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A quantitative evaluation of the musical timbre and its variations is important for the analysis of audio recordings and computer-aided music composition. Using the FFT acoustic descriptors and their representation in an abstract timbral space, variations in a sample of monophonic sounds of chordophones (violin, cello) and aerophones (trumpet, transverse flute, and clarinet) sounds are analyzed. It is concluded that the FFT acoustic descriptors allow us to distinguish the timbral variations in the musical dynamics, including crescendo and vibrato. Furthermore, using the Random Forest algorithm, it is shown that the FFT-Acoustic provides a statistically significant classification to distinguish musical instruments, families of instruments, and dynamics. We observed an improvement in the FFT-Acoustic descriptors when classifying pitch compared to some timbral features of Librosa. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Turkish Music (TM) / Türk Müziği is the property of Young Wise Publishing and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The analysis of narrative elaborations like fables provides elements for the valuation of the way we have represented animals, intelligence and, also, the way we propose behavioral models through didactic literary genres. However, the change in paradigm in the way we conceive the human-animal relationship offers an interpretative horizon that this article seeks to explore through the reading of a series of fables with the same protagonist and similar motifs. The protagonist owes, in great measure, its condition of archetypal beast to these stories: donkey has become a synonym of brute or lacking civility. Thus, the interest for this figure in three fables from different temporary and social coordinates, that employ this character - the donkey - and its encounter with a musical instrument to formulate a deontic precept: the value of knowledge, education and effort as opposed to casual accomplishment or one due to chance. "The Ass and the Lyre" (Phaedrus), "The flutist Donkey" (T. de Iriarte), and "The Donkey and the Flute" (A. Monterroso) are three texts with similar structures and form that will allow an exploration of genre, form, compositional elements and meaning to project sense onto aspects that compromise the symbolic value of animal representation and allow for ethical and ontological considerations in the evolution of this tale, in the face of the actual conception of the identity of its nature, in its sphere and in some correlative problems. [ABSTRACT FROM AUTHOR]

Bird bones were rarely used for production of artifacts, due to various reasons—they were much smaller and thinner than bones of mammals usually selected for tool production; they also have specific shapes and fine structure, inadequate for the majority of common artifact types. They were occasionally used for some specific objects, such as flutes, pipes, needle cases, and amulets. When it comes to the Eneolithic and Early Bronze Age periods in south‐eastern Europe, bird bone artifacts are rare; only few have been discovered thus far. In this paper, we will present one additional finding of a bird bone artifact, from the site of Zók–Gradina, situated in present‐day Hungary. Excavations carried out in 1920 by the National Museum in Belgrade revealed a multi‐period site, with major parts of the stratigraphic sequence belonging to the Late Eneolithic/Early Bronze Age Vučedol culture (2900–2500/2400 BC). Vučedol layers yielded relatively large quantities of worked bone, including one artifact produced from a bird bone, that will be presented here. The object in question was produced from the right radius of a Cygnus sp.; it is in the shape of an elongated tube; carefully cut at both ends. The function of this item is uncertain—it may have served as some sound‐producing instrument (flute), or it was some sort of a handle or needle case. It is interesting to note that bird representations, in particular, ornithomorphic vessels, are among the specific traits of the Vučedol culture; therefore, the choice of a bird bone for the production of this artifact may have had a certain symbolic significance as well. [ABSTRACT FROM AUTHOR]

This article is dedicated to the analysis of the piece "Co(ho)quet(us) for two flutes" written by Diana Rotaru, a young-generation Romanian composer, in 2011. It examines the new methods of sound production on the flute, linking them with musical language, the architectonics of the piece, as well as the composer's explanations and remarks about the flute's role in her oeuvre, the significance of these new sound production methods, and her relationships with famous contemporary flute performers. Emphasis is given to modern flute playing techniques such as Aeolian sounds, slap-tongue, and tongueram. [ABSTRACT FROM AUTHOR]

The paper presents the results of research in the field of assessment in music schools in the Republic of Croatia. It is part of a more extensive research on teachers' competencies in individual lessons of an instrument. Most of the teachers included in the sample of this research (N=31) believe that the knowledge and competencies for monitoring and evaluating students in lessons are important. Most respondents occasionally or regularly use formative assessment procedures, taking these results into account when planning lessons and adapting teaching content and methods to students' individual needs. They also often give feedback to the student about their progress. Although most teachers encourage students to evaluate their own work, respondents use peer evaluation only occasionally. As the most important elements in forming the final grade, the respondents point out regular practice, the correctness of the played music and effort in the lessons. [ABSTRACT FROM AUTHOR]

