Am 8. Dezember 1747 feierte die sächsische Kurfürstin und polnische Königin Maria Josepha (1699–1757) ihren 48. Geburtstag. Zu diesem Anlass verfasste ihre Schwiegertochter Maria Antonia Walpurgis den Text der Kantate »Che ti dirò Regina«. Die sächsische Kurprinzessin hatte den ältesten Sohn des Herrscherpaares, Friedrich Christian (1722–1763), im gleichen Jahr geheiratet und war im Juni nach Dresden gekommen.

The precise nature of the motion of the lips of the musician is critically important to the sound of the brass wind instrument. The player must match the oscillation of the lips to the acoustical properties of the instrument and it can take many years of practice to master the techniques involved. Visualisation techniques for capturing the motion of the lips during performance are described and the behaviour of the lips quantitatively analysed using digital image analysis. The concept of an artificial mouth for the sounding of brass wind instruments is discussed and the motion of the artificial lips is compared to that of human musicians. When a brass instrument is played loudly the energy of the higher harmonics increases, creating a distinctive ‘brassy’ timbre. It has been suggested that saturation or constraint of the lips of the musician during extremely loud playing is responsible for this change in sound. Measurements of the motion of the lips of a number of different musicians on different instruments suggest that the lips are not significantly constrained at any playing dynamic, and that it is the phenomena of nonlinear propagation and shockwave generation that is responsible for the increase in energy of the higher harmonics. It is widely accepted that the starting transient of a musical instrument is of great importance to both listener and musician. Previous studies of brass instruments have focused on the steady-state behaviour of the lip-instrument interaction. Measurements of the motion of the lips have been synchronised with the pressure in the mouthpiece of the instrument and the sound radiated from the bell in order to investigate the transient behaviour of the system during both the starting transient and slurs between notes. Thiswork has been extended to include measurements of the pressure in the mouth of the player during the starting transient, and this information used to recreate realistic transients using an artificial mouth. The transient behaviour of the system is clearly affected by the time delay between the start of the note and the acoustical feedback from the instrument beginning. The information obtained can be used to aid in the creation of accurate computational and physical models of brass wind instruments.

This research examines European Union (EU) policy instruments affecting the urban domain throughout the lenses of the Europeanization approach. Instead of looking at EU instruments that are formally/legally consecrated to cities, we use theoretical public policy analysis to explore the arenas and the causal mechanisms that structure the encounter between the EU and urban systems of governance. We develop the argument that there are four different modes of Europeanization. In consequence, to grasp the essence of a single instrument or a given EU initiative, one has to establish which mode is prevailing in the policy logic of that instrument or initiative. The core variables that explain change concern the status of actors’ preferences (a) and the payoffs from Europeanization (b). The combination of (a) and (b) thus originates a four dimensional space. We can therefore develop a typology for the modes of Europeanization, which chimes with current theorisations on the EU modes of governance. The eventual Europeanization of urban systems depends on the nature of strategic interaction, not on the legal ‘tools’ explicitly designated for cities. Thus, policy instruments are initially associated with the four modes. We then used process-tracing to verify whether instruments actually perform according to the ‘mode’ to which they have been initially paired, or if they trigger contingencies that have not been theoretically/deductively foreseen. This is particularly convenient within a realm – urban policies – where the EU does not have a specific formal competence and where interactions between ‘cities’ and the EU are likely to take place within multiple policy areas and during different stages of the policy process. Mechanisms are explored by considering the city of Turin. The four ‘policy instruments’ selected as proxies for the assessment of modes of Europeanization are the Covenant of Mayors programme for energy saving, directive 1994/62 (then waste framework directive) for waste management, directive 1993/30 for air quality control and the URBAN II Community Initiative for urban regeneration and development. The analysis of the four instruments reveals less variation between modes than initially expected. In this connection, theoretical similarity between modes, as emerged from the typological exercise carried out at the outset of the research, was partially echoed by the empirical analysis of policy instruments. Within cities and urban areas, the Europeanization effect is likely to assume a more blurred fashion and the action of, and reaction to, Europe is greatly interwoven with other dynamics, which in turn shape the perception and the actual impact of European modes and instruments for regulation. In the conclusions we highlight the differences between this approach and the traditional analysis of EU urban policy, and suggest avenues for future empirical research based on typologies of policy instruments.

The lecture-recital, The Development of Woodwind Fingering Systems, traces the evolution of devices for controlling the pitch produced by woodwind instruments from prehistoric times to the present. The addition of keys, and the evolution of collections of individual keys into coordinated systems is particularly stressed, as are the various physical, physiological, and cultural forces which determined the directions of development of these systems. The similarities between the fingerings of various woodwind instruments are explained, a system of numbers is introduced in order to clarify these similarities, and a projection of some possibilities for future development of woodwind fingering systems is offered.

