The Turing Test

Alan Turing is considered the father of modern computational science and much, if not all, of our modern computer technology and the connectivity that we now take for granted is born of the work of this one great, but troubled man. His famous test was designed to prove whether artificial intelligence (AI) could successfully imitate human thought. The single movement of The Turing Test is essentially non-programmatic, but it does seek to show something of the emotion and colour of Turing’s life in its different sections. The composer employs bi-tonality and complex rhythms to show opposing worlds colliding. At the end of each test, we must decide: has true AI beenborn?

Gather Comprehensive 2nd Edition Recordings

Volume 24 - A Catalogue : William Walton Edition vol. 24 3/e, Hardback

This final volume in the complete William Walton Edition is a comprehensive listing of the composer's works, compiled by Stewart Craggs, consultant for the Edition. It gives dates and details for composition, first performance and publication of every work, as well as bibliography and recordings.

Sinfonietta no. 1 : for wind orchestra

Sinfonietta No. 1 was originally written for brass band, commissioned by the Dutch National Championships 2011 in Groningen. It also served as the test piece for the Swiss National Championships 2011 in Montreux, Switzerland. In 2012, Johan de Meij created this version for wind orchestra.Unlike most of Johan de Meij's compositions, Sinfonietta No. 1 is an abstract, non-programmatic work. It consists of three movements, in which the thematic material of the opening measures - an upward fifth jump - returns in various shapes and forms throughout the piece. The slow middle section features solo passages by cello, English horn and bassoon, all starting with thesame fifth jump. The final movement presents an Elgar-like march theme, interspersed with quotes from the second movement, and ending with the opening theme of movement I.

Sing on Sight - A Practical Sight-Singing Course : Volume 2

Sing on Sight is a comprehensive sight-singing method by Audrey Snyder. Volume Two builds on the skills established in Volume One and moves step by step to full, choral sight-singing. The recorded accompaniments include awide variety of styles, from classical to contemporary, and folk music to pop and jazz. Exercises are written so that two or more lines may be sung simultaneously, so students gain sight-singing independence and develop theirpart-singing skills. With just a few minutes a day Sing on Sight can help your choirs learn to read music and have fun in the process! Student and Teacher Editions available separately: both Unison/2-Part Treble and2-Part/3-Part Mixed. Accompaniment CD (coincides with both voicings) also available. Classroom Kits include 25 Student Books, 1 Teacher Edition and 1 Accompaniment CD.

Sing on Sight - A Practical Sight-Singing Course : Volume 2

Sing on Sight is a comprehensive sight-singing method by Audrey Snyder. Volume Two builds on the skills established in Volume One and moves step by step to full, choral sight-singing. The recorded accompaniments include awide variety of styles, from classical to contemporary, and folk music to pop and jazz. Exercises are written so that two or more lines may be sung simultaneously, so students gain sight-singing independence and develop theirpart-singing skills. With just a few minutes a day Sing on Sight can help your choirs learn to read music and have fun in the process! Student and Teacher Editions available separately: both Unison/2-Part Treble and2-Part/3-Part Mixed. Accompaniment CD (coincides with both voicings) also available. Classroom Kits include 25 Student Books, 1 Teacher Edition and 1 Accompaniment CD.

Complete Organ Works I-X

Louis Vierne (1870 1937) brought symphonic French organ music to its stylistic climax. Besides being a productive composer, he also gained a reputation as a brilliant improviser at his place of employment, the Notre DameCathedral in Paris, and throughout the world.In 1928 Vierne, one of the best-known organists of his day, made one of the earliest organ recordings, playing Bach works and his own improvisations in Notre Dame.Thisscholarly practical edition is based on the critical examination and evaluation of all the autographs, engravers’ copies and first prints available, as well as on his writings and previously unpublished letters. It endeavourstobe philologically consistent in solving the editorial problems which have surfaced.The edition includes all Vierne's works, those published during his lifetime, those previously unpublished and those attributed tohim.- New source material incorporated- Extensive trilingual Foreword (Fr/Eng/Ger) with detailed notes on performance practice- Comprehensive Critical Commentary (Fr/Eng/Ger)- Illustrations andfacsimiles

