Dissertations / Theses on the topic 'Compost workers'
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1
Zhang, Xi. "The relationship between temperature regime and pathogen kill in composting and assessing exposure of compost workers to airborne biohazards." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/5755.
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The study has been conducted in three parts: I. Collect both temporal and spatial thermal data; 2.
Quantify the number of organisms of interest in compost samples; 3. Collect and analyse
bioaerosol samples to test the workers’ exposure to organisms of concern.
The study obtained more detailed and extensive data of both spatial and temporal temperature
distributions in real, operational compost piles than any previous studies. By using data loggers
allocated at every part of the pile (approximately surrogate of each 0.5 m3 material) and
continuously record temperatures from building the new pile till screening. A series of findings
have been achieved from the intensive temperature monitoring, such as how differently material
at different positions could behave in terms of temperature; how physical parameters (particle
size, porosity etc.) of the material could influence the process and so on.
Furthermore, the study also correlated the time-temperature regime with level of pathogen-kill for
a full-scale operational composting practice. Total coliforms, Thermo-tolerant coliforms, E. coli
and Enterococci were confirmed and quantified. Significant destruction of microbial organisms
was observed during composting based on the performance of Enterococci. Some limitations
about the test methods have been found. Also, some other factors such as temperature fluctuation,
occurrence of re-growth, interference of environmental organisms etc. all made the composting
microbiology a complex issue.
Besides studying the bacteria in the pile, effort has also been given to investigating exposures of
how the airbome bacteria from handling the compost to workers at the site. It has been found that
the cab can well protect the workers from being exposed to the bioaerosols; precipitation could
significantly reduce the number of airborne bacteria; turning and screening the pile do result in
relatively high concentration of bioaerosols while the influence on upwind and downwind area
from composting facility is negligible; also the presence of airborne bacteria does show some
consistency with the performance of bacteria in the feedstock over time.
In addition, moisture content and nutrients (C, N) concentration analysis were determined on the
compost samples. The weather conditions had been monitored continuously during the whole
process.
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Kumpula, Joshua J. "An analysis of selected band works with composer perspective /." View online, 2009. http://repository.eiu.edu/theses/docs/32211131565352.pdf.
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Alzabadi, Hamzeh. "Biomarkers of evaluation of complex environmental exposure : exposure assessment of sewage workers to genotoxicants." Thesis, Nancy 1, 2010. http://www.theses.fr/2010NAN10008/document.
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Les égoutiers sont exposés à une grande variété de mélanges de produits chimiques beaucoup ce sont des substances génotoxiques ou cancérigènes. Le but de cette étude transversale était d'explorer des biomarqueurs intégrés d’exposition et des effets précoces chez les égoutiers afin de mieux apprécier leur risque cancérogène (article I-protocole). L'article II expose l'étape de validation préalable effectuée sur la lignée cellulaire pour nos objectifs. Avec un recueil en 10 mois et sur une base hebdomadaire, nous avons, a) évalué l'exposition personnelle des égoutiers (n=34) et administratifs (n=30) (groupe témoin) à des hydrocarbures aromatiques polycycliques (HAP) et composés organiques volatils (COV) dans l'air des lieux de travail, b) évalué la génotoxicité de leurs extraits organiques urinaire par des tests in vitro : tests des comète et des micronoyaux sur les cellules Hep G2, c) évalué la réponse à un stress oxydatif de l'ADN par la mesure du 8 oxo 2' deoxyguanosine urinaire (8 oxodG) dans les urines de 24h (Article III). Les tests ont montré la présence de plus de génotoxiques dans les urines des égoutiers (P <0,001). La moyenne du 8 oxodG urinaire chez les égoutiers était plus élevée (non significatif, P = 0,28) que les administratifs et ses valeurs moyennes ont été associées (P = 0,04) avec les années de travail dans le système des égouts. Les concentrations des HAP et COV dans l'atmosphère professionnelle des égoutiers étaient élevées par rapport à celles des administratifs (P <0,01) et il a été montré une augmentation de risque du cancer en utilisant les facteurs d'équivalence de toxicité et de risque unitaire de cancer. En conclusion, les biomarqueurs intégrés urinaire d’exposition et non spécifiques montrent que les égoutiers sont professionnellement exposés aux mélanges des substances génotoxiques. Il n’est pas possible de relier nos résultats avec l’accroissement du risque cancérogène chez les égoutiersSewage workers are exposed to a wide variety of mixtures of chemicals many were shown to be genotoxicants or carcinogens. The aim of this cross sectional study was to explore integrated biomarkers of exposure and of early effects among sewage workers in order to better assess their carcinogenic risk (Paper I-protocol). Paper II, describes the validation step performed prior to choose the cellular line that meet our objectives. Over 10 months and on weekly basis, we, a) assessed the personal exposure of sewage (n=34) and office (n=30) workers (control group) to polycyclic aromatic hydrocarbons (PAHs) and volatile organic compounds (VOCs) in the air of workplaces, b) evaluated the genotoxicity of organic urine extracts by in vitro comet and micronucleus assays on Hep G2 cells, c) assessed the DNA oxidative stress by the 24h urinary 8 oxo 2' deoxyguanosine (8 oxodG) (Paper III). The tests showed greater genotoxicity in the urine extracts of sewage workers (P<0.001). The 24hr urinary 8 oxodG mean level in sewage workers was higher (nonsignificant, P=0.28) than office workers and its mean values were associated (P=0.04) with working years in sewage system. Workplace air concentrations of PAHs and VOCs were elevated in sewage compared to office workplaces (P<0.01) and resulted in an increased lifetime cancer risk using toxicity equivalent factors and inhalation unit risk of cancer. In conclusion, the applied integrated and non-specific urinary biomarkers show that sewage workers experience exposure to multiple genotoxicants at the workplace. It is not possible to simply link our results with the increased cancer risk in sewage workers
4
Kim, Eun Hye. "Selected Organ Works of Joseph Ahrens| A Stylistic Analysis of Freely Composed Works and Serial Compositions." Thesis, University of Cincinnati, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3601252.
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Joseph Ahrens (1904-97) was a twentieth-century German composer, virtuoso organist, and teacher. He was a professor of church music at the Berlin Academy of Music (Berlin Hochschule für Musik), organist at the Cathedral of St. Hedwig, and choir director and organist at the Salvator Church in Berlin. He contributed to twentieth-century church music, especially of the Roman Catholic Church, and composed many works for organ and various choral forces. His organ pieces comprise chorale-based pieces, free (non-chorale) works, liturgical pieces, and serial compositions. He was strongly influenced by twentieth-century German music trends such as the organ reform movement, neo-baroque style, and, in his late period, serial techniques.
This document examines one freely composed work and two serial compositions by Joseph Ahrens: Canzone in cis (1944), Fantasie und Ricercare (1967), and Trilogia Dodekaphonica (1978). The purpose is to demonstrate that Ahrens's style developed throughout his career, from a post-Wagnerian harmonic language to one that adopted twentieth-century techniques, including serialism, while retaining the use of developed thematic material and a connection to neo-baroque characteristics in terms of forms and textures.
