Composed entirely of runes, the 14th century manuscript Codex Runicus is comprised of 101 sheets and contains historical documents such as "Kings until Erik Menved" and "Boundaries between Denmark and Sweden." The end of the codex contains the oldest surviving Nordic music fragment with lyrical text "Drømde mik en drøm i nat um silki ok ærlik pæl" which translates as [I] dreamt me a dream last night of silk and lovely cloth. This melody, alongside three Norwegian folk slåttar written for fiddle, Fjellbekken (The Mountain Stream), Fjøllrosa (The Mountain Rose), and Syrgjefuen (The Bird of Sorrow), is used to generate the pitch material for this composition for string orchestra, english horn and french horn. The piece is contrapuntal in nature. A large portion of the work is formed from essentially five groups or layers of melody that comfortably co-exist towards, as well as away from, each other, their independent natures being most evident in the first half of the piece. Additionally, there are fluctuations within each group itself, for examples, forms of imitation, slippage, change in register, variation in playing technique, and micro-displays of rhythmic independence set against more heterophonic textures (Considerable use of rhythmic embellishment is derived from the ornamental style found in harding fiddle slåttar). Such micro-fluctuations further distinguish the texture-intentional orchestration of each group. Although the use of layered melody forms the framework for the entire composition, there is continual exploration of its possibilities through various parameters such as density vs. transparency, and continuation vs. fragmentation.

Composed entirely of runes, the 14th century manuscript Codex Runicus is comprised of 101 sheets and contains historical documents such as "Kings until Erik Menved" and "Boundaries between Denmark and Sweden." The end of the codex contains the oldest surviving Nordic music fragment with lyrical text "Drømde mik en drøm i nat um silki ok ærlik pæl" which translates as [I] dreamt me a dream last night of silk and lovely cloth. This melody, alongside three Norwegian folk slåttar written for fiddle, Fjellbekken (The Mountain Stream), Fjøllrosa (The Mountain Rose), and Syrgjefuen (The Bird of Sorrow), is used to generate the pitch material for this composition for string orchestra, english horn and french horn. The piece is contrapuntal in nature. A large portion of the work is formed from essentially five groups or layers of melody that comfortably co-exist towards, as well as away from, each other, their independent natures being most evident in the first half of the piece. Additionally, there are fluctuations within each group itself, for examples, forms of imitation, slippage, change in register, variation in playing technique, and micro-displays of rhythmic independence set against more heterophonic textures (Considerable use of rhythmic embellishment is derived from the ornamental style found in harding fiddle slåttar). Such micro-fluctuations further distinguish the texture-intentional orchestration of each group. Although the use of layered melody forms the framework for the entire composition, there is continual exploration of its possibilities through various parameters such as density vs. transparency, and continuation vs. fragmentation.

Sans etoiles is a musical composition in three movements written for clarinet, horn, violin, cello and piano. This essay deals with the principal characteristics of the musical material used in the piece, the modalities governing transitional processes and the influence of these factors on memory and the perception of musical time. The artistic project gave way to a reflection on the directional aspects of music in order to establish transitional links between independent musical entities defined as 'musical objects'. The main transitional agent between these entities consisted of an autonomous musical layer bearing an exclusive impact on the surrounding musical context. The harmonic network of the piece, a set of interchangeable chord progressions, was conceived from the self-replication of a three-note cell. Each movement of the final work proposes a unique approach to musical time.

Boolean formulas can be used to model real-world facts. In some situation we may havea Boolean formula that closely approximates a real-world fact, but we need to fine-tune itso that it models the real-world fact exactly. This is a problem of theory revision where thetheory is in the form of a Boolean formula. An algorithm is presented for revising a class ofBoolean formulas that are expressible as conjunctions of Horn clauses. Each of the clausesin the formulas considered here has a unique unnegated variable that does not appear inany other clauses, and is not `F'. The revision algorithm uses equivalence and membershipqueries to revise a given formula into a formula that is equivalent to an unknown targetformula having the same set of unnegated variables. The amount of time required by thealgorithm to perform this revision is logarithmic in the number of variables, and polynomialin the number of clauses in the unknown formula. An early version of this work waspresented at the 2003 Midwest Artificial Intelligence and Cognitive Science Conference [4].

Thesis (M.M.)--University of North Texas, 2008. / For flute oboe, clarinet, horn, bassoon, and marimba, with an optional percussion part (glockenspiel, chimes). Duration: ca. 6:45. System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 61-64).

