<p> I. Solo Recital: Friday, April 11, 2013, 7:30 p.m., Taylor Theatre. <i> Cendrillon</i> (Jules Massanet) Opera Role. </p><p> II. Solo Recital: Saturday, February 8, 2014, 7:30 p.m., Recital Hall. "Warum betr&uuml;bst du dich," "Wilst du dein Herz mir schenken" (Johann Sebastian Bach); Bachianas Brasileiras No. 5 (Hector Villa-Lobos); "Kennst du das Land" (Hugo Wolf); "Kennst du das Land" (John Duke); "Nur wer die Sehnsucht kennt" (Robert Schumann); "Net tolko tot kto znal;" (Pyotr Ilyich Tchaikovsky); "Aime-moi" (Pauline Viardot); "Vaga Luna" (Vincenzo Bellini); "Aragonese" (Gioacchino Rossini); "Befreit," "Ruhe Meine Seele," "St&auml;ndchen," "Amor" (Richard Strauss). </p><p> III. Solo Recital: Thursday, March 5, 2015, 7:30pm., Recital Hall. "Youkali," "J'attends un navire," "Wie lange noch?," "Come up from the Fields, Father" (Kurt Weill); "Tom Sails Away" (Charles Ives); "Le disparu," "Bleuet," "C," "F&ecirc;tes galantes" (Francis Poulenc); Ariettes Oubli&eacute;es (Claude Debussy); Cabaret Songs (Benjamin Britten); "Waldseligkeit," "Selige Nacht," "Hat dich die Liebe ber&uuml;hrt" (Joseph Marx). </p><p> IV. D.M.A. Research Project. CROSSING OVER: EXAMINING THE CHALLENGES OF A CLASSICALLY TRAINED FEMALE PERFORMING MUSIC THEATER REPERTOIRE. This document explores the pedagogy of a classically trained singer as well as that of a music theater performer exploring similarities and differences. Musical examples are referenced throughout. A discussion of style of the megamusical and the 21st century musical provides context. A final chapter on repertoire suitable for bridging the styles provides a reference for the teacher and singer.</p>

Cette thèse vise à améliorer le contrôle de gestion des organisations publiques. L'objectif est de répondre à la question suivante : quel est le rôle et l'impact de l'étalonnage dans la gestion des organisations publiques ? A l'issue d'une revue de la littérature approfondie, un cadre d'analyse de la particularité des organisations publiques a été mise en place et a permis de dégager les spécificités de ces organisations, lesquelles ne permettent pas de mettre en pratique les outils classiques du contrôle de gestions tels que le tableau de bord, la lolf, le reporting... L'enquête a été réalisée sur un échantillon d'une quarantaine de personnes composé des universitaires, des agents des organisations publiques et des professionnels (experts comptables, commissaires aux comptes et avocats). L'ensemble des résultats obtenus a permis de valider l'hypothèse générale selon laquelle l'étalonnage constitue un outil d'amélioration des performances dans les organisations publiques.

Thèses (Ph.D.)--Université de Sherbrooke (Canada), 2000. / Titre de l'écran-titre (visionné le 20 juin 2006). Publié aussi en version papier.

Thèses (M.Sc.A.)--Université de Sherbrooke (Canada), 2000. / Titre de l'écran-titre (visionné le 20 juin 2006). Publié aussi en version papier.

abstract: ABSTRACT Many musicians, both amateur and professional alike, are continuously seeking to expand and explore their performance literature and repertory. Introducing new works into the standard repertory is an exciting endeavor for any active musician. Establishing connections, commissioning new works, and collaborating on performances can all work together toward the acceptance and success of a composer's music within an instrument community. For the flute, one such composer is Daniel Dorff (b. 1956). Dorff, a Philadelphia-based composer, has written for symphony orchestra, clarinet, contrabassoon, and others; however, his award-winning works for flute and piccolo are earning him much recognition. He has written works for such illustrious flutists as Mimi Stillman, Walfrid Kujala, and Gary Schocker; his flute works have been recorded by Laurel Zucker, Pamela Youngblood and Lois Bliss Herbine; and his pieces have been performed and premiered at each of the National Flute Association Conventions from 2004 to 2009. Despite this success, little has been written about Dorff's life, compositional style, and contributions to the flute repertory. In order to further promote the flute works of Daniel Dorff, the primary focus of this study is the creation of a compact disc recording of Dorff's most prominent works for flute: April Whirlwind, 9 Walks Down 7th Avenue, both for flute and piano, and Nocturne Caprice for solo flute. In support of this recording, the study also provides biographical information regarding Daniel Dorff, discusses his compositional methods and ideology, and presents background information, description, and performance notes for each piece. Interviews with Daniel Dorff regarding biographical and compositional details serve as the primary source for this document. Suggestions for the performance of the three flute works were gathered through interviews with prominent flutists who have studied and performed Dorff's pieces. Additional performance suggestions for Nocturne Caprice were gathered through a coaching session between the author and the composer. This project is meant to promote the flute works of Daniel Dorff and to help establish their role in the standard flute repertory. / Dissertation/Thesis / April Whirlwind by Daniel Dorff / Nocturne Caprice by Daniel Dorff / 9 Walks Down 7th Avenue by Daniel Dorff / D.M.A. Music 2010

