abstract: This research paper is a study of Sergei Taneyev’s Concert Suite for Violin and Orchestra, Op. 28 and includes Taneyev’s biography, a brief musical analysis which benefits the interpretation, and performance suggestions from the perspective of a concert violinist. The purpose of this paper is to enable performers to achieve a better understanding of this artwork and make informed musical choices. Sergei Ivanovich Taneyev (1856-1915) was a Russian composer. As a composition pupil of Tchaikovsky, and a teacher of Scriabin, Rachmaninoff, Lyapunov, and Glière, Taneyev is an important figure in Russian music. His compositions include operas, symphonies, chamber music, songs, and piano music. Taneyev’s style was influenced by Bach, Handel, Mozart, Glinka, Tchaikovsky, Wagner and various European composers. His cosmopolitan style, and wide-ranging compositional interests do not easily lend themselves generalization. This difficulty in categorizing his music along with his self-criticism and aversion to self-promotion, contribute to his lack of recognition when compared with his contemporaries. The Concert Suite for Violin and Orchestra, composed six years before his death, is his only work for Violin and Orchestra and was his last large composition. This work is cast in an unusual five-movement structure and embodies various brilliant violin techniques and rich Romantic-era harmonies. Taneyev’s interests in “old fashioned” style and folk music are evidenced by some of the movements titled “Prelude,” “Gavotte,” and “Theme and Variation” which contains a double fugue. He also utilizes folk dances such as the mazurka and tarantella. This performance guide provides practical interpretational advice based on an analysis of harmony, form and structural divisions, stylistic considerations and violin techniques. A brilliant and charming work, it has sadly been neglected. Through the study and performance of this piece, the author hopes to provide performers with useful information that enables more musicians to know and enjoy this valuable masterwork. / Dissertation/Thesis / Doctoral Dissertation Music 2019

National studies indicate major deficiencies in students' understanding of mathematics. Research suggests that students tend to view mathematics as a set of computational rules rather than a process of discovery and a tool for problem-solving. Most students fail to grasp the concepts behind the computations. Technology provides a partial solution to this problem. Over the past decade, computers have emerged as a powerful tool in education. Computers place the control of action in the learning process with the student. They allow students to experiment with, explore, and discover mathematics at their own pace. With computers, students can consider more examples than are possible with a pencil and paper. The graphic capability of computers aids students in concept visualization; the computational capacity allows them to focus on concepts while the computer executes the tedious computations. The purpose of this thesis is to facilitate the effective use of computers in mathematics education. The primary component of this thesis is a CD-ROM containing a suite of computer manipulatives intended for use in the mathematics classroom. An explanation of the manipulatives accompanies the CD-ROM, as does a description of the creation process.

Multiculturalism is one of the major trends in the choral education of the Twenty-first Century. Choral conductors attempt to capture diverse repertories from around the world. Japan, a country not very distant from Taiwan, is full of splendid choral development and composing achievements. Ko Matsushita is a Japanese choral conductor, composer, and educator. He is the conductor of ten choirs that have won many international choral competitions in the last decade. He also won the Carl Orff Composer Award two times. Matsushita was awarded the honor of the Robert Edler Prize in 2005 for his outstanding work in promoting choral music. Anthology of Love is a suite for female chorus with piano accompaniment. It was premiered in October 2003, and was published by KAWAI in August 2004. This suite contains four pieces: Somewhere or Other, Malayan Love Songs, A Poem for April, and Last Song of a Poet. These songs trace four different stages of love in human life: innocent, attractive, matured, and heroic love. All the Japanese lyrics in this work are taken from Shuntaro Tanikawa¡¦s poem collections. The piano accompaniment can play an important part in the music but requires a performer with advanced technique to deliver that result. This thesis consists of five chapters. Chapter One is the Introduction. Chapter Two discusses the background of Matsushita: Part One is a biographic sketch of Matsushita¡¦s life; Part Two introduces the musical style and characteristics of Matsushita¡¦s female choral works. Chapter Three focuses on the origin of lyrics and analysis of these four pieces. Chapter Four supplies rehearsal techniques and teaching suggestions for conductors. The diction fundamentals of Japanese and pronunciation of the lyrics are also included in this chapter. Chapter Five is the Conclusion. There are three appendices at the end of this thesis. Appendix A supplies four letters from Matsushita. Appendix B is a list of Matsushita¡¦s published choral works. Appendix C contains the translation and the Romanization of the Japanese lyrics for these four pieces.

