Various approaches to rhythmic analysis have been produced by recent research. Many of these are most suitable for tonal musical compositions; when other methods of tonal organization are present, these theories are less useful. This study uses accent based criteria in order to establish a set of analytical procedures which are applicable to a wide range of musical compositions. Four accent types (contour, agogic, dynamic, and motivic) are identified in two string quartet movements. These are Beethoven's Op. 18, No. 1, movement four, and Bartok's String Quartet No. 4, movement five. The study finds great differences in accent placement between the two works. In both works accents affect phrase grouping and meter. Accent patterns and composite accent profiles, which represent all the accent types in a particular passage, are compiled for important themes. Large fluctuations in accent use are evident between the formal sections of each work.

雨(Rain) : for SATB choir and piano -- String quartet no. 1 -- The Ferris wheel fantasia : for double-winds orchestra. / Yu (Rain) : for SATB choir and piano -- String quartet no. 1 -- The Ferris wheel fantasia : for double-winds orchestra. / Kwan Lai-yan Livia. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2006. / Abstracts in English and Chinese. / Chapter 1. --- 雨(Rain ) --- p.1 / For SATB Choir and Piano / Chapter 2. --- String Quartet No.l --- p.23 / Chapter 3. --- The Ferris Wheel Fantasia --- p.41 / For double-winds Orchestra

This thesis explores ways in which T. S. Eliot, when he wrote his most autobiographical poetic work<em> Four Quartets</em>, might have been influenced by Thoreaus famously autobiographical prose work <em>Walden</em>, written nearly a century earlier<em>.</em> Much evidence suggests that Eliot knew of the earlier writer and his work. Not only did Eliot assign <em>Walden</em> as suggested reading in a course he taught, but as time went on Eliot also admitted that he was influenced by the New England literary tradition. Reading <em>Four Quartets</em> in light of <em>Walden</em> and its context not only helps a reader understand the connections between the two works, it also gives a reader a better understanding of <em>Four Quartets</em>' fundamental meanings. Although Eliot in <em>Four Quartets</em> adds another layer of his spiritual goals beyond those expressed in <em>Walden</em>, he expresses his religio-philosophical quest for Incarnational "still point[s] of the turning world" (<em>Burnt Norton</em> 62) using autobiographical aspects and poetic tropes that are in many ways strikingly similar to the expressions also present in <em>Walden</em>. </p> <p>The chapters of this thesis unfold these concepts. My Introduction highlights some of the key connections. Chapter One sets the stage for the discussion of the Incarnation by explaining how <em>Four Quartets</em>' spiritual round-trip journey from England to America is grounded in real world places and experiences. This chapter also explains how this guardedly autobiographical re-collection of an almost-real journey includes a response to Eliots personal history and to his literary ancestors, including Thoreau<em>.</em> In Chapter Two, I unpack the similarities and differences between many of the religio-philosophical questions asked in the two works, focusing in on Eliots and Thoreau's complex handlings of such themes as simplicity versus complexity, Incarnation, stillness versus activity, and the difficulty of achieving spiritual goals. Finally, these religio-philosophical questions are incarnated in very similar poetic devices and tropes within both works; in Chapter Three, I describe the most important of these. The "still point of the turning world" (Eliot, <em>Burnt Norton</em> 62) and the "mathematical point" (Thoreau, <em>Walden</em> 1.100) are rich metaphors that form the heart of this chapter.</p>

This thesis explores ways in which T. S. Eliot, when he wrote his most autobiographical poetic work<em> Four Quartets</em>, might have been influenced by Thoreaus famously autobiographical prose work <em>Walden</em>, written nearly a century earlier<em>.</em> Much evidence suggests that Eliot knew of the earlier writer and his work. Not only did Eliot assign <em>Walden</em> as suggested reading in a course he taught, but as time went on Eliot also admitted that he was influenced by the New England literary tradition. Reading <em>Four Quartets</em> in light of <em>Walden</em> and its context not only helps a reader understand the connections between the two works, it also gives a reader a better understanding of <em>Four Quartets</em>' fundamental meanings. Although Eliot in <em>Four Quartets</em> adds another layer of his spiritual goals beyond those expressed in <em>Walden</em>, he expresses his religio-philosophical quest for Incarnational "still point[s] of the turning world" (<em>Burnt Norton</em> 62) using autobiographical aspects and poetic tropes that are in many ways strikingly similar to the expressions also present in <em>Walden</em>. </p> <p>The chapters of this thesis unfold these concepts. My Introduction highlights some of the key connections. Chapter One sets the stage for the discussion of the Incarnation by explaining how <em>Four Quartets</em>' spiritual round-trip journey from England to America is grounded in real world places and experiences. This chapter also explains how this guardedly autobiographical re-collection of an almost-real journey includes a response to Eliots personal history and to his literary ancestors, including Thoreau<em>.</em> In Chapter Two, I unpack the similarities and differences between many of the religio-philosophical questions asked in the two works, focusing in on Eliots and Thoreau's complex handlings of such themes as simplicity versus complexity, Incarnation, stillness versus activity, and the difficulty of achieving spiritual goals. Finally, these religio-philosophical questions are incarnated in very similar poetic devices and tropes within both works; in Chapter Three, I describe the most important of these. The "still point of the turning world" (Eliot, <em>Burnt Norton</em> 62) and the "mathematical point" (Thoreau, <em>Walden</em> 1.100) are rich metaphors that form the heart of this chapter.</p>

