Back Amorphous-Crystalline silicon Heterojunction (BACH) solar cells which combine the benefits of back contact and heterojunction silicon solar cells have been fabricated at the University of Toronto. p- and n-type amorphous silicon deposited at low temperature (~<200 oC) by DC Saddle-Field PECVD system forms interdigitated hetero-emitter and base contacts on the rear-side. A photolithography approach using thermal oxide for electrical isolation demonstrates the proof-of-concept. Three methods for fabricating simplified and advanced BACH cells were explored. The best performing 1 cm2 cell showed an AM1.5G conversion efficiency of 8.11%, VOC = 0.536 V, JSC = 20.1 mA/cm2 and FF = 75.5%. The BACH cell performance is limited by poor surface passivation and un-optimized cell design. With completely low temperature processing, highly passivated front and rear surfaces, and independent optimization of front-side optical antireflective features and rear-side electrical junctions and contacts, the BACH cell has the potential of becoming highly cost competitive.

Back Amorphous-Crystalline silicon Heterojunction (BACH) solar cells which combine the benefits of back contact and heterojunction silicon solar cells have been fabricated at the University of Toronto. p- and n-type amorphous silicon deposited at low temperature (~<200 oC) by DC Saddle-Field PECVD system forms interdigitated hetero-emitter and base contacts on the rear-side. A photolithography approach using thermal oxide for electrical isolation demonstrates the proof-of-concept. Three methods for fabricating simplified and advanced BACH cells were explored. The best performing 1 cm2 cell showed an AM1.5G conversion efficiency of 8.11%, VOC = 0.536 V, JSC = 20.1 mA/cm2 and FF = 75.5%. The BACH cell performance is limited by poor surface passivation and un-optimized cell design. With completely low temperature processing, highly passivated front and rear surfaces, and independent optimization of front-side optical antireflective features and rear-side electrical junctions and contacts, the BACH cell has the potential of becoming highly cost competitive.

Carl Philipp Emanuel Bach was among one of the earliest who contributed to the musical development in German & Austria region in the history of western music. He was active between 1740 and 1788. The six volumes of the Clavier-Sonaten und Freye Fantasien nebst einigen Rondos f&#x00FC;r Kenner und Liebhaber printed later in his life are greatly admired for its artistic level is comparable with the compositions of Haydn and Mozart. The thirty-seven compositions contained in the f&#x00FC;r Kenner und Liebhaber consist one common feature, the fantasy technique. This thesis will focus on the study of Emanuel's concept of fantasy and the application of fantasy technique in the f&#x00FC;r Kenner und Liebhaber. The writing consists of three chapters apart from the preface and the conclusion. The first chapter focuses on the related background reflected through Emanuel's life, this chapter describes the different musical environments of Berlin and Hamburg in the mid-eighteen century, and the contemporary musical thoughts of recognizing variety and differentiation of human expressions. The second chapter states the printing process of the f&#x00FC;r Kenner und Liebhaber. Emanuel's selection of music was based on the combination of three aspects: the popular taste, contemporary musical concepts and his own musicality. Later in the chapter the author will focus on three fundamental liberties of free fantasy: rhythm, tonality and material freedom. The third chapter discusses how the fantasy technique is applied in the f&#x00FC;r Kenner und Liebhaber. The author will analyze the six fantasies based on three features of the fantasy technique, the effects of the technique on the musical phrases and the influences on the structure of the sonata, and finally the processors of the technique transforming the rondo from simple to complex musical form. Many evidences show the style of fantasy suiting Emanuel's artistic talent the best. He freely applied features of other musical form in his fantasy, and yet used the fantasy technique in other types of musical in the most settle and refine manner. The f&#x00FC;r Kenner und Liebhaber is the best example of the fantasy technique and the essence of Emanuel's musical composition.

