Mozart composed his D Major Sonata, K. 311 in 1777 when he was twenty-one years old. He seemed to have hit his stride as a composer of keyboard sonatas, assimilating into this piece artistically fulfilling juxtapositions of brilliant virtuosity and subdued lyricism, humor and heartfelt expression. The first movement begins in a spirited manner, then gives way to a lyrical second theme. As the movement draws to a close in pure joy, the contrast of the pleasant and soothing second movement is all the more striking���Mozart���s niche as an opera composer proves evident by the beautiful singing melodic line. The third movement rounds out the sonata, providing yet another contrast in mood; a humorous character is implied by sudden changes in dynamics, stops and starts, and musical surprises. Mozart incorporates aspects of symphonic composition with a concerto-like lead in before the return of the theme. <br>Composer Nancy Galbraith provided her own program notes for her Piano Sonata No. 1. ���Piano Sonata No. 1��� begins with an animated Fugue, a restless internal dialog that twists and turns to triumphant resolve. The nearly motionless Religioso lingers in still, prayerful meditation, slowly arcs to an anguished ���miserere���, then comes to rest in an emotionally spent, yet peaceful surrender. Allegro begins and ends in jubilant song and dance surrounding a serene, dreamy landscape. <br>The syncopated Fugue subject of movement I is treated in a traditional manner in the opening and is transformed into a more lyrical statement in the development. The movement closes with a dramatic statement of the subject in octaves in the low register. Movement II begins with a simple chant-like melody, which gradually becomes more intense and is finally stated with large cluster chords. The movement ends peacefully as it began. The sonata closes with a perpetual motion movement III, which makes use of minimalistic techniques. <br>���Jeux d���eau��� by Maurice Ravel translates to ���fountains,��� or ���water games.��� Ravel composed the piece when he was a student of Gabriel Faur��, to whom the piece is dedicated. Ravel explained his piece in the following way: ���Jeux d���eau, appearing in 1901, is at the origin of the pianistic novelties which one would notice in my work. This piece, inspired by the noise of the water and by the musical sounds which make one hear the sprays, the cascades, the brooks, is based on two motives in the manner of a sonata��� without, however, subjecting itself to the classical tonal plan.��� Ravel included an inscription on the top of his manuscript of a quote by Henri de R��gnier from his Cit�� des eaux: ���Dieu fluvial riant de l���eau qui le chatouille������ which translates to ���River god laughing as the water tickles him������ <br>The pianist must create the illusion of waterfalls, water sprays, calm puddles, and exciting water movement. From scintillating, pianissimo arpeggios to brilliant fortissimo glissandos, Ravel utilizes the entire keyboard to evoke a myriad of water images. Rachmaninoff was only 23 when he composed his B Minor Moment musical, Op. 16, No. 3 in 1896, but even so early in his life, he had established his compositional voice. He composed his G Minor Etude-tableau, Op. 33, No. 7 in 1911, and premiered the set later that year. The Moment musical possesses a dark mood, in the character of a funeral march. He coined the title, ���picture etudes,��� (etudes-tableaux) although the concept was not original; he most likely drew inspiration from the Transcendental Etudes of Liszt and the Symphonic Etudes of Schumann. Each etude suggests a picture, an extramusical idea, in addition to a pianistic problem it presents in the tradition of the etude. He said of his inspiration, ���in the process of creating music, I am greatly aided by the books or poems I have read as well as by superb paintings. I often try to express a definite idea or event in my work without referring to the direct source of the inspiration.��� Rachmaninoff did not share with his performers the imagery the pieces were meant to conjure. He stated, ���I do not believe in the artist disclosing too much of his images. Let them paint for themselves what it most suggests.��� <br>Bach���s original partita in E Major for solo violin serves as a staple in the violin repertoire, so it seems logical that Rachmaninoff heard the piece performed by his touring recital partner, violinist Fritz Kreisler. Rachmaninoff created transcriptions not only to increase his own concert repertoire, but also to serve as a preliminary exercise to foster creativity for other compositional projects. Some of his transcriptions are faithful to the original score, some contain considerable embellishments, and others use the original score as merely a guide. In this piece, Rachmaninoff chose three of the movements of <br>Bach���s partita and crafted them beautifully for piano, remaining faithful to Bach���s original intent while weaving in his own counterpoint, melodic lines, and rich, colorful harmonies. He captures the pure essence of Bach while adding just the right amount of his own compositional voice: ���Rach-ing���out. / Mary Pappert School of Music; / Music Performance / MM; / Recital;

Thesis (M.C.S.)--Regent College, 1987. / Abstract. Vita. Includes bibliographical references (leaves 256-270).

