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1. Septet in A minor for flute, clarinet, horn, bassoon, violin, violoncello and piano op. 147 ; Quintet in C minor for flute, clarinet, horn, bassoon and piano, op. 52 [electronic resource]. [1981]

Description
Music recording — 1 online resource.
Summary
  • Septet in A Minor, Op. 147 / Louis Spohr (Nash Ensemble)
  • Quintet in C Major, Op. 52 / Louis Spohr (Moray Welsh, cello ; Roger Best, viola ; Nash Ensemble).
Online

2. Cello suites [1986]

Description
Music recording — 1 online resource (1 sound file) Sound: digital. Digital: audio file.
Online

3. Concerto no. 1 [1954]

Description
Music recording — 1 online resource (1 sound file) Sound: digital. Digital: audio file.
Online

4. Four violin concertos [2003]

Description
Music recording — Streaming audio files (42 min.)
Summary
  • Concerto in C minor, RV. 199 : Il sospetto
  • Concerto in G minor, RV. 317
  • Concerto in A minor, RV. 356
  • Concerto in A major, RV. 347.
Online

5. D'Agala [2018]

Description
Music recording — 1 online resource (1 sound file) Sound: digital. Digital: audio file.
Summary
  • Imprint double (7:40)
  • Bourgeois's spider (7:32)
  • Éclats for Ornette (4:14)
  • Simone (4:01)
  • Pierino porcospino (4:19)
  • D'Agala (8:13)
  • Circumbent (3:54)
  • Fly whisk (7:53)
  • South Side rules (6:23).
Online

