The goal of this research is to provide a supporting Web services architecture, consisting of a service model and catalog, to allow discovery and automatic orchestration of geospatial Web services. First, a methodology for supporting geospatial Web services with existing orchestration tools is presented. Geospatial services are automatically translated into SOAP/WSDL services by a portable service wrapper. Their data layers are exposed as atomic functions while WSDL extensions provide syntactic metadata. Compliant services are modeled using the descriptive logic capabilities of the Ontology Language for the Web (OWL). The resulting geospatial service model has a number of functions. It provides a basic taxonomy of geospatial Web services that is useful for templating service compositions. It also contains the necessary annotations to allow discovery of services. Importantly, the model defines a number of logical relationships between its internal concepts which allow inconsistency detection for the model as a whole and for individual service instances as they are added to the catalog. These logical relationships have the additional benefit of supporting automatic classification of geospatial services individuals when they are added to the service catalog. The geospatial service catalog is backed by the descriptive logic model. It supports queries which are more complex that those available using standard relational data models, such as the capability to query using concept hierarchies. An example orchestration system demonstrates the use of the geospatial service catalog for query evaluation in an automatic orchestration system (both fully and semi-automatic orchestration). Computational complexity analysis and experimental performance analysis identify potential performance problems in the geospatial service catalog. Solutions to these performance issues are presented in the form of partitioning service instance realization, low cost pre-filtering of service instances, and pre-processing realization. The resulting model and catalog provide an architecture to support automatic orchestration capable of complementing the multiple service composition algorithms that currently exist. Importantly, the geospatial service model and catalog go beyond simply supporting orchestration systems. By providing a general solution to the modeling and discovery of geospatial Web services they are useful in any geospastial Web service enterprise.

Microtonal pitch systems have musical implications beyond the organization of pitch, suggesting the possibility of functioning symbiotically with orchestration, rhythm, and form in a musical work. This essay focuses on three compositions, each of which approaches tuning and microtonality in a unique way: The Delusion of the Fury (1969) by Harry Partch, Limited Approximations (2010) by Georg Friedrich Haas, and Asking Ocean (2016) by Marc Sabat. After a general analysis of the pitch materials in these three works, passages of music are examined and compared to illustrate how pitch systems, especially those in extended just intonation, inform orchestration, rhythm, and form, exploring how these composers balance the practical considerations of writing microtonal music with artistic intent. This essay argues that the success of these three works relates to a sensitivity toward the limitations and possibilities of their novel approaches to microtonal pitch organization.

Orientador: Lutero Rodrigues da Silva / Banca: Alexandre Silva Rosa / Banca: Paulo Ricardo Gazzaneo / Resumo: Quadros de uma Exposição, de Modest Mussorgsky (1839-1881) é uma suíte escrita originalmente para piano, no entanto, fora transcrita para orquestra por diversos compositores, alcançando a soma superior a 600 transcrições. Diante de tal espólio, concluímos que há muito a ser pesquisado, sobretudo, no que diz respeito ao universo da transcrição orquestral. Para tanto, analisaremos as transcrições do russo Mikhail Tushmalov (1861-1896); do francês Maurice Ravel (1875-1937); e do compositor brasileiro Francisco Mignone (1897 - 1986). A transcrição orquestral de Mignone ainda é pouco conhecida nas salas de concerto e mesmo entre pesquisadores. Diante disso, o estudo minucioso de seu trabalho torna-se necessário tanto para música brasileira quanto para o estudo da orquestração, em virtude da escassez de papéis acadêmicos sobre este objeto / Abstract: Pictures at an Exhibition, by Modest Mussorgsky (1839-1881) is a suite originally written for the piano, it was transcripted to orchestras by assorted composers reaching the amount of 600 transcriptions. In face of many recreations of such piece, we conclude that, there is still a lot to research and to understand about those so distinct orchestrations and what they might bring us in the universe of orchestral transcription. For such purpose, we are going to analyse the transcriptions of the Russian Mikhail Tushmalov (1861-1896); of the French Maurice Ravel (1875-1937); adding the Brazilian composer Francisco Mignone (1897-1986). The orchestral transcription of Mignone is not enough known among concert halls and researchers. Thus, such study involving his works become quite necessary not only to the Brazilian music, but for the orchestration study as well, due to the scarcity of academic papers regarding such object / Mestre

The purpose of this essay is to explore the commissioning process of a wind ensemble piece by notable composer Christopher Rouse, and its significance to the wind ensemble repertoire. This essay will use the University of Miami Frost Wind Ensemble and Christopher Rouse's Wolf Rounds as the primary example. This discussion will provide an extensive background review of Christopher Rouse's early musical experience and life's accomplishments. It will focus on his creative process and document the performance preparation of Wolf Rounds as experienced by the Frost Wind Ensemble, conducted by Professor Gary D. Green. The final part of this essay will investigate the compositional insight of Wolf Rounds as well as the inspiration and motivation of Rouse to write for the wind ensemble genre. While Rouse has written for many different types of ensembles, this will be his first published addition to the wind repertoire. Wolf Rounds was chosen as the primary composition because of its significance to the composer as his first composition for winds and percussion.

Psaume 130, Du fond de l'Abime, by Lili Boulanger, poses a series of problems for conductors. Its large orchestral requirement and thirty-minute performance length severely limit the possibility of programming the work. Having thoroughly studied the composer's other works, I have determined that balance problems in the orchestration need adjustment. Errors exist in the current published edition and warrant correction.For these reasons combined with the assertion, later discussed in this document, that Lili Boulanger may have been asked to make a more practical version of Psaume 130, Du fond de l'Abime in order to promote sales of her music, an orchestral reduction is a viable solution. In addition, she died before the premier of the work and may have re-orchestrated certain passages upon hearing it.The methodology for this process of editing and rescoring includes:1) comparison of the manuscript with the published edition, 2) analysis, which includes tonal, motivic, and structural aspects of the work, 3) analysis of Boulanger's orchestral technique, and 4) an interview with conductor Mark Stringer.I will demonstrate that Lili Boulanger's Psaume 130, Du fond de l'Abime can be arranged for reduced forces while preserving its essential elements. This version will be more accessible for professional, college, community and church choirs, and orchestras.

There is no abstract available for this thesis.

Thesis (M.M.)--University of Rochester, 1932. / Typewritten. Bibliography: l. 55. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/4109

Thesis (M.M.)--University of Texas at El Paso, 2008. / Title from title screen. Vita. CD-ROM. Includes bibliographical references. Also available online.

Thesis--Urbana-Champaign, 1993. / Bibliogr. p. 136-145.

Diss.--Cologne, 1996. / Bibliogr. p. 301-321.