This study examines the dynamics and predictability of the mesoscale convective vortex (MCV) event of 10-13 June 2003 which occurred during the Bow Echo and Mesoscale Convective Vortex Experiment (BAMEX). The MCV formed from a preexisting upper-level disturbance over the southwest United States on 10 June and matured as it traveled northeastward. The BAMEX field campaign provided a relatively dense collection of upper air observations through dropsondes on 11 June during the mature stage of the vortex. While several previous studies have focused on analysis of the dynamics and thermodynamics of observed and simulated vortices, few have addressed the ability to predict MCVs using numerical models. This event is of particular interest to the study of MCV dynamics and predictability given the anomalously strong and long-lived nature of the circulation and the dense data set. The first part of this study explores the dynamics of this MCV through an in-depth analysis of data from the profiler network and BAMEX dropsonde observations, in addition to the conventional surface and sounding observations as well as radar and satellite images. Next, issues relating to model performance are addressed through anevaluation of two state-of-the-art mesoscale models with varying resolutions. It is determined that the ability of a forecast model to accurately predict this MCV event is directly related to its ability to simulate convection. It is also shown that the convective-resolving Weather Research and Forecast (WRF) model with horizontal grid increments of 4 km displays superior performance in its simulation of this MCV event. Finally, an ensemble of 20 forecasts using mesoscale model MM5 with horizontal grid increments of 10 km are employed to evaluate probabilistically the dynamics and predictability of the MCV through the examination of the ensemble spread as well as the correlations between different forecast variables among ensemble members. It is shown that after MCV development, the ensemble mean performs poorly while individual ensemble members with good forecasts of convection at all stages of the MCV also forecast the midlevel vortex well. Furthermore, correlations among ensemble members generally support the findings in the observational analysis and in previous literature.

Treatise (D.M.A.)--University of Texas at Austin, 2003. / Vita. Includes bibliographical references. Available also from UMI Company.

Thesis (Ph. D.)--University of Michigan, 1951. / Vol. 2 contains scores of ten fantasias "based upon the collation of all known manuscripts available." Cf. Foreword. eContent provider-neutral record in process. Description based on print version record. "A list of modern publications of Jenkins' Fantasias": v. 1, leaf 229. Includes bibliographical references (v. 1, leaves 230-242).

Treatise (D. of Musical Arts)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references (leaves 108-110). Available also in a digital version from Dissertation Abstracts.

Thesis (M.M.)--University of North Texas, 2003. / Chamber piece in oratorio style; chorus (TTBB). Text from Daniel 9:4-19. Duration: ca. 30:00. Includes bibliographical references (p. 43-45).

Thesis (Ph. D.--Music)--University of California, San Diego, 2003. / Vita. For flute and violin with ensemble of clarinet, violin, viola, violoncello, piano, oboe, bassoon, and double bass. Performance instructions precede score.

Combattimento di Tancredi e Clorinda / C. Monteverdi -- On Wenlock Edge / R. Vaughan Williams -- Selections from L'elisir d'amore / G. Donizetti. / text

Sonata for flute in C minor, Wq 132 / C. P. E. Bach -- Etre ou ne pas etre / H. Tomasi -- Serenade / N. Wood -- Suite of Negro spirituals / Traditional -- Csardas / V. Monti. / text

Incline, O Maiden is a large-scale work cast as a dramatic scene for mezzo-soprano and chamber ensemble. It is an exploration of space between music and drama, and the problems inherent in creating a single-character operatic scene. This paper, which serves as an accompaniment to the musical score, is a detailed analysis of the work and focuses on the ways in which form and recurring music motives are used to establish a dramatic conflict with only a single character. The libretto for this dramatic scene is extracted from the play, Faust: A Tragedy, by Johann Wolfgang von Goethe (1749-1832), written in 1808, with English translation by Bayard Taylor (1825-1878). This libretto is centered on the character of Margaret, an original addition to the Faust legend by Goethe, and is a depiction of her inner psychological turmoil as she becomes a willing victim of Faust's seduction. The story begins as Margaret has just met Faust and quickly becomes infatuated with him, and continues through the death of her mother. Composed as a single movement, this piece is divided into two major parts for each of the two sections of action in the libretto. Each major part is further divided into smaller formal sections that are supported and delineated by five major motives that serve as the vast majority of the musical material, and are at the forefront of each formal and dramatic division in the work. Recurring musical motives, sometimes known as leitmotivs, have a long history in opera dating back to Wagner, and in this work, explore how tradition is part of the modern creative process. In Incline, O Maiden, despite the absence of interplay between characters, and given the internal struggle at the heart of the libretto, an indelible link between the drama and music is made meaningful by the unified thematic nature of the music. / text

This thesis is a musical composition featuring solo percussion with wind ensemble. It is in three movements with a cadenza linking the second and third movements. The performance time of this work is approximately 12’ 30”. The work will receive its world premiere in the spring of 2014 by Adam Groh and the Graceland University Symphonic Band. / text