There are 175 diagrammatic black "arrow" signs that are superimposed upon 55 musical examples (and 1 table) in the dissertation "Historical Tradition in the Pre-Serial Atonal Music of Alban Berg" by William Glenn Walden (1988). See examples on page 17 (1 diagrammatic black arrow), page 18 (1 diagrammatic black arrow), page 19 (1 diagrammatic black arrow), page 20 (1 diagrammatic black arrows), again on page 20 (8 diagrammatic black arrows), page 22 (9 diagrammatic black arrows), page 27 (2 diagrammatic black arrows), page 28 (1 diagrammatic black arrow), page 30 (2 diagrammatic black arrows), page 34 (2 diagrammatic black arrows), again on page 34 (2 diagrammatic black arrows), page 36 (25 diagrammatic black arrows), page 39 (2 diagrammatic black arrows), page 44 (1 diagrammatic black arrow), page 49 (3 diagrammatic black arrows), page 52 (1 diagrammatic black arrow), page 54 (2 diagrammatic black arrows), page 58 (3 diagrammatic black arrows), page 64 (5 diagrammatic black arrows), page 69 (5 diagrammatic black arrows), page 70 (6 diagrammatic black arrows), page 72 (1 diagrammatic black arrow), page 75 (4 diagrammatic black arrows), page 83 (2 diagrammatic black arrows), page 96 (2 diagrammatic black arrows), page 107 (2 diagrammatic black arrows), page 108 (3 diagrammatic black arrows), page 121 (5 diagrammatic black arrows), page 124 (4 diagrammatic black arrows), page 129 (2 diagrammatic black arrows), page 131 (4 diagrammatic black arrows), page 132 (2 diagrammatic black arrows), page 133 (3 diagrammatic black arrows), page 136 (2 diagrammatic black arrows), page 137 (1 diagrammatic black arrow), page 144 (1 diagrammatic black arrow), page 145 (1 diagrammatic black arrow), page 148 (13 diagrammatic black arrows), page 166 (1 diagrammatic black arrow), page 170 (2 diagrammatic black arrows), page 172 (2 diagrammatic black arrows), page 173 (2 diagrammatic black arrows), page 177 (3 diagrammatic black arrows), page 179 (1 diagrammatic black arrow), page 183 (2 diagrammatic black arrows), page 184 (1 diagrammatic black arrow), page 186 (2 diagrammatic black arrows), page 190 (3 diagrammatic black arrows), page 194 (2 diagrammatic black arrows), page 196 (3 diagrammatic black arrows), page 198 (1 diagrammatic black arrow), page 199 (1 diagrammatic black arrow), page 202 (1 diagrammatic black arrow), page 204 (6 diagrammatic black arrows), page 205 (2 diagrammatic black arrows), page 207 (1 diagrammatic black arrow), and page 231 (6 diagrammatic black arrows).
(symphony [no.6], 2019-2023)
There is an “All problems according to Preflight profile, Vector objects (stroked)” report that collects the 380 pages (white colored pages 26 through 628) that are affected with a “Vector objects (Stroked)” error (421 errors on 358 pages) which specifically affects the text of the title (or the text of a random word) given for each work (e.g., orchestra, chamber ensemble, piano, organ, choral ensemble and song) printed in the file “A Descriptive Catalogue of The Music of Charles Ives.pdf” (resulted from “A Descriptive Catalogue of The Music of Charles Ives” by John Sinclair [1999]) out of which a dark red underscore underlines the text affected with the “All problems according to Preflight profile, Vector objects (stroked)” error out of which a dark red connector line visually connects the title (or random word) towards the edge of the page,
and there is an “All problems according to Preflight profile, Vector objects (stroked)” report that collects the 217 pages (lime green colored pages 27 through 630) that are NOT affected with a “Vector objects (Stroked)” error by separating the 217 pages from their original page location in the file “A Descriptive Catalogue of The Music of Charles Ives.pdf” (resulted from “A Descriptive Catalogue of The Music of Charles Ives” by James Sinclair [1999]) and printing the 217 pages in lime green.