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Kim, Eun Hye. "Selected Organ Works of Joseph Ahrens: A Stylistic Analysis of Freely Composed Works and Serial Compositions." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1377871051.
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Hintze, Richard Robert. "Kent A. Newbury: A Study of His Choral Works." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/596086.
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Kent Alan Newbury is an American composer who was born in Chicago in 1925, and currently resides in Scottsdale, Arizona. He has composed over 550 works and has had 282 choral works published. His first published piece was Psalm 150 (1955) and his latest publication was Praise the Lord, All Ye People (2013). Thirty-nine of his published choral pieces are still in print. At this time, the unpublished manuscripts include 204 choral pieces, four solo works, four instrumental works for dance, thirty-seven brass or band works, six woodwind pieces, and nineteen string or orchestra works. Newbury's complete catalog is included as Appendix B. During his Initial Period (1955-1965), Newbury had eighteen pieces published. In his Developmental Period (1966-1985), 247 pieces were published. That is an average of twelve pieces published per year. During his Mature Period (1986-present), he has had seventeen pieces published. This is the first published work documenting Newbury's life and music. It is hoped this study will introduce more choral directors to Newbury's music and encourage the performance of his music by more college, church, and school choirs. Analysis of Newbury's published choral works reveals the consistent inclusion of four stylistic traits: syncopation, text painting, parallelism, and textural layering. This study demonstrates how the use of these stylistic traits develops through his compositional career, both in terms of the frequency of usage and the progression of the technique. Syncopation is plentiful throughout Newbury's three periods. Syncopation and rhythmic displacement are found in 37% of published pieces in his Developmental Period and in 100% of published pieces in his Mature Period. The syncopation ranges from simple to complex, and it is sewn into the inner fabric of his compositional style. Text painting is used a great deal in Newbury's Initial Period, but the frequency diminishes in his later periods. Instead, he approaches his composition as he is inspired by the text, and the music reflects the text, in its totality if not in detail. Parallelism is a favored stylistic trait. Newbury composes with parallel fifths and fourths, and parallel chords moving in similar motion (planing) as well as contrary motion (the omnibus progression). Despite his teachers' objections to the use of parallel fifths, this is a consistent element throughout his career. Textural layering is a technique in which notes are added or repeated to call attention to the text or to build harmonic structures. As with text painting, the frequency of usage is most prevalent in his earlier periods.
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Lyons, Renee C. "Silver Talisman or Moral Compass: Empathetic Experiences in Thimble Summer." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/5841.
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Sharp, L. Kathryn, and Cathy Whaley. "Diversity, Equity, and the Common Core Blues: Dispositions as a Compass." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/4277.
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Milin, Melita. "Kompozitorsko stvaralaštvo Miloja Milojevića [The Works of the Composer Miloje Milojević], Belgrad, 1998 [Rezension]: Kompozitorsko stvaralaštvo Miloja Milojevića [The Works of the Composer Miloje Milojević], Belgrad, 1998 [Rezension]." Musikgeschichte in Mittel- und Osteuropa ; 4 (1999), S. 206-207, 1999. https://ul.qucosa.de/id/qucosa%3A15540.
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Yamashita, Wendy T. "Kanai Kikuko : the life and works of a twentieth-century Okinawan composer /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/11255.
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Englesberg, Barbara J. "The Life and Works of Ethel Barns: British Violinist-Composer (1873-1948)." Thesis, Boston University, 1987. https://hdl.handle.net/2144/8791.
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Thesis (Ph.D.)--Boston University.
Bibliography: [p. 157]-161.Although little remembered today, Ethel Barns was recognized in London between 1895 and 1928 as an accomplished violin virtuoso and composer, who performed her own and others' works in chamber music concerts and occasionally in orchestra concerts as violin soloist. Like many performers of her day, Barns wrote music which both she and those closely associated with her performed, in the tradition of such nineteenth-century virtuosi as Henryk Wieniawski and Henri Vieuxtemps. Many of her works, particularly for violin, deserve to be incorporated into present-day repertoires. In keeping with popular tastes of the time, Barns wrote more short pieces for violin and piano (53), short piano pieces (19), and songs (37) than she did large-scale works, which include 5 violin sonatas, 2 works for piano trio, 2 suites for violin and piano, a Fantaisie-Trio for Two Violins and Piano, and three works for violin and chamber orchestra. Of the more than 120 compositions attributable to Barns, 87 are extant. The 15 manuscripts which this study has brought to light and which are now located in the British Library, together with her 72 published works, are discussed in this dissertation. Many of Barns's violin works utilize virtuosic techniques such as double-stops (most notably sixths), ricochet, staccato, and arpeggiando figures, the melodic use of the G-string, and cadenza-like passages. Writing first in the High-Romantic harmonic style, with Brahmsian characteristics evident in her well-written, though conservative Sonata No. 2 in A major, Op. 9 (1904), Barns gradually incorporated Late-Romantic style characteristics such as extensive chromaticism and formal expansiveness, as well as Debussy-like traits such as parallel harmonic progressions, metric flexibility, and added-note harmonies in her mature compositions [e.g., the Sonata No. 4 in G minor, Op. 24 (1910) and the Fantaisie for Two Violins and Piano]. Chapter One of this dissertation gives Barns's life history, while the two chapters on her career are largely devoted to details of the Barns-Phillips Chamber Music Concerts (1895-1913), which featured Barns and her baritone husband, Charles Phillips. The last four chapters comprise a complete discussion of her works by genre and are followed by appendices, including excerpts from some of her major compositions, a list of works, and a discography.
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Maekele, A., C. Bishop, and Phillip R. Scheuerman. "Survival of Bacteria on Selected Hand-Contact Surfaces Composed of Various Metals." Digital Commons @ East Tennessee State University, 1988. https://dc.etsu.edu/etsu-works/2885.
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Smith, Doug A. "A Guide to Composing Works for Voice and Marimba Intended for a Single Performer." Diss., The University of Arizona, 2011. http://hdl.handle.net/10150/202705.
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This research identifies successful compositional techniques for voice and marimba, intended for a single performer, through comparison of commissioned works composed by Beth Caucci, Philip Rothman, Emmanuel Séjourné, Raymond Helble, and Roger Foreman. The comparison highlights musical and technical aspects most effective when writing for this genre. My first personal experience combining marimba and voice occurred in January, 2003 during a performance of Šta Vidiš by Nebojša Živković. The piece, written in 1990, involves an ancient Serbian text chanted over a drone following an improvised introduction on the marimba. The performance’s positive reception inspired further exploration of this instrument combination. At the time of the performance, additional pieces for solo voice and marimba intended for a single performer were not available. Rather than focusing on transcription possibilities, I commissioned Four Songs by Beth Caucci. The premiere of Four Songs (October, 2003) resulted in another positive reception and led to inspiration for further commissions and development of this new genre. During the commissioning process, it became clear that a practical guide, concerning the possibilities and limitations of singing while playing the marimba, would aid composers in the creation of effective and playable works. Composers asked questions regarding technical aspects such as the maximum arm-span range possible, the difficulty of shifting the body angle to reach chords in various sharp and flat arrangements, and the feasibility of performing rapid passages on the marimba while sustaining a vocal line. This document offers an examination of these and other compositional considerations. The guide may also be used as a commissioning resource for other marimba and voice performers, as well as an aid in addressing technical demands of singing while playing the marimba. Recently, a few other percussionists have been working in the genre as well, including works performed, commissioned, or written by Brian Calhoon, Louise Devenish, Michael Neumeyer, and Dr. Lee Hinkle. The work of these musicians, in addition to my own commissions, is an illustration of how the genre has progressed during the last eight years and indicates the possibility of continued growth.