Ballet Music

This volume is the second of three planned volumes of ballet music composed between 1759 and 1769 in Vienna. They represent only a small portion of Viennese ballet music attributed to Gluck for which musical sources have been preserved. The volumes form a compendium that offers comprehensive editorial coverage of Gluck’s activities as “Compositore von der Music zu denen Balletten” (composer of the music to the ballets). The present volume contains compositions from the years 1759 and 1760 (and, accordingly, the 1759/60 and 1760/61 seasons).The ballets have been passed down only as sets of parts. They were commissioned by Count Joseph Adam Prince of Schwarzenberg andoriginated around the time of the premiere performances from the workshops of Viennese copyists. Today, they are housed in the State Regional Archive Ceský Krumlov (with the exception of the sinfonia for “Le Prix de la Danse”, which has also been handed down as a composition by Ignaz Holzbauer.)The ballet music works consist of a series of mostly short but occasionally lengthier movements that can be repeated or joined into larger musical units. “Les Corsaires” and “Le Prix de la Danse” were both premiered in December 1759 at the Kärntnertortheater in Vienna with choreographies by Charles Bernardi, while Gasparo Angioloni most likely created the choreographies for “Le Berger magicien”, “Les Miquelets espagnols”, and “Le Naufrage” (premiered in 1759 at the Burgtheater), as well as those for “Les Faunes” and “Les Trois Couleurs” (premiered in 1760 at the same venue).The two Bernardi ballets are the only examples for which scenic descriptions have been recorded in the chronicle of theatrical performances by court dancer and ballet master Philipp Gumpenhuber. However, telling titles and works with similar contents help to reconstruct the thematic orientation of the respective ballets.

Le Willis : Edizione critica a cura di Martin Deasy

Le Willis (1883 84) and its two act reworking Le Villi (1884 85: revised 1889) are Puccini's inaugural works in the operatic genre. Uniquely among Puccini's operas, neither version was ever published in full score, and both present significant textual problems. The manuscript of Le Willis was dismembered and reworked as the basis of Le Villi: and Ricordi's master hire score of Le Villi was destroyed in 1943—and with it an entire tradition of revisions and corrections. Successive editions of the printed vocal score of Le Villi are of very uneven quality. The new two volume Critical Edition is the fruit of an extensive recension of the surviving sources in the light of a collateral transmission in which authority is often shared between sources. As well as the autograph full scores, drafts and sketch materials (notably the composer's continuity draft) have been brought to bear on the numerous text critical problems that arise. Volume I of the Edition makes possible for the first time the performance of the one act opera Le Willis, reconstructed from the two parts of Puccini's manuscript held at the Morgan Library and Museum, New York, and the Archivio Ricordi, Milan. Le Willis emerges as a valuable addition to the limited repertory of one act operas, with a striking vein of symphonism that looks forward to Manon Lescaut. Seen in its true light—as an expression of the Milanese scapigliatura—the opera is revealed as musically and dramaturgically coherent in its own terms and well worthy of modern performance. Volume II contains the score of Le Villi in its final 1889 revision, based on the composer's autograph full score and the 1889 edition of the printed vocal score. Additional material is included in appendices, notably Roberto's original extended 1885 Scena. Besides the Critical Apparatus and Source Descriptions, a comprehensive Historical Introduction sheds light on the compositional history and context, hitherto obscured by hearsay and misunderstanding.

