Many books have been written which deal with the subject of form and style in Beethoven's works. Most writers, however, seem to be satisfied with superficial descriptions - in some cases merely programatic - which do not explain the underlying problems and treatment of form. Furthermore, no book exists, to my knowledge, which delves so deeply and with such detail as to deduce with almost certain accuracy the inner coherency of the form. It is the aim of this analysis to approach the problem in this way. The edition used for this purpose is that one published by Ernst Eulenberg Ltd. London WI, which was edited from the autograph M.S. by Professor Dr. Wilhelm Altman. No comparisons are made with other editions, and possible printer's and other errors are not considered. I chose the works to be studied here, the three quartets Op. 59, for two reasons: 1) the string quartet medium is one of the most suitable types of instrumental music for the study of form, 2) the Op. 59 quartets belong to a period in Beethoven's life when he was particularly intent upon experimentation in form and development of dimension.

abstract: Concerto for Piano and Chamber Orchestra was conceived in February of 2013, and conceptually it is my attempt to fuse personal expressions of jazz and classical music into one fully realized statement. It is a three movement work (fast, slow, fast) for 2 fl., 2 ob., 2 cl., bsn., 2 hrn., 2 tpt., tbn., pno., perc., str. (6,4,2,2,1). The work is approximately 27 minutes in duration. The first movement of the Concerto is written in a fluid sonata form. A fugato begins where the second theme would normally appear, and the second theme does not fully appear until near the end of the solo piano section. The result is that the second theme when finally revealed is so reminiscent of the history of jazz and classical synthesis that it does not sound completely new, and in fact is a return of something that was heard before, but only hinted at in this piece. The second movement is a kind of deconstructive set of variations, with a specific theme and harmonic pattern implied throughout the movement. However, the full theme is not disclosed until the final variation. The variations are interrupted by moments of pure rhythmic music, containing harmony made up of major chords with an added fourth, defying resolution, and dissolving each time back into a new variation. The third movement is in rondo form, using rhythmic and harmonic influences from jazz. The percussion plays a substantial role in this movement, acting as a counterpoint to the piano part throughout. This movement and the piece concludes with an extended coda, inspired indirectly by the simple complexities of an improvisational piano solo, building in complexity as the concerto draws to a close. / Dissertation/Thesis / D.M.A. Music 2013

Made available in DSpace on 2014-06-12T15:51:48Z (GMT). No. of bitstreams: 1 license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2007 / Java é uma linguagem multiplataforma amplamente utilizada nos dias atuais. Sistemas cliente-servidor, aplicações embarcadas e desktop são desenvolvidos a partir da facilidade que Java oferece. A comunidade que utiliza Java cria suas próprias bibliotecas e as disponibiliza na Web para que todos possam compartilhar de suas facilidades. Bibliotecas para criar servidores HTTP, processar imagens, conectar banco de dados fazem parte do núcleo da linguagem. O objetivo deste trabalho é desenvolver uma biblioteca em Java para representar um novo sistema numérico que utiliza a matemática intervalar e a aritmética de exatidão máxima. As operações aritméticas são realizadas através de processamento de Strings. As principais conclusões deste trabalho foram: (i) a representação de números racionais processados através de strings permite que se trabalhe com precisão e exatidão superiores à Java-XSC e o Maple Intervalar, sendo o custo desta exatidão refletido no tempo das operações; (ii) para qualquer uma das operações, repetidas 1000 vezes, seu tempo total de processamento é menor do que 1 segundo

The motivation of this thesis is to look for a signature of Lorentz violation, hopefully observable, in the gravitational waves emitted by cosmic strings. Aspects of cosmic strings are reviewed, in particular how focused bursts of gravitational radiation are emitted when a cusp forms on the string. The same phenomenon is then studied in an effective field theory with Lorentz violation called Einstein-aether theory. This is a simple theory with a dynamic preferred frame, but it retains rotational and diffeomorphism invariance. The linearized version of the theory produces five wave modes. We study the usual transverse traceless modes which now have a wave speed that can be lower or greater than the speed of light. This altered speed produces distinctive features in the waves. They depend on two free parameters: roughly the wave speed and the acceleration of the string cusp. The profile of the wave is analyzed in detail for different values of the parameters and explained by close comparison with the string motion. / Science, Faculty of / Physics and Astronomy, Department of / Graduate