The corrugated board is a versatile and durable material that is widely used in the packaging industry. Its unique structure provides strength and cushioning, while its recyclability and bio-degradability make it an environmentally friendly option. The strength of the corrugated board depends on many factors, including the type of individual papers on flat and corrugated layers, the geometry of the flute, temperature, humidity, etc. This paper presents a new approach to the analysis of the geometric features of corrugated boards. The experimental set used in the work and the created software are characterized by high reliability and precision of measurement thanks to the use of an identification procedure based on image analysis and a genetic algorithm. In the applied procedure, the thickness of each layer, corrugated cardboard thickness, flute height and center line are calculated. In most cases, the proposed algorithm successfully approximated these parameters. [ABSTRACT FROM AUTHOR]

Copyright of Muzika is the property of Musicological Society of Federation of Bosnia & Herzegovina, Academy of Music in Sarajevo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this research, it was aimed to examine the channels related to flute education on the YouTube platform. For this purpose, a total of 6 channels, 3 Turkish and 3 foreign, were determined and selected. In determining the channels, the channels with the highest number of subscribers were preferred. In addition, all the topics in the channel content, all the topics in the flute education videos and the flute education videos were compared and examined respectively. Turkish channels A, B, C; foreign channels are named with the letters D, E, F. As a result of the study, it was concluded that the number of videos in foreign channels is higher than the Turkish channels, the number of views of foreign channels, the diversity of topics is higher, and the educational video content is more qualified. In addition, when the last video release date was compared according to the descriptive features of the channels, it was found that Turkish channels do not currently share new videos, while foreign channels still continue to share videos, and foreign channels are older and have a higher number of followers. Among the foreign channels, it has been concluded that channel D and channel F are qualified enough to be used in the flute education process and individuals can benefit from these channels in order to learn how to play the flute effectively. [ABSTRACT FROM AUTHOR]

The shield bosses of the type Dobrodzień possess typical longitudinal flutes or facets on the calotte. These artefacts are well known in the Barbaricum, particularly in the Middle Danube area and to the north of the Carpathians, with a few isolated finds documented to the east of the Carpathians, on the eastern Black Sea coast, and on the Roman empire’s Danubian frontier. The images of the shield bosses of the type Dobrodzień rarely occur on the Roman pictures (the Monza diptych) and on the metalware discovered in the Barbaricum (horse tack plates from Untersiebenbrunn). The period of existence of the shield bosses of the type Dobrodzień as a whole corresponds to 370s – 430s. The article suggests the Roman origin of this weaponry: most likely, it was manufactured in a workshop in the Middle Danube area. Moreover, it is still possible that there were some Germanic prototypes for faceted shield bosses were known in the Germanic context already in the late 1st and 2nd c. [ABSTRACT FROM AUTHOR]

Copyright of Notes Muzyczny is the property of Akademia Muzyczna im. Grazyny i Kiejstuta Bacewiczow w Lodzi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Mahon notes that Baker has not been the recipient of the kind of critical attention that her position as one of the first rock and roll stars warrants, such as "sustained attention in college textbooks surveying rock and roll from its beginnings in the post-World War II era to the twenty-first century" (53). While both Brooks and Neal present us with meticulous theoretical and critical work whose implications are wide ranging, Mahon's work has a more granular focus. Mahon examines how Tina Turner "wended her way into the mainstream of rock through a skillful navigation of the race, gender, and genre boundaries that governed American popular music at the end of the twentieth century" (240). In their recent books, Daphne Brooks, Maureen Mahon, and Mark Anthony Neal reckon with such questions raised by Black musicians and musical archives at a time when Black music and its influence on popular culture is both ubiquitous and contentious. [Extracted from the article]

Conical end milling cutter is used more and more widely in NC machining. The flute is an important feature of the milling cutter, which directly affects the cutting performance of the milling cutter. However, the conical flute belongs to a complex spatial helix surface. In the machining process, the relative motion of the wheel and milling cutter is complex. To solve this problem, this paper presents a trajectory calculation method for grinding the flute of conical milling cutters. Firstly, the conical cutting edge line is deduced, and the position of the wheel in the whole grinding process is calculated under the design requirements of the rake angle and the core radius. Secondly, a method for calculating the flute profile of complex flutes is given. Finally, the effectiveness of this method is verified by numerical simulation, and it can also be extended to more complex flute grinding in future research. [ABSTRACT FROM AUTHOR]

