Thesis (Ph.D.)--University of Kansas, 1997. / Co-Chairs: Chu-tsing Li; Marsha Weidner. Includes bibliographical references.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1980. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 543-548).

abstract: In an interview with the author, composer Chen Yi shared thoughts regarding her inspiration to compose the piece As in a Dream. She composed the first version in 1988 for soprano, violin, and cello. Left unpublished, this work was re-done in 1994 with the Chinese instruments zheng and pipa in place of the violin and cello. As in a Dream is a setting of two linked poems of six lines each by Qingzhao Li, one of the earliest female poets in China. Chen Yi kept the voice part the same in the two versions, but adapted the accompaniment to suit the Chinese instruments. This study of As in a Dream focuses on the 1994 version, and especially on the first song, with a view to introducing the singer to its Chinese elements. To help performers to understand better the text of the set, a translation and transliteration of the two poems by Qingzhao Li are offered with line-by-line interpretation. An introduction to the history and characteristics of the zheng and the pipa is supported by examples of the uses of these instruments in the songs. Drawing upon information provided by Chen Yi in the interview with the author, a discussion follows of Mandarin speech tones and their effect on the melodic design of As in a Dream, with music examples. An examination of traditional Beijing Opera styles of singing, with insights provided by Rao Lan, the soprano for whom the work was written, leads to a description of the fusion vocal technique required for performance of As in a Dream and some of the rules for diction in Mandarin Chinese. Intended as an introductory guide for the soprano contemplating performance of Chen Yi’s As in a Dream, this study also reveals the combination of Eastern and Western musical characteristics in these songs and gives examples of how the music interprets the veiled meaning of the poetry. / Dissertation/Thesis / Doctoral Dissertation Music 2015

Since the founding of "New China" in 1949, the musical culture has undergone numerous periods of identity crisis, particularly during the ten-year "Cultural Revolution," due to the fact that music had always been used to serve the needs of political propaganda. Even the development of a "National Style" encouraged by the central government was a political "brainchild" under the socialist ideology. Nevertheless, professional musicians struggled to create a new path in musical composition while walking on the thin ice of harsh political climate. Isolated from the rest of the world for almost two decades, China's musical development had not been able to keep pace with the world until the late 1970s, when the central government reevaluated its agenda on how to lead the country. This change of political environment eventually led to a more open society. The newly established contact with the outside world in the musical scene lent great opportunities for Chinese musicians to study the newest thinking about music, which ultimately, in the early 1980s, fostered the emergence of a new "National Style"- the so-called "New Wave." The style of "New Wave" differs drastically from the earlier "National Style" in that it employs primarily twentieth-century compositional techniques in the course of processing nationalistic elements. Throughout the development of "New Wave," Chen Yi was one of the most avid proponents and leading figures.

A k × n array with entries from an "alphabet" A = { 0, 1, ..., q - 1 } of size q is said to form a t-covering array (resp. orthogonal array) if each t × n submatrix of the array contains, among its columns, at least one (resp. exactly one) occurrence of each t-letter word from A (we must thus have n = qt for an orthogonal array to exist and n ≥ qt for a t -covering array). In this paper, we continue the agenda laid down in Godbole et al. (2009) in which the notion of consecutive covering arrays was defined and motivated; a detailed study of these arrays for the special case q = 2, has also carried out by the same authors. In the present article we use first a Markov chain embedding method to exhibit, for general values of q, the probability distribution function of the random variable W = Wk, n, t defined as the number of sets of t consecutive rows for which the submatrix in question is missing at least one word. We then use the Chen-Stein method (Arratia et al., 1989, 1990) to provide upper bounds on the total variation error incurred while approximating L (W) by a Poisson distribution Po (λ) with the same mean as W. Last but not least, the Poisson approximation is used as the basis of a new statistical test to detect run-based discrepancies in an array of q-ary data.

