In 1963, Pope Paul VI circulated the Sacrosanctum Concilium (Constitution on the Sacred Liturgy), in which he formulated one of the chief aims of the liturgical reform by suggesting that full participation in the liturgy be encouraged to all people in the congregation. Recently, the Catholic schools of the Diocese of Columbus, Ohio, exemplified this point by stating that the Diocese standards offer necessary tools to support full participation in worship in schools and in parishes. The purpose of this study is to explore how teachers and administrators interpret the meaning of full participation in terms of musical interaction within the ritual of school Masses and classroom rehearsals, and to examine how they interact with one another to plan and implement a successful experience in which students will continue to return to these rituals. In this study I investigate full participation in parochial chorus—informed by classroom and/or rehearsal interaction rituals. These rituals are understood through the lens of Collins’s Interaction Ritual Chains (2004). Collins posits that feelings of group solidarity are charged by potential emotional effervescence and symbolic content. This study originates from the works of sociologists Durkheim (1912/1995) and Goffman (1959). The methodical approach is one of a micro-ethnography. The data collection was organized using ethnographic field notes and case study applications. Data and analysis from this dissertation suggest that students and teachers embrace the vast history of Catholic Church music in parochial schools. For this dissertation I interviewed Catholic priests and music teachers who play a unique role in educating the whole person by means of a moral, spiritual, and academic foundation. I asked questions about how priests and music teachers interpret the meaning of full participation in parochial chorus. Considering the renewal of faith in the Catholic Mass is certainly a ritual experience charged up with high emotions, I suggested that a larger theoretical framework to embrace various musical settings would show a need for further research and present opportunities to understand how students interact with each other in sacred and secular environments.

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New NMR Tools for Impurity Analysis was written by Jane Power and submitted for the degree of Doctor of Philosophy in the Faculty of Engineering and Physical Sciences at the University of Manchester, on 31st March 2016.NMR spectroscopy is rich in structural information and is a widely used technique for structure elucidation and characterization of organic molecules; however, for impurity analysis it is not generally the tool of choice. While 1H NMR is quite sensitive, due to its narrow chemical shift range (0 - 10 ppm) and the high abundance of hydrogen atoms in most drugs, its resolution is often poor, with much signal overlap. Therefore, impurity signals, especially for chemically cognate species, are frequently obscured. 19F NMR on the other hand offers extremely high resolution for pharmaceutical applications. It exhibits far wider chemical shift ranges (± 300 ppm) than 1H NMR, and typical fluorinated drugs, of which there are many on the market, have only one or two fluorine atoms. In view of this, 19F NMR is being considered as an alternative for low-level impurity analysis and quantification, using a chosen example drug, rosuvastatin. Before 19F NMR can be effectively used for such analysis, the significant technical problem of pulse imperfections, such as sensitivity to B1 inhomogeneity and resonance-offset effects, has to be overcome. At present, due to the limited power of the radiofrequency amplifiers, only a fraction of the very wide frequency ranges encountered with nuclei such as fluorine can be excited uniformly at any one time. In this thesis, some of the limitations imposed by pulse imperfections are addressed and overcome. Two new pulse sequences are developed and presented, CHORUS and CHORUS Oneshot, which use tailored, ultra-broadband swept-frequency chirp pulses to achieve uniform constant amplitude and constant phase excitation and refocusing over very wide bandwidths (approximately 250 kHz), with no undue B1 sensitivity and no significant loss in sensitivity. CHORUS, for use in quantitative NMR, is demonstrated to give accuracies better than 0.1%. CHORUS Oneshot, a diffusion-ordered spectroscopic technique, exploits the exquisite sensitivity of the 19F chemical shift to its local environment, giving excellent resolution, which allows for accurate discrimination between diffusion coefficients with high dynamic range and over very wide bandwidths. Sulfur hexafluoride (SF6) is investigated and shown to be a suitable reference material for use in 19F NMR. The bandshape of the fluorine signal and its satellites is simple, without complex splitting patterns, and therefore good for reference deconvolution; in addition, it is sufficiently soluble in the solvent of choice, DMSO-d6.To demonstrate the functionality of the CHORUS sequences for low-level impurity analysis, 470 MHz 1H decoupled 19F spectra were acquired on a 500 MHz Bruker system, using a degraded sample of rosuvastatin, to reveal two low-level impurities. Using a standard Varian probe with a single high frequency channel, simultaneous 1H irradiation and 19F acquisition was made possible by time-sharing. Simultaneous 19F{1H} and 19F{13C} double decoupling was then performed using degraded and fresh samples of rosuvastatin, to reveal three low-level impurities (in the degraded sample) and low-level 1H and 13C modulation artefacts.