Les algèbres amassées sont très intéressantes, entre autre du point de vue de la théorie des représentations. Leurs côtés combinatoires sont immenses et on a probablement seulement effleuré le sujet. Dans ce mémoire, nous allons amorcer l'étude d'une propriété combinatoire pour un cas particulier d'algèbres amassées. Nous espérons que notre travail jettera les bases pour l'étude du cas général. Notre but sera de prouver le théorème suivant: Théorème 0.1. Tous les carquois acycliques et connexes à trois sommets ant un nombre fini de suites maximales vertes. Nous allons done expliquer tout ce qu'il y a à savoir sur les carquois et par la suite, présenter la preuve de ce théorème. Comme supplément, nous donnerons en plus la liste complète de toutes les suites maximales vertes possibles pour ces carquois.

Even though Western music appeared only about one hundred years ago in Korea, it was rapidly popularized in the country. Since the Korean War (1950-1953), South Korea embarked on a path of remarkable economic growth and political stability. The appreciation of Western music, too, grew quickly. Since the 1960s, many talented Korean composers have been recognized around the world. However, scholarly studies discussing their artistry and music are scarce in Western countries. Young Jo Lee, one of the leading composers in Korea today, has a growing reputation. Lee has been invited to many festivals, concerts, and conferences where his works have been staged internationally. A primary compositional feature of his music is the combination of Korean traditional musical gestures with Western compositional elements. The Korean Dance Suite, one of Young Jo Lee’s most important piano works, reveals Lee’s uniqueness as a national Korean composer. The study examines the Korean Dance Suite (“Heaven Dance,” “Children’s Dance,” “Lovers Dance,” “Buddhist Dance,” and “Peasant Dance”) for the features of Young Jo Lee’s innovative and dramatic sound elements. The purpose of this study is to analyze the pieces and to trace Lee’s borrowings from Korean traditional music as well as the ways in which he adapts them to Western musical ideas. This study helps performers create an accurate interpretation when presenting these pieces. In addition, these little-known works will benefit teachers and students in creating an expanded repertoire. / School of Music

The American Royalties Too (ART) Act of 2014 is the most recent attempt to create a resale royalty, or droit de suite, for visual artists in America. This would entitle visual artists to collect a royalty payment for sales of their work in the secondary market, specifically sales occurring at public auctions. The droit de suite was created in France in 1920, and is now part of the Berne Convention for the Protection of Literary and Artistic Works, which protects copyrights internationally. The purpose of this paper is to examine the history of droit de suite rights in the United States and abroad, and to analyze the currently proposed ART Act, its limitations, and its potential to create financial benefits for artists.

