This dissertation investigates how Augustan poetry imagines, redefines and reconfigures the idea of the chorus. It argues that the chorus, a quintessential marker of Greek culture, was translated and transformed into a peculiarly Roman phenomenon whereby poets invented their relationship with an imagined past and implicated it in the present. Augustan poets, I suggest, created a sustained and intensely intertextual choral poetics that played into contemporary poetic debates about the power of writing versus song and the complexity of responding to performance culture through multiple layers of written tradition. Focusing in particular on Virgil’s Aeneid, Propertius’ Elegies and Horace’s Odes, the dissertation uses a series of case studies to trace the role played by scenes of embedded choral song and dance in Augustan poetics. The scene is set by comparing how a range of texts respond differently to a single fundamental aspect of Greek choral culture—the figure of the chorus leader—and by establishing Catullus as an important predecessor to Augustan choral discourse. The dissertation then turns to explore how choral language and imagery become involved in some of the central issues of Augustan poetry: Latin love poetry’s construction of female desirability and male anxiety, the creation of poetic authority in Augustan lyric and elegy, and the search for the origins of Roman ritual in Virgil’s Aeneid. Finally, these embedded scenes are juxtaposed with Horace’s Carmen Saeculare, a text composed, remarkably, for choral performance on the Roman civic stage, which is shown to activate the choral metaphor that had been created by the Latin literary imagination. By demonstrating Augustan poetry’s engagement with this aspect of Greek performance culture, the study sheds new light on the relationship between Greek and Roman poetry, shifting the focus from the reinvention of Greek genres and the study of particular sites of allusion towards an understanding of the complex dynamics of reception and reconfiguration at work in these poets’ reappropriation of both a literary and cultural idea. / The Classics

Στόχος αυτής της εργασίας είναι να ερευνήσει τα γυναικεία δραματικά πρόσωπα της αρχαίας ελληνικής τραγωδίας όπως παρουσιάζονται μέσα από τους χορούς και από τη μορφή της Ηλέκτρας στις Χοηφόρους του Αισχύλου, την Ηλέκτρα του Σοφοκλή και την Ηλέκτρα του Ευριπίδη. Το ουσιαστικό ζήτημα εντοπίζεται κυρίως στα διαφορετικά χαρακτηριστικά που φέρουν τα γυναικεία δραματικά πρόσωπα σε σύγκριση με τα αντίστοιχα ανδρικά καθώς επίσης και τα διαφορετικά ποιοτικά στοιχεία που έχουν τα μέλη του χορού σε σχέση με τα μεμονωμένα δραματικά πρόσωπα. / The aim of this study is to carry out a detailed analysis of the female dramatic characters of the Ancient Greek Tragedy as they are presented through the choruses and the figure of Electra in Aeschylus’ Choephori, Sophocles’ Electra and Euripides’ Electra. The essential point is to detect thoroughly the different characteristics and their function in the play concerning male and female characters as also the members of the chorus and the heroes.

The concept musical, a fourth category of American musical theatre, has been accepted as a legitimate category but never fully defined. This study examined the attributes making up the category (theme, structure, character, and song), identified the hallmarks of the category, and provided a concise definition. Two concept musicals, Company and A Chorus Line were analyzed.

Thesis (Ph.D.)--Boston University / The Great Commission is a sacred cantata written for mixed chorus, soprano, messo soprano, tenor, and bass soloists, and symphony orchestra. The main text, St. Mark xvi. 15-18, determines the general plan. It is composed in six parts with a finale. Part I contains the command of Jesus, "Go ye into all the world and preach the gospel." Parts II to VI are each made up of, (1) an introduction with the pronouncement of one of the signs which would follow, and, (2) a musical setting of a biblical text which is a fulfilment. Part I begins with a processional type introduction in g minor for full orchestra and marked Moderato maestoso. It is formed of irregular length phrases punctuated by short rests and introduces the entrance of the chorus, singing in unison, "Jesus came...and spoke", with the sopranos beginning on a high G. [TRUNCATED]