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2016-06-01T11:48:43Z No. of bitstreams: 2 Dissertação - Warla Giany de Paiva - 2015.pdf: 5638462 bytes, checksum: 9194265ba565df77dce0d862c04ebcb8 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-06-01T11:51:15Z (GMT) No. of bitstreams: 2 Dissertação - Warla Giany de Paiva - 2015.pdf: 5638462 bytes, checksum: 9194265ba565df77dce0d862c04ebcb8 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2016-06-01T11:51:15Z (GMT). No. of bitstreams: 2 Dissertação - Warla Giany de Paiva - 2015.pdf: 5638462 bytes, checksum: 9194265ba565df77dce0d862c04ebcb8 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-11-13 / Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG / This research has arisen out of the interest to study the trajectory of the Hungarian born, naturalized Brazilian dancer and teacher, director and choreographer Maria Duschenes (1922- 2014). Our interest is in the historic aspects as well as in the artistic and pedagogical ones. We present the enfoldments of her work in the introduction and development of modern dance in Brazil. Duschenes worked in São Paulo from decades of 1940 to 1990 and had an important role in the reception, introduction and development of the labanian´s and dalcrozean´s proposals in Brazil. Despite its great importance, her intellectual, artistic, pedagogical, political and social work has been little explored in the academic field. Duschenes wove webs of knowledge evolving important names of the artistic european avant guard: in Budapest, she studied at Olga Szentpal`s school (1895-1968) in Jaques Dalcroze’s perspective (1865- 1950) and with Aurel von Millos (1906-1988), both crossed by labanians´s knowledge; in England, with Rudolf Laban (1879-1958) and his collaborators and partners Kurt Jooss (1901-1979), Sigurd Leeder (1902-1981) and Lisa Ullmann (1907-1985). Drawn in these universes, Duschenes developed as an axis of her work the improvisation of the movement aiding with transformations in the artistic scene, in pedagogy, in research, in therapy and in rehabilitation. For that purpose this is a work of qualitative and exploratory nature, which includes field research as well as documental research. It has being built with the objective of tracing the vestiges left by Duschenes as well as the vestiges and memories of her former students and her collaborators, through the means of interviews, conversations and classes as well as video, essays and documents analyses. This research begins weaving the paths that have subsidized her formation, making its way towards the bases and propositions which have composed her trajectory of work, from the decades of 1940 to 90. In sum, this study understands that the continuity, the potentiality and the unfolding of the unique manner of her work in Brazil is constituted by overlaying of diversified performing levels, which are composed by the intensities of her own presence in her life and art performances. / Essa pesquisa nasceu do interesse de estudar a trajetória da dançarina e professora, diretora e coreógrafa húngara, naturalizada brasileira, Maria Duschenes (1922-2014) nos aspectos histórico, artístico e pedagógico apresentando os desdobramentos de seu trabalho na introdução e desenvolvimento da dança moderna no Brasil. Duschenes atuou, em São Paulo, entre as décadas de 1940 e 90, tendo um importante papel na recepção, introdução e desenvolvimento das propostas labanianas e dalcrozeanas no Brasil. Apesar da importância ímpar, seu trabalho intelectual, artístico, pedagógico, político e social foi pouco explorado no meio acadêmico. Duschenes teceu teias de conhecimento que envolvem nomes relevantes da vanguarda artística europeia: em Budapeste, estudou na escola de Olga Szentpál (1895-1968), na perspectiva de Jaques Dalcroze (1865-1950) e com Aurel von Milloss (1906-1988), ambos atravessados por conhecimentos labanianos; e na Inglaterra, com Rudolf Laban (1879-1958) e seus colaboradores e parceiros, Kurt Jooss (1901-1979), Sigurd Leeder (1902-1981) e Lisa Ullmann (1907-1985). Desse mergulho formativo Duschenes desenvolveu como eixo de seu trabalho a improvisação de movimento, colaborando com transformações na arte, pedagogia, pesquisa, terapia e reabilitação. Esse é um trabalho de natureza qualitativa e explorativa, que envolve pesquisa documental e de campo, trilhando indícios e memórias deixados por ela e por suas/seus importantes alunas(os) e colaboradoras(es) em entrevistas, conversas, aulas, análises de vídeos, artigos e documentos. Essa pesquisa aborda o cenário histórico, cultural e artístico que teceu seus caminhos de formação e atuação, em especial, as espacialidades construídas em sua casa/estúdio e as propostas pedagógicas e artísticas desenvolvidas entre as décadas de 1940 e 90. Esse estudo compreende que a continuidade, potencialidade e o desdobramento, de forma singular de seu trabalho, no Brasil, se constituiu pela sobreposição de camadas diversificadas compostas pela intensidade de sua presença nas performances de vida e arte.

