abstract: The main objective of this research project is to expand the bassoon repertoire with the addition of three pieces. The first composition, Rust for bassoon and piano, was written by Christopher Marchant and is six minutes in duration; august, for woodwind quartet (flute, oboe, B-flat clarinet, and bassoon) was composed by Matthew Triplett and is four minutes in duration; the third composition, Rhapsody for woodwind quartet, was written by Conor Anderson and is six minutes in duration. The present document includes background information and a performance guide for each of the commissioned works. The performance guide provides recommendations and tips to aid musicians in preparing these works. This document also contains transcripts of interviews with each composer and performer. Finally, this document is accompanied by a recording of each piece. / Dissertation/Thesis / Christopher Marchant - Rust / Matthew Triplett - august, I. wake / Matthew Triplett - august, II. cicada breath / Conor Anderson - Rhapsody / Doctoral Dissertation Performance 2019

octor of Philosophy(PhD) / Molecular Evolution is the key to explain the divergence of species and the origin of life on earth. The main task in the study of molecular evolution is the reconstruction of evolutionary trees from sequences data of the current species. This thesis introduces a novel algorithm for inferring evolutionary trees from genetic data using quartet-based approach. The new method recursively merges sub-trees based on a global statistical provided by the global quartet weight matrix. The quarte weights can be computed using several methods. Since the quartet weights computation is the most expensive procedure in this approach, the new method enables the parallel inference of large evolutionary trees. Several techniques developed to deal with quartets inaccuracies. In addition, the new method we developed is flexible in such a way that can combine morphological and molecular phylogenetic analyses to yield more accurate trees. Also, we introduce the concept of critical point where more than one possible merges are possible for the same sub-tree. The critical point concept can provide information about the relationships between species in more details and show how close they are. This enables us to detect other reasonable trees. We evaluated the algorithm on both synthetic and real data sets. Experimental results showed that the new method achieved significantly better accuracy in comparison with existing methods.

No description available.

octor of Philosophy(PhD) / Molecular Evolution is the key to explain the divergence of species and the origin of life on earth. The main task in the study of molecular evolution is the reconstruction of evolutionary trees from sequences data of the current species. This thesis introduces a novel algorithm for inferring evolutionary trees from genetic data using quartet-based approach. The new method recursively merges sub-trees based on a global statistical provided by the global quartet weight matrix. The quarte weights can be computed using several methods. Since the quartet weights computation is the most expensive procedure in this approach, the new method enables the parallel inference of large evolutionary trees. Several techniques developed to deal with quartets inaccuracies. In addition, the new method we developed is flexible in such a way that can combine morphological and molecular phylogenetic analyses to yield more accurate trees. Also, we introduce the concept of critical point where more than one possible merges are possible for the same sub-tree. The critical point concept can provide information about the relationships between species in more details and show how close they are. This enables us to detect other reasonable trees. We evaluated the algorithm on both synthetic and real data sets. Experimental results showed that the new method achieved significantly better accuracy in comparison with existing methods.

Thesis (Ed.D.)--Teachers College, Columbia University, 1996. / Issued also on microfilm. Includes tables. Sponsor: Lenore M. Pogonowski. Dissertation Committee: Harold F. Abeles. Includes bibliographical references (leaves 123-125).

No description available.

Scholars and performers have long wondered when and why Beethoven composed an alternative ending to his string quartet, Opus 130. The original, the Grosse Fuge, was an immense and heavy multi-sectioned fugal finale; the second was a much shorter and lighter hybrid sonata-rondo form finale. The second finale was the last substantial piece Beethoven composed and is reminiscent of earlier dance-like 2/4 Allegro finales composed by Beethoven, likely influenced by Haydn. This style is seemingly incongruous with our current understanding of Beethoven’s late style, centered around foreign harmonies and forms, with expansive thematic material. While research on this topic has been extensive, including studies in biography, source material, reception history, and harmonic and formal analysis, it has not led to a fully adequate understanding of this second finale. My study aims to provide a fresh understanding of this movement through the examination and evaluation of the later stages of its composition. The major sections of revision found in the composing score, Berlin, Deutsche Staatsbibliothek, MS Autograph 19c, and the autograph fair copy, Berlin, Deutsche Staatsbibliothek, MS Grasnick 10, are closely studied here for the first time. In order to highlight important steps in the creative process, I have selected four heavily revised areas from each of the sonata-form sections of this movement as shown in both manuscripts. My interpretation of these revisions is based on comparison to parallel sections in both manuscripts and the final version, as shown in transcriptions of these passages from the sketches along with accompanying images of the original pages. For each of these sections, I attempt to suggest the order in which Beethoven made his revisions, and I discuss their formal, thematic and harmonic implications. As a whole, these revisions reveal Beethoven’s concern for economical treatment of thematic material, especially motives from theme 1a, and a concern for playing upon the harmonic and formal expectations of his audience. The voicing of theme 2a in the exposition and recapitulation, and the voicing and texture of theme 1a in the development, the false and authentic recapitulations and the coda are analyzed in terms of momentum, sectional balance, texture, and dramatic tension. I suggest that further study of these sketches and related primary source material might help to revise our notion of Beethoven’s late style.

