Dissertationen zum Thema „Bats Composition“
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1
Andersson, Skog Nils. „Bats in Urban Sweden : A multiple regression analysis of bats’ relationship to urbanization“. Thesis, Södertörns högskola, Miljövetenskap, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-45771.
Annotation:
Human development continues to use up more physical space in the natural world, threatening the natural habitats of many organisms. To combat the loss of biodiversity science needs to explore what landscape features are important for different organisms so that we can incorporate these into the modern environment. As bats play an important role in many ecosystems and can reflect changes through trophic levels, analyzing their preferred habitats can help planners improve biological diversity of the urban habitat. Using acoustically identified bat sightings from Artportalen.se for the years 2017-2018, this paper studied the habitats of bats in Sweden. Through multiple regression analysis we examine the response in abundance and/or diversity of bats to physical and socio-cultural attributes of the urban habitat. We examined a total of 10160 bats from 18 species in 418 land cover locales and 306 demographical statistical areas with varying degrees of urbanization. Our results indicate that bat abundance and diversity decrease significantly with higher urbanization while deciduous forests are the most important land cover type for all bats. The results also indicate that wealthier areas have less abundance and diversity even when factoring in population density. Species specific analysis suggested that bat species who are better adapted at foraging in open vegetated landscapes and over water were less susceptible to the negative impacts of the urban habitat. We conclude that diverse habitats with a mixture of open vegetated areas, watercourses and broadleaf forests are the most important land features for a diverse bat fauna along with high connectivity via tree cover and linear landscape elements. If urban planning could incorporate these features into the urban habitat, some of the negative impacts of urbanization could be prevented.
2
Russ, Jonathan M. „The Microchiroptera of Northern Ireland : community composition, habitat associations and ultrasound“. Thesis, Queen's University Belfast, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.480681.
3
Redinger, Petra Best Troy L. „Variation in populational size and composition within two summer colonies of endangered gray bats (Myotis grisescens)“. Auburn, Ala., 2006. http://repo.lib.auburn.edu/2006%20Spring/master's/REDINGER_PETRA_52.pdf.
4
Stevens, Bryan. „Formal Organization in Ground-bass Compositions“. Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804844/.
Annotation:
This thesis examines formal organization in ground-bass works. While it is true that many or even most works of the ground-bass repertoire are variation sets over a ground, there also exist many ground-bass works that are not in variation form. The primary goal of this thesis is to elucidate the various ways in which such non-variation formal organizations may be achieved. The first chapter of this work discusses the general properties of ground basses and various ways that individual phrases may be placed in relation to the statements of the ground. The second chapter considers phrases groupings, phrase rhythm, and the larger formal organizations that result. The third chapter concludes this study with complete analyses of Purcell’s “When I am laid in earth” from Dido and Aeneas and Delanade’s “Jerusalem, convertere ad dominum Deum tuum” from his setting of the Leçons de ténèbres.
5
Ng, Kah-Ming. „Figured bass accompaniment at the harpsichord in its social and artistic context“. Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.249865.
6
Techapiesancharoenkij, Ratchatee 1979. „Bimetallic bars with local control of composition by three-dimensional printing“. Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/16626.
Annotation:
Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Materials Science and Engineering, 2004.Includes bibliographical references (p. 106-107).
This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Three Dimensional Printing (3DP) is a process that enables the fabrication of geometrically complex parts directly from computer-aided design (CAD) models. The success of 3DP as an alternative manufacturing technology to bulk machining of materials for complex parts has been demonstrated. By proof of concept, 3DP has demonstrated the ability to create parts with Local Control of the Composition (LCC). LCC allows tailoring the material properties in regions of a part for functional purposes. In this work, LCC was studied and demonstrated by fabricating bimetallic bars consisting of two layers of Fe-Ni alloys with different composition and, hence, different thermal expansion properties; the coefficient of thermal expansion (CTE) of Fe-Ni system is sensitive to its composition. Two types of the binder/dopant slurries were made for making the LCC bars. One type consisted of dispersions of Fe₂O₃ particles in water, and the other consisted of dispersion of NiO in water. The LCC bars were successfully made by printing the Fe₂O₃/NiO slurries into Fe-30Ni base powders. After heat treatment to impart strength to the printed bars, the bars were successfully retrieved from unbound powders. The bars, then, were annealed at 1400 ⁰C for 2 hours for sintering and homogenization. The final composition of the base powders were changed accordingly. In the layers on which an Fe₂O₃ slurry was printed, the Fe composition of the layers increased on average to 72wt%. Similarly, the Ni composition of the Ni-enriched layers of the bars increased on average to 33wt%. The densification and local homogenization resulting from reduction and sintering treatments were not satisfactory.
(cont.) The major problem was presumably caused by the oxide residues. The presence of the oxide powders was evident from the microprobe measurement. The oxide residues caused the local compositions to be inhomogeneous. As a result, the compositional profiles showed considerable scatter. Moreover, the residues impeded the sintering rate of the bars; the sintering densities of the bars were as small as 78% of the theoretical density. The resulting bimetallic bars did exhibit bending deflection on uniform heating. However, the bending deflections were much smaller than expected. Evidently, the compositional profiles of the bars critically influence their thermal bending properties. The scatter in the compositional profiles resulted in local variations of CTE in the bars, which degraded the thermal bending properties. A linear elastic model that allows prediction of the deflection as a function of composition profile shows good agreement with the observed deflections in the bimetallic bars with LCC.
by Ratchatee Techapiesancharoenkij.
S.M.
7
Nelly, Thomas F. „I. Research-based rubrics for assessing undergraduate music compositions a validity study. II. Identity crisis : a composition for wind ensemble, percussion, electric organ, and electric bass /“. [Gainesville, Fla.] : University of Florida, 2006. http://purl.fcla.edu/fcla/etd/UFE0013772.
8
Peterson, Nick Ryan. „Subspecies composition, genetic variation and structure of Largemouth Bass in Puerto Rico reservoirs“. Thesis, Mississippi State University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1604215.
Annotation:
Subspecies composition and genetic variation are important to the growth and survival of Largemouth Bass and information on these genetic characteristics is required for proper management of the species. In Puerto Rico, a genetic evaluation is needed to develop management plans for Puerto Rico reservoirs and maintain Florida Largemouth Bass at the Maricao Hatchery. Subspecies composition was characterized among reservoirs and the contemporary Maricao Hatchery broodstock in Puerto Rico, and metrics were compared between subspecies and hybrids among reservoir populations. Genetic variation and structure was determined and compared to Largemouth Bass populations in their native range. Florida subspecies were prevalent in all populations and non-introgressed subspecies seemed to be better adapted to the island than introgressed forms. Genetic diversity was lower in Puerto Rico populations and substantial genetic structure among populations was lacking. These results provide genetic information to guide future management and propagation of Largemouth Bass in Puerto Rico.
9
Johansen, Benjamin David. „Relent: a Composition for Alto Saxophone, Double Bass, Two Percussion, and Interactive Electronics“. Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc115100/.
Annotation:
relent is a sacred work within the genre of interactive electronic music. the 20-minute composition is a multi-movement piece for four instrumentalists (saxophone, double bass, and two percussion) and computer that is inspired by the gospel message. relent is specifically about the gospel message that Christ died for man’s sins, rose from the dead, and through faith in him man can be reconciled to God. This project was an experiment in creating a work with a programmatic extramusical structure. in preparation for writing a piece based on Christian programmatic content, this paper presents an overview of research conducted on the intersection between art and Christianity referencing authors such as Harold Best, Nikolai Berdyaev, Hans Rookmaaker, Calvin Seerveld, Daniel Seidell, A. W. Tozer, Steve Turner, and Cornelius Van Til. This work was an experiment in trying to make very direct and specific musical ties to the narrative of the Gospel. Another highly experimental aspect of relent was in the way interactive electronics were used. Each acoustic instrument in the work has its own input and module within the Max patch, extending each acoustic instrument rather than adding an electronic accompaniment component. Additionally, non-traditional notation, both codified and real-time computer generated, improvisation, theatrical instructions, and a completely computer generated movement makes relent a piece that challenges and pushes the boundaries of current interactive electronic music.