(symphony [no.5a], 2021)
There are 335 bitmap images within a group of 161 pages (out of 324 pages) in the report "Profile: List potential overprint problems (Processed pages 1 to 462)" (see white colored pages 264 to 806) that are affected by the "Black bitmap image is set to knock out" error found in the file "gustavMahlerSSymphoniesGustavMahlersSinfonienByPaulBek.pdf" (resulted from "Gustav Mahler’s Symphonies [Gustav Mahlers Sinfonien] by Paul Bekker [1921]: A Translation with Commentary" by Kelley Dean Hansen) where each occurrence of the "Black bitmap image is set to knock out" error is highlighted in light gray and connected via a dark red line to an entry on the following page consisting of a checkbox, author, subject, date/time and description (e.g., “Page 112: Bitmap image 430.7x46.9 pt 219.995 ppi Gray overprint: off, A bitmap image using black should be set to overprint”),
and there are 709 bitmap images within a group of 301 pages (out of 301 pages) from the report "Profile: List potential overprint problems (Processed pages 1 to 462)" (see lime green colored pages 94 to 820) that are NOT affected by the "Black bitmap image is set to knock out" error and are separated from their original page location in the file "gustavMahlerSSymphoniesGustavMahlersSinfonienByPaulBek.pdf" (resulted from "Gustav Mahler’s Symphonies [Gustav Mahlers Sinfonien] by Paul Bekker [1921]: A Translation with Commentary" by Kelley Dean Hansen) and printed on pages that are reproduced in lime green.
(symphony [no.5b], 2021)
Measures 43-45 from Schumann's Symphony No. 4 (1st movement) are placed alongside Mahler's reorchestration of measures 43-45 on page 26, and measures 194-196 from Schumann's Symphony No. 4 (1st movement) are placed alongside Mahler's reorchestration of measures 194-196 on page 27, and measures 1-5 from Schumann's Symphony No. 4 (1st movement) are placed alongside Mahler's reorchestration of measures 1-5 on page 41, and measures 22-26 from Schumann's Symphony No. 4 (1st movement) are placed alongside Mahler's reorchestration of measures 22-26 on page 45, and measures 59-62 from Schumann's Symphony No. 4 (1st movement) are placed alongside Mahler's reorchestration of measures 59-62 on page 51, and measures 79-84 from Schumann's Symphony No. 4 (1st movement) are placed alongside Mahler's reorchestration of measures 79-84 on page 53, and measures 101-104 from Schumann's Symphony No. 4 (1st movement) are placed alongside Mahler's reorchestration of measures 101-104 on page 58, and measures 119-123 from Schumann's Symphony No. 4 (1st movement) are placed alongside Mahler's reorchestration of measures 119-123 on page 63, and measures 125-128 from Schumann's Symphony No. 4 (1st movement) are placed alongside Mahler's reorchestration of measures 125-128 on page 65, and measure 132 from Schumann's Symphony No. 4 (1st movement) are placed alongside Mahler's reorchestration of measure 132 on page 67, and measures 134-141 from Schumann's Symphony No. 4 (1st movement) are placed underneath Mahler's reorchestration of measures 134-141 on page 70, and measures 142-146 from Schumann's Symphony No. 4 (1st movement) are placed alongside Mahler's reorchestration of measures 142-146 on page 74, and measures 290-297 from Schumann's Symphony No.4 (1st movement) are placed alongside Mahler's reorchestration of measures 290-297 on page 77, and measures 313-322 from Schumann's Symphony No. 4 (1st movement) are placed alongside Mahler's reorchestration of measures 313-322 on page 80, and measures 323-332 from Schumann's Symphony No. 4 (1st movement) are placed alongside Mahler's reorchestration of measures 323-332 on page 83. Measures 49-58 from Schumann's Symphony No. 4 (1st movement) are placed on page 48 and Mahler's reorchestration of measures 49-58 are placed on page 49. Measures 345-354 from Schumann's Symphony No. 4 (1st movement) are placed on page 85 and Mahler's reorchestration of measures 345-354 are placed on page 86. Measures 374-380 from Schumann's Symphony No. 4 (1st movement) are placed on page 89 and Mahler's reorchestration of measures 374-380 are placed on page 90.
