This document examines Sonata No. 1 for Piano, Op. 74 of Aleksandr Konstantinovich Glazunov (1865-1936) and illustrates the incorporated Russian musical elements. The study has the twofold purpose of firstly defining musical elements idiomatic of Russian folk song, Russian Orthodox Church music and the Mighty Five; and secondly finding their representation in Glazunov's piano sonata. The introductory chapter describes the purpose of this study and the need for identifying the idioms of musical Russianness. The second chapter provides a historical background and explores characteristics of Russian folk music and Russian Church music, which are intrinsic to Russian musical culture. The third chapter discusses the historical background of Russian nationalism in music, the establishment of the Saint Petersburg Conservatory, and the contributions of the Mighty Five to the rise of a truly Russian national style as opposed to the Western traditions. Chapter four provides biographical information about Aleksandr Glazunov. The first part of chapter five presents historical background of Sonata No. 1 for Piano, Op. 74. The second part of this chapter discusses the composition within the context of Russian musical elements as identified in chapters two and three. The concluding chapter six summarizes the observations of the author. It was the premise of this study that the compilation of historical and analytical evidence would lead to an identification of the idioms of musical Russianness and of their use by Aleksandr Glazunov. The analysis performed here captures the musical elements of Russianness and offers a deeper understanding of Glazunov's achievement in integrating them with traditional Western compositional techniques.

During Fritz Reiner’s forty-year conducting career in the United States, he championed Béla Bartók’s orchestral music, programming Bartók’s orchestral works on over sixty concerts with the Cincinnati Symphony Orchestra, Pittsburgh Symphony Orchestra, Chicago Symphony Orchestra, and with other major American orchestras. These included performances in which the composer himself appeared as a soloist. Moreover, Reiner continued to conduct Bartók’s music following the composer’s death, and his efforts to promote Bartók’s works contributed to their significance to the American orchestral repertoire. The thesis explores connections between performance markings in Reiner’s personal copies of Bartók scores and the recordings he made of them, the ways in which Reiner’s live performances and recordings of Bartók’s music affected the American reception of Bartók’s works, and how Reiner’s collaboration with Bartók related to the revision of Bartók’s orchestral works in their published forms through case studies of Bartók’s Piano Concerto no. 1, Concerto for Orchestra, and The Miraculous Mandarin. The first case study considers Bartók’s performances of his Piano Concerto no. 1 with Reiner during his first U.S. concert tour of 1927-1928. Following an overview of Bartók’s activities in America during that time, three first-edition scores of Piano Concerto no. 1 are analyzed in order to show the significance of handwritten additions, corrections, and conducting markings made by Fritz Reiner, a Universal Edition staff member, and Serge Koussevitzky in preparation for performances with Bartók in 1928. It not only provides a window into early performances of the work with the composer at the piano in the absence of a recording, but also offers insight into Bartók’s preferences for performance of the work, some of which are reflected in the first or second editions of the work, and some of which are only preserved in Reiner’s scores. The second case study examines a new source for Bartók’s Concerto for Orchestra held at Northwestern University that bears extensive corrections by Bartók, as well as Reiner’s conducting markings. It discusses the circumstances surrounding Reiner’s acquisition of the score and its role in Reiner’s performances and recordings of Concerto for Orchestra with the Pittsburgh Symphony Orchestra and the Chicago Symphony Orchestra. The third and final case study details Reiner’s preparation and performance of two concert versions (“Scenes” and “Suite”) of Bartók’s pantomime The Miraculous Mandarin using Reiner’s annotations to four versions of the score held at Northwestern, Bartók’s correspondence with his publisher, and program notes from Reiner’s 1927 world premiere of the “Scenes” to provide a better understanding of Reiner’s preparation and performances of both the “Scenes” and “Suite.” It further analyzes press coverage of his performances of the “Suite” to demonstrate that the press reaction to objectionable elements of the plot mellowed over time, and that critics consistently praised Reiner’s expert preparation and interpretation of the work. The thesis considers the publication and performance history of Bartók’s Piano Concerto no. 1, Concerto for Orchestra, and the concert versions of The Miraculous Mandarin in terms of Reiner’s collaboration with Bartók, his role in the promotion of Bartók’s music in the U.S., and his reputation as an authoritative interpreter of it.