10
Reveles, Jaime Salvador. „May-SHEE-Ka from Atzlan for Large Orchestra and (SATB) Soprano, Alto, Tenor, and Bass Choir“. FIU Digital Commons, 2009. http://digitalcommons.fiu.edu/etd/212.
Annotation:
My composition May-SHEE-Ka from Atzlan for orchestra and choir creates a sound world that imagines what some of the sounds might have been like when the Mexica people first arrived on the banks of Lake Texcoco in the early development of the Mesoamerican region. This along with my research of the Mexicas musical and cultural practices provides the context for this work for full orchestra and SATB choir. The title of my work May-SHEE-Ka from Aztlan is derived from the pronunciation of the word Mexica in the Nahuatl language of Mesoamerica. Mexica is the name of the nomadic tribe more commonly referred to as the Aztecs. It is believed that the Mexica came from Atzlan, which is said to be the ancestral home of the Nahua peoples, a key cultural group of Mesoamerica. The word Azteca comes from the Nahuatl word for people from Atzlan. The title of this work is my own extraction of this historical understanding.
11
Bonacossa, Federico. „Materials and Techniques in D’improvviso da immobile s’illumina, for Bass Clarinet, Two Orchestras, Piano and Percussion“. FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/989.
Annotation:
D’improvviso da immobile s’illumina is a concerto for bass clarinet, two orchestras, piano, and percussion, that I composed during my graduate studies at Florida International University in Miami. The work is approximately 16 minutes long and is scored for 30 independent instrumental parts in addition to the bass clarinet soloist. Although the piece does not incorporate electronics, electronic music was a major influence in its creation, and the computer was used extensively as a compositional tool. In addition, the writings of Henry Cowell and the music of Sofia Gubaidulina influenced the concerto in a number of ways. While writing this work, I had to discover new ways to allow pure instinct to intermingle with strict calculation. This paper will discuss in detail the various techniques used in the creation of the concerto as well as some of the works that influenced it.
12
Davis, Joshua. „X Y Z : chamber music composition for violin, violoncello, double bass, marimba, and percussion“. College Park, Md. : University of Maryland, 2007. http://hdl.handle.net/1903/7032.
Annotation:
Thesis (D.M.A.) -- University of Maryland, College Park, 2007.Thesis research directed by: Music. Title from t.p. of PDF. Also available in paper. Published by UMI Dissertation Services, Ann Arbor, Mich.
13
Walter, John F. „Diet Composition and Feeding Habits of Large Striped Bass, Morone saxatilis, in Chesapeake Bay“. W&M ScholarWorks, 1999. https://scholarworks.wm.edu/etd/1539617744.
14
Grigorakis, Kriton. „Quality of cultured and wild gilt-head sea bream (Sparus aurata) and sea bass (Dicentrarchus labrax)“. Thesis, University of Lincoln, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.312889.
15
Bolte, Jason L. „Forgotten dreams : an electro-acoustic composition for double bass, eight-channel digital audio, and interactive electronics“. Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1265460.
Annotation:
This creative project explores the technical and musical possibilities associated with the composition of an electro-acoustic work, scored for double bass, eight-channel digital audio, and interactive electronics, that integrates the uniqueness and spontaneity of live performance with the textural, timbral, and spatial complexity that can be achieved through the use of prerecorded digital audio. The most significant compositional idea that is explored in this work is the interactions between the double bass, digital audio, and interactive electronics. These three components interact with one another on several levels. This is not limited to harmonic, melodic, or rhythmic components, but also includes such attributes as timbre, texture, dynamics, timing, improvisation, and sound projection. To create this interaction, several computer applications are used for the realization of the digital audio and score notation, and in live performance.School of Music
16
Karnebäck, Josef. „Momentum : att utmana basens roll i en ensemble“. Thesis, Kungl. Musikhögskolan, Institutionen för jazz, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1848.
Annotation:
Fokus på basens roll i musik. Hur används instrumentet i ensemblen? Vad händer om basens roll utvecklas och hittar nya ytor i gruppen? Ett arbete om skapa musik med influenser från jazz och fusion som sätter basen i nytt ljus.Focusing on the role of the bass in music. How is the instrument used in an ensemble? What happens if it develops and finds new spaces in the group? A work about creating music with influences from jazz and fusion that puts the bass in a new light.
17
Roby, Piper Lee. „THE ECOLOGY AND BEHAVIOR OF SPRING MIGRATING INDIANA BATS (MYOTIS SODALIS)“. UKnowledge, 2019. https://uknowledge.uky.edu/animalsci_etds/110.
Annotation:
Migration of animals has been studied for decades and has included everything from large terrestrial and pelagic mammals traveling thousands of kilometers to many types of birds flying through several countries to insects going through multiple life cycles in a single migration. The migration of bats has been studied in broad terms to gather coarse information such as distance traveled, connecting summer and winter habitat, and a general understanding of timing. However, only recently have researchers begun to understand the specifics of bat migration including physiology and fine resolution behavior.
Using nine years of spring migration data collected on VHF radio-tagged federally endangered female Indiana bats (Myotis sodalis), I predicted behavior based on previous migration studies for bats that used various methods such as band recovery data, stable hydrogen isotopes, and automated telemetry. My project used aerial telemetry to collect location points while tracking individual bats throughout the migration. I describe distances traveled, how much time bats spent in migration, traveling and foraging behavior during migration, and how weather affects bat behavior. In addition, this project resulted in the location of 17 previously unknown maternity colonies for the species including the southernmost colony known to date. Next, I used temperature data collected from individual bats along with ambient temperature to determine how air temperature affects specific bat behavior. I calculated air temperature thresholds for use of torpor in Indiana bats and described how air temperature affects transition states between torpor and normothermy. Finally, I determined landscape preferences for migrating bats during travel and foraging. Indiana bats tend to migrate in a direct path from hibernaculum to summer grounds and use the habitat in the proportion that it is available. Although bats used forested cover when possible, they did travel in open areas (e.g., across agricultural fields) when necessary to continue along the intended trajectory.
This data set is the first to track individual nocturnally migrating bats via aerial telemetry for the entirety of the spring migration journey. It provides specific information about how far Indiana bats travel and how long they are migrating across the landscape, illustrates a web of connections between summer and winter habitat, describes the effect of weather on bat behavior, and provides landscape use information that can be useful for land managers and developers.
18
Langevin, Karolanne. „Fatty Acids Profiles of Yellow Perch (Perca flavescens) in Lakes of the Outaouais Region with and without Largemouth Bass (Micropterus salmoides) and Smallmouth Bass (Micropterus dolomieu)“. Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/35366.
