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Group-EDF: A New Approach and an Efficient Non-Preemptive Algorithm for Soft Real-Time Systems
Hard real-time systems in robotics, space and military missions, and control devices are specified with stringent and critical time constraints. On the other hand, soft real-time applications arising from multimedia, telecommunications, Internet web services, and games are specified with more lenient constraints. Real-time systems can also be distinguished in terms of their implementation into preemptive and non-preemptive systems. In preemptive systems, tasks are often preempted by higher priority tasks. Non-preemptive systems are gaining interest for implementing soft-real applications on multithreaded platforms. In this dissertation, I propose a new algorithm that uses a two-level scheduling strategy for scheduling non-preemptive soft real-time tasks. Our goal is to improve the success ratios of the well-known earliest deadline first (EDF) approach when the load on the system is very high and to improve the overall performance in both underloaded and overloaded conditions. Our approach, known as group-EDF (gEDF), is based on dynamic grouping of tasks with deadlines that are very close to each other, and using a shortest job first (SJF) technique to schedule tasks within the group. I believe that grouping tasks dynamically with similar deadlines and utilizing secondary criteria, such as minimizing the total execution time can lead to new and more efficient real-time scheduling algorithms. I present results comparing gEDF with other real-time algorithms including, EDF, best-effort, and guarantee scheme, by using randomly generated tasks with varying execution times, release times, deadlines and tolerances to missing deadlines, under varying workloads. Furthermore, I implemented the gEDF algorithm in the Linux kernel and evaluated gEDF for scheduling real applications.
Group Implosive Therapy in the Treatment of Test Anxiety
The purposes of the study were to: 1. Determine the level of test anxiety present, as measured by the Test Anxiety Questionnaire (TAQ), prior to treatment. 2. Develop an implosive therapy procedure to reduce test anxiety. 3. Administer implosive therapy to subjects in the experimental treatment group. 4. Determine the post-treatment level of test anxiety in the implosive therapy group, placebo-attention control group, and the no-treatment control group. 5. Determine if there were any significant differences in the test anxiety levels in the three groups on the post-treatment TAQ. 6. Investigate the results of a one month follow-up administration of the TAQ to determine the relative stability of test scores.
Group Rational Emotive Therapy Versus Usual Group Therapy in Residential Treatment of Alcoholism
The goal of this experiment was to determine whether group rational emotive therapy would prove superior to usual group therapy in improving the psychological functioning of male alcoholics in an inpatient treatment facility and to determine if memory dysfunction would impede therapeutic progress. Four areas of psychological functioning were discussed for their relevance to etiology, recidivism, and treatment evaluation; they were depression, self-conception, social anxiety, and cognitive functioning. Further, rational emotive therapy as a potentially superior treatment for alcoholism was discussed and outcome research was reviewed.
Group sandtray therapy at school with preadolescents identified with behavioral difficulties.
Sandtray therapy, a modality of play therapy, has been used in a variety of ways as the treatment intervention with different theoretical approaches; however, there is a very limited amount of empirical research. The purpose of this research is to examine the effectiveness of group sandtray therapy at school with preadolescents identified with behavioral difficulties. This is a pretest-posttest control group design. Participants in the experimental group received sandtray therapy in group for ten weeks, and participants in the wait-list control group received no treatment intervention. The researcher compared two groups to examine the overall effectiveness of sandtray therapy as determined by the scores of the Child Behavior Checklist-Teacher Report Form (CBC-TRF), Parent Report Form (BASC-PRF), and Self Report of Personality (BASC-SRP). Based on teachers' reports, statistically significant difference existed between the two groups in terms of preadolescents' overall behaviors, externalizing behavior problems, and internalizing behavior problems after the ten week treatment intervention. The effect sizes were medium (d= .52-.59). According to parents' reports, a statistically significant difference was found regarding preadolescents' externalizing behavior problems, and the effect size was medium (d=.63). No statistically significant differences were found regarding preadolescents' total behaviors and internalizing behavior problems based on BASC-PRF. The effect sizes arranged from medium to small (d=.55 and .35, respectively). In terms of the total behavior on BASE-SRP, no statistical significant difference was found and the effect was small (d=.18). A case example was included to illustrate the process and effect of group sandtray therapy. Based on the results of this study, it is determined that group sandtray can be an effective treatment intervention for preadolescents identified with behavioral problems. The primary contribution of this study is to present empirical support for the effectiveness of using sandtray therapy.
Group Social Skills Training of Adolescents with School Adjustment Problems
The purpose of the present study was to compare a traditional therapeutic technique (client-centered) to a structured social skills training package in the group treatment of adolescents with school and social adjustment problems, An additional consideration was made of the efficacy of the specific training program used as applied to this population. Seven indices of change (four of which are behavioral and three self-report) were included in the study as dependent variables. Subjects were students attending an "alternative" high school whose population consisted primarily of pre-adjudicated juvenile delinquents, status offenders, and other students experiencing various social adjustment difficulties in more traditional high school environments.
Group Systematic Desensitization with Test-Anxious College Students
The purposes of the present investigation were (1) to determine whether systematic desensitization could be administered in a group setting, (2) to evaluate the stability of any reductions in test-anxiety which resulted from group desensitization, and (3) to make recommendations for counseling research and practice which were warranted by the results of the investigation.
Growing in Favor with God: Young Children's Spiritual Development and Implications for Christian Education
Experts do not agree on the definition of spiritual development although positive spiritual development benefits society in many ways. Without agreement on the definition of spiritual development and a common understanding of spiritual development, parents, teachers, and pastors who are entrusted with the task of fostering positive spiritual development in Christian settings face the challenges of determining what spiritual development is (definition), the desired goals (culmination) of spiritual development, and the most effective ways to meet those goals (context and content). The purpose of this study was to use data, from the social sciences and Christian points of view, to inform Christian education programs and arrive at recommendations for fostering young children's spiritual development. Data sources include textual literature from the social science and Christian points of view. In addition, the researcher gathered interview data from twenty children's pastors. Research results included: 1. It is possible that spirituality is associated with sensory awareness. 2. Examining spirituality as sensory awareness may lead to focusing on innate qualities of spiritual capacity with a more focused inclusion of children with special needs in faith-based programs, a God-given conscience, and consideration that children may be born with spiritual gifts to express their spiritual nature. 3. Congregations/parishes under utilize intergenerational activities, time for quiet and reflection, and opportunities to talk to children about spiritual matters.