Thesis--University of Florida. / Description based on print version record. Typescript. Vita. Bibliography: leaves 106-111.

This study broadens awareness of two accomplished American composers’ contributions to various media in general, and wind band in particular by examining specific wind band works that illustrate their compositional style for the medium. The opening chapters include biographical information of each composer, including musical training, professional background, appointments held, awards, compositional style, and education. Carolyn Bremer has written thirteen works for wind band. An orchestral bassist by training, Bremer focused her musical talents on composition at the age of twenty-four. Among Bremer’s works for wind band, Early Light maintains a consistent performance record. An accomplished pianist, organist, and composer, Nancy Galbraith’s compositional career spans three decades. Although she has contributed significantly to chamber and small ensembles, her catalog contains approximately 120 works for various media. Febris ver is one of Galbraith’s recent contributions to the wind band. Commissioned for the 2012 College Band Directors National Association, the work received its premier performance in February of that year. This project fills a major gap in the literature regarding the work of Bremer and Galbraith; to date, it is the first study of its kind and brings to light information not previously published.

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近幾年來，由於經營環境不變，多角化策略漸為企業所普遍採行，而多角化策略甚至 已成為一時髦的名詞。 自學者Chandler提出「結構追隨策略」的概念後，陸續有許多學者相繼研究與結構間 的關係，但無庸置疑的策略的轉向必須配以適時的組織調整；根據國內外的話多研究 顯示，事業部的組織型態因多角化策略的盛行而漸為興起。 本研究即嘗試以一客觀且較為實務的立場來探討企業於採行多角化策略時，組織結構 調整為事業部型態的過程，歸納出較為一般化的原則，以供為實務界參考，及後續研 究的基礎。 本研究是以個案撰寫方式而成，利用深入訪談，獲取個案公司調整為事業部過程的縱 斷面資料，藉此資料整理實務經驗，補充理論所不足之處。 預期本研究的貢獻有： (1) 經由觀察採行不同型態多角化策略的企業於過去調整組織結構的經驗，提出組織 結構可能的演進過程。 (2) 探討各種組織型態之間的演進理由，以作為企業於設計組織調整預警制度的參考 。 (3) 提出事業部設計的可能類型與差異，進而移轉組織設計的經驗。

The concept of the contemporary author in case of J. K. Rowling The diploma thesis deals with the contemporary concept of the author which is examined on the specific case of Joanne Kathleen Rowling. The theoretical part of the thesis focuses on the biography of the author and the previous philosophical theories concerning the concept of the author and his/her role in the identity of the literary work. The main authors of the theories are Roland Barthes, Michel Foucault, and Umberto Eco, whose concept is crucial for this thesis. The research part presents specific styles of writing which are characteristic for authors and applies this theory to the analysis of two literary works of J. K. Rowling. The conclusion of the thesis is the summary of the research and an attempt to define the concept of the contemporary author. Key words The author, authorship, literary work, pseudonym, the concept of the author, style of writing, J. K. Rowling, Robert Galbraith, Roland Barthes, Michel Foucault, Umberto Eco

From Conclusion: There were no great upheavals during Cole's governership, but his rule has been a very interesting study. The old order of things was coming to a close. The way was prepared under Cole for freeing of the slaves; and the old despotic rule became a thing of the past. The British Settlers agitated for and obtained a free press; thus the foundation was laid for democratic institutions. He was the first governor to lay emphasis on the necessity of municipal councils not only as a way of decreasing expenditure, but also as a school for representative government. The Boers were becoming race conscious and the present orientation of the political parties had their origin in this period, though subsequent events have made the political struggle embittered. Above all the stage was being set for the Great Trek and the opening up of the whole of the present Union of South Africa and Rhodesia ... Last but not least the native question was entering upon its modern phase. Chiefs were losing their power, they admitted that they could not control their subjects, and natives were entering the service of Europeans; not only to steal with greater impunity but also to be able to enjoy the security offered by a well organised and disciplined society.

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