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Solution Manual for Introduction to Digital Signal
Processing Dick Blandford, John Parr
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Chapter 1
Problem Solutions
Concept Problems
1. What is the difference between the transient response and the sinusoidal steady state response
of a digital filter.
Solution
The transient response of a filter is generally taken to be the response to a unit impulse. If the
filter is stable the response goes to zero in finite time. The sinusoidal steady state response is the
response to sinusoids of unit amplitude at some set of frequencies. For a linear system the
response is always sinusoidal and is usually expressed as a gain and a phase response. Any
transient startup of a sinusoidal signal is ignored.

2. Give at least three applications in which linear phase is a requirement.

Solution
•Any data transmission in which phase is used to encode information.
• Any signal which is to be passed through a filter which must not distort the wave shape
• Interpolators or decimators in which a linear phase FIR filter can be made more efficient
than a comparable IIR filter.
• Anywhere signals are filtered and added.

3. In the introduction to this chapter a digital filter was designed that approximated an analog
filter consisting of a resistor and a capacitor. Since it is clear that the digital filter was much
more complex in terms of hardware what kind of advantages might be gained by creating a
digital filter to replace an analog filter. Consider flexibility of the design, the design effort, cost
of the hardware, long term stability, and quality of the filter.
Solution
• Flexibility – While digital filters can be implemented in hardware using all hardware
components, the more typical implementation uses mostly software. Software makes a filter
much more flexible in terms of changes, error correction, scaling, or duplication.
• Design effort – Much of filter design, both analog and digital, comes from existing designs that
are modified to meet needs. If we were starting from scratch, the analog filter which does not
require an A/D or D/A converter is probably easier. In terms of the filter itself analog and digital
filters are roughly the same amount of design effort.
• Cost – Digital filters become much more cost effective as the order increases as compared to
analog filters. In terms of component cost for example, a second or third order analog filter can
be much cheaper than a standalone digital counterpart. But as the order gets higher, analog
-1-
filters become more expensive since parts precision and temperature compensation becomes
important.
• Long term stability – This is decidedly in favor of the digital filter which does not suffer from
aging or temperature drift to the degree that an analog counterpart does.
• Quality of the filter – At higher orders, digital filters are decidedly higher in quality than analog
counterparts. At lower orders the two can be competitive depending on what one is willing to
spend on hardware.

-2-
4. Explain why one would expect an IIR filter to be computationally more efficient for a given
algorithm than an FIR filter.
Solution
An FIR filter has all of its poles at the origin. In terms of frequency space, it's as if the filter has
a fixed gain and we locate zeros are specific locations where we want to drive the gain toward
zero. The IIR filter, on the other hand, has poles located anywhere inside the unit circle. The
designer can use poles and zeros together to adjust the gain up or down as needed. The poles
located inside the unit circle for the IIR filter provide feedback terms in the difference equation.
Thus, the output is fed back and can be used to further alter the gain.

The ability to locate poles anywhere inside the unit circle which provides feedback terms gives
the IIR filter a slight advantage in altering the gain curve over an FIR filter of the same order.

5. FIR filters do not have a feedback path. What are the implications of this for system stability?
Is oscillation possible? Why or why not?
Solution
FIR systems are always stable. A system is stable if its impulse response falls to zero in a finite
amount of time. For an FIR system, once an impulse has passed through the system, the output
must be exactly zero so all FIR systems are inherently stable.

Likewise, oscillation is not possible with an FIR filter. An oscillator has an output when there is
not input. For an FIR filter the output must eventually drop to zero once the input goes to zero.
Oscillation is not possible.

6. IIR filters have a feedback path and FIR filters do not. What would you expect to be the result
of small errors in the formulation of the coefficients for these two systems? Would the impact of
such an error be greater or less for an IIR filter? Explain.
Solution
For and IIR system a small error can be fed back to the input to reverberate through the system.
Some frequencies caused by errors may be amplified. In general, IIR systems are more sensitive
to coefficient quantization errors than are FIR systems which have no feedback.

7. Trapezoidal integration was used to approximate an integral and convert a differential

equation to a difference equation. What would be the consequences of using an approximation
based on a second order equation such as a parabola rather than the straight line fit of the
trapezoidal method?
Solution
A second order approximation will likely give a better approximation to an integral but it will
also double the order of the system. Higher order approximations are not used because of the
increased computational complexity of the result.

8. Since it is often difficult in practice to approximate an impulse, describe another method of

finding the impulse response indirectly from say, a step function which is readily available on
most signal generators.

-3-
Solution
Since the impulse is the derivative of the step the impulse response is the derivative of the step
response for a linear system. In practice, we can measure the step response, fit a curve to the
response so that we have it in closed form, and take the derivative of the fitted curve to get the
impulse response.

9. When a computer is used to evaluate a difference equation, the coefficients are represented as
binary numbers where the number of bits used is limited. This causes the coefficient to have a
small error called the quantization error. The same kind of error occurs in the A/D converter.
What other errors are likely in the evaluation of a difference equation?
Solution
The evaluation of a difference equation is the summing of the products of the coefficients and
input or output terms. When two N-bit numbers are multiplied a 2N-bit product is produced
which must be rounded or truncated to N-bits. This is another source of error that can be
mitigated by using extra bits for products called guard bits.

Overflow is another source of error. Filters can have overflow in a single stage at a particular
frequency and must be properly scaled to avoid this error.

Aliasing is another source of error. Aliasing most often come into play by way of high
frequency noise which comes with the input signal.

Finally, there can be error in the D/A and reconstruction process as the signal is converted from
digital back to analog.

10. Suppose that in the evaluation of a difference equation the coefficients of the input variable
and the delayed versions of the input variable are multiplied by a constant. What is the
consequence of this multiplication in the frequency domain?
Solution
The input variable and its delayed versions appear in the numerator of the transfer function. If
these are multiplied by a constant the effect will be go increase the gain of the filter by that
constant.

11. In problem 1.7 the impulse response of the FIR filters is given by
h(nT) = {b0 ,b1 ,b2 ,b3 ,b4 ,b5 }
Redraw the filter diagram so that the impulse response is given by
h(nT) = {0,0,0,b0 ,b1 ,b2 ,b3 ,b4 ,b5 }
What are the consequences of adding these zeros to the impulse response on the magnitude vs
frequency plot? What are the consequences on the phase vs frequency plot?

-4-
Solution

The magnitude plot will be unchanged but the phase plot will be the same shape but shifted by
three time periods across all frequencies.