Growth and Characterization of β-Iron Disilicide, β-Iron Silicon Germanide, and Osmium Silicides
The semiconducting silicides offer significant potential for use in optoelectronic devices. Full implementation of the materials, however, requires the ability to tailor the energy gap and band structure to permit the synthesis of heterojunctions. One promising approach is to alloy the silicides with Ge. As part of an investigation into the synthesis of semiconducting silicide heterostructures, a series of β-Fe(Si1−xGex)2 epilayer samples, with nominal alloy content in the range 0 < x < 0.15, have been prepared by molecular beam epitaxy on Si(100). I present results of the epitaxial and crystalline quality of the films, as determined by reflection high-energy electron diffraction, Rutherford backscattering spectroscopy, and double crystal x-ray diffraction, and of the band gap dependence on the alloy composition, as determined by Fourier transform infrared spectroscopy. A reduction in band gap was observed with increasing Ge content, in agreement with previous theoretical predictions. However Ge segregation was also observed in β-Fe(Si1−xGex)2 epilayers when x > 0.04. Osmium silicide films have been grown by molecular beam epitaxy on Si(100). The silicides have been grown using e-beam evaporation sources for both Os and Si onto Si(100) substrates at varying growth rates and temperatures ranging from 600-700ºC. The resulting films have been analyzed using reflection high-energy electron diffraction, Raman spectroscopy, reflectivity measurements, in-plane and out of plane X-ray diffraction and temperature dependent magnetotransport. A change in crystalline quality is observed with an increase in Si overpressure. For a lower silicon to osmium flux ration (JSi/JOs=1.5) both OsSi2 and Os2Si3 occur, whereas with a much larger Si overpressure (JSi/JOs>4), crystalline quality is greatly increased and only a single phase, Os2Si3, is present. The out-of-plane X-ray diffraction data show that the film grows along its [4 0 2] direction, with a good crystal quality as evidenced by the small FWHM in the rocking curve. …
The growth by interpretation of Section 4 of the Clayton act by the Federal courts and its implication for marketing management
The problem considered in this study is the rapid growth in the number of the treble-damage suits brought under provisions of Section 4 of the Clayton Act and their impact on marketing management in formulating marketing strategies and policies.
Growth Mechanisms, and Mechanical and Thermal Properties of Junctions in 3D Carbon Nanotube-Graphene Nano-Architectures
Junctions are the key component for 3D carbon nanotube (CNT)-graphene seamless hybrid nanostructures. Growth mechanism of junctions of vertical CNTs growing from graphene in the presence of iron catalysts was simulated via quantum mechanical molecular dynamics (QM/MD) methods. CNTs growth from graphene with iron catalysts is based on a ‘‘base-growth’’ mechanism, and the junctions were the mixture of C-C and Fe-C covalent bonds. Pure C-C bonded junctions could be obtained by moving the catalyst during CNT growth or etching and annealing after growth. The growth process of 3D CNT-graphene junctions on copper templates with nanoholes was simulated with molecular dynamic (MD) simulation. There are two mechanisms of junction formation: (i) CNT growth over the holes that are smaller than 3 nm, and (ii) CNT growth inside the holes that are larger than 3 nm. The growth process of multi-layer filleted CNT-graphene junctions on the Al2O3 template was also simulated with MD simulation. A simple analytical model is developed to explain that the fillet takes the particular angle (135°). MD calculations show that 135° filleted junction has the largest fracture strength and thermal conductivity at room temperature compared to junctions with 90°,120°, 150°, and 180° fillets. The tensile strengths of the as-grown C–C junctions, as well as the junctions embedded with metal nanoparticles (catalysts), were determined by a QM/MD method. Metal catalysts remaining in the junctions significantly reduce the fracture strength and fracture energy. Moreover, the thermal conductivities of the junctions were also calculated by MD method. Metal catalysts remaining in the junctions considerably lower the thermal conductivity of the 3D junctions.
Growth, Structure and Tribological Properties of Atomic Layer Deposited Lubricious Oxide Nanolaminates
Friction and wear mitigation is typically accomplished by introducing a shear accommodating layer (e.g., a thin film of liquid) between surfaces in sliding and/or rolling contacts. When the operating conditions are beyond the liquid realm, attention turns to solid coatings. Solid lubricants have been widely used in governmental and industrial applications for mitigation of wear and friction (tribological properties). Conventional examples of solid lubricants are MoS2, WS2, h-BN, and graphite; however, these and some others mostly perform best only for a limited range of operating conditions, e.g. ambient air versus dry nitrogen and room temperature versus high temperatures. Conversely, lubricious oxides have been studied lately as good potential candidates for solid lubricants because they are thermodynamically stable and environmentally robust. Oxide surfaces are generally inert and typically do not form strong adhesive bonds like metals/alloys in tribological contacts. Typical of these oxides is ZnO. The interest in ZnO is due to its potential for utility in a variety of applications. To this end, nanolaminates of ZnO, Al2O3, ZrO2 thin films have been deposited at varying sequences and thicknesses on silicon substrates and high temperature (M50) bearing steels by atomic layer deposition (ALD). The top lubricious, nanocrystalline ZnO layer was structurally-engineered to achieve low surface energy {0002}-orientated grain that provided low sliding friction coefficients (0.2 to 0.3), wear factors (range of 10-7 to 10-8 mm3/Nm) and good rolling contact fatigue resistance. The Al2O3 was intentionally made amorphous to achieve the {0002} preferred orientation while {101}-orientated tetragonal ZrO2 acted as a high toughness/load bearing layer. It was determined that the ZnO defective structure (oxygen sub-stoichiometric with growth stacking faults) aided in shear accommodation by re-orientating the nanocrystalline grains where they realigned to create new friction-reducing surfaces. Specifically, high resolution transmission electron microscopy (HRTEM) inside the wear surfaces revealed in an increase in …
A Grundgestalt Analysis of the Clarinet Trio and Clarinet Quintet by Johannes Brahms
The Grundgestalt (Ger: 'basic shape') is a term coined by Arnold Schoenberg to describe the basis for coherence within a musical composition. Although neither precisely defined, nor adequately supported by examples from his literature, the Grundgestalt remains an important facet of Schoenbergian theory. Composed of several gestalten that occur repeatedly, Schoenberg's Grundgestalt functions as a germinating factor within a piece that allows its motivic, thematic, and rhythmic information to become more accessible through their frequent repetition and diverse presentation. In addition to Schoenberg's definition, the first part of this dissertation discusses the individual findings of Schoenberg's pupils Josef Rufer and Rudolf Réti. Subsequently developed by the contributions of David Epstein, Walter Frisch, Patricia Carpenter, Michael Schiano, and Brent Auerbach, their combined efforts then attempt to illustrate the organicism of the Grundgestalt, to clarify its terminology, and to refine the framework of its analysis. Based upon the framework described in the previous chapter, the second half of this dissertation presents the criteria for the determination of the Grundgestalt. Beginning with a derivation of Brent Auerbach's proto-Grundgestalt analysis that catalogs the various voice-leading strands of a given composition into a summary chart that tracks the frequency of each motive's occurrence within its underlying musical segments, the analysis then evaluates the basis for each motive's hierarchy through a relative valuation according to the principles of cardinality and individuality. Following a subsequent expansion of the rules governing the organic map that Auerbach proposed to provide a visual representation of the hierarchy described in the proto-Grundgestalt analysis, summary chart, and relative valuation, Part III this dissertation uses that data to specify the location of the Grundgestalt in Johannes Brahms' Trio, Op. 114. A subsequent analysis of Brahms' Quintet, Op. 115 then provides the information necessary to qualify the Trio as emergent Grundgestalt archetype, and the …