J. S. Bach se ses suites vir onbegeleide tjello word as sentrale werke in die tjelloliteratuur, en spesifiek wat die genre vir onbegeleide tjellomusiek betref, as die norm beskou. Uitgaande van bostaande beskouing vorm die bestudering van die suites dus die basis van hierdie studie. Die werke van Bach staan in die middelpunt van ’n lang ontwikkelingsgeskiedenis van onbegeleide strykersmusiek wat vanaf die 16de tot die 20ste eeu strek. ’n Algemene historiese oorsig van hierdie ontwikkeling word in Hoofstuk 2 weergegee. Die eienskappe van Bach se melodiese styl, en veral die kontraselemente, vorm die uitgangspunt van die analitiese studie van die ses suites in Hoofstuk 3. Op grond van hierdie eienskappe kan latente meerstemmigheid deurgaans in die onbegeleide suites van Bach aangetoon word. Waar Bach se suites die kernpunt van die ontwikkeling van onbegeleide strykersmusiek daarstel, vorm die werke van 20ste eeuse komponiste soos Reger, Bloch en Britten die kulminasiepunt van die hele proses. Hoewel hulle werke en die van Bach tot verskillende stylperiodes behoort, blyk dit egter duidelik uit ’n studie daarvan in Hoofstuk 4 dat daar in die skepping van hierdie werke uitgegaan is van die voorbeeld en basis wat in Bach se suites daargestel is. Die feit dat die werke tot verskillende stylperiodes behoort, bring ook mee dat daar grondliggende verskille, byvoorbeeld wat tonaliteit en vorm betref, tussen die werke van Bach aan die een kant en die werke van Reger, Bloch en Britten aan die ander kant bestaan. n Gemeenskaplike faktor tussen die werke wat in hierdie studie ondersoek is, is dat hulle almal, nieteenstaande grondliggende stylverskille, vir die tjello, wat n melodie–instrument is, geskryf is. Om in die onbegeleide werke beide die horisontale sowel as die vertikale dimensies in die musiek te kan realiseer, moes sekere tegnieke in die melodiese skryfwyse, soos byvoorbeeld meervlakkige beweging in die melodiese lyn deur onder andere pedaalpunte, kontrastering van motiewe en sekwensiële beweging aangewend word. Ooreenstemmende kenmerke in die musiek van die vier komponiste kan dikwels aangetoon word. Afgesien van die ooreenkomste is daar egter ook verskille as gevolg van die onderskeid tussen die individuele sowel as tydstyle wat as grondslag en uitgangspunt van die werke van die verskillende komponiste dien. Selfs in die werke van Reger, Bloch en Britten is daar n ontwikkeling van byvoorbeeld latente meerstemmigheid volgens die voorbeeld van Bach na n meer volwaardige meerstemmigheid soos dit veral in die werke van Britten neerslag vind. / Thesis (D.Mus)--North-West University, Potchefstroom Campus, 2012.

J. S. Bach se ses suites vir onbegeleide tjello word as sentrale werke in die tjelloliteratuur, en spesifiek wat die genre vir onbegeleide tjellomusiek betref, as die norm beskou. Uitgaande van bostaande beskouing vorm die bestudering van die suites dus die basis van hierdie studie. Die werke van Bach staan in die middelpunt van ’n lang ontwikkelingsgeskiedenis van onbegeleide strykersmusiek wat vanaf die 16de tot die 20ste eeu strek. ’n Algemene historiese oorsig van hierdie ontwikkeling word in Hoofstuk 2 weergegee. Die eienskappe van Bach se melodiese styl, en veral die kontraselemente, vorm die uitgangspunt van die analitiese studie van die ses suites in Hoofstuk 3. Op grond van hierdie eienskappe kan latente meerstemmigheid deurgaans in die onbegeleide suites van Bach aangetoon word. Waar Bach se suites die kernpunt van die ontwikkeling van onbegeleide strykersmusiek daarstel, vorm die werke van 20ste eeuse komponiste soos Reger, Bloch en Britten die kulminasiepunt van die hele proses. Hoewel hulle werke en die van Bach tot verskillende stylperiodes behoort, blyk dit egter duidelik uit ’n studie daarvan in Hoofstuk 4 dat daar in die skepping van hierdie werke uitgegaan is van die voorbeeld en basis wat in Bach se suites daargestel is. Die feit dat die werke tot verskillende stylperiodes behoort, bring ook mee dat daar grondliggende verskille, byvoorbeeld wat tonaliteit en vorm betref, tussen die werke van Bach aan die een kant en die werke van Reger, Bloch en Britten aan die ander kant bestaan. n Gemeenskaplike faktor tussen die werke wat in hierdie studie ondersoek is, is dat hulle almal, nieteenstaande grondliggende stylverskille, vir die tjello, wat n melodie–instrument is, geskryf is. Om in die onbegeleide werke beide die horisontale sowel as die vertikale dimensies in die musiek te kan realiseer, moes sekere tegnieke in die melodiese skryfwyse, soos byvoorbeeld meervlakkige beweging in die melodiese lyn deur onder andere pedaalpunte, kontrastering van motiewe en sekwensiële beweging aangewend word. Ooreenstemmende kenmerke in die musiek van die vier komponiste kan dikwels aangetoon word. Afgesien van die ooreenkomste is daar egter ook verskille as gevolg van die onderskeid tussen die individuele sowel as tydstyle wat as grondslag en uitgangspunt van die werke van die verskillende komponiste dien. Selfs in die werke van Reger, Bloch en Britten is daar n ontwikkeling van byvoorbeeld latente meerstemmigheid volgens die voorbeeld van Bach na n meer volwaardige meerstemmigheid soos dit veral in die werke van Britten neerslag vind. / Thesis (D.Mus)--North-West University, Potchefstroom Campus, 2012.

