Robert Schumanns intensive Beschäftigung mit Lord Byrons Werk 'Manfred' begann im Juli 1848. Obwohl Schumann die Herausgabe seines 'Manfred' als Gesamtwerk wichtig war, hat er sie nicht mehr vollständig realisiert. Zu Lebzeiten erschienen und von ihm autorisiert sind lediglich die Ouverture in Partitur, Klavierauszug und Stimmen im Jahr 1852 sowie 1853 der zweihändige Klavierauszug des gesamten Werks und der vierhändige Klavierauszug der Ouverture. Erst nach Schumanns Tod 1856 wurden 1859 die Vokalstimmen, 1860 die Orchesterstimmen sowie 1862 die Partitur der Bühnenmusik veröffentlicht (wie schon die früheren Ausgaben vom Verlag Breitkopf & Härtel). Die Vorlage für die postume Ausgabe in Partitur und Stimmen ist verschollen; die Ausgabe selbst beinhaltet Eingriffe von fremder Hand. Damit ist eine historisch-kritische, an Schumanns Intentionen orientierte Neuedition dringend geboten. Die vorliegende Arbeit bezieht für eine grundlegende historisch-kritische Neuedition erstmalig alle heute überlieferten Quellen ein und bietet darüber hinaus eine umfängliche und vollständige Darstellung der komplexen Genese von Schumanns 'Manfred'. Zudem wird auf der Grundlage der philologischen Erkenntnisse die für dieses Werk vorherrschende musikwissenschaftliche Auseinandersetzung problematisiert und diskutiert. Dabei folgt die vorliegende Arbeit den Editionsrichtlinien sowie dem Aufbau der Bände der Neuen Robert-Schumann-Ausgabe , wozu u.a. auch die Verwendung der alten Rechtschreibung zählt. Das erste Kapitel Stand der Forschung beinhaltet zunächst einen kurzen Überblick zur Editionsgeschichte der 'Manfred'-Partitur. Es folgt eine Übersicht der bislang erschienenen Sekundärliteratur zu 'Manfred', die trotz disparater Auseinandersetzung mit dem Werk eine Gliederung nach Aspekten zuläßt. Das sich anschließende Kapitel Werkgeschichte unterteilt sich in vier große Abschnitte. Der erste Abschnitt befaßt sich mit der Entstehungsgeschichte ausgehend von einem Überblick über alle im Zeitraum 1817–1848 erschienenen deutschsprachige Übersetzungen des 'Manfred'-Stoffes und dem Einfluß des Vaters August Schumann als Verleger und Byronexperte bis hin zu Schumanns konkreter Beschäftigung mit detaillierter Darstellung der komplexen Werkgenese. Der zweite Abschnitt behandelt ausführlich die Drucklegung. Da der Druck der Partitur des Gesamtwerks postum erschienen und damit nicht vollständig von Schumann betreut wurde, ist dieser Teil grundlegend und sehr wichtig für jede weitere Auseinandersetzung mit Schumanns 'Manfred'. Der dritte Abschnitt Aufführung und Rezeption umfaßt die vollständige Aufführungsgeschichte und deren Analyse sowie einen Aufführungskalender. Zudem sind die Bearbeitungen des 'Manfred'-Textes wie die von Richard Pohl (1858), Josef Bayer (1859), Friedrich Röber (1860), Ferdinand Kürnberger (1859) ausführlicher behandelt. Den Abschluß der Werkgeschichte bildet ein Dokumenten-Anhang mit bislang unveröffentlichten Briefen sowie allen umfangreicheren Rezensionen bis einschließlich 1866 . Der Werkgeschichte schließt sich das Kapitel Quellen mit Quellenbeschreibung und bewertung an. Einen großen Raum nimmt dabei die Textsynopse ein, die Byrons Original und Schumanns benutzte Übersetzungen vollständig wiedergibt sowie in der letzten Spalte alle Abweichungen zum Handexemplar in genetischer Reihenfolge enthält. Zudem beinhaltet das Kapitel Schumanns ausführlichen Bearbeitungsprozeß zu Manfred und erörtert spätere, d. h. nach Drucklegung erfolgte Ergänzungen in der Kopistenabschrift BT2. Das letzte Kapitel Revisionsbericht ist zweigeteilt: es beinhaltet die Neuedition der Partitur des Gesamtwerks und den Bericht über die Abweichungen zwischen der autographen Partitur AP – die eine bis heute völlig unbekannte und autorisierte Frühfassung der Ouverture enthält – und der Originalpartitur der Ouverture OPO.

