In this thesis, I have studied the composer Johannes Brahms. I have talked about the background and history of his Quintet in B minor for clarinet and string quartet and I have then analyzed the piece. The purpose of this thesis is to find lesser known but significant information about Brahms to help other clarinetists when they have to perform this important piece of clarinet repertoire. Moreover, my artistic questions are if one piece can change your perception or your way to play it after doing a deep analysis and if the interpretation is in a way stronger than before. I decided to analyze this piece due to my interest in Brahms and to learn more about the expressive qualities in his music. I wanted to know more about the composer and so I chose this Quintet, because it is a challenging piece to play and is often performed.  From the quintet, I concentrated specifically on the possibilities of performing it and I tried to search for a way to have a deeper understanding of Brahms to produce the most convincing artistic performance of the piece.  After I learnt more about the background of this piece it resulted in a stronger interpretation of his quintet.

Many commentators experience difficulties describing and analyzing Morton Feldman's String Quartet no. 2 (1983), implying that the quartet eludes stable ascriptions of meaning. Feldman's own philosophy frames these difficulties as symptoms of an antagonism between direct experience and post-hoc understanding of music, a dichotomy tacitly supported in much related discourse. I critique this proposed rift between understanding and experience by analyzing how String Quartet no. 2 prompts listeners to repeatedly reconsider their own experiences. Obfuscated instrumentation, transformations of repeated phrases, and disorienting formal returns challenge one's perception, pattern recognition, and musical memory, leading audiences to return to linguistic interpretation in an effort to comprehend what they hear. Drawing on writing by Lawrence Kramer, I show that the compulsion to voice these uncertainties is not a result of a separation of understanding and experience, but of the blurring of these categories. Vacillation between close listening and interpretation also typifies experiences of the music of Helge Sten, produced under the pseudonym Deathprod. For the album Imaginary Songs from Tristan da Cunha (1996), Sten transfers recorded violin improvisations to wax phonograph cylinders, clouding attributions of the music's manner of production. Incorporating Brian Kane's theory of acousmatic sound, I demonstrate that the resultant spacing of sound and source provokes listeners to oscillate between attending to the music's material properties and struggling to identify its meaning and cause. Work by Jonathan Sterne indicates that historical techniques of hearing associated with the antiquated medium of the phonograph cylinder prolong and complicate this mode of listening. As with Feldman's quartet, auditors of Imaginary Songs endlessly fluctuate between attempting to understand and striving to listen closely to the music. / Graduate

京都大学 / 0048 / 新制・課程博士 / 博士(理学) / 甲第19495号 / 理博第4155号 / 新制||理||1597(附属図書館) / 32531 / 京都大学大学院理学研究科物理学・宇宙物理学専攻 / (主査)准教授 福間 將文, 教授 川合 光, 教授 田中 貴浩 / 学位規則第4条第1項該当 / Doctor of Science / Kyoto University / DGAM

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The dissertation consists of four recitals: one chamber music recital compiled from two years' series of chamber music performances in residence, two solo recitals, and one lecture recital. The repertoire of these programs was chosen with the intention of demonstrating the capability of the performer to deal with problems arising in works of varying types and of different historical periods. The lecture recital, The Fifth and Sixth Clarinet Concertos by Johann Melchior Molter, begins with perhaps the first performance of the Concerto No. 4 in D Major, Mus. Hs. 337, for clarinet in D with orchestral accompaniment reduced for piano. Bibliographical, historical and technical information is marshaled to justify the solo designation of Badische Landesbibliothek concerto manuscripts 334 and 328 to D clarinet rather than clarino. An investigation into the formal and stylistic aspects shows these two questionable works to be comparable to the composer's other four clarinet concertos. The analysis is followed by a short discussion of the problems involved in the transcription and performance of the works. The lecture concludes with the first performance of the Concerto No. 6 in D Major, Mus. Hs. 328, for clarinet in D with orchestral accompaniment reduced for piano.

Gromov-Witten invariants play a crucial role in symplectic- and enumerative Geometry as well as topological String Theory. Essentially, theseinvariants are a count of (pseudo)holomorphic curves of a given genus,going through n-marked points on a symplectic manifold. In the last fewdecades, this has been a huge research topic for both physicists as well asmathematicians, and breakthroughs in calculation techniques have beenmade using Mirror Symmetry. We investigate and explicitly calculateclosed genus zero Gromov-Witten invariants of toric Calabi-Yau threefolds, namely O(−3) → P2 and the resolved conifold. This will be doneby using localization techniques, mirror symmetry and the so called diskpartition function.