Master of Music / Department of Music / Frank C. Tracz / This report contains research and analysis of beginning band compositions studied, rehearsed, and performed by the Haysville Public Schools, combined beginning band students on May 18th, 2009, at 7 p.m., in Haysville, Kansas. The repertoire included Let’s Go Band II, by Albert Ahronheim, arranged by Andrew Balent, Midnight Mission, by Brian Balmages, and Bugler’s Dream by Leo Arnaud, arranged by Paul Lavender. The report contains criteria for selecting quality beginning band literature, lesson plans for specific pieces analyzed, history, musical elements, stylistic elements and technical information regarding those pieces. A philosophy of general education and music education is presented and is the basis of all planning, implementation of the chosen works. Biographical information of the composers and arrangers for performed pieces are included. In addition to the performed pieces, America the Beautiful, by Samuel A Ward, arranged by John Higgins is also analyzed using the same criteria and elements mentioned above.

Master of Music / Department of Music / Frank C. Tracz / This document is based on the preparation, rehearsal, and performance of selected pieces for the Graduate Conducting Recital of Dara C. Jochum. The pieces examined in the theoretical and historical analysis for this report are Old Churches by Michael Colgrass, Little Suite for Band by Clare Grundman, This Is My Father’s World by Franklin L. Sheppard with hymn setting by Fred J. Allen, and Prelude and Primal Danse by Ed Huckeby. This document also contains rehearsal plans and procedures for the preparation of the literature. The recital was performed on March 7, 2008 in Hart Recital Hall on the campus of the University of Central Missouri, and was performed by the members of the Leeton High School Concert Band as well as guest performers from the University of Central Missouri Wind Ensemble.

International Telemetering Conference Proceedings / October 26-29, 1998 / Town & Country Resort Hotel and Convention Center, San Diego, California / A simplex or ‘passive’ continuous wave and monopulse seeker tracks specific attributes of a target’s radio frequency (RF) radar return in some coordinate frame. In particular, a return carries dynamic information in amplitude (ω) and frequency (ω) at some point in azimuth (r,θ) and elevation (r,θ) planes. A passive seeker requires an illuminator beam, I(ω,φ,θ), and may require a frequency modulation on the illuminator. To model a simplex target return, we have based the dynamics on a point source radar cross section (RCS) along a line of sight (LoS) radial. The Az and El angles are equivalent to antenna placement, the attenuation and frequency dynamics are modeled in commercial off-the-shelf (COTS) software.

International Telemetering Conference Proceedings / October 25-28, 1999 / Riviera Hotel and Convention Center, Las Vegas, Nevada / Collecting and analyzing vehicle performance data is an essential part of the launch process. Performance data is used to determine mission success. Performance data also provides essential feedback to the launch vehicle design engineers. This feedback can be used to improve the overall vehicle design and thereby improve the probability of a successful launch. Various Telemetry products are used to gather and process critical information on board launch vehicles. Data is transmitted by RF links to fixed or mobile receiving stations. These Telemetry products are ruggedized for the extreme launch environments. This paper discusses the use of video telemetry as a means of providing launch vehicle performance data.

International Telemetering Conference Proceedings / October 25-28, 1999 / Riviera Hotel and Convention Center, Las Vegas, Nevada / Launch Vehicle tracking is indispensable due to the fact that wayward vehicles must be destroyed lest they cause loss of life and/or damage to property. Launch Vehicle tracking data is also useful in assessing vehicle performance and mission success. Cincinnati Electronics (CE) has developed a Global Positioning Satellite (GPS) Receiver/Transmitter Unit (RTU), specifically for use with launch vehicles. The CE GPS RTU was flown as an experiment on the Missile Technology Demonstration (MTD) flight at White Sands Missile Range (WSMR). This paper provides an overview of CE’s GPS RTU and provides the results of CE’s GPS RTU MTD-3 flight performance.

International Telemetering Conference Proceedings / October 20-23, 2003 / Riviera Hotel and Convention Center, Las Vegas, Nevada / Sensor technology is continually advancing to meet demands of a wide range of potential applications. Many of these applications could be better served by distributed sensing than by traditional centralized sensing. To support these emerging applications, it is important to design and develop a unified framework for communication and network infrastructure capable of supporting various sensing functions. A research prototype operating in the 915 MHz Industrial, Scientific, and Medical band (ISM band) has been developed as potentially the core component of this infrastructure. In this paper, we will present the design and optimization of the system, data processing procedures, system parameters, network protocols, and experimental results.

