This volume provides an overview of a relatively neglected branch of connectionism known as localist connectionism. The singling out of localist connectionism is motivated by the fact that some critical modeling strategies have been more readily applied in the development and testing of localist as opposed to distributed connectionist models (models using distributed hidden-unit representations and trained with a particular learning algorithm, typically back-propagation). One major theme emerging from this book is that localist connectionism currently provides an interesting means of evolving from verbal-boxological models of human cognition to computer-implemented algorithmic models. The other central messages conveyed are that the highly delicate issue of model testing, evaluation, and selection must be taken seriously, and that model-builders of the localist connectionist family have already shown exemplary steps in this direction.

What is a fugue? What is the difference between a saxophone and a saxhorn? Who besides Puccini wrote an opera called "La Boheme"? In what year was the National Broadcasting Company Orchestra formed under Arturo Toscanini's direction? These and thousands of similar questions are answered in this comprehensive dictionary that remains unrivaled as a single-volume summary. "A New Dictionary of Music" is a basic reference work for anyone interested in music, whether performer or layman.

It covers orchestral, solo, choral, and chamber music, opera, and (in its musical aspects) the ballet. There are entries for composers (with biographies and details of compositions); works well known by their titles, such as operas and symphonic poems; orchestras, performers and conductors of importance today; musical instruments (including those of the dance and brass bands); and technical terms. English names and terms are used whenever possible, but foreign terms in general use are cross-referenced. Particular importance has been attached to bringing the reader abreast of new musical developments.

The composers and musical works chosen were those most likely to be encountered. Where an opera is given an entry, a brief explanation of the title follows. Similarly explication is provided for other works bearing literary or otherwise allusive titles. Among performers and conductors, only the following are included: those who, although dead, continue to be prominent through recorded performances (e.g., Gigli); the highest-ranking international artists of today, plus a very few apparently on the verge of attaining that rank; a few who, though not necessarily at the very head of their profession, are closely associated with composers in bringing out new works, or are conductors in charge of important orchestras.

"Arthur Jacobs" is well-known both in his native England and in the United States as a critic, author, translator of librettos, lecturer, and broadcaster.

Published in 1992. This is a revised, enlarged edition of a book which on its original appearance in 1984 was hailed as a landmark in the study of Victorian musical life. It presents the figure of Sir Arthur Sullivan (1842-1990) not only as the celebrated co-creator of light operas with W.S Gilbert, but as a composer of all kinds of music from symphony and concerto to ballads such as 'The Lost Chord' and hymns such as 'Onward, Christian Soldiers'. A prominent public life, with a knighthood in 1883, is contrasted with an unconventional private life involving a liaison of almost thirty years with an American living in London, Mary Frances Ronalds. The author's access to Sullivan's diary held by Yale University and to letters and other documents at the Pierpont Morgan library in New York gives this book both a unique authority and a deep human understanding. A new chapter updates research to the 150th anniversary of the composer's birth, 1992, and incorporates music examples.

Published in 1992. This is a revised, enlarged edition of a book which on its original appearance in 1984 was hailed as a landmark in the study of Victorian musical life. It presents the figure of Sir Arthur Sullivan (1842-1990) not only as the celebrated co-creator of light operas with W.S Gilbert, but as a composer of all kinds of music from symphony and concerto to ballads such as 'The Lost Chord' and hymns such as 'Onward, Christian Soldiers'. A prominent public life, with a knighthood in 1883, is contrasted with an unconventional private life involving a liaison of almost thirty years with an American living in London, Mary Frances Ronalds. The author's access to Sullivan's diary held by Yale University and to letters and other documents at the Pierpont Morgan library in New York gives this book both a unique authority and a deep human understanding. A new chapter updates research to the 150th anniversary of the composer's birth, 1992, and incorporates music examples.

This volume provides an overview of a relatively neglected branch of connectionism known as localist connectionism. The singling out of localist connectionism is motivated by the fact that some critical modeling strategies have been more readily applied in the development and testing of localist as opposed to distributed connectionist models (models using distributed hidden-unit representations and trained with a particular learning algorithm, typically back-propagation). One major theme emerging from this book is that localist connectionism currently provides an interesting means of evolving from verbal-boxological models of human cognition to computer-implemented algorithmic models. The other central messages conveyed are that the highly delicate issue of model testing, evaluation, and selection must be taken seriously, and that model-builders of the localist connectionist family have already shown exemplary steps in this direction.

What is a fugue? What is the difference between a saxophone and a saxhorn? Who besides Puccini wrote an opera called "La Boheme"? In what year, was the National Broadcasting Company Orchestra formed under Arturo Toscanini's direction? These and thousands of similar questions are answered in this comprehensive dictionary that remains unrivaled as a single-volume summary. "A New Dictionary of Music" is a basic reference work for anyone interested in music, whether performer or layman.It covers orchestral, solo, choral and chamber music, opera, and (in its musical aspects) the ballet. There are entries for composers (with biographies and details of compositions); works well known by their titles, such as operas and symphonic poems; orchestras, performers and conductors of importance today; musical instruments (including those of the dance and brass bands); and, technical terms. English names and terms are used whenever possible, but foreign terms in general use are cross-referenced. Particular importance has been attached to bringing the reader abreast of new musical developments.The composers and musical works chosen were those most likely to be encountered. Where an opera is given an entry, a brief explanation of the title follows. Similarly explication is provided for other works bearing literary or otherwise allusive titles. Among performers and conductors, only the following are included: those who, although dead, continue to be prominent through recorded performances (e.g. Gigli); the highest-ranking international artists of today, plus a very few apparently on the verge of attaining that rank; and, a few who, though not necessarily at the very head of their profession, are closely associated with composers in bringing out new works, or are conductors in charge of important orchestras.

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!