Bull Run Watershed was set aside in late the 1800s as the water supply source for the City of Portland. Other than two dams being constructed, Reservoir #1 (1929) and Reservoir #2 (1962), development of the land had been minimal as public access was restricted. In the early 1960s, land management changed with increased road building and timber removal raising concerns about increased sediment discharge into the reservoirs. The objective of this study is to evaluate how much and how fast the sediment has accumulated in Reservoir #1, and to determine if the rate of sediment accumulation has changed over time. Three methods are utilized: 1) differencing map comparing pre- and postimpoundment sediment conditions, 2) analysis of tree-stumps on reservoir floor, and 3) gravity coring of reservoir sediment. Combining these methods, sediment volume is estimated between 254,000-422,000 cubic meters (332,000-552,000 cubic yards) and the rate of accumulation between 11.5-19.1 tonnes/km2/yr, reflecting a relatively low sediment yield rate. Two anomalous event-layers were identified in gravity cores collected. These are interpreted to be the 1964 flood and the 1972 North Fork Slide. Using these two events, sediment yield rate was divided into different historical segments: 15.33 (1930-1965); 43.62 (1965-1972); and 17.00 tonnes/km2/yr (1972-1993). The increase from 1965-1972 is attributed to either residual affects from the 1964 flood and/or changes in land management activities during this time. The source of the reservoir sediment is primarily from upper tributaries, with 20 percent being attributed to the anomalous events. Smaller amounts of sediment come from the reservoir side walls as lake levels raise and lower. Suspension and turbidity conditions in the reservoir are affected by the dynamics of the drainage system including seasonal fluctuations. Turbidity remains high at the upper reaches of the reservoir before settling out closer to the dam. Some sediment possibly leaves the reservoir over the spill-way or when water is removed for power production.

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I detta examensarbete analyseras den ryska kompositören Nikolai Medtners Sonata Reminiscenza Op. 38 no. 1 från ett harmoniskt, motiviskt och strukturellt perspektiv. Denna analys innefattar också reflektioner kring några av författarens interpretationsmässiga val. Syftet med studien är att undersöka hur styckets form och harmonik kopplar det samman såväl med den klassiska kompositionskonstens regler som med Medtners artistiska/poetiska mål. Studiens resultat påvisar att verket är såväl kompositionstekniskt fulländat som känslomässigt rikligt. Sonatformen är på ett sofistikerat vis implementerad i verkets struktur och återfinns som en integrerad del i musikens narrativ.

The Serbian-born, German university educated Nebojša Jovan Živković is a virtuoso percussionist and an acclaimed composer of a large body of innovative music. The concert percussion community has embraced several of these works and this document examines two solo pieces: “ULTIMATUM I for Solo Marimba,” Opus 24.1 (1990/91), and “Generally Spoken It Is Nothing But Rhythm for Percussion Solo,” Opus 21 (1994/95). The intention of this study is to be a practical performance guide to aid in making decisions that will inform expressive interpretation. Both works are examined in the context of the formal structure and how the motivic, thematic, and harmonic elements relate to the form. Performance aspects such as instrument selection, setup optimization, interpretation, utilization of expressive dynamics and articulations, dynamic balance, extended techniques, universal four-mallet techniques, practice strategies, and suggestions for preparation are included. Overall, the challenges of “ULTIMATUM I” are many—technical, musical, physical, and emotional. The composer’s comments concerning Opus 24.1 focus on an energetic and expressive attitude. The energy is written into the music, but the performer must communicate this ultimative energy to the audience. Opus 24.1 has an angular texture, complex rhythms, fast tempos, and extremely loud dynamics. The aggressivo middle section contains many of the greatest challenges of the piece. Inherent to any multi-percussion setup are technical challenges and these are compounded in “Generally Spoken“ due to the inclusion of the vibraphone. Opus 21 is an excellent addition to any percussion recital and a performance will captivate the audience—due in particular to the unique sonorities achieved between tuned almglocken, tuned toms, Chinese gongs, and vibraphone. The music of Živković may have limited appeal to listeners unaccustomed to solo concert percussion. More scholarly research into Živković’s personal history, Balkan heritage, and compositional concepts may help widen audience appreciation. / Literature review -- Ultimatum I for solo marimba opus 24.1 (1994/95) -- Generally spoken, it is nothing but rhythm for percussion solo opus 21 (1990/91) / School of Music

The purpose of this study is to investigate the pedagogical and performance aspects of Robert Muczynski's Concerto No. I for Piano and Orchestra. The work targets the early-advanced level of performance, representing a tutorial step in technical and musical difficulty. Muczynski's writing offers mild characteristic tendencies in comparison to later practices within the century, but does exhibit the emergence of a variety of significant keyboard skills. Moreover, his intermittent use of atonality is ideal for a student who is not yet comfortable with this idiom. For these reasons, the concerto serves as an excellent introduction to the genre for this level of study.This investigation is prefaced by an introduction to the topic of piano pedagogy in relation to concerto study, along with a brief biographical sketch of the composer. The investigation then provides a stylistic analysis of the Concerto No. 1 for Piano and Orchestra. Each movement is examined comprehensively (by formal structure) according to inherent technical and interpretive challenges, and musical examples are offered in connection with suggestions for practice and execution.Findings reveal a cross-section of twentieth-century innovation and challenge which not only represent the unification of Muczynski's style, but also offer opportunity for growth and development in terms of keyboard performance and the application of sound musical decisions.The investigation closes with suggestions for the study of other twentieth-century concerti closely resembling this work in style, but more artistically challenging in performance. / School of Music

