Thesis (MMus (Music))--University of Stellenbosch, 2009. / Priaulx Rainier (1903-1986) was a South-African born composer whose highly original compositional style attracted great attention during her lifetime. She spent most of her life in England, but was inspired by the images and recollections of her youth in Africa. Despite the critical acclaim she received, little research has been done about her, both in South Africa and abroad. Additionally, the nature of existing sources is mostly not analytical, but rather provides an overview of her life or general aspects of her style. Although some conclusions have been drawn about her compositional style, they are not thoroughly substantiated by concrete analytical evidence. Also, the focus is mostly on her prominent rhythmic use (often linked by authors to the “African” element of her idiom), with an evident disregard of the other aspects of style, most notably with regard to pitch coherence. This research attempts to correct this unbalanced discourse by analysing one of her few solo piano works, the Barbaric Dance Suite (composed in 1949), and pointing out significant pitch relations, similarities and contrasts. The rationale for selecting this specific work originated from Rainier’s own pronouncement that “The Suite is a key to all my later music, for in the three DANCES, their structural embryo is, on a small scale, the basis for most of the later works.” Although the scope of the research did not allow for a comparative analysis, it is strongly believed that the conclusions reached in this study could also be applicable to many of Rainier’s other works, especially of the early period. The study consists of an introduction in which the Barbaric Dance Suite is contextualised, followed by the main body of the thesis that consists of a detailed analysis of each of the three movements. The foremost method of analysis used is set theory analysis, which could be briefly described as a method whereby (particularly atonal) music is segmented and categorised in pitch class sets. As set theory focuses exclusively on the dimension of pitch, traditional methods of analysis are employed to examine the other musical parameters. In the conclusion, the analytical results are contextualised with regard to existing pronouncements on Rainier’s oeuvre. The study also comments on the applicability of set theory as analytical system in Rainier’s music. The many complex pitch relations that were discovered by the intensive analysis of pitch content has given enough evidence to conclude that Rainier’s use of sonorities has been unjustly neglected in the discourse of this work and perhaps also in her musical style as a whole. It is hoped that further detailed analysis of her use of sonorities in other works could lead authorities to revise the insistent pronouncements on her rhythmic use in favour of a more balanced assessment of all aspects of her compositional style.

Three original suites, composed during 2008-2009, are presented and discussed with respect to form, style, and compositional techniques. The subjects are Suite No. 1 (clarinet and piano), Suite No. 2: For Paul, A Master of Music (clarinet, piano, double bass and drums), and Suite No. 3: L'Chaim (two clarinets, flugelhorn, French horn, bandoneon, piano, violin, and cello). Common to all three pieces is the inspiration of klezmer, a Jewish music genre that, during its reemergence over the past thirty-five years, has welcomed the influence of other musical styles. In keeping with the eclectic nature of klezmer, each suite builds upon the previous one with regard to instrumentation, style and technique, and embraces additional genres (jazz and tango). Brief reviews regarding the history and musical characteristics (including modes, ornamentation and improvisation, song types and instrumentation) for all the included genres are also presented for the benefit of compositional context. / by Alison Weiner. / Thesis (M.A.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

A pesquisa para a elaboração da tese \"Gosto ou Licença? Como interpretar as suite sonates de Jacques Martin Hotteterre - Le Romain (1674-1763) através da flauta doce\" teve por finalidade investigar se a forma híbrida da música instrumental europeia - suite sonate [suitte sonate] do compositor francês setecentista - foi um exemplo precursor do gênero que conhecemos como gostos reunidos. Os objetos estudados são de fundamental importância, pois no século XVIII fomentaram a criação de um novo estilo musical nacional, o estilo alemão. Para tal contextualização, foi necessária a busca pelos significados dos termos \'gosto\', \'gênio\', \'maneira\', \'estilo\' e \'licença\', relacionados ao conceito de imitação da natureza nas artes setecentistas através da fundamentação teórica de Charles Batteux (1713-1780), apresentando neste texto uma teoria do percurso do termo \'gosto\'. Essa transformação do termo \'gosto\' está presente tanto no âmbito da criação da obra quanto no da execução - interpretação da prática musical do período barroco. Por essa razão, esse texto avalia os elementos cabíveis a uma interpretação atual de um texto musical setecentista. Dessa forma, além dos conceitos teóricos e práticos, será possível conhecer também a grande contribuição do flautista e compositor francês para a sua arte, como sua preocupação didática em seu tratado, em seu manual, além de seu cuidado não usual de prover informações de execução em suas partituras; sua expressiva e repleta de licenças música de câmara; sua inventividade na reunião de dois estilos musicais setecentistas; e sua responsabilidade nas mudanças da técnica flautística da época. / The research for writing this dissertation, titled \"Taste and Licence? How to interpret the Jacques Martin Hotteterre - Le Romain (1674-1763) sonates on the recorder\", was meant to investigate whether a hybrid European instrumental music form - suite sonate [suitte sonate] by the eighteenth century composer - was a forerunner example of the genre we know as Reunited Styles. The objects studied herein have great importance, because they promoted a new musical style created in the eighteenth century, the German style. For such context, it was necessary to investigate the meanings of terms such as \'taste\', \'genius\', \'manner\', \'style\', and \'license\', related to the seventeenth century arts\' concept of imitation of nature, as per the theoretical fundaments by Charles Batteux (1713-1780). A theory about the course of the term \'taste\' is presented in this dissertation. Such transformation of that term can be found both in the creation of the musical work and in its execution - baroque music historically informed performance. For the aforementioned reasons, this dissertation assesses the appropriate elements necessary for a contemporary interpretation of an eighteenth century musical text. Thus, besides the theoretical and practical concepts, it will be possible to know the French composer and flautist\'s greatest contribution to his art: the didactic concerns in his treatise, in his practical guide, as well as having the unusual care to provide performance information in his scores; his chamber music, so expressive and filled with licenses; his resourcefulness when uniting two eighteenth century musical styles and his part in the flute technique changes in that time

