Thesis (Ph. D.)--University of Washington, 2003. / Vita. Includes bibliographical references (p. 103-114).

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During the past two years (1974-76) the writer has become increasingly aware of the need for a method of assisting conductors with the score preparation of "new" band literature. Because this literature often represents the modern composer's efforts to explore non-traditional compositional techniques, the development of a new or at least expanded approach to analysis, aimed directly at the conductor's task of preparing a score for rehearsal (and performance) seems to be in order.Most recent approaches to analysis have been developed by theorists whose microscopic examination of music, sometimes complicated with new terminology, does not necessarily assist the conductor in his efforts to Formulate musical interpretations. Furthermore, the education of most conductors today emphasizes a background heavy with more traditional musical concepts. With these two points firmly in mind, the author has attempted to expand the more traditional concepts of harmony, melody, rhythm, dynamics, timbre, and texture, and subsequently incorporate them in the development of an analytical method that specifically serves the conductor's task of score preparation as related to more contemporary band literature.Essential to the process of developing this analytical method was understanding and defining the goal of the conductor in the task of score preparation. To this end, the writer examined the published views of several well-known conductors. All of these authors seemed in agreement: in order to present a musical work, the conductor must have a broad view of the work so as to understand the logic of its progression, from beginning to end. Seemingly then, score preparation should serve to uncover and enhance this broad view. The writer's analytical method assumed this purpose: to assist the conductor in the discovery and development of this broad view. For the purpose of identifying this goal, the writer developed the term "macro-view".In the course of developing his analytical approach, the writer has introduced his concept of melodic rhythm, a term coined to cover the composite temporal (linear) effect caused by relationships among musical elements such as melody, rhythm, dynamics, timbre, and texture. It is for the expressed purpose of enhancing accessibility to the concept of motion and repose in "atonal" band literature to those who are seemingly more familiar with the concept of phrase and cadence associated with more traditional melodies that the author has chosen the term melodic rhythm.In the view of this writer, the primary concern of descriptive analysis is the discovery of melodic rhythm(s), accomplished through a relatively microscopic investigation of the score. The author suggests that the information uncovered in this process be collected in a systematic fashion for later use. To assist in this collection of information the author has developed a "Descriptive Analysis Chart".Chapters III through VI are demonstrations of the author's analytical method and represent a variety of atonal band literature. Included within these chapters are Geometrics No. 4 by Martin Mailman, Study in Textures by Gunther Schuller, Spectrum by Herbert Bielawa, Statement by Brent Heisinger, and Stargazing by Donald Erb. (Composer comments on the analysis presented are included as Appendix C.)The writer's approach to score preparation is founded on his belief that inherent in all music, regardless of style, period, or medium, is the apperception of motion and repose. Furthermore, it is through the auditory sensation of motion and repose that the unity of a piece becomes comprehendable. Upon completing an analysis according to the guide lines presented in this dissertation, the conductor can proceed with the presentation of a unified performance of an "atonal" band work.

There is very little in the literature about the sensitivity of norm-referenced tests to growth of diverse groups of test takers, particularly low-achieving test takers, who operate at the lowest 15 percentile of their peers. To bridge the knowledge gap, this study examined the sensitivity to growth of norm-referenced achievement tests. The purpose of the study is to determine the sensitivity of norm-referenced test to the growth of low-achieving students in prekindergarten through 12th grade. Four analysis were performed to test eight identified norm-referenced test for their sensitivity to the growth of students who perform at approximately the 15th percentile or below of their grade peers. Results of the analyses suggested that two of the eight tests are adequate for use with low-achieving students within a norm period. The other six tests showed lack of precision and appeared not to be suitable for measuring progress of low -achieving students.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1971. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 215-225).

abstract: Rhythm is a work for percussion ensemble and narrator. The percussion ensemble includes five percussionists who each play multiple instruments. The narrator recites quotes from the book Meter as Rhythm by Dr. Christopher Hasty. The piece is in six parts with a short introduction (mm. 1-5). The structure is delineated by the quotes from Meter as Rhythm. The narrator describes an aspect of rhythm at the beginning of each section and the quote is sonically realized through the percussion ensemble. This piece experiments with different timbres and rhythmic motives. Timbral variety is achieved through grouping instruments into woods, metals, and membranes and using combinations of those groups to delineate different sections and ideas. The rhythmic motives are based on the numbers 3, 5, and 7, and appear as rhythmic values, phrase lengths, and number of repetitions. The first section states a definition of rhythm and contains all timbres and motives contained within the composition. The piece then explores the relativity of time and is represented by drums changing the speed of their notes. The third section discusses rhythm as repetition and is illustrated by repetitive rhythmic motives. The text then features rhythm as a subjective human experience and is reflected through polyrhythms played between ensemble members. What follows is a description of meter as a temporal measurement that is unchanged by rhythmic activity. By bringing back previous motives, this section reveals that all of the motives work within the same meter. In the final section, the performers play various subdivisions of the beat to show different aspects of proportion by dividing the beat in several ways. / Dissertation/Thesis / Masters Thesis Music 2018

