Network Services Preventive care: 100% coverage. Preventive services include, but are not restricted to routine physical exams, routine gynecological exams, routine hearing exams, routine eye exams, and immunizations. A $100 single and $200 family combined annual deductible will apply to lab/diagnostic testing after which 100% coverage will apply. A $50 copay will apply to CT and MRI scans.

  • Vlastnictví Zdravotnické zařízení si ponechá a bude uchovávat Zdravotní záznamy. Zdravotnické zařízení a Zkoušející převedou na Zadavatele veškerá svá práva, nároky a tituly, včetně práv duševního vlastnictví k Důvěrným informacím (ve smyslu níže uvedeném) a k jakýmkoli jiným Studijním datům a údajům.

  • DUŠEVNÍ VLASTNICTVÍ a) The Institution and the Investigator acknowledge and agree that the Sponsor shall have exclusive ownership rights to all Study Data, Study results, information, improvements, developments, discoveries, inventions, work, know-how and other rights (whether or not patentable), created, developed, and/or reduced to practice as a result of or in connection with the conduct of the Study and/or the use of the Study Drug or the Confidential Information, together with all intellectual property rights (existing and future) relating thereto (“Intellectual Property”) conceived by the Institution or the Investigator or Study Personnel, solely or jointly with others as a result of work done under this Agreement, to the widest extent possible under applicable law. The Institution and the Investigator shall promptly disclose in writing to PSI and the Sponsor all Intellectual Property made or reduced to practice by the Institution, the Investigator and/or the Study Personnel related to the Study. At the Sponsor's request, the Institution and the Investigator shall cause all rights titles and interests in and to any such Intellectual Property to be assigned to the Sponsor without additional compensation and provide reasonable assistance to obtain patents, including causing the execution of any invention assignment or other documents. b) All parties to this Agreement and Sponsor shall retain all right, title and interest in any Intellectual Property that was owned by such party or Sponsor prior to or apart from the commencement of this Agreement. No a) Zdravotnické zařízení a Hlavní zkoušející uznávají a souhlasí, že Zadavatel bude mít výhradní vlastnická práva ke všem Studijním údajům, výsledkům Studie, informacím, vylepšením, na vývoj, k objevům, vynálezům, dílům, know-how a dalším právům (ať už patentovatelným či nikoli), vytvořeným, vyvinutým, a/nebo uvedeným do praxe v důsledku nebo v souvislosti s prováděním Studie, a/nebo používáním Studijního léku nebo Důvěrných informací společně s právy duševního vlastnictví (stávajícími i budoucími) s nimi souvisejícími (dále jen „Duševní vlastnictví“), které vytvořilo Zdravotnické zařízení, Hlavní zkoušející nebo Studijní personál, samostatně nebo společně s ostatními jako výsledek práce prováděné na základě této Smlouvy, a to v největším možném rozsahu povoleném příslušnými zákonnými předpisy. Zdravotnické zařízení a Hlavní zkoušející budou neprodleně písemně informovat PSI a Zadavatele o veškerém Duševním vlastnictví vytvořeném nebo uvedeném do praxe Zdravotnickým zařízením, Hlavním zkoušejícím a/nebo Studijním personálem v souvislosti se Studií. Na žádost Zadavatele zajistí Zdravotnické zařízení a Hlavní zkoušející převod veškerých práv a zájmů týkajících se Duševního vlastnictví na Zadavatele bez další odměny a poskytnou přiměřenou součinnost k získání patentu včetně zajištění podpisu dokumentů k převodu objevu nebo jiných dokumentů. b) Všechny strany této Smlouvy a Zadavatel si i nadále ponechají veškerá práva, nároky a podíly na jakémkoli Duševním vlastnictví, které daná strana nebo Zadavatel vlastnili před začátkem platnosti této Smlouvy nebo na které license grant or assignment, express or implied, by estoppel or otherwise, is intended by, or shall be inferred from, this Agreement except to the extent necessary for each party to fulfill its obligations under this Agreement or otherwise give effect to this Agreement.

  • Telemedicine Services This plan covers clinically appropriate telemedicine services when the service is provided via remote access through an on-line service or other interactive audio and video telecommunications system in accordance with R.I. General Law § 27-81-1. Clinically appropriate telemedicine services may be obtained from a network or non- network provider, and from our designated telemedicine service provider. When you seek telemedicine services from our designated telemedicine service provider, the amount you pay is listed in the Summary of Medical Benefits. When you receive a covered healthcare service from a network or non-network provider via remote access, the amount you pay depends on the covered healthcare service you receive, as indicated in the Summary of Medical Benefits. For information about telemedicine services, our designated telemedicine service provider, and how to access telemedicine services, please visit our website or contact our Customer Service Department.

  • Print Name Designation ...................................

  • Athletics Coaching stipend compensation shall be as indicated in Appendix A.

Draft better contracts in just 5 minutes Get the weekly Law Insider newsletter packed with expert videos, webinars, ebooks, and more!