Huzuni is a composition for a sinfonietta ensemble comprised of flute, clarinet, oboe, bassoon, horn, trumpet, trombone, two percussion instruments, piano, violin, viola, violoncello, double bass. The inspiration for it began when I was told that my music was too guarded and that a greater degree of emotion was needed. Such a critical response led me to reflect on compositional techniques, styles, and approaches that were outside of my comfort zone, all of which became the inspiration for this work. Huzuni, Swahili for grief, , is a thirteen-minute single movement work in three sections that reflects the raw emotions in dealing with grief. The form of the composition exposes the five stages of grief-denial, anger, bargaining, depression and acceptance- first introduced in 1969 by Elisabeth Kübler-Ross who founded the Kübler-Ross Model. In Huzuni, we move through each stage slightly differently than in the grief model. The first section establishes denial that leads directly into the bargaining stage. Throughout this movement, g minor provides a sense of denial of truth, achieved in part because the traditional and expected g minor tonic-dominant-tonic progression is replaced with i-v-vi. This replacement weakens g minor and sets up different expectations for the listener. The second section begins with “depression” and transitions to “anger.” Throughout this section, dissonance is emphasized and helps to suppress a clear and perceivable tonal center. “Depression” functions as a bridge that slowly and gradually simulates a sense of despair. When juxtaposed against the first section, it shows us that consciousness can be related to tonality and unconsciousness to atonality. Although the second section might be considered the lowest emotional point of the work, I attempted to imbue it with a sense of humor that represents the working through of difficulties while never losing faith. The third and final section exposes the idea of acceptance which is achieved by a juxtaposition of sections one (g minor) and three (B major). The ascending third relationship between their two keys suggests the triumphant climb from a depressed state into a state of acceptance that is finally resolved, in the coda, in the key of E major simulating the sense of moving on. The work relies on processes drawn from electronic music in which sound masses are transformed by adding or subtracting discrete variables, or single parameters of sound and time: pitch, rhythm, and dynamics. For example, bars 111-127 contain a rhythmic figure in the piano that slows down and is transformed into a sound-mass. That sound-mass is then orchestrated throughout different instrumental groupings, creating a spatialized musical effect where the phasing of the sound mass from one instrumental group to the next changes the way the listener experiences the piece. Passing the main melody from one instrumental group to another quickly creates a three-dimensional listening space where the listener can experience a change in timbre in addition to the isolation of the harmonic series as the melody passes through each group. Throughout the compositional process I attempted to incorporate the elastic properties of time and space made possible using the tools found in 8-channel electronic music. These tools were incorporated by manipulating both chordal progressions and orchestration as illustrated in the previous paragraph. Such a musical effect spatializes sound by diffusing energy evenly throughout a performance environment. The result is an immersive listening experience, in which sound is generated from specific directions at precise times, different from the standard front and center direction we have come to expect.

