Hary Janos suite / Zoltan Kodaly -- Le sacre du printemps / Igor Stravinsky / text

Since the early nineteenth century, a conductor has led orchestras in concert, rather than the concertmaster or the composer from a keyboard instrument. There is no theory about the function of the conductor or technique for conducting an orchestra or choir in that early period. Early conductors probably imitated the bow motions of the concertmaster, who was the leader of the group of instrumental players. The increasing importance of conducting resulted in conductors who not only cued to indicate entrances and cut offs as the concertmaster did, but also helped the musicians to understand his musical interpretation and play as a unified musical body. The establishment of this new role soon required the training of future generations of conductors and eventually conducting textbooks, with guidelines and other educational material for the apprentice conductor. In this paper, the author explores the historical background of conducting technique and the development of conducting textbooks in the twentieth century. Three conducting textbooks were chosen representing different approaches: Max Rudolf's The Grammar of Conducting; Elizabeth A. H. Green The Modern Conductor; and Hideo Saitō The Saitō Conducting Method. The author analyzes the conducting theory presented in each textbook and pinpoints the strengths and weaknesses of the three schools. He then suggested integrates beat patterns, combining elements from them, proposes more effective conducting gestures for his interpretation of the music. The focus for these integrated beat patterns is on the physical gestures and patterns of the right hand, not left hand gestures or specific expressive gestures. Chapter 2 summarizes the characteristics of the three conducting theories. Chapter 3 analyzes the basic characteristic motions of each school. Chapters 4 through 6 propose adaptations of conducting gestures, drawing from the three schools to interpret challenging sections of the examples: Marche royale from Histoire du Soldat by Igor Stravinsky, Adagio for Strings by Samuel Barber, and the Ouverture: Die Hebriden by Felix Mendelssohn. For the most effective performance of the author s interpretations, proposed integrated beat patterns are suggested for the phrases shown in the musical examples. Some of the beat patterns are presented in diagrams to show the integrated beat pattern, derived from the author s synthesis of the basic five motions of the three schools adapted from the three schools.

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The purpose of this study was to make a comprehensive examination of factors concerning the intonation and methods of tuning the wind instruments in the university wind ensemble. The study concerned itself with the following issues:1. Temperaments and tunings used in tuning the university wind ensemble2. Pitch discrimination of the individual ensemble member3. Collective intonation variances of the instruments of the university wind ensemble, and how may they be corrected4. Methods of tuning the university wind ensembleThe study assumed that the musicians in the university wind ensemble are selected upperclass and graduate students auditioned from the university band program, who possess professional or near professional playing ability.Furthermore, the musicians have been exposed to university theory courses, which include melodic and harmonic ear training. The instruments played in the ensemble are of professional quality, and the environments in which the wind ensemble performs are the rehearsal hall and the concert stage.Information for this study was obtained from essentially two sources. A survey of literature pertaining to tuning systems and temperaments, the pitch discrimination ability of the individual, intonation variances of musical instruments in the wind ensemble and tuning methodology provided the first source of information.The expert testimony of eminent university wind ensemble directors was the second source of information. The directors interviewed for this purpose were John Paynter of Northwestern University, Mark Hindsley (Director Emeritus) of the University of Illinois, Harry Begian of the University of Illinois, Mark Kelly of Bowling Green State University and Frederick Ebbs of Indiana University. Each director was asked to read the first part of the study and subsequently to comment on how he felt the information applied to the tuning of the university wind ensemble. A set of interview topics was used to guide the wind ensemble directors over the given subject matter. Their answers were tape recorded and transcribed for the study. Conclusions were then drawn from these two sources.The findings and conclusions of this study are as follows:1. A survey of literature revealed that theories concerning the overall tuning system of the wind ensemble vary. Furthermore, university wind ensemble directors interviewed in this study were not in agreement as to what intonation system the wind ensemble should utilize. This study was therefore inconclusive in identifying a single method of tuning the wind ensemble that is universally accepted.2. Different components of musical sound were found to affect the pitch discrimination ability of the individual. The individual's perception of intonation was found to be influenced by the range of pitch, phenomenon of beats, vibrato, duration of musical tones and timbre. The influence of first order combination tones and increased volume on pitch was found to be a controversial issue in both written and interviewed sources of intonation.3. The wind ensemble is composed of a large number of wind instruments capable of emitting a wide range of musical pitches, which in turn represent a great number of possible intonation variances and deficiencies. Both conductor and performer must have a comprehensive knowledge of these-problems and their remedies in order to attain uniform ensemble intonation.4. Tuning practices do vary according to the ensemble's needs and the director's rehearsal procedure. However, proper attention must be given to warm-up procedure, level of pitch, selection of reference pitch or pitches, method of relaying the pitch to the ensemble and methods of correcting faulty intonation to insure consistent intonation within the ensemble.

This thesis presents the results of a comprehensive study on the transport and optical properties of polyaniline (PANI) films. The films are derived by protonation (doping) of the emeraldine base form of polyaniline, as synthesized in Durham, with either 2-acrylamido-2-methyl-l-propanesulfonic acid (AMPSA) or 10- camphorsulfonic acid. Thus, two distinct PANI systems are obtained: PANI-CSA and PANI-AMPSA. The variation of the doping level can affect the metallic properties of the final system, so that samples close to the boundary as well as samples at either side of a disorder induced metal-insulator can be obtained. The relation between the doping level and the degree of disorder, along with the existence of an inherently metallic behaviour in PANI, are investigated through a series of experiments. Temperature dependent dc conductivity measurements ranging from 10-295 K are performed using a closed loop helium cryostat under dynamic vacuum (~10(^-5) mbar). From the conductivity data curves, typical fingerprints of the metallic behaviour are detected for certain samples and an initial estimate of the degree of disorder is implicitly attained. More specific information regarding the microscopic contributions to the transport mechanisms is obtained via low temperature (down to 1.5 K) magnetocon- ductance measurements on selected samples. The magnetic field dependence of conductivity for fields up to 14 T is measured and the suitability of the localization- interaction model for the understanding of the transport mechanism in PANI is examined. Infrared reflectivity (20-9000 cm(^-1)) measurements on samples of both PANI systems are performed. The experimental configuration permits the determination of the sample’s absolute reflectivity. The optical constants are deduced from Kramers- Kronig analysis of the reflectivity data. Typical features of metallic behaviour are examined and analysed in the context of the localization modified Drude model. The results are shown to be consistent with the transport measurements, indicating that PANI is a disordered metal close to the boundary of a disorder induced metal- insulator transition.

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