Gualterio Armando's 34 Canciones Hispanoamericanas Para Canto Y Piano: a Comprehensive Edition and an Analytical Study of the Work’s Thematic Unity, Chromaticism, and Use of Musical Quotations
During the 1930s, German-born music critic and composer Gualterio Armando (1887-1973), formerly known as Walter Dahms, set to music thirty-four poems by some of the most important Hispano-American poets from the latter part of the nineteenth and first half of the twentieth century. In these songs, Armando tries to capture the spirit and idiosyncrasy of Hispano-American cultures while incorporating his own musical aesthetics. Armando’s 34 Canciones Hispanoamericanas para Canto y Piano (34 Hispano-American songs for voice and piano) display an original sound and style full of rhythms, shapes, colors, and textures found in the music of various Hispanic cultures. Nevertheless, the essence of these songs is deeply rooted in nineteenth-century German musical traditions. This eclecticism results in unique works that developed and evolved as reflections of their creator’s musical psyche. This dissertation presents an analytical study of selected songs from the 34 Canciones. The study focuses on three compositional aspects: unity within song cycles, chromaticism, and the use of pre-existing musical material. Since only one of the 34 Canciones has ever been published, this document also includes a complete edition of the thirty-four songs. Additionally, a significant part of the research incorporates a biographical sketch of the composer.
The Guaraldi Sound: The Musical Devices that Characterize Vince Guaraldi's Improvisational and Compositional Idiom
Vince Guaraldi (1928-1976) was a jazz pianist who achieved tremendous financial and commercial success in the 1960s with his popular recordings and his work for the Peanuts animated shorts. He cultivated a musical style that drew from several identifiable sources: boogie-woogie, bebop, Brazilian and Afro-Cuban jazz, and rock ‘n' roll. The result was a distinct approach to jazz which, although it may not have been as influential as that of some of his contemporaries, nevertheless constituted a unique and personal voice—what several commentators have referred to as the "Guaraldi sound." This dissertation considers the entire range of Guaraldi's recorded output in order to define and catalog many elements that contributed to Guaraldi's musical style. Using an analytical framework drawn from the work of Leonard Meyer and Benjamin Givan, this study describes both Guaraldi's improvisational style—the licks, patterns, and phrases that he plays while soloing—and common elements of his compositions—the chord progressions, grooves, and other features that are particularly idiomatic. Also discussed are Guaraldi's status within the established jazz canon and the disparity between his widespread popularity and his lukewarm critical reputation. The discussion and analyses provide useful insights for fans of Guaraldi, fans of Peanuts music, jazz musicologists, and any seeking to emulate the Guaraldi sound.
A Guide for the Identification and Research of Victorian Furniture in Six Historic House Museums in Texas
One hundred and seventy-eight pieces of Victorian furniture in six Texas historic house museums have been photographed and researched in order to fulfill the three-part problem. (1) to research and write descriptive essays of the four major Victorian substyles--Victorian Empire, Rococo Revival, Renaissance Revival, and Eastlake; (2) to identify and choose six Texas historic houses which are open to the public and which display these Victorian substyles in period room settings; and (3) to identify, photograph, measure, and catalogue each piece of authentic Victorian furniture, and to compile a research guide which includes each of these six houses and their Victorian furnishings. This six-part guide includes brief histories of each house and a catalogue of authentic pieces which represent the major substyles of Victorian furniture. To give the study a broad base, and to make it useful for all students, teachers, and professional interior designers in Texas, two houses which represented the best collections of furniture from each geographic location were chosen. These included: (1 ) from North Texas, the George House and Millermore, both in Dallas; (2) in Central Texas, East Terrace and Fort House, located in Waco; and (3) in South Texas, Fulton Mansion in Fulton Beach, and McNamara House in Victoria. All four of the most popular substyles are represented in the six houses.
A Guide for the Performance of Trumpet Mariachi Music in Schools
The purpose of this study is to provide a guide for the instruction of a trumpet mariachi performance ensemble in a music curriculum. The fulfillment of this purpose is dependent upon the data supplied in answer to the sub problems: (1) What socio-cultural information provides authentic trumpet mariachi music; (2) What trumpet mariachi literature illustrates the repertoire and style; (3) What instructional source materials may be developed such that Mexican American and non-Mexican American instructors build a competency in repertoire and style; (4) How could this guide be evaluated in its functional design for a music curriculum? The data collected for use in this study has been presented in three major categories: (1) the history and milieu in which the trumpet, mariachi crystalized; (2) the repertoire--its history and function in Mexican society and the transcriptions of types demonstrating the musical structure; and (3) the technical information relative to the instruction of the particular mariachi instruments. An evaluative instrument has been supplied in an attempt to establish the validity of the information and examples provided in this practicum. The validity of the research seems to rest on its authenticity and its serviceability. The findings of this study are stated as assertions based on the literature in general and the repertorial types specifically included. These assertions are aligned with the organization of the data as it has been reported in the body of the dissertation. The conclusions are stated in a similar manner as assertions pertinent to cross referenced statements which may be implied as concepts drawn from the reported data and the literature observed in this study.
A Guide for the Preparation, Analysis and Performance of the Brass Quintet Literature of Thom Ritter George, with Three Recitals of Selected Works by Bach, Bitsch, Handel, Torelli, Suderberg, Ketting and Others
An examination of the musical style, compositional techniques and performance practice issues of American composer Thom Ritter George with special attention paid to his Quintet No. 4 written in 1986. The document also includes a short history of brass instruments in chamber music, history of the brass quintet in America, discussion of the role of the trumpet in the quintet, overview of the composers contributions to music and brass quintet in America, discussion of the role of the trumpet in the quintet, overview of the composers contributions to music and brass quintet, and background information on the composer.