Genetic factors play an important role in the pathogenesis of Paget’s Disease of Bone (PDB). The most important predisposing gene is SQSTM1 which is mutated in about 10% of patients, additionally common variants at seven other loci have also been shown to predispose to PDB as well as environmental factors which are also important in the pathogenesis of PDB. Little research has been conducted on the relationship between the genetic variants that predispose to PDB and disease severity. Similarly, only limited information exists on the role that gene-environment interactions play in the pathogenesis of PDB or its severity. The aim of the present thesis was to explore these issues in participants of the Paget’s Disease Randomised Trial of Intensive versus Symptomatic Management study (PRISM) and other study cohorts. In chapter 3, I investigate the relationship between SQSTM1 mutation status, disease severity and clinical outcome in 737 patients from the PRISM study. Mutations of SQSTM1 were detected in 80/737 (10.9%) patients. Mutation carriers had an earlier age at diagnosis; a greater number of affected bones and more commonly had required orthopaedic surgery and bisphosphonate therapy than those without mutations. Quality of life was significantly reduced in carriers and during the study; fractures were more common although most of these occurred in unaffected bone. This study demonstrates that SQSTM1 mutations are strongly associated with disease severity and complications of PDB. In chapter 4, I study associations between common genetic variants identified by genome wide association (GWAS), clinical severity and extent of PDB, alone and in combination with SQSTM1 mutations. This showed that these common variants were also associated with severity and extent of PDB in PRISM, but with weaker effects than SQSTM1 mutations. The findings were replicated in a multinational study involving 1940 subjects from centres in Italy, Spain and Australia. In all cohorts the GWAS risk alleles acted in an additive manner with SQSTM1 mutations to regulate disease severity and extent. By combining information from SQSTM1 status and the new risk alleles, however, we are able to develop a genetic risk score which delineated three distinct groups with markedly differing effects on disease extent and severity. In chapter 5, I study associations between PDB, severity and extent in relation to circulating levels of IgG antibodies against various viruses including Rubella, respiratory syncytial virus, distemper, varicella zoster virus, measles and mumps. We found little evidence of an interaction between viral antibody titres and SQSTM1 in predicting disease severity with the notable exception of mumps virus where subjects with the highest levels of antibodies that were SQSTM1 positive had in increased age at diagnosis than the other genotype / viral antibody groups. Overall the studies do provide no support for the notion that patients with PDB have an abnormal antibody response to paramyxovirus or have had previous infections with these viruses more frequently than controls. This of course does not exclude the possibility that PDB patients might have a clinically occult slow virus infection which is not accompanied by an abnormality in the immune response. . This raises the possibility that genetic testing may be of value in identifying individuals at risk of developing severe disease and those at risk of complications. I also demonstrate that PBD patients have abnormalities in circulating antibodies to various viruses suggesting that the disease may be associated with disturbance in the response of the immune system to infectious agents but further investigation is required. This, perhaps, could explain the changes in the severity and prevalence of PDB that have been observed over recent years in several countries.

abstract: Random Forests is a statistical learning method which has been proposed for propensity score estimation models that involve complex interactions, nonlinear relationships, or both of the covariates. In this dissertation I conducted a simulation study to examine the effects of three Random Forests model specifications in propensity score analysis. The results suggested that, depending on the nature of data, optimal specification of (1) decision rules to select the covariate and its split value in a Classification Tree, (2) the number of covariates randomly sampled for selection, and (3) methods of estimating Random Forests propensity scores could potentially produce an unbiased average treatment effect estimate after propensity scores weighting by the odds adjustment. Compared to the logistic regression estimation model using the true propensity score model, Random Forests had an additional advantage in producing unbiased estimated standard error and correct statistical inference of the average treatment effect. The relationship between the balance on the covariates' means and the bias of average treatment effect estimate was examined both within and between conditions of the simulation. Within conditions, across repeated samples there was no noticeable correlation between the covariates' mean differences and the magnitude of bias of average treatment effect estimate for the covariates that were imbalanced before adjustment. Between conditions, small mean differences of covariates after propensity score adjustment were not sensitive enough to identify the optimal Random Forests model specification for propensity score analysis. / Dissertation/Thesis / Ph.D. Psychology 2013

abstract: Bright Summer, a one-movement piece for orchestra, was composed in Arizona, and completed in February 2013. The piece is approximately twelve minutes long. The motivation for writing this piece was the death of my mother the year before, in 2012. The prevailing mood of this work is bright and pleasant, expressing my mother's cheerful personality when she was alive. It also portrays bright summer days which resemble my mother's spirit. Thus, soundscape plays an important role in this work. It depicts summer breeze, rustling sounds of leaves, and, to translate a Korean saying, "high blue skies." This soundscape opens the piece as well as closes it. In the middle section, the fast upbeat themes represent my mother's witty and optimistic personality. The piece also contains the presence of a hymn tune, The Love of God is Greater Far, which informs the motivic content and also functions as the climax of the piece. It was my mother's favorite hymn and we used to sing it together following her conversion to Christianity. The piece contains three main sections, which are held together by transitional material based on the soundscape and metric modulations. Unlike my earlier works, Bright Summer is tonal, with upper tertian harmonies prevailing throughout the piece. However, the opening and closing soundscapes do not have functional harmonies. For example, tertian chords appear and vanish silently, leaving behind some resonant sounds without any harmonic progression. Overall, the whole piece is reminiscent of my mother who lived a beautiful life. / Dissertation/Thesis / D.M.A. Music 2013