Inaug.-Diss.--Marburg. / Vita.

This study examines the phenomenon of contemporary a cappella music making found in high school settings as curricular and extra-curricular offerings. Past music and music education literature has focused exclusively on contemporary a cappella at the collegiate level. Through application of a descriptive phenomenological method and incorporation an educational-sociological lens, this study advances an understanding of the educational benefit and social value of membership in contemporary a cappella at the high school level. Six recent members from three regions of the United States provided data through individual open-form interviews in which questions were derived from the participants’ own speech. I incorporated phenomenological reductions and processes to negate researcher bias during data collection, analysis, and the formation of a general structure and constituent meanings of membership in high school contemporary a cappella. Participants utilized traditional music skills, individual talents, conceptions of popular culture and music, and in-group socialization to facilitate music making and reify membership. Expressing the value of group membership, individuals acted to benefit the group by cultivating social bonds, developing and fostering personal/shared connections to songs, identifying and purposing individual talents and skills, and gaining an understanding of each members’ unique contribution to membership. Discussion includes implications for music education and suggestions for future research.

Syftet med det här arbetet har varit att utveckla ett eget sound inom a capella/stämsång genom att studera fem vokalgrupper, komponera två egna låtar och arrangera om två befintliga låtar. I arbetet försökte jag ta reda på vad det verkligen innebar att skriva a capella och vilka musikaliska val jag kunde göra som låtskrivare/arrangör för att få till det soundet jag ville åt. Under arbetets gång har jag fördjupat mina kunskaper i att arrangera körstämmor till en vokalgrupp. Jag lärde mig också vilka olika sound jag tycker om och vad jag vill undvika i mitt skrivande/ arrangerande, de val jag måste göra för att nå mitt önskade sound. Jag har länge haft en dröm om att ha en egen vokalgrupp där jag skriver de olika arrangemangen och jag har efter det här arbetet blivit mer bekväm i rollen som körledare/producent. Arbetets konstnärliga del har jag presenterat med klingande exempel från min konsert.

Thèse (M.A.)--Université Laval, 2009. / Bibliogr.: f. 176-181. Publié aussi en version électronique dans la Collection Mémoires et thèses électroniques.

Inaug.-diss.--Breslau. / Lebenslauf. Includes bibliographical references.

Inaug. _ Diss.: Philosophische Fakultät I: Zürich: 1976-77. _ Bibliogr. p. 219-241.

Texte remanié de: Diss.--Philosophische Fakultät--Erlangen-Nürnberg--Friedrich-Alexander-Universität, 1997. / Contient la trad. en allemand moderne du Livre I des "Noces de Mercure et de Philologie" Bibliogr. p. [605]-633. Index.

Indiana University-Purdue University Indianapolis (IUPUI) / Systems Engineering is catching pace in many segments of product manufacturing industries. Model-Based Systems Engineering (MBSE) is the formalized application of modeling to perform systems engineering activities. In order to effectively utilize the complete potential of MBSE, a methodology consisting of appropriate processes, methods and tools is a key necessity. In the last decade, several MBSE projects have been implemented in industries varying from aerospace and defense to automotive, healthcare and transportation. The Systems Modeling Language (SysML) standard has been a key enabler of these projects at many companies. Although SysML is capable of providing a rich representation of any system through various viewpoints, the journey towards adopting SysML to realize the true potential of MBSE has been a challenge. Among all, one of the common roadblocks faced by systems engineers across industries has been the software engineering-based nature of SysML which leads to difficulties in grasping the modeling concepts for people that do not possess a software engineering background. As a consequence, developing a system (or a system of systems) architecture model using SysML has been a challenging task for many engineers even after a decade of its inception and multiple successive iterations of the language specification. Being a modeling language, SysML is method-agnostic, but its associated limitations outweigh the advantages. ARCADIA (Architecture Analysis and Design Integrated Approach) is a systems and software architecture engineering method based on architecture-centric and model-based engineering activities. If applied properly, ARCADIA allows for a very effective way to model the architecture of multi-domain systems, and overcome many of the limitations faced in traditional SysML implementation. This thesis evaluates the architecture development capabilities of ARCADIA/Capella versus SysML following the Object-Oriented Systems Engineering Method (OOSEM). The study focuses on the key equivalences and differences between the two MBSE solutions from a model development perspective and provides several criteria to evaluate their effectiveness for architecture development using a conceptual case of Adaptive Cruise Control (ACC). The evaluation is based on three perspectives namely, architecture quality, ability to support key process deliverables, and the overall methodology. Towards this end, an industry-wide survey of MBSE practitioners and thought leaders was conducted to identify several concerns in using models but also to validate the results of the study. The case study demonstrates how the ARCADIA/Capella approach addresses several challenges that are currently faced in SysML implementation. From a process point of view, ARCADIA/Capella and SysML equally support the provision of the key deliverable artifacts required in the systems engineering process. However, the candidate architectures developed using the two approaches show a considerable difference in various aspects such as the mapping of the form to function, creating functional architectures, etc. The ARCADIA/Capella approach allows to develop a ‘good’ system architecture representation efficiently and intuitively. The study also provides answers to several useful criteria pertaining to the overall candidate methodologies while serving as a practitioner’s reference in selecting the most suitable approach.