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Du, Plessis Amore. "The style transformation in Hanna Kulenty's string ensemble works composed between 1984 and 2013." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/62634.
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Polish composer Hanna Kulenty (1961- ) is considered a doyen among twenty-first century composers. Her compositions span over 30 years and comprise a wide range of works including solo instrumental works, operas, small and large chamber works, orchestral works and film scores. She experiments and incorporates various post-tonal era elements and devices into her compositions, often creating permanent tension and extreme emotional intensity. This study provides a detailed biography of Kulenty, a brief discussion pertaining to the development of music during the tonal and post-tonal eras and investigates Kulenty's approach to key musical traits (including melody, rhythm and harmony) in the selected string ensemble works in order to determine her musical idiom. Furthermore, this study serves as an essential reference for Kulenty's string quartets and quintet composed between 1984 and 2013. A style transformation pertaining to the selected string ensemble works is discussed. In her early compositions, Kulenty made use of 'polyphony of arches' comprising layers of arches within a large arch structure. Her more recent contributions make use of a single arch moving through different time dimensions, referred to as 'polyphony of time dimensions'. Ultimately, this study serves as a primary foundation for researchers who wish to investigate and discuss any stylistic aspects of the composer's oeuvre.Mini Dissertation (MMus)--University of Pretoria, 2017.
Music
MMus
Unrestricted
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Milin, Melita. "Kompozitorsko stvaralaštvo Miloja Milojevića [The Works of the Composer Miloje Milojević], Belgrad, 1998 [Rezension]." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-222719.
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Yu, Julie. "Alberto Grau the composer, selected works, and influence upon the Venezuelan and international choral community /." Thesis, connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3898.
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Thesis (D.M.A.)--University of North Texas, 2007.System requirements: Adobe Acrobat Reader. Accompanied by 3 recitals, recorded Nov. 17, 2005, Apr. 2, 2006, and May 14, 2006. Includes bibliographical references (p. 51-53).
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Maloff, Nikolai. "Convergence of European, indigenous and popular idioms in the works of Peruvian composer Enrique Iturriaga." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/363.
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This document deals with the life and works of Peruvian composer Enrique Iturriaga (1918-) and provides an introduction to his solo piano works: Tres Piezas para Piano (1945) and Preg6n y Danza (1952). The piano works under study are from an early period in the composer's life, a time when he was assimilating musical styles from Europe.
Chapter 1 is an overview of the state of Peruvian art music in the first half of the twentieth century, noting the contributions of foreign musicians who took up residence in Peru and exerted an important influence on the course of Peruvian art music in the post-war period.
Chapter 2 is an account of Iturriaga's life. Particular attention is given to musical influences and the people who shaped his career as a composer.
Chapter 3 is an overview of Iturriaga's works, excluding those for piano solo. Exemplary works from his three creative periods are discussed.
Chapters 4 and 5 discuss the solo piano works of Iturriaga: Tres Piezas para Piano and Preg6n y Danza.
Chapter 6 concludes the document by summarizing how Peruvian folk music serves as creative inspiration for Iturriaga's works.
A comprehensive list of Iturriaga's works, with information on how to obtain them, is included as an appendix.
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Walton, Eliot Alexander Lawson. "Léon Souroujon: complete works for violin solo." Doctoral thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/28521.
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Leon Souroujon (1913–2007) was a well-known Bulgarian violinist and pedagogue, however, his
importance as a composer is yet to be recognised. One of the objectives of this dissertation is to
present Souroujon as a composer who has a unique style and whose contribution to the
unaccompanied solo violin genre is noteworthy. Another objective is to introduce and categorize
his collection of published and unpublished compositions and to create a new complete edition of
all his compositions. Adopting a qualitative approach, extensive research has been conducted in
order to comprehend the historical setting of Souroujon’s life and career. The study highlights
important compositions in the development of unaccompanied solo violin genre that extends from
the Baroque through to the 20th century and references the composers that influenced Souroujon.
Some related information about societal shifts in Europe (in particular about the Second World
War) that was linked to the historical development of the unaccompanied solo violin genre was
gathered from a rich source of academic literature, online archives, audio recordings, and a varied
bibliography. Leon Souroujon’s library of manuscripts reveals his compositional process and is
evidence of his being a self-realized composer with a cohesive oeuvre. The dissertation includes
the performance of three recitals in which Souroujon’s compositions are performed and
juxtaposed to other pieces, including the seminal works of Bach, Paganini and Ysaÿe.
Souroujon’s compositions display his own musical language, articulated both by his way of
composing and his preferences for certain musical textures and expressions stemming from his
influences: Sephardic Jewish folk music, Romantic Music, Classical Music, and violin playing
traditions. His compositions, the first complete edition of his work, certificates, diplomas,
documents, and photographs are catalogued in the appendices; LEON SOUROUJON: OBRAS COMPLETAS PARA VIOLINO SOLO
Resumo:
Leon Souroujon (1913–2007) foi um famoso violinista e pedagogo búlgaro; no entanto, a sua
importância como compositor está ainda por reconhecer. Um dos objectivos desta dissertação é
apresentar Souroujon como compositor com um estilo único, cuja contribuição para o género de
Violino Solo Sem Acompanhamento é digna de menção; é, igualmente, catalogar e dar a
conhecer a totalidade da sua colecção de obras, publicadas e por publicar, e criar uma nova
edição completa de todas as suas composições. Adoptando uma abordagem qualitativa, foi
conduzida uma extensa pesquisa por forma a compreender o contexto histórico da vida e carreira
de Leon Souroujon. O estudo evidencia importantes composições no desenvolvimento do género
de Violino Solo Sem Acompanhamento, que se estende da era barroca e através do séc. XX,
fazendo referência aos compositores que influenciaram Souroujon. A partir de uma vasta fonte de
literatura académica, arquivos on-line, gravações de áudio e bibliografia variada, foi possível
obter alguma informação sobre transformações sociais na Europa (em particular sobre a II Guerra
Mundial) relacionada com o desenvolvimento histórico deste género musical. A biblioteca de
obras manuscritas por Leon Souroujon permitiu a revelação do seu processo de criação, e prova
como ele foi um compositor auto-realizado com uma obra coesa. A dissertação inclui a
apresentação de três recitais em que as suas composições são executadas e justapostas a outras
peças, incluindo obras de referência de Bach, Paganini e Ysaÿe. As composições de Souroujon
exibem a sua própria linguagem musical, articulada tanto pela sua forma de compor como pela
sua preferência por certas texturas e expressões musicais que derivam das suas influências:
música folclórica judaica sefardita, música romântica, música clássica e música tradicional para
violino. As suas composições, a primeira edição completa das suas obras, certificados, diplomas,
documentos e fotografias estão catalogados nos apêndices.