(symphony [no.4a], 2018)
There are examples of Gustav Mahler's changes to instrumentation in Schumann's Symphony No. 4 in D minor, Op. 120 on pages 200, 201, 239, 317, 375, 379 and 414. Changes to dynamics on pages 238, 313, 314, 316, 317, 374, 376, 377, 414 and 417. Changes to the introductory theme (1st movement) on pages 311 and page 312, a change to a rhythm part on page 315, changes to the end of the exposition (movement 1) on page 378, and changes to articulations on page 416. There are examples of Woldemar Bargiel's changes to patterns of slurring in Schumann's Symphony No. 4 in D minor, Op. 120 on pages 198, 199, 306, 308 and 411, changes to bowings and articulation on pages 235, 237, 310, 367, 371, 369, and 408-410, changes to dynamics on pages 236, 309, 370, 372, and 412, changes to a tempo indication on page 373, and a change to an "expressive indication" on page 413. Finally, there are examples of discrepancies between Schumann (or “MS2” and "S2"), Clara Schumann (or “C”), and Alfred Dörffel (or “D”) in Schumann's Symphony No. 4 in D minor, Op. 120 in regards to pitch on page 146, instrumentation on pages 295, 298, 402, and 407, articulation on 147, 197, 227-232, 233, 234, 357, 364, 365, and 404, dynamics on pages 188, 195, 196, 293, 294, 302, 303, 363, and 366, rhythm on pages 190, 299-301, 361, and 362, and discrepancies to patterns of slurring and beaming on pages 147, 192, 193, 194, 285-291, 296, 297, 304, 305, 307, 358-360, 405 and 406.
(symphony [no.4b], 2019)
There is the size of the Leipzig Gewandhaus Orchestra in 1831 (8 first violins, 8 second violins, 4 violas, 4 cellos, 3 double basses, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, and 2 horns) employed for examples from Schumann’s Symphony No. 3, movement 3, on pages 70 and 71. There is the maximum number of instruments based on Henry Orland's survey of orchestras from 1750 to 1850 (16 first violins, 16 second violins, 10 violas, 13 cellos, 11 double basses, 7 flutes, 6 oboes, 7 clarinets, 5 bassoons, 7 horns, 10 trumpets, 3 trombones and 2 kettledrums) employed for examples from Schumann’s Symphony No. 3, movement 1, on pages 75-79, and 118-123. There is the size of the Leipzig Gewandhaus Orchestra in 1831 (8 first violins, 8 second violins, 4 violas, 4 cellos, 3 double basses, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones and 2 kettledrums) employed for examples from Schumann’s Symphony No. 3, movement 4, on pages 88-90, and 97. There is the size of the Leipzig Gewandhaus Orchestra in 1839 (9 first violins, 8 second violins, 5 violas, 5 cellos, 4 double basses, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones and 2 kettledrums) employed for examples from Schumann’s Symphony No. 3, movement 5, on pages 91-94, 101-108, 124 and 125. There is the maximum number of instruments based on Henry Orland's survey of orchestras from 1750 to 1850 (16 first violins, 16 second violins, 10 violas, 13 cellos, 11 double basses, 7 flutes, 6 oboes, 7 clarinets, 5 bassoons, 7 horns, and 10 trumpets) employed for examples from Schumann’s Symphony No. 3, movement 2, on pages 81-86.
(symphony [no.4c], 2019)
There are "typeset reconstructions" (Whiting, 2018, p.255) of material written in Mahler's hand (sketches, Particell [or short score] draft and Partitur [or orchestral] draft) for the "Adagio" from Gustav Mahler's Symphony No. 10 on pages 30, 43, 58, 62, 67, 68, 69, 71, 72, 73, 75, 76, 77, 79, 80, 81, 82, 84, 85, 86, 87, 89, 90, 91, 92 , 99, and 236. There are "typeset reconstructions" (Whiting, 2018, p.255) of material written in Mahler's hand (sketches, Particell [or short score] draft and Partitur [or orchestral] draft) for "a la Scherzo" [F minor Scherzo] from Gustav Mahler's Symphony No. 10 on pages 104, 113, 114, 115, 116, 117, 118, 121, 122, 128, 133, 139, 140, and 141. There are "typeset reconstructions" (Whiting, 2018, p.255) of material written in Mahler's hand (sketches, Particell [or short score] draft) for "Der Teufel tanzt es mit mir" [E minor Scherzo] from Gustav Mahler's Symphony No. 10 on pages 152, 155, 160, 161, 176, 184 and 185. There are "typeset reconstructions" (Whiting, 2018, p.255) of material written in Mahler's hand (Particell [or short score] draft and Partitur [or orchestral] draft) for "Purgatorio oder Inferno?" from Gustav Mahler's Symphony No. 10 on pages 194, 195, 201, and 203. There are "typeset reconstructions" (Whiting, 2018, p.255) of material written in Mahler's hand (Particell [or short score] draft) for the "Finale" from Gustav Mahler's Symphony No. 10 on pages 220, 222, 223, 224, and 225.