<p>1. nowhere landscape, for clarinets, trombones, percussion, violins, and electronics</p><p>nowhere landscape is an eighty-minute work for nine performers, composed of acoustic and electronic sounds. Its fifteen movements invoke a variety of listening strategies, using slow change, stasis, layering, coincidence, and silence to draw attention to the sonic effects of the environment—inside the concert hall as well as the world outside of it. The work incorporates a unique stage set-up: the audience sits in close proximity to the instruments, facing in one of four different directions, while the musicians play from a number of constantly-shifting locations, including in front of, next to, and behind the audience.</p><p>Much of nowhere landscape’s material is derived from a collection of field recordings</p><p>made by the composer during a road trip from Springfield, MA to Douglas, WY along US- 20, a cross-country route made effectively obsolete by the completion of I-90 in the mid- 20th century. In an homage to artist Ed Ruscha’s 1963 book Twentysix Gasoline Stations, the composer made twenty-six recordings at gas stations along US-20. Many of the movements of nowhere landscape examine the musical potential of these captured soundscapes: familiar and anonymous, yet filled with poignancy and poetic possibility.</p><p>2. “The Map and the Territory: Documenting David Dunn’s Sky Drift”</p><p>In 1977, David Dunn recruited twenty-six musicians to play his work Sky Drift in the</p><p>Anza-Borrego Desert in Southern California. This outdoor performance was documented with photos and recorded with four stationary microphones to tape. A year later, Dunn presented the work in New York City as a “performance/documentation,” playing back the audio recording and projecting slides. In this paper I examine the consequences of this kind of act: what does it mean for a recording of an outdoor work to be shared at an indoor concert event? Can such a complex and interactive experience be successfully flattened into some kind of re-playable documentation? What can a recording capture and what must it exclude?</p><p>This paper engages with these questions as they relate to David Dunn’s Sky Drift and to similar works by Karlheinz Stockhausen and John Luther Adams. These case-studies demonstrate different solutions to the difficulty of documenting outdoor performances. Because this music is often heard from a variety of equally-valid perspectives—and because any single microphone only captures sound from one of these perspectives—the physical set-up of these kind of pieces complicate what it means to even “hear the music” at all. To this end, I discuss issues around the “work itself” and “aura” as well as “transparency” and “liveness” in recorded sound, bringing in thoughts and ideas from Walter Benjamin, Howard Becker, Joshua Glasgow, and others. In addition, the artist Robert Irwin and the composer Barry Truax have written about the conceptual distinctions between “the work” and “not- the-work”; these distinctions are complicated by documentation and recording. Without the context, the being-there, the music is stripped of much of its ability to communicate meaning.</p> / Dissertation

This research concerns the continuing development of Seaweb underwater networking. In this type of wireless network the radio channel is replaced by an underwater acoustic channel which is strongly dependent on the physical properties of the ocean medium and its boundaries, the link geometry and the ambient noise. Traditional acoustic communications have involved a priori matching of the signaling parameters (e.g., frequency band, source level, modulation type, coding pulse length) to the expected characteristics of the channel. To achieve more robust communications among the nodes of the acoustic network, as well as high quality of service, it is necessary to develop a type of adaptive modulation in the acoustic network. Part of this process involves estimating the channel scattering function in terms of impulse response, the Doppler effects, and the link margin. That is possible with the use of a known probe signal for analyzing the response of the channel. The estimated channel scattering function can indicate the optimum signaling parameters for the link (adaptive modulation). This approach is also effective for time varying channels, including links between mobile nodes, since the channel characteristics can be updated each time we send a probe signal.

This study aimed to verify the validity evidences of the electronic scale of attitudes towards statistics eSATSportuguês through Rasch model. A sample of 137 Brazilian students, selected for convenience, participated in this study. They were aged 20-55 (M=28.71; DP=7.77), 79.6% female, enrolled in the last semester from graduation courses of a private university in São Paulo state, and had already attended a Statistics subject. The participants answered the 28-item, 7-point Likert-type scale, in computer laboratories. The results indicated a good fit of the items to Rasch model, and the scale’s good psychometric properties, making it a good instrument to measure the construct attitude. The sample’s average attitude towards statistics was more positive rather than negative. / Este estudo objetivou verificar evidências de validade da Escala Informatizada de Atitudes frente à Estatística eSATSportuguês, via modelo de Rasch. Participaram 137 universitários brasileiros, escolhidos por conveniência, com idades de 20 a 55 anos (M=28.71; DP=7.77), 79,6% mulheres, matriculados nos últimos semestres de cursos de graduação de uma universidade particular do interior do estado de São Paulo, que já haviam cursado a disciplina Estatística. Os participantes responderam a escala eSATSportuguês, com 28 itens do tipo Likert de 7 pontos, em laboratórios de informática. Os resultados indicaram bom ajuste dos itens ao modelo de Rasch e boas propriedades psicométricas, podendo ser utilizado para mensurar o construto atitude. A amostra apresentou atitude média mais positiva que negativa em relação à Estatística.

This thesis uniquely explains the mechanical improvements which have occurred to the flute over the last 147 years. Theobald Boehm revolutionized the flute by changing many of its components culminating with the 1847 model flute. Since that time other improvements have been made which enhance the flute's capabilities in terms of pitch, tone, timbre, and simplification offingeringpassages. Among those improvements which are discussed in the following pages are the Dorus G-sharp key, the gizmo key, the Cooper scale, and The Brogger Mekanik as well as the makers behind the various improvements including Vincent Dorus, George Barrere, and Albert Cooper.

An event-driven, sequential, process control system was designed for International Isotopes, Inc., to automate and remotely control a target station at the company's linear accelerator facility. The designed system consisted of two major sections: a software program (virtual instrument), which was developed by LabVIEW, and a hardware interface (FieldPoint Modular Distributed I/O System by National Instrument), which had to be a pre-developed system that did not require customization. The designed virtual instrument was tested on a simulation model that mimed the target station. The result was a valid design.

The purpose of this study is to trace the development of a practically extinct woodwind instrument, the basset horn, and its use by composers as both a solo and an orchestral instrument. The first chapter concerns the development of the basset horn from the earliest imperfect specimen to the modern-day instrument. The second chapter deals with the physical characteristics that are peculiar to the instrument. The third chapter discusses the literature and musical history of the basset horn. An appendix provides a comprehensive listing of literature for the instrument.