A pesquisa para a elaboração da tese \"Gosto ou Licença? Como interpretar as suite sonates de Jacques Martin Hotteterre - Le Romain (1674-1763) através da flauta doce\" teve por finalidade investigar se a forma híbrida da música instrumental europeia - suite sonate [suitte sonate] do compositor francês setecentista - foi um exemplo precursor do gênero que conhecemos como gostos reunidos. Os objetos estudados são de fundamental importância, pois no século XVIII fomentaram a criação de um novo estilo musical nacional, o estilo alemão. Para tal contextualização, foi necessária a busca pelos significados dos termos \'gosto\', \'gênio\', \'maneira\', \'estilo\' e \'licença\', relacionados ao conceito de imitação da natureza nas artes setecentistas através da fundamentação teórica de Charles Batteux (1713-1780), apresentando neste texto uma teoria do percurso do termo \'gosto\'. Essa transformação do termo \'gosto\' está presente tanto no âmbito da criação da obra quanto no da execução - interpretação da prática musical do período barroco. Por essa razão, esse texto avalia os elementos cabíveis a uma interpretação atual de um texto musical setecentista. Dessa forma, além dos conceitos teóricos e práticos, será possível conhecer também a grande contribuição do flautista e compositor francês para a sua arte, como sua preocupação didática em seu tratado, em seu manual, além de seu cuidado não usual de prover informações de execução em suas partituras; sua expressiva e repleta de licenças música de câmara; sua inventividade na reunião de dois estilos musicais setecentistas; e sua responsabilidade nas mudanças da técnica flautística da época. / The research for writing this dissertation, titled \"Taste and Licence? How to interpret the Jacques Martin Hotteterre - Le Romain (1674-1763) sonates on the recorder\", was meant to investigate whether a hybrid European instrumental music form - suite sonate [suitte sonate] by the eighteenth century composer - was a forerunner example of the genre we know as Reunited Styles. The objects studied herein have great importance, because they promoted a new musical style created in the eighteenth century, the German style. For such context, it was necessary to investigate the meanings of terms such as \'taste\', \'genius\', \'manner\', \'style\', and \'license\', related to the seventeenth century arts\' concept of imitation of nature, as per the theoretical fundaments by Charles Batteux (1713-1780). A theory about the course of the term \'taste\' is presented in this dissertation. Such transformation of that term can be found both in the creation of the musical work and in its execution - baroque music historically informed performance. For the aforementioned reasons, this dissertation assesses the appropriate elements necessary for a contemporary interpretation of an eighteenth century musical text. Thus, besides the theoretical and practical concepts, it will be possible to know the French composer and flautist\'s greatest contribution to his art: the didactic concerns in his treatise, in his practical guide, as well as having the unusual care to provide performance information in his scores; his chamber music, so expressive and filled with licenses; his resourcefulness when uniting two eighteenth century musical styles and his part in the flute technique changes in that time

