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Popular Categories. You are currently visiting the english store of Analytics-Shop. Simply select the store below that is most appropriate to your location. If you are having trouble switching stores, click here to disable the redirection functionality. I was intrigued by the way one can simply get lost in it, almost like one is dreaming while still conscious and then suddenly snap back to reality.
I find that there is nothing else quite like this feeling of exploration of familiar yet unfamiliar, obscure emotional territory within us. In my fascination with this feeling, I also found there is much to be gained.
There is a reason we remember and a reason why we find ourselves lost in memories. We are trying to make light of something and as we reflect upon it, it spurs us to think of things in our own life that may be connected. This spurs us to explore parts of ourselves that may not be at the forefront of everyday life. Memory is just as much a wonderful tool of the human brain as it is an emotional reflex. It is this journey of diving into our own shadows, memories, and obscured parts of ourselves in order to return with a greater understanding that I am striving to evoke with this piece. About Piece: Grindhouse refers to the term for a movie theater that specializes in showing exploitation films.
While my piece shares its title with the recent motion picture directed by Robert Rodriguez and Quentin Tarantino, it is not related to the plot of that film in any way. I did, however, hope to effect during my work a similar sense of mental and emotional anxiety, as well as over-the-top energy, experienced while watching films found in the exploitation genre.
My goal was to compose a piece that exaggerated the different extremes of an orchestra, including the registers of instruments, rhythmic durations, and dynamic ranges. Resultantly, the work presents substantial challenges to the performers in terms of stamina. I have long been fascinated with fast and aggressive music. Grindhouse embodies these characteristics, but attempts to combine its spiteful atmosphere with rapidly changing tempi and odd subdivisions of the beat, instead of a steady pulse. The piece, which is cast in a series of episodes, is connected by relentless harmonic and rhythmic motives.
It begins sparsely orchestrated in a low register and develops continually throughout, undergoing frequent changes in formal direction, and ending with an insistent shriek. I began composing Grindhouse in Aspen, Colorado during the summer of and completed the score in Ithaca, New York the following winter. It lasts approximately eleven minutes and is dedicated to my dear friend Elizabeth Joan Kelly. The work is scored for an orchestra of piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, a large percussion battery three players , harp, and strings.
Consequence Year Composed: Timing in minutes : Instrumentation: Upon graduating he moved to Pittsburgh, where in he completed the degree of Ph. In , Mr. In that capacity, he has produced and conducted over 30 premieres by composers of the Pittsburgh area. An award-winning composer, he received first prize in the Colombian National Composition Competition in , for his Passacaglia on a theme by Bach for symphony orchestra, and an Honorary Mention for the same piece in the First International Composition Competition of the Fauxharmonic Orchestra in His music has been performed in Colombia, Argentina, Germany, and the United States, and includes also An Anatomy of the World on texts by John Donne , Septet , Endecaphony , Livre pour deux pianos , Bajo el Hechizo for marimba, guitar, and piano , and Consequence in two movements for chamber orchestra These interests extend into his research on banjo and fiddle styles of the American South and the traditional fiddling of Cape Breton, Nova Scotia.
Before coming to Duke, he studied composition at Rice University and the University of Michigan and was a lecturer for one year at Kennesaw State University. To learn more visit: www. What was the story behind this fiddle tune? What machine was the composer referring to? After a bit of research I could not find any definitive answers, only guesses.
Living in a world with ever advancing technology I was fascinated by the idea of being shocked by a non-horse-driven machine. I wanted to create a machine-like orchestral sound, powered by harp, piano and percussion, based on very simple musical material that spins out into an accumulation of sound and energy. The machine-like musical language in a three-part plus coda form is in a kind of snowballing odd meter minimalist style--repetition and variation inspired by my study of folk traditions.
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Sarah received B. One piece she particularly treasures is her grandfather clock; and an especially meaningful moment in my life was when she asked my husband to wind the clock for her, as I had seen my grandfather do countless times before. Talking to the Time introduces motives and melodies throughout the piece that build upon each other the way one tells a story.
Each new melody or section has come from something that has previously occurred as it develops further into the piece. Just as my grandmother walks through her house telling her life story, each piece inspiring a different chapter, so too does this music continuously build on its own narrative. Whether composing for traditional ensembles, electronic media, or a mixture of both, Stephen tries to create an expressive music that connects with an audience.
In , Stephen, along with pianist Augustus Arnone and composer Christopher Bailey, co-founded Collide-O-Scope Music, an ensemble dedicated to mixed media performance www.
Active as an educator, Stephen also teaches composition, theory, music technology, and music history, having served as a visiting instructor at the College of the Holy Cross and, since the fall of , as assistant professor of composition and theory at the Catholic University of America in the Benjamin T Rome School of Music.
Much of what happens in the piece from that point forward is built from canonic techniques, where a copy of a melody that was just played is echoed back at a slightly later interval of time. Aside from a slow middle section, the music is overtly danceable, with an audible beat that should keep toes tapping for most of the piece. About Piece: Bismuth: Variations for Orchestra is the product of a desire to compose a piece with a high degree of abstraction, many of my recent works having been heavily informed by extramusical sources.
Loath to entirely abandon my affinity for intertextuality, however, I titled the work Bismuth in order to highlight the kinship between its own colorful, angular style and the kaleidoscopic patina and geometric edges of a pure bismuth crystal. Musically, the work is laid out in a large arch form with an opening theme and seven continuous variations. Each successive variation is in fact a variation upon its predecessor rather than directly upon the theme, and thus it is the distinctive characters of each variation, rather than the musical materials being treated, that are primarily responsible for articulating the work's form.
Subsequently, the characters of the first three variations are revisited in reverse order for the final three variations, and the work concludes with a brief and choked-off recapitulation of its opening bars.
While several of his compositions are extended from concepts where no particular text exists, many works have emerged from an encounter with writings, such as those by Calvino, Beckett, Joyce, and Carroll. Recordings of his music can be found on Aucourant Records. About Piece: In Winter, for orchestra, was composed in the winter of The initial ideas for the work emerged the year before while living in Minnesota.
In Winter is a quiet piece, marked by slowly shifting bands of sound. The work is sparse: there are no themes or figurative gestures to speak of; rather harmonies are frozen, and significant emphasis is placed on reconfiguring the orchestral colors that comprise these harmonies in order to offer a dynamic or prismatic view of the materials.
There are three basic ideas in the work, each one allied with a line from the haiku, and like its textual source, the music is at once concentrated and evocative. The work does not intend to present a particular image or series of images, nor does it illustrate a program; however, in its recursive ruminations of the haiku emerges a physicality animated by spaces, textures, and sensations I associate with winter.
testkunucrocoo.tk - merz - medien + erziehung - zeitschrift für medienpädagogik
Groffman graduated magna cum laude from Cornell University in , where he completed double majors in music and history. As a music theorist, he maintains an active schedule of research and conference presentations and served as an Associate and Coordinating Instructor in the theory department at the Jacobs School of Music. He currently teaches composition and theory at the John J. He is originally from Millbrook, NY. Music from elsewhere attempts to capture that sense of an ineffable, larger something. In the present work, the ""music from elsewhere"" evolves over the course of the work's fifteen minutes, starting from thick, murky chords in the low winds and strings to high, bright ones in the flutes and violins, finally encompassing the entire ensemble at the climax.
Alternating with these chords, which lack a clear sense of pulse, is another type of music that is sharply rhythmic, often heard as thumping attacks in the basses and percussion.