12. Suppose the impulse response function for an FIR difference equation is symmetric. For
example the response might be given by
h(nT) = {b0 ,b1 ,b2 ,b3 ,b4 ,b5 ,b4 ,b3 ,b2 ,b1 ,b0 } .
How can the difference equation be written to use this symmetry to reduce the number of
multiplications necessary for its evaluation?
Solution
The difference equation can be written as:
y(n) = b0 x(n) + b1 x(n −1) + ...+ b4 x(n − 4) + b5 x(n − 5) + b4 x(n − 6) + ...+ b0 x(n −10)
Because of the symmetry we can factor out some of the coefficients to write:
y(n) = b0 [x(n) + x(n −10)] + b1[x(1) + x(n − 9)] + ... + b4 [x(n − 4) + x(n − 6)] + b5 x(n − 5)
Thus, instead of doing 11 multiplications we can do the additions first and do only 6
multiplications.

13. When the coefficients of a difference equation are implemented in real time we would like to
represent the coefficients with as many bits as possible since this reduces the quantization error.
Give three reasons why increasing the number of bits has negative consequences on the
implementation of a difference equation.
Solution
• The coefficients are stored in registers or memory and increasing the number of bits forces the
use of longer registers and more memory.
• The data path (busses) inside the DSP processor unit need to be as wide as the coefficients or at
least some integer multiple of the coefficient size. Increasing the number of bits makes the data
path wider and increases the hardware cost and complexity.
• Multiplication time will be longer since multiplication time is usually done on a bit by bit basis.
For cases where multiplication is done in parallel hardware, the cost and complexity of this
hardware is increased.

14. In general a sinusoid can be represented by the equation y = Asin(2ft) where A is the
amplitude and f is the frequency. This equation has two unknowns so that at least two values for
y at two different time samples are needed in order to determine A and f. What other
information do I need in order to uniquely determine values for A and f?
Solution
You need to know that the two samples are both within a single cycle of the sinusoid.

-5-
15. A given low pass filter has a cutoff frequency fc and a sample frequency fs. The sample
period is T = 1/fs. In implementing the filter it is essential that the evaluation of the difference
equation be completed in less than T seconds. What are the consequences with regard to fc if this
is not the case. For example, suppose it takes 1.2T to do the evaluation of the difference
equation.
Solution
This effectively decreases the sample frequency and there will be a corresponding decrease in the
cut off frequency of a low pass filter. In addition, if the sample frequency is slower than the
design called for, aliasing could be a problem.

Analysis and Design Problems

1.1 Using the numerical integration by trapezoids outlined in this chapter find the difference
equation for a digital filter to approximate the analog filter below.

Figure P1.1
An analog filter.
Solution
The loop equation for the circuit is
vi = vc + v0
But v0 = iR and
vc = (1/ C)  idt = (1/ RC)  v0 dt
The loop equation can be written as
(1/ RC)  v0 dt = vi − vo
Using (1.8) for trapezoidal integration we get
vi (n) − vo (n) = vi (n −1) − vo (n −1) + (T / 2RC)[vo (n) + vo (n −1)]
Which simplifies to
v0 (n) = K1[vi (n) − vi (n −1)]+ K2vo (n −1)
2RC 2RC − T
Where K1 = and K 2 =
2RC + T 2RC + T

1.2 A typical computer program for a digital filter was given as:
Initialize Variables
DO Forever
Call AtoD(Vi) ;Get a sample from the A to D
Vo = K1*Vi + K2*Vo1
Call DtoA(Vo) ;Output Vo to D to A
Vo1 = Vo ;Reset the value of the old variable.
Wait for T seconds to pass
Loop

-5-
End

Answer the following questions about the program:

A) What is the purpose of the statement “Wait for T seconds to pass.” What are the
consequences of removing this statement.
B) What variable(s) need to be initialized by the “Initialize Variables” statement.
C) If the A to D converter takes 10 microseconds to complete a conversion, the computer
requires 8 microseconds for each multiply and .5 microseconds for each add and the D to
A converter requires .1 microsecond, approximately what is the maximum sample
frequency for this filter with this difference equation.
Solution
A) This statement forces the loop to complete every T seconds. If it is removed, the sampling
frequency will change.
B) K1 and Vo1
C) There are 2 multiplies and 1 add = 16.5 µsec plus the A/D = 8 µsec plus the D/A = 0.1 µsec
comes to 24.6 µsec. Maximum sample frequency s 1/24.6µsec = 40.65 KHz.

1.3 For the difference equation given by:

vo (nT) = 0.3333vi (nT) + 0.3333vi (n −1)T + 0.3333vo (n −1)T
The sample frequency is 1 KHz.
A) Find and tabulate the impulse response.
B) Find and tabulate the step response.
C) Express the frequency response of the output/input in terms of sines and cosines.
D) Plot the magnitude and phase of the frequency response for the frequency range 0 to fs/2.
E) Does this filter represent a FIR or an IIR filter? Explain.
Solution
A)
n vi vi/3 vi(n-1)/3 vo(n-1)/3 vo
0 1 1/3 0 0 1/3
1 0 0 1/3 1/9 4/9
2 0 0 0 4/27 4/27
3 0 0 0 4/81 4/81
4 0 0 0 4/243 4/243
… … … … … …

B)
n vi vi/3 vi(n-1)/3 vo(n-1)/3 vo
0 1 1/3 0 0 1/3
1 1 1/3 1/3 1/9 7/9
2 1 1/3 1/3 7/27 25/27
3 1 1/3 1/3 25/81 79/81
4 1 1/3 1/3 79/243 241/243
… … … … … …

C) The difference equation is

vo (nT) = 0.3333vi (nT) + 0.3333vi (n −1)T + 0.3333vo (n −1)T

-6-
 jnT
vi (n −1)T = e j (n−1)T vo (nT ) = Ae jnT v (n −1)T = Ae j (n−1)T
Let vi (nT ) = e , , and o
This gives

Ae jnT = (1/ 3)e jnT + (1/ 3)e j (n−1)T + (1/ 3)Ae j (n−1)T
Divide both sides by e jnT
A = (1/ 3) + (1/ 3)e− jT + (1/ 3)Ae− jT
Solve this for A to get
(1/ 3)(1+ e − jT )
A=
1− e − jT
jnT jnT
vo (e ) Ae
jnT
= jnT = A
vi (e ) e