Under mitt tredje år som musiklärarstudent på Musikhögskolan Ingesund är jag den enda som har klassisk saxofon som huvudinstrument. Mitt intresse för saxofonkvartettspel har alltid varit stort men när det nu inte finns någon möjlighet till kvartettspel har intresset och längtan efter att få spela kvartett vuxit ännu mer. Därför handlar detta arbete om saxofonkvartett. Syftet har varit att ta reda på de utmaningar jag upplever när jag spelar på de fyra olika saxofonerna i kvartetten och när jag studerar in respektive saxofons stämma i ett kvartettstycke. För att genomföra studien har jag främst använt loggbok där jag har skrivit om mina upplevelser och sedan delat upp dem i olika kategorier; fysiska utmaningar, stämmornas utmaningar och instrumentens utmaningar. Resultatet visar bland annat på skillnader vad gäller instudering av varje saxofons respektive stämma och saxofonens roll i kvartetten. Det visar också på skillnader i hur jag använder min kropp för att få fram den optimala klangen på varje saxofon. I arbetets diskussionskapitel jämförs mina upplevelser med forskning och information från litteratur till stor del skriven av andra saxofonister. / During my third year as a music teacher student on Musikhögskolan Ingesund I am the only one who studies classical saxophone as my major subject. My interest of playing saxophone quartet have always been great but when there is no opportunity for quartet playing, the interest and the desire to play quartet has grown even more. Therefore, this work is about saxophone quartet. The purpose has been to find out the challenges I experience when I play the four different saxophones in the quartet and when I study the respective saxophone's part in a quartet piece. In order to complete the study, I have mainly used a logbook where I have written about my experiences and then divided them into different categories; physical challenges, the challenges of the parts and the challenges of the instruments. The results show, among other things, differences in the studying of each saxophone´s part and the saxophones role in the quartet. It also shows differences in how I use my body to get an optimal sound on each saxophone. In the discussion of the work, my experiences are compared with research and information from literature mainly written by other saxophonists.

Musical analysis has traditionally been located within the context of musicology. It is therefore an activity usually considered the purview of music scholars rather than practical musicians. The musical analyses produced by music scholars therefore provide us with intellectual understandings of musical works, rather than insights into the experience of listening to or playing music. In this thesis, I will propose that those agents involved in practical music-making can produce insights into musical works that are as valid as the work of traditional music scholarship. I will attempt to re-conceptualize the position of the ‘knower’ or ‘experiencer’ - the performer - of music as one with primary access to knowledge of a musical work, and therefore ideally suited to offer analyses of these works. The establishment of the performer as a bearer of central analytical knowledge functions in direct opposition to the traditional distinction between ‘theory’ and ‘practice’. My thesis will trace the Platonic origins of the philosophical separation of practice and research, and as an alternative to the traditional separation of practice and research, I shall explore the concept of Practice-Based Research (PBR). My exploration of PBR will be informed by phenomenological approaches to music scholarship. As a field of enquiry which concerns itself with experience, the phenomenology of music suggests that the mind and body of the practitioner are important sources of musical insight. To address this issue, Bourdieu’s notion of habitus will be explored. The habitus will be shown to contain a vast network of socio-cultural codes informing the practitioner’s relationship with the musical work. A central aim of this thesis is to explore the possibilities of using practice-based research as the foundation for the study and analysis of a composition, in order to allow for a deeper understanding of the work by means of the generation and harnessing of practical knowledge. Thus, the theoretical outline of PBR provided in this thesis will be applied to a piece of practical performance-based analysis. As such, an analysis of Mahler’s Quartetsatz will be used as the basis on which to draw knowledge in this project.

No abstract available. Accompanies the compositions of Thunderbird : twee bedrywe, Arabia : konsert vir klavier en orkes; Vyf miniature vir klarinet (b-mol) en kitaar; Vyf toonsettings van Afrikaanse liefdesgedigte vir sopraan en strykkwartet, DMus thesis, kept in the music Library, as well as the Special Collection Section of the Merensky Library (level 5). / Thesis (D Mus (Komposisie))--University of Pretoria, 2007. / Music / unrestricted