This thesis is an investigation into the instrumental social music of the Eastern European Jewish immigrant community in New York during the early decades of the twentieth century. A professional tradition with roots in medieval Germany, klezmer music had developed in the Jewish communities of Eastern Europe during the course of several centuries and was brought to North America by immigrants beginning in the late nineteenth century. European klezmorim had formed a socio-economic group which fulfilled a ritual function within traditional Jewish society at weddings and other celebrations. like Yiddish culture in general, the Jewish instrumentalists adapted to the New York environment, creating a synthesis during the period 1880-1950which contained both Eastern European and American attributes. This study begins with the hypothesis that there is a unique style and repertoire created and interpreted by the klezmorim, of which key stylistic aspects can be identified. Utilising a three-prong approach - historical, ethnographic and musicological - it provides a focused study based on the recordings of the clarinettists Naftule Brandwein (1884-1963)and Dave Tarras (1895-1989) made during the years 1922-1929 and, at the same time, places their music within a larger socio-cultural context. Drawing on musical parallels to Harshav's theory of polylingualism in Yiddish, the study treats the various genres within the overall category of metric dance tunes as a single field, investigaqng key stylistic elements at the syntactical and improvisational leve1s. It focuses in particular on issues of modality, compositional process, improvisation and ornamentation. A dynamic approach to modality presents a new way of looking at oral musical traditions which contain elements of both modal systems and Western tonality. The study both confirms the importance of ornamentation as being crucial in defining style in oral traditions and suggests certain categories of ornaments may also serve a structural function. Building upon Nettl's concept of a "point of departure" upon which musicians base their improvisations, those of Brandwein and Tarras may be regarded as being based on a myriad of points of departure at every level of detail which, when aggregated, made up the performance. Finally, through investigating the interface between syntactical and improvisational elements, a new way of looking at improvisation is suggested - one which blurs the boundary between the compositional and the performative.

The importance of the pedals in Debussy's piano music has been emphasised in a wide range of literature concerning Debussy and French piano music in general. However, and despite the obvious absence of pedalling indications in Debussy's piano scores, no dedicated study has been made in identifying a possible meaning behind their absence. This study will attempt in developing suggestions for pedalling Debussy's piano music based on written as well as sound sources directly associated with the composer. This attempt is developed in two stages: firstly, by providing evidence that Debussy was always seeking to extract a continuous sonority from the piano, feasible only through the application of the pedal and secondly, by making cross reference of this evidence and Debussy's own use of the pedals in his piano roll recordings. Ultimately, it is revealed that Debussy was making extensive use of both the unacorda as well as of the damper pedal. Any obvious conclusions in this study are not meant to be used as a guide for pedalling but as a source of reference that may assist the informed performer in his/her continuous search into Debussy's musical world.

The aim of this PhD is to present works which examine the expression of human agency within electroacoustic music. 'The Voice', Noise and Metaphorh ave been used as chapter headings within which kinetic gesture, phonemic association, identity and gendered space are examined. Seven original works are presented: Moyle, Unconditional is the Dalvil, Dark Noise, Angel, Night Music for Radio, Glitch and the mixed clectroacoustic and instrumental works Red Ganies and Less. Angel was written as a work for film and clectroacoustic sound and also as a work for pure clectroacoustic sound. Both versions arc included within this portfolio. Chapter I (Voice) explores issues of 'voice" and 'the voice' within the works Woffle, Dark Noise and Angel. In this chapter is an exploration of Woulle and its relationship to the narrative of Red Riding Hood. The role of imaginary space, phonetic content and physical behaviour of an electroacoustic sound world are issues which are discussed in relation to Dark Noise. Chapter 2 (Noise) is a detailed examination of the methodology of my compositional approach towards the use of micro-sounds, and the poetic implication of the glitch and the digital click. In this chapter there is also a poetic examination of the approach towards the use of noise as a 'skin of sound' where musical expression is captured within 'fissures of glitch' which perforate the surface. Chapter 3 (Metaphor) presents an examination of how metaphor is used throughout my music. The works Woffle, Dark Noise and Angel are examined. A poetic exploration of Michel Chion's theory of 'synchresis' is presented in relation to the work Angel.