Applying Euler's identity we get

vo (e jnT ) (1/ 3)[cos(T ) +1− j sin(T )]
=
vi (e jnT ) 1− cos(T ) + j sin(T )
v e jnT (cos(T ) +1) 2 + sin 2 (T )
o
= (1/ 3)
vi e jnT (1− cos(T ) 2 + sin 2 (T )

 sin(T )   sin(T ) 
 (T ) = tan  −1 −1
 − tan  
 cos(T ) +1   1− cos(T ) 
D) Using MATLAB®
fs = 1000;T = 1/fs;
f = 0:fs/2;
w = 2*pi*f;

A = (1/3)*(1+exp(-j*w*T))./(1-(1/3)*exp(-j*w*T));
figure(1);clf;
subplot(2, 1, 1);
plot(f, abs(A));
title('Magnitude of A');
xlabel('frequency in Hz');
ylabel('Gain');
subplot(2, 1, 2);
plot(f, angle(A)*180/pi);
title('Phase of A');
xlabel('frequency in Hz');
ylabel('Angle in degrees');
Magnitude of A
1
Gain

0.5

0
0 50 100 150 200 250 300 350 400 450 500
frequency in Hz
Phase of A
0

-7-
 Angle in degrees
-50

-100
0 50 100 150 200 250 300 350 400 450 500
frequency in Hz

E) This represents an IIR filter since it has feedback.

-8-
1.4 The algorithm used in this chapter relied on a discrete approximation to the integral using
trapezoids.
A) Find the difference equation to approximate the integral if rectangles are used in place of
trapezoids.
B) Plot the frequency response of a trapezoidal and a rectangular integrator.
Solution
A)

If we take the variable y to represent the integral we can write:

nT
y(nT ) =  f (t)  dt
0
This equation can be broken into two separate parts and rewritten as:
(n −1)T nT
y(nT ) =  f (t)  dt +  f (t)  dt
0 (n −1)T

which can be written as

nT
y(nT ) = y([n −1]T ) +
(n−1)T
 f (t)  dt

If we approximate the integral with the area under the rectangle this equation becomes
y(nT) = y([n −1]T ) + Tf (nT)
jnT
B) To find the frequency response we let f (nT) = e and we take y(nT) = Ae jnT

Putting these values into the difference equation from part A gives:
Ae jnT = Ae j (n−1)T + Te jnT
Solve this equation for A to get
A(1− e− jT ) = T or
T
A= Rectangular integration sinusoidal gain equation.
1− e − jT
For the trapezoidal integrator (1.8) gives the difference equation:
y(nT ) = y([n −1]T ) + (T / 2)[ f (nT ) + f ([n −1]T )]
jnT
Let f (nT) = e and we take y(nT) = Ae jnT to get

Ae jnT = Ae j (n−1)T + (T / 2)[e jnT + e j (n−1)T ]

Solve for A to get
-8-
 1+ e− jT
A=T /2 Trapezoidal integration sinusoidal gain equation
1− e− jT

-9-
Use MATLAB® to plot the gain of the rectangular and trapezoidal gain equations.
fs = 1;T = 1/fs;
f = 0:.001:fs/2;
w = 2*pi*f;
Ar = T./(1-exp(-j*w*T));
At = (T/2)*(1+exp(-j*w*T))./(1-exp(-j*w*T));
figure(1);clf;
plot(f, abs(Ar));
title('Magnitude of rectangular and trapezoidal integrators');
xlabel('frequency in Hz');
ylabel('Gain');
hold on;
plot(f, abs(At), 'r');
axis([0 fs/2 0 10]);

Magnitude of rectangular and trapezoidal integrators

10

6
Gain

Rectangular
4

3
Trapezoidal

0
0 0.05 0.1 0.15 0.2 0.25 0.3 0.35 0.4 0.45 0.5
frequency in Hz

1.5 Describe in detail how you could use a sinusoidal signal generator and an oscilloscope to
determine the gain vs. frequency plot for a digital filter.
Solution
• Set up the function generator for sinusoidal outputs with a 1 volt amplitude.
• Apply the function generator to the digital filter and using a dual trace oscilloscope observe
both the input and the output.
• The gain is the amplitude of the output divided by the amplitude of the input and the phase is
the phase shift with the input as the reference. Measure the gain and phase for frequencies
from near zero to fs/2.

1.6 Show that the difference equation for the second order IIR filter Figure P1.6 is given by
yk = b0 xk + b1 xk −1 + b2 xk −2 − a1 yk −1 − a2 yk −2
where yk is the output variable at time k and uk is the input variable at time k.

Figure P1.6

-9-
An IIR filter.
Solution

y(k) = b2 x1 (k) + b1 x2 (k) + b0 x2 (k +1)

x1 (k +1) = x2 (k)
x2 (k +1) = −a2 x1 (k) − a1 x2 (k)
k x(k) x2(k+1) x2(k) x1(k) y(k)
0 1 1 0 0 b0
1 0 -a1 1 0 -b0a1+b1
2 0 -a2+a12 -a1 1 b2-b1a1+b0(-a2+a12)
3 0 a1a2 + a1a2-a13 -a2+a12 -a1 -b2a1+b1(-a2+a1 2)+b0(a1a2 + a1a2-a1 3)

We can also get the impulse response from the difference equation:
yk = b0 xk + b1 xk −1 + b2 xk −2 − a1 yk −1 − a2 yk −2
k x(k) x(k-1) x(k-2) y(k) y(k-1) y(k-2)
0 1 0 0 b0 0 0
1 0 1 0 -b0a1+ b1 b0 0
2 0 0 1 b2-b1a1+b0(-a2+a12) -b0a1+ b1 b0
2 3
3 0 0 0 -b2a1+b1(-a2+a1 )+b0(a1a2 + a1a2-a1 ) b2-b1a1+b0(-a2+a12) -b0a1+ b1

Since the difference equation has the same response to an impulse as does the evaluation of the
state diagram the two forms must represent the same system.

1.7 Find the general expression for the impulse response for the FIR filter shown in Figure P1.7.
Show that this response is always finite in length and has a length no greater than n+1 where n is
the subscript of the final coefficient.

Figure P1.7
An FIR filter.