Annotation:
Fatty acids (FAs) are used as trophic markers in aquatic food web studies, but few studies have quantified individual variability in FAs profiles over several sites in a range of conditions. I investigated whether FAs profiles of yellow perch (YP), Perca flavescens, vary with body size and between lakes with and without largemouth (Micropterus salmoides), and smallmouth bass (Micropterus dolomieu), the most common and abundant piscivores in lakes of the region. I analyzed the FAs of YP as well as zooplankton, benthic invertebrates, and prey fish collected from eight lakes where bass were either present or absent in the Outaouais region over the summer of 2016. I compared the growth rate of YP between the lakes and the YP in lakes without bass exhibited a slower growth rate. I also compared the FA signatures of YP using redundancy analysis (RDA). 23 FAs could be identified and quantified. FAs profiles were dominated by palmitic- (16:0), oleic- (18:1), stearic- (18:0), and palmitoleic acid (16:1). The RDA analysis based on FAs profiles of YP revealed variation along two main gradients (the presence of bass and the date of capture). The first two eigenvectors accounted for 42.1% of the variation (RDA1=27.6% and 2=14.6%). Arachidonic (20:4) and docosatrienoic (22:3) were the most correlated FAs with RDA1. Due to the sampling period, it was impossible to determine if the observed effects were due to the date of capture, the presence of bass, or a change in metabolism, but the last two were deemed as the most plausible explanations. It was concluded that the utility of FA signatures to quantify diet in natural environments is limited and that FAs might be more successful as markers in primary consumers and other lower trophic levels. It is recommended that a combination of FAs, stable isotopes, and modelling should be used in the future.
19
Jackson, Bruce Rogers. „The g-d-G-C scordatura tuning for the double bass : a historical survey, theoretical rationale, pedagogical study, and compositional demonstration“. Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1041733.
Annotation:
The purpose of this study is to investigate the g-d-G-C scordatura tuning for the double bass. The study will survey the historical use, develop a theoretical rational, investigate the pedagogical implications, and explore the compositional opportunities of the scordatura tuning.Though there are many unanswered questions concerning the historical use of this tuning system, it is clear that the double bass has a long history of using scordatura tunings. The sympathetic/fifths tuning (g-d-G-C) was the basis of Violoncello Suite No. 5 by J. S. Bach, and there are three known later uses of it.After a brief history of temperament, the study concludes that this particular tuning greatly improves the resonance and intonation of the double bass. The placement of the g/G strings between the d and C strings strengthens the sonic output and vibrancy of the bass because of the close relationships between the natural harmonic series of each string. The proximity of the tuning to the upper part of the circle of fifths (C/G/D) is an additional benefit.Though the scordatura tuning creates more difficult technical challenges than the all-fourths tuning, this tuning system works well in orchestral, solo and jazz performance. The scordatura tuning is easily adapted to the bass guitar and offers many new opportunities for jazz improvisation. This tuning system is not particularly effective in popular commercial music venues.Since the 1960's new pedagogical approaches to sequence of instruction, concepts of position and approaches to fingerings have emerged. This new school of bass pedagogy suggests how a method could be developed for learning the scordatura tuning.Most of the traditional orchestral, ensemble, solo and jazz literature can be adapted to the tuning. Though it may be technically possible to play a work originally written for the all-fourths tuning using sympathetic/fifths, such a transcription may not be appropriate.Finally, the study includes four original compositions with analysis and discussion that demonstrate the idiomatic possibilities of the tuning: Sonata No. 5 for Scordatura Double Bass, Quartet No. 3B for Mixed Double Basses, Overture for Jazz Combo, and Concerto No. 3 for Scordatura Double Bass.Total Words of Abstract: 347 (does not include title)School of Music
20
Tang, Joyce Wai-chung. „Suite for virtual double bass : a three dimensional composition based on original digital sounds created by computer assisted transformation of original recorded sound samples“. HKBU Institutional Repository, 1998. http://repository.hkbu.edu.hk/etd_ra/130.
21
吳俊凱 und Chun Hoi Daniel Ng. „Original compositions for young musicians“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1993. http://hub.hku.hk/bib/B31212608.
22
陳錦標 und Kam Biu Joshua Chan. „Portfolio of original compositions“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31234094.
23
Wood, Sarah Ellen. „The effectiveness of dual energy x-ray absorptiometry to non-invasively determine body composition of hybrid striped bass“. College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/1476.
Annotation:
Thesis (M.S.) -- University of Maryland, College Park, 2004.Thesis research directed by: Dept. of Animal and Avian Sciences. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
24
Roberts, Samuel Christian. „A portfolio of compositions expanding the role of the electric bass guitar in contemporary Western art music“. Thesis, Oxford Brookes University, 2013. https://radar.brookes.ac.uk/radar/items/2170e787-93d7-4739-a7cd-ef6105beab6d/1.
Annotation:
My original contribution to knowledge is a portfolio of work that, through composition, improvisation and performance, expands the role of the electric bass guitar in contemporary Western art music. More specifically, these works address three areas that were hitherto underexplored in existing repertoire: • Works for solo bass guitar and electronics. • Works for bass guitar and ensemble that incorporate the instrument as an equal and important part of an overall sound. • The use of the bass guitar in sonic arts idioms. This research, as well as challenging the role of the bass guitar, also aims to expand the sonic and technical palette of the instrument whilst demonstrating its potential to be a valued part of the modern composer’s instrumental resource. This project comprises: a compositional portfolio of solo and ensemble works; eight CDs, containing recordings of both improvised and scored works; an accompanying written commentary (original musical scores are included as an appendix in the commentary).
25
Golombisky, Matthew. „Determining What's Next: A Slow Movement for Chamber Orchestra“. ScholarWorks@UNO, 2006. http://scholarworks.uno.edu/td/362.
Annotation:
This piece was started during the spring semester of 2005. The original conception was to write something that was both emotionally and mentally moving. The tempo is very slow, 54 beats per minute. The underlying theme is the harmonic movement of an E minor triad (E G B) moving to a F major 7th chord (F A C E). This chord is often approached using deceiving the listener with a do – re – ma – do melody in E minor, but when the final E is heard, it has become the 7th degree of the cadence chord, F major 7th. This theme is carried through several colors. The first time it is heard is in the strings. Then, primarily stated in the middle register, we hear it in a wind trio consisting of clarinet, bassoon and horn. The next section is a low rumbling effect where the low strings and bass clarinet make the statement. Lastly, before a quasi-development section, the statement is heard in highest register with the flute, oboe, clarinet, and violins. This last statement peaks and the piece begins to slightly accelerate and make use of eighth notes in a polyphonic exploration in E minor. After this is established the tonality becomes blurred and cadences are delayed. The first violin and flute seem to be behind a couple measures even though they are considered of the fastest instruments in the orchestra. Eventually the orchestra collides and unites again to build strength, but it is of no use because they seem to have hard trouble finding the original tonality. When they final reach the E minor tonality again, they are exhausted and gradually fade away to the final cadence where we hear the two thematic chords simultaneously: strings – E minor, high winds – F major.
26
Anderson, Jonathan Douglas. „The Creative Process in Cross-Influential Composition“. Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28386/.
Annotation:
This dissertation describes a compositional model rooted in cross-influential methodology between complementary musical compositions that share generative source material. In their simultaneous construction, two composition pairs presented challenges that influenced and mediated the other's development with respect to timbre, transposition, pitch material, effects processing, and form. A working prototype first provides a model that is later developed. The first work Thema is for piano alone, and the companion piece Am3ht is for piano and live computer processing via the graphical programming environment Max/MSP. Compositional processes used in the prototype solidify the cross-influential model, demanding flexibility and a dialectic approach. Ideas set forth in the prototype are then explored through a second pair of compositions rooted in cross-influential methodology. The first work Lusmore is scored for solo contrabass and Max/MSP. The second composition Knockgrafton is scored for string orchestra. The flexibility of the cross-influential model is revealed more fully through a discussion of each work's musical development. The utility of the cross-influential compositional model is discussed, particularly within higher academia.
27
Tonkin, Christopher Tonkin Christopher Tonkin Christopher. „Compositional metaphors of space and perspective /“. Diss., Connect to a 24 p. preview or request complete full text in PDF formate. Access restricted to UC campuses, 2007. http://wwwlib.umi.com/cr/ucsd/fullcit?p3266845.