A Guide to Arranging Late Eighteenth and Early Nineteenth Century Harmoniemusik in an Historical Style
The wind octet was a popular ensemble of the classical period. In 1782, the Viennese Emperor formed a wind octet which specialized in playing opera arrangements. This music was used primarily as a form of background entertainment for dinners. This guide analyzes and compares the works of several well-known arrangers from the classical period in order to demonstrate arranging styles of the time. The arrangers of the period were often the performers of these various wind octets who were writing specifically for the players in their own ensembles. The style of Mozart’s original wind music is also discussed, in contrast to the arrangements of his works made by others. This guide is intended for serve performers of today as a tool to learn the art of arranging in an historical style. Idiosyncrasies of the classical-period wind instruments are discussed, as they relate to the style of wind arranging. The role of the contemporary arranger is compared with that of the classical period, and the case is made for the need for more contemporary arrangements of classical works using period arrangers as models.
A Guide to Franz Liszt's Piano Transcriptions of Franz Schubert's Songs
Franz Liszt (1811-1886) made fifty-six transcriptions of Schubert's songs over a period of eight years (1838-46) to introduce the name of the composer, who was little known both in and outside Vienna during his lifetime. Because Liszt intentionally preserved all the details of the original songs, these transcriptions present challenges for a pianist, such as how to produce a vocal line on the piano, as well as interpretive issues such as ornamentation, style, and conveying the meaning of the lyrics on the piano. The purpose of this study is to introduce pianists to study practices employed by singers, with the goal of interpreting the vocal aspects of Liszt's Schubert song transcriptions. The composer Robert Schumann once remarked that Liszt's transcriptions were perhaps the most difficult pieces written for the piano up to that time, and only an intelligent artist could satisfy Liszt's high level of virtuosity without destroying the identity of the original work. This could be considered a warning to pianists not to focus on the technical aspects only. The pedagogical guide presented in the study, based on singers' approaches to the actual songs, should help pianists to "see beyond the notes" and achieve a performance closer to the heart of the songs.
A Guide to Suitable Bass Solo Vocal Repertoire by J. S. Bach for Collegiate Baritone
In the Baroque period, the baritone voice was not yet well-defined, but many composers wrote vocal pieces with a range appropriate for the modern baritone voice. Composers used the general categories of soprano, alto, tenor, and bass for solo voice in their compositions. Johann Sebastian Bach (1685-1750) was no different from other Baroque composers in writing solo works to be performed by one of the four main voice types. The various ranges and tessituras of J. S. Bach's vocal works for bass solo voice are not limited to being sung by low basses, but may also be sung by more medium ranged baritones. The purpose of this research is to guide collegiate voice teachers and their baritone students in selecting appropriate repertoire from the works of Bach on the basis of each students' level of development and to categorize four groups of bass solos by Bach for collegiate baritone students: beginning level for freshmen, intermediate level for sophomores, advanced level for juniors and seniors, and pre-professional level for seniors and graduate students. This research was prepared in conjunction with a DMA lecture-recital of eight bass solos for collegiate baritone voice, selected from the study; two vocal works for each proficiency level.
A Guide to the Performance and Study of "Dialogue de l'ombre double" (1985) by Pierre Boulez (1925-1916)
Pierre Boulez (1925-2016) composed Dialogue de l'ombre double for clarinet and live electronics in 1985. This same year, Alain Damiens of Ensemble InterContemporain premiered and recorded the work with the help of Andrew Gerzso of Institut de Recherche et de Coordination Acoustique/Musique (IRCAM). The piece alternates between pre-recorded and live sections that are performed with varied levels of amplification and reverberation creating a dialogue between the parts. Boulez also includes detailed instructions for the spatialization of the pre-recorded tracks that play through six equidistant speakers that surround the audience. Furthering the complexity of this work, it is available in two published versions: version aux chiffres arabes (Arabic numeral version) and version aux chiffres romains (Roman numeral version). Each version includes much of the same musical material, but arranged in a different order. Performance of Dialogue de l'ombre double requires extraordinary technical facility and musical understanding from the clarinetist, the dedicated involvement of a highly qualified sound technician, and the use of a spacious, technologically equipped performance venue. This performance guide aims to facilitate greater accessibility and understanding of this challenging work, in order to encourage widespread performance of this extraordinary piece.
Guidelines and an In-Service Model for Secondary Teachers who Supervise Student Teachers
This study develops guidelines and an in-service model for secondary teachers supervising student teachers. The study provides guidelines for developing in-service teacher supervision activities in secondary schools that serve as student teacher centers. The study seeks to determine selection criteria for supervising teachers; to ascertain in-service program activities considered valid by experienced supervising teachers, administrators and college coordinators; to measure professional reaction toward recent co-operative implementation of Senate Bill Eight; and to assess current in-service programs for supervising teachers in the North Texas area and test their conformity with criteria stated by known authorities. The study reviews literature in topical areas considered by known authorities to be those in which secondary-school supervising teachers must function. A questionnaire was developed, validated and mailed to an aggregate of 239 secondary supervising teachers, college co-ordinators, principals and central office administrators in selected public schools, and colleges and universities in the North Texas area. Collection of data resulted in a 73.6 per cent return in a ten-day period. Degrees of differences among the beliefs of participant groups were revealed by the chi-square measure of significance. It was found that the supervising teacher is the most influential feature of the entire student-teaching program and that in-service staff development programs concentrating on supervision of student teachers are both wanted and needed. It was further found that there is no central trend, in the North Texas area, to meet the desired need. Only ten per cent of the supervising teachers have had formal training in the supervision of student teachers. Those who were least familiar with Senate Bill Eight and the Texas Education Agency's guidelines supported one to three two-hour, inservice sessions per year. Central office administrators supported from four to six two-hour, in-service sessions per year.
Guillaume Connesson's "Le Rire de Saraï" (2001): Stylistic Analysis Focusing on His Eclecticism
Le Rire de Saraï for flute and piano was written in 2001 by Guillaume Connesson. Although the composer's works have been commissioned and performed by numerous leading orchestras and musicians in Europe and the United States, his music is largely neglected by scholars. Despite the increasing popularity of Le Rire de Saraï, the piece also has never received scholarly attention. Therefore, an analytical study of the piece, its influences, and its context in Connesson's output will provide for a deeper understanding and informed performance of this significant element of the flutist's repertoire. Le Rire de Saraï, like much of the composer's music, is notable for the eclecticism of its language and its inspiration from an extramusical source. This study first discusses his biography, inspirational sources, and various musical influences, which provide essential background information to understand his musical world. This document then explores the story of Hagar and Sarah, which serves as the inspiration for the piece and how Connesson draws on the story without crossing into the domain of program music. Finally, the study examines the interactive elements of his eclecticism in the piece, such as French sensibility, American minimalism, Baroque toccata, and popular music.
Guilt as Related to Self-Concept and Personality Adjustment
The primary purpose of the present study was to determine the interrelationships among guilt, certain indices of self-concept, and other variables of personality adjustment as they are reflected by graduate students in three academic disciplines.