The suite is made up of many successive movements. It originates from pair dances, developing and evolving during different periods. Standard classic suites consist mainly of traditional dances such as the allemande, courante, sarabande and gigue. This paper closely examines three suites¡GPartita in B-flat major No.1 Bwv 825 by J. S. Bach, Suite Bergamasque by Debussy and Suite op.25 by Sch&#x00F6;nberg. At first, focus is on the definition, origin, development and changes of the genre, and then the features of dances in each of the three suites will be fully discussed, especially in the ones by J. S. Bach and Sch&#x00F6;nberg. J. S. Bach was one of the greatest composers of suites in the Baroque period. In his works, traditional dances are highly stylized, full of characteristics, as observed in his Partita in B-flat major No.1 Bwv 825. However, the form gradually declined after the Baroque period; until the Romantic period, when the character pieces rise, usually forming a group, which correspond to the nature of the suites. In the Twentieth century, influenced by Neoclassicism, Sch&#x00F6;nberg composed Suite op.25, which adopts the form of the suite, imitating the style of the traditional dances, while utilizing his twelve-tone technique for the very first time¡I To sum up, drastic changes can not be detected in the styles of dances from different periods. It is the distinctive characteristics of different composers that bring about the diversities.

Akademisk avhandling--Göteborg, 2002. / Bibliogr. p. 139-152. Index.

Thesis (M.M.)--Ball State University, 2009. / Title from PDF t.p. (viewed on Mar. 08, 2010). Creative project (M.M.), 3 hrs. Includes bibliographical references (p. 16).

The objects of this study are the thirty-four gigues of J. S. Bach. This corpus of pieces represents one musician's encounter with the most engrossing dance genre of his time, and by coming to terms with this repertory I develop analytical perspectives with wide relevance to music of Europe in the early eighteenth century. The dissertation has a clear analytical focus but it also speaks to methodological issues of the relationship between theory and analysis, and the problem of reading a creative practice out of fixed works. Its main theoretical commitment is to middle-out perspectives on musical process. The dissertation's main themes are form, hypermeter, and schema. Its primary contribution to music theory lies in setting out an original position on the analysis of hypermeter, and advancing approaches to form and schema that are consistent with that position. "Form" and "schema" refer to compositional formulas that associate with hypermeter on the larger and smaller scales respectively, with observational windows as wide as the first half of a binary movement and as narrow as a couple of bars. Chapter 2 addresses the form of Bach's cello gigues. I arrive at a complete model of formal functions and phrase rhythm by first considering the turning points in the rhetoric of Fortspinnung. Chapter 4 addresses the chain of fifths sequence in Bach's harpsichord gigues. I analyze over fifty sequence passages, develop a typology of their contrapuntal frameworks, and consider the connections from sequence passages to subsequent events. These substantive analytical case studies flank the discussion of hypermeter. Chapter 3 includes analyses of Bach's orchestral gigue and two chamber-sonata gigues but is the most purely theoretical chapter. Its arguments are relevant to the study of meter and hypermeter across the whole "common practice" period. Since Chapters 2-4 address subsets of the corpus, a comprehensive overview is entrusted to Chapter 1, which also introduces the dissertation. Chapter 1's overview anchors the more specialized chapters in a wider reflection on the ability of compositional technique to inflect different styles, idioms, genres, and affects. / Music

In this study I examine the genesis and compositional purpose of Mendelssohn's seven chorale cantatas which include "Christe, du Lamm Gottes" (1827); "Jesu, meine Freude" (1828); "Wer nur den lieben Gott läßt walten" (1829); "O Haupt voll Blut und Wunden" (1830); "Vom Himmel hoch" (1831); "Wir Glauben all an einem Gott" (1831); and "Ach Gott, vom Himmel sieh’ darein" (1832). I also re-examine the widely held belief that Mendelssohn's chorale cantatas were juvenilia, functioning only as compositional exercises to better learn the style of J.S. Bach. My examination includes a stylistic analysis of each cantata that shows a direct deviation from an imitation of Bach's musical syntax and form to a re-creation of the chorale cantata genre using nineteenth-century idioms. My approach to analysis is modeled after that of James Garratt, who has done a great deal of research on Mendelssohn's psalm settings. These works, like the chorale cantatas, have also been criticized for being compositional exercises that imitate Palestrina's musical syntax and form. Garratt believes that by using a literary method called translation theory, one can gain an unbiased assessment and evaluation of compositions that are based on pre-existent models. I have applied the tenets of translation theory as the foundation for my analysis to determine if the chorale cantatas were imitations of Bach's model or re-creations of the genre. This approach provides, as Garratt states, "a means of differentiating between the degree of affinity that links the works of Mendelssohn...and [his] models." The stylistic analysis also illustrates how the chorale cantatas are exemplars of Mendelssohn's compositional style. Unique characteristics such as Mendelssohn's frank religious convictions; his perceptive and creative treatment of chorales; his understanding of Baroque forms and styles; and his remarkable contrapuntal prowess are all beautifully exemplified in the chorale cantatas. I conclude that instead of being regarded as archaic, compositional exercises, Mendelssohn's chorale cantatas can and should be viewed as seminal works in his sacred choral-orchestral output.