Makala haya yanalenga kuchambua fani na maudhui, muundo na dhamira za tamthilia za Kiswahili zihusuzo VVU/UKIMWI, hasa tamthilia kutoka Tanzania, na uhusiano baina ya VVU/UKIMWI na mila za jadi kama sherehe za jando na unyago. Dhamira muhimu ya kujadili ugonjwa katika kazi za fasihi barani Afrika ilichimbuka katika sanaa za maonyesho ya jadi ya Kiafrika yaani katika shughuli za ngoma na miviga ya kidini kama matambiko kwa miungu, kumtolea Mungu kafara ili mgonjwa apate dawa au kupona. Maudhui yanayohusu ugonjwa yameingia katika tamthilia mamboleo kwa nia ya kuoanisha tamthilia ya kigeni na ngoma ya kijadi, hasa baada ya miaka ya 1980 (ling. Mlama 1983; Hussein 1983). Katika tamthilia za Tanzania za kisasa magonjwa yanayozungumziwa ni mengi, lakini kuanzia miaka ya themanini ugonjwa mpya, yaani VVU/UKIMWI, unachukua nafasi ya dhamira kuu katika kazi nyingi. Lengo kuu la makala haya ni kuchambua na kuhakiki tamthilia teule sita zihusuzo VVU/UKIMWI na kuandikwa zote na waandishi wa kutoka Tanzania. Ninachambua vipengele mbalimbali vya fani na maudhui nikiangalia uhusiano baina ya sifa za kimapokeo na za mamboleo. Ninafafanua pia athari za kimagharibi kutoka tamthilia ya Wayunani yaani vigezo vya Aristotle na dhana ya tanzia. Kwa kuunganisha nadharia za kale za Kimagharibi na za kisasa kutoka Afrika Mashariki, nitatumia pia nadharia ya korasi (Mutembei 2012), na vilevile kuchambua athari za ki-Brecht yaani ukengeushi ambazo zimekuwa na umuhimu mkubwa kwa tamthilia ya kutoka nchini kwingi Afrika na ulimwenguni kote.

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This thesis tackles a conspicuous absence in current scholarship on ancient theatre. Amid the recent scholarly interest in the rapid expansion of the theatre industry from the late fifth-century BC onwards, no study has been made of a central, defining even, element of ancient Greek drama at that time – the chorus. Instead, what we find is a widespread assumption concerning the fourth-century dramatic chorus, particularly with regard to the comic chorus, still prevalent in today’s scholarship: ‘The history of the dramatic chorus is one of decline both quantitatively and qualitatively’, states one of the more detailed recent reviews of the evidence for dramatic choral culture in the ancient world (Csapo and Slater 1995:349). The thesis focuses on the literary sources available to us concerning fourth-century dramatic choruses in Athens. The material is divided into three sections. The first section addresses the important testimony of Aristotle concerning the choruses of his day, particularly in the Poetics (chapter one). The second section analyses the choral text in the (probably fourth-century) Rhesus (chapter two), the interpolated choral passages in the Iphigenia at Aulis and Seven Against Thebes (chapter three), and the choruses of Aristophanes’ Assemblywomen and Wealth, as well as extant fragments of fourth-century comedy (chapter four). The third section is a survey of how the chorus is used in a wide range of fourth-century texts (chapter five), and gives special attention to Plato’s somewhat idiosyncratic presentation of the chorus in his works (chapter six). These analyses show 1) that ‘decline’ is an inappropriate term to describe the development of the chorus and 2) the creativity with which the chorus is used and thought about in fourth-century drama and society. The thesis aims to provide an elucidation of dramatic choral activity in the fourth century and to provoke further interrogation of the assumptions commonly held about the development of both the ancient chorus and ancient drama as a whole.