Dans cette thèse nous nous intéressons à la dynamique locale autour d'une sous-variété compacte invariante et à la théorie du nombre de rotation. Dans [Nai82] V. A. Naishul' a montré que parmi les difféomorphismes du plan isotopes à l'identité qui fixent 0, qui préservent l'aire (ou analytiques) et dont la différentielle en $0$ est une rotation, l'angle de cette rotation est un invariant de conjugaison topologique. Ce résultat de Na\u{\i}shul$'$, a été généralisé dans plusieurs directions (voir [GP95], [GLP96] et [Pon12]). Par exemple en dimension supérieure, dans [GP95] J.-M. Gambaudo et E. Pécou ont considéré des difféomorphismes de $\R^{n+2}$ qui possèdent un tore $\T^n$ de dimension $n$ invariant dont la dynamique est topologiquement conjuguée à une rotation irrationnelle. Ils ont défini un nombre de rotation et ont démontré que ce nombre est invariant de conjugaison topologique (par exemple lorsque le difféomorphisme préserve un volume). Dans la première partie du deuxième chapitre de cette thèse, nous proposons d'introduire une notion d'ensemble de rotation local pour les homéomorphismes locaux qui préservent une sous-variété compacte de codimension $2$ dont le fibré normal est trivial. A l'aide de cet ensemble, nous déduirons un résultat qui généralise les travaux en dimension supérieure cités plus haut. Dans [Rue85] D. Ruelle a considéré des difféomorphismes d'une surface dont le fibré tangent est trivial qui préservent une mesure. Il leur a associé un nombre réel qui a été appelé l'invariant de Ruelle. Les constructions de cette thèse nous permettront de voir cet invariant comme un ensemble de rotation local au-dessus d'une mesure. A l'aide de l'invariance par conjugaison de cet ensemble de rotation, nous allons retrouver, à la fin du deuxième chapitre, le résultat démontré par J.-M. Gambaudo et E. Ghys dans [GG97] : l'invariant de Ruelle est en fait invariant de conjugaison topologique. Soit $Homeo_0(\R^2;0)$ l'ensemble des homéomorphismes du plan $\R^2$ isotopes a l'identité qui fixent l'origine $0\in\R^2$. Récemment dans [LeR13], F. Le Roux a donné une définition de l'ensemble de rotation local autour de $0$ d'une isotopie dans $Homeo_0(\R^2;0)$ issue de l'identité, et il a posé la question suivante : cet ensemble est-il toujours un intervalle ? Dans le troisième chapitre de cette thèse, nous allons donner une réponse positive à cette question et aussi à la question analogue dans le cas de l'anneau ouvert. / In this thesis we are interested in the local dynamics around of a compact invariant sub-manifold and in the rotation number theory. In [Nai82] V.A Naihul' proved that, among analytic or area preserving diffeomorphisms in the plane which are isotopic to the identity fix $0$ and whose derivative at $0$ is a rotation, the angle of this rotation is invariant by topological conjugation. This result of Naishul' was generalized in many directions (see [GP95], [GLP96] and [Pon12]). For example in [GP95] J.-M. Gambaudo and E. Pécou considered diffeomorphisms in $\R^{n+2}$, which possess an invariant $n$-dimensional torus $\T^n$ whose dynamics restricted to the torus is topologically conjugate to an irrational rotation. They defined a rotation number, and proved that this number is invariant by topological conjugation among volume-preserving maps. In the first part of the second chapter of this thesis, we propose to introduce a notion of local rotation set for local homeomorphisms, which preserve a compact sub-manifold of codimension 2 whose normal bundle is trivial. Using this set, we will deduce a result which generalizes the above mentioned works. In [Rue85] D. Ruelle considered measure preserving diffeomorphisms of a surface whose tangent bundle is trivial. He associated to them a real number called the Ruelle invariant. The constructions made in this thesis will permit us to see this number as a local rotation set over a measure. The invariance by topological conjugation of this set will us permit, at the end of the second chapter, to prove the following result due to J.-M- Gambaudo and E. Ghys: the Ruelle invariant is invariant by topological conjugacy. Let $Homeo_0(\R^2;0)$ be the set of all homeomorphisms of the plane isotopic to the identity and which fix $0$. Recently in [LeR13] F. Le Roux gave the definition of the local rotation set around of 0 of a general isotopy $I$ in $Homeo_0(\R^2;0)$ from the identity to a homeomorphism $f$ and he asked if this set is always an interval. In the third chapter of this thesis we give a positive answers to this question and to the analogous question in the case of the open annulus.

Distant Thoughts: Dreams and Reflections, A Suite for Symphonic Winds, is a seventeen-minute work composed for the high school level wind ensemble. The instrumentation is based on the typical high school band resources. Instrumentation includes piccolo, two flutes, two oboes, English horn, three clarinets, bass clarinet, two alto saxophones, tenor saxophone, baritone saxophone, two bassoons, four trumpets, four horns, two trombones, bass trombone, two euphoniums, two tubas, timpani, and four percussionists.

Canvas was commissioned by the College Band Directors National Association (CBDNA) Consortium in fall 1999 for the CBDNA Biennium National Conference to be held at the University of North Texas in February 2001. This substantial and profound three-movement work is Pulitzer Prize winning composer George Walker's first work for wind ensemble and is a milestone in wind composition at the turn of the millennium. This analysis considers Walker's sophisticated use of octatonic collections and their subsets. Walker uses the three transpositions of the octatonic scale as a harmonic framework for the work. Within this framework, specific subsets of the collection are used in traditional harmonic ways. A hierarchy of pitch sets is created, lending a "tonic" function characteristic to prevalent and specifically placed sonorities. Onto this "canvas" of octatonic harmonies, Walker "paints" specific motivic gestures. These motivic gesture monopolize specific intervallic relationships that are initially presented in the beginning of the work. Certain motivic techniques are then employed in the ongoing development of the motivic content. These motivic techniques include melodic suspension, interval alternation, double stroke articulation, irregularly recurring patterns, chordal punctuations, interrupted sequences, and dramatic uses of silence. Formally, Walker uses short "cells" of similar motivic and harmonic content as a tool of organization.

