Jody Nagel completed his first piano concerto in 2005. I will discuss technical challenges within the piece and practice techniques to overcome these challenges so that one can perform the work successfully. I cover fingering, pedaling, texture, character, and harmonic issues. I also give performance advice to make the orchestral reduction more pianistic while still honoring the orchestra’s influence within the work.

The intent of this project is to study the use of multiple narrators who occupy the same space over a spread of time. While the subject matter has been one of intense study over the years, the approach to implore this technique of fiction has opened the characters, plot, and story to greater exploration.

No description available.

The Glossary is a fictocritical work which accompanies the novel, New Moon Through Glass, written for my doctorate that encorporates fiction, poetry, analytic and critical text, and which ‘writes back’ to the novel without the interpretive gesture and in doing so interrogates the art of fiction via a fictocritical critique. The generic glossary (a collection of glosses) encapsulates the ‘interpretive gesture’ par excellence — the hermeneutical exercise that criticism’s role has widely been thought to be. Its earliest, medieval form as a commentary (or series of commentaries), translation or exegesis in the margins of or between the lines of a text, reiterates the glossary’s ostensible purpose to explicate rather than create ‘meaning’. As a fictocritical work, The Glossary therefore both interrupts the monolithic architecture of the text through the techniques of the cut and the stitch, and also, by ‘reading between the lines’ of the novel, provides alternative readings; a space for other voices, other texts. In the process the project repositions the glossary before the novel (a reversal of the usual order) inciting a series of readings and re-readings which establish a practice of critical fictionalising and the fictionalising of the critical and an incitement to read in this manner. In the performance, The Glossary ventures to open this Pandora’s Box and in the process reflects on what, as a practitioner, writing is, what reading is, and what is critical practice and what creative. The Glossary is a performance of a distinction put by Bathes as a ‘thinking through’ rather than ‘a residue of critical thought’ (1985: 284) and therefore demands to be read as a fictocritical The Glossary was arrived at after much research and experimentation in my fiction writing practice with footnotes, asides and summarizing (‘the story so far’ style) prefaces or segues and above all definitions, a fascination which might be summarised by the distinction that Charlotte Brontë drew between writing that was ‘real’ and writing that was ‘true’. Fiction often requires realism in order to ring true, and yet the elements of language that give it force owe nothing to realism — its power lies in its imagery, its symmetry, its poetry all of which foreground textuality and intertextuality in a manner congruent with the fictocritical project. The Glossary, ostensibly there to confirm and stabilise knowledge, language and reading practices, shows, by fictionalising the critical, the dependent ordering and silences through the art of character in this knowledge architecture. Far from keeping an ‘objective’ distance, The Glossary generates a parallel text to the novel in which the voice of the author ‘speaks’, and in doing so has much to say, by its multi-vocal presence, about authorial intentions (and anxieties), slippages, ruptures and textual transparencies, opacities and excess; about the ways in which writing is both knowledge and being, knowing and making. The Glossary grew (rhizomically though not randomly) from textual asides, after thoughts and back stories, parallel and divergent interests, arguments, lyricisms, associations, allusions and theories. Eventually The Glossary became a piece of writing performing what could not ‘make it’ into the work of fiction. That a glossary is made up of ����entries���� proved an enlivening form, which generated a different kind of writing practice and a different kind of writing, perhaps not dissimilar to a web log. In making this comparison I am referencing Kerryn Goldsworthy’s comments that ‘blogging’, as ‘dynamic thinking-in-action’, sets its form apart from traditional writing and ‘creates a shift away from the consumer-producer model’ by destabilising the notion of a one-way transaction, ‘active writer producer to passive reader-consumer’. Each entry in The Glossary is a jumping off point for text to grow either from the point-of-view of the writer or reader, and each item simultaneously encourages a non-linear reading with regard to itself out of which possibilities are generated — as a body of text; the ‘self’ to which it constantly refers — and the novel it appends. The Glossary allows space for ‘undisicplined’ writing which does not conform to the teleological narrative of the thriller genre and in doing so, offers a radically democratic opportunity for the reader (who along with the writer also composes the story) to join in the process and the practice and understand how in ‘working through’ any text we are subconsciously glossing and deducing as we go. Some entries in The Glossary relate to specifics in the novel. Others to novels which haunt the text or other texts dreamed of, wished for or forgotten. Many of the subjects of The Glossary are familiar terms in literary and critical discourse examined in the process of writing. Still others relate to identity and to doubling, as a fictional device, but also as textual possibility. The counterpoint between the two texts — glossary and novel — holds other dialogues and polylogues: the intimate linkage between love and murder or desire and violence; disappearances — both textual and familial; childhood, memory and, motherhood; voice, reading, writing- (as well as reading-)blocks; the flâneur; psychoanalysis and dreams; collage; and the house as a metaphor for the body or the text. Certainly The Glossary presents an occasion for writing, an exercise, an exegesis and, where necessary, an excuse: ‘Only paper offers the tactile complexities of the origami life, the papier mache existence. (The Glossary p. 84) / Doctor of Philosophy (PhD)

