At the beginning of the nineteenth century, the making of potpourris on popular themes was the easiest way to compose 'new' music, and music which could eventually determine the popularity of a performer. The guitarist Mauro Giuliani (1781-1829) was at the center of the exploitation of such a musical practice: he was indeed a master in arranging for his instrument, and left a substantial number of high-quality transcriptions. Among these are Le Rossiniane per Chitarra, Opp. 119-124, which are considered his masterpieces. Le Rossiniane are a series of six arrangements in potpourri genre written to honor Rossini's operatic music, as well as to exploit the composer's fame in Europe at the time. According to the famous guitar scholar Ruggero Chiesa, Le Rossiniane are "a marvelous fresco of great immediacy and inventiveness, as well as a masterful display of guitar writing." There are numerous traits in both Le Rossiniane's structural features - e.g. their title, their genre, their musical quotations, and their literal notes - as well as their historical context that makes them a transtextual set of musical works. Using the words of famous French literary theorist Gérard Genette (1930-2018), they seem to possess "all that sets the text in a relationship, whether obvious or concealed, with other texts." This research makes a complete analysis of Le Rossiniane by using Genette's theory of transtextuality (and all of its subtypes). Genette's theory is the basis on which music and literary quotation theory is intermixed in this research, in order to make an interdisciplinary study of Le Rossiniane that concentrates particularly on categorizing all the different types of quotations employed by Giuliani in his Rossinian potpourris.

Syftet med detta konstnärliga examensarbete var att undersöka skillnaderna mellan att spela kontrabas med orkesterstämning och med solostämning. Det implementerades genom en studie av den världskända kontrabasisten och dirigenten G. Bottesinis verk Elegy No.1 för kontrabas. För att uppfylla syftet utarbetades två frågeställningar: 1. Vilka svårigheter med att spela solostämning kan definieras? 2. Hur kan olika ackompanjemang göra att det blir lättare eller svårare att exempelvis intonera och göra rytmiska dragningar? Metoden var att spela stycket i olika stämningar och med olika kombinationer av ackompanjemang där resultatet bokfördes. Studiens resultat indikerar att spela i orkesterstämning med bas ackompanjemang var den mest givande metoden som konstnärligt var mest inspirerande. / <p>Elegy no 1  Giovanni Bottesini </p><p></p><p>Sonat för kontrabas och piano  Rob. Fuchs</p><p></p><p>Kontrabaskonsert Eb-dur  Jan Baptiste Vanhal</p><p></p><p>Symfoni nr 7 A-dur Poco sostenuto-Vivace  Ludwig van Beethoven </p><p></p><p></p><p></p><p>Medverkande:</p><p>Elisa Onegård</p><p>Victor Sjögren </p><p>Emilie Wästlund </p><p>Emilia Eriksson</p><p>Melina Karlgren</p><p>Eelis Malmivirta</p><p>Olof Rolandsson </p><p>Love Nordkvist</p><p>Simon Landqvist</p><p>Katarina Ström-Harg</p><p>Cornelia Vogel</p><p>Felicia Billherhag Hammarteg</p><p>Mimmie Törngren </p><p>Thomas Nicols </p><p>Hanna Anderberg </p><p>Blanka Hillerud</p><p>Joel Hedtjärn</p><p></p><p>Konserten kunde inte spelas in av tekniska skäl. Registreringen kommer att kompletteras vid ett senare tillfälle.</p>

This essay will explore Gustav Mahler’s treatment of time and space in his First Symphony by processing his experiences and memories into the music. In the music analysis, I will argue for and categorize the use of breakthrough as Mahler’s attempt to use his music as a key to create “another world” beyond the irreversible time and space. At the same time as he in a reflexive and retrospective point of view tries reveal a relationship between the past and the present that has not been covered by the obscurity of experience.

