Thesis (Ph. D.)--Ohio State University, 1968. / Includes vita. Includes bibliographical references (leaves 216-239). Available online via OhioLINK's ETD Center.

No description available.

Thesis (M.A.)--University of Wisconsin--Madison, 1954. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis--Vrije Universiteit te Amsterdam, 1989. / Contains the libretto by Thomas Betterton for Purcell's opera adapted from John Fletcher's play. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph. D.)--Catholic University of America, 1918. / Vita. Bibliography: p. 105-107.

Inaug.-Diss.--Bern. / "Der Instrumentstil von Purcell. Anhang. Beispiele 1-240": 20 p. inserted. Vita. Includes bibliographical references.

The Restoration of Charles 11 to the throne of England in 1660 gave rise to a new form of composition. The “Ode,” loosely patterned on the poetry of Pindar and cast in the form of an address, was written for royal occasions such as birthdays and public events and to welcome returning monarchs from their progresses. The primary feature and intent of this poetry was flattery and adulation. Henry Purcell (1659–1695) set sixteen of these texts to music for the Stuart monarchs, and his contributions are considered to be among the best of the genre. Musically, the English Ode is similar to the Italian cantata but is particularly associated with parallel developments in the English verse anthem. The Ode featured the use of solo and concerted voices, chorus, and orchestra with continuo in alternating vocal movements and choruses. Although similar to the operatic prologues of Lully in France in the 1670s, the Ode was wholly an English invention, having no direct counterpart in France. Purcell is credited with expanding the scope of the court Ode with a wider range and sensitivity to dramatic effect, the inclusion of more colourful orchestral instruments to the basic string group, virtuosic writing for fine performers, and the inclusion of ritornelli, recurring ground basses, and other organizational features which gave coherence and unity to the form. However, until very recently there has been little critical evaluation of these pieces, and they are just now beginning to be recognized as masterpieces. Through analysis, this dissertation focuses on the chronological changes of style seen in Purcell's writing of court Odes, of which there is at least one contribution every year from 1680–1695 (with the exception of 1688, the year of James II's departure). The unity of purpose, as well as performers and instrumentalists available at the court (so that Purcell was not compromised in his writing by a lack of talented forces), offers a unique opportunity to examine how his style changed and matured over time. The disposition of movements, harmony, phrasing, structural organization, and counterpoint—perhaps the most important element of his work as a composer—are discussed in the context of his stylistic and technical development. / Graduate

La réalisation d’un laser en optique intégrée sur niobate de lithium dopé erbium passe par la création d’une cavité Fabry-Pérot. Cette cavité peut être obtenue de manière classique en déposant des miroirs diélectriques multicouches aux extrémités du guide d’onde. Des problèmes de fiabilité de fabrications de ces miroirs peuvent être contournés en utilisant des réseaux de Bragg gravés à la surface du guide d’onde. Une autre approche, c’est un laser DFB bien connu, dans ce cas le cœur du guide à contraste d’indice, est structuré périodiquement par des réseaux de Bragg aussi gravés à la surface. Cette thèse présente une nouvelle configuration d’un cristal photonique (CP) 2D de forme originale LOM (pour Laterally Over-Modulated) pour remplacer les réseaux de Bragg gravés à la surface de guide d’onde de titane diffusé sur un substrat de niobate de lithium dopé erbium. Ce travail de thèse s'inscrit dans ce mouvement. Son but est la conception, la fabrication et la caractérisation de LOM, destinées à réaliser un laser émettant à λ = 1,55µm répondant aux exigences de l'intégration photonique. La structure LOM proposée vise en même temps : - Le renforcement de l’émission spontanée par effet Purcell dans un milieu amplificateur où le couplage, de la sur-modulation de l’indice optique CP1D (effet Bragg) et CP2D (BIP), replie les relations de dispersion et crée de fait des régions de faible vitesse de groupe. - Le remplacement de la configuration Fabry-Pérot nécessitant un dépôt de couche diélectrique par une structure DFB réalisable en une seule étape de fabrication, d’où le choix de la technologie FIB « Focused Ion Beam ». L’optimisation de LOM occupe une partie du travail. Des simulations numériques ont été menées en deux dimensions par un logiciel « RSoft », utilisant les techniques des ondes planes et FDTD, pour obtenir un meilleur rendement de transmission possible autour de 1.55µm. En accord avec les simulations, nous présentons la réalisation et la caractérisation de LOM dans un guide d’onde Er:Ti:LiNbO3 de coupe X propagation Z pompé à 980nm par une diode laser continue. Un gain d’amplification de 9 dB a été obtenu pour un LOM de 780 trous d’air de diamètre 290nm et de période 540nm constituant une surface de (22µm X 9µm). L’étape suivante consiste à améliorer le LOM pour arriver à créer un laser intégré. / Achieving an erbium doped lithium niobate integrated optical laser needs to create a classic Fabry-Perot cavity or a distributed feedback structure (DFB). The Fabry-Perot cavity can be obtained by a multilayer dielectric mirrors at the ends of the waveguide. In the DFB Structure the waveguide is structured periodically by a surface Bragg gratings. This thesis presents a new structure of a 2D photonic crystals (PC) form called LOM (Laterally Over- Modulated) to replace Bragg gratings. The objective of this thesis is the design, manufacture and characterisation of the LOM structure, intended to achieve a LiNbO3 integrated laser emitting at 1.55μm. The proposed LOM structure aims at the same time: - To enhance the spontaneous emission by Purcell effect in Er:LiNbO3 area where LOM structure allows fold dispersion relations and create regions of low group velocity. - To replace the Fabry-Pérot structure by a LOM requiring only one-step growth, where the choice of FIB "Focused Ion Beam" technology. Optimization of the LOM structure occupies part of the work. Numerical calculations were conducted by "RSoft" software, using plan-waves and FDTD techniques, for maximum transmission around 1.55μm. Finally, we present the achievement and the characterisation of our LOM structure in a x-cut and z-propagating Ti:Er:LiNbO3 waveguide using 980nm pump. A 9 dB gain was obtained for a LOM sample (22 μmX9 μm) formed by 780 air holes of diameter D=290 nm and period a=540 nm. The next step is to improve the LOM structure to create an integrated laser.

No description available.

abstract: Following the Restoration of the English monarchy in 1660, musical culture gradually began to thrive under the support of royal patronage and the emerging middle class. The newly crowned Charles II brought with him a love of French music acquired during his time in exile at the court of his cousin, the young Louis XIV. Organ builders, most notably Bernard Smith and Renatus Harris, brought new life to the instrument, drawing from their experience on the Continent to build larger instruments with colorful solo stops, offering more possibilities for performers and composers. Although relatively few notated organ works survive from the Restoration period, composers generated a niche body of organ repertoire exploring compositional genres inspired by late 17th-century English instruments. The primary organ composers of the Restoration period are Matthew Locke, John Blow, and Henry Purcell; these three musicians began to take advantage of new possibilities in organ composition, particularly the use of two-manuals with a solo register, and their writing displays the strong influence of French and Italian compositional styles. Each adapts Continental forms and techniques for the English organ, drawing from such forms as the French overture and récit pour le basse et dessus, and the Italian toccata and canzona. English organ composers from the Restoration period borrow form, stylistic techniques, ornamentation, and even direct musical quotations, to create a body of repertoire synthesizing both French and Italian styles. / Dissertation/Thesis / Doctoral Dissertation Music 2014