Annotation:
Thesis (Ph. D.)--University of California, San Diego, 2007.Vita. Discusses the composer's use of the metaphors of space and perspective in his works, IN and Headspaces, the scores for which are included in the dissertation.
28
Crystal, Raphael. „High wire : chamber ballet in five movements for multiple woodwind player (piccolo, E� clar., alto sax., bass clar.) and piano and written report High wire : a tonal and serial composition“. Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1292541.
Annotation:
High Wire is a chamber ballet in five movements for multiple woodwind player (piccolo, Eb clarinet, alto saxophone, bass clarinet) and piano. It was inspired by Frederick H. Graham's Wait For The Muncie Boys: Indiana's Early Circuses, and was first performed, with choreography by Michele Kriner, at a concert of the Middletown Arts Project on January 26, 2003. The work is somewhat unusual in that it is both tonal and serial. It evokes popular musical styles of the turn of the twentieth century, with particular reference to circus music, and yet it is based on a twelve-tone series and generally adheres to strict serial techniques. The genesis of the work, the relationship of the music to the choreography, and the way in which two rather different musical sensibilities are reconciled are discussed in the written report that serves as an introduction to the score. A recording of the first performance is included in the side-pocket.School of Music
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Kirsch, Larissa de Souza. „Produção da biomassa de Pleurotus albidus por fermentação submersa para elaboração de barras de cereais“. Universidade Federal do Amazonas, 2013. http://tede.ufam.edu.br/handle/tede/3102.
Annotation:
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In recent years the search for foods that promote quality of life and expectation of consumers has grown worldwide. Species of Pleurotus cater to this trend because they are considered foods of high nutritional potential. This study aimed to evaluate the in vitro conditions of production and the nutritional properties of Pleurotus albidus in order to develop cereal bars. Initially we evaluated the influence of culture conditions on solid medium and physicochemical parameters in submerged fermentation to produce mycelial biomass. The results showed that the mycelial growth was similar in all culture media in the absence of light, however, in the presence of light growth in malt extract agar and malt extract agar with yeast extract was statistically superior compared with others. In submerged fermentation sucrose, fructose and maltose were the carbon sources that most favored the production of biomass, 7.28 g.L-1, 7.07 g.L-1, 6.99 g.L-1, respectively, and the best result was obtained with extract of yeast (7.98 g.L-1) as nitrogen source. The factorial design used to evaluate the influence of sucrose and yeast extract, agitation speed and pH indicated that all variables significantly influenced the production of biomass, especially the concentration of sucrose. The maximum biomass production (9.81 g.L-1) was in media containing sucrose (30.0 g.L-1), yeast extract (2.5 g.L-1), pH 7.0 and agitation speed (180 rpm). Biomass exhibited no microbial contamination or toxicity in the brine shrimp¸ and showed a reduction in antioxidant capacity with 28% DPPH. In nutritional quality, biomass indicated total carbohydrate 50.7%, 20.41% protein, 18.55% crude fiber, 8.18% ash, 2.66% fat and 308.34 Kcal. Potassium was the most abundant macromineral, followed by phosphorus, sodium and magnesium, with 17.13 g.kg-1, 12.31 g. Kg-1 3.52 g.Kg-1 and 2.06 g.Kg-1 respectively, while zinc (57.99 mg.Kg-1), iron (28.82 mg.Kg-1) and copper (3.97 mg.kg-1) were as trace minerals in greater quantities. All essential amino acids were detected in the biomass, being the most abundant leucine, lysine and valine at levels of 0.91 g.100g-1, 0.78 g.100 g-1 and 0.73 g.100 g-1, respectively. Aspartic acid (1.31 g.100 g-1), glutamic acid (1.14 g.100 g-1), alanine (1.12 g.100 g-1) and arginine (1.01 g.100 g-1) stood out in relation to non-essential amino acids. In relation to microbiological quality of the three formulations prepared cereal bars with different P. albidus biomass concentration (0%, 4% and 8%) were considered safe for human consumption. The addition of biomass of P. albidus in cereal bars increased the content of fiber, carbohydrates and minerals. The mean values of the attributes evaluated were not statistically different among the three formulations and all had acceptability index above 70%. The cultivation conditions provided the production of mycelial biomass of P. albidus for developing cereal bars, food product with nutritional and sensory qualities suitable for consumption, subject to technology transfer to industry and consequently a new alternative source of incomes.
Nos últimos anos a busca por alimentos que promovam a qualidade e expectativa de vida dos consumidores tem crescido mundialmente. Espécies de Pleurotus atendem para essa tendência, pois são considerados alimentos de elevado potencial nutricional. Este trabalho teve como objetivo avaliar as condições in vitro de produção e as propriedades nutricionais de Pleurotus albidus visando a elaboração de barras de cereais. Inicialmente foi avaliada a influência das condições de cultivo em meio sólido e os parâmetros físico-químicos por fermentação submersa para produzir biomassa micelial. Os resultados mostraram que em meio sólido o crescimento micelial foi similar em todos os meios de cultivo na ausência de luz, contudo, na presença de luz o crescimento em ágar extrato de malte e ágar extrato de malte com extrato de levedura foi estatisticamente superior em relação aos demais. Na fermentação submersa sacarose, frutose e maltose foram as fontes de carbono que mais favoreceram a produção da biomassa, 7,28 g.L-1, 7,07 g.L-1, 6,99 g.L-1, respectivamente, e das fontes de nitrogênio o melhor resultado foi com extrato de levedura (7,98 g.L-1). O planejamento fatorial utilizado para avaliar a influência da concentração de sacarose e extrato de levedura, pH e velocidade de agitação indicou que todas as variáveis influenciaram significativamente na produção da biomassa, com destaque para a concentração da sacarose. A máxima produção de biomassa (9,81 g.L-1) foi em meio contendo sacarose (30,0 g.L-1), extrato de levedura (2,5 g.L-1), pH 7,0 e velocidade de agitação (180 rpm). A biomassa não apresentou contaminação microbiana nem toxicidade frente a Artemia salina¸e mostrou uma capacidade antioxidante com redução em 28% do radical DPPH. Na qualidade nutricional, a biomassa apresentou teor de carboidratos totais de 50,7%, 20,41% de proteínas, 18,55% de fibra bruta, 8,18% de cinzas, 2,66% de lipídios e 303, 34 Kcal. O potássio foi o macromineral mais abundante, seguido de fósforo, sódio e magnésio, com 17,13 g.Kg-1, 12,31 g.Kg-1, 3,52 g.Kg-1 e 2,06 g.Kg-1, respectivamente, enquanto zinco (57,99 mg.Kg-1), ferro (28,82 mg.Kg-1) e cobre (3,97 mg.Kg-1) foram os microminerais em maior quantidade. Todos os aminoácidos essenciais foram detectados na biomassa, sendo os mais abundantes a leucina, lisina e valina com teores de 0,91 g.100 g-1, 0,78 g.100 g-1 e 0,73 g.100 g-1, respectivamente. Ácido aspártico (1,31 g.100 g-1), ácido glutâmico (1,14 g.100 g-1), alanina (1,12 g.100 g-1) e arginina (1,01 g.100 g-1) destacaram-se em relação aos aminoácidos não essenciais. Na avaliação da qualidade microbiológica as três formulações de barras de cereais elaboradas com diferentes concentrações da biomassa de P. albidus (0%, 4% e 8%) foram consideradas seguras para consumo humano. A adição da biomassa nas barras de cereais elevou o teor de fibras, carboidratos e minerais. Os valores médios dos atributos avaliados não diferiram estatisticamente entre as três formulações e todos tiveram índice de aceitabilidade acima de 70%. As condições de cultivo proporcionaram a produção da biomassa micelial de P. albidus para o desenvolvimento de barras de cereais, produto alimentício com qualidades nutricional e sensorial adequadas ao consumo, passível de transferência tecnológica para a indústria e consequentemente uma nova alternativa de geração de renda.
