Thesis (A.M.)--University of Chicago, Graduate Library School. / Includes bibliographical references. Also available on the Internet.

Typescript. Includes bibliographical references (leaves 71-74).

Event-related potentials have been found to be a useful indicator of brain states and brain abnormality. The contingent negative variation, P300 and bereitschafts potential are well researched event-related potentials of particular interest. Many factors have to be considered in the design of measurement systems to record multiple channels of these signals accurately. The correlation between channels must be high and channel noise and distortion must be minimal, whilst the system as a whole must meet the requirements of the medical safety standards. For further research there was found to be a requirement for a dedicated thirty-two channel ERP measurement system that met these criteria. This has been achieved in a PC based system that utilises simultaneous sampling of all channels, and filters that extend to very low frequencies. Software control of the system enables user adjustment of recording parameters and paradigm implementation. Data processing using high level software enables digital signal processing techniques to be applied for further noise removal and signal analysis. The system has been tested using synthetically generated signals and by limited recording of the three ERPs. The results prove that the system is a suitable tool for high accuracy, multi-channel recording of ERPs.

The purpose of this study is to consider the playback as a consumer educational material, and to test its usefulness in transmitting and securing acceptance of consumer information when presented to selected groups of individuals. Another purpose of the study is to make a contribution to the sum total of results obtained by the Institute for Consumer Education in its experimentation with the playback.

abstract: This paper closely examines the performance practice regarding articulation of the preludes from Bach’s Well-Tempered Clavier Book I. Recordings by five pianists are studied: Vladimir Feltsman, Glenn Gould, Angela Hewitt, Andras Schiff, and Rosalyn Tureck. The recordings reveal certain recurring articulation patterns which are categorized into six articulation techniques: short slurs, long slurs, detached upbeat, accented downbeats, changing articulation, and rolled chords. The author has divided the preludes into four groups: preludes with continuous running figuration, lyrical preludes, lyrical preludes with distinct melody and accompaniment, and preludes with non-lyrical themes. Analysis reveals that for each group of preludes, there are a set of principles that these pianists follow. Overall, for non-lyrical preludes, the running sixteenth notes are played legato, staccato, or a short slur followed by staccato. The slower moving quarter and eighth notes stay mostly detached or staccato. For lyrical preludes, the melody remains largely legato. Articulation techniques are used more extensively in non-lyrical preludes than lyrical ones, and more often in the slower moving eighth notes than running figuration. Articulation techniques are often used as means of embellishment. They enhance the individual character of each piece and generate Baroque attributes. Despite the principles observed in the recordings, many isolated performances are found which do not conform to any of them, suggesting that there is no authoritative rule when articulating Bach’s works on piano. / Dissertation/Thesis / Doctoral Dissertation Music 2020

Master of Science

This monograph analyzes recordings of three orchestral excerpts for the oboe made between 1910 – 2016 and studies trends in interpretation, showing how performance practice is continually evolving as musical tastes change. The chosen excerpts span several style periods from the early nineteenth century to the twentieth century. The first excerpt, the cadenza from the Allegro con brio movement of the Fifth Symphony by Beethoven, has been under-studied by oboists and musicologists and yet it plays a pivotal role in the first movement of this iconic piece. The second excerpt, the Adagio solo from the second movement of Brahms’s Violin Concerto, has much room for individual interpretation and soloistic freedom on the part of the both the oboe and violin soloists. Finally, recordings of the technically-challenging twentieth-century excerpt, the “Prélude” solo from le tombeau de Couperin by Ravel, show how standards of musical perfection have been raised overtime as a result of the recording industry. Preference is given to recordings from countries with strong traditions in oboe performance, such as the United States, England, Germany, and France. To give a clear picture of performance trends, I study approximately ten recordings per decade. A large-data recording study such as this has never been attempted of orchestral excerpts for the oboe. Findings common to all three excerpts over time include: a decline in small-group, rhetorical phrasing; a decline in national schools; tempos becoming slower in the mid-twentieth century and faster towards the end of the twentieth century; and strongest similarities in playing styles of oboists with a shared pedagogical lineage. / Music Performance

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Thesis (Th. M.)--Dallas Theological Seminary, 2006. / Includes bibliographical references (leaves 54-58).

Thesis (Th. M.)--Dallas Theological Seminary, 2006. / Includes bibliographical references (leaves 54-58).