This thesis is a musical reconstruction of the primary services held on 13 August 1837, for the fiftieth anniversary of the dedication of the Moravian church at Lititz, Pennsylvania. The work includes general background on the Moravians and interprets information from contemporary sources to place the music in its accurate historical context. The edition of music comprises more than one half of the paper, and is taken from the original manuscript scores used. Included in the edition are five concerted anthems for choir and orchestra, and eighteen hymns from eighteenth- and early nineteenth-century Moravian tunebooks. The special texts come from an original set of orders of service.

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Thesis (Ph.D.) --University of Adelaide, Elder Conservatorium of Music, 2008. / "October 2007" Bibliography: leaves 168-170. Also available in print form.

[no abstract included] / Arts, Faculty of / Music, School of / Graduate

Requiem for Netted Fish is an intermedia composition for sixteen-voice SATB choir, harp, six dancers, slide projections, and lighting. The text, taken from the poetry of Anna Akhmatova and Carolyn Forche, presents a universal, womanly rage against human repression and destruction. The poetry finds aural interpretation in sound, and visual interpretation in movement and lighting. Poetic inspiration contributes to the integration of elements in the work, as does the impulse-exchange method of coordinating mediums, which allows the dancers control of the timing of events. The resultant interdependent relationships necessary for performance contribute to the integration of the composition. The duration of this intermedia work is approximately fifteen minutes.

Lionel Daunais was an eminent and beloved 20th-century Québécois musician who contributed greatly to the performing arts in Canada. Through his work with the Trio Lyrique, Les Variétés Lyriques, and his numerous compositions, he wielded a potent sphere of influence on the Canadian musical landscape. Lionel Daunais's compositions constitute a significant oeuvre, comprising solo vocal works, song cycles, folksong arrangements, individual choral works, and multi-movement choral works. Marked by irresistible wit, the melodicism of French mélodie, and the absolute eminence of the text, Figures de danse is his most well-known multi-movement choral work. Daunais penned the earliest extant version of Figures de danse in 1947, however, the work emerged into Québec's choral scene in the mid-1970s via the establishment of the Alliance des Chorales du Québec. This set of tragicomic caricatures, which sets beautiful choral and piano writing to clever—and sometimes hilariously nonsensical—texts by Daunais himself, is accessible for performance by youth choirs, community choirs, university choirs, and professional choirs alike. Unfortunately, various factors (e.g. the separation of the choral and piano scores, local references, and score errors) often stymie its performance. The purpose of this dissertation is to ameliorate these challenges via a conductor's guide and to advocate for the performance of Daunais's chef-d'oeuvre.

This doctoral thesis claims the vital significance of music in mission work, particularly from the Lutheran point of view. It, therefore, calls for a liturgical missiology which would positively affect missionary efforts, especially in the African mission context. After giving a theological foundation - the doctrine of the Trinity - and the concept of the missio Dei as its missiological basis, the thesis investigates its topic from different angles: Luther and music, music in the work of the Hermannsburg Mission in the region of the ELCSA-Western Diocese, the role of music in African culture and spirituality, some qualities of music relevant to mission and a few musical steps to approach the future of music in mission. These analyses corroborate music's importance in future Lutheran mission designed for the African context. Examining Luther's stance towards music, a strong affinity to music is recognised, both theoretically and practically. While interpreting music theologically, Luther employs music in his liturgical, educational and reforming efforts. However, the example of the Lutheran Hermannsburg Mission shows a usage of music without a proper theoretical foundation, as well as only partial efforts at contextualisation. In Africa, music plays a prominent role in the interpretation and expression of life and religion indicated in the Tswana choruses; music represents the wholeness of African existence symbolising the paradigm of harmony. Further, in mission, music's qualities, such as its cultural-social, symbolic, ritualistic and community-building qualities, support the integration of the convert into a fundamental relationship between the missio Dei and the missiones ecclesiae. With the help of a musica missionis, which includes missiological music and missionary music, the practice of future mission can be approached successfully; for instance, through the Africanisation of the Lutheran mission liturgy based on a context-musicology. Thus, a liturgically orientated theology of mission, meditating deeply on music's qualities (music being one essential element of Lutheran worship), has the potential to develop into a future liturgical missiology. This musical-liturgical approach to mission is encouraged by this thesis. / Christian Spirituality, Church History and Missiology / D.Th. (Missiology)