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Kane, Lynn Marie 1977. „The Influence Of Basso Continuo Practice On The Composition And Performance Of Late Eighteenth- And Early Nineteenth-Century Lied Accompaniments“. Thesis, University of Oregon, 2006. http://hdl.handle.net/1794/3057.
Annotation:
xi, 387 p.A print copy of this title is available through the UO Libraries under the call number: MUSIC MT49 .K36 2006
The use of basso continuo in the performance of many late eighteenth- and early nineteenth-century genres is well documented, yet the influence of this practice on the Lieder during that time has never been fully explored. This dissertation analyzes Lied accompaniments of the period in relation to the recommendations found in contemporary thorough bass treatises in order to demonstrate that continuo practice did have an effect both on what composers were writing and how the songs were being performed. The majority of written-out Lied accompaniments from the late eighteenth-century conform to the recommendations given by treatise authors on matters of texture, distribution of the notes between the hands, octave doublings, parallel intervals, embellishments, and relationship of the keyboard part to the solo line. Furthermore, figured basses were still printed in some songs into the early part of the nineteenth century. Well-known nineteenth-century Lied composers, such as Schubert, Mendelssohn, and Brahms also frequently use these simple, continuo-like keyboard parts, and incorporate common continuo techniques for filling out chords into their more complex accompaniments. The fact that continuo practice, a tradition in which improvisation played a large role, continued to have such a pervasive influence on the printed Lied suggests that additions and embellishments can be made to what is written on the page. Furthermore, evidence from secondary sources, statements by musicians of the period, and clues in the music itself confirm that composers did not always intend for performers to play exactly what is notated. In this dissertation, I argue that in many of these songs the musical score should be viewed as only a basic outline, which can then be adapted depending on the skill level of the performers, the available keyboard instruments, and the context of the performance. Principles from the continuo treatises serve as a guide for knowing what additions to make, and I offer suggestions of possible applications. Appendices detail the contents of 50 continuo treatises published between 1750 and 1810.
Adviser: Dr. Anne Dhu McLucas Committee: Dr. Marc Vanscheeuwijck, Dr. Marian Smith, Dr. Kenneth Calhoon
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Bernard, Ellina. „Magnesium silicate hydrate (M-S-H) characterization : temperature, calcium, aluminium and alkali“. Thesis, Bourgogne Franche-Comté, 2017. http://www.theses.fr/2017UBFCK025/document.
Annotation:
Les différentes options envisagées par la France et la Suisse pour le stockage de déchets radioactifs en couches géologiques profondes argileuses prévoient l’utilisation d’importants volumes de matériaux cimentaires. Les liants dits bas-pH ont été développés afin de limiter la perturbation de la roche encaissante par le panache alcalin. Les études expérimentales menées sur les interfaces béton bas-pH-argile mettent systématiquement en évidence la formation de phases silico-magnésiennes, potentiellement de silicate de magnésium hydraté (M-S-H), mal modélisées à cause de données thermodynamiques limitées. Cette étude a pour objectif de caractériser ces phases en température, en présence d’aluminium, calcium et d’alcalins pour alimenter les bases de données thermodynamiques et améliorer les calculs sur les évolutions physico-chimiques des bétons bas pH et éventuellement des bétons de Portland. Des suspensions de M-S-H ont été synthétisées à partir d'oxyde de magnésium et de fumée de silice à différentes températures, à différents temps de réaction et différents rapports Mg/Si. Un panel de techniques d’analyses de chimie du solide et des mesures en suspensions couplées à des analyses des phases liquides a été utilisé pour caractériser les phases synthétisées. Initialement, et quel que soit le Mg/Si total choisi pour la synthèse, un M-S-H avec un rapport Mg/Si ~1 précipite en présence de brucite et de silice amorphe. Lorsque l’équilibre du système est atteint, 2 à 3 ans à 20 °C ou 1 an à 50 et 70 °C, le Mg/Si varie de ~0,8 à ~1,4. La température a peu d'influence sur le M-S-H formé même si le M-S-H se forme plus rapidement et qu’il est légèrement moins stable thermodynamiquement lorsque la température augmente. A l'équilibre, sa structure mal définie est comparable à des nano-cristallites de phyllosilicates hydratés avec une surface spécifique supérieure à 200 m2/g. Un modèle de solution solide pour le M-S-H a été calculé et ajouté à la base de données.Dans un second temps, les travaux ont été focalisés sur la formation de M-S-H à partir de silicate de calcium hydraté (C-S-H) avec un faible Ca/Si (= 0,8) et de magnésium. Le C-S-H n’est pas stable à des pH avoisinant un pH = 10, ce qui favorise la précipitation de M-S-H. Des recherches détaillées montrent que du calcium peut être faiblement incorporé dans le M-S-H (Ca/Si ≤ 0,10), et des solutions solides contenant du calcium ont été ajoutés à la base de données. Pour des pH supérieurs à 10-10,5, les C-S-H et M-S-H coexistent. L’observation par MEB-EDS d’une interface en cellule de diffusion entre C-S-H (Ca/Si=0,8 représentant un liant bas pH) et M-S-H (Mg/Si=0,8), couplée à la modélisation de celle-ci en transport réactif, sur la base des nouvelles données thermodynamiques dérivées des expériences précédentes, montrent la détérioration rapide du C-S-H et la précipitation de M-S-H dans le disque C-S-H, ainsi qu’une absorption homogène du calcium dans le disque de M-S-H.L’augmentation du pH en solution favorise la sorption de cations. Des M-S-H présentant une sorption de sodium jusqu'à Na/Si ~ 0,20 en absence de brucite ont été observés à des pH avoisinants 12,5. La sorption sur le M-S-H est favorisée dans l'ordre Na+ < Mg2+ < Ca2+. Enfin, l'aluminium s’incorpore dans le M-S-H pour former du M-A-S-H. Un rapport Al/Si jusqu’à 0,2 est observé dans des suspensions synthétisées en présence d’aluminate de sodium ou de métakaolin. Les données de RMN de l’aluminium ont montré que celui-ci est présent dans les sites tétraédriques et octaédriques du M-A-S-H. La phase formée a une structure similaire à celle du M-S-H avec un degré de polymérisation des silicates et une charge effective de surface comparablesThe various options to store radioactive wastes in deep geological strata considered in France or Switzerland include the use of large volumes of cementitious materials for infrastructure in contact with argillaceous rocks. So-called low-pH binders were developed to minimize disruption to the surrounding rock by the alkaline plume. Studies conducted on the interaction zone between concrete and clay systematically highlighted the formation of magnesium silicate phases including magnesium silicate hydrate (M-S-H) at the interfaces, which can presently be modeled only partially due to incomplete thermodynamic data. The purpose of this study was to characterize these phases in temperature, aluminum, calcium, and alkali conditions in order to provide the thermodynamic data and improve the calculations on physicochemical evolutions of low-pH concretes and possibly Portland concretes.M-S-H phases were synthesized from magnesium oxide and silica fume in batch experiments at different temperatures, for various times and varying Mg/Si. A large number of different techniques such as chemical solid characterizations coupled with suspension