In the first few decades of the seventeenth century countless songbooks were published in Italy, more than 300 of which included the notation system for guitar accompaniment known as alfabeto. This early repertoire for the five-course Spanish guitar was printed mostly in Naples, Rome, and Florence, and was a pivotal precursor to our modern tonal musical understanding. The very nature of both the instrument and its characteristic dance-song accompaniment style led composers to create block harmonies in diatonic progressions long before such concepts bore any semblance to a functioning theory. This paper uses the 1620 publication Arie a una voce by Roman composer Stefano Landi as a case study through which to examine the important roles that both alfabeto and the guitar played in the development of monody. The ongoing debates over the practicality, authorship, and interpretation of alfabeto notation are all addressed in reference to the six pieces marked “per la chitara Spag.” found near the end of Landi's first songbook. This will provide an understanding of the alfabeto notation system as well as the role of the guitar in the rise of monody, provide more specific answers concerning the viability of accompanying these specific songs on the guitar, and provide a means for constructing an informed interpretation and recording of these examples of a long-overlooked repertoire.

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Peruvian composers Armando Guevara Ochoa (1926–2013) and César Vivanco (b. 1949) borrow and transplant musical elements from Andean folk tradition into their compositions for the modern classical flute. Guevara Ochoa's Yaraví, Danza y Huayno and Vivanco's Fantasía Andina are solo flute pieces rooted in Peruvian folklore traditions and Andean instrumental performance. The purpose of this dissertation is to provide flutists with technical and interpretative guidance in preparing these pieces. Yaraví, Danza y Huayno, a suite of three short dances, and Fantasía Andina, a free-meter piece in an improvisational style, incorporate elements that utilize the performance techniques of Andean instruments, with use of quotations from traditional Andean folk music. References to quenas (traditional vertical flutes), zampoñas (panpipes), pututos (ceremonial natural horns), charangos (Andean guitars) and Andean harps are integrated within the works and fused with themes borrowed from iconic pieces such as El cóndor pasa, and traditional harmonic, melodic and rhythmic structures of the huayno (fast festive dance) and yaraví (slow melancholic song). The techniques and traditions borrowed from Andean folk music are not notated in these scores due to the limitations of musical notation. Performers are expected to portray the Andean musical identity of the composers' intent. This dissertation assists performers unfamiliar with the traditions of Andean music to identify and understand the implicit Andean roots in both works and develop techniques to accurately represent sounds of Andean Peruvian traditions, with a deeper, culturally informed interpretation of this music.

Music, as a performing art, transports us to distant moments and spaces than those we are in the present time. A hundred musicians playing Bruckner's Scherzo on Symphony No. 7 could make us feel emotionally moved; it could make us feel joy, anger, anguish, delight, peace, fear, freedom. Music has the ability to change our mood, to make us go through a series of feelings. This, I believe, has to do with how it involves you in it. Arthur Schopenhauer also says: "The effect of music on the mind, so penetrating, so immediate, so unfailing, and also the after-effect that sometimes follows it, consisting in a specially sublime frame of mind, are explained by the passive nature of hearing just described" This penetrating component of music, so immediate, of which Schopenhauer speaks, is how the Sublime is experienced through it. Music could even elevate the soul of those who are most open to perceive it. What is that "sublime" moment that happens when you are listening to a live orchestra and get moved by the experience? Are we capable of achieving that moment through the use of architectural elements alone? I believe the answer is yes. There is more to the moment than just the music itself, and that a "sublime" moment can be experienced in many contexts. There are elements that are common to this experience, primarily the presence of the Four Classical Elements. With this in mind, I came to the idea that by including Air, Fire, Earth and Water into my project, then I would be a step closer to having the users go through a sublime experience. / Master of Architecture