Nous nous plaçons dans le cadre de l'anneau des polynômes sur un corps fini. Si P est un polynôme de degré au moins 1, tout polynôme Q se décompose de manière unique sous la forme d'une combinaison linéaire de puissances de P, dont les coefficients sont des polynômes dont le degré est strictement inférieur à celui de P. À une telle décomposition, nous associons un mot que nous appelons la P-représentation du polynôme Q. Un ensemble de polynômes est alors qualifié de P-reconnaissable si il existe un automate fini déterministe qui accepte l'ensemble des P-représentations de ses éléments.<BR><BR> Dans cette thèse, nous montrons que les ensembles P-reconnaissables sont exactement ceux qui sont définissables par une formule du premier ordre dans une certaine structure S(P) basée sur un prédicat dépendant du polynôme P. Nous donnons aussi une caractérisation des ensembles P-reconnaissables en terme de suites P-automatiques. Nous apportons également une réponse partielle à la question de savoir quels sont les ensembles reconnaissables simultanément dans toutes les bases de degré au moins 1. Finalement, nous montrons que si P et Q sont deux polynômes de degré au moins 1 et multiplicativement indépendants, alors la multiplication est définissable dans la réunion des structures S(P) et S(Q).

Denna rapport beskriver hur dagens tekniska processer ser ut vid tillverkning av applikationer för interaktiva publikationer. En interaktiv publikation är en digitalt skapad tidning med ett extra lager av information som man kan interagera med. Exempel på interaktivitet är bildspel, video och informationsflöden i realtid som visas direkt i tidningen.  Rapporten fokuserar på vad det är som ger ett mervärde till en digital interaktiv publikation och vilka funktioner det är som kan ge upphov till detta. Genom en jämförande analys mellan digitala publikationer och papperstidningar tas fyra designaspekter fram för att användas som grund för hur interaktiva element bör hanteras i framställningen av digitala publikationer.  En prototyp av en interaktiv publikation har tagits fram för att visa hur designaspekterna kan tillämpas och för att visa hur information kan presenteras på ett mer interaktivt sätt. / This report describes how today's technological processes look like in the production of applications for interactive publications. An interactive publication is a digitally created magazine with an extra layer of information that you can interact with. Examples of interactivity is slideshows and video and data streams in real time that are displayed directly in the magazine. The report focuses on what it is that adds value to a digital interactive publication, and what functions which may provide cause to this. Through a comparative analysis of digital publications and the newspapers, four designaspects have been developed as an basis for how the interactive elements should be handled in the production of digital publications.  A prototype of an interactive publication was developed to show how the designaspects can be applied and to show how information can be presented in a more interactive way.

abstract: This project discusses the horn, tuba, piano sub-genre of brass chamber music. Alec Wilder wrote the first piece for this instrumentation in 1963 for his friends John Barrows and Harvey Phillips. Wilder's compositional style was directly affected by life events and relationships. Through letters, biographies, recordings and autobiographies the importance of his friendship with Barrows and Phillips are displayed to show the links between the two men and the composer's compositional output. A deeper look into the life of Alec Wilder and a thematic analysis of his Suite No.1 for Horn, Tuba and Piano (1963), and Suite No.2 for Horn, Tuba and Piano (1971) shed light on the beginnings of the genre and provide a deeper understanding of the works. Since Wilder's two trios there have been at least twenty works written for this instrumentation. A brief overview of works written for the trio since 1971 provide a broad sense of the quantity and benefits of the trio in the hopes of inspiring new performances and compositions. This paper will combine the seemingly random compositions for the instrumentation into a collected repertoire. With an increase in exposure, the trio for horn, tuba and piano has the potential to become a standard brass chamber group that will benefit students, performers, and audiences alike. / Dissertation/Thesis / Doctoral Dissertation Music 2015

The objective of this thesis is a complete implementation of the Financial and Property Analysis of Municipalities (FAMA) methodology using open-source Business Intelligence (BI) tools. The FAMA methodology was developed at the Institute of Public Administration and Regional Development at University of Economics in Prague and monitors wide range of aspects of management of municipalities. The main objective of this work is to create an application that would allow users to clearly analyze the management of municipalities with indicators of this methodology, using open source BI tools. The first, theoretical part, consists of two parts. The first half of the theoretical part of this thesis is devoted to the analysis of municipal finances and describes the FAMA methodology itself. Furthermore, methods used by the Ministry of Finance to evaluate municipalities are described. The second half of the theoretical part introduces readers to principles and components used in BI, some of which are used in the actual implementation. The second, practical part, initially deals with selection of suitable open-source BI tools and these tools are subsequently used to create an application that is used to analyze the management of municipalities. The implementation itself is divided into several parts. Firstly an initial study is performed, which is based on analysis of source data and user requirements. Based on the initial analysis, data warehouse is designed. Subsequently, an ETL project is created to process financial reports of municipalities and store them in the data warehouse. After filling the data warehouse, several OLAP cubes are created, which are used for multidimensional data analysis and finally, the presentation layer of the application is introduced and suitable graphical outputs for data presentation are designed. The main contribution of this thesis is the actual implementation of the FAMA methodology using the selected tools. The solution includes all indicators of the methodology and covers financial data of all municipalities of the Czech Republic in the years 2001 to 2012. Due to the scope of this work, a complete solution was made, that is ready for use.