Throughout the history of Japanese contemporary music composers have been exploring ways to merge Western-style art music and their original, traditional Japanese music. Although in the past compositions which applied expressions of traditional Japanese music to Western-style music were partly successful, ensembles of Western and Japanese instruments often resulted in a serious mismatch. The starting point of this paper is this experience of Japanese contemporary music. It insists that, while the cause is composers' ignorance of the difference in musical parameters between the two musics, those of electroacoustic music can be compatible with Japanese musical tradition in spite of its background in Western culture, because the most developed genre of Japanese music is timbre-dominant. This research examines, from the viewpoint of electroacoustic composition, the musical parameters, acoustical structure and sound aesthetics of traditional Japanese music, and explores the compositional strategy of live electronics for these non-Western instruments, applying them to acousmatic composition.

Accurate live performance demands that player equip him/herself with a secure memorisation of the work. Most professional pianists are familiar with the four aspects of music memory, namely Kinaesthetic, Aural, Visual and Analytical Memories. However, these may not be enough in themselves to ensure freedom from momentary memory lapses on the stage. After a discussion of issues concerned with psychological memory and music cognitive memory, the dissertation outlines a memory technique, here labelled MM, which draws on the use of music mnemonics. The technique is intended to help pianists retrieve relevant information as quickly and effectively as possible during the performance, therefore avoiding or minimising mistakes. Various types of music mnemonics which the author has herself used are identified. Following this is an account of a project undertaken by the author which involved the examination of the memorisation techniques of five professional pianists while learning two contrasting pieces. The extent to which they applied the MM technique, and the specific mnemonics described in the dissertation thus far, is examined closely. So is the effectiveness of the various mnemonics in dealing with very varied repertoires.

The present thesis is structured in an Introduction and four chapters. The Introduction discusses the originality of the subject and includes all available historical information concerning Ferling and his work as a performer and composer, and a detailed description of all of his known compositions. A substantial part of the information presented in the discussion of Ferling's compositions, and concerning their citations in nineteenth-century journals, is the result of original research and criticism. There is also reference to the importance of the 48 Studies in modern instrumental training. Chapter 1 examines the historical evolution of instrumental didactic material, concentrating on didactic compositions for the oboe and ultimately focussing on nineteenth-century oboe methods, studies and similar compositions. In this context the 48 Studies are compared to other contemporary didactic works for the oboe and to pieces of the same genre for other instruments. The chapter concludes with a detailed table of all nineteenth-century didactic compositions for the oboe, arranged chronologically. Chapter 2 presents the most important editions of the 48 Studies for Oboe Op. 31. The discussion determines its first publisher and the date of its original publication, based on contemporary information, and concludes that no modern edition is based on this original edition. The most important modern editions are also discussed and compared with their supposed sources. The differences that emerge from this comparison support the proposition that a critical edition of the work is necessary today. Chapter 3 has a brief description of all the historical (nineteenth-century) sources used in the critical report, together with a brief discussion of my editorial policy and the most important issues that demanded editorial intervention. The chapter includes a stemmatic filiation diagram. An extended and detailed critical report, together with the critical edition itself, which is the core and main subject of the thesis, are included in the Appendix. Chapter 4 discusses several performance-practice issues based on both modem scholarship and nineteenth-century pedagogical material (some of which was presented in Chapter 1). This discussion is closely related to editorial issues tackled in Chapter 3. The thesis concludes with a summary of the results of the research and a brief discussion of issues that await further investigation. The appendix presents all Tables referring to the discussion in the above chapters, comparisons between twentieth-century editions, the critical report as well as J. P. Spehr's 1837 edition of the Studies. In the course of research, I took advantage of an extended bibliography which includes dictionaries and other reference material, catalogues of compositions and music journals from the nineteenth and twentieth centuries, many didactic compositions for the oboe from 1695 to 1900, and modern editions of Ferling's compositions as well as a large number of modem pedagogical compositions, books and articles on issues regarding performance and editorial practice.