-10-
Solution
h(nT) = {b0, b1, b2, b3, b4, b5, 0, 0, 0, …}

1.8 Answer the questions below for the difference equation given by:
vo (kT) = 0.5vi (kT) − .035vi (k −1)T − 0.825v0 (k −1)T
A) Does this equation represent an IIR or an FIR system? Explain.
B) Write the first 5 terms of the impulse response for this system.
C) Write the expression for the frequency response for this system if the sample frequency is
1,000 Hz.
Solution
A) This is an IIR system since it has feedback.
B)
k vi(k) vi(k-1) vo(k) vo(k-1)
0 1 0 0.5 0
1 0 1 -0.4475 0.5
2 0 0 0.3692 -0.4475
3 0 0 -0.3046 0.3692
4 0 0 0.2513 -0.3046

C) The difference equation is:

vo (nT) = 0.5vi (nT) −.035vi (n −1)T − 0.825v0 (n −1)T
jnT j (n−1)T jnT j (n−1)T
Let vi (nT ) = e , vi (n −1)T = e , vo (nT ) = Ae and vo (n −1)T = Ae
This gives

Ae jnT = 0.5e jnT − 0.035e j (n−1)T − 0.825Ae j (n−1)T

Divide both sides by e jnT
A = 0.5 − 0.035e− jT − 0.825Ae− jT
Solve this for A to get
(0.5 − 0.035e − jT )
A=
1− 0.825e − jT
jnT jnT
vo (e ) Ae
= jnT = A
vi (e jnT ) e

Applying Euler's identity we get

vo (e jnT ) [0.5 − 0.035cos(T ) + j0.035sin(T )]
=
vi (e jnT ) 1− 0.825cos(T ) + j0.825sin(T )

The magnitude response is:

voe jnT (0.5 − 0.035cos(T )) 2 + 0.035 2 sin 2 (T )
= (1/ 3)
vi e jnT (1− 0.825cos(T ) 2 + 0.8252 sin 2 (T )

The phase response is:

 0.035sin(T )   0.825sin(T ) 
-11-
 (T ) = tan −1   − tan −1  
 0.5 − 0.035cos(T )   1− 0.825cos(T ) 
T = 0.001.

-12-
1.9 Consider the difference equation given by
y(nT) = x(nT ) + Ky(n −1)T
A) Find the expression for the frequency response for y/x in terms of K. Take T = 1.
B) Use MATLAB® to plot the frequency response for two cases: K = 0.8 and K = 1/0.8 =
1.25. What is the same and what is different about these two responses?
C) Use MATLAB® to plot the impulse response for two cases: K = 0.8 and K = 1/0.8 = 1.25.
Plot at least 10 terms.
D) What can you conclude from the impulse response of these two difference equations that
is not evident from the frequency response?
Solution
A) The difference equation is:
y(nT) = x(nT ) + Ky(n −1)T
jnT jnT j (n−1)T
Let x(nT ) = e , y(nT ) = Ae and y(n −1)T = Ae

This gives
Ae jnT = e jnT + KAe j (n−1)T
Divide both sides by e jnT
A = 1+ KAe− jT
Solve this for A to get
1
A=
1− Ke − jT
jnT jnT
y(e ) Ae
= jnT = A
x(e jnT ) e

Applying Euler's identity we get

y(e jnT ) 1
jnT =
x(e ) 1− K cos(T ) + jK sin(T )

The magnitude response is:

ye jnT 1
jnT
=
xe (1− K cos(T ) 2 + K 2 sin 2 (T )

The phase response is:

 K sin(T ) 
 (T ) = 0 − tan −1 

 1− K cos(T ) 
B) The magnitude plots have the same shape but when K = 0.8 the magnitude is overall slightly
higher. If both plots were normalized to a gain of unity at 0 Hz they would be the same. The
phase plots are very different. For K = 0.8 the phase curve begins and ends at 0o. It reaches a
maximum of about -50o at about 0.1 Hz. When K = 1.25 the phase curve begins at -180o and
ends at 0o. The total phase changes is about 180o.

-12-
fs = 1;T = 1/fs; 6
Magnitude of A

f = 0:.001:fs/2; 4

w = 2*pi*f;

Gai
n
2

K = 0.8; 00 0.05 0.1 0.15 0.2 0.25 0.3 0.35 0.4 0.45

A = 1./(1-K*exp(-j*w*T)); 0.5 frequency in Hz

Phase of A

figure(1);clf;
0

subplot(2, 1, 1); -20

Angle in
degrees
plot(f, abs(A)); -40

title('Magnitude of A, K = 0.8'); -60

0 0.05 0.1 0.15 0.2 0.25 0.3 0.35 0.4 0.45
0.5 frequency in Hz
xlabel('frequency in Hz'); Magnitude of A

ylabel('Gain'); 4

subplot(2, 1, 2);
3

Gai
2

plot(f, angle(A)*180/pi);

n
1

title('Phase of A, K = 0.8'); 00 0.05 0.1 0.15 0.2 0.25 0.3

0.5 frequency in Hz
0.35 0.4 0.45

Phase of A

xlabel('frequency in Hz'); 200

100

0
ylabel('Angle in degrees');

Angle in
degrees
-100

-200
0 0.05 0.1 0.15 0.2 0.25 0.3 0.35 0.4 0.45
0.5 frequency in Hz

C)
x = [1 zeros(1, 9)]; %impulse in 1
Impluse Response, K = 0.8

y = zeros(1, 10);
y(1) = x(1);
Voltage

0.5
K = 0.8;
for i = 2:length(y)
0
y(i) = x(i) + K*y(i-1); 0 1 2 3 4 5
Time in seconds
6 7 8 9

end 8
Impluse Response, K = 1.25

figure(4);clf; 6
fs = 1;T = 1/fs; 4
Voltage

nT = (0:9)*T;
2
subplot(2, 1, 1);
stem(nT, y); 0 1 2 3 4 5
Time in seconds
6 7 8 9

title('Impluse Response, K = 0.8');

xlabel('Time in seconds');
ylabel('Voltage');

D) When K = 1.25 the system is unstable.