Magister Artium (Sport, Recreation and Exercise Science) - MA(SRES) / The law of attraction, which is referred to as a pseudo-science by most scientists, focuses on the ability of athletes to reach deep within their soul/ energy sources to re-align their thoughts and feelings in order to achieve their desired outcomes or goals. This study explores whether kickboxers within the African continent are using the phenomenon of the law of attraction in order to enhance their kickboxing performances. In context of law of attraction, kickboxers attract achievements or experiences that they focus on into their life’s, weather these are positive or negative. This means that if they stay focused on the good and positive things in their lives, they will automatically attract good and positive things into their lives. Being part of the cosmic Universe, we are, in our smallest form, nothing but energy with magnetic abilities, hence, we have the ability to attract things or push things away. This belief can contribute to the fulfilment of the desires of kickboxers and can ultimately enhance their sport performances. A qualitative methodology was followed to explore the use of the law of attraction by kickboxers within the sport of kickboxing to achieve optimal results. The population of this study was chosen from kickboxers in countries within the continent of Africa where kickboxing is practiced. These participants were elite athletes (international competitors). A semi-structured interview guide (questionnaire) was used to interview selected kickboxers. Data was recorded and analysed in order to verify the use of the phenomenon of the law of attraction. It was found that most of the participants were unaware that they were utilizing elements of law of attraction and that some elements are intertwined with various sport psychological tools being utilised for sport enhancement. Findings further indicated that the thought process of the participating kickboxers was occupied by various desires or goals that needed to be achieved. The kickboxers found it difficult to prioritize or to streamline their thoughts and this created a situation where energy flowed in the wrong direction. Their feelings in terms of what they thought, what they wanted to achieve and what they could achieve must be in sync. This did not come out strongly because the kickboxers concentrated on their own physical capabilities and kickboxing skills and, at the same time, felt very stressful prior to a kickboxing contest. It was recommended that the phenomenon of law of attraction should be explored more extensively in relation to its application in kickboxing and moreover in sport. It is further recommended that the study be repeated exploring the perspectives of the coaches in the application of law of extraction in their coaching techniques. This study concludes that the law of attraction is not used to its fullest extent in the practice of kickboxing even though some elements were already used by kickboxers.

