This thesis uses an historical lens to understand the political development of desegregation law since Brown, which demonstrates that local policies are produced by Supreme Court precedent. However, school districts and community members also create conditions in which the Supreme Court rules on integration law. Examining the history of segregation in Seattle and the efforts of integration (or efforts against it) illuminates the trajectory of civil rights. Claims once used to integrate black school children became a defense for white children to attend, inevitably, white neighborhood schools, due to the lingering effects of housing segregation. Seattle’s desegregation policies depended upon the city’s local conditions and the Board’s strategy reflected national trends dictated by the Supreme Court’s decisions. In turn, Seattle’s local policies affected the Supreme Court’s decision regarding school integration in 2007. The local conditions surrounding many of Seattle parents’ fight against mandatory school assignment plans based on race in 2007 could not have been accomplished without the historical precedent against busing established by liberal, anti-busing groups during the 1970s and 1980s.

abstract: This project discusses the horn, tuba, piano sub-genre of brass chamber music. Alec Wilder wrote the first piece for this instrumentation in 1963 for his friends John Barrows and Harvey Phillips. Wilder's compositional style was directly affected by life events and relationships. Through letters, biographies, recordings and autobiographies the importance of his friendship with Barrows and Phillips are displayed to show the links between the two men and the composer's compositional output. A deeper look into the life of Alec Wilder and a thematic analysis of his Suite No.1 for Horn, Tuba and Piano (1963), and Suite No.2 for Horn, Tuba and Piano (1971) shed light on the beginnings of the genre and provide a deeper understanding of the works. Since Wilder's two trios there have been at least twenty works written for this instrumentation. A brief overview of works written for the trio since 1971 provide a broad sense of the quantity and benefits of the trio in the hopes of inspiring new performances and compositions. This paper will combine the seemingly random compositions for the instrumentation into a collected repertoire. With an increase in exposure, the trio for horn, tuba and piano has the potential to become a standard brass chamber group that will benefit students, performers, and audiences alike. / Dissertation/Thesis / Doctoral Dissertation Music 2015

Heinrich Koch completed his treatise in 1793, a pioneering work regarding the musical phrase as well as a sonata form description (lacking that term). Composition of Opus 18 began in 1798, a momentous project for several reasons in Beethoven's early career. Here, the theories expressed in Koch's Versuch are taken as an analytic springboard into a thorough analysis of the first movement of the quartet published no. 3, which was the first composed; additionally, nos. 1 and 6 are explored to a lesser degree. This study in phrase-analysis demonstrates significance in the fundamental ideas of Koch as applied to a masterwork of the turn of the 19th century.

British composer Brian Lock merges the composition styles of Alexander Goehr, Henryk Górecki and Witold Lutoslawski in his innovative works for instrumental sounds and electronics. His most recent work for flute, Sonic Archaeologies No.1, was premiered at the University of North Texas by Mary Karen Clardy, flute; Brian Lock, piano/electric keyboard; and Daniel Pardo, laptop/live mixing. The purpose of this dissertation is to provide flutists with artistic and technical guidance in preparing this work for flute, prerecorded orchestra, interactive electronics and improvisatory accompaniment. Sonic Archaeologies No. 1, a piece in five movements (Black Rain, Psychomania, Kodo, Susperia, and Deep in the Machine), incorporates contemporary techniques to create sounds other than the Western concert flute, with the use of live reinforcement devices such as microphones and time-based audio effects within a D.A.W. (Digital Audio Workstation.) Reggae, Hip-Hop and cinematic styles are juxtaposed within the work, fusing current genres with traditional rhythmic forms like the ones found in a bourrée. As the solo instrument, flute provides more textural than melodic elements, and the performer is required to interact with an unpredictable sonic soundscape as a result of the improvisatory element of the keyboards and computer. The notation of Sonic Archaeologies No.1 invites interpretation blending and altering traditional sounds through microphones and a processed signal flow. The performance guide will address acoustical considerations when the flute sound is being manipulated by dynamic and time-based processors in live performance; the interaction between the flute, electronics and acoustic spaces; the elements of sound production that provide interpretation of contemporary popular styles; and the opportunities for the performer to find, explore and develop artistry beyond the limitations of music notation.