Pendant ce travail de thèse, j'ai tout d'abord finalisé le développement d'un système expérimental unique dédié aux études de transport électronique de nanostructures multi-terminaux de faible impédance. Ce dispositif permet des mesures de conductance et de bruit à très basse température (30 mK), avec une résolution du pico-ampère en utilisant des SQUIDs comme amplificateurs de courant. Dans le chapitre 5, je fournis une description du fonctionnement de la mesure. De plus, je décris la calibration du dispositif et la manière de déduire des quantités physiques à partir des mesures.Au Chapitre 6, je décris des mesures de transport avec des jonctions diffusives à trois terminaux (trijonctions). Dans une géométrie, que l'on appelle T-shape, des électrodes supraconductrices d'Aluminium sont connectées entre-elles par une partie centrale métallique non-supraconductrice de Cuivre. Pour ces nanostructures, on observe des anomalies de conductance à basse tension qui n'ont jamais été observées expérimentalement. Ces anomalies de résistance/conductance ressemblant fortement à l'effet Josephson apparaissant lorsque deux des potentiels appliqués à la trijonction ont une somme nulle. Les anomalies sont présentes sur une large échelle de tension sans perte d'amplitude. De-même, elles montrent une grande robustesse en température. Des expériences sous champ magnétique appliqué montrent une forte suppression des anomalies pour un champ magnétique correspondant à flux magnétique dans la partie normale de l'ordre d'un quantum de flux. Ceci indique qu'un mécanisme cohérent de phase doit être à l'origine des anomalies. Dans la littérature, deux mécanismes sont proposés pour expliquer ces effets.Le premier, nommé "mode-locking", est un accrochage dynamique des courants Josephson ac, qui est induit par l'environnement expérimental (circuit). Cette situation a été étudiée dans les années soixante sur des microstructures Josephson couplées à base de liens faibles. Pour tester cette explication, nous avons mesuré un échantillon composé de deux jonctions Josephson spatialement séparées. Les anomalies n'apparaissent pas dans une telle géométrie, pas même avec une amplitude réduite. Ceci indique qu'une synchronisation par l'environnement expérimental ne peut pas être à l'origine des anomalies observées. Le deuxième mécanisme théorique évoqué est nommé "mode de quartet" et a été proposé récemment par Freyn et collaborateurs. L'une des électrodes supraconductrices distribue alors des doublets de paires de Cooper. Chacune de ces deux paires se scindent alors en deux quasiparticles se propageant chacune vers deux contacts supraconducteurs différents. Dans un tel mécanisme deux quasiparticules, issues de deux paires de Cooper différentes, arrivent sur chacun des deux contacts supraconducteurs. Lorsque les tensions appliquées entre le contact supraconducteurs émetteur et les deux autres contacts sont exactement opposés, les phases des fonctions d'ondes électroniques des quasiparticules arrivant sur un même contact supraconducteur sont telles que ces deux quasiparticules peuvent se recombiner pour former une paire de Cooper. Par ce mécanisme le doublet de paires de Copper émis se distribue de manière cohérente en deux paires de Cooper chacune dans un contact supraconducteur différent.Ce mécanisme est favorable, car il est robuste envers le désordre et peut ainsi exister sur une large échelle de tensions.Au cours de cette thèse, j'ai montré que ces anomalies sont effectivement présentes pour des tensions appliquées correspondant à des énergies bien supérieures à l'énergie de Thouless. A contrario, les effets cohérents responsables de l'effet Josephson ac doivent être fortement atténués sur cette même échelle d'énergie, ce qui rend peu probable le mécanisme de mode-locking. / During this PhD, I have first finished the development of a unique experimental set-up, dedicated for studies of electronic transport of low impedance multi-terminal nanostructures. This set-up allows conductance and noise measurements at very low temperature (30 mK), with a resolution of a few pico-ampere by using SQUIDs as current amplifiers. In chapter 5, I give some explanation of the measurement working principle. Furthermore, I explain the calibration of the experimental set-up as well as how to extract physical quantities from the measurements.In chapter6, I explain transport measurements on diffusive tri-terminal junctions (tri-junction). In a T-shape called geometry, the superconducting Al-electrodes are connected via a common metallic, non-superconducting part of Copper. For these nanostructures, we observe features in the conductance at low voltage, which have been never observed yet experimentally. These features in conductance/resistance have a striking resemblance with a dc-Josephson effect, appearing when two applied potentials on the tri-junction compensate exactly each other.In literature, two mechanisms are proposed to explain this effect.The first mechanism, called "mode-locking", corresponds to a dynamic locking of ac-Josephson currents, which is induced by the experimental environment (circuit). This situation has been extensively studied in the 60's on coupled microstructures, based on weak links. In order to test this explanation, we have measured a junction, which is composed of two spatially separated Josephson junctions. The anomalies does not show up in such a geometry, even not with strongly reduced amplitude. This indicates, that synchronization via the experimental environment can't be the origin of the observed features. The second theoretical mechanism is named "quartet-mode" and has been recently proposed by Freyn and Co-workers. In this process, one superconducting electrode emits doublets of Cooper-pairs. Each of the two pairs splits into two quasi particles propagating toward different superconducting contacts. In such a mechanism, two quasi-particles originating of two different Cooper-pairs, arrive each in the two superconducting contacts. If the applied voltage between the emitting superconducting contact and the two other contacts is exactly opposite, the phase of the electronic wave functions of the arriving quasi-particles on the same superconducting contact are such, that these two quasi-particles can recombine by forming a Cooper-pair. Due to this mechanism, the emitted doublet of Cooper-pairs is coherently distributed as two Cooper-pairs, each of them in a different superconducting contact. This mechanism is favored, since it is robust with respect to disorder and can hence also exist over a large range of voltage. During this PhD, I have shown that these anomalies are indeed present for applied voltage corresponding to energies well above the Thouless energy. Argumentum a contrario, the coherent effects responsible for the ac Josephson-effect have to be strongly attenuated over the same range of energy, which makes low probable the effect of mode-locking.