My diploma work is an installation, made from multiple instances of a device iniciating string resonance via electromagnetic field. These devices along with strings are placed on the wall in geometrical shape. Installation creates loop on multiple levels. Except the fact that installation have a circular shape, position of each string starts at the end of another string. Second, more inconspicious loops takes place in the electromagnetic device resonating the strings, that do that with feedback loop. Strings consist every step of chromatic scale, that repeats itself, just an octave higher. Amplification of the final sound of strings is done purely acoustically, with help of the wall on wich the piece is installed. This piece is in its nature concerned with spirituality in music, not necessarily in sense of evoking a spiritual experience, but rather demonstrating metaphors and parallels, that exists between physical aspects of tonal music and different religious ideas. The symmetrical shape of installation refer to religious and occult visuality, built f.e. in cabal on Fibonacci numbers, that is present not only in nature ( for example, the veins of the leaves grow by these numbers), but also in tonal music system (ancient philosophers were working with this concept, see Plato's Music of the Spheres). Strings in this piece produce drone sound, that is naturally evoking spirituality (most visible in buddhist monk meditation). This sound in the piece demonstrates immutability and constancy, the fact that all the chromatic tones are playing demonstrates wholeness (this fact may produce interesting resonances emerging between chromatic steps), so to speak, the unchangeable laws of physics, or to put it in religious lingo, the god law. The symbol of loop also refers to religion, like the eternal return of the same, the periodicity of history. Strings can be viewed as astrophysical symbol. Everything stated is nothing but my recourse, that should not ultimately determine the perception of the piece by viewer. The goal of the work is to offer experience without need to be put into context

Recent technological advances are causing an explosion in the production of sequential data. Biological sequences, web logs and time series are represented as strings. Currently, strings are stored, managed and queried in an ad-hoc fashion because they lack a standardized data model and query language. String queries are computationally demanding, especially when strings are long and numerous. Existing approaches cannot handle the growing number of strings produced by environmental, healthcare, bioinformatic, and space applications. There is a trade- off between performing analytics efficiently and scaling to thousands of cores to finish in reasonable times. In this thesis, we introduce a data model that unifies the input and output representations of core string operations. We define a declarative query language for strings where operators can be pipelined to form complex queries. A rich set of core string operators is described to support string analytics. We then demonstrate a database system for string analytics based on our model and query language. In particular, we propose the use of a novel data structure augmented by efficient parallel computation to strike a balance between preprocessing overheads and query execution times. Next, we delve into repeated motifs extraction as a core string operation for large-scale string analytics. Motifs are frequent patterns used, for example, to identify biological functionality, periodic trends, or malicious activities. Statistical approaches are fast but inexact while combinatorial methods are sound but slow. We introduce ACME, a combinatorial repeated motifs extractor. We study the spatial and temporal locality of motif extraction and devise a cache-aware search space traversal technique. ACME is the only method that scales to gigabyte- long strings, handles large alphabets, and supports interesting motif types with minimal overhead. While ACME is cache-efficient, it is limited by being serial. We devise a lightweight parallel space traversal technique, called FAST, that enables ACME to scale to thousands of cores. High degree of concurrency is achieved by partition- ing the search space horizontally and balancing the workload among cores with minimal communication overhead. Consequently, complex queries are solved in minutes instead of days. ACME is a versatile system that runs on workstations, clusters, and supercomputers. It is the first to utilize a supercomputer and scale to 16 thousand CPUs. Merely using more cores does not guarantee efficiency, because of the related overheads. To this end, we introduce an automatic tuning mechanism that suggests the appropriate number of cores to meet user constraints in terms of runtime while minimizing the financial cost of cloud resources. Particularly, we study workload frequency distributions then build a model that finds the best problem decomposition and estimates serial and parallel runtimes. Finally, we generalize our automatic tuning method as a general method, called APlug. APlug can be used in other applications and we integrate it with systems for molecular docking and multiple sequence alignment.