6. The Chopin masters : 28 great pianists [2021]

Description
Music recording — 1 online resource (1 sound file) Sound: digital. Digital: audio file.
Summary
  • 24 preludes, op. 28 (35:32)
  • Polonaise no. 6 in A-flat major, op. 53 (6:53)
  • 24 preludes, op. 28 (33:37)
  • Prelude no. 25 in C-sharp minor, op. 45 (4:02)
  • Prelude no. 26 in A-flat major, op. posth.
  • Piano sonata no. 2 in B-flat minor, op. 35 (22:45)
  • Piano concerto no. 2 in F minor, op. 21 (27:49)
  • Ballade no. 2 in F major, op. 38 (7:21)
  • Etude no. 1 in C major, op. 10, no. 1 (1:57)
  • Etude no. 15 in F major, op. 25, no. 3 (1:42)
  • Mazurka no. 29 in A-flat major, op. 41, no. 3 (1:48)
  • Mazurka no. 21 in C-sharp minor, op. 30, no. 4 (3:45)
  • Scherzo no. 4 in E major, op. 54 (9:27)
  • Waltz no. 2 in A-flat major, op. 34, no. 1 (5:15)
  • Waltz no. 7 in C-sharp minor, op. 64, no. 2 (3:42)
  • Waltz no. 9 in A-flat major, op. 69, no. 1 (3:30)
  • Waltz no. 6 in D-flat major, op. 64, no. 1 (2:10)
  • Waltz no. 4 in F major, op. 34, no. 3 (2:38)
  • Waltz no. 3 in A minor, op. 34, no. 2 (5:25)
  • Waltz no. 14 in E minor, op. posth. (3:12)
  • Waltz no. 10 in B minor, op. 69, no. 2 (3:14)
  • Waltz no. 8 in A-flat major, op. 64, no. 3 (3:25)
  • Waltz no. 11 in G-flat major, op. 70, no. 1 (2:30)
  • Waltz no. 13 in D-flat major, op. 170, no. 3 (3:10)
  • Waltz no. 5 in A-flat major, op. 42 (4:26)
  • Waltz no. 12 in F minor, op. 70, no. 2 (3:07)
  • Waltz no. 1 in E-flat major, op. 18 (5:48)
  • Polonaisd no. 6 in A-flat major, op. 53 (7:18)
  • Polonaise no. 3 in A major, op. 40, no. 1 (6:16)
  • Nocturne no. 2 in E-flat major, op. 9, no. 2 (4:33)
  • Nocturne no. 4 in F major, op. 15, no. 1 (4:30)
  • Nocturne no. 5 in F-sharp major, op. 15, no. 2 (3:55)
  • Nocturne no. 6 in G minor op. 15, no. 3 (3:58)
  • Nocturne no. 7 in C-sharp minor, op. 27, no. 1 (4:56)
  • Nocturne no. 9 in B major, op. 32, no. 1 (5:22)
  • Nocturne no. 11 in G minor, op. 37, no. 1 (5:44)
  • Nocturne no. 12 in G major, op. 37, no. 2 (5:47)
  • Nocturne no. 13 in C minor, op. 48, no. 1 (6:17)
  • Nocturne no. 14 in F-sharp minor, op. 48, no. 2 (7:15)
  • Nocturne no. 15 in F minor, op. 55, no. 1 (4:41)
  • Nocturne no. 18 in E major, op. 62, no. 2 (6:12)
  • Nocturne no. 19 in E minor, op. 72, no. 1 (4:22)
  • Mazurka no. 43 in G minor, op. 67, no. 2 (2:02)
  • Mazurka no. 34 in C major, op. 56, no. 2 (1:48)
  • Mazurka no. 45 in A minor, op. 67, no. 4 (3:10)
  • Mazurka no. 47 in A minor, op. 68, no. 2 (3:08)
  • Mazurka no. 46 in C major, op. 68, no. 1 (1:33)
  • Mazurka no. 22 in G-sharp minor, op. 33, no. 1 (2:05)
  • Mazurka no. 20 in D-flat major, op. 30, no. 3 (3:17)
  • Mazurka no. 19 in B minor, op. 30, no. 2 (1:39)
  • Mazurka no. 25 in B minor, op. 33, no. 4 (6:20)
  • Mazurka no. 49 in F minor, op. 68, no. 4 (3:45)
  • Prelude no. 25 in C-sharp minor, op. 45 (4:50)
  • Ballade no. 1 in G minor, op. 23 (9:13)
  • Scherzo no. 2 in B-flat minor, op. 31 (11:00)
  • Polonaise no. 1 in C-sharp minor, op. 26, no. 1 (8:00)
  • Polonaise no. 2 in E-flat minor, op. 26, no. 2 (8:22)
  • Polonaise no. 3 in A major, op. 40, no. 1 (5:16)
  • Polonaise no. 4 in C minor, op. 40, no. 2 (7:08)
  • Polonaise no. 5 in F-sharp minor, op. 44 (10:25)
  • Polonaise no. 6 in A-flat major, op. 53 (6:49)
  • Piano concerto no. 1 in E minor, op. 11 (41:08)
  • Piano concerto no. 2 in F minor, op. 21 (33:31)
  • Piano sonata no. 2 in B-flat minor, op. 35 (24:01)
  • Polonaise no. 6 in A-flat major, op. 53 (6:47)
  • Prelude no. 17 in A-flat major, op. 28, no. 17 (3:52)
  • Mazurka no. 35 in C minor, op. 56, no. 3 (7:23)
  • Mazurka no. 37 in A-flat major, op. 59, no. 2 (2:37)
  • Mazurka no. 21 in C-sharp minor, op. 30, no. 4 (4:00)
  • Waltz no. 2 in A-flat major, op. 34, no. 1 (5:00)
  • Impromptu no. 1 in A-flat major, op. 29 (4:44)
  • Impromptu no. 2 in F-sharp major, op. 36 (6:37)
  • Impromptu no. 3 in G-flat major, op. 51 (6:12)
  • Fantasy-impromptu in C-sharp minor, op. 66 (4:54)
  • Waltz no. 17 in E-flat major, op. posth. (2:56)
