Chamber Music Today - Latest Comments

Re: Monitorando Weblogic em DomainRuntime com Zabbix - brunocarvalho.net

brunowcs — Tue, 01 Nov 2016 08:05:27 -0000

Have solved this problem, try downloading again.

Re: Iniciando jornada com Satellite 6.2 - brunocarvalho.net

brunowcs — Tue, 01 Nov 2016 08:04:22 -0000

Dependendo do tamanho do seu ambiente em horas você consegue!
Abs

Re: Iniciando jornada com Satellite 6.2 - brunocarvalho.net

Uthersys Jenkins — Mon, 12 Sep 2016 18:06:15 -0000

Oi Bruno, você conseguiu finalizar a atualização? Em quanto tempo? Eu estou na versão 6.1.9 GA estou me preparando para fazer este procedimento.
Um abraço!

Re: Monitorando Weblogic em DomainRuntime com Zabbix - brunocarvalho.net

Дмитрий Потамошнев — Fri, 02 Sep 2016 07:44:43 -0000

Hello! Nice story in 99% percent. I have trouble with rar archive. It have 3 parts, but when i trying unrar it then it ask for part4. Also i have not see weblogic.xml at archive. Can you upload archive once again, please?

Re: ‘Tis the Season for Violin Hickeys

Sandra Tajdic — Fri, 16 Jan 2015 09:11:45 -0000

please tell me how to treat pustules on my hickey :/

Re: Dissonance and ‘Frisson’: Harmonic Spectral Complexity and Rate of Change of Complexity

Bad Horse — Tue, 12 Aug 2014 23:55:08 -0000

I love what you're doing, but there's an important terminological problem. Musicians keep using the word "complexity" as synonymous with "randomness". The complexity measures you mentioned, Kolmogorov and Lempel-Ziv, both do this. All the old complexity measures do this.

People were always bothered by the notion that random numbers are complex, but the idea was attacked vigorously and rigorously starting around 1989 by work in artificial life and complexity, most notably Stephen Wolfram's work on cellular automata, and work published by the Santa Fe Institute in their many volumes. Dynamic systems exhibit maximum "complexity", meaning interesting behavior, at some particular point in-between low randomness (static behavior) and high randomness. There are many reasons for defining the border between stasis and randomness as having maximal complexity. But this means all the old definitions of complexity are wrong. They are being discarded in favor of measures such as logical depth or self-dissimilarity. These show that complexity follows the Wundt curve: It increases as randomness increases, reaches a maximum, and then decreases as randomness continues to increase.

Murray Gell-Mann & Seth Lloyd coined the term "effective complexity" in 2003 to mean the amount of non-random information in a system. I haven't read that particular paper, but in general effective complexity is a subjective measure. Some observer determines equivalence classes of strings or states or whatever, and you measure information assuming that you don't care about discriminating things within the same equivalence class.

Measuring complexity in a way that assigns maximal complexity to random noise has had disastrous effects on music. Composers have made music more and more random out of the theoretical and incorrect belief that randomness is complex and complexity is good. So you need to be very careful not to say "complexi" when you mean "random"..

Re: Meta-Revision as Practice: Brahms Piano Trio in B (Op. 8), Stanislav Ioudenitch and Friends

Bob Chase — Sat, 01 Mar 2014 07:09:02 -0000

Does anyone know if Stanislav Ioudenitch is still teaching at the piano academy in Lake Como?
Source: lakecomoguide.com

Re: Meta-Revision as Practice: Brahms Piano Trio in B (Op. 8), Stanislav Ioudenitch and Friends

Bob Chase — Sat, 01 Mar 2014 07:05:38 -0000

Does anyone know if Stanislav Ioudenitch is still teaching at the piano academy in Lake Como?
Source: lakecomoguide.com

Re: Flute-Cello-Piano Trio Repertoire: Bigger than You Might Imagine

blair — Wed, 13 Nov 2013 16:38:06 -0000

Since this has gone unaddressed for so long, here's the easier list to read.