1.10 A certain difference equation has an impulse response given by

h(nT) = {1.0, 0.5, 0.25, 0, 0, 0, …}
The step input function can be viewed as a series of impulses beginning at nT = 0. The step
output must then be a series of impulse responses since we are dealing with linear systems. Use
this information to find the first 5 terms of the step response of this system.
Solution
We view the step as a sequence of impulses each shifted one place further to the right from the
last. The step response is the sum of the shifted impulse responses.

n
0 1 2 3 4 5 6 7 8
0 1 0.5 0.25 0 0 0 0 0 0
-13-
1 0 1 0.5 0.25 0 0 0 0 0
2 0 0 1 0.5 0.25 0 0 0 0

-14-
 3 0 0 0 1 0.5 0.25 0 0 0
4 0 0 0 0 1 0.5 0.25 0 0
5 0 0 0 0 0 1 0.5 0.25 0

sum 1 1.5 1.75 1.75 1.75 1.75 1.75 1.75 1.75

1.11 When a step input is applied to a certain difference equation, the output, or step response, is
given by
s(nT) = {0.25, 0.5, 1.0, 1.0, 1.0, …}
A step function in discrete time can be viewed as a sequence of shifted impulses to the step
response must be a sequence of shifted impulse responses. Use this information to derive the
impulse response for this system.
Solution
From the previous problem we see that the next term of the step response is always the previous
term plus the present term of the impulse response. We can write (from the solution of Problem
10)
stp(n) = stp(n-1) + h(n)
From this we get
h(n) = stp(n) – stp(n-1)
If the step response is
s(nT) = {0.25, 0.5, 1.0, 1.0, 1.0, …}
The impulse response is:
h(nT) = {0.25, 0.25, 0.5, 0, 0, 0, …}

1.12 Consider the difference equation given by

y(nT) = 0.075x(nT) + 0.075x(n-1)T + 1.5y(n-1)T – 0.65y(n-2)T
The frequency response for y/x for this equation is given in Figure P1.12. The sample frequency
is fs = 1000. The exploded view of the magnitude and phase plots show that at an input
frequency of 100 Hz the gain is approximately 0.54 and the phase is approximately -111o. Using
MATLAB® allow x to be a sinusoid at 100 Hz with an amplitude of 1.0. Apply x to the
difference equation and calculate the sequence for y(nT). Verify the gain and phase shift that
were approximated from the frequency response curves. Note that you will have to produce
several cycles of y to get an accurate reading since the first few cycles will contain the transient
start up terms as well as the steady state response.

-14-
 Magnitude plot
1.5

1
Magnitude of

0.5
Gain

0
0 50 100 150 200 250 300 350 400 450 500
frequency in
Hz
Phase plot
0

-50
Phase in
degrees

-100
-150
0 50 100 150 200 250 300 350 400 450
500 frequency in Hz

Figure P1.12
The frequency response curve left and a blow up right for a difference equation.
Solution
fs = 1000;T = 1/fs;
t = 0:T:1;
fsig = 100;
x = sin(2*pi*fsig*t);
y = zeros(1, length(x));
y(1) = .075*x(1);
y(2) = .075*x(2) + .075*x(1) + 1.5*y(1);
for i = 3:length(y)

y(i) = .075*x(i) + .075*x(i-1) + 1.5*y(i-1) - .65*y(i-2);

end

figure(1);clf;
plot(t, x);
hold on;
plot(t, y, 'r');

axis([.2 .24 -1.2 1.2]);

title('Input and output sinusoids');

xlabel('Time in seconds');
ylabel('Voltage');

-15-
From the figure: A1 / A2  0.54 and (t 2 / t1)360  111
o

-16-
1.13 In the difference equation below K is a real number greater than 0.
y(nT) = x(nT) + x(n −1)T + Ky(n −1)T
A) Find the range of values of K that makes the impulse response grow without bound.
B) Find the range of values of K that makes the impulse response fall to zero.
Solution
y(nT) = x(nT) + x(n −1)T + Ky(n −1)T
Tabulate the impulse response.
n x(n) x(n-1) y(n) y(n-1)
0 1 0 1 0
1 0 1 1+K 1
2 0 0 K(1 + K) 1+K
3 0 0 K2(1 + K) K(1 + K)
3 2
4 0 0 K (1 + K) K (1 + K)
… … … … …
(N-1) (N-2)
N 0 0 K (1 + K) K (1 + K)

A) If K(N-1) + KN is to grow without bound then K  1

B) In order for K(N-1) + KN to approach zero we need K  1

1.14 An N-stage delay line is shown in Figure P1.15.

A) Write the difference equation for the output.
B) Write the frequency response for y/x.
C) Show that the magnitude of the frequency response is always 1 and the phase shift is
linearly related to the frequency.

Figure P1.14
A delay line

Solution
A) y(n) = x(n − N )
B) x(nT ) = e jnT and y(nT ) = Ae jnT

This gives
Ae jnT = e j (n−N )T
Divide both sides by e jnT
A = e − jNT
C) Magnitude of A
A =1
Phase of A
A = −NT

-16-
Another random document with
no related content on Scribd:
 Humperdinck—The Fairy Tale Man—Germany

Outside of the operas of Richard Strauss, of which we have written

elsewhere, there have been few outstanding opera writers in
Germany since Wagner. Among those are Ludwig Thuille (1861–
1907), whose Lobetanz was given at the Metropolitan Opera House
in 1911; Eugene d’Albert (1864), who has lived in Germany most of
his life, although he was born in Scotland, and wrote the lovely
Tiefland which was performed in America; Max Schillings (1868),
whose Mona Lisa was performed at the Metropolitan; Hans Pfitzner
(1869), who wrote an operatic legend based on Palestrina; Siegfried
Wagner (1869), son of Richard; and Leo Blech (1871).
The one great exception was Engelbert Humperdinck (1854–1921),
born in Bonn, Beethoven’s birthplace. He is perhaps closer to the
hearts of children than any one else who ever wrote music. This
seems much to say, but when you hear that it was he who wrote that
beautiful little fairy story Hansel and Gretel, we are sure you will
agree. The San Carlo Opera Company has given special performances
of it in English. Would it not be nice if operas were given in the
language you best understand? You would then find out for
yourselves that this is the story of Babes in the Woods. How fine it
would have been too, if you had been able to hear in your own
language the other opera written by Humperdinck! This was
Koenigskinder (Children of the King), which gave one of the loveliest
rôles to Geraldine Farrar, and brought a large flock of real geese on
the stage to take part in the performance. The other name of the
opera is The Goose-Girl, which explains the presence of the geese.
Geraldine Farrar always brought one or two with her when she
acknowledged the applause and there was always an awful squawk!
In this opera too, there is a horrid old Witch. Humperdinck found joy
and inspiration in the folk music of Germany, much of which deals
with fairies, elves, witches and inhabitants of the world of
imagination.
Humperdinck was a great musician and he had the honor of being
asked to prepare the score of Parsifal for the publishers.
 Because of the beauties of his melodies, the lovely subjects he
selected and his sympathy with the finer and higher things of life, it
is a pity that Humperdinck left so few works.
He was attracted to the theatre and wrote much music as theatre
music for plays. This is called incidental music, that is, it is incidental
and the play’s the thing! Just before he died Humperdinck wrote the
incidental music for the Miracle which is a great spectacle in
pantomime. This means that there is no speaking, only tableaux and
acting. He did not live to finish it, but it was completed by his son,
for the production made by Max Reinhardt.
 CHAPTER XXVII
Some Tone Poets

Probably you think that any music on a program is program music!