The Prayer of Daniel is a chamber piece in the style of an oratorio for vocal bass-baritone soloist, flute doubling on alto flute, B flat clarinet doubling on bass clarinet, violin, cello, piano, percussion on vibraphone and marimba, doumbek (a middle eastern drum), and men's chorus (TTBB). The approximate duration is thirty minutes. The text comes from the Old Testament book of Daniel, Chapter 9 verses 4 through 19. In these passages the prophet Daniel rends from his heart a prayer of repentance, mercy and forgiveness on the behalf of a fallen nation. The harmonic language of the composition combines both classical contemporary and jazz sonorities. The rhythmic language is drawn from the meter of the text, and is used to underscore the emotion of the prayer. These elements combine to form a rich music experience that conveys the penitent heart of the prophet Daniel.

This paper examines the relationship between text and music in Prayers of Adoration, Confession, Thanksgiving and Supplication - a four-movement composition, fourteen minutes in length, for soprano, clarinet, bassoon, trumpet, trombone, violin, double bass, and percussion. The text of the composition is taken from the Psalms and The Book of Common Prayer. The names and themes of the movements follow an ancient pattern for prayer identified by the acronym, A.C.T.S. Compositional considerations are contrasted to those of Igor Stravinsky and Steve Reich, with special emphasis on the use of musical structures, motives, and text-painting to highlight the meaning of religious texts.

Studien behandlar hur ensemblepedagoger på olika gymnasieskolor väljer undervisningsinnehåll i ensemble. Syftet var att studera om hur syftet med ensemblekurserna samt det centrala innehållet genomsyrar ensembleundervisningen som bedrivs av varje ensemblepedagog. Kurserna Ensemble 1 samt Ensemble med körsång studeras med hjälp av semistrukturerade intervjuer. Även hur ensemblepedagogernas didaktiska val formar ensembleundervisningen undersöks. Data samlades in genom semistrukturerade intervjuer med fyra ensemblepedagoger. Data analyserades med hjälp av den didaktiska triangeln samt en didaktisk översiktskarta. I resultatkapitlet presenterades det ensemblepedagogerna diskuterade om. Resultatet visar att en klar majoritet av ensemblepedagogerna ansåg att vissa moment i kursen Ensemble 1 och Ensemble med körsång tar mer plats än andra i deras undervisning. Sammanfattningsvis talar både deltagare i studien och tidigare forskning om vikten av samspel och repertoarkännedom. I ensemblekurserna finns det olika föreställningar om vad som är mer centralt innehåll än annat. Denna studie fördjupar sig därför i forskningsfrågor som berör hur ensemblepedagoger väljer undervisningsinnehåll i ensemblekurserna.

Dengue mitigation is a major research area among scientist who are working towards an effective management of the dengue epidemic. An effective dengue mitigation requires several other important components. These components include an accurate epidemic modeling, an efficient epidemic prediction, and an efficient resource allocation for controlling of the spread of the dengue disease. Past studies assumed homogeneous response pattern of the dengue epidemic to climate conditions throughout the regions. The dengue epidemic is climate dependent and also it is geographically dependent. A global model is not sufficient to capture the local variations of the epidemic. We propose a novel method of epidemic modeling considering local variation and that uses micro ensemble of regressors for each region. There are three regressors that are used in the construction of the ensemble. These are support vector regression, ordinary least square regression, and a k-nearest neighbor regression. The best performing regressors get selected into the ensemble. The proposed ensemble determines the risk of dengue epidemic in each region in advance. The risk is then used in risk-based resource allocation. The proposing resource allocation is built based on the genetic algorithm. The algorithm exploits the genetic algorithm with major modifications to its main components, mutation and crossover. The proposed resource allocation converges faster than the standard genetic algorithm and also produces a better allocation compared to the standard algorithm.

The ability to accurately characterize the soundscape, or combination of sounds, of diverse geographic areas has many practical implications. Interested parties include the United States military and the National Park Service, but applications also exist in areas such as public health, ecology, community and social justice noise analyses, and real estate. I use an ensemble of machine learning models to predict ambient sound levels throughout the contiguous United States. Our data set consists of 607 training sites, where various acoustic metrics, such as overall daytime L50 levels and one-third octave frequency band levels, have been obtained. I have data for 117 geospatial features for the entire contiguous United States, which include metrics such as distance to the nearest road or airport, and the percentage of industrialization or forest in a specific area. I discuss initial model predictions in the spatial, frequency, and temporal domains, and the statistical advantages of using an ensemble of machine learning models, particularly for limited data sets. I comment on uncertainty quantification for machine learning models originating from limited data sets.

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