This article hypothesizes that a lost score by Villa-Lobos, the Trio for flute, cello and piano in C minor, Op. 25 (1913) would be an adaptation of Trio #1 for violin, cello and piano (1911), also in C minor, Op. 25. The coincidences observed in tonality, opus numbering and movement titles are indications that this adaptation was made in order to accommodate the instrumental formation of the chamber music concerts performed by Villa-Lobos in Friburgo in 1915, with the participation of his wife Lucília Guimarães on the piano and flutist Agenor Bens. The possible collaboration of Agenor Bens in the adaptation of the original violin part for flute gave rise to the research of the biographical profile of this musician, who transited between the universe of choro and concert music. In addition, an adaptation for flute is offered, proposing that the performance of the work can provide more support for the hypothesis formulated here. [ABSTRACT FROM AUTHOR]

The "Spectrum Choir" is divided into categories based on the number of choir voices. There is also a new category for children's and youth choirs. A versatile volume with easy to moderate literature for children's choirs in the church setting has been published. Furthermore, there are new sheet music editions for upper voice choir, Psalm 133 for SAM, flute and organ, as well as a Mass in B for mixed voices and organ/piano. [Extracted from the article]

After her depiction in Catullus 64, Ariadne became a model for the relicta , the abandoned woman. The tapestry that ornamented the wedding of Peleus and Thetis told exactly of her dismay and anger upon learning that Theseus left her. As far as the myth goes, following her abandonment, Dionysus took her as a wife. Modernist Brazilian author Hilda Hilst (1930–2004) revisits this portion of the tale in her cycle of ten poems Discontinuous and Remote Ode for Flute and Oboe. From Ariadne to Dionysus (1969). This introduces the poems as works of reception vis-à-vis the ancient figurations of Ariadne, as well as the context of Hilst's biography, it analyses them as reimaginations of the Roman elegy, and presents their first complete English translation, all original endeavours. On the surface, Hilst's Ariadne fashions herself as a learned poet who reads Catullus and rejoices in her abandonment. I argue that upon a closer look, however, this endlessly unrequited woman desires instead union and permanence. Hilst, herself an underappreciated and disreputable figure, unveils Ariadne's labyrinthic mind as she negotiates her devotion to poetry and her desire for the man she loves, revealing the afterlife of the myth of a heroine who found her own voice. [ABSTRACT FROM AUTHOR]

The laboratory experiment on modeling a sub-Alfvénic interaction of expanding plasma cloud with vacuum magnetic field is described. We produce spherically symmetric cloud by 4-beam laser irradiation of the pellet. The presented data reveal complex dynamic of cloud deceleration and formation of two field aligned jets, development of the flute instability and rapid collapse of the diamagnetic cavity. It is shown that cavity collapse can't be explained by plasma motion or anomalous diffusion and requires for explanation a new mechanism. [ABSTRACT FROM AUTHOR]

Since the dawn of the Late Preclassic Period, the archetypical figure of the Old Man started to adorn a variety of artifacts manufactured by Maya artists and artisans. This article aims to present and examine an unprovenanced effigy-flute whose poly-globular resonator has been adorned with the visage of the toothless nonhuman being. Traditionally referred as God N, God D, or Itzamnaaj/Itzam Kokaaj, depending on the context and his sphere of control, this theopolymorphic figure has been the subject of numerous extensive investigations. The fact that his wrinkled face has also been applied to the body of prestige woodwind artifacts suggests a possible symbolic link between the divinity, the sonorous field, the instrumental practice, and ritual performances. However, the topic has received little scholarly attention. Dated from the Late Classic period and registered under inventory number 1981.033, this aerophone is currently part of the Musée des Instruments de Music's permanent collection (mim) held in Brussels, Belgium. Furthermore, this sounding artifact shall be considered as a unique example of sonorous mediation with the supersensible given the fact that it combines significant iconographic features with a specific organological configuration. Therefore, the analysis of the flute contributes to better comprehend the figure of the elderly Maker. [ABSTRACT FROM AUTHOR]

