Delphic Suite is a composition for orchestra that depicts specific events narrated in Homer's epic tale, Odyssey. For the purpose of this thesis the second movement, Raid on Ismarus, has been omitted so as to focus on the melodic, rhythmic, and harmonic structures of the first movement, Lament from Troy, and the third movement, Ruler of the Winds. Each of these musical parameters will be analyzed in order to illustrate the Suite's imitation of compositional techniques exemplified in the music of Homer's era, and the musical results obtained by juxtaposing those parameters upon a twentieth-century tonal scheme that provides the Suite with an eclectic ambience.

Widespread adoption of cloud services is fundamentally changing the way IT services are delivered and how data is stored. Current forensic tools and techniques have been slow to adapt to new challenges and demands of collecting and analyzing cloud artifacts. Traditional methods focusing only on client data collection are incomplete, as the client may have only a (partial) snapshot and misses cloud-native artifacts that may contain valuable historical information. In this work, we demonstrate the importance of recovering and analyzing cloud-native artifacts using G Suite as a case study. We develop a tool that extracts and processes the history of Google Documents and Google Slides by reverse engineering the web applications private protocol. Combined with previous work that has focused on API-based acquisition of cloud drives, this presents a more complete solution to cloud forensics, and is generalizable to any cloud service that maintains a detailed log of revisions.

Master of Music / Department of Music / Frank C. Tracz / The following report is research and analysis from the comprehensive examination question based on the Graduate Conducting Recital of Andrew D. Feyes. The recital, performed by the Kansas State University Symphony Band, was given in McCain Auditorium on the campus of Kansas State University on March 13, 2007 at 7:30pm. The repertoire included Fanfare for La Peri, by Paul Dukas, Concerto for 23 Winds, by Walter S. Hartley, and Incidental Suite, by Claude T. Smith. This examination contains thorough theoretical and historical analyses of the included literature. The report also includes the procedures of planning and performing the graduate conducting recital.

>Magister Scientiae - MSc / The Keimoes Suite is a group of poorly defined granitoids that characterize the Namaqua Front and Foreland zones. There is a lack of knowledge on its content and distribution. A significant amount of work has been done on the geochemical and geochronological aspects of the Keimoes Suite but no structural analysis using a comparison between joint occurrences in the suite and the country rock has been found in the literature. This study provides insight on whether these joints formed as a result of the emplacement and subsequent cooling of the granitoids or whether they are the result of later deformation processes. This was achieved through remote sensing, detailed field mapping and structural analysis of joint data to determine the type of stress regime associated with their deformation. Eleven granitoids of the Keimoes Suite were mapped in the Kakamas-Keimoes area in the Northern Cape, South Africa. Up to four joint sets were mapped and characterized according to orientation, abutting relationship, in-filling material and spacing properties. The orientation analysis revealed two prominent joint sets (NNW and NE) that are consistent throughout the Keimoes Suite granite. However after careful analysis of their abutting relationship it has been concluded that these joints are the youngest joints formed in the Keimoes Suite. The fourth set is the E-W set which does not occur at a wide spread scale. The oldest joint set (NNE) is defined by the quartz and feldspar filling and these joints only occur in the oldest granite of the suite. Field observation revealed shear displacement, forming a conjugate joint set. This conjugate set closes at an acute angle of 60˚ and the joints displace each other. The presence of en echelon sigmoidal veins suggests these joints formed as mode II fractures and that they are tectonic joints. The dominant joint set NNW is parallel to the regional foliation, shear zones and faults which were formed during the D2 deformational vent of the Namaqua Orogeny. This NNW joint set post-dates the D2 deformational event and was formed during the D3 deformational environment of the Namaqua Orogeny. Principal stress analysis of all the joints in the study area suggests a strike-slip environment, which coincides with the D3 deformation event of the Namaqua Natal Province. Even though the country rock and the Keimoes Suite granites were subjected to same stress field during the D3 event, the analysis of principal stresses between the Keimoes Suite granites and the country rock reveals a slight difference in the orientation of the principal stresses. This is caused by the difference in competency between the Keimoes Suite granites and the country rock thus caused the refraction. In conclusion Structural evidence on various members of the Keimoes Suite indicates three episodes of intrusions with respect to the D2 Namaqua deformation event based on foliation and mineral filled joints. The Vaalputs Granite is pre tectonic relative to the main D2 deformation event and the thermal peak M2 metamorphisms, while Louisvale, Kanon Eiland and Klip Kraal Granites are syn-tectonic to these deformation events. The granites that lack foliation are classified as post-tectonic granites and these are the Keboes, Kleinbegin, Gemsbokbult, Colstone and Cnydas Granites as well as the Friesdale Charnockite. However the presence of foliation in some granites suggests that a compressional episode existed for a period of time and ended sometime before the onset of the post-tectonic granites. Therefore the D2 pre-dates the last episode of Keimoes Suite granite emplacement. This study partly validates the work done by previous workers on the Keimoes Suite, although there are some slight differences which are subjected to change. Conclusion can be drawn that this study provided additional insight in the findings of other workers nonetheless also differs with some of their findings regarding the timing of emplacement of the Keimoes Suite.

