Composed in 1927 and dedicated to Segovia, Ponce's Sonata III, one of the staples of the classical guitar repertoire, is the focus of this paper. To put this piece into proper perspective among Ponce's other works, biographical information leading up to the composition of the piece is presented first. Each of the three movements is then analyzed with regard to formal construction as well as harmonic and melodic language. Analysis is an important precursor to actually playing the piece, as Sonata III is a work that departs from Ponce's previous compositional style. The main portion of this paper addresses the preparation and interpretation of Sonata III. The insight gained through initial analysis of the piece is used to arrive at a musically satisfying interpretation of the work. Specific performance suggestions are included. Technical issues are addressed and possible solutions are presented. Alternate fingerings are provided to alleviate some of the common technical challenges the guitarist will encounter. A transcription and discussion of the Segovia revisions are also present. The paper concludes with general suggestions for improving performance that would be applicable to other works for guitar as well. This synthesis of biographical information, analysis, editorial options and performance suggestions, has hitherto never been never been done for this great work.

This dissertation is a study of the styles shown in Reubke's The 94th Psalm. As a student of Hermann Bonicke, Theodor Kullak, and Adolf Marx, Reubke was trained in the masters of the Baroque and Classical traditions. Written after his study with Franz Liszt in the newer style, The 94th Psalm is a crystallization of these various influences into his own personal style, a remarkable achievement at age twenty three. It is a synthesis of two different styles of organ music at the time; the traditional and conservative represented by Mendelssohn and Schumann, and the progressive by Liszt. Reubke's unique approach to the sonata fomi in the "double function" unified three individual movements into one musical entity by the use of the cyclic theme. The harmony and the tonality are advanced and anticipate the late nineteenth-century style. As the first programmatic organ music in the nineteenth century, The 94th Psalm is an idiomatic organ work which employed the virtuoso piano technique of the time. In spite of Reubke's young age, The 94th Psalm demonstrates his great maturity. His wish to express himself is realized in the work in profound depth and imagination. Through the psalm text he poured out his mind and soul with tremendous energy. In addition to the prevailing concept of the dominant influence of Liszt on the work, the study discusses in detail other aspects which are equally significant to The 94th Psalm, particularly the classical organ tradition of the time and Adolf Marx's influence. After the introduction in Chapter I, Chapter II describes Reubke's family, his life including musical training and his works. Chapter II discusses the influences on The 94th Psalm; organ composition of the mid-nineteenth-century Germany, the influential teachers and their works. Chapter IV presents an analysis of the work, the programmatic feature, the characteristic harmony, and the cyclic use of the theme. Chapter V deals with the performance of The 94th Psalm: the characteristics of the mid-nineteenth-century organ in Germany, the registration, dynamic and expression marks, and published editions. The final Chapter VI is a conclusion.

The Lecture Recital was given on July 28, 1981. Its subject, Carl Reinecke's "Undine" Sonata, is a major work written for flute during the nineteenth century. Reinecke was highly respected as a conductor and pianist; his great love for the classical style tempered his Romanticism and conditioned his approach to both performance and composition. The subtitle of the sonata suggests a program based on Friedrich de la Motte Fouqué's short novel, Undine. Although few flutists are familiar enough with this tale to recognize its application to the sonata, an exploration of the program implied by the subtitle adds materially to an understanding and appreciation of the work; to a large extent, the content of each movement is conceived in terms of the program. Further examination of Reinecke's life and philosophy reveals that both the choice of this particular literary subject and the uniting of Romantic pictorialism with classical form were entirely characteristic of his writing. Since Reinecke specified no program other than the subtitle, any relating of the music to specific events in the story is necessarily a subjective postulation. The musical content of the work makes it fairly easy to establish a broad correspondence between the movements of the sonata and the progress of the story, however, leaving details to the individual imagination. Within the paper, the pictorial aspects of the music are explored in the belief that they can not only assist in an appreciation of the work, but also provide a guide to the performer for its interpretation.

京都大学 / 0048 / 新制・課程博士 / 博士(人間健康科学) / 甲第22387号 / 人健博第73号 / 新制||人健||5(附属図書館) / 京都大学大学院医学研究科人間健康科学系専攻 / (主査)教授 黒木 裕士, 教授 山田 重人, 教授 松田 秀一 / 学位規則第4条第1項該当 / Doctor of Human Health Sciences / Kyoto University / DFAM

