Thesis (Ph.D.)--University of Tulsa, 1967. / Bibliography: leaves 157-163.

Thesis (M.M.)--University of Michigan, 1955.

Thesis (M.M.)--University of Michigan, 1955.

Thesis (Ph. D.)--University of Hong Kong, 1991.

Bullet and cartridge case evidence may potentially link weapons and crimes through the comparison of toolmark patterns. This analysis relies on the clarity of the toolmarks and the ability of the examiner to identify patterns on the evidence. These patterns may be distorted by debris such as soil, blood, cyanoacrylate, and construction materials. Despite the potential importance of bullet and cartridge case evidence, few investigations of proper cleaning methods have been conducted. The present study was designed to examine the effects of various cleaning solutions and application methods on copper and brass bullets and cartridge cases. Additionally, this research investigated the efficacy of these cleaning protocols on the common evidence contaminants blood and cyanoacrylate. No cleaning method was found to be universally effective on both contaminant types and nondestructive to the metal surface. Ultrasonication was the most efficient application method employed when used in conjunction with an appropriate cleaning solution. Acetone proved to be safe and successful at removing heavy cyanoacrylate deposits from brass cartridge cases without damaging the metal. Although sulfuric acid removed most of the cyanoacrylate from the brass cartridge case, ultrasonication of the fumed cartridge cases in sulfuric acid caused the nickel-plated primer caps to turn black. Additionally, etching occurred when sulfuric acid was allowed to dry on the cartridge case surface. Citric acid, salt-flour-vinegar paste, Tergazyme®, and water did not effectively remove the cyanoacrylate from the cartridge cases, but the solutions were safe to use on the brass and sometimes resulted in a shinier surface. Regardless of the cleaning method employed, the bloodstained bullets retained most or all of the underlying brown tarnish. Ultrasonication with sulfuric acid was successful at removing some blood-initiated tarnishing; however, the removal of residues was not complete, making it difficult to visualize the full striation pattern. Citric Acid, Tergazyme®, and water proved to be safe to use on the copper bullets and capable of removing loose debris, but the cleaning solutions did not effectively remove the brown tarnish. Flitz® Instant Brass and Copper Tarnish Remover caused damage to both sample types by causing etching to occur on the metal surface. Additionally, the Flitz® tarnish remover caused the brass cartridge cases to turn black over time. The use of the Sunshine Polishing Cloths left light scratches on the surface of the samples, demonstrating they are not suitable for cleaning toolmark evidence.

The purpose of this research was to explore historical perspective of brass music. There is a brief history of brass bands in Britain. Furthermore, the paper examines the differences between two brass band pieces in the repertoire, A Western Fanfare by Eric Ewazen and Brass Symphony by Jan Koetsier. Both of these pieces were compared and contrasted against the author's newly composed work for brass, Two Companion Pieces for Brass Ensemble. The paper covers different techniques commonly used in brass writing and points these techniques out in all three pieces.

No description available.

This subject was chosen becasue I felt a need of a method for the teaching of brass instruments. Most teachers whose major instrument is not a member of the brass family have had too little opportunity to study and find out what is necessary for developing a good breass instrument player. In far too many cases a teacher is expected to be able to teach the brass instruments after completing a three or four months course. This method is intented to be used as a guide, in conjunction with other material. The aim is to put in writing the proper fundamentals necessary for good brass playing. The exercies are written progressively and are to be take up only when the student is ready for them. It is for this reason that supplementary material must be used.

The composition is in four movements and requires approximately fifteen minutes for performance. Characteristic features of the work include fugal imitation, modified arch form, sound mass and special brass effects, and quintal harmony in each movement, respectively. The purpose of the composition is to expand literature for brass choir and prepared tape.

No description available.