Zugl.: Berlin, Techn. Univ., Diss., 2008

Thesis (MSc)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: Mobile IPv6 is a proposed mobility standard for Next Generation Wireless Access Networks that allows mobile nodes, such as laptops, tablets, smart phones to stay reachable while moving around in an IPv6 Internet network. The need for MIPv6 exists because a mobile device cannot maintain the previously connected link when changing location and IP address. The initial IP Mobility protocol was first presented in 1993 for IPv4 and in 2004 for IPv6. The Mobile IP protocol solves the TCP/IP Stack Layer 3 mobility issue, by assigning a permanent IP Home Agent address to the mobile node. IPv4 has some drawbacks, the main one being IP address exhaustion, making MIPv6 the future option for mobility protocol in IP Networks.The main goal of the mobility protocol is to enable network applications to operate continuously at the required quality of service for both wired and wireless networks while the mobile node moves around in the network. MIPv6 on its own needs optimization techniques to improve the handover latency of the protocol and to minimize the latency. This thesis investigates MIPv6 simulated using OMNeT++ Network Simulator Framework and the implementation thereof on a Linux IPv6 test bed. The test bed was used to test handover latency, overhead added by the MIPv6 extensions and packet loss. The developed test set up can also be used to evaluate different handover schemes that might enhance the MIPv6 protocol, decreasing handover latency and enabling real-time IPv6 applications such as Voice over IP. FMIPv6 and PMIPv6 are extensions to MIPv6 to enhance it's functionality. These protocols are investigated and evaluated against MIPv6 in order to make recommendations on possible improvements of these mobility protocols. / AFRIKAANSE OPSOMMING: Mobiele IPv6 is 'n voorgestelde standaard vir mobiele netwerke of die sogenaamde Volgende Generasie Netwerke wat mobiele nodes sal toelaat om bereikbaar te bly wanneer die nodes rondbeweeg in 'n IPv6 Internet omgewing. Die behoefte aan 'n kontinue netwerksessie is baie groot en dit kan toegeskryf word aan die vinnige toename in mobiele nodes, soos skootrekenaars, tablette en slimfone. Die oorspronklike IP Mobiele protokol was voorgestel in 1993 vir IPv4 en in 2004 vir IPv6. Mobiele IP dien as 'n oplossing vir netwerk mobiliteit deur te fokus op Laag 3 van die TCP/IP Stapel. Kontinue sessies word bereik deur 'n permanente Basis Adres aan die mobiele node te bind. IPv4 het heelwat nadele, waarvan die grootste een verseker IP adres uitputting is, ander nadele sluit in driehoekige roetering en invloei filtering wanneer die mobiele node rondbeweeg. Weens die genoemde nadele van MIPv4 en die stelselmatige oorgang van IPv4 na IPv6 word die fokus gerig op MIPv6 vir toekomstige verbetering en implementering. Die hoofdoel van MIPv6 is om te sorg dat mobiele nodes kan rondbeweeg in 'n network sonder om netwerk konneksie te verloor en ook om die gehalte van diens te handhaaf. MIPv6 benodig addisionele optimalisering tegnieke om die oorhandigings latensie van die protokol te verbeter en dus die gehalte van diens ook te verbeter. In die tesis ondersoek ons die elemente wat oorhandigingstydperk beinvloed en verhoog, deur MIPv6 in 'n OMNeT++ Simuleerder te evalueer. Nadat die nodige simulasie resultate verkry is, word MIPv6 geimplementeer op 'n toets netwerk om die oorhandigingstydperk te toets wanner die node rondbeweeg, oorhoofse inligting wat bygevoeg word deur MIPv6 en die aantal netwerk pakkies wat verlore gaan tydens die oorhandigingsproses. Hierna word die optimalisering tegnieke genaamd PMIPv6 en FMIPv6 ook geimplementeer op die toets netwerk om die e ektiwiteit en optimaliserings voordele teenoor die toets resultate van MIPv6 te vergelyk. Die resultate kan gebruik word om verbeterings en voorstelle te maak rakende die mobiele protokols.