Tanken med detta arbete var att analysera låtar av Bruce Springsteen för att bli bättre på att arrangera musik som honom. För att göra detta valde jag ut 23 av hans låtar och analyserade dem utifrån fem olika arrangeringselement hämtade ur boken The Mixing Engineer's Handbook. Resultatet blev att jag lärde mig mycket om hur man kan arrangera rockmusik och nya sätt att använda instrument. Dock skulle man nog behöva gräva betydligt djupare ner i låtarna för att få ut det där riktiga guldet som är kännetecknet för Bruce Springsteen & The E-Street Band.

The purpose of the current study is to provide students and instructors with a resource to study and teach steelpan through an understanding of the fundamental design and patterns inherent on each instrument. This will be accomplished through an investigation of how an awareness of the symmetrical note layout of the tenor pan, double seconds, triple cellos and six bass can be utilized when learning fundamental music concepts such as scales and chords. Caused by their symmetrical design, the patterns used in steelpan construction interact with the patterns of scales and chords to create commonalities that remain consistent when transposed. When students and teachers are aware of these commonalities, they can be utilized when teaching and learning the instruments. These patterns also inform performance on the instruments, as the commonalities in the transposable patterns lead to recurring stickings. Because of this, the stickings of scales and chords will be discussed throughout the study to determine how the symmetrical design of the instruments can be used to inform stickings. With this study, the author intends to demonstrate the importance of learning the organization of the instrument's note layout, rather than memorizing the location of each note independently. Because of steelpan's cyclical nature, and because the instruments do not conform to a chromatic centric note layout, it can be harder for students to identify the patterns used in steelpan construction. As a result, many novice steelpannists view the note layout of the instruments as a random assortment of notes. The steelpans have been methodically designed, however, and patterns in their note layout do exist. This study should serve as a resource for students and teachers to both acknowledge and understand these patterns.

Founded by George Cavender in 1971, the Big Ten Band Directors Association is one of the oldest associations of its kind. With a membership consisting of each institution’s Director of Bands, Athletic Band Director, and all other band faculty, the stature of its members, both past and current, is clear. These band directors are leaders in the profession and have helped the field develop into what it has become today through their positions at their respective flagship institutions of the Big Ten Athletic Conference. The BTBDA meets each year at the Midwest International Band and Orchestra Clinic in Chicago, IL, and its investment in sponsoring quality sessions at the clinic is well documented. The association has sponsored twenty-one sessions since 1986, featuring prominent composers such as Michael Colgrass, Karel Husa, Warren Benson, Gunther Schuller, and Frank Ticheli. Additionally, the association has shown its dedication to the advancement of the band repertoire through commissioning seven new works from 1986-2014, four of which were born out of a commissioning contest that spanned from 1998-2005. This study is the first of its kind to document a band association formed of members bound by a specific athletic conference. Research of the Big Ten Band Directors Association shows numerous examples of how a band conference association can contribute to different facets of the field (e.g. commissioning, clinic session sponsorship, etc.). The profession’s knowledge of the BTBDA is important as it highlights how these associations are contributing to the landscape of the field.

This thesis provides a historical account of the career of Gary E. Smith, Associate Director of Bands Emeritus at the University of Illinois at Urbana-Champaign. Specific attention is given to Mr. Smith’s influences as a collegiate band director and his innovations in the band products industry. This study contributes to the growing scholarship of historical accounts of influential collegiate band directors and is the first to chronicle someone who served as an Associate Director of Bands. Research methods utilized during the writing of this thesis included oral interviews with Mr. Smith, his family, and his former students. Moreover, Mr. Smith’s professional papers were reviewed at the Sousa Archives and Center for American Music. Additional research included reviewing multiple editions of the Syracuse-Wawasee Journal, Indiana Statesman, Daily Illini, and annual yearbooks from the educational institutions where Mr. Smith served on faculty. This study begins by highlighting Smith’s childhood influences and chronicles his career through his retirement at the University of Illinois. Emphasis is given to his influence with the Marching Illini and his commercial ventures, including the Smith Walbridge Clinics, Director’s Showcase International, and his textbook, The System. Thorough examination of Mr. Smith’s career reveals several themes regarding his personality: He is totally dedicated to the success of his students; he tirelessly works to build personal relationships with everyone he encounters; and he has a passion for self-improvement. Gary Smith is known for his many professional impacts, influences, and innovations but is beloved by the profession for his genuine, compassionate, and down-to-earth personality.

Soil moisture estimates from space on a continuous spatial domain could afford researchers with insight about agricultural productivity, flood vulnerability, and biological processes. To evaluate satellite soil moisture estimates, the SMAPVEX-16 experiment was one of a suite of verification data collection campaigns for NASA’s Soil Moisture Active Passive satellite. Soil moisture and its role in rainfall partitioning are of great interest to researchers at the Iowa Flood Center [IFC], which was founded in Iowa City, Iowa after a devastating flood event in 2008. A network of two dual-pol capable X-band radar units owned by the IFC, as well as five tipping bucket rain gauges, complemented by 15 from the USDA’s Agricultural Research Service were deployed in Central Iowa from May to August 2016 to monitor precipitation on a fine spatiotemporal domain. The data from this particular experiment was analyzed. Several radar-rainfall algorithms were assembled with a focus on assimilating multivariate radar data. Different variables allow researchers to overcome problems due to signal attenuation by X-band radars, and process radar observations into rainfall accumulations by several methods popular in the literature. Special techniques for accumulating instantaneous rainfall rates at discrete observation intervals were employed to account for the movement of storms. The rain totals between the observation points were estimated and the accumulations were compared to the rain gauge totals. Methods of rain rate calculation that assimilate many sources of data, such as radar reflectivity, differential reflectivity, and specific differential phase shift yielded the best results.