The set of molecules cucurbit[n]uril (Qn) are macrocycles composed of n glycoluril monomers linked by methylene groups. These molecules have two oxygen-ringed portals of a diameter slightly smaller than their internal cavity diameter. This thesis describes syntheses, crystallisations, crystal structure determinations, crystal packing analyses and force field calculations exploring the supramolecular chemistry of Qn molecules and their derivatives. Qn acts as a host for guest molecules and at the outset of this project no metal containing molecule had been encapsulated in a Qn molecule. One aim of this project was to prepare such complexes. This was achieved with the synthesis and characterisation of crystalline {[cis-SnCl4(H2O)2]@Q7}2(SnCl6)3(H3O)6(H2O)23. Other compounds prepared and characterised crystallographically in the course of this project are: [(Q6)(Na3(H2O)8)]2[CoCl4]4[Co(H2O)6]2[CoCl(H2O)5]2(Cl)4, (Q5@Q10)(CH3COOH)(Cl)2(H3O)2(H2O)26, (Cl@Q5)4Q6(SnCl6)8(H3O)20(H2O)24, (Q8)3(PtCl6)4(H3O)8(H2O)x, (Q8)2(PtCl6)3(H3O)6(H2O)18, (Q7)(Cr3O10)(H3O)2(H2O)x and (Q6)(SnCl6)(H3O)2(H2O)x. While the smaller Qn (n = 5?) retain their circular forms, the larger Qn (n &gt 8) are less rigid and distort to accommodate larger guests. After analysis of the crystal structures of these Qn compounds and those listed in the Cambridge Structural Database, the principal packing motifs of the Qn molecules were elucidated. The most common is the portal-to-side interaction in which the portal oxygen atoms of one Qn approach the hydrogen atoms around the equator of another Qn. Force-field calculations on guest@Qn complexes were conducted to determine the mechanism for the formation of these complexes. A comparison of the intermolecular interactions of phenylated systems and comparable fluorinated phenyl systems was made using both crystal packing analyses and forcefield energy calculations. Intermolecular energy parameters for these calculations were derived and validated in this work. The principal fluorinated species studied was the [B(C6F5)4]?anion. Examination of its crystal structures found that the substitution of the hydrogen atoms by fluorine atoms is influential enough to alter the predominant intramolecular conformation. It is the ???flipper?conformer, between pairs of perfluorophenyl groups, that is overwhelmingly the favoured conformation and this has a strong effect on the types of phenyl embraces that a [B(C6F5)4]?anion will form. While the parallel 4PFE, the offset parallel 4PFE and the orthogonal 4PFE are all observed the 6PFE is not.

Master of Dental Surgery / This work was digitised and made available on open access by the University of Sydney, Faculty of Dentistry and Sydney eScholarship . It may only be used for the purposes of research and study. Where possible, the Faculty will try to notify the author of this work. If you have any inquiries or issues regarding this work being made available please contact the Sydney eScholarship Repository Coordinator - ses@library.usyd.edu.au

"August 2001." Includes bibliographical references (p. 308-311). Describes the use of optical telescopes in the investigation of astronomical objects which have been discovered by earth-orbiting high-energy astronomical satellites.

My critical essay maps out the relationship between verbal and non-verbal information in contemporary theatrical writing. It uses Lehmann's theory of a post-dramatic theatre and Pfister's analytical input to investigate different configurations of the information given by the characters' speech and the information given by their physical actions. The ways in which these variables interrelate define the type of affiliation between theatre and drama in any given text. My essay contends that the verbal and the non-verbal represent the two ends of the spectrum of possibilities of any written theatre text. The predominance of one over the other will determine the extent to which the 'presence' of the dramatist intervenes in the staging of the work. Using Old Times as a case study, I examine the way in which Pinter stretches the gap between the verbal and the non-verbal; by using his knowledge of the stage, he confronts the remoteness of the literary in theatrical writing. My play Southern Quest recognizes the minds of the readers and of the spectators as the place where the closure of the gap occurs. Its stage directions make of the stage, the properties and actions a creation that is parallel to the fictional one (only present in the dialogue of the characters). There is a permanent discrepancy, not a contradiction, between what is said and what and where it is done that demands that the actual assembly of the possible fiction takes place in the receiver's mind. The creative component draws on numerous elements analysed in the critical work, such as the discordance between the verbal and the non-verbal and the use of narrative monologues in theatrical writing. The lack of agreement between the verbal and the non-verbal-a heightened discordance at the beginning and the end of the play, with a minimal discrepancy towards the centre-mirrors the characters' journey throughout the play: from existential doubt to physical agony and back. The theoretical concerns addressed in the essay are explored in the writing of the play and my main formal drive in the creative piece is to explore the division between theatre and drama from within the text.

Riccardo Formosa has been identified as being an important and widely recognised young Australian composer. Formosa's possession of a sophisticated composition technique is central to his approach to composition and to his reputation among contemporary composers. Vertigo: Riccardo Formosa's Composition Technique aims to define the composition technique employed by Formosa. It does so by analysing the works from a number of clearly defined perspectives. The study proceeds firstly through a description of the works as a whole and their relationship to the composer’s personal history. Secondly, the note-to-note operations Formosa has employed are reassembled through a detailed examination of the scores. Thirdly, an assessment is made of the function of the various techniques within the musical texture. Lastly, a number of comparisons are made between Formosa’s work and the work of his compositional models. The study concludes that Formosa’s works show evidence of a composition technique operating effectively on different levels. The note-to-note processes, simple in themselves, are multiplied to form a complex counterpoint. On both the note-to-note level and the relationship between larger sections of the works, the controlling factor was found to be one of ‘binary expression’ in the form of symmetry or complementarity, a compositional aesthetic also held by Formosa's teacher. Franco Donatoni.

"August 2001." / Includes bibliographical references (p. 308-311). / iii, 311 p. : ill. (some col.) ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Describes the use of optical telescopes in the investigation of astronomical objects which have been discovered by earth-orbiting high-energy astronomical satellites. / Thesis (Ph.D.)--University of Adelaide, Dept. of Physics and Mathematical Physics, 2002?