Watershed I/IV, for Solo Percussion and Real-time Computer Spatialization was composed in 1995 by Pulitzer prize-winning composer Roger Reynolds. This work is a 25-minute choreographed music drama for one multiple-percussionist, in which Reynolds incorporates the musical transformation of percussion instrument families, the physical gestures of the performer, and the spatialization of processed sounds around the audience. This dissertation addresses several aspects of Watershed, which include: the expressive intent and extra-musical concepts; the formal organization, and several non-musical tools that Reynolds utilized in designing the piece (e.g. logarithmically derived sequences); the primary musical motives; the instrument setup and how the resulting physical gestures contribute to the musical intent; and the real-time computer spatialization. Throughout the document, specific musical passages are demonstrated with notated musical examples and embedded video/audio clips. In addition, transcripts of my interviews with composer Roger Reynolds, percussionist Steven Schick (premiere performer of Watershed) and engineer/technician Greg Dixon (engineer for my performances of Watershed IV) are also included.

This dissertation is a performance guide for the euphonium solos Pearls I and Pearls II, written by Roland Szentpali. This performance guide allows performers to better understand the jazz styles within each movement and provides them with a resource for performing these particular pieces as well as other jazz influenced pieces. This performance guide is specific to euphonium repertoire and written for euphonium performers and educators. This is also a resource for a solo work in the repertoire that is performed regularly as well as a new work that will soon be published. A brief history of the development of euphonium repertoire and the influence of jazz is provided. The performance guide analyzes each movement and provides insight to extended techniques, common performance problems, errata, and jazz styles that each movement is based on. The guide also provides several suggestions for interpretation and for performance preparation. Illustrations from the scores have been provided for each example.

Keiko Abe's contributions to the contemporary marimba repertoire have been a milestone in the development of the marimba as a solo concert instrument. Besides the creation of a new repertoire through commissions and her own compositions, Abe's contributions to the marimba include the improvement of the sound quality of the marimba and the establishment of the five octave instrument as the standard concert marimba. During the last four decades, Abe's compositions have been performed and studied worldwide and become standard literature for the marimba. Abe has written more than sixty compositions for marimba, including concertos, duets and solo pieces. The goal of this dissertation is to provide a comprehensive method for the performance and preparation of two major Keiko Abe's compositions, Marimba d'Amore composed by Abe in 1998 and Prism Rhapsody for Marimba and Orchestra composed in 1996. This dissertation will discuss theoretical as well as performance issues related to these two compositions. Each piece is discussed with regard to its distinctive compositional approach and inherent performances issues. In order to provide the reader an explanation of the compositional procedures used by Abe, specific directions for the performance and preparation of these two works are offered.

Genom denna studie ville vi få en bild över hur lärobokspaketet Boken om NO 1–3 (Persson, 2013a; 2013b; 2014a; 2014b) framställer naturvetenskapens karaktär utifrån sju olika aspekter. Studien syftar även till att undersöka om aspekterna framställs explicit eller implicit i lärobokspaketet. För att genomföra studien utfördes en kvalitativ innehållsanalys där fem kapitel ur lärobokspaketet slumpmässigt valdes ut och analyserades. Studien tar teoretisk ansats i Norman G. Ledermans (Lederman et al., 2002) sju aspekter som syftar till att definiera naturvetenskapens karaktär inom en utbildningskontext. Hur eleverna tar till sig innehållet av naturvetenskapens karaktär grundas i om aspekterna ligger underförstådda i ämnesinnehållet eller om eleverna utför uppgifter som tillåter ett explicit reflekterande över aspekterna. Resultatet av vår studie visar att samtliga av Ledermans (Lederman et al., 2002) sju aspekter synliggörs i lärobokspaketet och att författaren lägger störst vikt vid tre av dem. Samtliga av de identifierade aspekterna förekom implicit, men där endast två av aspekterna hade explicita inslag. Studiens slutsats visar att de aspekterna som var vanligt förekommande överensstämmer med de mål som kursplanerna för både låg- och mellanstadiet återger för naturvetenskapens karaktär. Att aspekternas till huvudsaklig del har en implicit prägling förutsätter att eleverna på ett undermedvetet sätt inhämtar kunskaper om naturvetenskapen som verksamhet. Författaren av lärobokspaketet ger även eleverna vid ett par tillfällen möjlighet att på ett explicit och reflekterande plan förstå den naturvetenskapliga verksamheten.

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