Le Villi : Edizione critica a cura di Martin Deasy

Le Willis (1883 84) and its two act reworking Le Villi (1884 85: revised 1889) are Puccini's inaugural works in the operatic genre. Uniquely among Puccini's operas, neither version was ever published in full score, and both present significant textual problems. The manuscript of Le Willis was dismembered and reworked as the basis of Le Villi: and Ricordi's master hire score of Le Villi was destroyed in 1943—and with it an entire tradition of revisions and corrections. Successive editions of the printed vocal score of Le Villi are of very uneven quality. The new two volume Critical Edition is the fruit of an extensive recension of the surviving sources in the light of a collateral transmission in which authority is often shared between sources. As well as the autograph full scores, drafts and sketch materials (notably the composer's continuity draft) have been brought to bear on the numerous text critical problems that arise. Volume I of the Edition makes possible for the first time the performance of the one act opera Le Willis, reconstructed from the two parts of Puccini's manuscript held at the Morgan Library and Museum, New York, and the Archivio Ricordi, Milan. Le Willis emerges as a valuable addition to the limited repertory of one act operas, with a striking vein of symphonism that looks forward to Manon Lescaut. Seen in its true light—as an expression of the Milanese scapigliatura—the opera is revealed as musically and dramaturgically coherent in its own terms and well worthy of modern performance. Volume II contains the score of Le Villi in its final 1889 revision, based on the composer's autograph full score and the 1889 edition of the printed vocal score. Additional material is included in appendices, notably Roberto's original extended 1885 Scena. Besides the Critical Apparatus and Source Descriptions, a comprehensive Historical Introduction sheds light on the compositional history and context, hitherto obscured by hearsay and misunderstanding.

IK Multimedia ARC Studio

High-end digital processor til rumkorrektion. High-definition monitorering til alle Der er en grund til, at alle nutidens ypperste studiemonitorer leveres med aktiv DSP og rumkorrektion – det forbedrer ydeevnen og sikrer, at dine mix oversættes fejlfrit. ARC Studio tilbyder det samme massive løft i ydeevne og nøjagtighed til enhver monitor i ethvert studie! Step dit mix op Dit rum har stor indflydelse på, hvordan du hører din musik. Størrelsen, formen, materialerne og møblerne forvrænger frekvenser og stereobalancen, hvilket forringer din lytteevne. ARC Studio analyserer og retter disse problemer på få minutter. Din musik kommer i fokus med mere kontrolleret low-end, finere transientrespons og præcist stereobillede. Det er som en øjeblikkelig opgradering af dine monitors. Og når du kan stole på det, du hører, mixer du hurtigere og mere selvsikkert. Installeres på få minutter ARC Studio kombinerer den nye ARC 4 målesoftware, rumanalysemikrofon og stand-alone korrektionsprocessor i en pakkeløsning. Sæt mikrofonen i dit interface, og lad dig guide gennem opmåling af akustiske punkter omkring din lytteposition. IKs prisvindende ARC-teknologi bruger denne 3D-måling til at identificere og korrigere alle de rumproblemer, der forringer dine monitorers ydeevne. Korrektionsprofilen indlæses i ARC Studio-processoren som sidder mellem dit interface og dine monitorer og korrigere alle indgående signaler. Akustiske problemer reduceres kraftigt og lader dine monitors yde deres bedste, uanset prisklasse. Fra hyggemusiker til professionel Uanset om arbejdsgangen er in-the-box eller hardweare-baseret, giver ARC Studio professionelle studier mulighed for korrektion og tilpasset tuning til ethvert monitorsystem fra nearfield til mains, mens det aldrig kompromitterer på lydkvaliteten. Og for DAW-baserede hjemmestudier frigør ARC Studio dig fra besværet med at indsætte plug-ins på master-bussen og giver latency-fri monitorering, samt mulighed for at lytte til streamingtjenester og andre kilder med akustisk korrektiom, uden at skulle rode rundt med systemdrivere. Du kan oprette en profil for hver konfiguration, lytteposition og endda monitorpar. Uanset om du er i et interimistisk studie eller et i verdensklasse, har det aldrig været nemmere at finjustere dit monitormiljø til dine præferencer. Leveres med monitor-emuluringer ARC Studio inkluderer også en monitor-emuleringsfunktion, der omdanner dit monitorsystem til ikoniske studiemonitorer, populære hi-fi-højttalere og mobile enheder, med autentiske resultater ved nøjagtigt at gengive originalernes frekvens og faserespons. Med over 20 profiler inkluderet, giver et enkelt par monitors dig nu mulighed for at teste dit mix på forskellige referencesystemer hurtigt og nemt, uden nogensinde at skulle en tur ud i bilen! Specifikationer Kompakt digital rumkorrektionsprocessor Avanceret hi-end lydkonvertering Korrektion i fuldt frekvensspektrum til enhver form for lydproduktion Nul latency til monitorering i realtid i enhver opsætning Forbedrer selv ubehandlede eller interimistiske rum Ideel til alle studier, fra in-the-box til konsolbaseret Leveres med ARC målemikrofon og software Generer korrektionsprofiler på få minutter Skift sweet spot steder, feks. mellem mixposition og kunde-sofaen Test dit mix via X-MONITOR's virtuelle monitor- og real-life consumer-profiler Premium AD/DA konvertering, fuldstændig sonisk transparens 120 dB dynamisk område, ultralav THD og jitter Naturlig eller lineær fasekorrektion Indstil øvre/nedre frekvenskorrektionsgrænser Op til 9 target-kurver til finjustering af responsen i rummet   Pakken indeholder ARC Studio rumkorrektion DSP-processor ARC målemikrofon + mikrofonklemme ARC 4 software (downloades ved online registrering) USB-kabel Strømforsyning

