This study consists of two volumes. Volume II contains the analysis of fifty-one songs by Gerald Finzi (1901-1956) to poems by Thomas Hardy (1840-1928). The analysis is based on a preconceived model which focuses on a critical examination of the texts and considers the basic elements of music in each song. Certain stylistic features are apparent from this study and are reflected in Volume I. After a biographical sketch of each artist and a discussion of the texts, a sample of the analysis is presented. The basic elements of music are then discussed: timbre, duration, pitch organization, dynamics, texture, structure, mood and atmosphere. Volume I concludes with a general statement on the stylistic features of the composer and considers the artists' genius in the light of the study. Finzi's setting of such a comparatively large number of Hardy poems is a result of the former's intense interest in English literature and sympathy with much of Hardy's personal philosophies such as the uselessness of suffering which fills an indifferent world. Finzi's settings are firmly embedded in tonal traditions but he explores a great variety of subtle atmospheres within the confines of tonality. The declamation of the texts is of superior quality and the composer achieves an individual language of expression unparalleled in the song-writing of the first half of the twentieth century in England / Hierdie studie beslaan twee volumes. Volume II behels die analise van een-en-vyftig liedere van Gerald Finzi ( 1901-1956) na tekste van Thomas Hardy ( 1840-1928). Die analises is gebaseer op 'n vooraf ontwrepte model op grond waarvan die tekste krities geevalueer, en die basiese musikale elemente bestudeer is. Sekere stilistiese tendense wat uit hierdie studie blyk, word in Volume I weergegee. Na 'n kort biografiese skets van beide kunstenaars en 'n bespreking van die tekste, word 'n uittreksel van die analise aangebied. Hiema volg 'n ondersoek na die basiese elemente van musiek: toonkleur, toonduur, toonhoogte, toonstrekte, tekstuur, struktuur en die skep van atmosfeer. Volume I sluit af met 'n samevatting van die stylkenmerke en 'n slotbeskouing van beide kunstenaars se geniale bydrae. Finzi se toonsetting van 'n relatief groot aantal gedigte van Hardy spruit uit sy intense belangstelling in die Engelse letterkunde en sy vereenselwiging met die persoonlike filosofee van Hardy - veral die gedagte van onnodige lyding in 'n apatiese wereld. Finzi toonset hoofsaaklik in 'n tonale styl, maar ondersoek 'n groot verskeidenheid delikate atmosfeerskeppinge binne die tonale raamwerk. Sy deklamering van tekste is van hoogstaande gehalte en die komponis bring 'n pesoonlike uitdrukkingsvorm, ongeewenaar in die liederkuns van die eerste helfte van die twintigste eeu in Engeland, tot stand / D.Mus. (Musicology)

This study consists of two volumes. Volume II contains the analysis of fifty-one songs by Gerald Finzi (1901-1956) to poems by Thomas Hardy (1840-1928). The analysis is based on a preconceived model which focuses on a critical examination of the texts and considers the basic elements of music in each song. Certain stylistic features are apparent from this study and are reflected in Volume I. After a biographical sketch of each artist and a discussion of the texts, a sample of the analysis is presented. The basic elements of music are then discussed: timbre, duration, pitch organization, dynamics, texture, structure, mood and atmosphere. Volume I concludes with a general statement on the stylistic features of the composer and considers the artists' genius in the light of the study. Finzi's setting of such a comparatively large number of Hardy poems is a result of the former's intense interest in English literature and sympathy with much of Hardy's personal philosophies such as the uselessness of suffering which fills an indifferent world. Finzi's settings are firmly embedded in tonal traditions but he explores a great variety of subtle atmospheres within the confines of tonality. The declamation of the texts is of superior quality and the composer achieves an individual language of expression unparalleled in the song-writing of the first half of the twentieth century in England / Hierdie studie beslaan twee volumes. Volume II behels die analise van een-en-vyftig liedere van Gerald Finzi ( 1901-1956) na tekste van Thomas Hardy ( 1840-1928). Die analises is gebaseer op 'n vooraf ontwrepte model op grond waarvan die tekste krities geevalueer, en die basiese musikale elemente bestudeer is. Sekere stilistiese tendense wat uit hierdie studie blyk, word in Volume I weergegee. Na 'n kort biografiese skets van beide kunstenaars en 'n bespreking van die tekste, word 'n uittreksel van die analise aangebied. Hiema volg 'n ondersoek na die basiese elemente van musiek: toonkleur, toonduur, toonhoogte, toonstrekte, tekstuur, struktuur en die skep van atmosfeer. Volume I sluit af met 'n samevatting van die stylkenmerke en 'n slotbeskouing van beide kunstenaars se geniale bydrae. Finzi se toonsetting van 'n relatief groot aantal gedigte van Hardy spruit uit sy intense belangstelling in die Engelse letterkunde en sy vereenselwiging met die persoonlike filosofee van Hardy - veral die gedagte van onnodige lyding in 'n apatiese wereld. Finzi toonset hoofsaaklik in 'n tonale styl, maar ondersoek 'n groot verskeidenheid delikate atmosfeerskeppinge binne die tonale raamwerk. Sy deklamering van tekste is van hoogstaande gehalte en die komponis bring 'n pesoonlike uitdrukkingsvorm, ongeewenaar in die liederkuns van die eerste helfte van die twintigste eeu in Engeland, tot stand / D.Mus. (Musicology)

This diploma thesis turns attention to the important figures of the first half of the 20th century such as Ralph Vaughan Williams, Gerald Finzi and Benjamin Britten. It deals with an art song on the territory of the then England, and compares the contribution of the chosen authors. Partly, this thesis focuses on the aspect of interpretation and singing.

CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / INCT - Instituto Nacional de Ciência e Tecnologia / O Monitoramento da Integridade Estrutural baseado na técnica da Impedância Eletromecânica permite a detecção de alterações em estruturas, possibilitando a identificação e o reparo de danos. A técnica baseia-se em obter assinaturas de impedância da estrutura monitorada, em diversos momentos da operação da mesma. Possíveis danos são identificados pela comparação matemática entre as assinaturas obtidas. Sendo uma técnica bastante precisa, variações na temperatura e efeitos externos como vibrações e campos eletromagnéticos atuantes sobre a estrutura monitorada representam perturbações que tendem a gerar erros no processo de monitoramento. Para tornar o processo de diagnóstico mais robusto, torna-se necessário dissociar os verdadeiros efeitos de alteração estrutural daqueles que são considerados interferências externas. O presente trabalho tem por objetivo mostrar um estudo de caso, usando um painel aeronáutico de alumínio como corpo de prova, em que a influência dos fatores não previstos na técnica da impedância é identificada e caracterizada por meio de modelos estatísticos. Para realizar estas análises, foram executados experimentos utilizando transdutores piezelétricos acoplados ao referido painel. Os experimentos submeteram o painel à variação de temperatura e à inclusão de danos simulados. A partir dos dados de assinatura de impedância obtidos, comprovou-se a eficiência dos modelos estatísticos elaborados, sendo possível tanto separar e identificar a influência do dano simulado e da temperatura quanto estabelecer um intervalo de confiança nas análises desenvolvidas. Com esses resultados, é possível indicar que a técnica de análise estatística proposta torna-se uma útil ferramenta de pré-processamento de dados em aplicações de monitoramento de estruturas baseados no método da impedância eletromecânica. / Structural Integrity Monitoring based on the Electromechanical Impedance technique allows the detection of changes in structures, allowing the identification and repair of damages. The technique relies on obtaining impedance signatures from the monitored structure, at various moments of its operation. Possible damages are identified by the mathematical comparison between the signatures obtained. As a very precise technique, variations in temperature and external effects such as vibrations and electromagnetic fields acting on the monitored structure represent perturbations that tend to generate errors in the monitoring process. To make the diagnostic process more robust, it becomes necessary to decouple the true structural alteration effects from those that are considered external interferences. The present work aims to show a case study using an aluminum aeronautical panel as a test body, in which the influence of factors not predicted in the impedance technique is identified and characterized by means of statistical models. To perform these analyzes, experiments were performed using piezoelectric transducers coupled to said panel. The experiments subjected the panel to temperature variation and to the inclusion of simulated damages. From the impedance signature data obtained, the efficiency of the elaborated statistical models was verified, being possible to separate and identify the influence of the simulated damage and the temperature, as well as to establish a confidence interval in the developed analyzes. With these results, it is possible to indicate that the proposed statistical analysis technique becomes a useful tool for data preprocessing in structural monitoring applications based on the electromechanical impedance method. / Dissertação (Mestrado)

Master of Music / School of Music, Theatre, and Dance / Reginald L. Pittman / This Master’s Report is an examination of four vocal song cycles for the baritone voice. Song cycles researched, interpreted, and performed include An die ferne Geliebte (1816) by Ludwig van Beethoven, Sei Romanze (1838) by Giuseppe Verdi, Don Quichotte à Dulcinée (1932-1933) by Maurice Ravel, and Let Us Garlands Bring (1938-1942) by Gerald Finzi. In this report you will find information on the history of vocal song cycles, biographical information about composers and poets/lyricists, compositional analysis, historical breakdowns of the musical periods, musical and poetic interpretations, original texts and English translations, pedagogical and performance practice insights, and never before published transpositions of “Non t’accostare all’urna,” “More, Elisa, lo stanco poeta,” and “Nell’orror di note oscura” from Giuseppe Verdi’s Sei Romanze (1838). Songs in this report are: “Auf dem Hügel sitz ich spähend,” “Wo die Berge so blau,” “Leichte Segler in den Höhen,” “Diese Wolken in den Höhen,” “Es kehret der Maien, es blühet die Au,” and “Nimm sie hin den diese Lieder” from An die ferne Geliebte by Ludwig an Beethoven. “Non t’accostare all’urna,” “More, Elisa, lo stanco poeta,” “In solitaria stanza,” and “Nell’orror di note oscura” from Sei Romanze by Giuseppe Verdi. “Chanson romanesque,” “Chanson épique,” and “Chanson à boire” from Don Quichotte à Dulcinée by Maurice Ravel. “Come away, come away, death,” “Who is Silvia?,” “Fear no more the heat o’ the sun,” “O Mistress Mine,” and “It was a lover and his lass” from Let Us Garlands Bring by Gerald Finzi. The graduate recital was presented in partial fulfillment of the requirements for the Master of Music degree in vocal performance on April 9th, 2017 in All Faiths Chapel on the campus of Kansas State University. The recital featured the talents of baritone Matthew D. Cyphert and pianist Mitchell S. Jerko.