The development of Digital Twin Technology, with a focus on addressing environmental concerns, has elevated the priority of Industry 4.0-based solutions. The study aimed to design a simulation model to optimize the electricity consumption of the electric bus fleet at Arlanda Airport as a subproject of the main Digital Twin project. The study found that there was no current model designed to simulate electricity consumption by formal methods, Z notation.  The research is guided by four primary objectives find power management strategies for e-buses, identify critical parameters affecting their energy consumption, create a Z Notation simulation model, and assess this model. Through a thorough review of the literature and methodical application, power management strategies were defined, and significant energy consumption parameters were identified. The model's usefulness in modelling and optimizing electricity usage was demonstrated by its careful construction using Z Notation and evaluation with Spivey's Fuzz Checker. The paper demonstrates the use of Design Science Research in creating a digital twin-based simulation, which has important implications for transportation systems as well as theoretical advances in simulation methodologies. Throughout the developed Z notations, it provide a proper insight into operational efficiency and sustainability in energy consumption.  The study also emphasizes the drawbacks of using Z Notation, such as its steep learning curve and limited community assistance. To improve the accuracy of electricity consumption forecasts, future research should use predictive analytics and fine-tune the model granularity. The thesis demonstrates how design science can be applied for preparing specification of services but not only in software development. This work lays the groundwork for more extensive applications in digital twin technologies and energy optimization, in addition to contributing to our understanding of e-bus power management at Arlanda Airport.

This thesis sets out to investigate new notation symbols, systems, and string techniques in some one hundred 20th century string quartets, selected from a variety of composers. The analysis includes compositions that have, through contemporary aesthetic ideals, extended musical and technical resources and stimulated the development of compositional methods in such a way as to influence later works in the genre. k The thesis divided into two parts : Histoiy and Research Part One is a brief history of 20th century music, and includes the development o f the string quartet from earliest times up to the mid-century. Part Two researches string techniques and notation from the turn of the century up to 1990. The historical perspective demonstrates that after World War n, with the emergence o f the electronic age and a changing social and intellectual climate, traditional concepts were being challenged. Composers facing the dilemma affecting music in general, and the string quartet in particular, had to adapt to radically developing techniques and styles. Sounds and syntax o f a different type were initially, but unsuccessfully, sought to unify the divergent thinking o f the time. Ultimately, the developmental paths took shape from the problem itself and different approaches emerged to master the multi-faceted dimensions available to composers. Part Two investigates music syntax from the viewpoint of recording new symbols, notation systems and string techniques. Quartets of the first half of the century show that both the dissolution and the extension o f traditional processes were contained, importantly, within the continued use of conventional notation. The impact and significance of these quartets within the context of 20th century development cannot be ignored. However, the quartets researched post-1960 demonstrate that composers have enlarged all parameters of the genre through the extension of traditional resources and by radical innovation. This research demonstrates that the emergence of new symbols and string techniques in the second half of the century has been largely on an arbitrary basis. Nevertheless^ broad classification of these elements is undertaken. / Art History, Visual Arts & Musicology / D.Mus. (Musicology)

Includes bibliographical references / Pages not numbered / Music has formed a part of human life as far back as demonstrable. Music existed long before musical instruments made their appearance. The examination of textual evidence read in conjunction with the available archaeologic evidence from the time and area clearly demonstrates which musical instruments were available and the instances they were used at. It clearly points to the lyre as the primary proponent of the musical culture of the time with regards to melodic music. This is confirmed from what we learn from the ancient tuning tablets. There thus is a direct demonstrable connection between the instrument and the theory of the time. Work done on the musical elements of the cantillation marks of the Hebrew Bible comfortably fits into this framework and appears to be a direct influence on the manner in which the Psalms were sung and composed. A combination of literary, archaeological and musical sources can thus be used within a literary and historical approach to demonstrate the availability of musical instruments in AIP, the manner in which tonality was recorded and its influence on the development of the Psalms. / Old Testament and Ancient Near Eastern Studies / M.A. (Biblical Archaeology)

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