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No description available.

Organological inspections of a representative sample of English spinets made during the period 1680-1740 have been performed. The sample includes instruments made by Stephen Keene and his co-workers, by the Hitchcock family firm, and by selected other makers. Analysis of the Keene instruments allows them to be classified into four groups reflecting their development in size and compass over time. In contrast, little development is discernible in spinets from the Hitchcock workshop: rather, the instruments can be seen to have existed as two basic models – a mitred tail model and a serpentine tail one. Some variations and hybrids are recognisable in both models. The commonly held view that the spinet was merely a cheap and compact substitute for the harpsichord, even during the late-Stuart and early-Georgian period, is refuted by reference to archival and iconographic evidence of the status in society of those who bought the instruments.

Georgian is remarkably different from Indo-European languages. The language has several linguistic phenomena that are challenging both from theoretical and computational points of view. In addition, it is low- resourced and insufficiently studied from the computational point of view. In the thesis, we model morphology and syntax of a core fragment of the language in a formal grammar. Namely, the formal grammar is written in the HPSG framework - one of the most powerful grammar frameworks nowadays. We also implement the grammar in TRALE - a grammar implementation platform, which is faithful to "hand-written" HPSG-based grammars. Note that this is the first application of HPSG to Georgian.

Thesis (Ph. D.)--University of Chicago, 1999. / Includes bibliographical references. Also available on the Internet.

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, Crestwood, NY, 2001. / Abstract. Includes bibliographical references (leaves 100-104).

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, Crestwood, NY, 2001. / Abstract. Includes bibliographical references (leaves 100-104).

Thesis (M. Div.)--St. Vladimir's Orthodox Theological Seminary, Crestwood, NY, 2001. / Abstract. Includes bibliographical references (leaves 100-104).

Georgian composer, teacher, conductor, and musicologist Otar Taktakishvili (1924–1989) played a leading role in the revival of Georgian art music in the second half of the 20th century. Despite his multiple duties and close relationship with the USSR regime, Taktakishvili consistently wrote music based on Georgian traditional folk music, hence imprinting and preserving the national Georgian identity through his compositions. These nationalistic influences appear prominently in several of his piano suites and are ubiquitous in the Piano Suite written in 1973. In the Piano Suite (1973), Taktakishvili adapts and recreates the sonorities, registers, coloristic effects through textural layering and articulations, rhythmic patterns and performance practices of selected Georgian folk instruments at the piano. He creates a unified suite by evoking the sound characteristics of his national instruments. The Piano Suite is unique and likely the only suite in the piano literature based on the imitation of a group of folk instruments, and as such deserves a place in the scholarly literature on world piano music. An analysis of the pianistic resources used by Taktakishvili to imitate the unique musical qualities and performance practices of five popular Georgian folk instruments reveals a reliance on repetitive rhythmic figures, textural layering, imaginative articulation, and deft use of the registers of the piano. The composer also distinctively implements characteristic modes and harmonic language to evoke the flavor of Georgian folk music.