The flute plays an important role in the design process for tools. The complexity of the cutting edge is increasing continuously. Thus, it is difficult to grind flute precisely and efficiently. This paper presents a practical grinding method for the flute of tools. It solves the issue of how to grind the flute with the complex edge by standard wheels. It is summarized as follows: the curve of cutting edge and core are used as the designed parameters of the flute; we propose the fundamental conditions that the wheel does not interfere with designed parameters; we can find the posture and position of wheel in the curve frame easily, thus obtaining wheel trajectory. Finally, using a taper end mill as an example, the results show a good agreement between the CAM data and the model data. This proves the effectiveness of this method. [ABSTRACT FROM AUTHOR]

The physics of music has been well studied and has provided the basis on which musical instruments are made, studied and characterized. Significant research has been conducted on the different kinds of musical instruments, which range from traditional instruments like the mridangas of India to the bagpipes of Scotland. In fact, a lot of research has been carried on the acoustics of different kinds of flutes as well, such as the Finnish kantele and the Indonesian Kompangs. The Indian subcontinent, the birthplace of transverse flutes and a host of other instruments, itself has a plethora of unique musical instruments that have been scientifically examined. Yet, the Bastar flutes of India have evaded the due scientific attention that they deserve owing to their unique sound generation mechanism. Quite strangely and surprisingly, these Bastar flutes are a unique genre of flutes that don't require lips to be played, and are quite intriguing. The current research explores the aeroacoustics of a Bastar flute via experimental measurements, computational simulations and analytical formulations. The results demonstrate that the amplitude produced is directly proportional to the number of rims present. This are also responsible for producing a low-frequency, high-amplitude melodious sound. It also suggests that the underlying mechanism behind sound generation in a Bastar flute is a unique blend of edge tone and a jet tone, demonstrating a rare phenomenon not seen in traditional musical instruments. This uncommon phenomenon has the potential to unlock several new applications in the field of acoustics. [ABSTRACT FROM AUTHOR]

Musical timbre is a phenomenon of auditory perception that allows the recognition of musical sounds. The recognition of musical timbre is a challenging task because the timbre of a musical instrument or sound source is a complex and multifaceted phenomenon that is influenced by a variety of factors, including the physical properties of the instrument or sound source, the way it is played or produced, and the recording and processing techniques used. In this paper, we explore an abstract space with 7 dimensions formed by the fundamental frequency and FFT-Acoustic Descriptors in 240 monophonic sounds from the Tinysol and Good-Sounds databases, corresponding to the fourth octave of the transverse flute and clarinet. This approach allows us to unequivocally define a collection of points and, therefore, a timbral space (Category Theory) that allows different sounds of any type of musical instrument with its respective dynamics to be represented as a single characteristic vector. The geometric distance would allow studying the timbral similarity between audios of different sounds and instruments or between different musical dynamics and datasets. Additionally, a Machine-Learning algorithm that evaluates timbral similarities through Euclidean distances in the abstract space of 7 dimensions was proposed. We conclude that the study of timbral similarity through geometric distances allowed us to distinguish between audio categories of different sounds and musical instruments, between the same type of sound and an instrument with different relative dynamics, and between different datasets. [ABSTRACT FROM AUTHOR]

This paper proposes a novel chatter-free milling strategy that utilizes the infinite stable area, i.e., area below the high-speed part of the 0-th lobe, which has not been generally utilized to date. In the conventional methodology, the stable pockets are utilized to realize a high axial depth of cut. However, these pockets tend to shift, e.g., due to long-term deterioration of the spindle, and hence they sometimes cannot be utilized effectively. The proposed strategy combines an extraordinarily numerous flute endmill, e.g., 20 flutes, and a high-performance spindle, e.g., capable of a spindle speed of 33000 min−1, installed on a high-speed high-power machine tool. By increasing the number of flutes, the stability lobes shrink in inverse proportion to that number against the spindle speed and the depth of cut, and the infinite stable area can be utilized in the practical spindle speed zone of recent machine tools. A design method is proposed for the cutting tool and the cutting conditions to utilize this area effectively. Analyses and experiments are conducted to verify the effectiveness of the proposed milling strategy. In the experiments, the material removal rate reaches 2904 cc/min at the spindle speed of 33000 min−1 and the axial depth of cut of 110 mm with no chatter vibration. The infinite stable area is capable of much higher stability and machining ability than the conventionally utilized stable pockets. • Chatter-free milling strategy to utilize high-speed part of 0-th stability lobe. • Combines extraordinarily numerous flute endmill and high-speed high-power spindle. • Infinite stable area can be utilized more effectively than utilizing stable pockets. • MRR of 2904 cc/min without chatter is achieved in aluminum milling. [ABSTRACT FROM AUTHOR]