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Anthony Plog (b. 1947) has contributed several notable works for brass instruments. He is known for writing extremely technically challenging works that contain angular melodies, fast rhythms and a large degree of chromaticism. Though his music is difficult, it also conveys intense emotions. His music for trumpet, specifically Concerto no. 1 for Trumpet, Brass Ensemble and Percussion and Concerto no. 2 for Trumpet and Orchestra, represents a zenith in his compositional development. This dissertation examines Concerto no. 1 and Concerto no. 2 from a performer’s perspective to better understand the stylistic characteristics and challenges encountered in his music. Each concerto is examined in terms of rhythmic structure, intervallic structure, thematic material, motivic material and form.

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Alexander Grechaninov was one of the most important composers of the late Russian Romantic School. By the second half of the twentieth century he remained one of the few living composers who continued the traditions of the great Russian Romantic masters, such as Tchaikovsky and Rimsky-Korsakov. He is primarily known for his liturgical works, which are truly masterpieces of this genre. Because many of his instrumental works remain unpublished, particularly the chamber works, they continue to be undeservedly ignored in the concert hall. Grechaninov's unpublished works for clarinet include Septet for Clarinet, Bassoon and String Quintet, Op. 172a, Serenade for Clarinet and String Orchestra (without opus number), and Sonata No. 1 for Clarinet and Piano, Op. 161. This project not only brings to light Grechaninov's unpublished clarinet works, but also emphasizes the importance of his published clarinet pieces which have to date been forgotten, especially in the United States. The writer prepares a performance edition of the Sonata No. 1, Op.161 from Grechaninov's original autograph manuscript which is held in the New York Public Library's Toscanini Archives. After a brief introduction, the document describes Grechaninov's biography, including his historical and societal background, compositional growth throughout his career, and outside influences to which he would have been exposed (Chapter 2). Chapter 3 discusses in details Grechaninov's compositional output and distinct features of his style. Chapters 4 and 5 discuss the published and unpublished works for clarinet by Grechaninov. Chapter 6 provides a detailed structural and tonal analysis of the Sonata No. 1, Op. 161 and discusses the process of editing. Included in the appendices are: performance edition of the Sonata No. 1 for Clarinet and Piano, Op. 161 (score and clarinet part); photocopy of the original autograph manuscript of the Sonata No. 1 for Clarinet and Piano, Op. 161 (score and viola part); photocopy of the original autograph manuscript of the Septet for Clarinet, Bassoon and String Quintet, Op. 172a; and photocopy of the original autograph manuscript of the Serenade for Clarinet and String Orchestra, without opus number.