Memoria (licenciado en ciencias jurídicas y sociales) / En efecto, el interés por esta memoria nació tras el revuelo que se generó por el pronunciamiento del Tribunal Constitucional, en que éste eliminó las pautas a las que debía sujetarse la Superintendencia de Salud para fijar, mediante instrucciones de general aplicación, la estructura de las tablas de factores, según conceptos de edad, sexo y condición del cotizante o de sus cargas. Hoy en día, hay una gran tarea pendiente, terminar no sólo con las inequidades del Sistema Privado, sino también con los problemas de acceso, cobertura y eficiencia del Sistema en general, pues el tema de la discriminación que se sufre en el ámbito Privado repercute en todo el Sistema Salud, produciéndose una competencia que resulta perversa para el ámbito Público, al actuar este último como un sobreseguro del Sistema Privado, supliendo falencias y ocultando deficiencias. Fue en atención a lo anterior que arribamos a un estudio completo del sistema de las ISAPRES y sus facultades, para entender su lógica de funcionamiento. Es aquí donde surgen los problemas, al no considerar que en el Contrato de Salud Privado debe operar la naturaleza de servicio público que importan las prestaciones de salud que satisfacen las ISAPRES, y los principios de Seguridad Social que debe observar por cumplir tal función. El desempeño de las ISAPRES está condicionado fuertemente por encontrarse éstas insertas dentro del sistema de Seguridad Social en salud: ello implica que deben tener como fundamento y guía dos derechos fundamentales como lo son el derecho a la seguridad social y el derecho a la salud, lo que implica que su regulación no pueda quedar sujeta a las veleidades de las reglas del mercado. Esta investigación apunta al Sistema de Salud en Chile y toda la regulación de las ISAPRES: origen, evolución y regulación legal; el contrato de salud; el plan complementario; facultades entregadas en el D.F.L Nº 1, de 2005, de Salud; y la discriminación por riesgo y sus efectos negativos en el Sistema

Felix Mendelssohn's Symphony No. 1 in C Minor, Opus 11, is important primarily as a transitional work. It is the first work in which Mendelssohn deploys large orchestral forces in the traditional form of the symphony; thus, it provided Mendelssohn with the means of making the important transition from the relatively small, chamber-music ensemble in which he had previously worked (as represented by the "string symphonies") to large-scale symphonic works. Its historical or biographical importance definitely outweighs its importance as a musical work in its own right; this can be seen by the fact that it is much less performed today than other symphonies by Mendelssohn. In these later symphonies the composer displays his talents in a more fully developed form. Nonetheless, Symphony No. 1 has many excellent qualities. It has several memorable melodies and shows the working of a vigorous, youthful, though somewhat derivative musical intelligence. It has several brilliant and memorable moments, although considered as a whole it must still be regarded as a work that promises a greater talent than it displays.

This comprehensive study of Thea Musgrave's Orfeo I is the basis for a lecture-recital performed on March 20, 1989, at the University of North Texas, as part of DMA dissertation requirements. It includes: brief bio-background of Musgrave and Orfeo; historical background of both the Orpheus legend and some landmark dramatic works based on it; general development of Musgrave's dramatic language and specific ways in which she uses it in this composition; analysis of the work; performance guide; and annotated appendix listing Musgrave's published and recorded chamber works which include flute. Orfeo I is a major work for flute and electronic tape comprised entirely of manipulated flute sounds. It was commissioned by the British Broadcasting Corporation for James Galway, who recorded the taped material and was the featured performer in the 1976 London premier. An alternate version, Orfeo II, with fifteen strings in place of electronic tape, was premiered by David Shostac in 1976 in Los Angeles, and conducted by the composer. Orfeo's form is programmatically designed, divided into six sections based on Musgrave's "Scenario"of the Orpheus myth. Characters are dramatically depicted through means of "motifs"; that of Orpheus in solo flute, and all others in tape sounds. Musgrave uses quotations from Gluck's opera, Orfeo ed Euridice and Stravinsky's ballet, Orpheus, as basic compositional models. Using her own harmonic language, she combines tonal and chromatic elements in a linear compositional style which ties flute and tape together. Through "controlled aleatory," the soloist is allowed to shape certain aspects of the work. Use of electronic tape places Orfeo I in the realm of intermedia. In addition, Musgrave offers a versatile range of performance possibilities, from highly dramatic (including lighting instructions, option of ballet choreography for solo male dancer, costuming, etc.) to a straight concert rendition.