Dieter Acker, Trio II (1974)
William Alwyn, Trio for Flute, Cello, and Piano
Paul Armal, Divertimento II (1951)
Richard Arnell, Trio, Op. 64
Johann Christian Bach, Six Sonatas, Op. 2
Sven-Erik Bäck, Sentirè
Richard Rodney Bennett, Commedia (1972)
Muzio Clementi, Trio, Op. 22
George Crumb, Trio Voice of the Whale, [amplified and masked] Flute, Cello, and Piano)
Norman Dello Joio, Trio (1944)
Friedhelm Döhl, Sotto Voce (1973)
Johann Dusseki, Grand Sonata, Op. 65
Elisendra Fabregas, Voces de mi Tierra
Louise Farrenc, Trio, Op. 45
Jean Françaix, Trio (1995)
Phillippe Gaubert, Serenade Three Water Colors No. 3)
Adalbert Gyrowetz, Divertissement for piano, flute & cello in A Major, Op 50
Dietrich Hahne, Four Tunes
Franz Joseph Haydn, Three TriosKlaviertrio No. 30
Mogens Winkel Holm, Transitions II (1973)
Katherine Hoover, Lyric Trio
Klaus Huber, Ascensus (1979)
Johann Nepomuk Hummel, Adagio, Variations & Rondo, Op. 78
Knud Jeppesen Summer, Trio (1957)
Elena Kats-Chernini, Colours of the Sea: Trio Flute, Cello & Piano
Joseph Kennedy, Jr.Dialogue for Flute, Cello & Piano
Konradin Kreutzer, Trio Grande Sonate, Op. 28
Friedrich Kuhlau, Trio Concertante, Op. 119
John Lessard, Trio
Lowell Liebermann, Trios I & II
Otto Luening, Trio I
Erik Lund, Raccontini
Marcelle de Manziarly, Trio for Flute, Cello, and Piano
Bohuslav Martinui, Trio for Flute, Cello, and Piano
Karl J. Marx, Trio, Op. 61
Wilfred Mellers, Trio (1962)
Akira Myoshi, Sonate (1966)
Stefan Nicolescu, Triplum (1971)
Ignaz Pleyel, Sonate, Op. 16
Günther Raphael, Trio-Suite, Op. 44
Amédée Rasettii, Trios, Op. 13
Elizabeth Raum, Cinderella Suite
Scott Rolleri, Trio Set
Ned Rorem, Trio (1960)
Elliott Schwartz, Trio
Leland Smith, Trio (1947)
Harvey Sollberger, Divertimento (1970)
Manfred Stahnke, Ritus
Wolfgang Steffen, Trio, Op. 37
Hilary Tann, Gardens of Anna Maria Luisa de Medici
Leifur Thorarinsson, Trio for Flute, Cello, and Piano
Carl Maria von Weber, Trio, Op. 63
Stefan Wolpe, Trio (1963)
Charles Wuorinen, Trios I, II & III (1961)

Re: Progress in Treating Musicians’ Focal Dystonia: 2008 Update

Jon — Wed, 25 Sep 2013 16:42:12 -0000

I have now begun work on my book "Thoughts about Musician's Focal Dystonia":

More info here:

http://musicians-focal-dyst...

Re: Mannes College Beethoven Institute: Amity via Cello-Piano Sonatas

www.essayeditors.net — Wed, 06 Mar 2013 04:09:41 -0000

nice posting...thanks for sharing this..

Re: Ornamentation, Paradox and Temporality in Bach’s BWV 1052

Andrew Akins — Tue, 15 Jan 2013 02:29:02 -0000

Great article!

Re: Flute-Cello-Piano Trio Repertoire: Bigger than You Might Imagine

Paulo Muggler Moreira — Tue, 04 Dec 2012 13:25:34 -0000

Please change this really lame scrolling list to something actually useful? A .pdf file for download, a regular text list, really anything simpler will be better. Great article otherwise.

Re: Flute-Cello-Piano Trio Repertoire: Bigger than You Might Imagine

ElisendaFabregas — Fri, 30 Nov 2012 21:55:05 -0000

Hi, I am Elisenda Fabregas, and have written two trios for flute, cello and piano (Voices of the rainforest and Voces de mi tierra) and also one trio for flute, viola and piano (Goyescas). All three are published by Friedrich Hofmeister http://www.hofmeister-musik.... The first two trios are recorded by the Meininger Trio on Haenssler Records Profil Edition. For more info: www.efabregas.com. You are welcome to contact me. :-)

Re: Experiencing ‘Map of Rain Hitting Water’ in the aftermath of Hurricane Sandy

DSM — Wed, 14 Nov 2012 21:41:57 -0000

Thank you, Brett!

Re: Experiencing ‘Map of Rain Hitting Water’ in the aftermath of Hurricane Sandy

Brett Reif — Wed, 14 Nov 2012 21:10:24 -0000

Wow! Great review. B

Re: How likely to sing after radiation therapy for head-and-neck cancer?

DSM — Fri, 27 Jul 2012 17:36:38 -0000

So glad for your comment, Lauren! Gives hope and encouragement to many others! doug.

Re: How likely to sing after radiation therapy for head-and-neck cancer?

