Claude Bolling’s Toot Suite for Trumpet and Jazz Piano that was premiered by French virtuoso trumpeter Maurice Andre in 1980 is an important work in the trumpet repertoire. At present, there is limited research regarding Toot Suite. Almost all of the six movements within Toot Suite are performed on a different instrument: C trumpet for Allegre, Eb trumpet for Mystique, Bb cornet for Rag-Polka, Bb piccolo trumpet for Marche, Bb flugelhorn for Vesperale and Bb piccolo for Spirituelle. Chapter 1 examines the life and musical background of the composer. It also exposes the history surrounding the origin of Toot Suite. Chapter 2 discusses the musical influences of the composer that are found in Toot Suite. Chapter 3 provides an analysis of existing studio recordings. Chapter 4 offers specific suggestions regarding preparation and performance of Toot Suite. Chapters 5 and 6 conclude the guide with interviews with the composer and prominent trumpet performers and pedagogues that have recorded and/or have performed Toot Suite live.

This work introduces three new coverage criteria based on combinatorial-based event and element sequences that occur in the mobile environment. The novel combinatorial-based criteria are used to reduce, prioritize, and generate test suites for mobile applications. The combinatorial-based criteria include unique coverage of events and elements with different respects to ordering. For instance, consider the coverage of a pair of events, e1 and e2. The least strict criterion, Combinatorial Coverage (CCov), counts the combination of these two events in a test case without respect to the order in which the events occur. That is, the combination (e1, e2) is the same as (e2, e1). The second criterion, Sequence-Based Combinatorial Coverage (SCov), considers the order of occurrence within a test case. Sequences (e1, ..., e2) and (e2,..., e1) are different sequences. The third and strictest criterion is Consecutive-Sequence Combinatorial Coverage (CSCov), which counts adjacent sequences of consecutive pairs. The sequence (e1, e2) is only counted if e1 immediately occurs before e2. The first contribution uses the novel combinatorial-based criteria for the purpose of test suite reduction. Empirical studies reveal that the criteria, when used with event sequences and sequences of size t=2, reduce the test suites by 22.8%-61.3% while the reduced test suites provide 98.8% to 100% fault finding effectiveness. Empirical studies in Android also reveal that the event sequence criteria of size t=2 reduce the test suites by 24.67%-66% while losing at most 0.39% code coverage. When the criteria are used with element sequences and sequences of size t=2, the test suites are reduced by 40\% to 72.67%, losing less than 0.87% code coverage. The second contribution of this work applies the combinatorial-based criteria for test suite prioritization of mobile application test suites. The results of an empirical study show that the prioritization criteria that use element and event sequences cover the test suite's elements, events, and code faster than random orderings. On average the prioritized orderings cover all elements within 21.81% of the test suite, all events within 45.99% of the test suite, and all code within 51.21% of the test suite. Random orderings achieve full code coverage with 84.8% of the test suite on average. The third contribution uses the combinatorial-based criteria for test suite generation. This work modifies the random walk tool used from prior experiments to give weight (preference) to coverage of the combinatorial-based event and element criteria. The use of Element SCov and CSCov criteria result in test suites that increase code coverage for three of the four subject applications. Specifically, the code coverage increases by 0.29%-5.89% with SCov and 1.36%-6.79% with CSCov in comparison to the original random walk algorithm. The SCov criterion increases total sequence coverage by 5%-88% and the CSCov criterion increases sequence coverage by 13%-68%. One criteria, Element CCov, failed to increase code coverage for two of the four applications. The contributions of this dissertation show that the novel combinatorial-based criteria using sequences of events and elements offer improvements to different testing strategies for mobile applications, including test suite reduction, prioritization, and generation.

Master of Music / Department of Music / Frank Tracz / The following report contains the research and analysis of three musical compositions prepared for effective rehearsal and performance for the Graduate Conducting Recital. The repertoire selected includes Hats Off to Thee by John Zdechlik, performed by the Kansas State University Brass Ensemble on April 18th, 2012; Mercury Rising by Nathan Daughtrey, performed by the Kansas State University Percussion Ensemble on April 3rd, 2012 and Suite Française by Darius Milhaud, performed by the Kansas State University Concert Band on April 25th, 2012 all under the direction of Sarah Bernard-Stevens. The report comprises extensive research and theoretical analysis compiled to effectively rehearse and conduct the above-mentioned works.

Non-repudiation techniques are to ensure any communication taking place between two or more parties will be undeniable. Therefore it is crucial to include digital signatures of the involving parties while the communication is taking place. In medical practices, involved parties include; patient(s), doctor(s), pharmacist(s), who are involved in series of visits, diagnosis, prescriptions, and possible operations. To avoid possible conflicts, deploying non-repudiation techniques help immensely. This thesis considers this issue in a wireless medium and studies the Quality of Service (QoS)/Security requirements in terms of network parameters and performance metrics. In terms of research contributions, this thesis embodies a thorough research on layered and cross-layer QoS and security schemes, in particular, featuring an adaptive Forward Error Correction (FEC) at the application layer, adapting to channel conditions. This leads to a cross layer design, which considers various QoS and security parameters export and import to and from various layers with a special focus on the application layer. The aim of this thesis is to consider a practical implementation and associated complexities of a non-repudiation system, including analytical and experimental testbeds and results. The security schemes are based on Suite-B cryptographic algorithms, including: The Elliptic Curve Diffie-Hellman (ECDH) for key agreement, the Advanced Encryption Standard - Galois/Counter Mode (AES-GCM) for encryption and authentication, the Elliptic Curve Digital Signature Algorithm (ECDSA) for digital signatures, and the Secure Hash Algorithm (SHA) for integrity. A key aspect of Suite-B is the deployment of Elliptic Curve Cryptography (ECC). The non-repudiation aspect of this thesis is based on the Suite-B’s digital signature scheme; ECDSA. The digital signature and the hashing function target the entire multimedia data (i.e., text, video, and voice) and the challenge is to offer such extensive security treatment, while guaranteeing certain Quality of Service settings. These settings include: minimum round trip delay, maximum overhead, and minimum bandwidth allocation.