L'estudi de la vida i l'obra de Vicent Garcia Julbe, posa de manifest diversos aspectes i circumstàncies que han influït decisivament en la seua trajectòria compositora, musicològica i com a mestre de capella.Vicent Garcia va portar a terme de manera exemplar les directrius musicals que va enunciar Felip Pedrell dins Por nuestra música (1891) i que li van ser transmeses per Vicent Ripollés. A través de les seues composicions trobem un eix que, al llarg del segle XX, sintetitza la tradició de la música litúrgica gregoriana del Motu proprio de Pius X amb els corrents més innovadors i contemporanis que li va correspondre viure.La catalogació de les seues obres composades en cadascuna de les catedrals on va estar com a mestre de capella, explicita el paral·lelisme entre les obres i les directrius de Roma i dels bisbats per on va passar. L'anàlisi de les obres més representatives de cada període evidencia una evolució en l'estil, lligada a la mateixa formació de les respectives schola cantorum de cada seminari.La seua tasca musicològica i d'investigació, la preocupació per les transcripcions, la recuperació de la polifonia dels segles XVI i XVII i la interpretació d'aquesta música han sigut un eix vertebrador en la seua vida musical com a formador i director de les schola cantorum.La composició de música coral religiosa per a concert és un nou camp que Vicent Garcia explora amb un llenguatge en ocasions original, en ocasions tradicional. Les manifestacions corals a Tarragona i Castelló són herència de l'escola que va crear al Seminari de Tortosa al voltant de la música litúrgica. / The study of Vicente García Julbe's life and work gives clear proof of different aspects and circumstances that have influenced decisively in his compositive, musicological and like a chapel master career.Vicente García carried forward in an exemplary way the musical instructions that were enunciated by Felipe Pedrell in Por nuestra música (1.891); Vicente Ripollés transmitted these musical instructions to him. In his compositions, we can find a connecting theme, all through the twentieth century, that summarizes the Gregorian liturgical music tradition of Pius X's Motu proprio, with different innovating and contemporary tendencies that he lived.In the cataloguing of his work, which was composed in each cathedral where he was like a chapel master, we can see a parallelism with his compositions and Rome instructions and, of course, bishopric instructions where he was. Analysis of the most representative compositions in each term shows a style evolution. This evolution is joined with the schola cantorum training in each seminary.His musicological and research task, his worry about the transcriptions, the polyphonic retrieval of the sixteenth and seventeenth century and the performance of this music have been a connecting theme in his musical life like a choirmaster and conductor of the schola cantorum.The religious choral music composition for the concert is a new background that Vicente García study with an original language or, sometimes, with a traditional language. The choral interpretations in Tarragona and Castellón are heritage of the school he founded in Tortosa's seminary round liturgical music.

Diss. Ph. D.--Arts--Utrecht--Rijksuniversiteit, 2000. / Bibliogr. Index.