This dissertation focuses on the first Parable of Vincent Ludwig Persichetti, written for alto flute in 1965. Persichetti spent from 1965 to 1986 (almost the last twenty years of his life) composing twenty-four additional Parables for various solo instruments, instrumental combinations, and even one in the form of an opera.

The objective of the dissertation is to examine Cyril Scott's musical language as exhibited in his Piano Sonata, Op. 66. Subjects of discussion include Scott's use of form, rhythm, melody, tonality, and harmony. Also included are a biographical sketch of the composer and his philosophical view of modernism. A comparison of the original version and the revised edition of this sonata, as well as references to Cyril Scott's two other piano sonatas are also included during the examination of his harmonic and rhythmic style.

In the new generation of artists emerging in South Africa, Alexander Johnson is considered the most prolific young composer of his day. In a recent review in the Pretoria News, Johnson has been praised by eminent critic Paul Boekkooi as a composer who has “an ear for the exotic and knows exactly how to bring it off....” He continued by noting that his music is “mentally engrossing, pleasurable to the senses and seems refreshingly free from dogmatic formulas." Johnson writes for musicians and the general public to equal satisfaction. His accessible compositions and catching use of melodic materials have made his writings very popular both in South Africa and abroad. During his residency in Belgrade in 1993-94, Johnson met Croatian pianist Dorian Leljak. Impressed with Johnson's compositional ideas and output, Leljak commissioned a work from Johnson for piano and orchestra. The result was the Niš Concerto, which Johnson completed in April 1994. The world premiere took place on June 23, 1994 with the Niš Philharmonic Orchestra conducted by Anatoli Nowiestski with Dorian Leljak as soloist. The Niš Concerto received its South African premiere in 1995 during a simultaneous celebration for “Europe Day” and the new democracy of the Republic of South Africa. The Delegation of the European Commission of South Africa sponsored the celebration, which took place in the Aula Auditorium on the campus of the University of Pretoria. The performers included the Artium Symphony Orchestra, conducted by Dutch-born Prof. Henk Temmingh and Johnson himself as piano soloist.

Polystylism in Alfred Schnittke's music has been considered by scholars as a central aspect of his music. Although there are many published analyses of his choral music, symphonies, concerti and violin sonatas, there is no known published research for Schnittke's first cello sonata. Alfred Schnittke grew up in a culturally diverse environment influenced by many different composers and compositional styles under the restrictions of a communist Russian government. These aspects influenced the development of Schnittke's polystylism, characteristically represented by his Cello Sonata (1978). The detailed musical analysis of this sonata in this study serves the purpose to reveal Schnittke's polystylistic tendencies and his use of cyclic elements. These polystylistic elements in the sonata illustrate how Schnittke de-familiarizes listeners from rules commonly accepted as unavoidable and re-familiarizes listeners with the expressive qualities of tonal, twelve-tone and atonal music. Although Schnittke introduces polystylistic materials in de-familiarized contexts in this sonata, this study finds that Schnittke particularly re-familiarizes the audience's musical and stylistic perception through the reappearance of sections, textures and motifs. Abrupt polystylistic conflicts contrast with the repetition of previous materials, thereby forming a combination of traditional styles with features of discontinuity in 20th century music.

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The intent of this dissertation is to investigate Michael Tippett's eclectic approach to the sonata form in the twentieth century as demonstrated in his Sonata No. 1. Topics of discussion include historical background of English music, particularly the English piano sonata, at the turn of the century (chapter 1), biographical information and a general overview of Tippett's music (chapter 2), a brief examination of Tippett's Sonata Nos. 2, 3, and 4 (chapter 3) and a formal analysis of Sonata No. 1 as well as Tippett's approach to contrapuntal techniques, rhythm, harmony and tonality (chapter 4). In addition to the lecture recital given on February 1, 1999, three others were given: the first recital, on April 3, 1995, contained works by Beethoven, J.S. Bach/Busoni, and Bartok: the second recital, on February 5, 1996, included works by Schumann, Mozart, and Ginastera: and the third recital, on January 2, 1998, featured works by Barber and Chopin.

In municipal wastewater treatment, anaerobic digestion is the slowest process requiring at least 15 day solids retention time (SRT). Treating only a small fraction of the total wastewater stream, anaerobic digesters require large reactor volumes and consistent heating (40°C). Thus, there is a growing need to investigate techniques to improve digestion efficiency. The long SRT requirement is a result of the time required for biological reactions such as hydrolysis and acetoclastic methanogenesis. There are numerous pretreatment methods which have so far been developed to particularly enhance hydrolysis. These pretreatment methods include thermalization, mechanical treatments, and chemical treatments. These methods aim to increase the degradability of the influent waste sludge which in turn will increase the efficiency of the digestion process. The goal of the research presented in this thesis is to enhance another limiting biological reaction: acetoclastic methanogenesis. Microbial electrolysis cell (MEC) technology was integrated into lab-scale anaerobic digesters in order to accelerate biosolids destruction under various SRT and temperature conditions. Various mathematical simulations were conducted using a developed steady-state ADM1 (Anaerobic Digestion Model No.1) model to further evaluate the performance of the digesters. The results of the research indicate that the proposed method is effective at shortened SRTs (e.g., 6 days) and can enhance the stability of anaerobic digestion when exposed to variations in temperature and influent composition. / Thesis / Master of Applied Science (MASc)

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Memoria (licenciado en ciencias jurídicas y sociales) / El presente trabajo pretende demostrar que la drogodependencia o adicción a la pasta base de cocaína, cuando alcanza tal grado patológico (diferenciado del mero consumo deshabituado o del consumo habitual), se torna apta para interferir la imputabilidad jurídico-penal del sujeto adicto, pudiendo fundamentarse bajo criterios médicos, sociológicos y jurídicos que tal circunstancia es ubicable tanto dentro del supuesto de inimputabilidad de la eximente de locura o demencia del art. 10 n°1 del Código Penal, como dentro del supuesto de eximente incompleta del art. 11 n°1 del Código Penal, dependiendo de la intensidad en que concurran sus presupuestos. Para esto indagaremos en la conceptualización médico-psiquiátrica de la drogodependencia a nivel internacional, y en doctrina jurídico-penal nacional y comparada orientativa de cuáles serían los criterios que permiten interpretar el genuino sentido de las circunstancias modificatorias de responsabilidad implicadas.

This paper examines the generic aspect of Beethoven's Opus 5 Cello Sonatas (1796) from structuralist and post-structuralist perspectives, and explores the works from these viewpoints in order to gain insights into how the sonatas function as autonomous musical texts rather than historiographic documents of Beethoven's biography or transitional contributions in the development of the genre of the solo sonata as it was later cultivated. The insights offered by these perspectives argue for a reconsideration of the conventional notions of "work" and "text," which underscore the doctrine of work-immanence. This perspective also offers insights that have proven elusive when the works are considered primarily in the context of the historical-biographical construct of Beethoven's three style-periods. By applying the aesthetic practice of expressive doubling prevalent at the turn of the nineteenth century to Beethoven's Opus 5 Sonatas, a deeper understanding of the constellation of the duo sonatas in accompanied keyboard literature will be attained. Also, by illuminating the relational nature of meaning realized within a textual framework, this study attempts to enlarge the restricted scope of interpretation conventionally imposed on the Opus 5 sonatas.