Universiẗat, Diss., 2003--Münster (Westfalen).

Creating inclusive environments that are safe and respectful of all students in the spectrum is paramount to students’ success and well-being in music (Carter, 2011). When students feel safe and supported, they may express themselves more freely and participate in music more fully (Hill, 2019). Yet, freedom to express oneself is inhibited by heteronormative beliefs and practices that perpetuate gender stereotypes, suppress queer thinking, and form the origins of homophobia and transphobia (Butler, 2004; Sedgwick, 1990/2008; Warner, 1993). This study featured a narrative inquiry design which utilized the lens of queer theory and Butler’s (1990/1999) concept of gender performativity to examine high school musical engagement through the recollections and perceptions of three trans young adults. The purpose of this study was to explore ways that gender and music intersect in high school, as well as illuminate behaviors that constrained or enabled the participants’ abilities to participate fully in school music. Data was gathered through interviews with the participants during which they recounted past musical experiences in school, family, and community contexts. Findings from a comparative analysis revealed eight areas that were crucial to the participants’ affirmation of identity and musical engagement: supportive people, singing alone and with others, negotiating traditions, meaningful performing experiences, safe spaces and safe people, role of media, personal agency, and role of the music teacher. This study contributes to a growing body of music education research rooted in queer theory that dismantles the binary gender categories of “male” and “female” and, instead, considers the entire spectrum of gender. Results of this study may help educators remove barriers between gender identity and musical engagement by informing practice that opens channels for learning and builds stronger connections to music.

Summary: Acoustic differences were evaluated among three choral arrangements and two choral textures recorded at three microphone locations. A choir was recorded when singing two musical selections of different choral texture, one homophonic and one polyphonic. Both musical selections were sung in three choral arrangements: block sectional, sectional-in-columns, and mixed. Microphones were placed at the level of the choristers, the conductor, and the audience. The recordings at each location were analyzed using long-term average spectrum (LTAS). The LTAS from the mixed arrangement exhibited more signal amplitude than the other arrangements in the range of 1000-3500 Hz. When considering the musical selections, the chorus produced more signal amplitude in the region of 1800-2200 Hz for the homophonic selection. In addition, the LTAS produced by the choir for the homophonic selection varied across the microphone locations. As for the microphone location, the LTAS of the signal detected directly in front of the chorus had a greater slope than the other two locations. Thus, the acoustic signal near the choristers differed from the signals near the conductor and in the audience. Conductors may be using acoustic information from the region of the second and third formants when they decide how to arrange a choir for a particular musical selection.

This composition is based off the poem of the same name by Richard Sale. No particular harmonic plan was envisioned for Parts I, II and IV, because it was necessary for the harmonic scheme to be as fluid as the poetry. If the ideas of the text were similar some attempt was made to use a similar or modified melodic line or harmonic scheme. The structure of the text became the structure of the work. The motivating factor is the text, hence the many meter changes in order to keep pace with the poetry.

The Eumenides is a single-movement composition for orchestra, chorus, and prepared electronic tape. It is based on the Orestoian trilogy, The Agamemnon, The Libation Bearers, and The Eumenides, by the classical Greek dramatist, Aeschylus. The text of the composition was formed by the extraction and amalgamation of certain ideas, key-words, and phrases from English translations of the plays made by Buckley, Hadas, Vellacott, and Lattimore, and also from the modern drama, Les Mouches, by the French writer-philospher, Jean-Paul Sartre. Three short passages of Gregorian Chant from the Liber Usualis are used in the coda section of the work.

Plasma waves are key drivers of the highly variable electron dynamics in Earth’s outer radiation belts. In particular, whistler mode chorus waves, which are commonly observed with intense wave amplitudes, are known to be a key driver of rapid electron acceleration and precipitation observed by many recent satellite (e.g., Arase, ELFIN, THEMIS, and Van Allen Probes) and balloon missions (BARREL). However, quantitative understanding of how electron acceleration and precipitation is modified due to the nonlinear interactions with chorus waves is limited. This dissertation systematically evaluates the nonlinear effects of chorus waves in the full electron pitch angle-energy space using test particle simulations, quasilinear models, and satellite observations. More specifically, the dependences of these nonlinear effects on the chorus wave amplitude modulation (waveform structures), as well as wave amplitude and frequency bandwidth (spectrum structures), are quantified over a wide range of wave parameters. The results show that realistic chorus wave structures tend to limit the nonlinear effects on energetic electrons. The system can be described by a diffusion model similar to quasilinear theory, but nonlinear effects alter the diffusion coefficients from quasilinear ones. Using an intriguing event observed by the Van Allen Probes, I further demonstrate that nonlinear phase trapping by the upper-band chorus waves can efficiently accelerate electrons to form the distinct butterfly pitch angle distribution within 30 seconds. The effects of nonlinear interaction (Landau trapping) on electron precipitation are also evaluated during a bursty electron precipitation event observed by the ELFIN CubeSats, in association with very oblique chorus waves observed by THEMIS near the equatorial plane. The test particle simulation results provide the first direct evidence of rapid (~5 s) electron precipitation driven by high-order resonances due to chorus waves. Overall, this dissertation provides a full quantification of nonlinear effects and their dependences on various electron and chorus wave parameters. The findings in this dissertation are crucial to our fundamental understanding of wave-particle interactions, particularly on short timescales in the Earth’s radiation belts and in other space plasma environments, such as solar wind and other planets, as well as astrophysical and laboratory plasmas.

The relationship between habitat preferences and rates of dispersal and directional orientation across different vegetations was investigated using captures from an array of drift fences for Pseudacris triseriata , at a breeding pond near Boucherville, Quebec. Growth rates for juveniles were similar across the study area, suggesting that food was not limiting and movement is related to habitat preference. Frog residence time in habitat enclosures, and between fence arrays was significantly longer for frogs in humid prairie vegetation compared to those in shrubby vegetation. The number of frogs caught per metre of fence in humid prairies was also on average higher than either shrubby or arid prairie vegetations. Together both migration rates and captures per metre of fence suggest that the preferred habitat for P. triseriata is humid prairie vegetation (e.g. Phalaris grass). Target-oriented dispersal may explain why similar numbers of P. triseriata were captured in both shrubby and humid prairie vegetation, despite the perceived preference for humid prairies over shrubby vegetation. The continued persistence of this population appears to be based on the recruitment of juveniles from the larval stage, and is also sensitive to the fecundity of the first time breeders.

Thesis (Ph. D.)--University of Alberta, 2010. / Title from pdf file main screen (viewed on June 11, 2010). A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Environmental Biology and Ecology, Department of Biological Sciences, University of Alberta. Includes bibliographical references.

No description available.

This oratorio tells the story of Queen Esther as presented in the Old Testament Book of Esther. Its format includes choruses and solos with an orchestral accompaniment. The main characters in the story are Esther, King Xerxes, Esther’s uncle Mordecai and their antagonist Haman, with occasional insertions by a narrator. In addition to the primary scripture used, there are several inclusions from the Psalms, Song of Songs, and a commentary poem by Wayne Watson highlighting the oratorio’s sub-title, “For Such a Time as This,” which is the overriding textural theme. The orchestration focuses on reed woodwinds, brass, strings, and percussion, including consistent use of the Persian tanbak (bongo type drum). Rhythms are regularly freely used to support the text. Dissonant melodic construction and its resulting harmonic dissonance present a panoply of sound beyond the traditional classical approach of dominant/tonic tonality.