Il presente progetto è incentrato sull’analisi paleografica della scrittura delle carte dei notai bolognesi del secolo XII (dal 1100 al 1164) ed è stata condotta su un totale di circa 730 documenti, quasi totalmente inediti. La ricerca rientra nell’ambito del progetto di edizione critica delle Carte bolognesi del secolo XII, in corso presso la Cattedra di Paleografia e Diplomatica dell’Università di Bologna. Il lavoro ha previsto un’analisi tecnica e puntuale delle abitudini grafiche di ogni notaio, con particolare attenzione al sistema abbreviativo (al fine di fornire una serie di dati di confronto che potranno essere utili al momento dell’edizione). È stata così realizzata una sorta di database delle diverse grafie esistenti sul territorio, organizzate per notaio e in ordine cronologico. Le caratteristiche della documentazione sono state poi prese in esame sul piano sincronico e nel loro sviluppo diacronico, e si è proceduto a un confronto tra la produzione dei diversi notai, verificando la presenza di nessi e parentele “grafiche”, che hanno permesso di ricostruire raggruppamenti di scriventi con caratteristiche affini.L’analisi dei dati ha permesso di indagare a fondo gli sviluppi della minuscola carolina bolognese e di osservare l’organizzazione e le modalità di apprendimento della pratica notarile. È stato così possibile cogliere le dinamiche con cui la carolina, introdotta da alcuni notai “innovatori”, come Angelo e Bonando, si è diffusa dalla città al contado: si è trattato di un processo graduale, in cui accanto a forme già mature, di transizione verso la gotica, sono convissute forme ancora arcaiche. In linea con quanto la storiografia ha evidenziato, anche l’analisi grafica della documentazione privata bolognese conferma che il processo di rinnovamento della corporazione dovette essere successivo all’impresa irneriana, traendo probabilmente alimento anche dai rapporti diretti e documentati tra Irnerio e alcune personalità più avanzate del notariato bolognese. / The aim of this study is the palaeographical analysis of the Bolognese notary’s writing system in the 12th century (from 1100 to 1164); the research has been based on 730 unpublished documents.This work is related to the critical edition project about the Carte bolognesi del secolo XII, in progress at the University of Bologna (sector of Palaeography and Diplomatics).The documents have been studied from a technical point of view, in order to analyze the graphic customs of each notary, with particular attention to the abbreviation system (so to provide an amount of data that will be useful for the edition). In this way has been realized a sort of database of the different writings, organized on the base of each notary and in a chronological order. The documents have been analyzed also in their synchronic and diachronic point of view, and the notary’s writing systems has been compared each other, in order to verify the existence of “graphical relationships”, which allowed to identify groups with similar writing habits.The analysis of the data allowed to examine in depth the developments of the Carolingian minuscule writing system in Bologna, and to observe the organization and the learning methods of the notary. It was also possible to find out in which way the Carolingian minuscule, which had been introduced by some innovator notaries, like Angelo and Bonando, diffused from the city to the contado: it was a gradual and slow diffusion indeed, where, next to mature shapes, near to the Blackletter system, persisted archaic and not fully developed shapes.The results of this study confirm that the process of renovation of the notary corporation was later than Irnerius’ action, and was probably a consequence of direct and documented relationships among Irnerius himself and some of the most innovative personalities of Bologna notary group.

La ricerca ha come oggetto l’edizione critica di circa tremila regesti di documenti di area bolognese datati al X-XII secolo. I documenti sono stati trascritti tra il XVII e XVIII secolo in undici cartulari ecclesiastici, conservati presso l’Archivio di Stato di Bologna. Il lavoro s’inserisce nel progetto di edizione delle carte bolognesi di epoca medievale in corso presso la cattedra di Paleografia latina e Diplomatica dell’Università di Bologna, attualmente incentrata sull’edizione delle carte del secolo XII. La ricerca si propone come strumento di supporto a tale progetto e come completamento delle carte già pubblicate: i cartulari, infatti, offrono spesso copie di documenti mancanti dell’originale o in cattivo stato di conservazione, e costituiscono l’unica traccia di una memoria storica altrimenti perduta. Le raccolte esaminate si collocano a ridosso del periodo napoleonico, quando la maggior parte degli enti ecclesiastici venne soppressa e i loro beni incamerati dallo Stato; esse quindi rispecchiano la condizione dei principali archivi ecclesiastici cittadini dei primi secoli del Medioevo bolognese. La ricerca è strutturata in una prima parte volta a definire in termini storico-diplomatistici la tipologia di fonte esaminata: oggi i cartulari non sono più intesi come semplici raccoglitori di documenti, ma come sistema organico di fonti in grado di far luce su aspetti importanti della storia dell’ente che li ha prodotti. L’indagine del loro contesto di produzione permette di comprenderne meglio le finalità, la forma e il valore giuridico. Parte della ricerca è stata poi incentrata sullo studio delle ragioni che hanno portato gli istituti religiosi bolognesi alla redazione dei cartulari: a tal fine è stata esaminata la legislazione ecclesiastica cinque-settecentesca in materia di conservazione della documentazione e il rapporto della legislazione stessa con la prassi archivistica. Infine è stata realizzata l’edizione critica vera e propria dei regesti, mirante a descrivere le caratteristiche principali di ciascun cartulario. / The research aim is the critical edition of three thousand regesta of documents coming from the area of Bologna, dated between the 10th and the 12th century. The documents were copied between the 17th and the 18th century in eleven ecclesiastical cartularies, preserved at the State Archive of Bologna. This work is related to the critical edition project about the Carte bolognesi del secolo XII, in progress at the University of Bologna (sector of Palaeography and Diplomatics). The research wants to be a support to this project and a completion to the already published documents; cartularies are often the only trace of a historical memory otherwise lost, since they offer copies of documents lacking of their original form or in a bad state of conservation. The examined registers belong to the Napoleonic period, when the great part of the ecclesiastical bodies was suppressed and their goods were confiscated by the State; they reflect, thus, the condition of the main ecclesiastical city archives of the first centuries of the Bolognese Middle Age. The research is divided into a first part, whose aim is the historical and diplomatics definition of the cartularies: today they are no more considered like mere documents’ binders, but like structured sources collections casting light on important aspects of the body that produced them. The analysis of their production context allows understanding better their purposes and their juridical value. Furthermore, part of the research concerns the analysis of the reasons that led the Bolognese ecclesiastical bodies to the writing of cartularies: for this reason has been studied the 16th – 17th centuries ecclesiastical legislation concerning the documents’ preservation and the relationship between legislation and the archival procedure. Finally, it was realized the real critical edition of the regesta, with the description of the main characters of each cartulary.