(symphony [no.3a], 2019)
On pages 9-50 there are 58 hand-written examples appropriated from Brahm's First Symphony that are transcribed (by hand) and annotated (by hand) by Walter Blume based on the markings Blume found in the scores of his teacher and friend Fritz Steinbach (Pasternack, 2004, p.vi) and on pages 53-75 there are 42 hand-written examples appropriated from Brahm's Second Symphony that are transcribed (by hand) and annotated (by hand) by Walter Blume based on the markings Blume found in the scores of his teacher and friend Fritz Steinbach (Pasternack, 2004, p.vi) and on pages 70-91 there are 18 hand-written examples appropriated from Brahm's Third Symphony that are transcribed (by hand) and annotated (by hand) by Walter Blume based on the markings Blume found in the scores of his teacher and friend Fritz Steinbach (Pasternack, 2004, p.vi) and on pages 94-119 there are 40 hand-written examples appropriated from Brahm's Fourth Symphony that are transcribed (by hand) and annotated (by hand) by Walter Blume based on the markings Blume found in the scores of his teacher and friend Fritz Steinbach (Pasternack, 2004, p.vi) and on pages 121-127 there are 7 hand-written examples appropriated from Brahm's "Variations on a Theme from Joseph Haydn" that are transcribed (by hand) and annotated (by hand) by Walter Blume based on the markings Blume found in the scores of his teacher and friend Fritz Steinbach (Pasternack, 2004, p.vi).
(symphony [no.3b], 2019)
There are 11 total rests (across all instrument parts) in measures 1, 2, 3, 4, 5, 6, 7, 8, 9, 12, 13 and 15 in the 1st movement of Webern's Symphony Op. 21 (see pages 21 and 22) and there are 9 total rests (across all instrument parts) in measure 10 in the 1st movement of Webern's Symphony Op. 21 (see page 22) and there are 12 total rests (across all instrument parts) in measures 11 and 12 in the 1st movement of Webern's Symphony Op. 21 (see page 22) and there are 15 total rests (across all instrument parts) in measure 14 in the 1st movement of Webern's Symphony Op. 21 (see page 22). There are 10 total rests (across all instrument parts) in measure 1 in the 1st movement of Mahler's Symphony No. 9 (see page 109) and there are 11 total rests (across all instrument parts) in measures 2 and 5 in the 1st movement of Mahler's Symphony No. 9 (see page 109) and there are 9 total rests (across all instrument parts) in measures 3 and 4 in the 1st movement of Mahler's Symphony No. 9 (see page 109) and there are 12 total rests (across all instrument parts) in measure 9 in the 1st movement of Mahler's Symphony No. 9 (see page 109) and there are 13 total rests (across all instrument parts) in measures 6 and 13 in the 1st movement of Mahler's Symphony No. 9 (see page 109) and there are 16 total rests (across all instrument parts) in measures 7 and 8 in the 1st movement of Mahler's Symphony No. 9 (see page 109) and there are 14 total rests (across all instrument parts) in measures 10 and 11 in the 1st movement of Mahler's Symphony No. 9 (see page 109) and there are 15 total rests (across all instrument parts) in measure 12 in the 1st movement of Mahler's Symphony No. 9 (see page 109).
(symphony [no.2], 2017-2020)
After hearing this slow (Largo) movement, Johannes Brahms is said to have remarked, 'I want my Ninth Symphony to sound like this'.(HC Robbins Landon, Haydn: Chronicle and Works, 5 vols, [Bloomington and London: Indiana University Press, 1976-] v. 2, Haydn at Eszterhaza, 1766-1790).