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Dousa, Nayeli. "The Piano Works of a Contemporary Mexican Expatriate: Samuel Zyman's Two Motions in One Movement and Variations on an Original Theme." Diss., The University of Arizona, 2013. http://hdl.handle.net/10150/292675.
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Samuel Zyman (b. 1956) is one of the leading Mexican composers of our time. He has composed more than 55 works in a variety of genres, including symphonies, concertos, orchestral pieces, film music, chamber music, and music for solo piano. This study includes an overview of Zyman's background as a musician and composer, with an emphasis on his solo piano works. It provides a discussion of Zyman's musical style and an analysis of his two most recent solo piano compositions, Two Motions in One Movement and Variations on an Original Theme.
Zyman cites the music of Bartók and Prokofiev, along with Impressionism and jazz music, as important influences in his piano compositions. This study demonstrates that in his solo piano compositions Zyman has created a style that incorporates four diverse influences of 20th-century modern compositional practice -- the tonal language and percussive approach to the piano of Bartók, textural elements found in Prokofiev's piano works, elements of Impressionism, and certain rhythmic and harmonic elements of jazz music -- into a distinctly personal 21st-century voice. This synthesis of disparate elements into a compelling contemporary musical language makes Zyman a modern composer deserving of the attention of professional musicians and scholars.
This study provides musicians insight into Zyman's compositional style, and brings the work of an important Mexican composer of our time to the attention of contemporary pianists and audiences.
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Severtson, Kirk A. "Poulenc's development as a piano composer a comparison of the solo piano works and the melodies /." Cincinnati, Ohio : University of Cincinnati, 2005. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1117195467.
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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2005.Title from electronic thesis title page (viewed Mar. 1, 2006). Includes abstract. Keywords: Francis Poulenc; French melodies; Piano works. Includes bibliographical references.
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Covarrubias, Ahedo Virginia. "Three Main Chamber Music Works for Strings and Piano by the Mexican Composer Manuel M. Ponce." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/95.
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This essay examines the three main large-scale chamber music works for strings and piano written by the Mexican composer Manuel M. Ponce: the Romantic Trio for violin, cello and piano (1912), the Sonata for violoncello and piano (1922), and the Sonata Breve for violin and piano (1930). The purpose of the study is to aid chamber music performers in the understanding, preparation and execution of these works. Written contextually for performing musicians, the format for the study of the individual works includes sections on historical background and commentary on analysis and performance considerations. In addition, each work exemplifies a different musical stage in Ponce's compositional development. The author traces the composer's compositional and stylistic evolution throughout the study of these works. The essay also includes a comprehensive biography of Ponce and a general overview of the composer's chamber music works.
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Mayes, Andrew. "Aspects of performance practice in works for recorder composed for Carl Dolmetsch between 1939 and 1989." Thesis, Birmingham City University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.506067.
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Ma, Oi-yee Ivy, and 馬靄怡. "A study of Su Shi's works of prose composed during his stay in Huangzhou (1080-1084)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B42712051.
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Murray, Russell Eugene. "The Voice of the Composer: Theory and Practice in the Works of Pietro Pontio, Volume 1." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc331433/.
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The life, music, and theoretical writings of Pietro Pontio (1532-1596) yield considerable insight into questions of theory and practice in the late sixteenth century. The dissertation places Pontio within his musical and cultural milieu, and assesses his role as both theorist and composer. Volume Two presents an annotated works list for Pontio's compositions, transcriptions of archival documents
used in the study, and transcriptions of representative musical compositions.
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Murray, Russell Eugene. "The Voice of the Composer: Theory and Practice in the Works of Pietro Pontio, Volume 2." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc332450/.
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The life, music, and theoretical writings of Pietro Pontio (1532-1596) yield considerable insight into questions of theory and practice in the late sixteenth century. The dissertation places Pontio within his musical and cultural milieu, and assesses his role as both theorist and composer. Volume Two presents an annotated works list for Pontio's compositions, transcriptions of archival documents
used in the study, and transcriptions of representative musical compositions.
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ROONEY, KIMBERLY DIANNE. "Compositional Trends in Solo Horn Works Composed by Horn Performers (1970-2005): A Survey and Catalog." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1218545699.
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Melvin, Andrew. "The creative symbiosis of composer and performer (An examination of collaborative practice in partially improvised works)." Thesis, Brunel University, 2010. http://bura.brunel.ac.uk/handle/2438/5513.
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This thesis comprises a portfolio of compositions with supporting commentary in addition to a general commentary on past and contemporary models of performance practice. The compositions all use elements of improvisation and are documented in recorded and score formats. Recordings and discussion of the rehearsal process of these works are also included. The thesis is divided into four parts. The first, entitled ‘Context’, examines issues of performance practice through reference to both historical and contemporary models. In this regard, particular attention is given to the work of Miles Davis and Peter Wiegold. Parts 2, 3 and 4 consist of the portfolio of original compositions with sub-headings as follows: ‘Beginnings’, ‘Transition’ and ‘Current Projects’. As a part of the commentary on the portfolio, the role of the performer as creative artist will also be examined.
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Rooney, Kimberly Dianne. "Compositional trends in solo horn works composed by horn performers (1970-2005) a survey and catalog /." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1218545699.
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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2008.Advisors: Bruce mcclung (Committee Chair), Randy Gardner (Committee Member), Robert Zierolf (Committee Member) Title from electronic thesis title page (viewed Oct. 4, 2008). Includes abstract. Keywords: horn; solo horn; hornist-composer; natural horn; jazz and horn; horn and electronic media Includes bibliographical references.
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Ma, Oi-yee Ivy. "A study of Su Shi's works of prose composed during his stay in Huangzhou (1080-1084)." Click to view the E-thesis via HKUTO, 2009. http://sunzi.lib.hku.hk/hkuto/record/B42712051.
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Giray, Selim. "A biography of the Turkish composer Ahmed Adnan Saygun and a discussion of his violin works /." Lewiston ; Queenston ; Lampeter : The Edwin Mellen press, 2003. http://catalogue.bnf.fr/ark:/12148/cb40161321x.
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Noble, Anthony Frederick George. "A contextual study of the life and published keyboard works of Elisabetta de Gambarini, together with a recording, facsimile of the music, and commentary." Thesis, University of Winchester, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327682.
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Antonopoulos, Spyridon. "The life and works of Manuel Chrysaphes the Lampadarios, and the figure of composer in late Byzantium." Thesis, City, University of London, 2014. http://openaccess.city.ac.uk/17439/.