Distributed parameter systems (DPS) are systems defined on infinite dimensional spaces. This includes problems governed by partial differential equations (PDEs) and delay differential equations. In order to numerically implement a controller for a physical system we often first approximate the PDE and the PDE controller using some finite dimensional scheme. However, control design at this level will typically give rise to controllers that are inherently large-scale. This presents a challenge since we are interested in the design of robust, real-time controllers for physical systems. Therefore, a reduction in the size of the model and/or controller must take place at some point. Traditional methods to obtain lower order controllers involve reducing the model from that for the PDE, and then applying a standard control design technique. One such model reduction technique is balanced truncation. However, it has been argued that this type of method may have an inherent weakness since there is a loss of physical information from the high order, PDE approximating model prior to control design. In an attempt to capture characteristics of the PDE controller before the reduction step, alternative techniques have been introduced that can be thought of as controller reduction methods as opposed to model reduction methods. One such technique is LQG balanced truncation. Only recently has theory for LQG balanced truncation been developed in the infinite dimensional setting. In this work, we numerically investigate the viability of LQG balanced truncation as a suitable means for designing low order, robust controllers for distributed parameter systems. We accomplish this by applying both balanced reduction techniques, coupled with LQG, MinMax and central control designs for the low order controllers, to the cable mass, Klein-Gordon, and Euler-Bernoulli beam PDE systems. All numerical results include a comparison of controller performance and robustness properties of the closed loop systems. / Ph. D.

Beginning band directors appear to prioritize notation-based practices in their programs and rehearsals despite cognitive research indicating the necessity of audiation for musical comprehension and success. During rehearsals, directors oversee musical success and cognition suggesting the potentiality to improve upon traditional forms of teaching in order to prioritize audiation and encourage its systematic improvement. Using Edwin Gordon’s work on audiation and applications from cognitive research as my theoretical framework, I surveyed, observed, and interviewed beginning band directors regarding their prioritization of audiation during rehearsals. In this mixed methods study in which I used an explanatory sequential, multiple case study design, beginning band directors from select institutions and Gordon Institute of Music Learning certificate holders (N = 20) were asked to complete an online survey answering Likert-scaled and open-ended questions regarding rehearsal activities and students’ musical success. After survey completion, each volunteer director (n = 4) was observed twice, interviewed individually, and interviewed collectively in a focus group. Following the transcription of observations and interviews, open-ended survey responses, observations, and interviews were coded and major themes generated. Three implications for band directors and music educators included, first, valuing an unlimited pedagogy with a de-emphasis on decoding and repertoire and a reemphasis on ear playing and informal learning. Second, preparatory experiences are important for comprehensive success in beginning instrumental study. Third, a beginning band curriculum that is intentionally seeking to create comprehensive musicianship among beginners may be best achieved by balancing traditional pedagogy, Music Learning Theory, and informal music learning approaches. Future research might examine directors’ teaching inclusions and pedagogy over a more extensive period of time or as a single case study. Future research could also document audiation instruction from the student perspective.

When designing a control for a physical system described by a PDE, it is often necessary to reduce the size of the controller for the PDE system. This is done so that real time control can be achieved. One approach often taken by engineers is to reduce the approximating finite-dimensional system using a balanced reduction method known as balanced truncation and then design a control for the lower order system. The unsettling idea about this method is that it involves discarding information and then designing a control. What if valuable physical information were lost that would have allowed a more effective control to be designed? This paper will explore an alternate balanced reduction method called LQG balancing. This approach allows for the designing of a control on the full order approximating system and then reducing the control. Along the way, the basic ideas of feedback control design will be discussed, including system balancing and model reduction. Following, there will be mention of the linear Klein-Gordon equation and the development of the one-dimensional finite element approximation of the PDE. Finally, simulations and numerical experiments are used to discuss the differences between the two balanced reduction methods. / Master of Science

The purpose of this thesis is to show the extent to which Byron revealed himself as the hero of Childe Harold's Pilgrimage and the extent to which that hero was an original creation.