A Conjectura de Bateman-Horn dá condições sobre uma família de polinômios com coeficientes inteiros $f_1(X),\\dots,f_k(X)$ para que hajam infinitos $n \\in \\N$ tais que $f_1(n),\\dots,f_k(n)$ sejam todos primos, e determina qual deve ser o comportamento assintótico de tais inteiros $n$. Neste texto, vamos estudar essa conjectura, assim como um método desenvolvido por Solomon W. Golomb que pode ser usado para demonstrá-la. Veremos que esse cálculo prova a Conjectura de Bateman-Horn a menos da troca de um limite com uma série infinita, que é o único passo ainda não provado desse método. Também estudaremos uma tentativa para solucionar esse problema por meio do uso de teoremas abelianos de regularidade, e provaremos que teoremas tão gerais não são suficientes para provar a troca do limite com a série. / Given a family of polynomials with integer coefficients $f_1(X),\\dots,f_k(X)$, one would like to answer the following question: does there exist infinitely many $n \\in \\N$ such that $f_1(n),\\dots,f_k(n)$ are all primes? Schinzel conjectured that if these polynomials satisfy certain simple conditions, then the answer to this question is affirmative. Assuming these conditions, Bateman and Horn proposed a formula for the asymptotic density of the integers $n \\in \\N$ such that $f_1(n),\\dots,f_k(n)$ are all primes. In this text, we shall study the Bateman-Horn Conjecture, as well as a method proposed by Solomon W. Golomb that may be used to prove this conjecture. We shall see that Golomb\'s $\\Lambda$-method would prove the Bateman-Horn Conjecture, except for a single unproved step, namely, the commutation of a limit with an infinite series.

This study documents the career of Joseph Eger (b. 1920), who had a short but remarkable playing career in the 1940s, 1950s and early 1960s. Eger toured the United States and Britain as a soloist with his own group, even trading tours with the legendary British hornist, Dennis Brain. He recorded a brilliant solo album, transcribed or arranged several solos for horn, and premiered compositions now standard in the horn repertoire. He served as Principal Horn of the New York Philharmonic, Los Angeles Philharmonic, and the National Symphony. Despite his illustrious career as a hornist, many horn players today do not recognize his name. While Eger was a renowned horn soloist in the middle of the twentieth century, he all but disappeared as a hornist, refocused his career, and reemerged as a conductor, social activist, and author. This dissertation seeks to be the long-overdue comprehensive documentation of Eger's career as the first American horn soloist and his contributions to the world of horn playing. First, a biography of Eger is presented, focusing especially on his education and career as an orchestral player, soloist, and recording artist, including its intersections with the lives of many prominent musicians and personalities of the twentieth century. A personal interview provided most of this information. An examination of what is perhaps Eger's greatest and most lasting contribution, his solo album, Around the Horn, will follow. A discussion of this recording and his Grammy-nominated chamber music album will provide insight into the high quality of his horn playing and the breadth of his repertoire. Finally, Eger's transcriptions and editions of pieces for solo horn and the pieces that were premiered or composed for him will be listed and discussed.

La Primavera: Concertino for English Horn and Chamber Orchestra is a work in a traditional chamber orchestra instrumentation: single woodwinds (flute, oboe, clarinet, and bassoon), two French horns, trumpet, timpani and strings. A through-composed work of 14 minutes in duration, the Concertino is conceptually based on the idea that spring is not the first of the seasons, but rather the last. As a result, all of its motivic materials are organically linked to one another, and function as paired forces that struggle for supremacy. The introduction of the third motive functions as a motivic synthesis, since it contains intrinsic elements of previous motives. There are several important compositions based on the topic of the seasons among them we find: Vivaldi's Concerto Grosso Le Quatro Staggione, Haydn's oratorio The Seasons, and Piazzola's chamber work Las Estaciones. While researching this topic, the conceptual dilemma of spring as the last season was considered. This became a turning point in the compositional process strong enough to consider the spring as a singular topic of interest. The analysis of this work through Derrida's Deconstruction theory first came to me while reading Rose Rosengerd Subotnick's Deconstructive Variations: Music and Reason in Western Society. The Linguistic approach, was inspired in part by Leonard Bernstein's lecture “The Unanswered Question,” and Jean J. Nattiez's Music and Discourse: Toward a Semiology of Music.

The English horn has a background of historical confusion because the instrument was built in many different shapes and was given a new name for each change of form.

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