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This is the first full-length, bioergographical study devoted to Manuel Chrysaphes, a fifteenth century composer, theorist, and singer, who worked in the imperial court of Constantinople as lampadarios (a director of the imperial choirs) under the final two emperors of Byzantium, residing in Mistra, Serbia, and Crete after the disintegration of the Empire in 1453. Aside from Edward Williams’ study dedicated to the fourteenth-century musical reforms of Ioannes Koukouzeles, there are virtually no complete studies on notable musicians of the late Byzantine Empire. This dearth of scholarship is all the more remarkable considering these musicians’ prodigious output and the emphasis on the individual and the act of composition evident in manuscripts and treatises of Byzantine psalmody. Manuel Chrysaphes was the probable scribe of four codices, the author of an important theoretical treatise, and the composer of approximately 300 works, which range from simple psalmody to virtuosic chants composed in the florid, kalophonic style. This study embraces Chrysaphes’ multifaceted personality as scribe, theorist, and composer, in order to bring his aesthetics and compositional voice into relief. A detailed analysis of Chrysaphes’ arrangement and settings of the Anoixantaria (verses and troped refrains based on Psalm 103) not only serves to update our knowledge of evening worship in late Byzantium, but also provides a starting point towards understanding the identifiable elements of Chrysaphes’ style as composer. More broadly, this thesis attempts to define the figure of composer in the context of the late medieval world of the Christian East. Chrysaphes took the kalophonic tradition he inherited – a tradition of elaborate psalmody in which individual composers figured prominently – to its logical extreme, filling out repertories with his own compositions, innovating in certain areas, and defending the traditions of his predecessors elsewhere. Chrysaphes, a scribe, singer, and choir director, operated first and foremost as a selfconsciously authorial composer. His prolific activity as author of hundreds of veritable ‘art works’ nevertheless leaves us with the impression that these were not detractors from, but rather, instruments of worship and spiritual perfection.
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Kim, Minhee. "Jazz Language in Through-Composed Chamber Works for Flute by Claude Bolling, Nikolai Kapustin, and Mike Mower." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1525171546070754.
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Zhivin, Sergey. "Epidemiological Study of Workers Employed in the French Nuclear Fuel Industry and Analysis of Health Effects of Uranium Compounds According to their Solubility." Thesis, Université Paris-Saclay (ComUE), 2015. http://www.theses.fr/2015SACLS123.
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Le lien entre l’exposition externe aux rayonnements γ et la mortalité par leucémie, par cancers solides et possiblement par maladies de l’appareil circulatoire (CSD) a fait l’objet de nombreuses études. En revanche, les risques sanitaires après contamination interne sont mal connus, et plus particulièrement en ce qui concerne l’inhalation de composés uranifères pouvant présenter des propriétés physico-chimiques (PCP) diverses (solubilité, isotopie etc…).L’objectif principal de mon travail de thèse a été d’étudier le risque de mortalité par maladies cancéreuses et non-cancéreuses chez des travailleurs du cycle du combustible français. La thèse était composée de trois axes : (1) revue critique de la littérature concernant l’impact l’uranium sur la mortalité ; (2) analyse de la mortalité dans la cohorte des travailleurs impliqués dans l’étape d’enrichissement ; (3) analyse de la relation entre la mortalité par CSD et la dose interne due à l’uranium chez les travailleurs d’AREVA NC Pierrelatte.Nous avons mis en place une cohorte de 4688 travailleurs impliqués dans l’étape d’enrichissement de l’uranium, suivi entre 1968 et 2008 pour étudier les risques associés à l’exposition à l’uranium très soluble. L’exposition annuelle de chaque travailleur a été reconstruite à partir de matrices emplois-expositions (JEM) et des données de surveillance radiologique pour les produits suivants : uranium, irradiation externe γ, nuisances non-radiologiques (trichloréthylène, chaleur, bruit). Au cours du suivi, 131161 personnes-années ont été cumulées et 21% de travailleurs sont décédés. L’analyse des ratios standardisés de mortalité (SMR) a montré un fort effet du travailleur sain (SMR toutes causes 0,69, intervalle de confiance (CI) à 95% de 0,65 à 0,74 ; n=1010). L’exposition interne à l’uranium et à la dose externe γ n’apparaissaient pas associées significativement à aucune des causes de mortalité considérées. Une tendance à la diminution du risque a été observée avec l’exposition à l’uranium pour la mortalité par cancer du poumon et par cancers lymphohématopoïétiques.Une analyse antérieure de la cohorte des travailleurs d’AREVA NC Pierrelatte avait suggéré une association entre l’exposition interne due à l’uranium et la mortalité par CSD. Une étude cas-témoins nichée a été mise en place pour analyser la relation dose-réponse et ajuster sur les facteurs de risque (tabagisme, pression artérielle, indice de masse corporelle, cholestérol, glycémie) recueillis à partir des dossiers médicaux. Cette étude a inclus 102 cas de CSD et 416 témoins appariés sur l’âge atteint, le sexe, la période de naissance et le statut socio-professionnel. Les doses absorbées ont été estimées en tenant compte des profils de solubilité des composés uranifères extraits de la JEM. La mortalité a été analysée par régression logistique conditionnelle. Une association positive mais associée à une large incertitude a été observée (Excess Odds Ratio 0,2 par 1 mGy, CI à 95% de 0,004 à 0,5). L’ajustement sur les facteurs confondants n’a pas modifié cette relation.Par rapport aux études précédentes, notre travail a plusieurs atouts méthodologiques : considération des PSC de l’uranium, calcul de la dose aux organes et ajustement sur les facteurs de confusion potentiels (exposition non-radiologique, facteurs de risque des CSD). L’absence d’association avec l’exposition à des composés uranifères très solubles peut s’interpréter par une élimination efficace de l’uranium par l’organisme. L’analyse de l’étude cas-témoins nichée prenant en compte les principaux facteurs de risque de CSD retrouve l’association avec le risque de CSD observée antérieurement. Les travaux futurs devraient se concentrer sur l’impact des incertitudes associées à l’estimation de la dose interne, la nature de l’association entre CSD et radiation et l’analyse de la relation temporelle entre l’exposition aux radiations et les facteurs de risque de CSDExternal γ-radiation exposure has been shown to be associated with mortality risk due to leukemia, solid cancer, and, possibly, circulatory diseases (CSD). By contrast, little information is available on health risks following the internal contamination, especially the inhalation of uranium compounds, especially with respect to their physicochemical properties (PCP), such as solubility, isotopic composition and others.The aim of this PhD thesis was to estimate mortality risk of cancer and non-cancer diseases in French nuclear fuel cycle workers and was composed of three objectives: (1) systematic literature review of the impact of uranium on mortality, (2) analysis of cancer and non-cancer mortality in the cohort of uranium enrichment workers, (3) assessment of the relationship between CSD mortality and internal uranium dose in AREVA NC Pierrelatte workers.To study the mortality risk associated with exposure to rapidly soluble uranium compounds, we set up a cohort of 4,688 uranium enrichment workers with follow-up between 1968 and 2008. Individual annual exposure to uranium, external γ-radiation, and other non-radiological hazards (trichloroethylene, heat, and noise) were reconstructed from job-exposure matrixes (JEM) and dosimetry records. Over the period of follow-up, 131,161 person-years at risk were accrued and 21% of the subjects had die. Analysis of Standardized Mortality Ratios (SMR) showed a strong healthy worker effect (SMR all deaths 0.69, 95% confidence intervals (CI) 0.65 to 0.74; n=1,010). Exposures to uranium and external γ-radiation were not significantly associated with any cause of mortality in log-linear and linear excess relative risk models. A monotonic decreasing trend was observed for lung and lymphohematopoietic cancers across uranium exposure categories.Previous analysis of AREVA NC Pierrelatte cohort of uranium processing workers suggested that exposure to uranium may increase CSD mortality. A nested case-control study was set up to analyze dose-response relationship and adjust for major CSD risk factors (smoking, blood pressure, body mass index, total cholesterol, and glycemia) collected from medical files. The study included 102 CSD cases and 416 controls matched on attained age, gender, birth cohort, and socio-professional status. Absorbed dose was calculated taking into account the solubility of uranium compounds extracted from the JEM. CSD risk was analyzed via conditional logistic regression. A positive but imprecise association was observed (excess odds ratio per mGy 0.2, 95% CI 0.004 to 0.5). None of the considered CSD risk factor confounded this association.Compared to previous studies, our work provided important methodological improvements: consideration of specific uranium PCP, calculation of uranium organ doses, and adjustment on potential confounding factors (non-radiological exposures and CSD risk factors). The absence of association between exposure to rapidly soluble uranium compounds and mortality in the cohort of uranium enrichment workers may be indicative of the effective elimination of uranium from the human’s body. Analysis within the nested case-control study confirmed association between internal uranium exposure and CSD mortality, not confounded by CSD risk factors. Our results should be confirmed in further studies. Future work should be focused on uncertainties associated with internal uranium dose estimation, nature of association with CSD mortality, and temporal relationships between radiation and CSD risk factors
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Shimanuki, Kayoko. "The Locus of Identity:Death, Genealogy, and History in William Faulkner's Works." Kyoto University, 2013. http://hdl.handle.net/2433/180627.
