Introductory remarks: Being a middle-class white South African, I grew up on a diet of predominantly "white" music: rock, pop and Western classical music. I was later introduced to a broader range of musics: blues, jazz, kwaito and traditional Southern African idioms. I found myself particularly attracted to the traditional music of the amaXhosa (especially that of the uhadi bow), possibly due to the fact that this music is hexatonic (that is, based on two major triads whose tonics are one tone apart), a system that bears certain resemblances to the Western tonal idiom. However, much of my musical experience tended to be entrenched in the piano and flute music I played: mostly works by composers who were neatly ensconced in the traditional Western canon. Therefore, despite the broad range of musics with which I was familiarisedduring my tertiary studies, I feel that this early experiential background is the reason I feel most comfortable with Western-influenced music. More recently, I discovered a whole new genre to explore: film music, particularly the work of Elliot Goldenthal, Danny Elfman, John Williams and Philip Glass, whose unique brand of minimalism has extended from the concert hall to thefilm theatre. I am fascinated by the ways in which film scores function. A "main titles" theme usually appears as the film opens, upon which most of the subsequent music is based. This is not a linear process, like a theme and its variations, but a lateral, where the main titles theme is the core that engenders other themes that all share a familial resemblance.

Les effets non-perturbatifs jouent un rôle extrêmement important dans la physique théorique contemporaine. Par exemple, ils sont connus d’être responsables de divers phénomènes physiques tels que le confinement des quarks et les dualités. Une arène particulièrement riche pour ces effets est fournie par des théories de jauge et des cordes. En particulier, pour les théories avec la supersymétrie N=2 à 4 dimensions, les années récentes ont marqué un progrès remarquable en compréhension leur dynamique non-perturbative. Peut-être un des résultats les plus intrigants est l'apparition de l’intégrabilité dans plusieurs problèmes de cette sorte. Ces résultats fournissent des relations non-triviales entre différents systèmes physiques et constructions mathématiques et donnent l’espoir que beaucoup de problèmes de longue date peuvent être en fait exactement solubles. La thèse est supposée d’explorer ces relations entre les effets non-perturbatifs et l’intégrabilité. Plus précisément, il est suggéré d'étudier le problème des compactifications des théories des cordes qui préservent la supersymétrie N=2. Leur action effective à basses énergies est complètement déterminée par une métrique sur un certain espace de modules qui est connu à recevoir des corrections instantoniques. Bien que beaucoup d'entre elles aient été déjà trouvées, la description non-perturbative complète est encore absente. D'autre part, sa importance va beaucoup au delà de l'action effective mentionnée ci-dessus puisqu'elle devrait contenir des informations sur la S-dualité, symétrie miroir non-perturbative, croisement de murs, trous noirs supersymétriques. Ainsi, le travail dans cette direction permettra non seulement obtenir des résultats intéressants, mais étudier également beaucoup de proches sujets dans la théorie des cordes, mathématiques et d'autres domaines de recherche. / Non-perturbative effects play an extremely important role in the moderntheoretical physics. For example, they are known to be responsible forvarious physical phenomena such as confinement and dualities.An especially rich arena for these effects is provided by gauge andstring theories. In particular, for theories with N=2 supersymmetry in4 dimensions, recent years marked a remarkable progress in understandingtheir non-perturbative dynamics. May be one of the most intriguing findingsis the appearance of integrability in several, sometimes differentlylooking problems. These results provide non-trivial relations betweendifferent physical systems and mathematical constructions and givea hope that many longstanding problems can be in fact exactly solvable.The thesis is supposed to explore these relations between non-perturbativeeffects and integrability. More precisely, it is suggested to study the problemof compactifications of string theories which preserve N=2 supersymmetry.Their low-energy effective action is completely determined by a metricon a certain moduli space which is known to receive instanton corrections.Although many of them have been already found, the complete non-perturbativedescription is still out of reach. On the other hand, its relevance goes muchbeyond the effective action mentioned above since it should encode informationabout S-duality, non-perturbative mirror symmetry, wall-crossing, supersymmetricblack holes. Thus, working in this direction would allow not only to obtaininteresting results, but also to study many related subjects in string theory,mathematics and other research areas.

Aaron Copland's Clarinet Concerto was written for jazz clarinetist Benny Goodman. The work's incorporation of popular elements, particularly jazz, has led to the perception that it is a "lightweight" representative of Copland's output. However, the concerto shares many characteristics with French neoclassical works of the 1920's and SCfs, and demonstrates a highly skilled construction that belies this label. The neoclassical aspect of the concerto raises important questions as to whether the jazz elements in the piece are really central to its expressive essence, or whether they merely reflect a choice of materials common to Copland and to other neoclassical composers. This dissertation is directed to the potential performer who wishes to have a better knowledge of the concerto's performance issues. It discusses the influence of neoclassicism on Copland's compositional style, gives the historical background to the Clarinet Concerto's composition, and outlines its general stylistic characteristics. The concerto's structure is examined in detail, and then applied to the work's performance issues, as the document investigates the performance practice of the piece through the study of recordings. The purpose of this dissertation is not to burden performers with a detailed set of instructions to be followed in performing the concerto. Rather, it aims to equip them with the techniques necessary to developing an individual, personal interpretation, based on a thorough understanding of the piece. / Arts, Faculty of / Music, School of / Graduate