Copyright of Art & Interpretation / Sanat ve Yorum is the property of Ataturk University Coordinatorship of Scientific Journals and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper deals with the study of top burr formation mechanism in downmilling operation on Ti6Al4V. Detailed and simplified flute locus in the milling operation has been elaborated with varying uncut chip areas during the entry and exit of the flute. The mechanism shows that top burr formed in downmilling is a combination of upmilling tear material and side bulging deformed material. Furthermore, various shapes of top burr formation at different cutting parameters have been explored based on the mechanism of formation. Three types of burr formation during downmilling (serrated, longitudinal and curly burrs) were found which were the major cause of poor surface finish after milling operation. Also, the effect of feed per tooth and depth of cut on the top burr formation & surface roughness has been analyzed through statistical technique ANOVA and an optimum parameter (top burr width: feed per tooth 8 µm, depth of cut 60 µm and surface roughness: feed per tooth 4 µm, depth of cut 40 µm) has been proposed which can help to plan to design the experiment to obtain better output response. [ABSTRACT FROM AUTHOR]

Copyright of SED Journal of Art Education is the property of SADA Enstitusu - Artsurem and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Muchos países incorporan el estudio de la flauta dulce en las enseñanzas de música de Educación Primaria. El alumnado cuenta con una clase grupal a la semana de no más de una hora de duración, siendo complejo realizar una individualización real del proceso de aprendizaje. Tras la clase colectiva, los alumnos/as tienen que practicar en casa solos, recayendo sobre sí mismos la responsabilidad de su avance en el estudio. Este trabajo propone la inclusión de una herramienta digital como complemento a las carencias que presenta el proceso de enseñanza-aprendizaje del instrumento, así como una propuesta de protocolo de estudio a seguir por parte del alumnado en su avance autónomo.La aplicación informática tiene como objetivos ofrecer la posibilidad de escuchar la pieza musical, mostrar la partitura, grabar las interpretaciones y, finalmente, brindar referencias y datos sobre los errores cometidos, tanto al alumnado como a la figura docente. Esta información, hasta ahora desconocida, hace que el modelo de enseñanza tradicional se transforme completamente.Tras llevar a cabo la inclusión y evaluación de ambas propuestas en un contexto educativo se han obtenido conclusiones positivas que demuestran la mejora sustancial del proceso de enseñanza-aprendizaje de este instrumento musical. /// Many countries incorporate the study of the recorder into the teaching of music in primary education. The students have a group class per week of no more than one hour in duration, being a complex that performs a real individualization of the learning process. After the collective class, the students have to practice at home alone, with the responsibility for their progress in the study falling on themselves.This work proposes the inclusion of a digital tool as a complement to the deficiencies that the teaching-learning process of the instrument presents, as well as a proposal for a study protocol to be followed by the student in their autonomous progress.TThe objective of the computer application is to offer the possibility of listening to the musical piece, showing the score, recording the performances and, finally, providing references and data on the mistakes made, both to the students and to the teaching figure. This information, until now unknown, causes the traditional teaching model to be completely transformed. After carrying out the inclusion and evaluation of both proposals in an educational context, positive conclusions have been obtained that show the substantial improvement of the teaching-learning process of this musical instrument.