The purpose of this thesis is to investigate the use of isorhythm in two of Arnold Schoenburg's chamber works, the Third and Fourth String Quartets. The study of rhythm in twelve-note music has been generally relegated to a position less prominent than that held by the study of any of the other important aspects of the style. This condition is due probably to the fact that rhythm underwent less change with the advent of the twelve-note school of composition than melody, counterpoint, or harmony experienced. However, Rufer states that "rhythm has a special formal function in Schoenberg's twelve-note music, in addition to its motivic function and to that of creating subdivisions.

published_or_final_version / abstract / Music / Master / Master of Philosophy

This study attempts to establish a connection between the moral philosophy of F. H. Bradley, particularly as expressed in his Ethical Studies and modified in the teaching of Josiah Royce, and the moral thought of Eliot's poetic writings, beginning with "The Love Song of J. Alfred Prufrock," culminating in Four Quartets, and finding a new mode of expression in the dramas. By tracing Eliot's moral thought to the nineteenth century anti-utilitarian moral controversies out of which Bradley's Ethical Studies grew, this study clarifies Eliot's position in the history of moral philosophy. For Bradley, the end of morality is not self-gratification; it is the realization of the universal will in the will of the individual. Hence the aim of moral action must be away from self-concern and toward the duties that society imposes on the individual. The Absolute, in which all individuals and societies culminate, invites us to true self-realization, while the egotistic self solicits us to physical and spiritual self-indulgence. Royce modifies Bradley's Absolute by making it a redemptive community in which the selfish actions of the past are given new meaning by heroic sacrifices in the present and future. The moral thought of Eliot's poetry and drama closely parallels this ethical system. In these works, Eliot dramatizes situations in which selfless motives are scarcely distinguishable from egotistic needs, merited suffering from heroic martyrdom. In Murder in the Cathedral, for instance, Thomas the Archbishop cannot will his martyrdom for the good of God's kingdom without also willing the gratification of his personal vanity. Four Quartets presents the same moral dilemma working itself out in Eliot's thoughts about his own life. He wonders if he has chosen his life as poet and critic as an unselfish response to duty--and hence as a path to God--or if he has chosen it out of personal vanity. In his considerations of time and eternity he comes to the conclusion that it is possible to redeem past mistakes by the present right intention.