Les matériaux polymères sont de plus en plus utilisés pour remplacer d’autres types de matériaux tels que la céramique ou le métal. Cependant, la majorité des polymères ont un désavantage : ils doivent être ignifugés. Néanmoins, grâce à la recherche dans le domaine des matériaux, des polymères haute performance qui résistent à la chaleur et aux scénarios feu ont été conçus. Malgré l’avantage technique qu’apportent ces matériaux, ils sont extrêmement chers. Le but de ce travail est de comprendre la réaction au feu des matériaux hautes performances afin de concevoir des retardateurs de flamme qui réagiraient comme ces polymères hautes performances quand ils sont soumis à des températures élevées ou dans un scénario feu. Dans cette optique, le comportement à haute température et la réaction au feu de trois matériaux hautes performances ont été étudiés : polyetheretherketone (PEEK), polyimide (PI), et polybenzoxazole (PBO). Les mécanismes de décomposition de ces matériaux ont été évalués à travers différentes méthodes analytique telles que le pyrolyseur GCMS et l’ATG-FTIR. La cinétique de décomposition de ces matériaux a aussi été évaluée en utilisant l’ATG dynamique sous différentes atmosphères (azote, 2% oxygène, et air). Cela nous a permis d’acquérir du recul par rapport aux comportements thermiques de ces matériaux hautes performances, que nous avons pu exploiter pour définir des nouveaux retardateurs de feu. Ainsi, une série de retardateurs de flamme ont été synthétisés. Ces retardateurs de flamme font partie de la famille de bases de Schiff et comprennent le salen et ses dérivées, ainsi que certains de leurs complexes métalliques. Le comportement thermique et réaction au feu de ses retardateurs de flamme ont été évalués dans deux polymères : le polyuréthane thermoplastique, et le polyamide 6. Bien qu’une partie de ces retardateurs de feu aient montré peu d’effet au feu, certains ont montré une amélioration importante en termes de chaleur dégagée. Cette nouvelle approche vers la conception de charges ignifugeantes est prometteuse et peut être utilisée comme une méthode complémentaire pour la conception de matériaux haute performance à bas cout. / Polymeric materials have been increasingly used as replacement for other types of materials such as ceramics or metals. However, most polymers have a serious drawback: they need to be fire retarded. Nevertheless, thanks to advanced research in the field, high performance materials that resist high temperatures and fire scenarios have been developed. While these materials have extremely enviable properties, they are also very expensive. The aim of this PhD is to understand the fire behavior of high-performance polymers and design fire retardants that would mimic these high-performance materials under extreme heat or fire. To do so, the thermal and fire behavior of three high performance materials were studied: polyetheretherketone (PEEK), polyimide (PI), and polybenzoxazole (PBO). Their thermal decomposition pathways were evaluated thanks to high temperature analytical techniques like pyrolysis-GC/MS and TGA-FTIR. Model based kinetics of the thermal decomposition of these polymeric materials were also elucidated by using dynamic TGA under three different atmospheres (nitrogen, 2% oxygen, and air). These provided insight regarding the thermal behavior high performance polymers, which were used to conceptualize novel potential fire retardants. Therefore, a series of fire retardants that have demonstrated similar behaviors as high performance polymers in fire scenarios were synthesized. These fire retardants include a Schiff base: salen and its derivatives, as well as some of their metal complexes. The thermal behavior and fire performances of these fire retardants were evaluated in two polymeric materials using a relatively low loading (< 10 wt%): thermoplastic polyurethane, and polyamide 6. While some of the fire retardants had little effect, in terms of fire retardancy, some candidates showed a significant improvement in terms of peak of heat release rate. This reverse approach towards designing fire retardants has shown some promise and can be used as a complementary method for the design of high-performance materials at lower cost.

Wayne Barrington was a tenured member of the Chicago Symphony Orchestra for ten years and held positions with the LA Philharmonic, Pittsburgh Symphony, and San Antonio Symphony. He was an early member of the Chicago Brass Ensemble and a founding member of the LA Brass. While performing in these major orchestras and brass quintets, Barrington played alongside many notable musicians including Philip Farkas, Forrest Standley, Arnold Jacobs, Bud Herseth, Frank Crisafulli, Miles Anderson, Roger Bobo, David Krebhiel, and Christopher Leuba. Many of these musicians mentioned have received recognition in books and dissertations for their achievements as performers and pedagogues. Barrington, however, has not. Barrington was also a founding member and secretary of ICSOM, the International Conference of Symphony and Orchestra musicians. This organization helped improve the working conditions for musicians by creating transparency of orchestra salaries and giving musicians throughout the United States and Canada a say in ratifying their contracts. After Barrington's years as a symphonic musician, he transitioned from a full-time performer to a full-time pedagogue and taught for over three decades at the University of Texas at Austin, and several of his students went on to have successful careers of their own. His impressive career and influence are noteworthy. This lecture and the accompanying dissertation serve to pay tribute to the life and career of Wayne Barrington by offering a biography of his professional playing positions, union activism, teaching philosophy, and impact on several of his colleagues and students.

Based on the poetry of Jehanne Dubrow, professor of English at the University of North Texas, Stateside: An opera in one act uses the mythology of Penelope and Odysseus to tell a story of a modern day military wife. David T. Little's opera Soldier Songs, Sarah Kirkland Snider's song-cycle Penelope, and Stateside are dramatic musical works influenced by the genre, instrumentation, and formal structures of popular music that broadly deal with the emotional and internal elements of military life. These three works prioritize narrative structure of the text in relation to character, and employ elements of popular music harmony, melody, and structure. The critical essay analyzes selections from Soldier Songs and Penelope and explains the compositional process of Stateside. The creative document consists of the full score of Stateside: an opera in one act.