The Gulf Cooperation Council, 1981-1994
The purpose of this study is to analyze the foreign policy outcomes of the Gulf Cooperation Council (GCC) to understand the extent to which a Regional Intergovernmental Organization (RGO) consisting of developing nations is able to promote regional cooperation. Much of the literature on integration and the formation of Intergovernmental Organizations was developed with regard to western nations. These approaches are examined for their contributions to foreign policy behavior analysis and with respect to understanding why small and developing nations join such organizations. Final analysis of the outcomes using two scales to measure the organization's ability to promote regional cooperation reveal that the level of success was moderate and the level of political action undertaken by the GCC was generally moderate to low. Leadership is supportive of the organization but both external and internal factors contribute to the modest levels achieved so far. Issues of national sovereignty and a decade of regional conflicts affected the ability of the organization to achieve greater levels or regional cooperation.
Gunther Schuller and John Swallow: Collaboration, Composition, and Performance Practice in Eine Kleine Posaunenmusik, with Three Recitals of Selected Works by Berio, Bogle, Gregson, Pryor, Suderburg and Others
Gunther Schuller is credited with coining the term Third Stream, meaning compositions where twentieth-century art music forms exist simultaneously with jazz. Furthermore, Schuller specifically states in the liner notes to the debut recording of Eine Kleine Posaunenmusik "The work is not a Third Stream piece." Yet the concerto alludes to jazz through a multitude of slide glissandi and plunger mute effects, Solotone mute passages, specific references to the jazz trombone styles of Tommy Dorsey and Lawrence Brown, musical quoting or indirect reference, and the use of a walking bass line in Movement V, Finale. What makes one piece Third Stream and another simply a modern composition with jazz implications? Is Third Stream primarily a compositional designation or a performance practice stipulation? How does a celebrated trombone soloist inspire and collaborate with a distinguished composer in the creation of a major work? The somewhat conspicuous title, Eine Kleine Posaunenmusik, seems to point towards Mozart's famous string serenade Eine Kleine Nachtmusik. What connection to Mozart, if any, does Schuller's title suggest? All of these questions are elucidated in this study through careful investigation and research of Gunther Schuller's Eine Kleine Posaunenmusik. New interviews with John Swallow and Gunther Schuller are included.
Gustav Mahler's Kindertotenlieder: Subject and Textual Choices and Alterations of the Friedrich Rückert Poems, A Lecture Recital Together with Three Recitals of Selected Works of F. Schubert, J. Offenbach, G. Finzi, and F. Mendelssohn
The bulk of scholarly research and discussion of Mahler's Kindertotenlieder deals with musical concerns and analyses. This study explores the significance of Mahler's selection and use of the poetry of Friedrich Rückert and, in particular, the personal significance of the textual treatment to Mahler. A comparison of the original Rückert text with Mahler's and his textual alterations, as well as a literal translation of the text, is included. The results revealed through the process stated above provides the vocal performer of Gustav Mahler's Kindertotenlieder with a study and performance guide for the artist intent on a more complete textual understanding and delivery.
The gypsy in violin music: a lecture recital featuring the music of Kreisler, Ravel, and Sarasate : together with three recitals of music by Bartók, Beethoven, Chausson, Dvořák, Schoenberg, Schubert, Shostakovich, and Tchaikovsky
The lecture recital is an examination of Roma music with particular emphasis on violin repertoire. The lecture was followed by a performance of Kriesler's La Gitana, Sarasate's Zigeunerweisen, and Ravel's Tzigane.
Habitat Fragmentation by Land-Use Change: One-Horned Rhinoceros in Nepal and Red-Cockaded Woodpecker in Texas
This research focuses on the spatial analysis of the habitat of two vulnerable species, the one-horn rhinoceros in the grasslands of southern Nepal, and the red-cockaded woodpecker in the Piney woods of southeast Texas, in the USA. A study sites relevant for biodiversity conservation was selected in each country: Chitwan National Park in Nepal, and areas near the Big Thicket National Preserve in Texas. Land-use differs in the two study areas: the first is still undergoing agrarian development while the second is in a technological phase and undergoing urbanization processes. Satellite remote sensing images were used to derive land-cover maps by supervised classification. These maps were then processed by Geographic Information Systems methods to apply habitat models based on basic resources (food and cover) and obtain habitat suitability maps. Several landscape metrics were computed to quantify the habitat characteristics especially the composition and configuration of suitable habitat patches. Sensitivity analyses were performed as the nominal values of some of the model parameters were arbitrary. Development potential probability models were used to hypothesize changes in land-use of the second study site. Various scenarios were employed to examine the impact of development on the habitat of red-cockaded woodpecker. The method derived in this study would prove beneficial to guide management and conservation of wildlife habitats.
Habitat Partitioning by a Riparian Cursorial Spider Guild, and Intraspecific Behaviors of the Wolf Spider Pardosa valens (LYCOSIDAE) and the Stonefly Hydroperla crosbyi (PERLODIDAE)
Members of a guild of cursorial spiders (Pardosa spp. and Alopecosa spp.) spatially segregated among five discrete habitats, from a streamside cobble habitat grading laterally along a successional gradient to the leaf litter zone of a transition or climax riparian forest. Seasonal activity peaked in midsummer for all guild members. Spiders were active diurnally earlier in the streamside habitats, and levels of activity were positively correlated with light intensity. Guild members Pardosa tristis and Pardosa uncata were most different in habitat selection and periods of diurnal activity. Males and females of all guild species differed in their distribution among habitats and over months of collection. Measures of guild species diversity and evenness were variable between habitats, and were largely influenced by the relatively high abundance of one or two guild species, particularly in the streamside habitats.
Hâfez and Betinis: a Conductor’s Approach to Ancient Persian Poetry As Voiced by a Twenty-first Century, Western Composer
The choral music of Abbie Betinis is being widely performed and commissioned by prominent high school, university, and civic choruses. This study examines From Behind the Caravan: Songs of Hâfez, a five-movement work by Betinis for women’s chorus, vielle, oud, and Persian percussion. Four ghazals by Hâfez of Shiraz, a fourteenth century Sufi poet, are used as the text for Betinis’s Caravan. When considering a performance of this work, a conductor must understand proper treatment of the text, available translation options, Hâfez’s vast world of imagery, vocal demands inherent to the work, alternate instrumentations available and the benefits of each, how to approach improvisatory passages, how to engage heterophonic elements, and how to prepare a Western choir and audience with very little to no understanding of the philosophies of Sufism that heavily influence the work. This study addresses the body of practical knowledge gained after a year of examining, researching, teaching, and performing this work.