Le nombre croissant de travaux réalisés ces dernières années a montré que la bioacoustique est particulièrement intéressante pour le suivi d’espèces discrètes. L’émergence de dispositifs d’enregistrement autonomes, associée à de nouvelles méthodes d’analyse, ont récemment participé à l’accroissement des études dans ce domaine. Au cours des 30 dernières années, le Loup gris (Canis lupus), mammifère carnivore aux mœurs discrètes connu pour ses hurlements de longue portée, a fait l’objet de nombreuses études acoustiques. Ces dernières visaient notamment à améliorer son suivi, qui s’avère complexe du fait des grandes capacités de déplacement des loups, de l’étendue de leurs territoires et de la diversité des milieux dans lesquels ils vivent. Cependant, la bioacoustique passive a jusqu’alors très peu été exploitée pour le suivi du Loup. C’est dans ce contexte que la présente thèse s’est organisée autour de trois axes de recherche. Les deux premiers axes portent sur l’apport de la bioacoustique passive pour le suivi du Loup gris en milieu naturel. En combinant des analyses acoustiques, statistiques et cartographiques, le premier objectif a été d’élaborer une méthode pour l’échantillonnage spatial de vastes zones d’étude, afin d’y détecter des hurlements de loups à l’aide de réseaux d’enregistreurs autonomes. Ce même dispositif a ensuite permis, dans un second temps, de tester la possibilité de localiser les loups grâce à leurs hurlements. Les expérimentations conduites en milieu de moyenne montagne (Massif des Vosges) et de plaine (Côtes de Meuse), sur deux zones d’étude de 30 km² et avec un réseau de 20 enregistreurs autonomes, ont permis de démontrer l’intérêt de la bioacoustique passive pour le suivi du Loup gris. En effet, près de 70% des émissions sonores (son synthétique aux propriétés similaires à celles de hurlements de loups) ont été détectés par au moins un enregistreur autonome en milieu de moyenne montagne et plus de 80% en milieu de plaine, pour des distances enregistreurs– source sonore atteignant respectivement plus de 2.7 km et plus de 3.5 km. Grâce à un modèle statistique et à un Système d’Information Géographique, la probabilité de détection des hurlements a pu être cartographiée sur les deux zones. En moyenne montagne, elle était forte à très forte (>0.5) sur 5.72 km² de la zone d’étude, contre 21.43 km² en milieu de plaine. Les sites d’émission ont été localisés avec une précision moyenne de 315 ± 617 (SD) m, réduite à 167 ± 308 (SD) m après l’application d’un seuil d’erreur temporelle défini d’après la distribution des données. Le troisième axe de travail porte quant à lui sur l’application d’indices de diversité acoustique pour estimer le nombre d’individus participant à un chorus et ainsi contribuer au suivi de l’effectif des meutes. Les valeurs obtenues pour les six indices (H, Ht, Hf, AR, M et ACI) étaient corrélées avec le nombre de loups hurlant dans les chorus artificiels testés. De bonnes prédictions de l’effectif ont été obtenues sur des chorus réels avec l’un de ces indices (ACI). L’influence de plusieurs biais sur la précision des prédictions de chacun des six indices a ensuite pu être étudiée, montrant que trois d’entre eux y étaient relativement peu sensibles (Hf, AR et ACI). Finalement, les résultats obtenus avec les enregistreurs autonomes montrent le potentiel des méthodes acoustiques passives pour la détection de la présence de loups mais aussi pour les localiser avec une bonne précision, dans des milieux contrastés et à de larges échelles spatiale et temporelle. L’utilisation des indices de diversité acoustique ouvre également de nouvelles perspectives pour l’estimation de l’effectif des meutes. Prometteuses, l’ensemble des méthodes émergeant de ce travail nécessite à présent quelques investigations complémentaires avant d’envisager une application concrète pour le suivi du Loup gris dans son milieu naturel / The growing number of studies carried out in recent years has shown that bioacoustics is particularly interesting for the monitoring of secretive species. The emergence of autonomous recording devices, combined with new methods of analysis, have recently contributed to the increase of studies in this field. Over the last 30 years, many bioacoustic studies have been developed for the Grey wolf (Canis lupus), a secretive large carnivore known for its howls spreading over distances up to several kilometers. These researches notably aimed to improve its monitoring, which is complex because of the strong wolf dispersal capacities over long distances, the large extent of their territories and the various natural contexts in which they live. In this context, this PhD thesis was organized around three research axes. The first two axes focused on the contribution of passive bioacoustics for the Grey wolf monitoring in the field. By combining acoustic, statistical and cartographic analysis, the first objective was to develop a spatial sampling method adapted to large study areas for the detection of wolf howls by using autonomous recorders. Then, the same protocol was used to investigate the possibility to localize wolves thanks to their howls. Field experimentations, conducted in mid-mountain (Massif des Vosges) and lowland (Côtes de Meuse) environments, in two study areas of 30 km² and with an array of 20 autonomous recorders, demonstrated the high potential of passive bioacoustics for the Grey wolf monitoring. Indeed, nearly 70% of broadcasts (synthetic sound with similar acoustic properties to howls) were detected by at least one autonomous recorder in mid-mountain environment and more than 80% in lowland environment, for sound source-recorders distances of up to 2.7 km and 3.5 km respectively. By using statistical model and Geographic Information System, the detection probability of wolf howls was modeled in both study areas. In the mid-mountain environment, this detection probability was high or very high (greater than 0.5) in 5.72 km² of the study area, compared with 21.43 km² in lowland environment. The broadcast sites were localized with an overall mean accuracy of 315 ± 617 (SD) m, reducing until 167 ± 308 (SD) m after setting a temporal error threshold defined from the data distribution. The third axe focused on the application of acoustic diversity indices to estimate the number of howling wolves in choruses and thus to contribute to pack size monitoring. Index values of the six indices (H, Ht, Hf, AR, M, and ACI) were positively correlated with the number of howling wolves in the artificial tested choruses. Interesting size predictions based on real choruses were obtained with one of the indices (ACI). The effects of several biases on the reference values for the acoustic indices were then explored, showing that three of them were relatively insensitive (Hf, AR and, ACI). Finally, results obtained with autonomous recorders confirm the real potential of passive acoustic methods for detecting the presence of wolves but also for localizing individuals with high precision, in contrasting natural environments, at large spatial and temporal scales. The use of acoustic diversity indices also opens new perspectives for estimating pack sizes. All of the promising methods emerging from this thesis require now further investigations before considering a concrete application for monitoring the Grey wolf in its natural environment