This dissertation concerns nineteenth-century British novelists’ representations of unachieved aspirations. Through a blend of affect theory, materialist literary criticism, and formalist analysis, I examine a particularly frustrating problem addressed by these writers: the gap between a dream of social mobility and a reality of class paralysis for many working-class people. I am interested in the tropes of imprisonment, constraint, and confinement through which Charles Dickens, Elizabeth Gaskell, Thomas Hardy, and Arthur Morrison pondered this problem. I take into account these writers’ own limitations and imperfect social-progress ideology of melioration. These metaphors highlight the exploitation of impoverished people by the very institutions purportedly meant to encourage and mobilize them. In this project, I draw on Lauren Berlant’s theory of cruel optimism, Carolyn Lesjak’s study of the depleasurization of work in the Victorian novel, and Bruce Robbins’s theory of mobility and welfare as frameworks for interpreting what Victorian middle-class fiction writers do with the lived experience of poverty.

Many nonlinear Klein-Gordon equations have been studied numerically, and in a few cases, analytical solutions have been found. We used the variational method to study three different equations in this family. The first one to be studied here was the linear equation, Utt - Uzz + U = 0, where U is a real Klein-Gordon field. Attempts to find non-stationary radiative-type solutions of this equation were not successful. Next we studied the nonlinear equation Utt - U:= ± IUl 2U = O, with U complex, which represents a nonlinear massless scalar field. Here we searched for possible stationary solutions using the variational approximation, however to no avail. Next, we added a linear term to this second equation, which then became Utt - Uzll: ± IUl2U + µU = 01 whereµ can always be scaled to ±1. Here we found that we can find approximate variational solutions of the form A(t)e^i{k(x-z0(t))+a)e / 2w2(z) . This third equation is a generalization of the tf,4 equation, which has many physical applications. However, the variational solution found required different signs on the coefficients of this equation than are found in the O4 equation. Properties and features of this variational solution will be discussed.

Cette thèse a pour thème central l'étude de deux problèmes soulevés dans les pêcheries modernes, la dégradation des habitats et le manque d'informations, qui comptent parmi les causes les importantes de la surexploitation des ressources halieutiques. Les deux premiers chapitres sont consacrés à l'examen du problème de la dégradation des habitats marins liée notamment aux activités de pêche destructrices. Le modèle de Gordon-Schaefer est prolongé afin de tenir compte de l'impact négatif de la pêche sur les habitats. Les conséquences pour la gestion sont analysées et l'importance de la prise en compte des habitats dans le développement des programmes de gestion des ressources halieutiques est mise en évidence. Le modèle élaboré est ensuite utilisé pour évaluer les bénéfices économiques des récifs artificiels, un outil de gestion auquel font de plus en plus appel les gestionnaires des pêcheries artisanales pour répondre à la dégradation des habitats. Enfin, dans le troisième chapitre, le rôle de l'information pour une pêche durable est examiné lorsque la ressource est en accès libre. Si, dans les deux premiers chapitres, il est supposé que les informations complètes sont disponibles pour l'élaboration des recommandations de gestion, dans la dernière étude, la décision concernant l'exploitation des ressources halieutiques est prise dans un contexte où aucune information sur la ressource n'est accessible. Cette décision est prise individuellement par chaque pêcheur qui opère dans la pêcherie. En développant un modèle multi-agents, nous montrons l'impact de l'apprentissage des pêcheurs sur la dynamique globale du système halieutique. / This thesis focuses on two main problems posed in contemporary fisheries: habitat degradation and lack of information. They count among the most important causes of the overexploitation of marine resources. The first two chapters aim at examining the habitat degradation that is linked to destructive fishing activities. The Gordon-Schaefer model is extended to take account of the negative impact of fishing on the habitats. The consequences for fisheries management are analyzed and the importance of taking into account habitats in the development of fisheries management programs is highlighted. Then the extended model is used to evaluate the economic benefits of artificial reefs, a management tool to which frequently resort the managers of small-scale fisheries to mitigate the effects of habitat degradation. Finally, in the third chapter the role of information for sustainable fisheries is examined under open access. If in the first two chapters it is assumed that there is complete information, in the last study this assumption is relaxed - no information on the resource is known. The decision concerning the exploitation of marine resources is made individually by each fisherman that operates in the fishery. By developing an agent-based model, we show the impact of individual learning on the global dynamics of the system.