Halogenated 2-Oxetanones
The purpose of this investigation is threefold: (1) to examine in detail the cycloaddition of halogenated ketenes and carbonyl compounds, (2) to study the decarboxylation of the resulting halogenated 2-oxetanones,and (3) to investigate the effect of halogens in the halogenated 2-oxetanones on the nucleophilic addition reaction.
Hamiltonian cycles in subset and subspace graphs.
In this dissertation we study the Hamiltonicity and the uniform-Hamiltonicity of subset graphs, subspace graphs, and their associated bipartite graphs. In 1995 paper "The Subset-Subspace Analogy," Kung states the subspace version of a conjecture. The study of this problem led to a more general class of graphs. Inspired by Clark and Ismail's work in the 1996 paper "Binomial and Q-Binomial Coefficient Inequalities Related to the Hamiltonicity of the Kneser Graphs and their Q-Analogues," we defined subset graphs, subspace graphs, and their associated bipartite graphs. The main emphasis of this dissertation is to describe those graphs and study their Hamiltonicity. The results on subset graphs are presented in Chapter 3, on subset bipartite graphs in Chapter 4, and on subspace graphs and subspace bipartite graphs in Chapter 5. We conclude the dissertation by suggesting some generalizations of our results concerning the panciclicity of the graphs.
Handedness, Perceptual and Short Term Memory Asymmetries, and Personality
A large body of research has depicted relative arousal of the left and right cerebral hemispheres as related to utilization of particular defensive coping styles, level of anxiety, and perceptual styles. The right and left hemispheres are also presented in the literature as differing in visual-spatial and verbal-auditory short term memory abilities. The present research studied 127 right handed undergraduates' relative performance on forward spatial and digits memory spans in relation to hemispheric lateralization and other perceptual and personality variables hypothesized in the literature to be related to hemispheric arousal. It was hypothesized that the forward spatial and digit memory spans would display asymmetrical sensitivity to hemispheric arousal. That is, in a series of successive factor analyses, a hemispheric balance factor, a trait anxiety factor, and a short term memory factor would emerge. The three factors were hypothesized to be unrelated to each other. During an initial group pretesting, subjects were given pencil and paper measures of handedness, trait anxiety, and several defensive coping styles. During a second individual testing, subjects were administered measures of short term memory, field independence, and a computerized presentation of geometric designs which measured the subjects ability to detect differences which occurred at either the global or analytic level (Navon task). The factor analyses revealed only the hypothesized trait anxiety factor. The hypothesized short term memory and hemispheric balance of arousal factors did not emerge. Instead, a. defensive coping style factor and separate verbal—auditory and visual-spatial short term memory factors emerged. Several methodological difficulties of the present study which possibly contributed to the failure of the two hypothesized factors to emerge were discussed. Several additional findings, including sex differences in hemispheric lateralization, were presented. Also, signal detection analysis revealed a pattern such that trait anxious subjects were biased toward over-reporting differences on the Navon task. …
Handel and Three Prima Donnas: Reciprocal Influences, a Lecture Recital, Together with Two Recitals of Selected Works of W. A. Mozart, F. Schubert, H. Wolf, R. Strauss, G. Fauré, C. Debussy, D. Moore, and Others, and Opera Roles by Pleyel and Rossini
The lecture recital was given April 1, 1974. Eighteenth-century accounts of the voices and performing styles of Francesca Cuzzoni, Faustina Bordoni, and Anna Strada del Pò were related to six opera arias written for them by George Frideric Handel. The arias, accompanied by harpsichord, violin, and violoncello, were performed with added original ornamentation. In addition to the lecture recital two other public recitals and two opera roles were performed. The first solo recital was on February 11, 1972, and included works by Mozart, Fauré, Rimsky-Korsakov, R. Strauss, Walton, Moore, and others. The second solo recital, on October 15, 1973, included works by Porpora, Rameau, Handel, Wolf, Donizetti, Debussy, and Schubert. The role of "Urgele" in the marionette opera Die Fee Urgele by Pleyel was performed in English on October 30 and 31, 1972, with the Collegium Musicum of North Texas State University. The role of "Clorinda" in Rossini's La Cenerentola was performed in English on November 26 and 28, 1972, with the Shreveport Symphony.
Happiness Is a By-Product of Function: William Burroughs and the American Pragmatist Tradition
This dissertation examines the techniques and themes of William Burroughs by placing him in the American Pragmatist tradition. Chapter One presents a pragmatic critical approach to literature based on Richard Rorty and John Dewey, focusing on the primacy of narration over argumentation, redescription and dialectic, the importance of texts as experiences, the end-products of textual experiences, and the role of critic as guide to experience rather than judge. Chapter Two uses this pragmatic critical lens to focus on the writing techniques of William Burroughs as a part of the American Pragmatist tradition, with most of the focus on his controversial cut-up technique. Burroughs is a writer who upsets many of the traditional expectations of the literary writing community, just as Rorty challenges the conventions of the philosophical discourse community. Chapter Three places Burroughs within a liberal democratic tradition with respect to Rorty and John Stuart Mill. Burroughs is a champion of individual liberty; this chapter shows how Burroughs' works are meant to edify readers about the social, political, biological, and technological systems which work to control individuals and limit their liberties and understandings. The chapter also shows how Burroughs' works help liberate readers from all control systems, and examines the alternative societies he envisions which work to uphold, rather than subvert, the freedom of human beings. Chapter Four concludes by suggesting some of the implications of Burroughs' work in literature, society, and politics, and by showing the value and importance of Pragmatism to the study of American literature and culture.
Haptic Visual Sensory Integration: A Comparison Between Normal, Schizophrenic, and Brain Damaged Groups
Neuropsychological tests have been used in differentially diagnosing schizophrenic and brain damaged populations. Research indicated some subgroups of schizophrenia exhibit certain symptoms of brain damage; and that schizophrenia involves difficulty in sensory integration. The Haptic Visual Discrimination Test (HVDT) designed to test tactilevisual integration, Bender Gestalt, and Information and Digit Symbol subtests of the WAIS were used to test performance abilities of forty schizophrenic subjects, forty subjects medically diagnosed as brain damaged (10 right hemisphere, 10 left hemisphere, and 20 diffuse), and normals as defined by the standardized age norm scores.
Hardiness and public speaking anxiety: Problems and practices.
This study explored the relationship between the personality construct of hardiness and public speaking anxiety. Although hardiness has been widely explored in a variety of anxiety-arousing life events, its relationship with communication anxiety had not been previously studied. Therefore, hardiness, public speaking trait anxiety, and public speaking state anxiety were measured in a course requiring an oral presentation assignment. One hundred fifty students enrolled in a basic speech communication course participated in the study. A statistically significant correlation was revealed between hardiness and trait communication anxiety. Students higher in hardiness reported lower trait communication apprehension in three contexts: 1) meeting, 2) interpersonal, and 3) group. Overall, students did not differ on measures of hardiness and a fourth communication context: public speaking anxiety. Likewise, on measures of hardiness and state public speaking anxiety, students did not differ.