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Kyoto University (京都大学)0048
新制・課程博士
博士(人間・環境学)
甲第17965号
人博第661号
新制||人||159(附属図書館)
25||人博||661(吉田南総合図書館)
30795
京都大学大学院人間・環境学研究科共生人間学専攻
(主査)教授 水野 尚之, 教授 廣野 由美子, 准教授 小島 基洋
学位規則第4条第1項該当
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Severtson, Kirk A. "Poulenc’s Development as a Piano Composer: A Comparison of the Solo Piano Works and the aMélodies." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1117195467.
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Burrows, H. J. "Choral music and the Church of England 1970-1995 : a study of selected works and composer-church relations." Thesis, University of East Anglia, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.526874.
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Kwok, Koi Hin Samuel. "The life and choral works of the Hong Kong composer Lin Sheng-shih (林聲翕) (1914-1991)." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6453.
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Over the past ten to fifteen years, there has been a trend to perform multicultural choral works in the United States, including Chinese music. Although there are a number of studies about Chinese choral music, there is not much written specifically on Hong Kong choral music. Lin Sheng-shih was one of the most important Hong Kong music leaders in the twentieth century. Lin, an immigrant from mainland China, was a patriotic musician who dedicated his life to promoting Chinese music through his professional career in Hong Kong. This study confirms that he contributed tremendously to his new home.
Chapter One contains a brief historical and sociological background of Hong Kong choral music under British sovereignty and the biographical overview of Lin’s life into four periods from his early life in China to his immigration to Hong Kong. Chapter Two presents findings of Lin’s philosophical beliefs as an educator, composer and conductor through his own writings. Last, Chapter Three contains a discussion and analysis of his compositional styles chronologically with supporting examples from fifteen of his most representative choral works. The analysis leads to a greater understanding of the development of his evolving compositional style, from his continual search for new techniques in Western Classical-Romantic style to his use of Chinese elements with effective and illustrative piano accompaniments. This study illustrates that through his distinctive compositional periods, he combined Chinese idiomatic sonorities with Western compositional techniques in order to create his own voice.
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Knapp, Alexander Victor. "The emergence of Ernst Bloch as a 'Jewish Composer' : traditional elements in the published works of the 'Jewish Cycle'." Thesis, University of Cambridge, 2005. https://www.repository.cam.ac.uk/handle/1810/251953.
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Martens, Hester Susanna. "String quartets by South African composers : a comprehensive catalogue and annotated discussion of works composed between 1940 and 2016." Thesis, University of Pretoria, 2017. http://hdl.handle.net/2263/65579.
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The projected outcome of this mixed methods research document is the compilation of a catalogue of South African string quartets, composed between 1940 and 2016. The main motivation for the choice of topic is the author’s aspiration to create a document containing basic information, as well as performance notes, where possible, regarding as many quartets, composed within this time frame, as could be found. Every effort has been made to create a document that is as comprehensive as possible, containing specific information regarding the works discussed. Works by more than 75 composers are listed in alphabetical order according to the composer’s surname. Each composer’s works are listed chronologically according to date of composition. Although this document lists more than 180 works for string quartet, as well as a few significant works for string quartet with one or two other voices, this document should not be regarded as fully comprehensive. Each catalogue inscription consists of the name, birth year and birth place of the composer; country of residence, if not in South Africa; publishing details of the composer, where applicable; contact details of the composer; title of work and year of composition; dedicatee and commission, where applicable; approximate duration; titles of movements; details of first performance; details of recordings; notes (annotations). The catalogue is preceded by a succinct historic overview of the development of the string quartet as a medium, as well as a timeline of composers of string quartets in South Africa. A short chapter explaining the annotation process is included. The research document concludes with suggestions for further investigation.Thesis (DMus)--University of Pretoria, 2017.
Music
DMus
Unrestricted
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Wahl, Shelbie L. "By women, for women choral works for women's voices composed and texted by women, with an annotated repertoire list /." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/788.
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Herald, Christopher R., and Christopher R. Herald. "The Advent of an Artist-Composer Movement Exemplified by the Works of Saxophonists Colin Stetson, Evan Parker, and Contemporaries." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/625662.
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Arising out of the avant-garde jazz tradition, a particular genre of solo saxophone music has emerged that combines stylistic attributes of avant-garde jazz and improvisation with minimalism, and is dependent on circular breathing, harmonic manipulation, and other techniques. To distinguish the music and the saxophonists and composers associated with it I have referred to this genre as "post avant-garde." With its roots ultimately in avant-garde jazz of the 1960s, this genre arose through the solo improvisation work of Evan Parker from the 1970s to present, and the music has since been an influence on the work of Colin Stetson and other artists, as well as composers including Gordon Fitzell and Alex Mincek. This document examines a previously unacknowledged but distinct genre of solo saxophone music, as well as the music of associated artists and composers.
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Léger, Pauline. "La recherche d'un statut de l'oeuvre transformatrice. Contribution à l'étude de l'oeuvre composite en droit d'auteur." Thesis, Université Paris-Saclay (ComUE), 2015. http://www.theses.fr/2015SACLS154.