Aaron Copland's Clarinet Concerto was written for jazz clarinetist Benny Goodman. The work's incorporation of popular elements, particularly jazz, has led to the perception that it is a "lightweight" representative of Copland's output. However, the concerto shares many characteristics with French neoclassical works of the 1920's and SCfs, and demonstrates a highly skilled construction that belies this label. The neoclassical aspect of the concerto raises important questions as to whether the jazz elements in the piece are really central to its expressive essence, or whether they merely reflect a choice of materials common to Copland and to other neoclassical composers. This dissertation is directed to the potential performer who wishes to have a better knowledge of the concerto's performance issues. It discusses the influence of neoclassicism on Copland's compositional style, gives the historical background to the Clarinet Concerto's composition, and outlines its general stylistic characteristics. The concerto's structure is examined in detail, and then applied to the work's performance issues, as the document investigates the performance practice of the piece through the study of recordings. The purpose of this dissertation is not to burden performers with a detailed set of instructions to be followed in performing the concerto. Rather, it aims to equip them with the techniques necessary to developing an individual, personal interpretation, based on a thorough understanding of the piece. / Arts, Faculty of / Music, School of / Graduate

Orientador: Esdras Rodrigues Silva / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-24T11:15:01Z (GMT). No. of bitstreams: 1 Queiroz_RuckerBezerra_D.pdf: 6234718 bytes, checksum: 24c95df0e6461a73b8cfaf4ca4ee5f40 (MD5) Previous issue date: 2014 / Resumo: Esta pesquisa, na área de práticas interpretativas, tem como objetivo confrontar o ideal musical e interpretativo do Movimento Armorial com as performances do Quintetos Armorial (1974), da Paraíba (1994) e Uirapuru (2014). De forma a se ter uma obra que possibilitasse essa comparação utilizou-se o "Toré", de Antônio Madureira. O trabalho encontra-se dividido em três capítulos onde o primeiro versa sobre o Movimento Armorial e sua música. O segundo contextualiza os quintetos e suas formações. O terceiro traz a análise interpretativa da obra Toré / Abstract: This research in the area of ??performance practice, aims to confront the musical and interpretive ideal of Armorial Movement with performances of Quintets Armorial (1974), Paraíba (1994) and Uirapuru (2014). In order to have a work that enabled this comparison we used the music " Toré", by Antonio Madureira. The thesis is divided into three chapters where the first is about the Armorial Movement and its music. The second contextualizes the three quintets and their formations. The third brings the interpretative analysis of the music "Toré" / Doutorado / Praticas Interpretativas / Doutor em Música

京都大学 / 0048 / 新制・課程博士 / 博士(理学) / 甲第22243号 / 理博第4557号 / 新制||理||1654(附属図書館) / 京都大学大学院理学研究科物理学・宇宙物理学専攻 / (主査)教授 川合 光, 教授 田中 貴浩, 教授 畑 浩之 / 学位規則第4条第1項該当 / Doctor of Science / Kyoto University / DFAM

京都大学 / 0048 / 新制・課程博士 / 博士(理学) / 甲第22247号 / 理博第4561号 / 新制||理||1655(附属図書館) / 京都大学大学院理学研究科物理学・宇宙物理学専攻 / (主査)教授 畑 浩之, 教授 田中 貴浩, 教授 川合 光 / 学位規則第4条第1項該当 / Doctor of Science / Kyoto University / DGAM

In this review, several tools used in the study of super-Yang-Mills scattering amplitudes are discussed, namely spinor-helicity and (super)twistor variables. These variables are then implemented in string theories in 4D, and a suitable generalization to 10D using pure spinors is discussed. Dimensional reduction of this model to 4D is then performed, and some comparisons to other 4D models are drawn.

The aesthetic of this composition begins with a flurry of notes creating a wall of sound and slowly disintegrates into becoming something light and airy. Beginning is dense and hurried with overlapping entrances, in the beginning I aim to achieve an overall effect of very smooth and natural slowing down. It feels rhythmic but the pulse is somewhat ambiguous. There are chains of flurried notes followed by rests in the individual parts but the rests are hidden by the overlapping entrances so it feels continuous. As holes open in the texture and the slowing down process takes effect, fragments of a melody begin to peak out of the texture and melt back in. Eventually the piece has completely slowed down and the full melody is revealed. This then builds into a climactic high point of the melody played in the cello. Throughout the ending, fragments of the beginning texture fade in and out until one final build up resembling the beginning texture. There is then a flurry of notes that then proceed to do the slowing down process of the beginning but within a much quicker timespan and then the piece closes out on the final chord of that process.

To any Frobenius superalgebra A we associate an oriented Frobenius Brauer category and an affine oriented Frobenius Brauer categeory. We define natural actions of these categories on categories of supermodules for general linear Lie superalgebras gl_m|n(A) with entries in A. These actions generalize those on module categories for general linear Lie superalgebras and queer Lie superalgebras, which correspond to the cases where A is the ground field and the two-dimensional Clifford superalgebra, respectively. We include background on monoidal supercategories and Frobenius superalgebras and discuss some possible further directions.