The purpose of this investigation was to examine subject response to music conducting motions simulated on a computer screen. Forty musicians and forty non-musicians responded to a point of light moving around a computer screen simulating the tip of a conductor's baton. Subjects were asked to press a button every time they perceived a beat portrayed in the motions. The timing of subject responses to four modes of motion was recorded and analyzed. In order to produce sound from their musical instruments, musicians must undergo a process that involves developing a mental image of the upcoming sound, creating an action program, and performing the chain of physical events that will culminate in the production of the desired sound. Even though it may last a mere fraction of a second, this process of anticipation is an essential component of music making. Whereas solo musicians anticipate the music rather freely, ensemble musicians must meet an essential requirement for obtaining satisfying musical results: they must play together. Since they also need to anticipate the music, then they must anticipate together in order to play together. This coordination is accomplished by way of visual information provided by the conductor. In the present study it was hypothesized that speed and direction of conducting motions from any given beat to the next play an important role in the observers' ability to anticipate and synchronize their motor activity. The experimental design allowed the author to examine visual perception of simulated conducting motions showing distinct motion behaviors, in isolation from actual sound and other sensory cues. Results of this investigation indicate that both musicians and non-musicians respond with a high degree of uniformity to a type of conducting motion which resembles the motion produced by gravitational forces--accelerating going down, decelerating going up, following a parabolic trajectory when moving to either side. On the other hand, a motion which is inversely proportional to the motion produced by gravity yielded mixed results: non-musicians responded more uniformly than did musicians, as the latter were divided according to two distinct interpretations of where the beats occurred within the simulated conducting patterns.

This dissertation is presented in two parts. The first part is a look at the composer-conductor through the composition, preparation, rehearsal, and performance of the work, The Slaying of the Innocents. The second part is an analysis of the insights each of the two disciplines provides the other, and the influences each may have on the other. Although the dissertation represents the basic and larger concepts of each composer-conductor, it is not intended to represent all thoughts of all composer-conductors, for these would be different for each individual.The major part of the text for the The Slaying of the Innocents is taken from the medieval miracle play, Herod and the Slaying of the Innocents. This play was originally written as a liturgical drama, and was later set to music as a music-drama. The identities of the playwrite and composer are unknown. However, three transcriptions of the music drama were found and used as text references for this dissertation. These transcriptions or editions are by Fletcher Collins Jr., Terence Bailey, and Noah Greenburg and William L. Smoldon. Other texts which were used in preparing this work include: parts of the Dies Irae sequence from the text and tune of the Coventry Carol.The Slaying of the Innocents, is composed for three choirs of mixed voices, a double brass quintet, a handbell choir, an organ, and a tenor soloist. Choir I sings primarily in English, is accompanied by the double brass quintet and organ, and conveys the major part of the story Choir II sings primarily in Latin, is accompanied by the handbell choir, and generally comments on the story. Choir III participates only in the final movement, singing the Coventry Carol in English. The solo tenor represents Herod, king of the Jews. He sings exclusively in English and shares the story line with Choir I.The Slaying of the Innocents provides the background to discuss the relationship between composition and conducting. Chapter one examines the term composer-conductor. This definition provides a reference for the second chapter, which is a brief but representative history of the composer-conductor and his changing function throughout history. The third chapter examines the composer-conductor from the conducting discipline, and how it might influence composing. These insights include: performing forces, acoustics, Requiem Mass, a setting of the Ave Maris Stella text, and the accessibility of the music, and audience factors. Chapter three discusses these insights in general and as they pertain to the composition of The Slaying of the Innocents,. The fourth chapter examines the composer-conductor from the composing discipline, and how it might influence conducting. These insights include: placement of performing forces, appropriate tempi, balance considerations, and a composer's understanding of the score. Chapter four presents these insights in general and as they pertain to the preparation, rehearsal, and performance of The Slaying of the Innocents. Chapter four also presents an interpretation of the work from the perspective of the composer. Obviously, some of the concepts discussed in both chapters three and four would normally fall into the disciplines of both the composer and the conductor. It is interesting, however, to examine the two perspectives and how the perspective of one discipline influences the perspective and performance of the other.

The purpose of this thesis is first to synthesis the aniline derviatives by varying the length of alkyl side chains . Then to investigate the polymerization behavior , and the effect of alkyl chain length to the conductive and solubility in organic solvents .

Thesis (Ph. D.)--Ohio State University, 1978. / Includes vita. Includes bibliographical references (leaves 250-253). Available online via OhioLINK's ETD Center

Selected Project (M.A.)--Brigham Young University. School of Music, 2004. / Includes bibliographical references.

Thesis (doctoral)--Abo Akademi University, 2008. / Includes bibliographical references. Also available on the World Wide Web.

Thesis (M.S.)--California Polytechnic State University, 2009. / Title from PDF title page; viewed on June 24, 2009. "June 2009." "In partial fulfillment of the requirements for the degree [of] Master of Science in Engineering with Specialization in Materials Engineering." "Presented to the faculty of California Polytechnic State University, San Luis Obispo." Major professor: Richard Savage, Ph.D. Includes bibliographical references (p. 96).

Thesis (Ph. D.)--University of Hong Kong, 1999. / Includes bibliographical references (leaves 114-123).

Typescript. Includes vita and abstract. Includes bibliographical references (leaves 181-190) Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.

Thesis (Ph. D.)--Michigan State University. Dept. of Music, 1998. / Includes bibliographical references (leaves 241-253).