Goldberg 2012

The first time I heard Bach's Goldberg Variations was in the movie Silence of the lambs, in the early 1990s. I noticed the beautiful background music in one of the scenes, but at that time I didn't know what it was. A few years later, when I was studiying at the Grieg Academy, I got to know the entire piece. For me, this is a piece of music which I can listen to countless times. I think it sounds as fresh today as it did more than 15 years ago and it never ceases to inspire me. Both Bach's composition and Glenn Gould's famous 1955 recording (which was the first one I heard) still makes a great impression on me. Before Gould recorded it at age 22, it wasn't a highly ranked piece amongst pianists and Bach was by many viewed as a bit old-fashioned. The young Canadian turned all this around. He managed to portray Bach in a reformed way, producing fine nuances in phrasing and making the many layers in Bach's music more transparent than anyone before him. Thus he plunged both himself and Bach (back) onto the international music scene. When The Norwegian Band Federation (NMF) asked me to write the test piece for NM in 2012, it was only natural for me to use the Goldberg Variations as a starting point and inspiration for my work. Since I was a teenager at NMF's summer courses in the mid eighties I've always listened to many different styles of music. Growing up in Sunnmøre with the Brazz Brothers as teachers and mentors, jazz-, pop/rock- and folk music were early on a natural part of my musical background. I also have my classical education from the Grieg Academy on trumpet. As the title of my piece implies, I've wanted to bring Bach to the present and put his music into various modern musical landscapes. I think you can bring about a special kind of energy when music from different genres are mixed and I've tried to do this by mixing Bach with artists and musical styles from the present. In Goldberg 2012, the music is often constructed by several layers, which in a way are living parallel musical lives. They are seemingly moving or floating freely, almost unaware of each other, but bound together by the same basic pulse. The rythms, however, are often notated on a different rythmic subdivision level than the usual 8th- or 16th note levels. By doing this, I hope to achieve transparent sounds that rythmically are perceived as more free and detached from each other. In large sections of the piece, pop/jazz is fusioned with elements from Bach. I guess you could have this little scene as a synopsis for the piece: picture a group of musicians meeting: some are classical performers, some are jazz. They start to improvise together, each in their own voice or musical dialect and I'm sort of in the middle, trying to write down what they are playing. This is what I feel much of Goldberg 2012 is about. The foundation of the piece, in addition to Bach and references from pop/jazz music, lies also in my own material. This material, basically two chords, is heard in it's purest form in the 1st movement. I use these chords to create scales, new chords and different motifs which contribute to blend together the different moods of the piece. It has not been my intention to copy Bach's form (theme and 30 variations), but rather to use the bits and pieces that I like the most as an inspiration for my own variations. The 1st movement, Aria 2, is for my 3rd son, Olav, who was born on the 21st of April 2011, and the 5th movement, From long ago, is dedicated to the memory of my father, Svein J. Giske, who passed away on the 6th of June 2011. -Svein H. Giske, January 2012-