Master of Music / Department of Music, Theatre, and Dance / Reginald L. Pittman / The songs presented in this report are works I performed in my Master’s Recital on March 30, 2014. This report will take an in-depth analysis at the selected composers’ life and styles of writing and the works they created. The scores studied in this report include: “Thus saith the Lord: But who may abide” from George Frideric Handel’s Messiah, “Soave sia il vento” from Wolfgang Amadeus Mozart’s Cosí fan Tutte, “Liebesbotschaft,” “Ihr Bild,” and “Das Fischermädchen” from Franz Schubert’s Schwanengesang, Vincenzo Bellini’s “Vaga luna che inargenti,” Giuseppe Verdi’s “Il Poveretto,” Gaetano Donizetti’s “Che vuoi di più,” Reynaldo Hahn’s “Á Chloris,” “Si mes vers avaient des ailes,” and “L’Heure Exquise” from Chanson grises, and “Ships of Arcady,” “Beloved,” “A Blackbird Singing,” and “Nocturne” from Michael Head’s Over the Rim of the Moon.

We give an overview of Hahn-Banch Theorems. We present the statements of these theorems along with some definitions that are required to understand these statements and work out some applications.

In protein NMR spectroscopy, homonuclear mixing pulses are used to reveal correlations amongst chemically bonded nuclear spins. / Engineering and Applied Sciences

Zugl.: Hildesheim, Univ., Diss., 2009

The primary focus of this thesis is a selection of lesser-known Ballets Russes works, which, despite being largely neglected in academic studies, constitute important chapters in the history of the company. The bright light of publicity that shone on Stravinsky - in particular on Le Sacre du Printemps - has cast shadows over other Ballets Russes works, creating an over-simplified historical perspective. This is not to deny that Le Sacre was a watershed moment for the company, and in seeking to enrich our understanding of its place within broader musical trends, the thesis is divided into three sections, representing works composed before, around the same time as, and after, Stravinsky’s notorious masterpiece. Following a brief introduction, and a descriptive chapter outlining Diaghilev’s artistic heritage, as well as Paris before the arrival of his company, the first section deals with the Ballets Russes’s early modus operandi; focusing on Nikolai Tcherepnin’s Le Pavillon d’Armide and Reynaldo Hahn’s Le Dieu bleu. The next explores the Ballets Russes in the wake of Le Sacre du Printemps, using Erik Satie’s Parade as an example of a ballet indebted to Stravinsky’s innovations. However, influence was not entirely a one-way phenomenon, and part of this section also discusses connections between the early Ballets Russes works and Le Sacre. Finally, the season of French ballets performed in 1924 allows me to reflect on the stylistic changes that occurred in the later years of the company, using Darius Milhaud’s Le Train bleu, Georges Auric’s Les Fâcheux, and Francis Poulenc’s Les Biches as examples of the company’s shift to an enterprise that placed greater emphasis on the visual. This research argues that even the lesser-known works, despite their apparent lack of musical innovation, contributed to the more path-breaking scores that have come to command scholarly interest. Moreover, the seasons I have highlighted reflect the changing ideologies of Diaghilev and his company, as it evolved from a Russian troupe inspired by the Mir Iskusstva, to a European artistic collective presenting the ideas of Cocteau and Les Six to Paris. Areas of future research extend from this thesis, as many other lesser-known ballets not encompassed here would clearly benefit from detailed scrutiny. Applying the principles of musical examination here outlined, together with an open-minded approach to new historical perspectives, should further help to redress the balance of scholarly attention that has skewed the overall understanding of the Ballets Russes.

Orientador: Simone Mazzini Bruschi / Banca: Ricardo Pereira da Silva / Banca: Vera Lúcia Carbone / Resumo: Este trabalho consistiu em coletar e desenvolver uma sequência didática para o ensino de Análise Funcional aos estudantes de iniciação científica. Neste sentido a dissertação foi escrita para ser utilizada como livro-texto, transmitindo uma introdução de Análise Funcional e com o objetivo que ao final os estudantes estejam aptos a estudar textos mais específicos / Abstract: This work suggests a didatic road map for teaching Functional Analysis to un- dergraduated students who wish to initiate a scientific carrier. The dissertation was written an introductory text book of Functional Analysis ofter which students could migrate to more specific papers / Mestre

The purpose of this paper is to explore certain properties of Banach spaces. The first chapter begins with basic definitions, includes examples of Banach spaces, and concludes with some properties of continuous linear functionals. In the second chapter, dimension is discussed; then one version of the Hahn-Banach Theorem is presented. The third chapter focuses on dual spaces and includes an example using co, RI, and e'. The role of locally convex spaces is also explored in this chapter. In the fourth chapter, several more theorems concerning dual spaces and related topologies are presented. The final chapter focuses on reflexive spaces. In the main theorem, the relation between compactness and reflexivity is examined. The paper concludes with an example of a non-reflexive space.

Daniel Hahn is a writer, editor and translator with about 70 books to his name. His translations from Portuguese, Spanish and French include fiction and non-fiction for adults and children, from Europe, Africa and the Americas. His work has won him the Independent Foreign Fiction Prize, the International Dublin Literary Award and many others. He is a past chair of the UK's Society of Authors and the Translators Association, and a former programme director of the British Centre for Literary Translation. / Conversatorio entre el autor, editor y traductor Daniel Hahn y el panel docente de la carrera de Traducción e Interpretación Profesional. Daniel Hahn comparte sus perspectivas respecto a la traducción literaria, su experiencia profesional y responde preguntas de los estudiantes de la carrera.

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

Syftet med studien är att utvecklas som interpret och violinist. Det sker genominstudering och jämförande analys av Igor Stravinskys notation i Concerto en Répour Violon et Orchestre sats 1 (1931) i relation till två inspelningar: SamuelDushkis grammofoninspelning från 1931 med Stravinsky som dirigent samtHilary Hahns inspelning från 2012. Därigenom fördjupas bilden av hur denmusikaliska tolkningen har förändrats över drygt åttio år.En betydande del av studien består av analyser av Dushkins och Hahnsinspelningar av första satsen, samt Stravinskys anvisningar och min egentolkning. Verktyg i analysprocessen är musikapplikationen Spotify, Scott Music’snotupplaga av Concerto en Ré och metronomapplikationen Metronome.Slutsatser av analyserna påvisar att Hahns inspelning har ett betydligt livligaretempo än Dushkins. Dushkin använder ofta glissando, vilket Hahn inte gör.Dushkin spelar också i regel med en mjukare ton än Hahn, som gärna framhäveroch lägger till egna accenter. Kvaliteten på inspelningarna är en väsentlig detaljatt ta hänsyn till då Hahn har alla fördelar vad gäller dagens inspelningsteknik. Iinspelningsprocessen 1931 fanns det förmodligen endast en eller möjligen ett parmikrofoner som tog upp ljudet.Ett viktigt resultat i studien är upptäckten att Stravinsky som dirigent vid ettflertal tillfällen gjorde helt andra musikaliska val på inspelningen än vad han somkompositör angav i partituret. Personligen ger det mig uppmuntran och inspirationatt göra egna konstnärliga val i min tolkning av verket.