The purpose of this research was to focus on how guitar teachers and pedagogues in the pop, rock and jazz genres use single-string methods of teaching and playing with students at beginner, intermediate and advanced levels. The goal was to provide experienced and upcoming guitar teachers with ways and methodologies to focus on single-string playing and teaching, which can lead to guitar students getting a full introduction to the guitar’s potential as a musical instrument.Through interviews conducted with five guitar teachers who have students from beginner to advanced levels of playing, I compared and contrasted the respondents’ teaching backgrounds, personal introductions to single-string playing, single-string method usages, perceptions of student responses, views on single-string playing and guitar method books, and perceived benefits of single-string playing for their students. From the study results, I concluded that a single-string teaching method is a feasible method to teach students from beginners to advanced levels such topics as improvisation, note location, ear training, sightreading, music theory, chord arpeggios, articulations, scales, string bending, hand movement, finger independence and hand positions. It is the teacher’s responsibility to adapt their materials and exercises based on where the students are in their learning. / Syftet med studien var att fokusera på hur gitarrlärare och gitarrpedagoger i pop, rock och jazz genrer använder single-string i sitt spelande och som undervisningsmetod med gitarrelever på nybörjar, mellan och avancerade nivåer. Målet var att ge erfarna samt blivande gitarrlärare tillvägagångsätt och metoder i hur de kan fokusera på single-string spelande och undervisning, vilket kan ge gitarrelever en fullständig introduktion till gitarrens potential som ett musik instrument.Genom intervjuer med fem gitarrlärare som har elever från nybörjare till avancerade nivåer jämförde och kontrasterade jag respondenternas bakgrunder som lärare, personliga introduktioner till single-string spelande, sätten på vilken de använder single-string metoder, och synpunkter på single-string spelande och metodböcker samt deras uppfattningar om fördelarna som elever får av single-string spelande. Resultatet av forskningen visade att single-string metod är rimlig att använda i undervisning av elever från nybörjare till avancerade nivåer inom ämnen som improvisation, notinlärning, gehör, notläsning, musikteori, ackord arpeggio, skalor, strängböjning, handrörelser, fingersjälvständighet och handställningar. Det är lärarens ansvar att anpassa sina läromaterial och övningar till elevernas inlärningsnivåer.

In 1873, Brahms completed the two op. 51 quartets. These were not the first string quartets Brahms composed, hut they were the first that Brahms allowed to be published. He found the string quartet difficult; as he confided to his friend Alwin Cranz, he sketched out twenty string quartets before producing a pair he thought worthy of publishing. Questions arise: what aspect of the string quartet gave Brahms so much trouble, and what in the op. 51 quartets gave him the inclination to publish them for the first time in his career? The op. 51 quartets are essential to understanding the evolution of Brahms's compositional technique. Brahms had difficulty limiting his massive harmony and polyphony to four solo strings. This difficulty was compounded by his insistence on deriving even the accompaniment from the opening main motivic material. This study investigates the manner in which Brahms distributes the main motivic material to all four voices in these quartets, while at the same time highlighting each voice effectively in the dialogue.

This work for harp and string orchestra uses musical materials derived from a chord taken from the lydian mode. The three major formal divisions are A, B, and A'. The A and A' sections are more homophonic in texture and slower in harmonic rhythm. The B section is mostly contrapuntal. Sections A and A' are dreamy and dance-like while the B section is turbulent and unrestful. These characteristics are represented by sustained sonorities, twoagainst- three rhythmic configurations, and lilting melodic materials in sections A and A', as opposed to the fragmented, ever-changing melodic material of the B section. The interweaving of the musical materials into a consummate form represents the conversations, personalities, and exploits of these Atmosphantoms, giving the music its philosophical and conversational character.

This thesis is concerned with the historical context and evaluation of the string quartets of Franz Berwald. It will establish the environment within which Berwald composed these quartets, and show the results of his efforts. The material for this investigation was gathered from musical scores and literature about music. Chapter I gives an introduction to the thesis and a short biographical sketch of Berwald. Chapter II surveys the string quartet in the first half of the nineteenth century, citing the work of major composers. This chapter concludes with an examination of the influences on Berwald's musical styles. Chapter III surveys Berwald's musical output and describes the Quartet in G Minor. Chapter IV describes his last two quartets. The evaluations and conclusions are presented in Chapter V.