  • Waltz no. 16 in A-flat major, op. posth. (2:18)
  • Waltz no. 15 in E major, op. posth. (2:08)
  • 3 ecoissaises, op. 72 (2:41)
  • Mazurka no. 19 in B minor, op. 30, no. 2 (1:20)
  • Mazurka no. 26 in C-sharp minor, op. 41, no. 4 (3:49)
  • Mazurka no. 41 in C-sharp minor, op. 63, no. 3 (2:05)
  • Mazurka no. 34 in C major, op. 56, no. 2 (1:34)
  • Mazurka no. 44 in C major, op. 67, no. 3 (1:21)
  • Mazurka no. 45 in A minor, op. 67, no. 4 (3:33)
  • Polonaise no. 7 in A-flat major, op. 61 (15:46)
  • Polonaise no. 1 in C-sharp minor, op. 26, no. 1 (8:09)
  • Polonaise no. 2 in E-flat minor, op. 26, no. 2 (7:41)
  • Polonaise no. 3 in A major, op. 40, no. 1 (6:11)
  • Polonaise no. 4 in C minor, op. 40, no. 2 (6:38)
  • Polonaise no. 5 in F-sharp minor, op. 44 (10:36)
  • Polonaise no. 6 in A-flat major, op. 53 (6:29)
  • Polonaise no. 7 in A-flat major, op. 61 (12:12)
  • 24 preludes, op. 28 (38:12)
  • Nocturne no. 13 in C minor, op. 48, no. 1 (6:06)
  • Piano sonata no. 2 in B-flat minor, op. 35 (20:46)
  • Polonaise no. 6 in A-flat major, op. 53 (7:24)
  • Mazurka no. 2 in C-sharp minor, op. 6, no. 2 (2:26)
  • Mazurka no. 41 in C-sharp minor, op. 63, no. 3 (2:17)
  • Mazurka no. 45 in A minor, op. 67, no. 4 (2:41)
  • Mazurka no. 47 in A minor, op. 68, no. 2 (3:01)
  • Mazurka no. 13 in A minor, op. 17, no. 4 (3:50)
  • Mazurka no. 23 in D major, op. 33, no. 2 (2:16)
  • Ballade no. 1 in G minor, op. 23 (8:49)
  • Ballade no. 4 in F minor, op. 52 (10:22)
  • Andante spianato and Grande polonaise brillante, op. 22 (15:01)
  • 24 preludes, op. 28 (41:49)
  • Prelude no. 25 in C-sharp minor, op. 45 (5:57)
  • Prelude no. 26 in A-flat major, op. posth. (:43)
  • Piano sonata no. 3 in B minor, op. 58 (29:46)
  • Polonaise no. 3 in A major op. 40, no. 1 (5:47)
  • Polonaise no. 4 in C minor, op. 40, no. 2 (6:05)
  • Polonaise no. 6 in A-flat major, op. 53 (7:05)
  • Nocturne no. 17 in B major, op. 62, no. 1 (7:08)
  • Mazurka no. 41 in C-sharp minor, op. 63, no. 3 (2:17)
  • Mazurka no. 45 in A minor, op. 67, no. 4 (2:41)
  • Ballade no. 1 in G minor, op. 23 (8:28)
  • Etude no. 23 in A minor, op. 25, no. 11 (3:40)
  • Mazurka no. 32 in C-sharp minor, op. 50, no. 3 (4:55)
  • Polonaise no. 6 in A-flat major, op. 53 (6:37)
  • Impromptu no. 3 in G-flat major, op. 51 (5:03)
  • Prelude no. 25 in C-sharp minor, op. 45 (4:41)
  • Etude no. 18 in G-sharp minor, op. 25, no. 6 (1:55)
  • Andante spianato and Grande polonaise brillante, op. 22 (12:53)
  • Piano sonata no. 3 in B minor, op. 58 (24:38)
  • Bolero, op. 19 (6:53)
  • Mazurka no. 13 in A minor, op. 17, no. 4 (3:47)
  • Waltz no. 14 in E minor, op. posth. (2:55)
  • Ballade no. 1 in G minor, op. 23 (7:54)
  • Ballade no. 2 in F major, op. 38 (6:36)
  • Ballade no. 3 in A-flat major, op. 47 (6:40)
  • Ballade no. 4 in F minor, op. 52 (9:36)
  • Piano sonata no. 3 in B minor, op. 58 (26:59)
  • Andante spianato and Grande polonaisd brillante, op. 22 (14:31)
  • Etudes, op. 10, no. 2 in A minor (1:25)
  • Etudes, op. 10, no. 5 in G-flat major (1:41)
  • Etude no. 23 in A minor, op. 25, no. 11 (3:44)
  • Nocturne no. 1 in B-flat minor, op. 9, no. 1 (5:46)
  • Nocturne no. 2 in E-flat major, op. 9, no. 2 (4:23)
  • Nocturne no. 5 in F-sharp major, op. 15, no. 2 (3:33)
  • Fantasy-impromptu in C-sharp minor, op. 66 (4:58)
  • Piano concerto no. 1 in E minor, op. 11 (40:40)
  • Nocturne no. 1 in B-flat minor, op. 9, no. 1 (5:35)
  • Nocturne no. 2 in E-flat major, op. 9, no. 2 (4:29)
  • Nocturne no. 5 in F-sharp major, op. 15, no. 2 (3:26)
  • Nocturne no. 8 in D-flat major, op. 27, no. 2 (6:34)
  • Fantasy in F minor, op. 49 (14:59)
  • Waltz no. 2 in A-flat major, op. 34, no. 1 (5:01)
  • Waltz no. 3 in A minor, op. 34, no. 2 (5:31)
  • Waltz no. 14 in E minor, op. posth. (2:53)
  • Ecoissaises, op. 72, no. 3 (2:10)
  • Impromptu no. 1 in A-flat major, op. 29 (4:15)
  • Etude no. 5 in G-flat major, op. 10, no. 5 (1:39)
  • Etude, op. 25, no. 18 in G-sharp minor (1:55)
  • Etude, op. 25, no. 19 in C-sharp minor (5:49)
  • Piano sonata no. 3 in B minor, op. 58 (33:07)
