Thesis (Ph. D.)--University of Washington, 2006. / For solo violoncello and octet comprised of piccolo, English horn, clarinet in E♭, contrabassoon, horn in F, tuba, xylophone, and contrbass. Vita. Includes bibliographical references (p. 147).

Thesis (D. Mus. Arts)--University of Washington, 2007. / Trombone part included at end of score (p. 67-74). Vita. Includes bibliographical references (leaves 75-76).

The purpose of this study is to determine if participation in percussion ensemble has a distinct value as compared to participation in larger ensembles, and whether it promotes a specific form of percussion education not available to members participating in larger ensembles. People who participated in or who are currently instructional leaders, coaches, or conductors of collegiate percussion ensembles were contacted to better understand how experiences in the percussion ensemble influenced their approach to teaching percussion once they entered the teaching field. Research conducted for this study included interviews with preservice, inservice, and university percussion professors. Findings suggest that participation in a collegiate percussion ensemble is beneficial for percussion education and for teachers in the field. Students who participate in collegiate percussion ensembles have the opportunity to get a more specialized percussion education, from which they gain better quality skills in basic musicianship, score study, repertoire selection, and percussion performance than they would have simply preforming in a larger ensemble. In addition, students who participate in a collegiate percussion ensemble reported that it provided a greater sense of self-worth and a camaraderie with fellow percussionists that was not available in large ensemble performance.

"Eyu", l'Homme, naît riche, c'est la société qui l'appauvrit par le biais des institutions qui établissent les catégories de pensée et les règles sur lesquelles les individus s'appuient pour penser et agir. À Bokokopé au Togo, des migrants kabyè bénéficient de projets de développement. Le but de ces projets est d'augmenter le revenu de ces paysans, garanti d'une amélioration de conditions de vie et de bien-être. Mais les différents acteurs de ce processus ne partagent pas ce style de pensée qui lie le bien-être au revenu. Ce qui entraine des difficultés à s'entendre sur les indicateurs d’évaluation. L'outil principal des techniciens du développement est le cadre logique. Toute action non-logique et non mesurable est par conséquent presque exclue. C'est ainsi que, lorsque Hazou décide par exemple de revendre sa chèvre "à perte" en justifiant qu'il "gagnait en amitié", cela suscite interrogation. Pourquoi résiste-t-il au calcul de rentabilité, moyen incontournable pour améliorer son revenu ? Cette réticence à tout calculer, tout quantifier et tout marchandiser peut se comprendre en se référant à la perception du monde qu'ont les acteurs en présence à Bokokopé ainsi que des rapports qu'ils entretiennent avec le travail et l'argent dans une perspective du vivre ensemble. Leurs actions sont déterminées par plusieurs mondes de pensée qui fluctuent entre des principes marchands portés essentiellement par certaines organisations de développement, et des principes non-marchands véhiculés principalement par des mythes ou des rites auxquels adhèrent les membres de la communauté. / "Eyu", the Human, is born rich, the society impoverishes him by means of the institutions which establish the categories of thought and rules on which the individuals learn to think and act. In Bokokopé in Togo, migrants of the so-called kabyè ethnic group benefit from development projects. The purpose of these projects is to increase the income of these peasants, guaranteeing an improvement of living conditions and well-being. But the different stakeholders of this process do not share this style of thought which links well-being to income. Therefore, many difficulties to adopt indicators appear during different evaluations. The main tool of the technicians of development is the Logical Framework. Any unmeasurable and non-logical action is almost excluded. That's how, when Hazou decides, for instance, to sell his goat 'at a loss ' but giving proof that he ' won in friendship ', it provokes questioning. Why does it resist the counting of profitability, the inevitable means to ameliorate its income? This reticence to calculate everything, to quantify everything and to the marketization of all can be understood by referring to the perception of the world that the participants have in Bokokopé as well as of the relationship which they maintain with work (job) and money while living a Community lifestyle. Their actions are determined by several ways of thinking which fluctuate between the logic of the trade world carried principally by certain developmental organizations, and alternately nonprofit principles, in most cases, myths or rituals to which the members of the community adhere.

No description available.

The overall style of this sonata begins with music similar to pre-World War I French music in the first movement and become progressively more modern with each movement. The classical forms of composition are used for each movement. There is a different combination of instruments throughout every movement of the sonata to offer orchestral variation.

The primary objective of this study is to write a brass method which will give the college student a thorough foundation in articulation, tone production, intonation, and other factors involved in the playing of the trumpet, French horn, bass and trombone. This brass method will be written for college level brass classes.

It's All in the Cards is an instrumental chamber work consisting of three movements for ten percussionists encircling the audience. The total duration of the piece is approximately thirteen minutes. Much of the rhythmic and melodic material, as well as the form, was determined by shuffling and dealing a standard deck of fifty-two cards. Other computational procedures have been used to achieve the effect of sound moving from one spatial location to another, an effect on which must be regarded as an essential factor in performance of the work.

New York Cycle consists of the settings of three poems for bass-baritone voice and eight instruments. The poems, each of which serves as the basis for one movement, are "The East River's Charm" by Samuel Bernard Greenberg, "Brooklyn Bridge" by Vladimir Mayakovsky, and "The Skyscraper Loves Night" by Carl Sandberg. The instrumentation employed consists of two French horns, vibraphone, timpani, and string quartet.

The composition, in three movements, is scored for flute, doubling piccolo;oboe, doubling English horn; B-flat clarinet, doubling bass clarinet; bassoon; horn; trumpet; trombone; violin; viola; cello; contrabass; piano; and percussion. The title Sinfonia Concertante is used for its specificality: a symphony of several solo instruments with traits of the classical style. The music is mock-serious and satirical at times, making light of a certain post-1945 musical gravity. The duration of the work is approximately 20 minutes.