Hardiness, Coping Style, and Burnout: Relationships in Female Hospital Nurses
This study investigated relationships among and between psychological hardiness, coping style, and burnout in 101 female hospital nurses. The third generation (50-item) hardiness scale, scored by the revised scoring procedure, was used to measure hardiness and its components. The Maslach Burnout Inventory was used as the measurement for burnout. Coping style was assessed by the COPE Inventory. The components of hardiness, commitment, control, and challenge, were hypothesized to be negative predictors of emotional exhaustion and depersonalization and positive predictors of personal accomplishment. In addition, hardiness and its components were postulated to be positively related to adaptive coping styles and negatively related to maladaptive coping styles. Emotional exhaustion and depersonalization were thought to be related positively to maladaptive coping styles and negatively related to adaptive coping styles. Personal accomplishment was thought to be positively related to adaptive coping style and negatively related to maladaptive coping style. Simple and multiple regressions were used.
Hardiness, stress, and coping strategies among mid-level nurse managers: Implications for continuing higher education.
This study investigated relationships among hardiness, stress, and coping strategies among mid-level nurse managers in hospitals. Coping strategies were hypothesized to be positively related to stress. In addition, hardiness and its components were hypothesized to be positively related to stress and coping strategies. Demographics were hypothesized to be unrelated to stress, hardiness, and coping strategies. Both hardiness and coping strategies were hypothesized to be predictors of stress. Pearson correlation coefficients, multiple regression, and linear regression were used in data analysis. Stress was associated with specific coping strategies viz., confrontation, selfcontrolling, accepting responsibility, and escape-avoidance. High hardiness, particularly commitment and challenge, was associated with low levels of stress and with problemfocused coping strategies. By contrast, low hardiness was associated with high stress and use of emotion-focused strategies. Significant demographics, when compared to study variables, included age, experience, time with supervisors, number of direct reports, highest degrees obtained, and formal or informal higher education in management. Young nurse managers who were less experienced in nursing and management, and who had fewer direct reports, reported the highest stress levels among nurse managers. High hardiness, particularly commitment, was a strong predictor of low levels of stress; use of escape-avoidance was a significant predictor of occupational stress. This study supported the theoretical suppositions of lower stress if hardiness and specific coping strategies are high among mid-level nurse managers. Potential exists for work-related stress to be reduced by increasing hardiness and adaptive coping strategies. Implications for higher education research and practice are discussed.
Hardware Ergonomic Considerations in Middle School Classroom Computer and Video Display Terminal Installations
The purpose of this study was to determine the extent specific ergonomic factor implementations in computer and video display terminal (VDT) installations for student use in middle school classrooms. The data interpretations using existing furniture without modification or adaptation. Of all the seating observed, 75% of the seating met standards for middle school students. Keyboards and video display screens had been placed on existing tables and were all higher than ergonomically desirable for middle school students or adults.
Harmonic and Contrapuntal Techniques in the Late Keyboard Works of Cesar Franck
This study examines the five late keyboard works of Cesar Franck: the Prelude, Chorale, and Fugue and the Prelude. Aria, and Finale for piano, and the three organ chorales. The study focuses on harmonic and contrapuntal techniques and their interrelationships, placing the discussion in the context of an analysis of the whole piece. The primary goal is to identify the salient characteristics of each piece; a secondary goal is to identify common harmonic and contrapuntal aspects of Franck's style.
Harmonic Function in Rock: A Melodic Approach
This dissertation explores the influence of melody on harmonic function in pop and rock songs from around 1950 to the present. While authors define the term "function" in several ways, none consider melody in their explanations, and I contend that any discussion of harmonic function in rock must include melody. I offer a novel perspective on function by defining it through what I call tension-as-anticipation, and I define a "melodic function" that accounts for the sense of tension and relaxation a melody creates within a particular moment in a track. My dissertation defines two types of melodic function—dominant and tonic—based on the melody's goal-directed scale-degree content, position within a phrase, and relation with the harmony. Dominant-melodic function results in two musical phenomena that I call the "imposed dominant" and the "dominant remainder." An imposed dominant occurs when a dominant-melodic function is initially dissonant with the harmony and resolves over a tonic. A dominant remainder occurs when a dominant-melodic function occurs over a harmonic resolution to the tonic, creating a slower dissipation of tension. Tonic-melodic function produces a phenomenon I call the "tonic anticipation," where a melody outlines a tonic mode over a pretonic harmony, creating a maximum sense of tension-as-anticipation. By including melody in considering harmonic function, we can more adequately describe the cycles of tension and resolution found in pop styles.
The Harmonic Interval of the Seventh in the Works of Representative Composers of Italian Madrigals, 1542-1614
This study is an attempt to shed some light on the treatment of one dissonance—the seventh—in the works of the following composers: Cipriano de Rore (1516-1565); Philippe de Monte (1521-1603); Giaches de Wert (1535-1596); Luca Marenzio (1553-1599); Carlo Gesualdo (ca. 1560-1613); and Claudio Monteverdi (1567-1643). The purpose of this thesis is to discover (1) the frequency of occurrence of primary (relatively accented) sevenths and their inversions (^ chords, etc.) in a selection of each composer's madrigals; and (2) the methods of handling sevenths employed by each composer, with particular emphasis on the relationship between these methods and sixteenth century theory.
Harmonization of Accounting Practices Among IAS Firms Listed in the U.S. and Its Capital Market Implications
The focus of the study is on financial reporting for non-U.S. firms registered with the Securities Exchange Commission (SEC) but using International Accounting Standards (IAS). This study addresses two issues, (1) whether the comparability of financial reporting among firms using IAS in credit and equity financing jurisdictions increases over time and (2) the associated capital market implications. The motivation for the study is the SEC's ongoing assessment of IAS for possible use by non-U.S. registrants for listing and capital raising in the U.S. Previous research on variations in financial reporting practices has revealed distinctly different types of financial reporting depending on country of origin. Moreover, some research suggests that such differences in financial reporting tend to persist in spite of harmonization efforts of accounting standards. This study suggests that there may be a systematic difference between credit and equity firms' financial reporting that is manifested by the fact that credit firms' adjustments to U.S. GAAP are greater than the adjustments made by equity firms. This systematic difference has had the following capital market consequences for credit firms, (1) a decreasing strength of association between accounting earnings and share prices post-1994, (2) an increased bid-ask spread post-1994, and (3) a decreased trading volume post-1994. This may be an indication that on the average firms reporting under IAS fail to meet an important part of the SEC's second assessment criterion with respect to high quality and full disclosure, namely comparability. In addition, it seems that the revisions made by International Accounting Standards Board (IASB) have not resulted in more congruent financial reporting among firms reporting under IAS over time.