This dissertation is a performance guide for the euphonium solos Pearls I and Pearls II, written by Roland Szentpali. This performance guide allows performers to better understand the jazz styles within each movement and provides them with a resource for performing these particular pieces as well as other jazz influenced pieces. This performance guide is specific to euphonium repertoire and written for euphonium performers and educators. This is also a resource for a solo work in the repertoire that is performed regularly as well as a new work that will soon be published. A brief history of the development of euphonium repertoire and the influence of jazz is provided. The performance guide analyzes each movement and provides insight to extended techniques, common performance problems, errata, and jazz styles that each movement is based on. The guide also provides several suggestions for interpretation and for performance preparation. Illustrations from the scores have been provided for each example.

Driven by the goal of decreasing emissions and pollutants towards a more sustainable future, the automotive industry is undergoing a rapid transition towards battery-powered electric vehicles. This shift to sustainable transport is fast-paced, and new technical solutions are being offered on a regular basis to fulfil the future needs for electric vehicles, including battery-electric trucks. This continuously necessitates a fast development of the battery-electric truck, along with the cooling system. To validate the cooling system, Scania's preferred approaches are testing and 3D simulations. However, these approaches are time-consuming and cannot match the pace of the design or the development. This thesis addresses the implementation of using 1D Simulations (GT-Suite) to carry out coolant filling simulations as a more efficient approach by studying the filling of the battery cooling system in an electric truck and, later, validating the results obtained with a test rig. In this thesis, different cases were defined, each adding more complexity to the circuit, and the parameters studied were the filling times and the location of air traps. Finally, a case with a closed circuit and running a coolant pump was developed to study the possibilities of devising quicker deaeration techniques for the circuit. The work completed in this thesis may be used as an example of how filling simulations can be performed with GT-Suite. This thesis is a good starting point, exploring a vast potential in using 1D Simulations to simulate the coolant-air interaction in a cooling system. Nonetheless, the findings revealed that GT-Suite v2020 and v2021 lack a robust model to properly simulate the interaction of coolant and air in certain sections of the circuit. In addition, the simulation model failed to obtain a steady-state solution in some cases resulting in discrepancies between the results from the test rig and the simulations. In conclusion, it was found that 1D simulations are not an ideal way forward when individual components of the cooling circuit are being considered, for example, the cooling plates, but are much quicker and seem to be a promising method to get an overview on a system level. / Fordonsindustrin drivs av målet att minska utsläppen och föroreningarna mot en mer hållbar framtid och genomgår en snabb omställning mot batteridrivna elfordon. Övergången till hållbara transporter går snabbt och nya tekniska lösningar erbjuds regelbundet för att möta de framtida behoven av elfordon, inklusive batteridrivna lastbilar. Detta kräver kontinuerligt en snabb utveckling av den batteri-elektriska lastbilen, tillsammans med kylsystemet. För att validera kylsystemet är Scanias föredragna metoder testning och 3D-simuleringar. Dessa tillvägagångssätt är dock tidskrävande och kan inte matcha takten i designen eller utvecklingen. Denna avhandling behandlar implementeringen av att använda 1D-simuleringar (GT-Suite) för att utföra kylvätskefyllningssimuleringar som ett effektivare tillvägagångssätt genom att studera fyllningen av batterikylsystemet i en elektrisk lastbil och senare validera resultaten som erhållits med en testrigg. I denna avhandling definierades olika fall, var och en lägga till mer komplexitet till kretsen, och de undersökta parametrarna var påfyllningstiderna och platsen för luftfällor. Slutligen utvecklades ett fall med en sluten krets och kör en kylvätskepump för att studera möjligheterna att utforma snabbare deaerationstekniker för kretsen. Arbetet i denna avhandling kan användas som ett exempel på hur fyllningssimuleringar kan utföras med GT-Suite. Denna avhandling är en bra utgångspunkt och utforskar en enorm potential i att använda 1D-simuleringar för att simulera kylvätske-luftinteraktionen i ett kylsystem. Resultaten visade dock att GT-Suite v2020 och v2021 saknar en robust modell för att korrekt simulera interaktionen mellan kylvätska och luft i vissa delar av kretsen. Dessutom kunde simuleringsmodellen inte få en steady state-lösning i vissa fall vilket resulterade i skillnader mellan resultaten från testriggen och simuleringarna. Sammanfattningsvis konstaterades det att 1D-simuleringar inte är en idealisk väg framåt när enskilda komponenter i kylkretsen övervägs, till exempel kylplattorna, men är mycket snabbare och verkar vara en lovande metod för att få en översikt på systemnivå.