Thesis (D.M.A.)--University of North Texas, 2002. / Accompanied by recitals, recorded Apr. 13, 1992 and Sept. 27, 1993. Includes bibliographical references (p. 37-39) and discography (p. 40).

no / Over the last century there have been a number of proposals to ground both local and cosmic arrows of time: from the Second law to the Growing Block Universe, from Decoherence to Earman’s time-direction heresy. The latter proposal rejects the traditional association of the Second law of thermodynamics with arrows of time. But it seems that notions like entropy and related notions – phase space volumes and typicality – are not easily banned from discussions of temporal arrows. A close reading of Eddington’s thinking on these questions reveals that his views underwent a considerable development. In particular Eddington abandoned his identification of the arrows of time with the increase in entropy and began to see the Second law as a criterion for temporal arrows. In the process, Eddington also developed an argument against Loschmidt’s reversibility objections, in terms of an expanding universe. This latter argument brings his contribution close to contemporary thinking in terms of Liouville’s theorem, the topology of phase space and typicality arguments. Their reliability to deliver arrows of time will therefore be considered. Are there arrows of time? This question is related to the epistemological views of both Eddington and Wheeler. They insisted on the role of inferences in scientific thinking. Physical reality was to be inferred from data (Eddington) or information (Wheeler) about the physical universe. The paper will conclude that the arrows of time are equally to be regarded as conceptual inferences from various physical criteria – not just entropy – which the universe makes available to us.

A significant body of solo literature for the trombone has been written in the last fifty years that draws as much from the jazz tradition as from that of European classical music. While much attention has been paid to these works' use of characteristic jazz rhythms, harmonies and melodic inflections, there has been little focus on timbre, the musical element that perhaps most readily distinguishes jazz from other styles of Western music. This paper focuses on the important role jazz timbres should play in a performer's interpretation of those works that are significantly influenced by jazz. It includes explorations of the significant differences in concepts of timbre between European classical music and jazz, some of the ways in which these timbral differences are produced, and methods by which performers can develop the skills necessary to produce these varied timbres. Particular attention is paid to the importance of timbre to idiomatically appropriate performances of two significant works from the solo trombone repertoire, Robert Suderburg's Night Set (Chamber Music III) and Richard Peaslee's Arrows of Time.