Although the topoi and elements of what has been described as the “Venerable Style” (V.S.) are found in many places in Mozart’s solo keyboard sonatas, the obsessive juxtaposition of these elements against brilliant, concerted, Empfindsamer Stil, and Sturm und Drang topoi can be shown to define the first and third movements of his minor key piano sonatas K.310 and K.457. This thesis will investigate using the theoretical tools developed by a range of Topic Theory authors such as Ratner (1980,) Allanbrook (1983,) Hatten (2004,) and Monelle (2000, 2006,) a newly developed analytical concept known as topical expansion, and the structural framework provided by Hepokoski and Darcy (2006) to prove that the venerable topoi are not purely referential gestures, but are also vital parts of the structural content of each of the sonatas and their respective single movements. In line with Caplin (2005)’s warning that the venerable and learned styles are some of the only historically developed and generally accepted topoi with formal (structural) ramifications, this thesis will argue that K.310 and K.457’s surface content is built largely upon the application, troping, and expansion of V.S. topoi in the key formal regions given in Hepokoski and Darcy (2006). As a result of comparative analysis, a further topical level of unity and compositional organization will be shown to be present in the works justifying Kinderman (2006) and Irving (2010)’s conception of the works’ stylistic affect as avant-garde and romantic in execution. Additionally, analysis of the works’ strictly controlled topoi will show each work to be in opposition to Allanbrook’s conception of Mozart’s music as a “miniature theater of gestures,” suggesting that their austere affect is programmed at the topical level in addition to their tonal and formal content (Allanbrook 1992, 130).

Conditional discontinuance of criminal prosecution is a method for alternative dispute resolution of criminal cases, also labelled "diversions" by the professional public. It is a criminal procedural measure allowed to be used for case settlement by the court and at the pre-trial stage by the public prosecutor on conditions laid down in the Criminal Code. If the accused committed minor offence and afterwards pleaded guilty; compensated for damages; returned unjust enrichment, or concluded a contract to compensate for damages or to return the unjust enrichment; or he has taken other necessary measures to do so, the determining authority can - with consideration of the accused's character - thereafter decide to conditionally discontinue criminal prosecution. If the accused has committed a serious offense, the public prosecutor or the court may take such decision only if the accused fulfills additional and stricter condition. That is, a probationary period must be determined in the resolution phase, obligating the accused to behave in an orderly way for its duration. If this condition is met, the determining authority will rule that the accused proved himself and then subsequently discontinue criminal prosecution. Otherwise, prosecution will continue, which can potentially lead to indictment and...

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The purpose of the study is to understand/investigate how unaccompanied boys from Afghanistan experience their identity and identity development in interaction with Swedish culture and Swedish society. Qualitative data collection methods have been used in the form of semi-structured interviews. The material has been analyzed on the basis of identity development theory and the theory of ethnic identity. Based on the study's gathered empirical data and analysis, important results found that experiences of identity development in unaccompanied boys are strongly influenced by Swedish society and Swedish culture. The majority of the informants expressed that their identity has been affected and changed a lot during the time they lived in Sweden and that influence has helped these young people to develop a new identity. In order to be a part of the majority society and integrate well into society, this influence on identity has been positive and important for the informants. The study’s results also show that the informants have managed to find a balance between the new identity and their ethnic identity.

<div>Spectral Methods have had huge influence of modern algorithm design. For algorithmic problems on graphs, this is done by using a deep connection between random walks and the powers of various natural matrices associated with the graph. The major contribution</div><div>of this thesis initiates attempts to recover algorithmic results in Graph Minor Theory via spectral methods.</div><div><br></div><div>We make progress towards this goal by exploring these questions in the Property Testing Model for bounded degree graphs. Our main contributions are</div><div>1. The first result gives an almost query optimal one-sided tester for the property of H-minor-freeness. Benjamini-Schramm-Shapira (STOC 2008) conjectured that for fixed H, this can be done in time O(sqrt n). Our algorithm solves this in time n^{1/2+o(1)} which nearly resolves this upto n^{o(1)} factors.</div><div><br></div><div>2. BSS also conjectured that in the two-sided model, H-minor-freeness can be tested in time poly(1/eps). We resolve this conjecture in the affirmative.</div><div><br></div><div>3.Lastly, in a previous work on the two-sided-question above, Hassidim-Kelner-Nguyen-Onak (FOCS 2009) introduced a tool they call partition oracle. They conjectured that partition oracles could be implemented in time poly(1/eps) and gave an implementation which took exp(poly(1/eps)) time. In this work, we resolve this conjecture and produce such an oracle.</div><div><br></div><div><br></div><div>Additionally, this work also presents an algorithm which can recover a planted 3-coloring in a graph with some random like properties and suggests some future research directions alongside.</div>

The focus of this study is to provide a clear understanding of Vaughan Williams' Violin Concerto in D Minor. In terms of form and compositional technique, this concerto is particularly challenging, because of Vaughan Williams' use of rhythmic motives and modes. This study is undertaken through an analysis. For a better understanding, a historical background, including overall form of each movement and key relationships, is explored and discussed. Then, Vaughan Williams' use of a ritornello-like motive, melody and modality as unifying elements is also identified and examined. In identifying the major features of Vaughan Williams' compositional style of this violin concerto, musicians will be able to understand better his unique musical expression. This study may serve as an introduction to the music of Vaughan Williams for musicians and society worldwide. It is hoped that it will motivate all violinists to perform this concerto more frequently.