Thesis (Master of Environmental Management)--Cape Peninsula University of Technology, 2018. / Fresh water is a renewable resource, but it is also finite, especially given environmental impacts from anthropogenic activities. Globally, there are countless signs that untreated industrial discharge into fresh watercourses is one of the main causes of ecosystem degradation. Poultry slaughterhouse wastewater (PSW) amongst the main pollutants of fresh water sources. In recent years, the world’s pre-eminent researchers have developed innovative wastewater treatment processes to treat the large quantity of wastewater generated as well as to manage the environmental health concerns arising from PSW discharged into the environment. Furthermore, increasing wastewater treatment capital costs and the implementation of increasingly rigorous government legislation to mitigate environmental pollution whilst minimizing fresh water source contamination, requires that wastewater such as PSW, be adequately treated prior to discharge. In order to assist the small-scale poultry producers in South Africa (SA), process simulation for a small-scale poultry slaughterhouse wastewater treatment plant was proposed using Sumo Wastewater treatment plant (WWTP) simulation software. Sumo is an innovative and most versatile wastewater simulation package on the market. The simulator is capable of modelling treatment plants of unlimited complexity, focusing largely on Biochemical oxygen demand (BOD), Chemical oxygen demand (COD), nitrogen and phosphorus removal; with digester, and side streams design options, being available. Considering the possible advantages in modelling and ongoing studies of implementing wastewater treatment to increase water management, anaerobic digestion of high strength wastewater such as PSW, warranted this research study. Model development from the simulation included the evaluation of numerous design options to assist small scale poultry producers, to have a variety of designs to choose from in their PSW WWTP designs. With the aid of Sumo, two models were designed in this study, namely a single-stage and a two-stage anaerobic digestion without a recycle. The PSW used as feed was obtained from a local poultry slaughterhouse (Western Cape, South Africa). Both model designs predicted the reduction of the organic matter (COD, BOD5) total suspended solids (TSS), and volatile suspended solids (VSS) in the PSW. The digester for the single stage anaerobic digestion system modelled was set to operate at steady state for 150 days under mesophilic temperature (35 ˚C) with a solid retention time (SRT) of 25 days. The COD, TSS, VSS and BOD removal efficiencies reached a maximum of 64%, 77%, 84%, and 94%, respectively, at an organic load rate (OLR) of 143.6 mg COD/L/day. A minute increase in the ammonia (NH3) and phosphate (PO3- 4) concentration was observed once the simulation was completed. As for the two-stage anaerobic digestion system, both digesters were set to perform at mesophilic temperatures (35 ˚C) and a SRT of 13 days in the first digester and 25 days in the subsequent digester. The two-stage anaerobic digestion showed better performance in comparison to the single-stage anaerobic digestion system. The COD, TSS, VSS and BOD5 removal efficiencies reached a maximum of 69%, 79%, 85%, and 96%, respectively, at an at an OLR of 143.6 mg COD/L/day. A similar trend regarding phosphate and ammonia removal was noticed in the two-stage anaerobic digestion, suggesting a tertiary treatment system to be in place for further treatment. Although, the two-stage anaerobic digestion demonstrated adequate performance, for the purpose of this study, the single-stage was the process recommended for PSW treatment, as it is less costly and will be suitable for small scale poultry producers; albeit biogas production is much higher when digesters are connected in series. The PSW treatment modelling for this study was successfully employed with the resultant effluent being compliant with the City of Cape Town (CCT) wastewater and industrial effluent by-law discharge limits. Although, both the PO3- 4 and NH3 were suggested to require further monitoring. Therefore, the poultry slaughterhouse from which the PSW was obtained will be able to safely discharge the treated wastewater proposed in this research into local water bodies, i.e. rivers in the Western Cape, SA; however, the treated PSW will not be suitable for re-use as process water.

Various approaches to rhythmic analysis have been produced by recent research. Many of these are most suitable for tonal musical compositions; when other methods of tonal organization are present, these theories are less useful. This study uses accent based criteria in order to establish a set of analytical procedures which are applicable to a wide range of musical compositions. Four accent types (contour, agogic, dynamic, and motivic) are identified in two string quartet movements. These are Beethoven's Op. 18, No. 1, movement four, and Bartok's String Quartet No. 4, movement five. The study finds great differences in accent placement between the two works. In both works accents affect phrase grouping and meter. Accent patterns and composite accent profiles, which represent all the accent types in a particular passage, are compiled for important themes. Large fluctuations in accent use are evident between the formal sections of each work.

Luigi Nono's work Post-Prae-Ludium No.1 "per Donau" represents a model for the emerging genre of electroacoustic tuba music. It is important to preserve this electroacoustic work because of its value to the tuba literature. Not only is it one of the first electroacoustic works for the tuba, but it also was composed by a man who is highly regarded in the field of music composition. Its preservation will be difficult because of the rapid advancement in technology. Within the last three decades of existence, the technology has evolved three times. An examination of the performance practice in Post-Prae-Ludium was undertaken to understand the demand on the performer required to play this work. This study will look at both non-traditional performance practices, as well as an inherent problem of how the advancement of technology can actually threaten the survival of a work dependent upon a specific version of electronic technology. Nono worked in collaboration with Giancarlo Schiaffini to compose a work for tuba and live electronics. Correspondence with Schiaffini has provided his thoughts on the collaboration of Post-Prae-Ludium with Nono and given a better understanding of how to perform the work. Technology will change, and these current adaptations of Post-Prae-Ludium may not be valid in one or two decades. However, with the description and instruction given by Nono and Schiaffini, in addition to recordings made of Post-Prae-Ludium, there is a record from which to reproduce this work. This study provides a source allowing performers to reproduce this work, thereby preserving it for future performers.