abstract: Infectious diseases have emerged as a significant threat to wildlife. Environmental change is often implicated as an underlying factor driving this emergence. With this recent rise in disease emergence and the acceleration of environmental change, it is important to identify the environmental factors that alter host-pathogen dynamics and their underlying mechanisms. The emerging pathogen Batrachochytrium dendrobatidis (Bd) is a clear example of the negative effects infectious diseases can have on wildlife. Bd is linked to global declines in amphibian diversity and abundance. However, there is considerable variation in population-level responses to Bd, with some hosts experiencing marked declines while others persist. Environmental factors may play a role in this variation. This research used populations of pond-breeding chorus frogs (Pseudacris maculata) in Arizona to test if three rapidly changing environmental factors nitrogen (N), phosphorus (P), and temperature influence the presence, prevalence, and severity of Bd infections. I evaluated the reliability of a new technique for detecting Bd in water samples and combined this technique with animal sampling to monitor Bd in wild chorus frogs. Monitoring from 20 frog populations found high Bd presence and prevalence during breeding. A laboratory experiment found 85% adult mortality as a result of Bd infection; however, estimated chorus frog densities in wild populations increased significantly over two years of sampling despite high Bd prevalence. Presence, prevalence, and severity of Bd infections were not correlated with aqueous concentrations of N or P. There was, however, support for an annual temperature-induced reduction in Bd prevalence in newly metamorphosed larvae. A simple mathematical model suggests that this annual temperature-induced reduction of Bd infections in larvae in combination with rapid host maturation may help chorus frog populations persist despite high adult mortality. These results demonstrate that Bd can persist across a wide range of environmental conditions, providing little support for the influence of N and P on Bd dynamics, and show that water temperature may play an important role in altering Bd dynamics, enabling chorus frogs to persist with this pathogen. These findings demonstrate the importance of environmental context and host life history for the outcome of host-pathogen interactions. / Dissertation/Thesis / Ph.D. Biology 2012

Made available in DSpace on 2014-06-11T19:27:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2004-08-30Bitstream added on 2014-06-13T18:56:14Z : No. of bitstreams: 1 marchetto_lfl_me_ia.pdf: 7290807 bytes, checksum: 97c4d4043c341670b195f82b68942e36 (MD5) / Universidade Estadual Paulista (UNESP) / Este trabalho tem por objetivo estudar a chanson polifônica francesa, em particular as chansons para coral a cappella, escritas por Claude Debussy e Maurice Ravel, esperando que sirva de subsidio aos regentes corais, ajudando-os a compreender os elementos musicais e literários presentes nestas obras. Através de pesquisa na bibliografia, aborda-se a transformação da chanson ao longo do tempo para, em seguida, contextualiza-la dento da produção musical de C. Debussy e M. Ravel, apontando as principais características de suas linguagens musicais e as influências literárias que as inspiraram. Os dois conjuntos de chansons foram analisados, considerando seus elementos musicais e poéticos. Apesar das diferanças existentes no emprego da textura, da harmonia e da linguagem poética entre as chansons aqui analisadas, conclui-se que o fator comum que permeia estas obras é o uso da sonoridade natual das palavras, às quais se agrega de forma harmoniosa, funcionando como reforço expressivo das idéias e imagens sugeridas nos textos. / The dissertation presents the study of the French poliphonic chanson, particularly those composed by Claude Debussy and Maurice Ravel. with the purpose of helping choir conductor to better undestand musical and literay elements present in these songs. The evolution of the chanson throught time is approached based on resarch of bibliography. The two sets of poliphonic chansons by Debussy and Ravel have been analyzed, calling attention to their poetical and musical elements. Besides the differencs in the texture, harmony and poetic language between the chansons here studied, it is possible to conclude that what they have in common is the natural sonority of their lyrics, to which music is added harmoniously, as an expressive reinforcemente to idas and images present in the poetic text.