Of course it is, but not in the special use of the word, for when it is
program music, it has a story of its own and has to be described in
more or less detail so that the audience can understand what it is
about. Therefore, we find two classes of music—absolute music,
which needs no story to explain it, and—program music, which does.
Beethoven’s best works are known by their opus number while most
of Schumann’s have descriptive titles. Early composers sometimes
wrote music describing or imitating something, like Daquin’s
Cuckoo, Jannequin’s Battle of Marignan, The Carman’s Whistle, etc.
These pieces were program music in a way, but the modern tone
poets went further by writing music with rather extended stories and
with music not as simple as it used to be, but nevertheless an
outgrowth of ballad form, sonata and the symphony.
Suppose you wanted to write a tone poem! First you must have a
subject and then you must write music to explain it. Let us say you
were going to write a Subway Tone Poem, your program notes might
read something like this: The hero rushes away from his office, into
the hurrying, scurrying street, down the slippery, crowded subway
steps, and when he reaches the noisy turnstile slips in his fare and
meets his young lady. He leads her through the crowd, protecting her
from the jostling mob. Then they enter the train and above the noise
and bustle they cast sweet glances at each other and converse. The
train stops occasionally and finally they get off at their station. They
walk to her home, along an empty side street where it is quiet and
charming. He doffs his cap and we leave them, both thinking lovely
things about each other.
Don’t you think you’re ready now to write a tone poem?
 Berlioz, Innovator

Up to Hector Berlioz’ time (1803–1869), there was no definite

attempt to write a tone poem with an elaborate story. This man, one
of the most complicated in musical history, did much to help music
and future musicians, for he started to tell stories in music without
scenery or dialogues.
He was born near Lyons, France, the son of a doctor who wanted
him to study medicine, but as he almost fainted several times in the
dissecting room, he gave it up. This was his first rebellion and all his
life he struggled against nearly everything that existed. His was a
noble discontent in many ways, for he believed deeply in his own
ideas and suffered much putting them into practice. He lived shortly
after the French Revolution when everything was topsy-turvy. Many
of the old things that people had looked upon with reverence had
vanished and he tried, as other young men of his day, to forge new
ideas according to his sense of right.
One day he saw some musical score paper and realized in a
moment, what wonderful things might be done with it and
exclaimed: “What an orchestral work one might write on that!” and
quite suddenly, he decided to write music! He could only play the
guitar, the flute and the flageolet and knew practically nothing of
harmony. He certainly paid well for his decision, for he had a hard
struggle with himself and circumstances.
He took one of his compositions to Professor Lesueur at the Paris
Conservatory, and was admitted.
 Berlioz Versus Cherubini

Cherubini, Director of the Conservatory, made a rule that men and

women should use separate doors leading into the library. Not
knowing this rule, Berlioz entered by the door reserved for the
women and sat down to read a score of his beloved Gluck. Cherubini,
thin, pale-faced, with tousled hair and fiercely shining eyes, came up
to Hector and reprimanded him for breaking the rule. They had a
noisy fight, chasing in and out among the desks and when Berlioz
reached the door, he looked back at Cherubini and called out: “I am
soon coming back to study Gluck again.” Being a determined boy, he
did come back, but Cherubini, on whom his future depended, was his
staunch enemy for life.
His parents were infuriated with Hector for his conduct in and out
of school. His mother, a pious woman, practically disowned him and
his father gave him but a small allowance with the stipulation that
unless he could soon prove his ability in music, he should have to go
back to medicine. So he tried desperately to earn money, by singing
in choruses, playing the flute and teaching, hoping that he could win
the Prix de Rome, which would give him a few years in Rome and
three thousand francs. After terrific opposition by Cherubini and
held back, too, by his own lack of diplomacy, either by submitting
works that were written too poorly or too well, he lost many chances
for the prize and finally, after four attempts, he won the coveted
award with his cantata Sardanapalus. The amusing thing about this
is, that he left out the parts then looked upon as modern, and
difficult, which would have lost him the prize, but the first time it
was played in public, he put them all in, and the piece was successful.
Then he fell in love, and after much posing and strutting about and
foolish behavior, he married the young Irish actress, Harriet
Smithson. They were very unhappy and unfortunate, but he was
good to her and even gave up composing to earn a living by writing,
and he proved an exceptionally gifted writer and critic.
His autobiography, too, is most interesting for he sees himself as a
romantic hero and tells the tale with great dramatic energy and
exaggeration.
 With Intent to Murder!

At one time he was engaged to another woman who was unkind to

him and he wrote: “Two tears of rage started from my eyes and my
mind was made up on the spot to kill without mercy.” But being
impetuous and quick tempered, he never reached the scene of
murder, for, when about to sail to where she was, he either fell or
jumped into the water, which very much dampened his ardor for
killing.
One night, Chopin and Schumann followed him because he had
threatened to kill himself. But, at the crucial moment Berlioz
changed his mind!
Life for Berlioz was a drama in which he was the leading man, and
he watched his own performance, as if he were a part of the
audience. He craved novelty at every turn. He was sensitive, high-
strung and vain, and yet withal, he had the dignity of being loyal to
his beliefs in himself, and did not want to deceive anybody. He wrote
with humor, brilliancy and understanding, he had faith in his work,
and was sufficiently heroic to stick to his course whatever the cost.
He was a martyr, for he suffered in order to do what he wished in
music, and was never appreciated.
Although he went to England, Germany, Austria and Russia, and
was very successful, Paris, only, interested him. In 1863, his opera
The Trojans in Carthage failed and in 1868, he died, a broken-
hearted man.
 Berlioz’s Contribution to Music

It seems strange, but Berlioz disliked Bach and Palestrina and

worshiped Beethoven, Gluck and Weber. He was jealous of Wagner
and did everything he could to make Tannhäuser a failure in Paris.
Berlioz invented new ways, as do our Jazz Bands today, to make
the instruments produce different sounds. He put bags over the
horns, hung up the cymbals and had them struck with sticks instead
of clapping them together, dressed up the drumsticks in sponges,
and was much pleased at the effect made when a trombone played a
duet with a piccolo. He made propaganda for new instruments
especially for the horn, invented by Adolphe Saxe, which was called
Sax Horn, and from which descended the Saxophone, so behold
Berlioz, the founder of the Jazz Band!
Where other composers would use four trombones or one, he used
sixteen! In his Requiem for example, he used sixteen trombones,
twelve ophicleides (cornets with extra levers or keys), eight pairs of
kettle drums, two bass drums, a gong and of course, all the regular
string and reed instruments. He boasted after the first performance,
that a man had a fit from the excessive noise!
 The Intimate Friend of Instruments