Dead water : song cycle for tenor and piano -- Shan shui : for string quartet -- Kuang fu : for SSAAATTBB and yangqin -- If life is unknown : for wind quintet -- Symphony II : Marrison for chamber orchestra, male choir, erhu and zheng -- Jazzy illusion of a Chinaman : for clarinet/bass clarinet, piano/electric keyboard, electric guitar, drum set, cello and double bass -- Liao Zhai : Chinese strange tale for recorders , percussions, soprano, tenor and baritone -- A madman's diary : piano solo work. / Tam, Chin Fai. / Thesis (D.Mus.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 391-392). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong , [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract also in Chinese; includes in Chinese.

This submission consists of three parts, found in two volumes. Volume 1 consists of a folio of eight original compositions, composed during the tenure of my PhD candidature at the University of Adelaide. These works cover a range of media, including symphony orchestra with soloist, large chamber ensemble, string quartet with soprano solo, guitar quintet, mixed choir and vocal trio. Volume 2 presents an exegesis that contains commentary on the genesis and analysis of the submitted works, together with an explanation of certain modal processes that have been explored and applied. Volume 2 also contains three minor compositions that were composed during my candidature, presented as an Appendix. These are analysed and referenced within the exegesis discussion. Two CDs of live recordings of some of the submitted works are included as part of Volume 2. The Exegesis, Appendix and Sound Recordings found in Volume 2 act as secondary material to support the primary material presented in Volume 1. Of the eight compositions presented in Volume 1, Skin, Metal, Wood – Concerto for Percussion and Orchestra is the major orchestral work of over 30 minutes, in fulfilment of submission requirements. The musical works contained within this submission offer a personal exploration of certain modal processes. In particular, the tonal principles of modulation and key relationships have been transferred into a modal system that features church, folk and synthetic modes. The exploration of modal processes has been carried out through the works themselves, and the accompanying exegesis acts as a commentary on the genesis of the works. / Thesis (Ph.D.) - University of Adelaide, Elder Conservatorium of Music, 2008