<p>Fanny Hensel wrote much of Felix Mendelssohn's music. Or so goes the popular misconception. It is true that Felix did publish six of his sister's Lieder under his own name, in his Op. 8 and Op. 9, but there is no evidence that anything else he published was actually by Fanny. The perpetuation of this idea is by no means new to our century; even during her lifetime, Fanny received letters alluding to the possibility that some of her music was masquerading as Felix's. But how could this supposition even be possible?</p><p>Complicating our reception of Hensel's works and our knowledge of her influence over him, and perpetuating our misconception (and perhaps hopes) that some of Felix's music was by Fanny was the unavailability of her music to the general public. For most of the twentieth century, she was known mostly by her eleven published opera (five of which were released posthumously). Before she was able to plan and accomplish any sort of systematic publication of her works, she died suddenly, at the age of 41, leaving behind upwards of 450 unrevised, unpublished works.</p><p>Clearly, we need to reconsider the term "Mendelssohnian," and bring Hensel to the foreground as an equal partner in forming the Mendelssohns' common style. I examine the roots of the "Mendelssohnian" style in their parallel musical educations, their shared enthusiasm for the music of Bach, and their simultaneous collision with Beethoven's music (and the diverse ways each responded to his influence). I explore in detail the relationship between Fanny, Felix, and her fiancé Wilhelm Hensel through the methodology of kinship studies, to contextualize what some have viewed as a quasi-incestuous sibling relationship within the norms for sibling communication in the nineteenth century. Finally, I discuss how deeply their separation after 1829 affected both Fanny and Felix, and how Fanny negotiated her changing life roles and ambitions as a composer and performer.</p><p>One work that Fanny never released, and, indeed, one work that has remained a mystery, is the Ostersonate (Easter Sonata). Believed lost since it was first mentioned in correspondence in 1829, the sonata resurfaced in the twentieth century, when it was recorded and attributed to Felix, and then disappeared again without a trace. In the absence of any identifiable manuscript, it had been impossible to definitively challenge this attribution. My research represents a major breakthrough: I traced the manuscript to a private owner and positively identified it as the work of Fanny Mendelssohn.</p><p>Lurking behind the popular misconception is a broader truth: Fanny Hensel can be heard in much of Felix Mendelssohn's music. In other words, what audiences have recognized as Felix Mendelssohn's music for nearly two hundred years would not have existed as such without the influence of Fanny Hensel. This idea in itself is hardly new, but by revising this line of reasoning, we see that it is equally possible that much of Fanny Hensel can be heard in Felix Mendelssohn's music. In the end, neither composer could have existed as we know them today without the other, and their shared musical style stands as a lasting testament to their shared identity as Mendelssohns.</p> / Dissertation

I detta självständiga arbete gör jag en omfattande analys av första satsen i Carl Philipp Emanuel Bachs verk Flöjtkonsert i d-moll. I mitt arbete har jag studerat kompositörens liv och samtid, gjort en teoretisk analys av Allegrot i flöjtkonserten samt analyserat min övningsteknik och med hjälp av relevant litteratur fått nya verktyg till själva instuderingsprocessen av detta stycke.