Inaug.-diss.--Berlin. / Vita. "Sonder-abdruck aus 'Zeitschrift für psychologie und physiologie der sinnesorgane.' bd. XVIII."

Thesis (Ph. D.)--University of Texas at Austin, 2007. / Vita. Includes bibliographical references.

Thesis (Ph. D.)--Department of Music, Stanford University, 2008. / Includes bibliographical references (leaves 177-188).

archives@tulane.edu / 1 / Miguel Velasquez

The Discrete Fourier Transform, which was initially mentioned in the music theory domain by David Lewin, is an analytical tool developed by Ian Quinn, and later expanded by theorists such as Jason Yust, William Sethares, and Andrew Milne. Though it was originally designed for pitch-class spaces, Emmanuel Amiot has explored the DFT’s implementation into the rhythmic domain, and has recently used it to unravel mathematical problems in music. An explanation of the DFT model will be made available here to a reader requiring only fundamental arithmetic. Throughout this thesis, I intend to explore the DFT in the music of various composers to demonstrate applicability, and will argue for a metric conception of form.

No description available.

As you move among the various spaces within the school you will notice that the volume is an encapsulation made from surfaces that describe what is material and what is void of material. This makes for interaction of the senses. What can be formed in material can transcend from built form directly and indirectly to the student through the duration of observation. Thus augmenting their knowledge and judgement. What can not be formed from material has to be thought of in a different way for the student.This nonmaterial form is subject to what binds it, making the experience from nontactile things such as light and darkness. The thesis undertook these conditions to make a place where observation is inclusive. Observation is the step in which a student must invoke their intellect to understand their purpose as an artist and to define their own uniqueness. Perhaps this is an atypical way for students to learn with regard to art but the making of art should be anything but typical. / Master of Architecture

How can water influence the rhythm of Architecture? Water is referred to as the blood of the earth, the liquid that runs through the veins of the earth. At times rain falls calmly to the earth's surface bringing life to plants, animals, and people. At other times, rain falls in a fury and causes the rivers to swell and flood, destroying life. In the film Rivers and Tides Working with Time Andy Goldsworthy states, "the thing that brings it to life is also the thing that causes its death." The essential element of water is needed by all living things. Vitruvius stated that "without the influence of moisture living creatures will be bloodless and having the liquid element sucked out of them will wither away." Every living thing includes a percentage of water, without which life would not be possible. However, when the vengeance of a storm comes water can become an unforgiving force. A force more powerful than life can sustain. Water can provide life for years, nourishing our bodies, souls, and minds, but it can take life away in an instance and leave nothing but destruction and death behind. The architecture of the proposed building has be inspired by the ebb and flow of the Potomac River. By using the tide and seasonal changes of the river the architecture will reacted and embraced this element of the Alexandria, Virginia. The project is for the Alexandria Sculpture Museum. This Museum will provide a forum for the public to be able to enjoy the dynamics of a museum in the downtown area as well as the public interaction between the city, the land, and the river. / Master of Architecture

Juhani Pallasmaa writes, "We have the mental need to experience the reality that we are rooted in the continuity of time and in the man-made world, it is the task of architecture to facilitate this experience." (Eyes of the Skin: Architecture and the Senses, p. 22) It is the intent of this thesis to investigate how to facilitate this experience through conscious perception and active participation in the changes that occur in a building over the course of a day and through environmental cycles. Participating, both physically and mentally, in the changes that occur around and within the built environment create a dynamic and engaging environment that allows people to further their enjoyment and delight in being in the space. This thesis investigates these ideas through the programmatic elements and educational ideas of The Washington Waldorf School and the site conditions of a "transition site" between Rock Creek Park and the Woodly Park area of Washington DC. / Master of Architecture

Doctor of Philosophy / Curriculum and Instruction Programs / Frederick Burrack / Phillip Payne / The purpose of this study was to discover whether differences exist in rhythm pattern achievement of the three rhythm systems Takadimi, 1 e & a, and 1 ta te ta in introductory level aural skills classrooms. Participants (N = 27) were first-level aural skills students in three Midwest colleges. Data were collected by implementing a demographics questionnaire to obtain a descriptive profile of the participants, Gordon’s (1989) Advanced Measures of Music Audiation (AMMA) test to obtain the music aptitude level of the participants, and a researcher-designed pretest and posttest. A significant difference was unable to be determined of rhythm pattern achievement between the three systems. However, results revealed improvement of rhythm reading between the pretest and posttest for all rhythm systems. A significant difference was unable to be determined in achievement between students with low and high aptitude following instruction in a particular rhythm system. The improvements in rhythm reading suggest that progress and achievement can be independent of using any of the three rhythm systems, but further investigation with a larger sample is recommended.