Psalm 23 is a sacred work in four movements, written for women's chorus (SSAA), a tenor solo and a chamber ensemble consisting of flute, oboe, trumpet, percussion, timpani, and string quartet. It is designed to be performed as a portion of a church service or in concert. The text, Psalm 23 from the Bible is sung in Chinese, and the verses of the Psalm are arranged as follows: Movement 1, Verse 1, General musical characteristics: pastoral; Movement 2, Verses 2-3, General musical characteristics: peaceful; Movement 3, Verses 4-5, General musical characteristics: agitated; Movement 4, Verse 6, General musical characteristics: majestic. The form, tonal structure and harmony of each movement are influenced by the characteristics of an original synthetic scale.

Mass is written for large mixed choruswind ensemble consisting of woodwind quartet (flute, oboe, Bb clarinet, and bassoon), brass quintet (two Bb trumpets, F horn, trombone, bass trombone), and recorded digital synthesizer. This setting of the Ordinary is in Latin and includes the Kyrie, Gloria, Credo, Sanctus, and Agnus Dei. The duration of the work is approximately twenty-seven minutes.

In examining examples of prologues, inductions, and choruses from early modern drama, Authors, Audiences, and Elizabethan Prologics tries to frame a more comprehensive picture of dramatists’ relationships with the plays they write and the audiences for whom they write them. It suggests that these various prologics are imbued with an intrinsic authority that provides something of a rubric, perceptible by both playwright and playgoer, through which one can measure the crucial negotiations with and within the shifting valences of dramatic representation in the early modern period. The project develops a way of thinking about the prologic as a hermeneutics unto itself, one which allows us to contextualize more adequately the manner in which playwrights conceptualize and construct their own relationship to nascent notions of authorship and authority. My first body chapter (Chapter II) considers the rhetorical construction of audiences’ silences in various Elizabethan interludes, suggesting that such ideal silences register one’s contemplative engagement with the performance and, thus, work to legitimize early drama. The prologues to John Lyly’s plays—my subject in Chapter III—exemplify the desire to legitimize, instead, the playwright. Reading Lyly’s plays alongside his letters of petition to Queen Elizabeth and Sir Robert Cecil, one can see the manner in which Lyly creates an authorial persona rooted in his rhetorical skills. In Chapter IV I examine Shakespeare’s sparse but measured use of prologues to manipulate his audiences’ preconceptions of theatrical conventions and to guide them toward a consideration of what it means to have interpretive agency, how far that agency extends, and where to locate the limits of narrative in the necessarily liminal domain of the theater. Finally, I argue in Chapter V that Thomas Nashe’s Summer’s Last Will and Testament expands the prologic space, mimicking in the playspace the critical, interactive stance that he assumes in the printed marginalia of his prose writing. This is to say that Summer’s Last Will echoes—or in many cases prefigures—the authorial anxieties that Nashe expresses elsewhere in his work, and chief among them is an anxiety over the interpretational agency of the reader and auditor.

The women¡¦s chorus has been a minor category in the bulk of western music history. It was not until the nineteenth century that a female chorus had the opportunity to perform as the same way that a male or mixed chorus had. Only then, did composers start to compose part-songs for female chorus, and Schubert is one of the pioneers. He composed nine pieces for female chorus. Two of them were done as assignments while a student when he was young (1812). Three short pieces were finished in 1815-16. Even in these early pieces his sensitivity to German text and gift for setting the text to music are clearly shown. In 1820-27, Schubert finished four female choral works. Three of them were four-part-- ¡§Psalm 23¡¨, ¡§Gott in der Natur¡¨, ¡§Stänchen¡¨. These three pieces are the best in all Schubert¡¦s female choral works. The tonality is more fully developed, and the length is almost four times longer than before. More imitation is used, composed with homophonic texture than is used in the first five pieces. Schubert had demonstrated a strong desire to express the text freely with all types of musical techniques from the early Romantic Period. This master¡¦s thesis consists of five chapters. The first chapter is an introduction. The second chapter offers some historical background and can be divided into three sections. First is a concise report about female chorus¡¦s development in western music history. The second part discusses the definition of 19th century style and how the contemporary background influenced the part-songs. The third section gives a general review of Schubert¡¦s female choral works. Chapter Three is a detailed analysis of the final three four-part female works. Derived from Chapter Three (i. e. based on the analysis), Chapter four proposes a teaching procedure when a director or a school teacher wants to perform any of these three numbers. Some performance considerations and conducting suggestions are also included. The final Chapter is conclusion for the entire research. Two appendixes are included: one is the translations and IPA phonetics for the German texts; the other is a list of the publishers for Schubert female chorus works.