He wrote the sort of melody that showed off each particular

instrument to its best advantage. He studied them as if they were
human beings, and he understood their characters and
temperaments, what they could do and at what they would balk. He
showed the possibilities of the choirs of wood wind instruments, a
rich heritage for us today. The orchestra playing a piece of his,
directed by him was matchless in its effect. Effect was the keynote of
his writings. As the first great master of tonal effect, he is
unsurpassed, and his book on orchestration is still one of the most
practical text books on the subject.
Berlioz used the idée fixe (fixed idea) or leit-motif, not as Wagner
used it later, but quite definitely, twisting a theme in many ways to
bring out different phases of the same subject. Thus, Berlioz founded
the dramatic in music, without scenery and without words, which is
the Symphonic Tone Poem.
The majority of the people did not understand him any more than
they understand Stravinsky today. His greatest work was his
Symphony Fantastic written in 1829, in which he used the idée fixe
to tell about the life of the artist, in true program music style for
which he fought and almost bled. In Harold in Italy, he makes a
departure by giving to the viola, the rôle of the “leading lady” which
had not been done up to his day. He often used voices with the
orchestra as he did in his tone poems Romeo and Juliet, and The
Damnation of Faust.
The noisy Requiem is one of the finest things he did, and his
overtures, the best of which is the Benvenuto Cellini, are fine works.
The oratorio, The Infancy of Christ, written in classic style, was well
received, but his operas never succeeded.
He paved the way for new orchestral effects and prepared the
ground for Franz Liszt, Richard Wagner, Richard Strauss, and all the
other orchestral composers. He was a musical Byron, for he was
more interesting than beautiful, more vivid than noble, a sincere
poseur, faithful to his ideas and always searching for romance.
 Hector Berlioz.

(Father of the Tone Poem.)

 Franz Liszt.

Sympathetic Teacher, Composer, Pianist

and Friend to Young Musicians.

He was well versed in literature, always carried Virgil in his pocket,

and loved and admired Shakespeare, Goethe, Byron, Walter Scott
and other great writers on whose works he based many
compositions. In his fascinating autobiography, he said, “The
dominant qualities of my music are passionate expression, internal
fire, rhythmic animation and unexpected change,” and he was right.
And so we leave this romantic man, craving sensation in his life
and in his music, exaggerated in word and tone, and thank him for
what Daniel Gregory Mason calls, “His contribution to the unresting
progress of art.”
He was not appreciated in Paris until after his death, and some one
said that the stones hurled at him in contempt were soon piled up for
him in the pedestals of his monuments.
 Franz Liszt

Another Mozart seems about to appear, for Franz Liszt (1811–

1886), too, was an infant prodigy!
He was born in Raiding, Hungary, and his father, Adam Liszt, who
was steward to Prince Esterhazy, gave Franz piano lessons and
managed his first concert tours.
At nine Liszt played in public, then went to Vienna and took
lessons from Carl Czerny and Salieri. When twelve years old he
played in Paris and “set the world on fire” with his brilliancy. Some
one said that after his first concert that he had a triumphal progress
to fame over the laps of great ladies, for he was petted and “bon-
bonned” and kissed by all.
Liszt wanted to go to the Conservatory in Paris, but as he was a
foreigner, Cherubini, though a foreigner himself, would not admit
him.
 Advertising Liszt

Here is a handbill used for advertising the little boy Liszt:

“An Air”
With grand Variations by Herz, will be performed on Erard’s
New Patent-Grand Pianoforte, by:
Master Liszt
Who will likewise perform an Extempore Fantasia and
respectfully requests two written Themes from any of the Audience
upon which he will play his Variations
This illustrates two interesting things. The first, the mention of the
grand pianoforte, which had not been in use very long; the second,
the fashion in Liszt’s day of improvising before an audience, a “stunt”
almost like solving a cross-word puzzle without a dictionary!
For a long time, he was advertised as two years younger than he
was, and his father carried him to the piano; but he soon rebelled at
this pretense and it was discontinued.
 Liszt Shows His Unselfishness

After Liszt’s father died in 1827, he gave up concert tours for a

while, and settled down with his mother for eight restful years to
study and teach the piano. Liszt generously gave his mother all the
money he had made in his successful tours because, he said, she had
made so many sacrifices for him. At this time he grew spiritually
deeper and well fitted for the glories to come. Like Berlioz, Liszt was
born a short time after the French Revolution, when new ideas were
coming into literature, religion and art, through which this young
and gifted artist tried to guide himself in a wholesome way that
shaped his future life.
Liszt again made concert tours through Europe (1839), and
astounded everyone with his playing and the charm of his
personality. Musicians and audiences were at his feet! He made a
great deal of money, too, and grew so popular that artists painted
him, ladies knelt before him in adoration, tableaux were given in his
honor, monuments erected to him and societies named after him.
His kindness to the poor and needy was unfailing. When Pesth was
inundated by a flood, he sent a generous gift to the sufferers; he
established a fund for the poor in Raiding and completed the
necessary sum for the Beethoven monument at Bonn. He never
accepted money for teaching after he was “grown up” for he wanted
to be a help to his some three hundred pupils. It is said that after
1847 he never gave a concert for his own benefit! An extraordinary
character!
In 1843, he went to Weimar, as a visiting artist. Soon he met
Princess Von Sayn Wittgenstein of Russia who realized his great gifts
and influenced him to become more than a pianist. Later in the year
we see him as Choir Master living at Weimar and attracting the
greatest people of the musical world to him. Here Liszt was able to
help young musicians who came from all over the world. Wagner
would never have been so successful, had not Liszt aided him during
his exile. He stood by him with patience and loving kindness and
helped him to produce his operas. He was of untold assistance to
Schumann and Berlioz, Rubinstein, Cornelius and countless others
by performing their works when nobody else dared to. Liszt was in
high favor with society, and having a love for the new in music, he
used his popularity to help music grow. Wagner himself said: “At the
end of my last stay in Paris, when ill, broken down and despairing, I
sat brooding over my fate, my eye fell on the score of my Lohengrin,
totally forgotten by me. Suddenly I felt something like compassion
that this music should never sound from off the death-pale paper. I
wrote two lines to Liszt; his answer was the news that preparations
for the performance were being made on the largest scale the limited
means of Weimar would permit.” Liszt’s motto was, “First Place to
the Living.”
 Liszt’s Professional Life