This thesis is concerned with the moments, places, and circumstances in which the great magnitude of the world is felt. I live within the vast space of the spherical earth and the infinite space of the universe, however, it is rare that I consider the immensity of this space in which I live and endeavor to build. This thesis is an examination of the ability of both architecture and landscape to frame immense space and phenomena of the earth, reinforcing our relationship with the larger space that we inhabit. This work is rooted in two accounts of immensity: The first is a landscape, a beach on the small Danish island of R??m??, where I stood on a vast, flat plane, surrounded by the seemingly limitless extension of space. The second is an architectural space, Kunsten Museum of Modern Art Aalborg in Northern Denmark by Finnish Architect Alvar Aalto. There I stood in an interior that framed an experience of immensity unnoticed from the exterior. The beach was for me a rare and profound experience of immense space, and the museum an architectural examination of immensity mediated by mass and interiority. I weigh these personal accounts against immensity portrayed in art, architecture, fiction, and philosophy. I consider paintings by German Romantic painter Caspar David Friedrich, an Infinity Environment installation by contemporary artist Doug Wheeler, and the documentation of sand-filled homes in Namibia by contemporary photographers Y?? Ogata and Ichir?? Ogata Ono. I examine the portrayal of immensity in Michael Ondaatje???s novel The English Patient and Karen Blixen???s short story Babette???s Feast and consider how immensity is manifest in space, people, and architecture in the writing of philosophers and theorists Dom Hans Van der Laan, Emmanuel Levinas, and Otto Friedrich Bollnow. Lastly, I consider the role that architecture plays in framing immensity by analyzing Kunsten Museum of Modern Art Aalborg and Grundtvig Church in Copenhagen by Danish architect Peder Vilhelm Jensen-Klint alongside Henry Plummer???s writing on the Salk Institute and Kimbell Art Museum by American architect Louis Kahn.

J.M. Ntsime's short story "Khutsana" is the subject of a narratological analysis in this minidissertation. Using Bal's theory which distinguishes between elements and aspects of a story, this study focuses on the elements of a story, which include events, actors, time and place. Events in "Khutsana" have been identified, arranged in chronological order and organised into eight sequences. The actors have been classified according to the actantial model in order to highlight the relations which exist between the groups of actors. For instance, Segwana and Gabankitse are classified as subjects, and the object of their striving is to care for, and love Lesego. The receiver is often the same person as the subject, that is, Gabankitse and Segwana. More than one actant can occur with the same actor. The sender is in many cases not a person but an abstraction. The opponent-actant is classified as both abstractions and actors. All the helpers show a collective disposition regarding care for and love to Lesego. Two kinds of duration have been determined. namely a crisis period which indicates a short span of time, and a longer developmental period. The location where events happened - in a rural area - is given. In conclusion, this study has shown that Bal's theory can successhlly be applied in a narratological analysis of the Setswana short story "Khutsana". Strachan (1988:6) pointed out that one thing remains to be evident, viz. that the story is the "original" level of the narrative text before the particulars are viewed from a special viewpoint and before it is told by a narrative instance. Events, actors, time and place occur at this level. / Skripsie (MA (Tswana))--PU vir CHO, 1997