Lauren Bateman — Fri, 27 Jul 2012 12:31:53 -0000

I just found this post after doing some research. I have been singing for almost 7 years now and recorded two albums. My voice teacher resently spoke with a cancer specialist who was amazed at what I was doing with my voice after having neck radiation for Hogdekin's lymphoma. I was always concerned as to whether or not my radiation would effect my voice. He said it is extremely unusual for someone to be doing what I'm doing, but hopefully this will give hope to those of you that are singers. Lauren Bateman - www.laurenbateman.com

Re: Silent Steppe Cantata: Serendipitous transport, to places of unexpected illumination & healing

DSM — Tue, 24 Jul 2012 08:37:36 -0000

Thanks for the feedback (sorry DISQUS sometimes has problems posting comments)! The beauty of blog like CMT without ads or other ulterior stuff is that what I post comes purely from genuine interest and emotion, nothing else. It was your inspired composition and performance that captured my heart... as I believe it must do for anyone who allows the time to listen! Thank you again for this beautiful, beneficent work! dsm

Re: Silent Steppe Cantata: Serendipitous transport, to places of unexpected illumination & healing

Timur Bekbosunov — Tue, 24 Jul 2012 01:15:53 -0000

I just wanted to thank you for this absolutely inspiring blog, where you have really captured the whole notion of our project in such remarkably beautiful and transfiguring way. What a treat to read your description, and here is a note from the composer, who read your article, but wasn't able to post her comment, for some reason: "What an incisive and perceptive description of the underlying universal themes of the Silent Steppe Cantata. Thank you for your deep understanding and revealing analysis of our conscious, and even unconscious, intentions."

Re: Chamber Music for Dressage Freestyle (kür)

DSM — Mon, 25 Jun 2012 14:55:42 -0000

Approved

________________________________
From: Disqus <notifications@disqus.net>
To: dsm_md@dmcnair.net
Sent: Monday, June 25, 2012 1:32 PM
Subject: [cmt] Re: Chamber Music for Dressage Freestyle (kür)

NOTE: This comment is waiting for your approval. It is not yet published on your site. ======

Re: Chamber Music for Dressage Freestyle (kür)

AlreadyDoneIT — Mon, 25 Jun 2012 14:40:33 -0000

There are several classically trained musicians already offering what is described above. The better ones tend to have dressage experience themselves and comprehensive understanding of horse movement. Successful Kur music requires more than being creative, there's maths involved too.
Equ8 and Music4Dressage2Music are both run by classical musicians, both offer arrangement or original composition for Freestyle dressage.

Re: Chamber Music for Dressage Freestyle (kür)

AlreadyDoneIT — Mon, 25 Jun 2012 14:32:06 -0000

There are many classically trained composers already involved in producing Freestyle Dressage music. The better ones tend to have some understanding of horse movement and the scales of training. Equ8 and Music4Dressage2Music.com both
offer arrangement or original composition and I think both trained at Royal College of Music.

Re: I Need a Semicolon Here: Punctuation in Instrumental Chamber Music

$17088527 — Tue, 19 Jun 2012 01:42:42 -0000

Since it has a BWV number, we could hope that the work is JS Bach, but of course no one can agree on who wrote it.
http://www.bach-cantatas.co... gives the rundown on the complete lack of agreement.
What is interesting about the music of the baroque is the distinct lack of punctuation marks--not that the original performers did not use punctuation, but that the performers were part of the compositional process and supplied their own. Original punctuation is generally pretty rare.
Baroque music of Bach's time used several marks for punctuation which are not listed above--of these, the most important are the f/p marks for loud and soft, as well as marcato marks, which were played differently in the Baroque. Crescendo and decrescendo marks really did not arrive until the period following Bach, although one can certainly make a case for "lowder by degrees" as a contemporary of Purcell wrote.
A full stop, or period, would have been indicated by a double bar, as opposed to a rest. A rest has more of a sense of a semicolon, since a rest is almost always used between two phrases.
The term continuo is somewhat misleading here as the keyboard part is primarily an obbligato part, not a continuo part. Only a few bars are figured in moments where the keyboard briefly takes an accompanying role.

Re: Progress in Treating Musicians’ Focal Dystonia: 2008 Update

Jon Gorrie — Sun, 17 Jun 2012 17:34:33 -0000

I used to have focal dystonia and found a cure for it. I'm trying to get
some funding together to write a book: "Focal Dystonia: The Very
Curable Condition" This will be an account of my
recovery from focal dystonia, and will include practical advice intended
to help other musicians cure themselves as I have done.

Please support the cause and spread the word. Many thanks,

Jon Gorrie

http://www.indiegogo.com/fo...