This treatise, A musical analysis of The abyss suite, examines the musical underpinnings of an original three-movement work for jazz orchestra. Each movement musically represents a certain period of time occurring over the course of an emotional ordeal in my life. Through the incorporation and manipulation of certain musical elements--form, melody, harmony, and other compositional devices--this piece serves as a wordless narrative of that ordeal. The analysis will address each of these elements in turn. / text

Non-repudiation techniques are to ensure any communication taking place between two or more parties will be undeniable. Therefore it is crucial to include digital signatures of the involving parties while the communication is taking place. In medical practices, involved parties include; patient(s), doctor(s), pharmacist(s), who are involved in series of visits, diagnosis, prescriptions, and possible operations. To avoid possible conflicts, deploying non-repudiation techniques help immensely. This thesis considers this issue in a wireless medium and studies the Quality of Service (QoS)/Security requirements in terms of network parameters and performance metrics. In terms of research contributions, this thesis embodies a thorough research on layered and cross-layer QoS and security schemes, in particular, featuring an adaptive Forward Error Correction (FEC) at the application layer, adapting to channel conditions. This leads to a cross layer design, which considers various QoS and security parameters export and import to and from various layers with a special focus on the application layer. The aim of this thesis is to consider a practical implementation and associated complexities of a non-repudiation system, including analytical and experimental testbeds and results. The security schemes are based on Suite-B cryptographic algorithms, including: The Elliptic Curve Diffie-Hellman (ECDH) for key agreement, the Advanced Encryption Standard - Galois/Counter Mode (AES-GCM) for encryption and authentication, the Elliptic Curve Digital Signature Algorithm (ECDSA) for digital signatures, and the Secure Hash Algorithm (SHA) for integrity. A key aspect of Suite-B is the deployment of Elliptic Curve Cryptography (ECC). The non-repudiation aspect of this thesis is based on the Suite-B’s digital signature scheme; ECDSA. The digital signature and the hashing function target the entire multimedia data (i.e., text, video, and voice) and the challenge is to offer such extensive security treatment, while guaranteeing certain Quality of Service settings. These settings include: minimum round trip delay, maximum overhead, and minimum bandwidth allocation.

Stuttgart, Univ., Diplomarb., 2004.

abstract: The music of Johann Sebastian Bach has long been used for keyboard percussion pedagogy and performance. The cello suites (BWV 1007-1012), in particular, are popular choices for marimbists. As with many transcriptions for marimba, performers are challenged to transfer Bach's musical genius onto an instrument whose timbre, range, mode of execution and acoustic properties are distinctly different from the original. To date, there is no concise and relevant edition of the suites for study and performance at the marimba. The edition contained herein solves most, if not all, of the problems normally confronted by marimbists. In addition to synthesizing the most salient information from early manuscript sources and modern performances, this edition corrects the harmonic and voiceleading problems that are caused by the polyphonic limitations of the cello. This edition also eliminates performance notations found in most cello editions which are of little use to a marimbist. / Dissertation/Thesis / D.M.A. Music 2010

abstract: This project covers the transcription of Three Suites for Cello, opp. 72, 80, and 87, by Benjamin Britten, for guitar. These suites were chosen because of the influence of Bach, which is seen in the texture of the pieces, and because they can be played on guitar with very few changes. Music for unaccompanied cello has a history of being transcribed for guitar, including the Bach cello suites, and is a means for guitarists to expand the repertoire. In addition to documenting the changes made in adapting these pieces for guitar, a brief biographical sketch of the composer and descriptions of each movement are included. Also explained are articulation symbols and terminologies that are uncommon in music written for the guitar, and suggestions on how to perform the multitude of ornaments Britten has written in the score. / Dissertation/Thesis / D.M.A. Music 2012

Georgian composer, teacher, conductor, and musicologist Otar Taktakishvili (1924–1989) played a leading role in the revival of Georgian art music in the second half of the 20th century. Despite his multiple duties and close relationship with the USSR regime, Taktakishvili consistently wrote music based on Georgian traditional folk music, hence imprinting and preserving the national Georgian identity through his compositions. These nationalistic influences appear prominently in several of his piano suites and are ubiquitous in the Piano Suite written in 1973. In the Piano Suite (1973), Taktakishvili adapts and recreates the sonorities, registers, coloristic effects through textural layering and articulations, rhythmic patterns and performance practices of selected Georgian folk instruments at the piano. He creates a unified suite by evoking the sound characteristics of his national instruments. The Piano Suite is unique and likely the only suite in the piano literature based on the imitation of a group of folk instruments, and as such deserves a place in the scholarly literature on world piano music. An analysis of the pianistic resources used by Taktakishvili to imitate the unique musical qualities and performance practices of five popular Georgian folk instruments reveals a reliance on repetitive rhythmic figures, textural layering, imaginative articulation, and deft use of the registers of the piano. The composer also distinctively implements characteristic modes and harmonic language to evoke the flavor of Georgian folk music.