Les opéras de Jean-Baptiste de Lully (1632-1687) ont joui d’une diffusion européenne tant de son vivant que de manière posthume. Parmi les pays où ses opéras suscitèrent un véritable engouement, la Hollande bénéficiait d’une situation particulière. En effet, les opéras ont paru aussi bien dans les théâtres que dans l’édition musicale. Concernant l’édition musicale, la ville d’Amsterdam occupa un rôle primordial, où les opéras de Lully furent publiés non seulement en partitions générales et réduites, mais aussi en extraits vocaux et instrumentaux, dont les derniers ont pu être considérés comme les suites instrumentales. Celles-ci constituent un corpus exceptionnel dans la diffusion de l’opéra de Lully, car elles sont arrangées en 4 parties au lieu des 5 originairement présentées et ont joué un rôle intermédiaire entre l’opéra français et la suite d’orchestre allemande. Parmi les éditeurs contribuant à ce phénomène, il faut notamment distinguer un éditeur ayant exercé le commerce extensif : Estienne Roger (1665/66 - 1722). Au sein des recherches sur Roger, la publication de la musique instrumentale italienne et le commerce international représentaient deux enjeux majeurs. Pourtant, la place de la musique française dans ses éditions n’a pas suffisamment été évaluée, bien qu’elle ait atteint jusqu’à un tiers. Cette thèse traite de la particularité commerciale et éditoriale de ce domaine, en se focalisant sur les suites provenant des opéras de Lully. Trois points seront mis en examen : avantage de Roger en tant que libraire huguenot, son utilisation des catalogues lors de la vente des œuvres de Lully, caractéristiques musicales des suites par le biais de l’arrangement. / The operas of Jean-Baptiste de Lully (1632-1687) enjoyed a European diffusion both during his lifetime and posthumously. Among the countries where his operas aroused a real enthusiasm, Holland enjoyed a special situation. Indeed, the operas appeared both in theaters and in music publishing. Concerning musical publishing, the city of Amsterdam occupied a primordial role, where Lully's operas were published not only in scores, but also in vocal and instrumental extracts, the last of which could be considered as the instrumental suites. These suites constitute an exceptional corpus in the diffusion of Lully's opera, as they are arranged in 4 parts instead of the 5 originally presented and played an intermediate role between the French opera and the German orchestra suite. Among the publishers contributing to this phenomenon, we must distinguish a publisher who has carried out the extensive marketing: Estienne Roger (1665/66 - 1722). In the researches about Roger, the publication of Italian instrumental music and international trade were two major issues. Yet the place of French music in his editions has not been sufficiently evaluated, although it has reached as much as a third. This thesis deals with the commercial and editorial character of this field, focusing on the suites resulting from the Lully’s operas. Three points will be examined: Roger's advantage as a Huguenot bookseller, his use of catalogs in the sale of Lully's works, musical features of the suites through the arrangement.

This thesis deals with shift of the functionality of office suites in the era of cloud computing. The author examines the changing concept of office application software in the time of commercial software and the time of cloud computing and concludes that office applications are shifting their functionality from simple tools replacing just a calculator or typewriter into core corporate tools that affect the way how people communicate and collaborate.

O presente trabalho fornece ferramentas técnico-interpretativas para a construção de uma performance da suíte Imágenes para violão do compositor argentino Carlos Aguirre. Através de uma análise estrutural das obras que compõem essa suíte e sua relação com os gêneros da música popular em que se baseiam, assim como dados biográficos e estilísticos do compositor e suas obras para violão, apresentamos material para uma maior compreensão das peças. Na segunda parte do trabalho, expomos sugestões de digitação de mão direita e mão esquerda como alternativas às indicadas na edição. Versões gravadas pelo compositor com outros instrumentos de duas peças dessa suíte foram analisadas como fonte para ideias interpretativas no violão. Para a resolução das dificuldades técnicas presentes em Imágenes, propõem-se exercícios embasados principalmente no conceito de versão zero de Fernández (2000). / This work offers interpretative and technical tools for the construction of a performance of the suite Imágenes for guitar, by the Argentinian composer Carlos Aguirre. Through a structural analysis of the pieces that form the suite and its relation with other genders of folk music on which they are based, as well as biographic and stylistic information of the composer and his works for guitar, we present relevant material for a better comprehension of these pieces. In the second section of this work, we present fingering suggestions for both hands as alternatives to those indicated in the original edition. Versions recorded by the composer with other instruments of two pieces of the suite were analyzed as sources for interpretative ideas for the guitar. To resolve technical difficulties in Imágenes, we propose exercises, mainly based on Fernández’ (2000) concept of version zero.

Aaron Copland's music for The Red Pony (1948-49), based on John Steinbeck's story collection, is probably the best known of his film scores. The effectiveness of The Red Pony score stems from Copland's belief that film music should be subordinate to the film it accompanies. Copland composed The Red Pony score using his self-described method of "assembly," augmenting this process with devices to synchronize the music with the picture. Examination of archival sources shows how the score reflects the acknowledged influence of Igor Stravinsky, the needs of the film medium, and the plot of The Red Pony specifically. Despite Copland's modern style characteristics, the music functions much like a conventional Hollywood film score.

This thesis is focused on smart meters cyber security using DLMS Security Suite standard. Security is more important every day and DLMS specifies multiple methods of authentication and message encryption which is defined in Security Suites. For message creation there are multiple possible formats that can be used. For a better understanding all formats are analysed and compared using a specific example. Main part of this work is about making a testing application called VUT DLMS Tester which is used for testing this standard for real usage in distribution network. Whole development is cooperated with distribution companies and smart meter manufacturers. Application also implements higher levels of security which DLMS specifies. This application is used for testing multiple scenarios regarding security impact on data volume.

This thesis deals with brief research on problematics of antennas in microwave band for omni-directional applications, own design and assembling of such an antenna. The purpose of the design is to have a best possible radiation patterns and reflection loss of our antenna. Conical monopole is chosen and it is simulated and changed to get the best possible parameters. Two prototypes are manufactured with mechanical changes applied and their parameters measured. Finished antenna is used for experimental channel measurement.