  • Piano sonata no. 2 in B-flat minor, op. 35 (20:26)
  • Prelude no. 25 in C-sharp minor, op. 45 (6:16)
  • Scherzo no. 3 in C-sharp minor, op. 39 (7:48)
  • Nocturne no. 16 in E-flat major, op. 55, no. 2 (6:11)
  • Etude, op. 10, no. 8 in F major (2:28)
  • Etude, op. 10, no. 10 in A-flat major (1:58)
  • Etude no. 18 in G-sharp minor, op. 25, no. 6 (2:14)
  • 12 etudes, op. 10 (26:49)
  • 12 etudes, op. 25 (29:03)
  • 12 etudes, op. 10 (30:50)
  • Impromptu no. 1 in A-flat major, op. 29 (4:44)
  • Impromptu no. 2 in F-sharp major, op. 36 (5:36)
  • 12 etudes, op. 25 (30:19)
  • Impromptu no. 3 in G-flat major, op.
  • 51 (5:43)
  • Fantasy-impromptu in C-sharp minor, op. 66 (6:04)
  • Nocturne no. 5 in F-sharp major op. 15, no. 2 (3:24)
  • Nocturne no. 7 in C-sharp minor, op. 27, no. 1 (5:29)
  • Waltz no. 3 in A minor, op. 34, no. 2 (5:24)
  • Andante spianto and Grande polonaise brillante in E-flat major, op. 22 (12:51)
  • Mazurka no. 15 in C major, op. 24, no. 2 (2:05)
  • Mazurka no. 43 in G minor, op. 67, no. 2 (2:09)
  • Ballade no. 4 in F minor, op. 52 (10:12)
  • Scherzo no. 2 in B-flat minor, op. 31 (8:38)
  • Scherzo no. 1 in B minor, op. 20 (10:49)
  • Scherzo no. 2 in B-flat minor, op. 31 (10:54)
  • Scherzo no. 3 in C-sharp minor, op. 39 (8:23)
  • Scherzo no. 4 in E major, op. 54 (11:25)
  • Impromptu no. 1 in A-flat major, op. 29 (4:20)
  • Impromptu no. 2 in F-sharp major, op. 36 (6:24)
  • Impromptu no. 3 in G-flat major, op. 51 (5:22)
  • Fantasy-impromptu in C-sharp minor, op. 66 (5:06)
  • Mazurka no. 3 in E major, op. 6, no. 3 (1:47)
  • Mazurka no. 6 in A minor, op. 7, no. 2 (2:50)
  • Mazurka no. 11 in E minor, op. 17, no. 2 (1:43)
  • Mazurka no. 13 in A minor, op. 17, no. 4 (4:02)
  • Mazurka no. 14 in G minor, op. 24, no. 1 (2:52)
  • Mazurka no. 15 in C major, op. 24, no. 2 (2:12)
  • Mazurka no. 17 in B-flat minor, op. 24, no. 4 (4:10)
  • Mazurka no. 18 in C minor, op. 30, no. 1 (1:27)
  • Mazurka no. 19 in B minor, op. 30, no. 2 (1:30)
  • Mazurka no. 25 in B minor, op. 33, no. 4 (5:52)
  • Mazurka no. 28 in B major, op. 41, no. 2 (2:41)
  • Mazurka no. 32 in C-sharp minor, op. 50, no. 3 (5:51)
  • Mazurka no. 35 in C minor, op. 56, no. 3 (6:33)
  • Mazurka no. 36 in A minor, op. 59, no. 1 (3:53)
  • Mazurka no. 43 in G minor, op. 67, no. 2 (2:00)
  • Mazurka no. 45 in A minor, op. 67, no. 4 (2:43)
  • Mazurka no. 47 in A minor, op. 68, no. 2 (3:35)
  • Mazurka no. 49 in F minor, op. 68, no. 4 (2:13)
  • Prelude no. 26 in A-flat major, op. posth. (:39)
  • Prelude no. 25 in C-sharp minor, op. 45. Sostenuto (4:12)
  • Berceuse in D-flat major, op. 57 (4:32)
  • Waltz no. 1 in E-flat major, op. 18 (5:09)
  • Waltz no. 2 in A-flat major, op. 34, no. 1 (4:56)
  • Waltz no. 3 in A minor, op. 34, no. 2 (5:16)
  • Waltz no. 4 in F major, op. 34, no. 3 (2:13)
  • Waltz no. 5 in A-flat major, op. 42 (3:41)
  • Waltz no. 6 in D-flat major, op. 64, no. 1 (1:36)
  • Waltz no. 7 in C-sharp minor, op. 64, no. 2 (3:03)
  • Waltz no. 8 in A-flat major, op. 64, no. 3 (2:52)
  • Waltz no. 9 in A-flat major, op. 69, no. 1 (3:44)
  • Waltz no. 10 in B minor, op. 69, no. 2 (3:33)
  • Waltz no. 11 in G-flat major, op. 70, no. 1 (2:01)
  • Waltz no. 12 in F minor, op. 70, no. 2 (2:30)
  • Waltz no. 13 in D-flat major, op. 70, no. 3 (2:19)
  • Waltz no. 14 in E minor, op. posth. (2:58)
  • Waltz no. 15 in E major, op. posth. (1:47)
  • Waltz no. 16 in A-flat major, op. posth. (1:44)
  • Waltz no. 17 in E-flat major op. posth. (2:22)
  • Mazurka no. 64 in D major, op. posth. (1:11)
  • Mazurka no. 44 in C major, op. 67, no. 3 (1:23)
  • Mazurka no. 47 in A minor, op. 68 no. 2 (2:36)
  • Mazurka no. 5 in B-flat major, op. 7, no. 1 (2:18)
  • Polonaise no. 6 in A-flat major, op. 53 (6:53)
  • Variations on a German air in E major (6:27)
  • Ballade no. 1 in G minor, op. 23 (9:38)
  • Ballade no. 2 in F major, op. 38 (7:49)
  • Ballade no. 3 in A-flat major, op. 47 (7:30)
  • Ballade no. 4 in F minor, op. 52 (12:00)
  • Barcarolle in F-sharp major, op. 60 (8:57)
  • Fantasy in F minor, op. 49 (13:58)
Online