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Comme un chef trouverait ridicule qu'un client qui goûte son plat lui demande de décrire la saveur et pourquoi il le fait, certains artistes ne veulent pas s’asseoir et interpréter leurs œuvres à la place du spectateur. Surtout que les artistes ont d’autres raisons de rester silencieux: peut-être que les œuvres elles-mêmes sont des objets obscurs auxquels les artistes veulent échapper ou que celles-ci répondent à des questions non résolues. Les œuvres seraient des réflexions non avouées. Cependant, une relation s’établit entre les artistes et leurs pratiques. Je la découvre à travers ma démarche de création en maîtrise, accompagnée de tous les questionnements techniques et émotionnels, que je termine avec mon exposition – Rivière absente. Pour décrire mon cheminement, je commence par une interprétation du concept de symbiose. Ce concept s'applique à l'ensemble des installations de mon exposition. Deuxièmement, j'analyse l’influence de l’animation et de la vidéo sur ma production en accordant plus d'importance à l'œuvre finale et son échange avec le spectateur qu'au médium lui-même. À la fin, j’analyse l'ensemble des sentiments et des réflexions sur la notion de nostalgie qui donne naissance à mes scénarios et à ma pratique. En plaçant cette partie à la fin, je tente de mettre en avant-plan les émotions que l'œuvre transmet tout en mettant de côté l'analyse technique.

Ying Chen et Ook Chung sont deux auteurs québécois d'origine asiatique qui ont fait l'objet d'études comparées en raison de leur statut d'écrivain migrant et de leur appartenance à une aire culturelle commune. Bien que leurs oeuvres mettent fréquemment en scène des narrateurs-personnages marginaux et en situation d'exil, celles-ci s'inscrivent au coeur d'intérêts actuels en littérature contemporaine qui permettent de les aborder au-delà de la culture d'origine des auteurs. S'intéressant à la marginalité du narrateur autodiégétique dans Un enfant à ma porte (2009) et dans La Trilogie coréenne (2012), notre mémoire a pour objectif d'étudier l'altérité des narrateurs et de montrer de quelle façon ceux-ci se retrouvent en décalage par rapport à leur récit. L'analyse de la figure de l'étranger dans le roman de Chung et de la folle dans celui de Chen, plus particulièrement de leur prise de parole respective, conduit à montrer en quoi l'altérité des narrateurs-personnages n'est pas que culturelle. L'altérité dans ces romans témoignerait plutôt d'une posture ontologique beaucoup plus fondamentale et générale, qui se répercute à la fois sur le rôle du personnage dans le récit et sur sa fonction de narrateur. Menée en deux temps (le personnage Autre puis le narrateur Autre), notre étude permet d'établir un lien entre l'inadéquation énoncée et la compétence narrative.

This thesis contains three main results. The first result states that, outside a slim set associated with a Gaussian process with long time memory, paths can be canonically enhanced to geometric rough paths. This allows us to apply the powerful Universal Limit Theorem in rough path theory to study the quasi-sure properties of the solutions of stochastic differential equations driven by Gaussian processes. The key idea is to use a norm, invented by B. Hambly and T.Lyons, which dominates the p-variation distance and the fact that the roughness of a Gaussian sample path is evenly distributed over time. The second result is the almost-sure uniqueness of the signatures of SLE kappa curves for kappa less than or equal to 4. We prove this by first expressing the Fourier transform of the winding angle of the SLE curve in terms of its signature. This formula also gives us a relation between the expected signature and the n-point functions studied in the SLE and Statistical Physics literature. It is important that the Chordal SLE measure in D is supported on simple curves from -1 to 1 for kappa between 0 and 4, and hence the image of the curve determines the curve up to reparametrisation. The third result is a formula for the expected signature of Gaussian processes generated by strictly regular kernels. The idea is to approximate the expected signature of this class of processes by the expected signature of their piecewise linear approximations. This reduces the problem to computing the moments of Gaussian random variables, which can be done using Wick’s formula.