Capriccio -- Rhapsody -- The Miliky way. / Li Cheong. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2004. / Abstracts in English and Chinese. / Capriccio (for four percussion players) --- p.1 / Rhapsody (for string quartet) --- p.16 / The Milky Way (for orchestra) --- p.31

The holographic principle has become an extraordinary tool in theoretical physics, most notably in the form of the Anti-deSitter Conformal Field Theory (AdS/CFT) correspondence, in which classical gravitational degrees of freedom in N-dimensions are related quantum field theory degrees of freedom in N − 1 dimensions in the limit of a large number of fields. Here we present an account of the AdS/CFT correspondence, also known as the gauge/gravity duality, from its origins in the large N 'tHooft expansion, up to Maldacena's proposal that type IIB string theory in the presences of D-branes at low energy is dual to an N = 4, d = 4, U(N) super Yang-Mills on AdS5 × S5 . We begin with an extensive review of (super)string theory including D-branes. We then present the general formulation of the AdS/CFT in the supergravity background of AdS5 × S5 , along with several examples of how it is used in terms of the identification of bulk fields with operators on the bound- ary of a CFT. We move on to discuss two applications of the gauge/gravity duality. The first is the application of the holographic gauge/gravity correspondence to the QCDk-string. The second applies the AdS/CFT formalism to a Kerr black hole solution embedded in 10-dimensional heterotic sting theory. These two applications of the holographic gauge/gravity duality comprise the original work presented here. We follow with summaries and discussions of the background material, the original work, and future investigations.

Bibliography: v. 1, p. 197-201. Vol. 1. Introduction and commentaries -- v. 2. The musical text.

<p>This thesis is divided into two parts. In the first part we focus mainly on certain aspects of the AdS/CFT correspondence. The AdS/CFT correspondence is a proposed duality between Type IIB superstring theory on AdS₅ xS⁵ and N = 4 supersymmetric Yang-Mills theory. In the BMN limit string states located in the center of AdS₅ rotate quickly around the equator of the S⁵ and correspond, in the dual theory, to operators constructed as long chains of sub-operators. This structure of the operators can be formulated as a spin chain and by using the Bethe ansatz their properties can be obtained by solving a set of Bethe equations. Having infinitely many sub-operators, there are methods for solving the Bethe equations in certain sectors. In paper III finite size corrections to the anomalous dimensions in the SU(2) sector are calculated to leading order.</p><p>Inspired by the chain structure of the corresponding operators, the theory of string bits treats the strings as a discrete sets of points. This theory suffers from the problem of fermion doubling, a general pathology of fermions on a lattice. In paper II we show how to adjust the theory in order to avoid this problem and, in fact, use the fermion doubling to our advantage. The second part of the thesis studies the low energy behaviour of SU(2) Yang-Mills theory in 4 space-time dimensions. In paper I we perform numerical calculations on an effective action for this theory. We propose the existence of a knotted trajectory within the dynamics of this effective action.</p>

The experiments performed at the Relativistic Heavy Ion Collider (RHIC) at Brookhaven National Lab have discovered a state of matter called the strongly coupled quark-gluon plasma (sQGP). The strong coupling has limited the ability of the standard theory to describe such matter, namely Quantum Chromodynamics (QCD). However, string theory's anti-de Sitter/conformal field theory (AdS/CFT) correspondence has provided a new way to study the situation and in an analytical manner. So far, hydrodynamic properties of RHIC's plasma, such as elliptic flow and longitudinal expansion, have been seen to follow from classical supergravity calculations. In this dissertation I discuss some of the field's development as well as the research done by the author and collaborators.

This thesis deals with phenomenological and theoretical aspects of cosmoparticle physics and string theory. There are many open questions in these topics. In connection with cosmology we would like to understand the detailed properties of dark matter, dark energy, generation of primordial perturbations, etc., and in connection with particle physics we would like to understand the detailed properties of models that stabilize the electroweak scale, for instance supersymmetry. At the same time, we also need to understand these issues in a coherent theoretical framework. Such a framework is offered by string theory. In this thesis, I analyze the interplay between Higgs and dark matter physics in an effective field theory extension of the minimally supersymmetric standard model. I study a theory of modified gravity, where the graviton has acquired a mass, and show the explicit implementation of the Vainshtein mechanism, which allows one to put severe constraints on the graviton mass. I address the question of Planck scale corrections to inflation in string theory, and show how such corrections can be tamed. I study perturbations of warped throat regions of IIB string theory compactifications and classify allowed boundary conditions. Using this analysis, I determine the potential felt by an anti-D3-brane in such compactifications, using the explicit harmonic data on the conifold. I also address questions of perturbative quantum corrections in string theory and calculate one-loop corrections to the moduli space metric of Calabi-Yau orientifolds. / <p>At the time of the doctoral defense, the following papers were unpublished and had a status as follows:<strong>  </strong>Paper 3: Manuscript. Paper 5: Manuscript. Paper 6: Manuscript.</p>