Harmony in the Songs of Hugo Wolf
The songs of Hugo Wolf represent the culmination of the Romantic German Lied tradition. Wolf developed a personal chromatic harmonic style that allowed him to respond to every nuance of a poetic text, thereby stretching tonality to its limits. He was convinced, however, that despite its novel nature his music could be explained through the traditional theory of harmony. This study determines the degree to which Wolf's belief is true, and begins with an evaluation of the current state of research into Wolf's harmonic practice. An explanation of my analytical method and its underlying philosophy follows; historical perspective is provided by tracing the development of three major elements of traditional theory from their inception to the present day: fundamental bass, fundamental chords, and tonal function. The analytical method is then applied to the works of Wolf's predecessors in order to allow comparison with Wolf. In the investigation of Wolf's harmonic practice the individual elements of traditional functional tonality are examined, focusing on Wolf's use of traditional harmonic functions in both traditional and innovative ways. This is followed by an investigation of the manner in which Wolf assembles these traditional elements into larger harmonic units. Tonal instability, rapid key shifts, progressive tonality, tonal ambiguity, and transient keys are hallmarks of his style. He frequently alters the quality of chords while retaining the function of their scale-degree root. Such "color" chords are classified, and their effect on harmonic progression examined. Wolf's repetitive motivic style and the devices that he employs to provide motion in his music are also discussed. I conclude by examining Wolf's most adventuresome techniques—including parallel chords successions, chromatic harmonic and melodic sequences, and successions of augmented triads--and the suspension of tonality that they produce. This project encompasses all of Wolf's songs, and should be a useful tool for Wolf …
Harmony Or Discord: Disordered Eating and Personality Traits of College Music Majors
Personality traits, such as neuroticism, perfectionism, and a narrow self-concept have been identified as risk factors for eating disorders or have been found at higher rates in those with eating disorders (e.g., Brannan & Petrie, 2008; Cash & Deagle, 1997; Cervera et al., 2003). Musicians exhibit many of these personality traits associated with eating disorders (e.g., Kemp, 1981), however eating disorder prevalence has not been studied in musicians. The present study examined the prevalence of eating disorders and pathogenic weight control behaviors among college music majors. This study also compared personality traits (i.e., neuroticism, perfectionism, musician identity) between music majors and nonmajors and examined which personality traits best predicted bulimic symptomatology. Participants were 93 female and 126 male undergraduate students majoring in music and a nonmusician comparison group of 310 women 140 men from the same university. Music majors and nonmajors did not differ from each other with regards to eating disorder prevalence rates. Exercising and fasting/strict dieting were the primary means of weight control amongst all participants. With regards to personality traits, female and male music majors reported higher levels of perfectionism than their nonmajor counterparts and male music majors reported higher levels of neuroticism than male nonmajors. After controlling for BMI, neuroticism and doubts about actions predicted bulimic symptoms in female music majors, whereas concern over mistakes predicted bulimic symptomatology among men majoring in music. Findings suggest that any additional appearance-based pressures from the music environment do not translate into increased levels of eating pathology. Music majors higher levels of perfectionism and neuroticism may help them to succeed within the music and perform at a high level. Lastly, personality dimensions of neuroticism and concern over making mistakes predict disordered eating in all students.
Harold Shapero’s Sonata for C Trumpet and Piano: the Influence of Idiomatic Jazz Elements on a Prominent Mid-20th Century Neo-classical Composer
Harold Shapero’s Sonata for Trumpet in C and Piano is a significant work that it is rarely performed and studied. Shapero’s composition contains musical attributes that demand artistically accurate choices if the style of this jazz-influenced sonata is to be achieved. Written in 1940 in dedication to Aaron Copland, the Sonata for C Trumpet and Piano makes use of a variety of stylistic influences, blending those of early 20th century jazz with Stravinsky-influenced neo-classicism. The intent of this study is to examine the unique performance practice implications and musical considerations of Harold Shapero’s Sonata for C Trumpet and Piano in correlation to the composer’s implementation of jazz idiomatic elements within the constructs of neo-classicism. The first section of this study examines the historical context necessary for understanding the social and musical conditions of the early to mid 1940s. The second section addresses the musical elements that characterize this work; the primary focus of this section is an exploration of Harold Shapero’s implementation of jazz idioms into his first composition for trumpet. The final section of the study interprets the utilization of idiomatic jazz elements within the work so as to allow the trumpet player with little jazz experience to accurately perform the piece.
The Harpsichord Concertos of Wilhelm Friedemann Bach, a Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, W.F. Bach, D. Scarlatti, F. Couperin, J.J. Froberger, G. Ligeti, W. Byrd, and Others
The harpsichord concertos of Wilhelm Friedemann Bach (1710-1784) have suffered undeserved neglect. The four authenticated solo concertos remain in manuscript, with the result that his contribution to the history of the keyboard concerto has been largely overlooked. This study begins to correct this situation by examining these four concertos--F41 in D Major, F43 in E Minor, F44 in F Major, and F45 in A Minor--as well as the published two-harpsichord Concerto in E-Flat Major, F46, and the incomplete Concerto in E-Flat Major, F42 in order to assess W. F. Bach's contribution to the keyboard concerto following its origins in the early 1700s. The results of this investigation show that W. F. Bach took the early keyboard concerto of his father's generation and added many of the characteristics which became associated with the mid-eighteenth century concerto. Friedemann retained the polyphonic interplay between tutti and solo, harmonic language, and tonal plan of his father's compositions and added a wealth of rhythmic ideas and a more modern melodic style. He worked within an established four ritornello/three solo plan for the outer movements, but employed a variety of formal plans for the middle movements. Friedemann heightened the contrast between the solo and the orchestra and infused the solo part with formidable virtuosity. At the same time he ensured that the solo and tutti material was related so that the two forces would work together while maintaining distinct identities. This study shows the high merit of W. F. Bach's harpsichord concertos and adds to another chapter in the history of the pre-Classical keyboard concerto.
Harrison Birtwistle: an In-depth Study of His Music for Trumpet with a Performance Guide to the Silk House Tattoo
This document examines the works by Sir Harrison Birtwistle that feature the trumpet as a solo instrument, with extra emphasis placed on The Silk House Tattoo. This document also features a performance guide for the trumpet parts of The Silk House Tattoo. Pedagogical methods for learning the most challenging passages are evaluated, and daily exercises based on the specific demands of each excerpt are offered.
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