Submitted by Rafael Santana (rafael.silvasantana@ufpe.br) on 2017-08-31T18:49:43Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Dissertação Renato.pdf: 2458758 bytes, checksum: b08fb4f41c821e5fd07c0022ea5dcaac (MD5) / Made available in DSpace on 2017-08-31T18:49:43Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Dissertação Renato.pdf: 2458758 bytes, checksum: b08fb4f41c821e5fd07c0022ea5dcaac (MD5) Previous issue date: 2016-09-14 / Em aplicações de Preview de serviços de streaming de música, onde uma rápida impressão de um álbum desconhecido é proporcionada pela navegação de suas músicas, a inclusão do refrão no trecho de trinta segundos fornecido para cada música torna a aplicação muito mais precisa e eficaz. O refrão pode também funcionar como uma “miniatura” representativa da música, melhorando o desempenho e a precisão das consultas, se realizadas somente procurando pelos refrãos em vez de se procurar por músicas inteiras. Diante da importância de obter o trecho mais representativo de uma canção, o objetivo de um sistema de detecção de refrão é identificar este segmento ou, mais precisamente, os seus instantes inicial e final. Métodos do Estado da Arte buscam extrair features associadas a notas musicais e timbre como vetores Chroma e MFCC, e a partir destas identificar as repetições entre os segmentos da música, inclusive o refrão. Este tipo de abordagem torna o método pouco robusto no processamento de músicas onde notas musicais e variedade de timbres não são tão presentes, como em estilos musicais mais percussivos. Este trabalho propõe uma mudança de paradigma para a detecção de refrão, baseada na exploração do domínio do tempo em lugar do domínio da frequência, com o objetivo de obter um método mais competitivo no processamento de músicas percussivas. O método proposto elimina a etapa de segmentação, substitui as features harmônicas e timbrais pela envoltória do sinal e utiliza a função de correlação entre as envoltórias das partes da música como métrica de similaridade, tornando o método menos dependente de notas musicais e timbres. Os testes mediram o grau de degeneração das taxas de acertos do método proposto e de uma versão modificada usando vetores de Chroma sobre uma base harmônica e uma base percussiva. Os resultados indicam que a abordagem proposta sofre uma degeneração duas vezes menor que a versão modificada, comprovando a hipótese de que um método de detecção de refrão que explore o domínio do tempo é mais competitivo, ao processar músicas percussivas, que um método limitado à exploração do domínio da frequência. / In Preview applications of music streaming services, where a fast printing from an unknown album is provided by the navigation of your songs, including the chorus in thirty seconds excerpt provided for each song makes the application much more accurate and effective. The chorus can also function as a “miniature” representative of music, enhancing the performance and accuracy of search, if carried out only by looking choruses instead of searching for entire songs. Given the importance of getting the most representative excerpt of a song, the goal of a chorus detection system is to identify this segment, or more precisely, its beginning and its end. State of the art methods seek to extract features associated with musical notes and timbre, like Chroma and MFCC vectors and identify from these repetitions between segments of music, including the chorus. This approach type makes method little robust in music where musical notes and variety of timbres are not as present, as in percussive music for example. This paper proposes a paradigm shift for the chorus detection, based on the exploitation of the time domain instead of the frequency domain, in order to obtain a more competitive method in the processing of percussive music. The proposed method eliminates the segmentation, replaces the harmonic and timbral features with the envelope of the signal, and uses the correlation function between the envelope of the music segments as a metric of similarity, to make it less dependent on musical notes and timbre. The tests measured the degree of degeneration of hit rates of the proposed method and of a modified version using Chroma vectors on a harmonic basis and a percussive basis. The results indicate that the proposed approach have a degeneration two times lower than the modified version, proving the hypothesis that a chorus detection method that exploits the time domain is more competitive when processing percussive songs than a method limited to the frequency domain exploitation.

The dissertation is devoted to a study of the poetical and musical texts of two choir pieces of the modern Ukrainian composer Lesya Dychko: cantata "U Kyevi zori".

This case study provides a holistic, qualitative, and ethnographic examination of the Wings Over Jordan Celebration Chorus in its dedication and commitment to preserving the Negro spiritual and the history embedded in these songs. The elements of critical race theory provide an interpretative framework to examine the role of race in the identity of the chorus. This dissertation documents the activities and experiences of members of this historical African American chorus, founded by Maestro Glenn A. Brackens in 1988, to celebrate the 50th anniversary of the legacy and history of the original Wings Over Jordan Choir, founded in 1938 by the late Rev. Glenn T. Settle of Gethsemane Baptist Church of Cleveland, Ohio. The purposes of this study are to: 1) examine the reasons why members of the Wings Over Jordan Celebration Chorus have chosen to preserve the Negro spiritual, 2) to investigate the musical activities and experiences in which members of the Wings Over Jordan Celebration Chorus and Wings Over Jordan Alumni and Friends, Inc. have engaged to preserve the Negro spiritual and 3) to examine the critical role racial identity has played in the motivation and valuation for preservation of Negro spirituals by Wings Over Jordan Celebration Chorus. Interviews and focus group meetings conducted with members of the Wings Over Jordan Celebration Chorus and its administrative body, Wings Over Jordan Alumni and Friends, Inc., provided evidence that the preservation of Negro spirituals through this organization takes place through performance, education, and documentation. Interviews conducted with Maestro Glenn A. Brackens revealed his philosophy related to performance practices and vision for the future of this chorus. The debate on how to best perform Negro spirituals was also considered. Findings from the research indicate the critical role racial identity has on the motivation and valuation for preservation of Negro spirituals by members of this chorus. Cultural identity and community identity share both a link and a direct connection to the choir’s collective identity as an African American chorus. The identification of the chorus encompasses its mission to celebrate its musical heritage and inspire future generations to do the same. This dissertation shares the steps the chorus has taken to fulfill this mission. Implications for music education and suggestions for future research include investigation of the activities and experiences of other choral groups that have yet to be documented, to find innovative ways to bridge the gap between generations to preserve the history and meaning of the Negro spirituals and their relevance for today’s world, and to collaborate with scholars in various fields to create culturally relevant music curricula inclusive of Negro spirituals.

京都大学 / 0048 / 新制・課程博士 / 博士(工学) / 甲第21070号 / 工博第4434号 / 新制||工||1689(附属図書館) / 京都大学大学院工学研究科電気工学専攻 / (主査)教授 大村 善治, 教授 松尾 哲司, 准教授 小嶋 浩嗣 / 学位規則第4条第1項該当 / Doctor of Philosophy (Engineering) / Kyoto University / DGAM