This thesis considers the pervasive and multifaceted influence of Richard Wagner’s music, aesthetics, and politics on British composers during the late nineteenth and early twentieth centuries. Drawing on music analysis, hermeneutics, and various archival sources (composers’ writings, contemporary reviews, and unpublished music), each chapter of the thesis focusses on case studies that bring British musical Wagnerism into dialogue with a number of other prominent artistic and cultural currents during the period under consideration: notably, Celticism, Pre-Raphaelitism, Arthurianism, nationalisms, mysticism, pantheism, eroticism, and ideas relating to the integration of or translatability of the arts. Despite the sometimes widely divergent aesthetic, political, and social ends for which these composers called on Wagnerian ideas and techniques, this thesis argues that all these manifestations of Wagnerism were united by their composers’ desire to regenerate or re-enchant a world that was perceived to be in a state of crisis or decay. Ultimately, by viewing these composers and works through the lens of British Wagnerism, this study enriches our understanding of British music of the period and situates it the context of a wider European phenomenon.

Thesis (M.S. in computer science)--Washington State University, December 2007. / Includes bibliographical references (p. 97-102).

Pouvoir vérifier la conformité d'un programme avec sa spécification représente un enjeu important. On peut utiliser un assistant de preuve : un logiciel permettant la description du problème, la construction des preuves et leur vérification. Nous avons implémenté un système où l'utilisateur décrit la spécification du programme dans un formalisme logique ad hoc, donne le programme dans le sous-ensemble fonctionnel de ML (comprenant filtrage, définitions récursives et fonctions partielles), puis construit interactivement les preuves de correction nécessaires pour prouver la validité du programme.

No description available.

Bandwidth efficiency is a critical concern in wireless communications. To fully utilize the available bandwidth, the superimposed training (ST) scheme is adopted in this thesis for orthogonal frequency division multiplexing (OFDM) systems without using the cyclic prefix (CP) and the guard interval (GI). It is shown that the performance of the channel estimation using the ST scheme is the same for both the proposed architecture, denoted as OFDM-ST, and the conventional OFDM system with CP, denoted as CP-OFDM-ST. In addition, since the CP is not added in the proposed system, leading to substantial increase in both the inter-symbol interference (ISI) and the inter-carrier interference (ICI), an interference cancellation scheme is derived. To further improve the performance of channel estimation using ST scheme, the joint ML data detection and channel estimation method is investigated. The simulation results illustrate that the proposed algorithm enhances the systems performance significantly. Finally, it is demonstrated that the proposed structure has a much better effective data rate than the CP-OFDM-ST system.

Thesis (Ph. D.)--University of Oregon, 2003. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 137-141). Also available for download via the World Wide Web; free to University of Oregon users.

Four composers have been chosen for this study. They were the leaders of four successive generations of composers influential in the fifteenth and early sixteenth centuries. Their masses were written between the years 1420 A.D. and 1560 A.D. Many significant changes took place during this period of one hundred forty years. Older compositional techniques such as the use of formes fixes and isorhythm all but disappeared. Cantus firmus technique was transformed and extended to unify the mass cycle. Aesthetic considerations became more important to the composer than liturgical canons, and composers began to regard themselves as artistic creators not mere servants to the Church. The rise of humanism placed man at the center of his music, making it more expressive and personal then ever before.

Thesis (B.A.)--Haverford College, Dept. of Computer Science, 2004. / Includes bibliographical references.

Zugl.: München, Techn. Univ., Diss., 2009

This thesis explores the impact of Mercadante’s operas in France during the 1820s and 1830s. The study covers a period from the French premiere of Elisa e Claudio in Paris (1823) up to the period immediately preceding the worldpremiere of Il giuramento (Milan, La Scala, 11 March 1837), which is traditionally regarded as the first of Mercadante’s ‘reform’ operas and the watershed of his mature style. Modern music historians and early biographers have suggested that Mercadante’s encounter with French operatic conventions was the trigger for his ‘reform’ impulse, which the composer himself acknowledged in one of his most famous letters. As a contribution to discussion of Mercadante’s stylistic developments, I examine a number of case studies which probe the French reception of his early output. Chapter 1 provides a historical survey of French critical assessments of Mercadante in the nineteenth century, revealed in the ongoing discourse of the time regarding Italian opera in France. Chapter 2 explores the critical reception of Elisa e Claudio, staged at the Théâtre Italien in 1823. Chapter 3 studies the process of transfer that brought about the transformation of Elisa e Claudio into the pasticcio Les Noces de Gamache, produced for the Théâtre de l’Odéon by the composer Luc Guénée in 1825. Chapter 4 reconstructs Mercadante’s sojourn in Paris and the genesis of I briganti during the 1835-36 season at the Théâtre Italien. Chapter 5 frames the Italian performances of I briganti and the related revision process in the context of Mercadante’s French experience. In focusing on the intertwined responses of Franco-Italian music criticism, this study of Mercadante’s early operas shows the value of the study of pan-European criticism and of cultural transfer as a larger framework within which to locate studies of Mercadante’s developments in style and aesthetics.