investigations and liquid analyses were used to characterize the phases synthesized. Initially a M-S-H phase with Mg/Si equal to 1 was precipitated in addition to amorphous silica and brucite whatever the total Mg/Si used for the synthesis. After long equilibration times, 2 to 3 years at 20°C or 1 year at 50 and 70°C, the Mg/Si in M-S-H ranged from ~0.8 to ~1.4. The temperature had little influence on the M-S-H formed even if the M-S-H formation occurred faster and M-S-H was thermodynamically slightly less stable when the temperature was increased. At or near to equilibrium, M-S-H phases were characterized with ill-defined structure comparable to nano-crystallite, hydrated phyllosilicates with a surface area greater than 200 m2/g. A M-S-H solid-solution model was calculated and implemented in the thermodynamic database.It was observed that M-S-H also form from calcium silicate hydrate (C-S-H) with a Ca/Si = 0.8 in the presence of additional magnesium. In batch experiments, a low pH of the suspensions (pH ≤ 10) destabilized C-S-H or prevented its formation and favored the precipitation of M-S-H. Detailed investigations showed that small amounts of calcium could be incorporated in M-S-H (Ca/Si ≤0.10), such that also calcium containing end-members were added to the M-S-H solid-solution. At pH ≥ 10-10.5, two separate silicate phases coexist: C-S-H and M-S-H. The interface between a simplified “low-pH” binder mimicked by C-S-H with Ca/Si = 0.8 and a magnesium-rich environment mimicked by M-S-H with Mg/Si = 0.8 confirmed these phenomena. SEM-EDS observations and reactive transport modelling using the thermodynamic data derived in the batch experiments showed the fast deterioration of the C-S-H and the precipitation of M-S-H in the C-S-H disk at the interface and a homogeneous uptake of calcium in the M-S-H disk.The increase of pH favors the sorption. M-S-H with a sodium uptake up to Na/Si ~ 0.20 and without brucite formation were observed at high pH (12.5). The sorption on M-S-H was favored in the order Na+ < Mg2+ < Ca2+. Finally, aluminum was incorporated into M-S-H to form magnesium alumino-silicate hydrate (M-A-S-H). An Al/Si ratio up to 0.2 was observed in presence of sodium aluminate or metakaolin. 27Al MAS NMR data showed that aluminum was present in both tetrahedral and octahedral sites of M-(A-)S-H. The M-(A-)S-H formed had a similar structure as M-S-H with a comparable polymerization degree of the tetrahedral silicates and a similar surface charge
32
Bottoni, Jennifer C. „The Heart's Portrait: An Emily Dickinson Fascicle for SATB Choir and String Quartet“. Scholarly Repository, 2009. http://scholarlyrepository.miami.edu/oa_theses/200.
Annotation:
The Heart's Portrait is a twelve movement composition for SATB choir and string quartet. The eight poems selected as the text for this work were penned by the eminent American poet Emily Dickinson. The text for the first movement, Dickinson's poem "If I can stop one Heart from breaking," succinctly describes the themes she commonly expounded upon in her writings: life, love, aching, pain, and purpose through faith. The remaining seven poems were chosen because they also explore these elemental themes. The main poem returns in variation throughout the piece, resulting in a modified rondo. To complement the four-part consort of voices, I selected a consort of strings in the form of a string quartet. The role of the quartet varies throughout the work from subservient to the vocal part, to dominant of the entire texture, to an equal partnership with the voices; these relationships are dictated by the text. Throughout the movements, I was able to explore a range of compositional techniques, both traditional and contemporary, while maintaining the primary purpose of unifying the text and music. This paper illustrates the initial compositional decisions made to begin the piece, the texts chosen and their placement within the work, the poet's history as it relates to the composition, a brief discussion on composers who have set Dickinson's words, and a thorough analysis of the work itself.
33
Codina, Maud. „Les bétons bas pH - Formulation, caractérisation et étude à long terme“. Phd thesis, INSA de Toulouse, 2007. http://tel.archives-ouvertes.fr/tel-00199021.
Annotation:
L'utilisation de bétons à base de ciment Portland en association avec de l'argile dans un site de stockage en profondeur de déchets radioactifs se heurterait à deux difficultés. La forte alcalinité du matériau cimentaire dégraderait les propriétés imperméables de l'argile. De plus, l'importante augmentation de température induite par l'hydratation du ciment dans un ouvrage massif pourrait provoquer des microfissures nuisibles à la durabilité du matériau. Des recherches ont donc été engagées pour mettre au point un béton permettant de pallier ces deux principaux écueils. L'objectif est d'obtenir un béton satisfaisant aux contraintes suivantes : pH de la solution interstitielle du matériau hydraté inférieur à 11 afin de limiter l'attaque alcaline de l'argile (d'où l'appellation de béton « bas pH »), échauffement inférieur à 20 °C au cours de l'hydratation, retrait modéré, performances mécaniques élevées (résistance à la compression supérieure à 70 MPa).Plusieurs liants incorporant du ciment Portland, de la fumée de silice, des cendres volantes et / ou du laitier sont comparés. Tous ces systèmes sont caractérisés par des teneurs en ajouts très importantes, la fraction de clinker n'étant comprise qu'entre 20 et 60 %.
Après un an d'hydratation, la solution interstitielle des pâtes de liants bas pH présente des pH compris entre 11,7 et 12,2 selon la formulation, réduit de plus d'une unité par rapport aux témoins à base de CEM I ou CEM V. Cette chute de pH (comparé à celui d'un CEM I (13,5)) est concomitante i) d'une forte réduction de la concentration en alcalins dans la solution porale, ii) de la disparition ou de la diminution de la teneur en portlandite dans les matériaux, iii) et de l'enrichissement en silice des C-S-H.
Ces liants ont été utilisés avec succès pour mettre au point des bétons bas pH haute performance (pH de la solution interstitielle compris entre 10,7 et 11,6 selon les liants) avec les outils classiques du génie civil.
Enfin, des études de lixiviation en eau désionisée montrent que les pâtes de liants bas pH se décalcifient environ 4 fois moins vite que celle à base de ciment Portland. Les évolutions minéralogiques et les flux lixiviés par l'eau pure (pH 7) à 25 °C ont pu être modélisés à l'aide du code HYTEC en associant deux modules de réactivité chimique et de transport par diffusion.
34
Bousedra, Harrag. „Codeposition electrolytique de zinc et de cadmium sur acier doux : resistance a la corrosion“. Université Louis Pasteur (Strasbourg) (1971-2008), 1988. http://www.theses.fr/1988STR13109.
Annotation:
Analyses et etudes de la structure des revetements obtenus par co-deposition electrolytique de zinc et de cadnium sur des aciders bas carbone. Etude de la resistance a la corrosion en brouillard salin des depots et de l'influence de leur composition
35
Mphethe, Vusani. „Activity patterns, species composition and dietary analysis of bats on two macadamia farms in Levubu, South Africa“. Diss., 2017. http://hdl.handle.net/11602/978.
36
Codd, Jonathan Richard 1974. „Torpor associated fluctuations in the pulmonary surfactant system in Gould's wattled bat Chalinolobus Gouldii“. 2001. http://web4.library.adelaide.edu.au/theses/09SM/09smc669.pdf.
37
林淺敏. „Study on the composition and brightener of hard gold plating in acidic bath“. Thesis, 1991. http://ndltd.ncl.edu.tw/handle/93792760785267614643.
38
„Adding to the Bass Clarinet Repertoire Through Informed Transcription“. Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.63042.