In the context of the ESA BIOMASS mission in which for the first time, a P-Band SAR sensor isgoing to be mounted into a spaceborne system. With its penetration capability, it will contributeto the measurement of the biomass and carbon content in the Earth’s forests. An autofocusalgorithm is needed for the correction of phase errors introduced by the changing diffraction indexin the ionosphere. Because of the quickly changing nature of the ionosphere, defocusing has to bemeasured and corrected locally over several sections of a SAR capture.In this thesis, a deep introduction into phase errors is made having in mind that the ionosphereis expected to introduce time varying low frequency errors that can be constructed as a series ofquadratic curves. These quadratic phase errors introduce defocusing that is seen as blur and lossof contrast. An algorithm is proposed and tested for measuring this defocusing, while its strengthsand weaknesses are discussed.The idea of measuring defocusing is to try to recover the temporal phase function that introduceddefocusing in the first place. Here a method to recover this temporal phase function is introduced,and a thorough performance assessment of this retrieval is carried out. The variables involved thequality and reliability of this retrieval are studied one by one.

This research study and evaluation is based on educational philosophy that acknowledges the values of music education in the institutions of higher learning in the United States, also the place of instrumental music as a part of the music education program. There is, however, a feeling of controversy over the values and place of the football show band within the instrumental music program. In the Rocky Mountain area, every college and university has a football show band. To many administrators and music educators, including band directors, it may seem that the importance of the show band has been exaggerated, and the band itself oversold. The show band, however, appears to be a part of the music program and on a permanent basis. Therefore, it seemed desirable that a study be made to evaluate the show band from a musical and an educational standpoint as it function a within the music program.

Variable Resistance Training (VRT), loading elastic band tension on a barbell, has shown improvements in force, power, and velocity. Studied extensively in the squat and bench press, VRT is less researched in the context of the deadlift. Additionally, while no acute VRT deadlift studies exist where intensity was ≥ 90% 1- RM, some heavy VRT studies suggest that at approximately 90% 1-RM, less band tension (BT) is required to enhance force and power than seen at lower intensities in existing research. Therefore, the purpose of this study was to determine the effects of VRT on peak relative vertical ground reaction force (VGRF), average and peak velocity, and time of peak force (VGRF time), in heavy, traditional deadlifts. METHODS: Seven resistance trained, college-aged males were recruited for this study. Over the course of approximately eight weeks, subjects completed five training sessions including familiarization, and testing the deadlift at 90% 1-RM with no bands (NB), 10%BT, 20%BT, or 30%BT. All training sessions were performed on dual force plates and with a linear position transducer to determine kinetic and kinematic outcomes. RESULTS: There were significant differences between conditions for both peak [F (3,18) = 13.607, p < 0.001] and average velocity [F (3, 18) = 14.077, p < 0.001]. No significant differences were detected between conditions for peak relative VGRF [F (3, 12) = 2.41, p= 0.118], or VGRF time [F (3, 12) = 1.843, p= 0.193]. PRACTICAL APPLICATIONS: The results of this study suggest velocity is improved with 20% to 30%BT when deadlifting approximately 90% 1-RM. For maximum force, traditional, NB deadlifts might be optimal considering the lack of improvement with the addition of bands. Despite the lack of significance between conditions, the large relative percent decrease in VGRF time from NB to 10%BT suggests that this small amount of BT may be advantageous for rapid force development with heavy loads

Gordon Jacob's (1895-1984) Old Wine in New Bottles (1959) and More Old Wine in New Bottles (1977) are regularly performed works within the canon of chamber wind repertoire. Composed for thirteen instruments, the original work and its sequel are a reflection of Jacob's refined compositional style, which emphasizes unique textures, clear formal structures, and recognizable folk melodies. Gordon Jacob was a British composer from Upper Norwood, London. During his youth he studied piano and took up percussion in order to join his school band and orchestra. After serving in the First World War, Jacob enrolled at the Royal College of Music (RCM) where he studied composition with Ralph Vaughan Williams and Sir Charles Villiers Stanford. Shortly after graduation, he was offered an instructor position at the RCM. He remained on faculty for forty-two years, instructing many musicians who would later become internationally recognized composers, including Imogen Holst, Sir Malcolm Arnold, and Philip Cannon. As a composer, he has approximately four-hundred works to his name and is best known in the area of wind band for his compositions William Byrd Suite (1922), An Original Suite (1928), Music for a Festival (1951), Flag of Stars (1954), and Giles Farnaby Suite (1967). This study is an analysis of and conductor's guide for two of Jacob's chamber works that have not been the subject of any previous scholarly publications. The opening chapters include a brief biography of the composer emphasizing the musical developments of his youth, his achievements as an educator, and a discussion of his compositional style. The following two chapters delve into Old Wine in New Bottles and More Old Wine in New Bottles, respectively. Each includes an original historical account of the piece, discussion of the preexisting folk music, theoretical analysis, and suggestions for the conductor. This study is intended to assist conductors in the score-study and preparation process, leading to more effective rehearsals and informed performances.

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