This portfolio presents seven compositions composed for different instrumental and vocal forces, accompanied by a commentary and recordings of some of these works. Across the seven pieces there has been a concern with building longer-term structures; establishing a stronger developmental style; and with moving towards a more systematised approach to harmony as a way of creating a harmonic language that can underpin development more efficiently.  Several of the works show a direct engagement with the issue of form, which is approached from the perspective of Classical models, the listener’s perception and in the context of a highly chromatic harmonic language.  In contrast, two works (<i>Aubade</i> and <i>So Turn Your Heart</i>) engage more directly with diatonic models of harmony. The dominant concern across all the works presented has been the desire to create developmental, direct music in which the notion of transformation, rather than stasis and ritual, are of paramount importance.  From a melodic, harmonic and structural point of view each work represents different ways in which this has been attempted. The commentary that accompanies the works explores many of these ideas in more detail as well as setting out the origins and development of each composition. There is also an explanation as to how the initial material was decided upon and utilised during the compositional process. The commentary then concludes with a summary of what has been achieved over the course of the programme and where this might lead in the future.

Wong Hiu Lam. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2006. / Includes bibliographical references (leaves 104-109). / Abstracts in English and Chinese. / Abstract --- p.iv / Abstract (Chinese Translation) --- p.v / Acknowledgements --- p.vi / Chapter Chapter 1 --- Introduction --- p.1 / Overview of Bartok's six quartets --- p.1 / Literature review --- p.4 / Objectives --- p.9 / Chapter Chapter 2 --- "Karpati, Antokoletz and Wilson's Analytical Approaches" --- p.11 / Karpati's idea of mistiming --- p.11 / Antokoletz's interval cycle and interval ratio --- p.13 / Wilson's interest in structural hierarchy --- p.18 / Chapter Chapter 3 --- "The Fifth Quartet, First and Fifth Movements" --- p.23 / "The Fifth Quartet, first movement" --- p.24 / Form --- p.24 / Pitch centres --- p.26 / Fourths --- p.28 / "The Fifth Quartet, fifth movement" --- p.35 / Form --- p.35 / Pitch centres --- p.37 / Fourths --- p.37 / Symmetries --- p.41 / Chapter Chapter 4 --- "The Fifth Quartet, Second and Fourth Movements" --- p.45 / Bartok's analysis of the Fifth Quartet --- p.45 / Other analyses --- p.46 / Bartok's formal analysis of the second and fourth movements --- p.47 / An extended introduction --- p.48 / Similarities between the second and fourth movements --- p.49 / Prominent intervals and pc sets --- p.49 / Instrumental sequence --- p.53 / Juxtaposition and superimposition of(0123)s and (0167)s --- p.53 / Juxtaposition and superimposition: melody and chordal accompaniment --- p.54 / Thematic kinship --- p.55 / Texture --- p.57 / Chapter Chapter 5 --- "Figuring Thirds in the Fifth Quartet, Third Movement" --- p.59 / Formal structure of the whole quartet and the third movement --- p.59 / Motive a and third-structure --- p.60 / "Definition of ""third-structure""" --- p.61 / Arch-shaped melodies formed by thirds --- p.61 / Third-structures and the diatonic collection --- p.62 / Third-structures and the octatonic collection --- p.62 / Third-structures and the chromatic collection --- p.67 / Referential collections and formal structure --- p.67 / Chapter Chapter 6 --- "The Sixth Quartet, First and Fourth Movements" --- p.69 / Existing Literature --- p.69 / Formal structure --- p.71 / Mesto themes of the two movements --- p.73 / An unusual finale --- p.75 / Fourths --- p.79 / Chapter Chapter 7 --- "Duality in the Sixth Quartet, Second Movement" --- p.84 / Karpati and dual thirds --- p.87 / Dual centres B and G# --- p.88 / (0347)s --- p.90 / Relationship between duality and form --- p.92 / Chapter Chapter 8 --- "The Sixth Quartet, Third Movement" --- p.94 / Chapter Chapter 9 --- Conclusion --- p.100 / Selected Bibliography --- p.104