Thesis (MMus) -- Stellenbosch University, 2010. / The wind band is a far underused composition medium in South Africa. Partially, this is due to the stereotypical view towards the ensemble and unfamiliarity with dealing with the heterogeneous timbral pallet. The author aimed to demonstrate the ensemble’s capabilities through a systematic orchestration process. The result of this dissertation is an orchestration of a large-scale work, From the Poets, for wind band. This creative research resulted in a systematic critical investigation of instrumental idiosyncrasies, balance, conventions of notation and timbre combinations found in the wind band. Furthermore, the author scrutinised the benefits and shortcomings of the aforementioned systematic process. Concluding that, through a methodical process, an orchestrator achieves a thorough understanding of the original text and can thus translate without fear of making unfavourable musical decisions. However, as this was a two-year process, the method might not work in the time constraints presented in real world situations, such as the music industry for instance. The author provides possible adaptations to the method in order to cope with the above-mentioned time constraints. / Die blaasorkes is ʼn vêr-onderbenutte medium vir komposisie in Suid-Afrika, deels as gevolg van die stereotipiese siening oor die ensemble en 'n gebrekkige kennis in die hantering van die orkes se heterogene toonkleur palet. Die skrywer het hom beywer om die ensemble se vermoëns te demonstreer deur middel van 'n stelselmatige orkestrasieproses. Die resultaat van hierdie skripsie is 'n orkestrasie van 'n grootskaalse werk, From the Poets, vir blaasorkes. Hierdie kreatiewe navorsing het gelei tot 'n sistematiese kritiese ondersoek met betrekking tot instrumentale eienaardighede, balans, konvensies van notasie en toonkleur kombinasies wat ʼn blaasorkes bied. Verder het die skrywer die voordele en tekortkominge van die bogenoemde proses ondersoek. Die gevolgtrekking is dat, by wyse van, 'n metodiese proses, 'n orkestrator 'n deeglike begrip van die oorspronklike teks kan bereik en dus die materiaal vertaal sonder vrees om ongunstige musikale besluite te maak. Aangesien die navorsing 'n tweejaarlange proses behels het, glo die skrywer dat hierdie metode moontlik ontoereikend mag wees gegewe die tydsbeperkinge wat dikwels deur die musiekindustrie opgelê word. Derhalwe bied die skrywer ook moontlike aanpassings tot sy metode om die bogenoemde tydsbeperkings te akkommodeer.

Submarine landslides, commonly triggered by earthquakes, significantly affect tsunami wave heights. Subaerial landslides can also generate tsunamis (if the land flows into a body of water) and may be catastrophic in nature, causing human casualties and direct property damage. This work focuses on landslides associated with shear band that develops beneath the slipping mass. Accordingly, we consider a landslide as a dynamic process when a shear band emerges along the potential failure surface. Within this band, the shear strength decreases due to the softening behaviour of the particulate material. Material above the band moves downwards, causing the band to propagate dynamically. This already produces a landslide velocity before the slide reaches the post-failure stage and begins separating from the substrata and generating tsunami. However, existing models of tsunamigenic landslides assume zero initial slide velocity. Previous analyses of the catastrophic shear band propagation in slopes of normally- and over-consolidated sediments have shown that a relatively short initial failure zone is sufficient to cause a full-scale landslide. For the shear band to propagate, the energy produced in the body by an incremental propagation of the shear band must exceed the energy required for the propagation. This consideration separates the shear band growth into progressive (stable) and catastrophic (dynamic) stages and treats the band growth as a true physical process rather than an instantaneously appearing discontinuity. This work considers a dynamic shear band problem formulated within the framework of the Palmer and Rice’s [1973] approach. We obtain the exact, closed-form solution for the shear band and landslide velocities as well as for the spatial and temporal distributions of strain and material velocity. This solution assesses when the slide fails due to the limiting condition near the propagating tip of the shear band. We also obtain a simple asymptotic solution, which is compared to the exact solution. In the case of submerged slopes, the obtained solutions are used in landslide and tsunami height analyses. Our results suggest that the conventional static approach to the slope stability analysis leads to a significant underestimation of the slide size (volume). In most cases, the volumes of catastrophic slides are roughly twice the volumes of progressive slides. For submerged slides, this dynamic effect further manifests itself in increasing the tsunami magnitude compared to the static case.

No description available.

Since 1950, wind band repertoire has experienced accelerated change and growth. There has been a shift from orchestral transcriptions, in which wind instruments frequently have been used formulaically, to original compositions for wind band that explore new timbre possibilities. This study analyzes selected band pieces composed since 1950, paying particular attention to the use of timbre. Specific developments that are discussed, in addition to the change in band instrumentation, are the new emphasis on percussion, and the exploration of new instrument combinations and their resulting timbres. This study primarily focuses on Symphony in B-flat for Band (1951) by Paul Hindemith, Music for Prague 1968 by Karel Husa, and " ... and the mountains rising nowhere" (1977) by Joseph Schwantner. These pieces represent the efforts of renowned composers whose music is considered significant in band repertoire. Hindemith's Symphony in B-flat conforms to the standard instrumentation of the period, as dictated by the American Bandmasters Association in 1945. Husa's Music for Prague 1968 reflects considerable expansion of instrumentation, and expands the role of the percussion section. Schwantner's " ... and the mountains rising nowhere" marks a deliberate nullification of the standard instrumentation for which Hindemith and Husa composed. Even though these composers have continued to make traditional use of form and harmony, their experiments have made the band's instrumentation more flexible than that of the pre-1950 era. These composers have exploited expanded percussion writing and new combinations of instruments. The transition from a pre-determined instrumentation dictated by external influences (Hindemith), through an expansion of that standard (Husa), to a music that is freed from any instrumentation limitations (Schwantner) reflects increasing composer interest in timbre as a primary compositional element. Composers continue to experiment with the instrumentation of the band, excluding traditional instruments and adding others. They have created great flexibility in the size and make-up of wind band instrumentation and generated music that places timbre in a position of high priority.