The purpose of this study is to provide a broader understanding of the Yepes ten-string guitar. Since its inception, twenty-eight years ago, no authoritative work has been published providing inferential detail which explains the concept and development of the Yepes guitar. As a result, this instrument has been, and still is, criticized by some, largely from ignorance or lack of knowledge about the instrument. In an attempt to rectify this situation and make the instrument's extended possibilities known, the author has undertaken extensive research and has interviewed, amongst others, leading international authorities associated with the Yepes ten-string guitar. As a result of these efforts, a clearer and more positive understanding of the instrument has emerged. This in turn has become the foundation on which this dissertation has been written. The opening chapter of this dissertation provides an overview, showing how the guitar emerged and developed before the concept of multi-string guitars became established in Europe, during the second half of the eighteenth century. Aspects pertaining to the early guitar's physical features, performance practices, music, tuning and stringing methods are discussed. Several multi-string vihuelas and guitars are also mentioned. The following chapter presents a survey of numerous experiments carried out during the 1770-1900 period; to 'improve' the capabilities of the guitar. Here a number of early multi-string instruments related to the Yepes ten-string guitar are discussed. These include guitars with added basses, guitars with added trebles, guitars with added basses and trebles, and guitars with multiple necks. The third chapter shows how out of an enormous variety of eccentric forms of the guitar, some professional guitarists opted for multi-string guitars (with added basses) as their instruments, whilst others preferred the six-string variety. The music of guitarist-composers who composed for multi-string guitars is discussed alongside those who wrote specifically for the six-string guitar. The rationale for the tuning and disposition of strings on most of these multi-string guitars, past and present, as well as several illustrations showing their physical features are included. The penultimate chapter comprises an interview with Narciso Yepes and other leading figures associated with the ten-string guitar. The reasons behind Yepes' unique concept for the ten-string guitar, arguments for and against the instrument, as well as its tuning and problems related to playing this instrument are discussed. The chapter includes an inquiry(with examples) showing how the ten-string guitar can be used, amongst other things, to facilitate the playing of difficult passages in music originally composed for the six-string guitar. The extension of the repertoire with music composed specifically for this instrument is also briefly discussed. A comprehensive discography of recordings made by Narciso Yepes on the ten-string guitar is presented in the appendix. A more detailed discussion of the ten-string guitar repertoire in the twentieth century is presented in the final chapter. It includes several compositions originally intended for the traditional guitar, which have become associated with the Yepes guitar. At least five compositions composed and dedicated to Narciso Yepes by various composers are also examined. It is concluded that this instrument clearly offers more than what has been assumed over the past twenty-eight years.

The purpose of this study was to examine elementary instrumental music teachers’ perceptions of the inclusion of composing and improvising in their instruction with beginning string students. A total of 46 Pennsylvania public-school string teachers participated in this study. Participants filled out a 21-question survey consisting of questions about demographics, their undergraduate experience with improvising and composing, their confidence in both teaching and personally engaging with improvising and composing, the perceived importance of learning both skills, the benefits and challenges of learning how to improvise and compose, and the resources needed to successfully implement further instruction on both skills. Participants were contacted via their school email address and were given a total of 4 weeks to complete the survey. Results from the survey indicate a majority of participants had few opportunities to improvise and compose as well as few opportunities to teach both skills in their undergraduate music programs. Most participants rated themselves slightly to moderately confident in their ability to teach improvising and composing and in their ability to improvise and compose. The most frequently mentioned hurdle to teaching improvising and composing was “time”. Substantive and meaningful curricular changes are needed at all levels of music instruction in order to equip young students and future music teachers with the skills necessary to thrive in the modern, musical world. / Music Education

A doctoral thesis based on the Concerto No. 1 for Flute, String Orchestra and Percussion by Nicolas Real. Historic background and musical analysis of the work. / Music Performance / Accompanied by one .pdf score: 1er Concierto para Flauta, Orquesta de Cuerdas y Percusión.

<p>The appearance in string theory of higher-dimensional objects known as D-branes has been a source of much of the interesting developements in the subject during the past ten years. A very interesting phenomenon occurs when several of these D-branes are made to coincide: The abelian gauge theory living on each brane is enhanced to a non-abelian gauge theory living on the stack of coincident branes. This gives rise to interesting effects like the natural appearance of non-commutative geometry. The theory governing the dynamics of these coincident branes is still poorly understood however and only hints of the underlying structure have been seen.</p><p>This thesis focuses on an attempt to better this understanding by writing down actions for coincident branes using so-called boundary fermions, originating in considerations of open strings, instead of matrices to describe the non-abelian fields. It is shown that by gauge-fixing and by suitably quantizing these boundary fermions the non-abelian action that is known, the Myers action, can be reproduced. Furthermore it is shown that under natural assumptions, unlike the Myers action, the action formulated using boundary fermions also posseses kappa-symmetry, the criterion for being the correct supersymmetric action for coincident D-branes.</p><p>Another aspect of string theory discussed in this thesis is that of tensionless strings. These are of great interest for example because of their possible relation to higher spin gauge theories via the AdS/CFT-correspondence. The tensionless superstring in a plane wave background, arising as a particular limit of the near-horizon geometry of a stack of D3-branes, is considered and compared to the tensile case.</p>