The Hyperodapedontinae taxa are mainly diagnosed by characters from the maxillomandibular apparatus. Here we report two Hyperodapedon specimens from Brazil with apically serrated teeth crowns, which led to the identification of one new non-conical maxillary tooth morphotype, Sh, and the first records of serrated teeth in Rhynchosauria. The known types of pyramidal crowns are here expanded to three morphotypes (P1, P2, P3). Flutes, only reported for Hyperodapedon huxleyi (India), were identified in Hyperodapedon sp. and Teyumbaita sulcognathus (Brazil). Using qualitative and morphometric geometric approaches, we investigated whether the maxillary crown morphology is taxonomically informative or reflects ontogeny. The qualitative analysis demonstrated that crown morphology is not taxonomically constrained. The geometric morphometric analysis revealed that the maxillary crown shape varies according to the relative size and form of the tooth plate, parameters related to ontogeny. Flutes and serrations are recorded in Carnian hyperodapedontines from Brazil and India, a restrained paleolatitudinal range of Gondwana. The lack of information concerning dental ornamentations in other hyperodapedontines from the same latitudinal belt (e.g. Argentina) should be due to the scarcity of more detailed studies focused on crown morphology. Our results open the possibility for further studies focusing on hidden details of Rhynchosauria dental morphology. [ABSTRACT FROM AUTHOR]

Claude Debussy's solo flute composition, Syrinx, originally titled La Flûte de Pan, by Claude Debussy (1862-1918) is regarded as one of the most important solo compositions in flute literature. Numerous analyses and interpretations of this composition exist, utilising various analytical methods, including unconventional ones like Gestalt perception and spectral analysis of flute tone quality. Many analyses delve into complex explanations, often discussing hierarchies and interactions of musical tones in Syrinx. This article aims to demonstrate how existing analyses of Syrinx can be reinterpreted using Steve Larson's theory of musical forces. The purpose is not to criticise the existing analyses but to offer a different understanding by applying Larson's theory. This approach simplifies the intricate explanations found in previous analyses. Larson's theory posits the existence of stable and unstable tones in tonal music, with unstable tones being drawn towards more stable ones due to musical forces: musical gravity (the tendency of an unstable tone to descend to a more stable tone), musical magnetism (the tendency of an unstable tone to ascend or descend to the closest stable tone), and musical inertia (the tendency of a musical pattern to continue in the same fashion it started). My analysis of Debussy's Syrinx reveals that Larson's theory serves as a valuable analytical tool, simplifying the complexities often present in written music analyses due to its standardised terms. This analytical method can be applied not only to Syrinx but also to various compositions, simplifying existing analyses and opening up new avenues for interpretation and discussion. [ABSTRACT FROM AUTHOR]

Hendrik Hofmeyr's Marimba for solo flute demonstrates various kinds of growth that generate a musical force that drives the work towards its conclusion. This article focuses on a kind of musical force that originates in the initial contrast between stasis and forward movement followed by the systematic merging of the two agents in the course of the work to eventually arrive at its final climax. Although the two sections that represent stasis and forward movement are based on the same pitch material, the contrast manifests as the result of the diverse ways in which pitch is ordered in time and the resulting melodic patterns articulated when performed according to the composer's directions. In the work as a whole the musical force is created by the way in which pitch, shape of melodic motifs, register, horizontal density, tempo, metre, dynamics, articulation, performance directives provided, ornamentation, and length of sections are dealt with in an artistic manner. In the course of the four alternating stasis and Danzante sections, two- and three-note melodic patterns from motivic material are used in an artistic manner as the music unfolds in time. Through the implementation of various compositional strategies, the original contrasting patterns of the stasis and the Danzante sections eventually merge in the final climax of the last eight bars. [ABSTRACT FROM AUTHOR]

B. Mohr was both a skilled violinist and acclaimed flutist from Frankfurt, active during the years 1833-1854. The earliest record for Mohr lists him as second flute at the National Theaater in Frankfurt; he was a member of the orchestra at least through 1841. He collaborated in 1842 in a noted series of soirées in London which premiered the string quartets op. 18 by Molique; in these soirées Molique played first, violin, and B. Mohr, second violin. Mohr returned to Germany after this tour to England, and was active until at least 1854, and possibly even 1874. [ABSTRACT FROM AUTHOR]

Tzvi Avni (b. 1927) is now Israel's oldest composer. In 2020, Jehoash Hirshberg and Rakefet Bar-Sadeh published their book Tzvi Avni, his Life and Works (Carmel, Jerusalem, which includes Avni's Autobiography). Since then, Avni has composed three new works: Shapes, for flute solo, completed in November 2020 (the original Hebrew title is Gvanim -- Colors); About These Days, for string quartet, completed in April 2021; and Concerto for Clarinet and Orchestra, completed in 2022. The present article discusses the three new works in the context of Avni's late style, which is dominated by a regression from avant-garde to classical form and mostly regular meter. [ABSTRACT FROM AUTHOR]