Thesis--Columbia University. / Includes bibliographical references.

Thesis (Ph. D.) University of Missouri-Columbia, 2006. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on August 1, 2007) Includes bibliographical references.

Universiẗat, Diss., 2004--Würzburg. / Erscheinungsjahr an der Haupttitelstelle: 2003.

Thesis (Ph.D.)--University of Oregon, 2003. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 263-269) and discography (leaves 270-276).

This thesis continues research exploring the benefits of using functional databases based around the functional data model for advanced database applications-particularly those supporting investigative systems. This is a growing generic application domain covering areas such as criminal and military intelligence, which are characterised by significant data complexity, large data sets and the need for high performance, interactive use. An experimental functional database language was developed to provide the requisite semantic richness. However, heavy use in a practical context has shown that language extensions and implementation improvements are required-especially in the crucial areas of string matching and graph traversal. In addition, an implementation on multiprocessor, parallel architectures is essential to meet the performance needs arising from existing and projected database sizes in the chosen application area.

No description available.

Pain and performance anxiety (PA) are common problems among string players. Therefore, the purpose of this study was to assess and compare PA and prevalence rates and locations of pain in violinists, violists, cellists, and bassists. Subjects completed a questionnaire that included sections on demographics, musical background, practice habits, musculoskeletal problems, non-musculoskeletal problems, and PA. Anthropometric data were gathered on all 115 subjects. Results show that there are differences in both pain and PA across instrument groups. Violinists reported the highest number of pain sites, followed by violists, bassists, and cellists. The left shoulder was the most-often reported pain site, followed by the neck and right shoulder. Aching was the most cited term selected to describe pain. Several anthropometric indices were significantly correlated with pain, notably right thumb to index finger span in both cellists and bassists. In all instrument groups, at least one pain site was significantly correlated with one of four PA questions. Results warrant the development of intervention strategies and further study of the relationship between pain and performance anxiety.

The original inspiration for this work came from Victor Hugo’s The Hunchback of Notre Dame when Quasimodo asks the gargoyles on the cathedral “Why was I not made of stone like thee?” as he watches Esmerelda ride off. This piece is an attempt to express the aspect of the human state contained in Quasimodo’s words. I believe that this piece succeeds in communicating both the innate humanity in the futile search for a state of invulnerability and the intrinsic value and beauty of despair. It is neither optimistic or pessimistic but rides a fine line between the two without being nihilistic. The purpose of tragedy is not to provide some test of character, nor is it always the result of someone’s failure. Indeed, just like Quasimodo, sometimes tragedy simply is and one must try to bear it without the armor of the gargoyles of Notre Dame.

The first movement of the "String Quartet" opens with a gradual unfolding of the lead motive in the first six measures of the section marked "Largo." The second theme is heard in the first two measures of the section marked "Moderato" after a false start by the first violin. The third movement utilizes the essential dance characteristics of the "Minuet" marking.

The title is intended to suggest that the work expresses the composer's innermost thoughts and feelings, even though these thoughts and feelings have no concrete realizations or programmatic connotations. It is precisely because of their abstractness that the thoughts and feelings are expressed in music rather than in words or some other concrete mode of communication. The total performance time is approximately twenty minute. The individual movements last about ten, four and one-half and five and one-half minutes, respectively.