Annotation:
abstract: The bass clarinet, developed almost a century after the soprano clarinet, isrelatively young compared to many modern instruments and consequently possesses a
comparatively small repertoire. Until the mid-20th century, composers did not view the
bass clarinet as a solo instrument and instead perceived it as cumbersome due to its low
pitch and predominant use as an accompaniment instrument, resulting in a dearth of solo
repertory for the bass clarinet before this time. Bass clarinetists desiring to perform
repertoire from the Baroque, Classical, and Romantic periods must then appropriate
music from other instruments. Through this study, I identify and detail a process for
creating informed transcriptions of music for the bass clarinet to increase its body of solo
and chamber literature. I examine the original scores and existing transcriptions of
Concerto in C minor by Henri Casadesus (attributed to Johann Christian Bach) for cello,
Bassoon Concerto Op. 75 by Carl Maria von Weber, Trios, Hob. IV:1-4 “London Trios”
by Joseph Haydn, Kol Nidrei, Op. 47 by Max Bruch, and Clarinet Concerto in A Major,
K. 622 by Wolfgang Amadeus Mozart to identify methods for the transcription process. I
compare this to the transcription process for other instruments through examination of the
Clarinet Sonatas, Op. 120, Nos. 1 and 2 by Johannes Brahms, which were transcribed
from clarinet to viola by the composer himself. In this document, I discuss the historical
background of the selected pieces, the selection process, editing considerations,
performance practice, and the usage of transcriptions as a pedagogical tool. Although
transcriptions for the bass clarinet already exist, appropriation of music from other
instruments will continue to supplement and diversify its repertoire. These pieces serve to
develop important technical and musical skills and allow the bass clarinetist to play
music across various style periods. In this project, I select and transcribe three pieces for
the bass clarinet: Sonata for Cello No. 1 in F Major by Benedetto Marcello, Grand
Concerto for Bassoon and Orchestra by Johann Nepomuk Hummel, and Serenade in F
minor, Op. 73, by Robert Kahn. The transcribed scores are included in the appendices of
this document.Dissertation/Thesis
Doctoral Dissertation Music 2020
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„Patterns and Soundscapes: An Album in Five Movements for Alto Saxophone, Bass Clarinet, String Quartet, Solo Viola, Two Drum Sets, and Electronics“. Master's thesis, 2020. http://hdl.handle.net/2286/R.I.57305.
Annotation:
abstract: Patterns and Soundscapes explores the concept album format, popularized in the late 1960s and into modern times by artists such as the Who, Pink Floyd, and Frank Zappa. Specifically, I sought to adapt this format as a compositional process aimed towards the completion of a large-scale work that can be presented in album format and live performance. Further influenced by the concept album, I sought to create pieces consisting of similar musical techniques, motivic ideas, and harmonic language, so that each piece could be performed on its own or be combined as a multi-movement work.
I began writing this work in the spring of 2019, with “Colored Red Currents” for string quartet and “Conspiracy Wall” for two drum sets. After realizing that both pieces had a similar sound and style, I began to consider how they could function within an album format, and how they could also work together to form a large-scale musical work. I then decided that each subsequent piece, in addition to being composed of similar musical ideas, would be written in a manner that allowed for seamless transitions between the end of one and the beginning of another, and would also introduce the instrumentation making up the full ensemble in the last movement.
This work begins with the sparkling and rapid string quartet, “Colored Red Currents,” then moves to the energetic and groove based “Conspiracy Wall” for two drum sets, the meditative “Interlude” for solo viola and electronics, and the quick and mechanical “Beat Frequency” for alto saxophone, bass clarinet, and electronics. The work ends with “ALL IN,” where the full ensemble is finally formed, and all of the patterns and soundscapes come together to form a bombastic and wild finale.Dissertation/Thesis
Masters Thesis Composition 2020
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„Redeemed from the Fall For Double Choir & Soloists with Violin, Bass Clarinet, Marimba & Organ“. Doctoral diss., 2017. http://hdl.handle.net/2286/R.I.44109.
Annotation:
abstract: Redeemed from the Fall is a cantata in five movements for double choir SSAATTBB with Soprano and Baritone soloists and violin, bass clarinet, marimba, and organ. The work’s approximate duration is 19 minutes. The text is derived from ancient and modern scriptures including the Bible, the Book of Mormon and the Book of Moses as contained in the Pearl of Great Price. The textual theme addresses the compelling narrative of the redemption of Adam and Eve after the Fall and expulsion from the Garden of Eden. The work begins with an instrumental overture, In Sorrow, inspired by the fallen state our first parents entered as consequence for partaking of the forbidden fruit. The second movement, The First Angel, is an aria for baritone accompanied by choir a cappella. It sets to music the words of an angel who appeared to Adam proclaiming that animal sacrifice is representative of the future atoning sacrifice of the Son of God. The central movement, The Baptism of Adam, is for soprano solo, choir (SSAA) and the ensemble. It depicts the miraculous events surrounding Adam’s acceptance of the gospel covenant, with the Holy Spirit baptizing Adam by immersion in water. The subsequent a cappella chorus, This Is the Plan of Salvation, further explores the truth that salvation for Adam and Eve and all their posterity was prepared through Christ from the beginning. The full chorus and ensemble perform the finale, Adam Fell, declaring that the very purpose of the Fall was that all humans could know the joy of redemption through Christ.Dissertation/Thesis
Doctoral Dissertation Music 2017
41
Hanson, Chad W. Chanton Jeffrey P. „The influence of diet on stable carbon isotope composition in otoliths of juvenile red drum (sciaenops ocellatus)“. 2004. http://etd.lib.fsu.edu/theses/available/etd-04092004-143453.
Annotation:
Thesis (M.S.)--Florida State University, 2004.Advisor: Dr. Jeffrey P. Chanton, Florida State University, College of Arts and Sciences, Department of Oceanography. Title and description from dissertation home page (viewed June 16, 2004). Includes bibliographical references.
42
Cheng, Ming-Chun, und 鄭明俊. „Study on Polyamide synthsis of different composition ethyleneamine and their dyes adsorption in finite bath“. Thesis, 2001. http://ndltd.ncl.edu.tw/handle/33486539628831253269.
Annotation:
碩士國立臺灣科技大學
纖維及高分子工程系
89
The principal aim of this study was used adipic acid、 ethyelenediamine、diethyelenetriamine、triethyelenetetraamine and tetraethylenepentamine to synthsis different composition ethyleneamine Polyamides. The structure and quality of these polymer was confirmed by Infra-Red、Elemental Analysis 、 Acid Value and Viscosity. These Polyamide were applied to theanthraquinone disperse dyes and the azo acid dyes；therefore the anthraquinone disperse dyes interacted with Polyamides were shown to blue shift and the azo acid dyes indicated red shift .Besides including the effect on polyster fiber and nylon fiber by adsorption with Polyamides，the resules were shown to all of Freundlich types. There were two method of immersed and padded to fix with Polyamides fix agent after PET microfiber dye.It were found that fixtion wuld increase of K/S value、durability finish、durability coeffcient、durability sublimation of dyed PET microfiber fabric.
43
„Survey of Double Bass Drumming: History, Technique, and Performance Practice“. Doctoral diss., 2019. http://hdl.handle.net/2286/R.I.53767.
Annotation:
abstract: Double bass drumming is a genre of drum set performance that utilizes a bass drum pedal for both the right and left feet. This allows the feet to function much like the hands, and provides the ability to play faster rhythmic passages on the bass drum that would otherwise be impossible in the classic single-pedal arrangement. The feet are then elevated to new levels of importance, which creates new challenges in four-limb coordination.
This double bass drumming tradition has been in use since the mid-20th century, and it has become extremely popular since that time. Today, virtually every drum set retailer offers the double bass pedal as part of their inventory. Many large drum solo competitions, such as the Guitar Center Drum-Off, also include a double bass pedal as part of the provided drum set.