7. Dedications [1988]

  • England : Nimbus, 1990
Description
Music recording — 1 online resource (59 minutes) Sound: digital.optical.stereo. Digital: audio file.
Summary
  • "To my English friends"
  • Romance Ontario : "To Glenn Gould"
  • Spanish suite : "To Federico Garcia Lorca"
  • Balalaika : "To Mikhail Gorbachev"
  • Era of rock and roll : "To Elvis Presley"
  • Happy birthday John : "To John Duarte"
  • Auld lang syne : "To my wife"
Online

8. Canyon conversations [2018 -]

Description
Journal/Periodical — 1 online resource
Online

9. To feel the music : a songwriter's mission to save high-quality audio [2019]

Description
Book — xi, 259 pages, 8 unnumbered pages of plates (folded) : illustrations (some color) ; 24 cm
Summary
  • Contents A Message from Neil xi Introduction 1
  • CHAPTER 1: The Most Important Thing I've Ever Done 7
  • CHAPTER 2: A Look at Audio Quality 15
  • CHAPTER 3: How I Discovered We Were Losing the Music 29
  • CHAPTER 4: Neil Was Not Alone 47
  • CHAPTER 5: The Birth of Pono 51
  • CHAPTER 6: Meeting Neil 61
  • CHAPTER 7: Getting Started 69
  • CHAPTER 8: Beginning Development 73
  • CHAPTER 9: Pono Is for and by the Artists 79
  • CHAPTER 10: Inventing Pono 87
  • CHAPTER 11: Leadership at Pono 99
  • CHAPTER 12: A New Direction 111
  • CHAPTER 13: Our Kickstarter Adventure 117
  • CHAPTER 14: The Drive from Kickstarter to Production 137
  • CHAPTER 15: Going to China 141
  • CHAPTER 16: Building the Pono Music Store 153
  • CHAPTER 17: More Management Turmoil 161.
  • (source: Nielsen Book Data)
Neil Young took on the music industry so that fans could hear his music-all music-the way it was meant to be heard. Today, most of the music we hear is com-pressed to a fraction of its original sound, while analog masterpieces are turning to dustin record company vaults. As these record-ings disappear, music fans aren't just losing acollection of notes. We're losing spaciousness, breadth of the sound field, and the ability tohear and feel a ping of a triangle or a pluckof a guitar string, each with its own reso-nance and harmonics that slowly trail off intosilence. The result is music that is robbed of its original quality-muddy and flat in sound compared to the rich, warm sound artists hear in the studio. It doesn't have to be this way, but the record and technology companies have incorrectly assumed that most listeners are satisfied with these low-quality tracks. Neil Young is challenging the assault on audio quality-and working to free music lovers from the flat and lifeless status quo. To Feel the Music is the true story of his questto bring high-quality audio back to musiclovers-the most important undertaking ofhis career. It's an unprecedented look insidethe successes and setbacks of creating thePono player, the fights and negotiationswith record companies to preserve master-pieces for the future, and Neil's unrelentingdetermination to make musical art availableto everyone. It's a story that shows how muchmore there is to music than meets the ear. Neil's efforts to bring quality audio to his fans garnered media attention when his Kickstarter campaign for his Pono player-a revolutionary music player that would combine the highest quality possible with the portability, simplicity and affordability modern listeners crave-became the third-most successful Kickstarter campaign in the website's history. It had raised more than $6M in pledges in 40 days. Encouraged by the enthusiastic response, Neil still had a long road ahead, and his Pono music player would not have the commercial success he'd imagined. But he remained committed to his mission, and faced with the rise of streaming services that used even lower quality audio, he was determined to rise to the challenge. An eye-opening read for all fans of Neil Young and all fans of great music, as well as readers interesting in going behind the scenes of product creation, To Feel the Music has an inspiring story at its heart: One determined artist with a groundbreaking vision and the absolute refusal to give up, despite setbacks, naysayers, and skeptics.
(source: Nielsen Book Data)
Online
Law Library (Crown)