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Plusieurs initiatives d’origines européenne et nationale ont contribué à l’émergence d’un nouveau concept en droit d’auteur : l’œuvre transformatrice. La récurrence et la persistance des débats en la matière prouvent que ce concept ne traduit pas qu’un phénomène conjoncturel. Ces raisons conduisent en conséquence à lui consacrer une étude afin de déterminer la pertinence de l’admission de ce concept en droit d’auteur. L’étude débute par le constat que certains auteurs travaillent en s’adossant volontairement à une ou plusieurs œuvres originelles créées par autrui, qu’ils intègrent à leur processus créatif, aboutissant ainsi à la création d'une œuvre nouvelle. Ces pratiques d’emprunt créatif à l’œuvre d’autrui ont désormais pris une dimension particulière. Celle-ci s’explique d’une part par le développement du numérique. D’autre part, une partie du public, soit les destinataires des œuvres, souhaite participer activement à la création et revendique le droit d’utiliser les œuvres d’autrui comme autant de moyens d’expression et de création. Le législateur a certes envisagé l’hypothèse dans laquelle une œuvre nouvelle procède d'une œuvre préexistante au travers de la catégorie légale des œuvres composites. Cependant, les dispositions éparses qui lui sont consacrées souffrent d’une terminologie et d’un régime imprécis qui n’ont jamais fait l’objet d’une étude juridique approfondie. L’émergence du concept d’œuvre transformatrice illustre l’importance théorique et pratique de remettre en cause cette catégorie légale des œuvres composites. Aussi, la délimitation du concept suppose, dans un premier temps, une nécessaire remise en cause des catégories traditionnelles qui constituent les piliers du droit d'auteur, ainsi que les impératifs auxquels la constitution de ce monopole doit répondre. Cette lecture renouvelée aboutit à circonscrire la notion fonctionnelle d’œuvre transformatrice. Loin de se cantonner à proposer une nouvelle version de l’œuvre originelle, l’auteur de l’œuvre transformatrice exprime une opinion sur l’œuvre d’autrui, en induisant un décalage avec celle-ci. Bien souvent, il a réalisé son œuvre sans l’autorisation de l’auteur de l’œuvre originelle, et leurs droits entrent alors en conflit. Dans un second temps, l’étude s’attelle à appréhender ce conflit de droits. Le droit positif s’avère limité, de sorte qu’il faut affiner l’analyse juridique du lien unissant ces deux auteurs en l’enrichissant de la comparaison avec des mécanismes extérieurs au droit d’auteur, et d’autres issus du droit comparé. En définitive, c’est par le mécanisme de l’exception au droit d’auteur que l’on trouvera le moyen de concilier de manière pérenne les droits de l’auteur originel et ceux de l’auteur de l’œuvre transformatriceTransformative work is a new concept in copyright law that is emerging from several recent initiatives across Europe. The recurring debate on this concept indicates that it is not short-lived and highlights the need for a strategy to define a suitable legal framework. The purpose of this study is to assess the relevance of including the concept of transformative works in French and European Union copyright law. The starting point is authors’ integration of original works created by third parties in their creative process so as to generate new pieces of work. These practices are increasing in occurrence, with the rise of the digital age being one explanation of their prevalence. Furthermore, the public appreciates the value of these works and wishes to maintain the right to use third party works as a means of creative expression. The legislator has envisaged categorising new work inspired from pre-existing work as derivative and composite work. Nevertheless, the scarce arrangements that have been developed lack a proper framework and a detailed legal study has yet to be undertaken. The emergence of the concept of transformative work highlights the practical and theoretical need to challenge the legal definition of derivative and composite work. Far from offering a new derived version of the original piece of work, the author of a transformative work expresses an opinion on the third party work, by inserting a differentiating element. Therefore, the format of expression and content justify the legal analysis between the author of the original piece of work and the author of the transformative work. As such, framing the concept involves in the first instance, questioning the traditional pillars of copyright law and their requirements. This new understudy leads to the framing of the definition of transformative work. Secondly, this study focusses on how several copyright laws can co-exist. The content of positive law is limited and therefore, the study helps develop the concept of transformative work by comparing external mechanisms of both copyright and comparative law.In conclusion, incorporating transformative work into copyright law is based on the exception mechanism of copyright law
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Sitte, De Longueval Oriane. "Composer avec les violences des clients en situations : le cas des employés de service SNCF-Transilien." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLED077.
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Les violences des clients à l’endroit des employés de service sont nombreuses, multiformes et systématiques. Pour autant, en sciences de gestion, elles restent peu étudiées et sont encore plus rarement explorées de façon compréhensive. Une conception dominante consiste à les envisager comme des évènements, à les distinguer selon leur nature verbale ou physique, à recueillir les actes des employés pour y faire face ou à identifier les variables de conception et d’état qui régissent le phénomène. En contrepoint, cette thèse propose d’explorer la violence des clients à partir de l’écologie de ses situations et du point de vue des employés de service. A cet effet, elle emprunte au courant de l’action située pour construire un cadre conceptuel à même de rendre compte et d’articuler les expériences situées, les actions en place et les environnements organisationnels mis en scène, des employés de service en situations violentes. Une étude de cas unique est réalisée à partir de quarante entretiens, de six participations observantes, de seize observations participantes, et de documents internes et externes. Elle permet de mettre au jour l’index typifié et hiérarchisé des six expériences violentes vécues par les employés, de préciser le processus de cadrage des situations qu’ils mobilisent, et de pointer des écarts de perception selon leur idéal professionnel. A chacune de ces expériences types sont articulés les protocoles d’action correspondant, pour un total de trente-huit actions identifiées. Enfin, l’influence de quatre dimensions de l’environnement organisationnel sur les situations violentes sont présentées dans leur ambivalence vis-à-vis du phénomèneService workers are subjected to many, multifaceted and systematic types of violence from their clients. However, violence has been scarcely investigated in the management field. Comprehensive studies, in particular, are missing. The mainstream approach to violence conceptualises it as events, which are verbal or physical by nature. It aims to investigate the workers’ actions to cope with those events or to identify the variables determining this phenomenon. By contrast, this doctoral work explores clients’ violence by looking at the ecology of those situations and approaching them from the service workers’ viewpoint. Therefore, this thesis relies on the stream of situated action to create a conceptual framework enabling to illustrate and articulate situated experiences, actions and organizational environments involved in situations of violence experienced by service workers. This work uses a single case study as a research strategy. It relies on forty interviews, six observant participations, sixteen participant observations and internal and external documentation. First, this case study revises the typified and prioritised index of experiences of violence experienced by employees. It also defines the framing process of situations employees use and sheds light on the perception gap according to their professional ideal. Then, each type of experience is articulated with corresponding action protocols, resulting in thirty-eight identified actions. Finally, this thesis introduces the ambivalent influence of the organisational environment’s four dimensions on violent situations
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Wyatt, Susan Beth Masters. "Kurt Weill: a Song Composer in Wartime with Three Recitals of Selected Works of Mozart, Strauss, Bach, Schubert, and Others." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc277791/.