However, even with this recent growth in popularity of double bass drumming, there remains a significant lack of scholarly research on the topic. This could be due to the popularity of double bass drumming remaining fairly new, and that the primary implementation of this drumming style remains outside of the art music tradition. This document will help further bring this complex drumming tradition to light by providing an in-depth analysis of the double-bass drumming style through historical overview, explanation of various technical approaches and considerations, and an analysis of common double bass drumming performance practice.Dissertation/Thesis
Doctoral Dissertation Music 2019
44
„Performing Tango on the Double Bass: A Performance Guide to Andrés Martín’s Tres Tangos para Duo de Contrabajos“. Doctoral diss., 2018. http://hdl.handle.net/2286/R.I.49101.
Annotation:
abstract: Tres Tangos para Duo de Contrabajos (Three Tangos for Double Bass Duet) is a three-movement set written by Andrés Martín and commissioned by Darren Cueva specifically for this document and accompanying performance project. This piece blends tango with Western art music in a style often referred to as “nuevo tango” (new tango) which was popularized by Astor Piazzolla. This research paper will serve as a performance aid for those wishing to present tango idioms on the double bass in addition to a more detailed guide to performing Tres Tangos by Martín.
To give context to performers, this survey begins with a brief history of the tango and the life and stylistic developments of Astor Piazzolla. Various music and dance styles that contributed to early tango include, milonga, habanera, and tango andalúz. The resulting tango was popularized as a music and dance style in the early twentieth century. Astor Piazzolla brought the tango to the concert hall after studying composition with acclaimed professor Nadia Boulanger. His new tango style merged traditional tango, classical composition, and jazz music, which he was exposed to after his family moved from Argentina to New York.
Tres Tangos was modeled after the style of Piazzolla. Characteristic articulation and improvised techniques are a fundamental aspect of the tango sound; a successful performance will depend on the musician’s ability to create these sounds. A detailed description of the most common elements is provided as well as suggestions for creating them on the double bass. Finally, I have compiled a specific performance guide for Tres Tangos. This guide includes rhythmic, articulation, fingering, and notational considerations, to assist in the performance of this piece.Dissertation/Thesis
Doctoral Dissertation Music 2018
45
„A portfolio of four original music compositions“. 1998. http://library.cuhk.edu.hk/record=b5889514.
Annotation:
Trombone concerto (first movement) -- Post-Zero -- Trio for flute, violin and cello, no. 2.submitted by Tang Pan-hang Benny.
Thesis submitted in: December 1997.
Thesis (M.Mus.)--Chinese University of Hong Kong, 1998.
Abstract also in Chinese.
Abstract --- p.i
摘要 --- p.ii
Acknowledgment --- p.iii
Declaration --- p.iv
Introduction --- p.1
Trombone Concerto (first movement) --- p.2
Programme notes --- p.3
Remarks --- p.5
Instrumentation --- p.6
Seating Plan --- p.7
Scores --- p.8
Post-Zero 零後 --- p.56
Introduction --- p.57
Programme notes --- p.57
Performance direction --- p.61
Instrumentation --- p.62
Seating plan --- p.62
Scores --- p.63
"Trio for Flute, Violin and Cello No.2" --- p.144
Programme notes --- p.145
Performance direction --- p.145
Scores --- p.146
Biography --- p.159
Music Works List --- p.160
46
Chiu, Wang-Ting, und 邱婉婷. „The Road to “Formosa Prima Bass Singer”: A Research to Hung, Yi Feng’s Compositions and “Mixed-Blood Songs”“. Thesis, 2011. http://ndltd.ncl.edu.tw/handle/97836944797780097434.
Annotation:
碩士國立臺灣大學
音樂學研究所
99
Past discussions on 1950-1970’s Taiwanese popular songs were often related to “the meaning of producing mixed-blood songs,” and some related issues such as blaming mixed-blood songs which were covered from Japanese songs for Taiwanese popular song’s decline, or taking as for granted that Taiwanese popular songs were filled with Japanese flavour. However, taking Hung, Yi-Feng’s genre for example, there are both mix-blood songs and his own compositions, which is contradictory to the past discourse on Taiwanese popular music. Therefore, the importance of research on the individual musician could not be ignored.This research re-exams the discourse on “the historical meaning of Taiwanese popular songs”through the case study of the music work and life of a Taiwanese popular bass singer, Hung,Yi-Feng (1927-2010). By gathering LP recordings, 1950-1970’s song books, related newspaper articles, and information from related person by interview, I would re-construct the historical context of Taiwanese popular songs and the transmission of Hung ,Yi-Feng’s music with the perspective of Andrew Jone’s “media-loop”. This research found that, Hung,Yi Feng’s compositions make up the same ration as his mix-blood songs, and this result shows that Taiwanese popular song’s genre not only consisted of “mix-blood songs” but also musician’s compositions. In addition, Hung, Yi-Feng also made use of his bass singing characteristics in his performance by singing “mix-blood songs” and his compositions. After obtaining the title of “the best bass singer,” Hung, Yi-Feng’s bass singing became the audience’s best choice through his music’s circulation in the media loop. That is to say, “mix-blood songs” and “compositional songs” both provide nutrients to Taiwanese popular songs in the case study to Hung’s music.
47
Berger, Steven. „Compositions [Instrumental music. Selections]“. Thesis, 1992. http://hdl.handle.net/2429/2425.
Annotation:
Compositions include Sightings : for clarinet and marimba (ca. 14:00), Proboscis maximus : bass trombone solo (ca. 11:00), Pathways : for violin, ’cello and piano, Impulses : for marimba duet, and Gleaned from the wind : for chamber orchestra (ca. 13:00).
48
Stiles, Robert Daniel 1969. „Serge Koussevitzky : recently discovered compositions for double bass and for large ensembles within the context of his life and career“. Thesis, 2003. http://hdl.handle.net/2152/12927.
49
Stiles, Robert Daniel. „Serge Koussevitzky recently discovered compositions for double bass and for large ensembles within the context of his life and career /“. 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3143359.
50
Lin, Chun-Hui, und 林純慧. „Ethnic Materials in Modern Music: The Dance of Daai-Suite for Double Bass and Piano/Joy- Chun-Hui Lin Personal Composition Recital“. Thesis, 2006. http://ndltd.ncl.edu.tw/handle/34968843709010953056.
Annotation:
碩士東吳大學
音樂學系
95
Inheritance of culture relies on various forms of creation and performance, no matter if through oral descent, via scores, or digital media technique. Flow of time functions as both test and elimination, and through the precious cultural inheritances left, we are able to gain sight of the ancient culture carried over generations, and enable it to continue on. Every group, from country, race, to society, at the family and individual level, generate their own culture. Different geographic locations and different eras generate culture with different styles. Taiwan, as an island, plays a definite geographical and political role in the region. However, a wide influence from cultures of the west, from China, Japan and Korea, impact Taiwan profoundly. Art which actually originated from Taiwan is rarely know. There are many different qualities and approaches for good contemporary music. Besides contemporary techniques, numerous composers have sought their roots in musical culture through the applied in their own compositions such as Béla Bartók (1881-1945). Culture needs to be passed onto the next generation. I believed that it is the inevitable responsibility of Taiwan composers to study music of the island. As a composer, I realized myself that music needs to be rooted in the soil of a culture, and to grow continuously to create contemporary music which originates in Taiwan. Nevertheless, the complexity and depth is beyond the task of merely applying melody to certain local music. My concern is to further include the meaning of music materials and the issue of cultural continuation a given composition. Therefore, I expect myself to make contribution to the land by creating contemporary music that makes distinct my own culture and takes ethnic materials as a genuine theme. Joy- Chun-Hui Lin Personal Composition Recital 1.Where is the Happiness- Etudes for Violin Duet 2.The Dance of Daai- Suite for Double Bass and Piano 3.For ‘‘R’’ 4.The Whistling Song- for Solo Violin and Chamber Orchestra 5.Joy- Computer Music 6.Three Poems for Soprano and Chamber