10. To feel the music : a songwriter's mission to save high-quality audio [2019]

Description
Book — 1 online resource
Summary
  • Contents A Message from Neil xi Introduction 1
  • CHAPTER 1: The Most Important Thing I've Ever Done 7
  • CHAPTER 2: A Look at Audio Quality 15
  • CHAPTER 3: How I Discovered We Were Losing the Music 29
  • CHAPTER 4: Neil Was Not Alone 47
  • CHAPTER 5: The Birth of Pono 51
  • CHAPTER 6: Meeting Neil 61
  • CHAPTER 7: Getting Started 69
  • CHAPTER 8: Beginning Development 73
  • CHAPTER 9: Pono Is for and by the Artists 79
  • CHAPTER 10: Inventing Pono 87
  • CHAPTER 11: Leadership at Pono 99
  • CHAPTER 12: A New Direction 111
  • CHAPTER 13: Our Kickstarter Adventure 117
  • CHAPTER 14: The Drive from Kickstarter to Production 137
  • CHAPTER 15: Going to China 141
  • CHAPTER 16: Building the Pono Music Store 153
  • CHAPTER 17: More Management Turmoil 161.
  • (source: Nielsen Book Data)
Neil Young took on the music industry so that fans could hear his music-all music-the way it was meant to be heard. Today, most of the music we hear is com-pressed to a fraction of its original sound, while analog masterpieces are turning to dustin record company vaults. As these record-ings disappear, music fans aren't just losing acollection of notes. We're losing spaciousness, breadth of the sound field, and the ability tohear and feel a ping of a triangle or a pluckof a guitar string, each with its own reso-nance and harmonics that slowly trail off intosilence. The result is music that is robbed of its original quality-muddy and flat in sound compared to the rich, warm sound artists hear in the studio. It doesn't have to be this way, but the record and technology companies have incorrectly assumed that most listeners are satisfied with these low-quality tracks. Neil Young is challenging the assault on audio quality-and working to free music lovers from the flat and lifeless status quo. To Feel the Music is the true story of his questto bring high-quality audio back to musiclovers-the most important undertaking ofhis career. It's an unprecedented look insidethe successes and setbacks of creating thePono player, the fights and negotiationswith record companies to preserve master-pieces for the future, and Neil's unrelentingdetermination to make musical art availableto everyone. It's a story that shows how muchmore there is to music than meets the ear. Neil's efforts to bring quality audio to his fans garnered media attention when his Kickstarter campaign for his Pono player-a revolutionary music player that would combine the highest quality possible with the portability, simplicity and affordability modern listeners crave-became the third-most successful Kickstarter campaign in the website's history. It had raised more than $6M in pledges in 40 days. Encouraged by the enthusiastic response, Neil still had a long road ahead, and his Pono music player would not have the commercial success he'd imagined. But he remained committed to his mission, and faced with the rise of streaming services that used even lower quality audio, he was determined to rise to the challenge. An eye-opening read for all fans of Neil Young and all fans of great music, as well as readers interesting in going behind the scenes of product creation, To Feel the Music has an inspiring story at its heart: One determined artist with a groundbreaking vision and the absolute refusal to give up, despite setbacks, naysayers, and skeptics.
(source: Nielsen Book Data)
Online

11. Boulevard du stream : du MP3 à Deezer, la musique libérée [2017]

Description
Book — 284 pages : illustration ; 23 cm.
Online
Music Library

12. Streaming music : practices, media, cultures [2018]

  • Johansson, Sofia, author.
  • Abingdon, Oxon ; New York, NY : Routledge, an imprint of the Taylor & Francis Group, 2018.
Description
Book — vi, 178 pages : illustrations ; 24 cm
Summary
  • Introduction: Fields of research
  • 1. Music, the Internet, streaming: Ongoing debates Part I Practices
  • 2. Music, the Internet and everyday life: Contexts and practices
  • 3. Experiencing music as part of connectivity culture
  • 4. Clouds, streams, materiality: Perceptions of musical value in the age of abundance Part II Platforms
  • 5. Spotify: Encountering music in the customized archive
  • 6. VK: An expression of a post-recorded culture
  • 7. Music on YouTube: Participation, intermediation and spreadability
  • 8. Phones, applications, mobility: Framing music use on the go Conclusions.
  • (source: Nielsen Book Data)
Streaming Music examines how the Internet has become integrated in contemporary music use, by focusing on streaming as a practice and a technology for music consumption. The backdrop to this enquiry is the digitization of society and culture, where the music industry has undergone profound disruptions, and where music streaming has altered listening modes and meanings of music in everyday life. The objective of Streaming Music is to shed light on what these transformations mean for listeners, by looking at their adaptation in specific cultural contexts, but also by considering how online music platforms and streaming services guide music listeners in specific ways. Drawing on case studies from Moscow and Stockholm, and providing analysis of Spotify, VK and YouTube as popular but distinct sites for music, Streaming Music discusses, through a qualitative, cross-cultural, study, questions around music and value, music sharing, modes of engaging with music, and the way that contemporary music listening is increasingly part of mobile, automated and computational processes. Offering a nuanced perspective on these issues, it adds to research about music and digital media, shedding new light on music cultures as they appear today. As such, this volume will appeal to scholars of media, sociology and music with interests in digital technologies.
(source: Nielsen Book Data)
Online
Music Library

