This work largely concerns the roles of Matthew Locke and Henry Purcell in the history of English keyboard music as reflected in their keyboard suites. Both, as composers of the Restoration period, integrated the French style with the more traditional English techniques--especially, in the case of Purcell, the virginalist heritage-- in their keyboard music. Through a detailed examination of their suites, I reveal differences in their individual styles and set forth unique characteristics of each composer. Both composers used the then traditional almain-corant-saraband pattern as the basis of the suite, to which they added a variety of English country dances. At the same time they modified the traditional dances with a variety of French and Italian idioms, thereby making distinctive individual contributions to the genre.

This is a study of the dance movements of Christian Flor including in Lüneburg Musica Antica Practica 1198. It includes a short biography of Christian Flor, a study of the French influences on Flor and the influence Flor had on his German contemporaries as shown through his dance movements. The final chapter is a critical edition of the dance movements.

The compositional periods of Johann Christian Bach, the youngest son of J. S. Bach, include Berlin, Italy, and London, and the keyboard concertos were written in Berlin and London. The works written in Berlin period were influenced by his brother, C. P. E. Bach, and the styles of those concertos written in London were created under the musical atmosphere of London society. The thesis is a study of the relationship between the London musical society and keyboard concertos of J. C. Bach. The discussion includes three chapters, in addition to the introduction and conclusion. Chapter one is the general discussions about the composer, the development of solo concerto, and historical background of the keyboard concerto in London. The second chapter focuses on the musical society in London in the second half of the eighteenth century. The third chapter contains detailed discussions of the style differences of the keyboard concertos composed by J. C. Bach between the Berlin and London periods. J. C. Bach was the private music tutor of Queen Charlotte, while traveling in London during 1762 to 1782. At the same time, he also participated in teaching, composing, performing, and organizing public concerts very actively. He wrote three sets of keyboard concertos, opus 1, 7, and 13. Each set includes six concertos, and each of which mainly contains two movements. The style of keyboard works of J. C. Bach are characterized by the pre-classical styles of symmetry and balance of the phrases. The concertos were written mostly for amateurs, and in order to satisfy the necessity of the musical market and teaching, the skill of the solo part was not technical demanding, they were simple. The concertos were composed for both harpsichord and piano, but more intended for the piano instrument, especially opus 7 and 13. The wealth economy, the improvement of manufacture techniques of the keyboard instrument, the prevailing public concerts, and the musical needs for Royal family and amateur musicians in London were the important reasons that effected the stylistic changing of J. C. Bach¡¦s writing of keyboard concertos.

Thesis (M. Phil.)--University of Hong Kong, 1988.

Analysis of Johann Sebastian Bach's (1685-1750) keyboard works and the study of fugue are often complemented by an understanding of Baroque rhetorical theory. In the Baroque Era, the principles of oration and argument established by Greek rhetoricians were thought of as analogous to musical ideas and forms. Notable Baroque theorists Joachim Burmeister (c. 1566-1629) and Johann Mattheson (1681-1764) related the fugal process to an active and elaborate discourse. They connected the basic parts of rhetorical disposition to fugue in an attempt to define and clarify its skeletal framework. While the concept of musico-rhetorical disposition schemes seems to be an attractive design for many Baroque theorists, it is difficult to apply such an analysis to stretto and double/triple fugues. This type of analysis sectionalizes the fugue in restrictive ways, linking particular musical techniques to different areas as would divide an oration. This document suggests that specific rhetorical figures do not need to be seen as fitting pre-set standard areas (e.g., propositio, confutatio, conclusio), but can derive from the context of each particular fugue, since they serve a prevailing musical function. Bach's stretto and double/triple fugues from The Art of the Fugue, BWV 1080 are particularly difficult masterpieces to comprehend, and there is little precedence for the application of rhetorical figures to fugues of these types. This document examines Contrapuncti V-XI from The Art of the Fugue, and can serve as a model for rhetorical analyses of complex fugal processes.

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For people with motor disabilities unable to control a pointing device, there is a need for an efficient keyboard Web navigation method. The current state of keyboard navigation tools is surveyed and discussed. The standard tab key navigation system is widely regarded as insufficient for practical keyboard access to the Web. Other techniques, such as identifier navigation --- where links are activated by entering their numeric code --- are found to be much more efficient, but possibilities remain for improvement. A technique based on selecting links by text search provides an alternative method of keyboard navigation, but does not minimize the number of required keyboard inputs, which is important for individuals not capable of fast typing input. A new technique called KeySurf is proposed, which aims to make text search navigation more efficient and intuitive by estimating which elements are more likely to be selected by the user, and then allowing those elements to be selected with fewer keystrokes. Web page elements without text associated with them are assigned labels based on algorithms that make generated labels predictable to the user. Various constraints on the searching algorithm are implemented to decrease the keystroke cost of selections, such as selecting visible elements first, matching the first characters of labels, and prioritizing visually prominent elements. In addition, the user's browsing history is used to calculate a measure of page and element interest in order to make interesting elements easier to select. KeySurf performance is examined in three experiments: an automated analysis of keystroke cost of element selection on randomly selected Web pages, a small study involving four individuals with motor disabilities to compare KeySurf and mouse use, and a study of 11 individuals browsing the Web with KeySurf collecting data passively in the background. The automated selection test calculates the number of keys necessary to activate each link for 48,182 links, resulting in a mean of 2.69 keystrokes. The study involving individuals with disabilities shows that KeySurf can be faster than mouse use if the user is able to type 2 or 3 keystrokes faster than pointing to a target using their pointing device. The study with 11 non-disabled individuals shows that for 4,601 recorded clicks, KeySurf would have required 2.38 keys per selection. Comparing mean keystroke cost for pages containing similar numbers of elements, we find that for real Web sessions KeySurf can decrease keystroke cost by 15\% compared to the simulation results by anticipating which elements a user is likely to select. A keystroke level model of tabbing, ID navigation, and KeySurf indicates that the predictability of ID navigation makes it more efficient for faster typists, while KeySurf is likely to be faster for slower typists. / Graduate

Thesis (Ph.D.)--University of Western Sydney, Nepean, 1996. / Includes bibliography.

Thesis (D.M.A.)--University of Oregon, 1971. / Typescript. Includes vita. Includes bibliographical references (leaves [325]-331).

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