Dans cette thèse, il est question d'interroger la relation entre le son et l'image dans les pratiques plastiques actuelles à partir de travaux majoritairement vidéographiques et de tenter de déterminer comment cette articulation est un vecteur de violence, d'émotion, de fascination mais également comment elle s'inscrit dans le contexte de l'émergence de la pensée, du déplacement du sens et de la réception de l'oeuvre par le spectateur. Ces rapports entre le visuel et le sonore sont dégagés au fil des vidéos rencontrées et une analyse à caractère plus spécifiquement monographique est menée à partir des oeuvres d'Ange Leccia produites de 1982 à 2013 et celles de Douglas Gordon réalisées de 1990 à 2008. Une partie de cette étude est également consacrée à faire émerger la problématique du travail vidéographique de l'auteur de cette thèse en lien avec la thématique abordée. En dernier lieu, une analyse comparée met en regard les pratiques d'Ange Leccia, de Douglas Gordon, celles d'artistes contemporains ainsi que celles de l'auteur de ce texte en privilégiant les liaisons du sonore et du visuel dans les travaux plastiques réalisés à partir du réemploi d'images d'archives, de films cinématographiques et l'utilisation de chansons populaires. / The purpose of this thesis is to investigate the relation between sound and image in the actual artistic works and especially from video art and to try to determine how this linkage provides violence, emotion, fascination but also how it comes within the scope of the contest of the thinking emergence, the meaning shifting, the work reception by the public. These links between visual and sound parts are brought out from videos coming across the discussion thread and a more specifically monographic analysis is drawn from the Ange Leccia's artistic work producted from 1982 to 2013 and Douglas Gordon's one realized from 1990 to 2008. One part of this study is also devoted to the videographic work problematics of the author of this thesis with respect to the theme involved. Lastly, a comparative analysis puts in a position to question the artistic practice of Ange Leccia and Douglas Gordon, of contemporary artists and the work of the author of this text favouring the relation between sound and image which relies on artistic work based on the sampling of archives, of movies and the use of popular songs.

Esta dissertação aborda tentativas e possibilidades, no contexto contemporâneo, da prática arquitetônica se estabelecer como prática crítica e, nesse processo, construir interlocuções com práticas artísticas que respondem a anseios comuns. Tomamos como foco de análise parte da produção teórica e prática desenvolvida pelo arquiteto Bernard Tschumi (1944- ), pensando-a e interpretando-a com o auxílio da reflexão e da produção elaboradas principalmente por dois artistas paradigmáticos, Gordon Matta-Clark (1943-1978) e Hélio Oiticica (1937-1980). Tais criadores se interessaram pela dimensão política e emancipatória das manifestações de arte ou de arquitetura que extrapolam seu campo específico de atuação e incorporam reflexões sobre comportamento, espaço, cidade e esfera pública. Assim podemos distinguir, no interior de trajetórias distintas com desdobramentos e coerências internas particulares, e através de um olhar que possui certa distância histórica, alguns pontos de contato que, apesar de indiretos, certamente não são inexpressivos. Evidenciam um repertório comum de idéias que foram compartilhadas por distintas manifestações estéticas na década de 1970, um momento histórico marcado pela vontade de transformação da realidade. Nessa ocasião, manifestações de arte e de arquitetura estabeleceram interlocuções através do desejo de participar de debates culturais mais amplos, que incluíam reconsiderações sobre o papel social da arte, sobre a noção de \"público\" e sobre o poder que poderia ser atribuído aos acontecimentos efêmeros. / This dissertation discusses attempts and possibilities to establish architectural practice as a critical practice within the contemporary context and, in this process, to build interlocutions with artistic practices that respond to common aspirations. Our analysis focuses on part of the theoretical and practical production developed by architect Bernard Tschumi (1944- ), considering and interpreting it based on the reflections and production created principally by two paradigmatic artists, Gordon Matta-Clark (1943-1978) and Hélio Oiticica (1937-1980). These artists were interested in the political and emancipatory dimensions of artistic or architectural manifestations extending beyond their specific field of expertise to incorporate reflections on behavior, space, the city, and the public sphere. Thus, within different trends with particular developments and internal coherence, viewed from a somewhat historical distance, one can distinguish several points of convergence that, albeit indirect, are far from insignificant. These points reveal a common repertoire of ideas that were shared by different aesthetic manifestations in the 1970s, a historical moment marked by the desire to transform reality. At the time, artists and architects established interlocutions upon demonstrating their desire to participate in broader cultural debates, which included reconsiderations about the social role of art, the notion of \"public\", and the power that could be attributed to ephemeral events.