13. Fantasy [2009]

Description
Music recording — 1 online resource (1 sound file) Sound: digital. Digital: audio file.
Summary
  • Fantaisie en la mineur = Fantasia in A minor, BWV 922 (6:45)
  • Fantaisie et fugue en la mineur = Fantasia and fugue in A minor, BWV 904 (10:00)
  • Prélude et fugue en fa majeur = Prelude and fugue in F major, BWV 901 (3:00)
  • Capriccio sopra la lontananza del fratello dilettissimo : en si bémol majeur = in B flat major, BWV 922 (12:00)
  • Prélude, fugue et allegro en mi bémol majeur = Prelude, fugue and allegro in E flat major, BWV 998 (11:00)
  • Adagio en sol majeur, de la Sonate pour violon en ut majeur = Adagio in G major, from Violin sonata in C major, BWV 968 (3:55)
  • Prélude et fughetta en sol majeur = Prelude and fughetta in G major, BWV 902 (9:00)
  • Prélude et fugue en la mineur = Prelude and fugue in A minor, BWV 894 (11:00)
  • Air varié : en la mineur = Aria variata : in A minor, BWV 989 (13:00).
Online

14. Build your own Alexa skill [2016]

  • Odewahn, Andrew, author.
  • [Place of publication not identified] : O'Reilly, [2016]
Description
Book — 1 online resource (1 volume) : illustrations
Summary
Amazon's Echo assistant has not only opened up a world of new interactions for their customers, it has opened up a whole host of technologies for programmers to explore. From Amazon's Alexa SDK to AWS Lambda, the tools for building voice experiences are challenging, but also a joy to use once you've gotten past the initial hurdles. What you'll learn—and how you can apply it You'll learn how to create an Amazon Alexa skill. You'll see how to set up and configure the voice interactions and how to create an AWS Lambda function that handles the requests and responses that users initiate. Prerequisites Be comfortable using your computer's terminal or command prompt and know how to create and edit plain text files Install Node.js (version 5 or later) and update npm using these instructions You'll need an AWS account; the free tier is sufficient for this lesson You'll need to register as a developer in Amazon's developer portal.
Online

15. Amazon Alexa beyond the basics : learn the advanced techniques Alexa champions use to create winning Alexa skills [2017]

  • Peterson, Terren, speaker.
  • [Place of publication not identified] : O'Reilly, [2017]
Description
Video — 1 online resource (1 streaming video file (2 hr., 9 min., 47 sec.))
Summary
"Creating advanced Amazon Alexa skills requires a more sophisticated set of tools than the elementary ones described on Amazon's web site. In this course, Terren Peterson reveals the tools and processes employed by Alexa Champions. You'll gain experience designing advanced voice user interfaces, learn about the Speech Synthesis Markup Language, and explore ways to integrate third party APIs. You'll also pick up techniques for adding music and sound, discover how to use analytics to improve the performance of your skills over time, and learn how to add visuals to Amazon's Echo Show."--Resource description page
Online

16. Introduction to Amazon Alexa skill development : understanding Alexa and how to write, test, and deploy your first Alexa application [2017]

  • Peterson, Terren, speaker.
  • [Place of publication not identified] : O'Reilly, [2017]
Description
Video — 1 online resource (1 streaming video file (59 min., 39 sec.)) : digital, sound, color
Summary
"Amazon's Alexa is the world's most popular voice activated digital assistant. More than seven million Alexa-ready devices are in use, and more than ten thousand Alexa voice applications - aka Alexa skills - have already been published. In this course, Alexa Champion Terren Peterson explains the underlying architecture of the Alexa platform and then shows you, step-by-step, how to create an Alexa skill and get it published onto the Alexa platform, where it could be used by millions of people."--Resource description page.
Online

17. Popular music in the post-digital age : politics, economy, culture and technology [2019]

  • New York, NY, USA : Bloomsbury Academic, Bloomsbury Publishing Inc, 2019.
Description
Book — 1 online resource.
Summary
  • List of Contributors Introduction: The Future of and through Music Ewa Mazierska, Les Gillon and Tony Rigg
  • Part 1: Music Industry 1. Rethinking Independence: What Does `Independent Record Label' Mean Today? Patryk Galuszka and Katarzyna M. Wyrzykowska, University of Lodz, Poland 2. The Future of Digital Music Infrastructures: Expectations and Promises of the Blockchain `Revolution' Paolo Magaudda, University of Padua 3. `The Sound of the Future is Here Today': The Market for Post-Rock Within the Traditional Small Music Festival Landscape Kenneth Forbes, University of the West of Scotland, UK 4. `They Sold the Festival Out!': Axionormativity as the Future of Festivals Waldemar Kuligowski, Adam Mickiewicz University, Poland 5. The Hidden Worker Bees: Advanced Neoliberalism and Manchester's Underground Club Scene Kamila Rymajdo, Kingston University, UK
  • Part 2: Musicians and Their Music 6. The Adaptive Musician: The Case of Peter Hook and Graham Massey Ewa Mazierska and Tony Rigg, University of Central Lancashire, UK 7. Where Do We Go From Here?: The Future of Composers in the Post-Digital Era Lars Broendum, University of Skoevde, Sweden 8. Searching for International Success in Europe's Periphery: The Case of Gin Ga and Fran Palermo Ewa Mazierska, University of Central Lancashire, UK 9. Electro Swing: The Re-Introduction of the Sounds of the Past into the Music of the Future Chris Inglis, University of South Wales, UK
  • Part 3: Music Consumption 10. Back to the Future: Proposing a Heuristic for Predicting the Future of Recorded Music Use Mathew Flynn, University of Liverpool, UK 11. Young People's Current Music and Media Use in Austria: The Musical Practice of the Future? Michael Huber, University of Vienna, Austria 12. Curators as Taste Entrepreneurs in the Digital Music Industries Emilia Barna, Budapest University of Technology and Economics, Hungary 13. An Echoic Chamber: Algorithmic Curation and Personalised Listening Andrew Fry, Sounds et al, USA Index.
  • (source: Nielsen Book Data)
Popular Music in the Post-Digital Age explores the relationship between macro environmental factors, such as politics, economics, culture and technology, captured by terms such as `post-digital' and `post-internet'. It also discusses the creation, monetisation and consumption of music and what changes in the music industry can tell us about wider shifts in economy and culture. This collection of 13 case studies covers issues such as curation algorithms, blockchain, careers of mainstream and independent musicians, festivals and clubs-to inform greater understanding and better navigation of the popular music landscape within a global context.
(source: Nielsen Book Data)
Online