Liszt’s services were demanded for concerts and festivals in many

towns from 1852–1859. The people, however, could not understand
how their idol could believe in Wagner and Berlioz, and there were
many rabid discussions. Very soon Liszt brought out his own
symphonic poems, Tasso, Prometheus, Mazeppa, Les Preludes, and
his two piano concertos (1855–1857), utilizing his romantic ideas.
After leaving Weimar, which some biographers claim was because
of the adverse criticism of Cornelius’ opera, The Barber of Bagdad,
Liszt went to Rome. Here his deep mystical nature and his need for
rest and time for contemplation, led him to enter one of the Holy
Orders of the Church, and the Pope gave him the honorary title of
Abbé. Pope Pius IX adored him and called him his Palestrina. The
church music which he composed there included his oratorios St.
Elizabeth, The Christus, his unfinished Stanislaus, the Hungarian
Coronation Mass and the Requiem.
Liszt returned to Weimar every spring and summer and conducted
many festivals and concerts, including the Beethoven centenary. He
was also much interested in the National Academy at Pesth, so now
he divided his time between Rome, Pesth, and Weimar.
He wrote many brilliant piano pieces, among them his nineteen
remarkable Hungarian Rhapsodies based on the melodies he heard
from the gypsies. Besides composing music, teaching and helping
other musicians and giving to the needy, he wrote essays and
criticisms.
In appearance Liszt was tall and thin with deep-set eyes and bushy
eyebrows and a mouth which turned up at the corners when he
smiled. His charm of manner won all who came in contact with him.
A story is told of him that he as a youth was sitting to the artist
Scheffer for his portrait, and fell into a theatrical pose, probably with
his head thrown back and one hand thrust into the breast of his
buttoned coat, which was characteristic. As this did not impress the
painter, Liszt, realizing it, cried with much embarrassment, “Forgive,
dear master, but you do not know how it spoils one to have been an
infant prodigy.”
 In spite of Liszt’s outward affectation and posing, he had a noble
character. He was simple and whole-souled, free from jealousy and
the love of money. He died highly honored in 1886 at the age of
seventy-five at a Wagner festival in Bayreuth. In fact it was difficult
to tell who received more honor at Bayreuth, Liszt in the audience or
Wagner at the conductor’s desk.
 Liszt’s Accomplishments

As a pianist, no one has surpassed Liszt and he revealed the

piano’s possibilities. In addition to his pianoforte compositions, he
made “arrangements” of symphonies, chorals, operas, songs and
every other form, which brought them closer to the people. His
arrangements are so brilliant, although over-decorated and cheap in
effect, that he shows that the piano can almost reproduce the
orchestra.
Liszt was not as great a composer as he was a pianist and
stimulator of other musicians, and much of his music was written for
effect. Yet he was a great critic and his love of music for the future
rather than of the past, led him to be sympathetic with young
composers, for whom he opened the way. The people who gathered
about him disliked old forms and were looking for new music in
which he encouraged them. Among the musicians who were friends
and pupils at Weimar, were: Joseph Joachim Raff, Peter Cornelius,
Eduard Lassen, who took Liszt’s place when he left Weimar, Leopold
Damrosch, the father of Walter and Frank Damrosch of New York,
Alexander Ritter, the pianist and inspirer of so many great people,
and hundreds of others.
Liszt wrote many symphonic and choral pieces which showed
marked originality. Although not as profound as Wagner, he helped
Wagner so much that their names would be forever linked, even if his
daughter Cosima had not been Wagner’s wife.
 Rubinstein and Von Bülow

Among other friends of Liszt of value to musical history were

Anton Rubinstein (1829–1894) (page 443), the Russian, and Hans
von Bülow (1830–1894), a German. Both these men were great
pianists and wrote noteworthy compositions. Liszt was a great
stimulus to them and they had many points in common. Rubinstein
was romantic and von Bülow, classic. Rubinstein did much to link
Germany and Russia musically, which was a help to both nations.
Von Bülow was an illustrious pianist, friend of Wagner, famous
conductor, and editor of many musical scores, among them an
edition of Beethoven’s Sonatas, still in constant use. Both these men
did much for pianists all over Europe.
Other great pianists and composers of their day were: Nikolai
Rubinstein (Anton’s brother) (1835–1881); Theodor Leschetizky
(1830–1915), trained by Carl Czerny, and he in turn trained
hundreds of pianists; Karl Tausig and many others.
Of course, the effect of these pianists was to make music and the
piano more popular, thus adding greatly to the musical culture of the
world.
 Tchaikovsky

You probably know of Piotr (Peter) Ilyitch Tchaikovsky (1840–

1893) as a great symphony writer, but he was also a successful writer
of tone poems such as The Tempest, Francesco di Rimini, Manfred,
based on Byron’s Manfred, Hamlet, The Storm, Romeo and Juliet
and two incomplete poems, Destiny and Voievoda. Tchaikovsky was
born in Russia, he went to the school of Jurisprudence and later
entered the Ministry of Justice but soon began to compose music and
took a medal for composition for a piece which he wrote on Schiller’s
Ode to Joy, the poem Beethoven used in his 9th Symphony. He also
wrote The Nut Cracker Suite for orchestra, adapted from the score of
a Ballet, which includes a Russian dance, an Arab dance, a Chinese
dance, flower waltz, and other fascinating, whirling, delightful
dances.
Many of Tchaikovsky’s things not called tone poems have very
definite programs, such as The Snow Maiden (Snegovrotchka) a
favorite legend and music to a fairy tale—the parts are named Chorus
of Blind Gusslee Players, Monologue of the Frosts, Appearance of
the Wood Demons and so on.
 Sergei Rachmaninov

Boecklin’s painting Isle of Death, inspired Sergei Rachmaninov

(1873) to write a most beautiful musical poem about its sombre trees
and the sea. As a distinguished pianist he has glorified the art in all
countries, especially in America. He was a student of Siloti and of
Zvierev, a friend of Tchaikovsky. His masters in harmony and theory
were Taneiev and Arensky. He has held musical posts of honor and
has written remarkable piano concertos, chamber music works,
choruses and one opera, Aleko. You probably know his much played
C minor Prelude which has been a sort of visiting card of
Rachmaninov to the public.