The name “Berlin School” refers to the group of composers who worked in the orchestra of Frederick the Great in Berlin. The first musicians were engaged in 1732, and the group expanded rapidly to its full strength of about 42 after Frederick’s coronation in 1740. All of the most significant composers were engaged in the first 10 years. Most of these composers wrote music for the viola da gamba, an instrument which by 1740 was already becoming obsolete in most places. The gamba composers are C. P. E. Bach, F. Benda, C. H. Graun, J. G. Graun, J. G. Janitsch and C. Schaffrath. They were encouraged to write for the viola da gamba by the presence in the orchestra from 1741 of Ludwig Christian Hesse, one of the last great virtuosi of the viola da gamba. Hesse was taught by his father Ernst Christian Hesse, who studied the French style in Paris. Hesse junior brought the French style to Berlin, where the Berlin School composers produced a synthesis of French and Italian styles by applying French textural techniques, some of them specific to the viola da gamba, to Italian forms. This study shows how the unique situation which existed in Berlin produced the last major corpus of music written for the viola da gamba. This music was the result of close collaboration between Hesse and the Berlin School composers.

Thesis (M. Mus)--University of Adelaide, Dept. of Music Studies, 1993?

This qualitative study examined the impact of TRIO-Upward Bound and Math Science programs for 12th-grade African-American male participants. The overall aim studied their self-efficacy in fulfilling graduation requirements and academic achievement in preparation for acceptance into a postsecondary institution. Data collection methods for this study were comprised of interviews, surveys, and student achievement data. Utilizing the qualitative director interviews, the researcher analyzed the data and presented the impact of independent variables on the effectiveness of the Upward Bound TRIO program for African-American 12th-grade males. A comparison of two Upward Bound TRIO programs at a select urban southern institution was conducted in the southern region of Georgia. The results were analyzed and queried as to whether the academic challenges confronting economically disadvantaged potential first generation college students, particularly African-American males, suggest an urgent call to action for an effective intervention strategy.

This document focuses on the formal structures and tonal language of four trios that include horn by American composer Simon A. Sargon: "Huntsman, What Quarry?" Two Poems of Edna St. Vincent Millay for Soprano, Horn, and Piano (1990); Trio for Horn, Violin, and Piano: "The Legacy" (1993); A Clear Midnight: Six Songs Set to Poems of Walt Whitman for Baritone, Horn, and Piano (1996); and Sonic Portals: Trio for Oboe, Horn, and Piano (2003). Comparisons with precedent works of like instrumentation demonstrate that Sargon's trios, though musically unique, merit a place alongside masterworks like Carl Reinecke's Trio, op. 188, for oboe, horn, and piano; Franz Schubert's Auf dem Strom for soprano, horn, and piano; and especially Johannes Brahms's Trio, op. 40, for violin, horn, and piano. Other precedent, contemporary, and related works are also mentioned. Sargon's ability to write idiomatically for the horn and other instruments is discussed, and consideration is given to some elements required to create a good performance of Sargon's chamber music. Included are a brief biography of Simon Sargon, letters from colleagues with whom he has worked closely, lists of his instrumental music and recordings of some of these pieces, and lists of other works in the genres discussed herein.

Different sections or movements of a piece are associated with each other and contain the composer essential thought. A vague affinity of mood and a resembling theme or form testifies to the relationship. However, the evidence is insufficient to reveal the unification of the different sections or movements since these are under restraint of external music proofs. In order to figure out the relationship, thus, identical musical substance should be discovered. In the study the substantial evidence, which can be called unity or unification, is mainly discussed. The unity is illustrated with Brahms's Horn Trio, Op.40 that is one of the Brahms's significant works. The unity found in the Horn Trio is based on the internal structure and structural voice-leading notes. The unity in the Horn Trio is the fundamental structural unity that is divided into initial ascent and voice exchange, and fundamental voice-leading motive. The fundamental unity seriously affects the master piece and penetrates the movements as a whole. Further, it reveals the hidden connections to the historical background of the Horn Trio and the philosophy of Brahms for the music. Even though a piece consists of several sections or movements, the entire piece presents homogeneity. The identity of the composer's underlying philosophical thought suffices to discern the musical unity in a piece. Thus, the investigation of unity is one of the critical ways to understand not merely a piece but also the philosophy of a composer. The study will help to enhance the audience's interpretation of music.

Introduktion: Att påverka de sensoriska egenskaperna hos kyckling genom att anpassa fodret kycklingarna får vid uppfödningen, är ett intressant koncept som kan leda till många möjligheter. På Bosarps gård utanför Blentarp i Skåne har man arbetat med ett sådant koncept genom att tillföra morötter och grönkål som ett komplement till basfodret.Syfte: Syftet med denna studie är att undersöka om morot och grönkål, som ett komplement till basfodret, påverkar kycklingköttets sensoriska egenskaper.Material och metod: För att ta reda på detta har två olika sensoriska skillnadstester använts, först ett duo-triotest och sedan ett partest.Resultat: Det fanns inga skillnader beträffande egenskaperna utseende och smak mellan kött från kycklingar som fötts upp med eller utan tillsats av morötter och grönkål i fodret, dock fanns det en signifikant skillnad avseende texturen. Morotskyckligen hade en fastare fibertextur.Slutsats: Det fanns en skillnad i texturen, som antingen kan förklaras av/bero på fodret, tillagningen, åldern på kycklingarna eller hanteringen av kycklingköttet efter slakt. / Introduction: Being able to influence the sensory properties of chicken by affecting the feed during breeding, is an interesting concept that can lead to many possibilities. At Bosarp's farm just outside of Blentarp in Skåne they have tried to execute this concept by adding carrots and kale as a complement to the chicken’s basic diet.Aim: The aim of this study is to investigate whether carrot and kale, as a complement to the basal diet, affect the sensory characteristics of the chicken meat.Material and method: To achieve the aim of this study two different sensory differences tests have been applied, first a duo trio test and then a two paired sample test.Results: There were no differences regarding the appearance and taste characteristics between the samples of meat from chickens bred with or without the addition of carrots and kale in the feed, but there was a significant difference regarding the texture.Conclusion: There was a difference in texture, which was either due to the feeding, the cooking, the age of the chicken or handling of the chicken meat after slaughter.

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The objective of this research is to explore the perceptions of UCF Upward Bound Program participants using focus groups and pre-posttest surveys in order to assess students' level of understanding of Science, Technology, Engineering, and Mathematics (STEM) related coursework, secondary education preparation in science and mathematics, and their perceptions of barriers to a STEM college education. Also, this study centers on the summer 2010 science and mathematics residential portion of the Upward Bound Program. Program outcomes and effectiveness were evaluated based on the change in student insight of the Upward Bound Program's stake in their secondary education. In addition, pre-posttest measures and interviews allowed a greater understanding of teacher and parent involvement in high school coursework success. Factors that involve self-efficacy, same or other group orientation and perceptions of student college environment were also analyzed. This research facilitated the understanding of first generation, low income and multicultural student's perceptions and what they view as a benefit or a hindrance to entering and successfully completing degrees in post-secondary institutions, specifically in STEM-related disciplines.