The New York Times said of H.C. Robbins Landon, "Though a serious and prolific scholar, Mr. Landon also had a knack for making musicology seem exciting to the general public." From 1943 to 1945 he was a student at Swarthmore College, studying music theory with Alfred Swan, composition with Harl McDonald and English literature with W. H. Auden. His studies at Swathmore ended when its Quaker administrators expelled him for an affair with a female student.
Therefore, this highly original Largo is printed on pages 21 through 29 and includes an extended obbligato violoncello part that is cut from page 21 and pasted onto page 148 (at the bottom of the page).
The announcement of the hymn-like theme is printed on page 111 with flute (unplayed), solo oboe, solo bassoon, and second horn using "stopped" notes, i.e., those produced by putting the hand into the bell of the instrument and lowering the tone.
Charles Rosen, in a review of HC Robbins Landon's five-volume Haydn compendium, expressed admiration and gratitude to the author for his energy in bringing all of Haydn's music, particularly the complete symphonies, to publication: "Only a few decades ago there were still immense tracts of unexplored Haydn….That we are better off today is owing in large part to the work of Robbins Landon."
However, he faults Landon for haphazard scholarship and analysis, observing that "He writes like a man going quickly through the pages of Haydn's works and pointing out to a friend the passages he likes most."
(symphony [no.1], 2017)
Carl Schuricht conducts the beginning at around quarter=100 but veers as high as quarter=120 (see fig.1 on p.233). Then, at around bar 54 he bursts ahead to nearly a quarter=140 (see fig.2 on p.335). As he approaches the 2nd theme, at bar 95 he pulls back in a beautifully managed maneuver, to around a quarter=95 (see fig.3 on p.350). The circled examples (see fig.4) on p.11 reveal Schuricht's care in voicing, highlighting the continuity of the violin line to the celli/bass in bars 129-30, and then a wildly personal dynamic modification in the form of an unwritten crescendo by the brass in bar 135 (see circled example in fig.5 on p.145).
(symphony, 2016)

Giving precise tempo indications is particularly important in works with a variety of tempi. In this symphony the aim is to perform selections of the 1st movement of Brahms’ Symphony No.2 exactly as conductor Carl Schuricht (1880-1967) does in his 1953 Decca recording of the Brahms 2nd (with the Vienna Philharmonic). This is done by using metronome speeds that approximately match his tempo modifications as referenced by the figures in the title.
The purpose of “figures” e.g.: (see fig. 1) in the title of the symphony is to present visual information directly relevant to the musical content. A figure may present information from published sources. The common practice is to provide a parenthetical insertion within the text of the document at the point where you wish the reader to refer to the figure; e.g.: (see fig. 1). If you do not use original content, a source citation must be included.
Citations are references to another textual element from the perspective of the citing document. In order to have citations, there must be a cited-citing pair. From a formal perspective, cited-citing pairs are relations. The relational operation is recursive: for example, citations may refer to other texts in which citations refer to still other texts. Thus, a network of citation relations is spanned at each moment in time and reproduced over time. The network, resulting from this repeated operation is expected to have an architecture. Therefore, citations have a position in a multi-dimensional space constituted by other citations.
While citations can be observed as specific events, they acquire analytical meaning only in terms of distributions: why was this citation used and not another?
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The purpose of “figures” e.g.: (see fig. 1) in the title of the symphony is to present visual information directly relevant to the musical content. A figure may present information from published sources. The common practice is to provide a parenthetical insertion within the text of the document at the point where you wish the reader to refer to the figure; e.g.: (see fig. 1). If you do not use original content, a source citation must be included.
Citations are references to another textual element from the perspective of the citing document. In order to have citations, there must be a cited-citing pair. From a formal perspective, cited-citing pairs are relations. The relational operation is recursive: for example, citations may refer to other texts in which citations refer to still other texts. Thus, a network of citation relations is spanned at each moment in time and reproduced over time. The network, resulting from this repeated operation is expected to have an architecture. Therefore, citations have a position in a multi-dimensional space constituted by other citations.
While citations can be observed as specific events, they acquire analytical meaning only in terms of distributions: why was this citation used and not another?
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