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During World War II the composer Kurt Weill was in America writing for the Broadway stage. On August 27, 1943, he became an American citizen and was eager to volunteer his talent to the American war effort. Among his many wartime musical contributions are fourteen songs, all with war-related texts, which can be divided into three distinct groups: the American propaganda songs (8), the German propaganda songs (2), and the Walt Whitman songs (4). It is the purpose of this paper to present a comparative analysis of a representative group of these war songs (two from each group) in order to illustrate Weill's musical versatility. The American propaganda songs were written in a purely popular song style; sung by Broadway actors; directed toward an American audience; with texts by the Broadway lyricist Oscar Hammerstein II and the Hollywood movie executive Howard Dietz. The German propaganda songs were written in a cabaret song style; sung in German by Weill's wife, Lotte Lenya; directed toward a German audience behind enemy lines; with texts by the German playwright Bertolt Brecht and the German cabaret writer Walter Mehring. The Four Walt Whitman Songs were written in a classical art song style; sung by classically trained singers; directed toward a general audience; with texts by the nineteenth-century American poet Walt Whitman. After an initial discussion of Weill's early musical training and career in Europe, his exile from Germany, his reception in America, and his contributions to the American war effort, each group of war songs is analyzed musically, textually, vocally, in reference to the audience to whom it was directed, and with regards to vocal performance practice. Comparisons and conclusions are then drawn. Kurt Weill's war songs are valuable for musical study, both in terms of examining his ability to write equally well in various musical styles and as an opportunity to learn more about music and society during the turbulent years' of World War II.
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Choi, Ji Sun. "The Merging of Korean Traditional Music and Western Instrumentation as Exemplified in Four Chamber Works for Piano Composed by Isang Yun." Scholarly Repository, 2007. http://scholarlyrepository.miami.edu/oa_dissertations/8.
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The purpose of this study is to identify and elucidate the unique aspects of Isang Yun's compositional style through in-depth examination of his piano chamber works: Gasa for Violin and Piano, Garak for Flute and Piano, Nore for Cello and Piano and Riul for Clarinet and Piano. Isang Yun (1917-1995), a Korean-born composer, is renowned for having established a compositional language which expresses Eastern thought in music crafted from Western musical elements. He was a pioneer and leader who created new compositional techniques in his efforts to combine Western styles with Korean musical traditions. He achieved international acclaim for his highly developed compositional techniques such as Haupttontechnik (Main-tone Technique) and Hauptklangtechnik (Sound-complex Technique), which modernized and westernized ancient Korean performance practices and native Korean music traditions. Four chamber works for piano by Isang Yun are used to trace the development of his use of twelve-tone technique and Haupttontechnik and to identify the connection between his spiritual philosophies and his music. This essay provides these insights to give the reader a more complete understanding of the life and music of Isang Yun.
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Gill, Jonathan B. "A Survey of the Solo and Chamber Works for Trumpet, Horn, Trombone, Euphonium and Tuba By the Hungarian Composer Frigyes Hidas." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc283827/.
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Hidas composed more than 135 compositions. Of these 135 compositions 67 feature the trumpet, horn, trombone, euphonium, and tuba in a solo setting, a homogenous chamber setting, or a heterogeneous chamber setting. The first section of this project presents the significance of the topic, state of research, and methodology. Chapter one provides a narrative detailing the collaboration of Hidas with Gusztáv Höna and László Szabó, Sr. Chapter two provides a brief description of characteristics found in Hidas' compositions. Appendix A and B provides a survey of the 67 works for brass instruments that Hidas composed. Included in this survey is information pertaining to the title, editor, publisher and date of publication, total measures, duration, ranges, degree of difficulty, clefs, special effects/techniques, instrumentation, dedications, analytical information, general comments, recordings, and rental details.
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Jimenez, Kenneth Leroy Jr. "Composer, Conductor, Cornetist: A Biography of Jean-Baptiste Schiltz (fl.1831-1868) and a Survey of his Works for Cornet and Piano." Diss., North Dakota State University, 2016. http://hdl.handle.net/10365/25552.
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In its heyday, the cornet was a popular instrument and the brass instrument of choice for virtuosi worldwide. Cornet soloists such as Jean-Baptiste Arban (1825?1889) and Herbert Lincoln Clarke (1867?1945) impressed audiences with their technical prowess, and the solos they composed for cornet are in wide use today. However, the story of the cornet did not start with Arban or Clarke; an entire generation of cornetists had come before them, and they too wrote their own solos. This generation of cornetists was crucial in the development of the instrument. As performers, they helped to refine the cornet from a musical experiment to an immensely popular instrument, and as composers, their solos helped to propel the cornet on this popular path and inspired later virtuosi like Arban and Clarke. This disquisition addresses the limited information on early cornetists and their solos by providing new information about composer-cornetist Jean-Baptiste Schiltz (fl.1831-1868). Though Schiltz was an important figure in Paris during the first half of the nineteenth century, little has been written about him or his compositions. By consulting contemporary periodicals and modern scholarship, I am able to provide new biographical information on Schiltz, who was a pioneering performer on cornet, trumpet, and trombone. Additionally, I conduct a survey of Schiltz?s many works for cornet and piano. By thoroughly examining some of the surveyed works I demonstrate that Schiltz had a clear understanding of the capabilities of early cornets and cornetists, and that he chose particular melodies, keys, and even the length of the cornet itself in order to work around limitations. I also describe the historical value of the surveyed works and their possible uses today. Ultimately, this disquisition demonstrates that Schiltz was an important historical figure, and that his works for cornet and piano are valuable additions to the trumpet repertoire and ideal for trumpet instructors to use with students.
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Cox, Emily Ann. "An examination of works for beginning band: Let’s Go Band II by Albert Ahronheim, arranged by Andrew Balent, Midnight Mission, composed by Brian Balmages, Bugler’s Dream, composed by Leo Arnaud, arranged by Paul Lavender, America the Beautiful composed by Samuel A. Ward, arranged by John Higgins." Kansas State University, 2009. http://hdl.handle.net/2097/1642.
Full textAbstract:
Master of MusicDepartment of Music
Frank C. Tracz
This report contains research and analysis of beginning band compositions studied, rehearsed, and performed by the Haysville Public Schools, combined beginning band students on May 18th, 2009, at 7 p.m., in Haysville, Kansas. The repertoire included Let’s Go Band II, by Albert Ahronheim, arranged by Andrew Balent, Midnight Mission, by Brian Balmages, and Bugler’s Dream by Leo Arnaud, arranged by Paul Lavender. The report contains criteria for selecting quality beginning band literature, lesson plans for specific pieces analyzed, history, musical elements, stylistic elements and technical information regarding those pieces. A philosophy of general education and music education is presented and is the basis of all planning, implementation of the chosen works. Biographical information of the composers and arrangers for performed pieces are included. In addition to the performed pieces, America the Beautiful, by Samuel A Ward, arranged by John Higgins is also analyzed using the same criteria and elements mentioned above.
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Cox, Emily Ann. "An examination of works for beginning band: Let's Go Band II by Albert Ahronheim, arranged by Andrew Balent, Midnight Mission, composed by Brian Balmages, Bugler's Dream, composed by Leo Arnaud, arranged by Paul Lavender, America the Beautiful composed by Samuel A. Ward, arranged by John Higgins." Manhattan, Kan. : Kansas State University, 2009. http://hdl.handle.net/2097/1642.
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