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There is no abstract available for this thesis. / School of Music

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The present study does not attempt to present a complete or exhaustive survey of the myriad spatial orchestrational devices occurring in the symphonic and operatic repertoire. Rather, the study is limited to an examination of the specified use of the trumpet as an offstage instrument in selected representative works. The study's purpose is to identify trends in the use of this orchestrational device, to serve as an aid to the trumpeter in matters of interpretation, and to provide a practical reference for the solution of acoustical and technical problems common to the performance of spatially conceived music in the orchestral literature.

This study will include four compositions which were composed between the years 1955 and 1963. With the exception of the Serenade No. 12, for solo tuba, by Vincent Persichetti, all of the works are for the tuba and piano. The purpose of this thesis is to study each composition to determine the essential features of the music in regard to the composers' structural, melodic, and harmonic stylistic characteristics. The conclusions of the study will be found in the final chapter.

This dissertation proposes a strategy for training indigenous youth ministers in Singapore as a means to reach and disciple Singaporean youth. Chapter 1 defines the problem of Singaporean Baptist youth ministry and argues that current needs could be met by training indigenous youth ministers. Chapter 2 provides the historical and cultural background of Singapore. The characteristics of the church in general, as well as the Baptist church specifically, are explored. Chapter 3 analyzes the major global changes currently directing the shape of youth cultures worldwide. I assert that, in the same way that Singaporean youth are greatly influenced by the practices and lifestyles of the indigenous adults, they are also affected by ubiquitous global forces. Chapter 4 is entirely focused on youth culture in the Singaporean context. Singaporean youth culture is compared and contrasted with characteristics of both global youth culture and indigenous adult culture. Chapter 5 explores the history of youth ministry in Singapore. There is consideration of both church-based and parachurch youth ministries. The Baptist church's missed opportunities to reach out to youth and their current desire to take the necessary steps for student evangelism are highlighted. Chapter 6 proposes the missiological principles necessary for the justification of a cross-cultural youth ministry training program. Subjects discussed include the use of buildings, the strategy of multiplication, problems of dependence upon foreign leadership, and the importance of implementing a cross-cultural approach to reach youth. Chapter 7 proposes specific strategies to train indigenous youth ministers in Singapore on an informal basis. After the strategies of Youth Ministry International and Sonlife are examined, specific methods of informal training through the Singapore Baptist Convention are discussed. In chapter 8, I present a model of formal training that could be established at the Baptist Theological Seminary of Singapore. The model includes mandatory internships and a list of classes necessary to make up an undergraduate youth ministry major. Chapter 9 contains the conclusion of the dissertation. / This item is only available to students and faculty of the Southern Baptist Theological Seminary. If you are not associated with SBTS, this dissertation may be purchased from <a href="http://disexpress.umi.com/dxweb">http://disexpress.umi.com/dxweb</a> or downloaded through ProQuest's Dissertation and Theses database if your institution subscribes to that service.

Lee Chi Kuen. / Thesis submitted in: December 2004. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2005. / Includes bibliographical references (leaves 102-109). / Abstracts in English and Chinese. / Abstract --- p.iv / Abstract (Chinese Translation) --- p.vi / Acknowledgements --- p.vii / Chapter Chapter 1: --- Introduction --- p.1 / Background --- p.1 / Literature reviews --- p.2 / Chapter I) --- Authenticity in Messiaen's birdsongs --- p.2 / Chapter II) --- "Messiaen's writings, speeches and interviews about birdsong music" --- p.5 / Chapter III) --- Secondary source of Messiaen's birdsong music study --- p.18 / Chapter Chapter 2: --- Analyses (Part I) --- p.26 / "Quatuor pour la fin du Temps (1940-41), first movement" --- p.26 / Le merle noir (1951) --- p.29 / "Catalogue d'oiseaux (1956-8), the blackbird passage" --- p.40 / "Chronochromie (1959-60)，""Epode""" --- p.46 / Chapter Chapter 3: --- Analyses (Part II) --- p.55 / Petites Esquisses d'oiseaux (1985)，second movement --- p.55 / "Feuillets inedits (2001), the blackbird passage" --- p.67 / Chapter Chapter 4: --- Conclusion --- p.76 / Evolution of writings on birdsongs and music settings of birdsong --- p.76 / Impact of Technique and Traite --- p.81 / Appendix A: The analysis of Le merle noir --- p.83 / "Appendix B: The analysis of Catalogue d´ةoiseaux, the blackbird passage in second movement" --- p.91 / "Appendix C: The analysis of Petites Esquisses d´ةoiseaux, second movement" --- p.92 / "Appendix D: The analysis of Feuillets inedits, the blackbird passage" --- p.96 / Appendix E: Birdsongs mentioned in Messiaen's published works --- p.97 / Selected bibliography --- p.102

Includes bibliographical references (leaves 350-359). Investigates the influence of Coltrane's music on the improvising of post-Coltrane saxophonists by inspecting selected improvisations of Jerry Bergonzi and David Liebman and comparing them to improvisations by Coltrane on the same repertoire piece. The comparision also demonstrates how two current jazz saxophonists have drawn on the past - the legacy of Coltrane - to create innovative music in the present.

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