<p>Bilaga: 1 CD</p>

Tina Mengel und Katrin Müller, Fachhochschule Köln, stellten CrissCross vor. Im Rahmen dieses Projektes, das von der DFG gefördert und kooperativ von der Deut­schen Nationalbibliothek und der Fachhochschule Köln durchgeführt wird, werden Schlagwörter der Schlagwortnormdatei (SWD) mit Notationen der Dewey-Dezimal-Klassifikation (DDC) verknüpft. Ziel ist die Erleichterung der thematischen Suche in heterogen erschlossenen Beständen.

Th. Etat--Musique et musicologie--Paris IV-Sorbonne--Ecole doctorale de musique et musicologie, 2004. / Bibliogr. p. 373-395.

Thesis (Ph. D.)--Open University. BLDSC no. DXN024722.

Thesis (Ph. D.)--University of Rochester, 2009. / Includes abstract and vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/10978

This thesis discusses my new sound drawing practice and its development throughout the course of my practice-based PhD research at Brunel School of Arts. “Sound drawing” is a general term that I have chosen to use to describe a body of visual artworks that instigated the composition of soundscapes as well as the design of an audiovisual performance instrument. I will start by giving a clear picture of the musical and visual arts background that led up to my current sound drawing practice. Then I will go through the individual works created between 2008 and 2012 that have contributed the most to the development of sound drawing. I will discuss how performance sketches ... (2009) instigated the shift from composing graphic scores to sound drawing when I was confronted with drawing my graphic scores in real time. In 31 (sound) studies on paper (2010-2011), the sound drawing process began to mature through a closer examination of the visual imagery, drawing materials, physical gestures and the overall sound production. As I started to develop solo performance projects based on my sound drawing practice, I looked back to the compositions projection-reaction (2008-2009) and de (re)construction (2009) which suggested how I might return to using the medium of video. My most recent work, drawalineandlistentoit and R=15 (2012), seems to constitute a point where all the different strands in my works of the preceding four years come together to produce an intricate collaboration between sound, image and performer. Working with the sound drawings within a performance context, a registration of the sonic event occurs, a form of score is created – and at the same time sound is mixing and moving into the space through the audio software Plogue Bidule, while a visual projection is constructed in realtimev through the VPT software.

published_or_final_version / Music / Master / Master of Philosophy

<p>Bilaga: 1 partitur, 1 CD</p>

This study surveys and categorizes new techniques of sound production for the pianoforte which have come into prominent use since 1950. In addition the project developes a series of ten study pieces (etudes) which aid advanced piano students in acquiring the basic techniques required to perform many of the piano compositions written since 1950.A review of the piano literature of selected composers from 1950-1975 revealed thirteen basic techniques which have come into common use in these twenty-five years. Although many more techniques exist, they are combinations or variations of these basic techniques. The thirteen techniques have been classified into four categories: string techniques, keyboard techniques, string/keyboard techniques, and pedal techniques. Only techniques using sounds derived from the manipulation of the strings, keyboard, and pedals of the piano were included in this study.Although the study reveals that many of the techniques discussed were first introduced in the earlier part of the twentieth century, particularly through the compositions of Henry Cowell, they did not become common compositional techniques until the years after 1950. Their popularity after 1950 can be seen as part of a trend of composers becoming captivated with "sounds" per se, apart from their melodic or harmonic significance. This interest and fascination with "sound events" set the proper climate for the widespread development of the pianoforte techniques discussed in this paper. The development of the tape recorder and the long playing record made the interchange of musical ideas and the new techniques readily accessible.This study serves to clarify much of the mystique which surrounds many of the pianoforte compositions published since 1950. It discusses the new notational symbols used to designate the techniques and gives practical suggestions as to their proper execution.The series of study pieces developed for this project are meant to serve as an introduction to the new techniques. Although the pieces are written for the advanced piano student they are devoid of the rhythmic and visual complications which often surround compositions incorporating the new techniques. Except for two etudes, each piece uses only one new technique.

This thesis examines applying formal methods to software testing. Software testing is a critical phase of the software life-cycle which can be very effective if performed rigorously. Formal specifications offer the bases for rigorous testing practices. Not surprisingly, the most immediate use of formal specifications in software testing is as sources of black-box test suites. However, formal specifications have more uses in software testing than merely being sources for test data. We examine these uses, and show how to get more assistance and benefit from formal methods in software testing. At the core of this work is a exible framework in which to conduct specification-based testing. The framework is founded on formal definitions of tests and test suites, which directly addresses important issues in managing software testing. This provides a uniform platform for other applications of formal methods to testing such as analysis and reification of tests, and also for applications beyond testing such as maintenance and specification validation. The framework has to be exible so that any testing strategies can be used. We examine the need to adapt certain strategies to work with the framework and formal specification. Our experiments showed some deficiencies that arise when using derivation strategies on abstract specifications. These deficiencies led us to develop two new specification-based testing strategies based on extensions to existing strate- gies. We demonstrate the framework, strategies, and other applications of formal methods to software testing using three case studies. In each of these, the framework was easy to use. It provided an elegant and powerful means for defining and structuring tests, and a suitable staging ground for other applications of formal methods to software testing. This thesis demonstrates how formal specification techniques can systematise the application of testing strategies, and also how the concepts of software testing can be combined with formal specifications to extend the role of the formal specification in software development.