18. Streaming and digital media : understanding the business and technology [2007]

Description
Book — 1 online resource (1 volume) : illustrations.
Summary
  • Introduction: The Current State Of The Streaming and Digital Media Industry
  • Chapter 1: Why Get Into Streaming and Digital Media?
  • Chapter 2: Technology Primer: The Basics of Streaming and Digital Media
  • Chapter 3: The Four Keys to a Profitable Streaming or Digital Media Business
  • Chapter 4: It's Not Childs Play: Learning From the Pitfalls from the Past Three Years
  • Chapter 5: Quality and Content Are King and Queen of the Digital Media Realm
  • Chapter 6: Streaming or Digital Media Project Management: How to Implement and Manage a Profitable Business
  • Chapter 7: Beyond Streaming Media: What Streaming and Digital Media Means to Other Areas of a Media Business.
  • (source: Nielsen Book Data)
Steaming and Digital Media gives you a concise and direct analysis to understand a scalable, profitable venture, as well as the common and hidden pitfalls to avoid in your business. By focusing on both the business implications and technical differences between online video and traditional broadcast distribution, you will learn how to gain significant time-to-market and cost-saving advantages by effectively using streaming and digital media technologies. As part of the NAB Executive Technology Briefing series, the book is geared towards the manager or executive and no technical prerequisite is required. You can quickly learn the technical speak as well as the market and business implications. New In The Book: - Consumer generated content and portals - Distribution of full-length video content - New distribution outlets for delivering content (Sling, TiVO, IPTV) - Addition of Flash streaming technology and Podcasting - Up-to-date market research and data - New industry pricing data.
(source: Nielsen Book Data)
Online

19. Musik zwischen den Kriegen : eine Berliner Dokumentation. 4, Die Preußische Akademie der Künste [2013]

  • [Place of publication not identified] : Thorofon, [2013]
Description
Music recording — 1 online resource (1 sound file) Sound: digital. Digital: audio file.
Summary
  • Divertimento, op. 52 / Ferruccio Busoni (8:02)
  • Klavierstucke, op. 33a / Arnold Schoenberg (5:40)
  • Music for 2 violins and harpsichord / Heinrich Kaminski (18:27)
  • 6 Liebeslieder, op. 35 / Hans Pfitzner (10:14)
  • 4 piano pieces, op. 36 / Max von Schillings (22:39).
Online

20. Images [2011]

  • [Brussels, Belgium] : Ramée, [2013]
Description
Music recording — 1 online resource (1 sound file) Sound: digital. Digital: audio file.
Summary
  • Pièces en ré mineur (Livre II. Suite no 1). Prélude ; La folette ; Sarabande ; Ballet en rondeau (11:48)
  • Pièces en sol majeur (Livre V. Suite no 6). Prélude / Estienne Le Moine ; Prélude ; Allemande : La fière ; Menuet ; 2e menuet ; Rondeau : Le troilleur ; Le petit badinage ; Sarabande : La désolée (Livre II. Suite no 4) ; Gigue : La précieuse ; Chaconne en rondeau (Livre II. Suite no 4) (22:38)
  • Pièces en mi mineur (Livre V. Suite no 7). Prélude / Robert de Visée ; Prélude ; La simplicité paysane ; Resveries mesplaiziennes ; Les amusements (10:50)
  • Pièces en do majeur. Prélude / Robert de Visée ; Muzette (Livre IV. Suite d'un goût étranger) (4:57)
  • Pièces en fa majeur (Livre III. Suite no 3). Prélude ; L'arabesque (Livre IV. Suite d'un goût étranger) ; Sarabande ; Rondeau ; Chaconne (15:25).
Online

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