Au Pérou, Zaña se trouve sur la côte nord. C’est une Ville coloniale fondée le 29 novembre 1563 par le capitaine Baltazar Rodríguez, mandatée par le vice-roi du Pérou, Diego López de Zuñiga comte de Nieva. Dès le XVIe siècle, les colons espagnols chargés de l’exploitation des richesses minières et agricoles du pays, et de cette région en particulier, firent venir d’importantes cargaisons d’esclaves pour servir de main d’œuvre. À cet effet, cette population d’esclaves se composait pour l’essentiel de noirs arrachés à leurs familles, leurs terres, leurs traditions dont l’origine se trouve en Afrique. Au XIXe siècle l’immigration de l’Extrême Orient remplaça la main d’œuvre noire. Nombre de ces esclaves noirs africains, malgré l’oppression dont ils souffraient, les maladies, les conditions difficiles de survie, ont réussi à s’établir au Pérou. Il reste qu’aujourd’hui, en raison du métissage, la population noire est de moins en moins nombreuse. Cette situation reflète-t-elle une réalité à Zaña ? Peut-on continuer à considérer Zaña comme une enclave noire ? Pour répondre à ces interrogations et aux nombreuses questions qui en découlent, nous sommes allés sur place et avons procédé à des enquêtes de terrain. Le thème principal de la recherche porte sur la pluralité ethnique et la conservation de la culture noire à Zaña. Après avoir dressée l’historique de la ville –de sa création jusqu’à nos jours, nous nous sommes attardés sur les conditions d’existence des descendants noirs esclaves de Zaña. / Zaña is standing in the northern coast in Peru. Zana is a Colonial city created in November 1563 by Captain Baltazar Rodriguez. The sailor was sent by Peruvian Vice-King Diego López de Zuñiga conde de Nieva. As soon as 16th century, Spanish colons in charge of the exploitation of mines and fields brought slaves to work as labour. Most of the slaves came from Africa. They had been kidnapped and taken away from their lands, their families and their traditions to be enslaved. From 19th century, immigration from the Far East replaced the African labour. Although oppressed and suffering from diseases, many African slaves managed to settle in Peru. Yet, with interracial marriages, Peruvians from African descendants are less numerous. Does this portrayal really reflect Zaña’s situation ? Can we consider that Zaña is still a black territory-enclave ? Our answer to these questions came from a field work in Peru. This research deals with ethnic diversity and the preservation of the African culture in Zaña. First, we focused on the evolution of the city from its foundation to the present days. Then, we drew a portrayal of Peruvian from African descendance in Zaña.

This study highlights aspects of performance for the consideration of the pianist wishing to perform Rachmaninoff’s second piano sonata op. 36, using a combination of the two versions (1913 and 1931) published by Boosey&Hawkes. By providing a background to the composition, revision, and structure of this sonata, the study aims to inspect all aspects of the conception and revision of the work. Through a close examination of two recordings of this sonata - by Vladimir Horowitz and Van Cliburn - the study analyses and compares the performers’ choices regarding the selection and combination of material from the two versions for performance. Aspects such as technical difficulty, texture, structure and sonority are highlighted as points for the pianist to contemplate when attempting an alternative version of this work. These elements of successful performance are singled out by the detailed observation of the material selected by the performers, with conjectures as to the most probable reason for its selection. The various analyses and comparisons are illustrated by means of music examples. / Dissertation (MMus (Performing Arts))--University of Pretoria, 2007. / Music / MMus / unrestricted

This study investigates Mark’s involvement in the writing of 1 Peter in light of the practice of first century letter writing. Many scholars argue that 1 Peter originated from within a Petrine group in Rome that included Silvanus and Mark, ignoring the possibility that Peter might have employed an amanuensis while composing his epistle, a prominent practice of first century letter writers. By contrast, a considerable number of scholars contend that 1 Peter was penned by an amanuensis, appealing to the reference in 1 Pet 5:12, Dia. Silouanou/ u`mi/n tou/ pistou/ avdelfou/( w`j logi,zomai( diV ovli,gwn e;graya, and identifying Silvanus as its amanuensis. However, the Greco-Roman epistolary evidence shows that the formula gra, fw dia, tinoj identified only the letter-carrier. This work explores Mark’s involvement in composing 1 Peter from five angles by means of a historical and comparative approach. The five criteria are the dominant practice of using an amanuensis in first-century letter writing, the noteworthy employment of an amanuensis by Paul as a contemporary of Peter, historical connections, linguistic connections, and literary connections. Chapter 2 surveys the major proposals regarding the authorship of 1 Peter. Chapter 3 examines first century letter writing and presents the findings as a practical and supportive background for this work. The role of an amanuensis in Greco-Roman antiquity was classified as a transcriber, contributor, and composer. An amanuensis’ role as a contributor was the most common in Greco-Roman antiquity. Chapter 4 explores the process of Paul’s letter writing in light of first century letter writing, with regard to Peter’s employment of an amanuensis. It is most likely that Paul and Peter allowed an amanuensis to have a free hand if he was a gifted and a trusted colleague of them. This probability is supported by the instances that Cicero, Atticus, Quintus, and Alexander the Great employed their amanuenses as contributors. Chapter 5 investigates the close relationship between Peter and Mark through their ministry based on 1 Pet 5:13 and the references to Mark in the early church, including Papias’ note reported by Eusebius, and presents these as evidence of a historical connection between two individuals. Chapter 6 explores the syntactic correlation, the distinctive features of terminology, and the significant and frequent use of w`j for a simile between 1 Peter and Mark’s Gospel and presents them as possible evidence with the implication of linguistic connections between them. Chapter 7 examines the common Old Testament quotations (allusions) in 1 Peter and the Gospel of Mark and their conflated and integrated use of the OT and presents them as possible evidence implying a literary connection between them. 1 Peter and Mark’s Gospel outstandingly emphasize the suffering of Christ and apply the imagery of the rejected stone of Ps 118 (LXX 117):22 and that of the suffering servant of Isa 53 to His suffering. This work concludes that Mark was the contributive amanuensis for 1 Peter with Peter allowing more than a free hand in the composition. / Thesis (PhD)--University of Pretoria, 2008. / New Testament Studies / PhD / unrestricted

abstract: It is no secret that the Soviet Union silenced the voices of many artists, but pieces of this history are still emerging—including the story of Ukraine's first female composer to achieve professional renown: Stefania Turkevych (1898-1977). Although the quantity and quality of Turkevych's compositional output should have established her as a major international figure, most of her work remains unpublished. Turkevych is absent from both Grove Music and Die Musik in Geschichte und Gegenwart (MGG Online). There is a clear need for English-language biographical materials about Turkevych and for publication of her works. This document represents the first critical edition of Turkevych’s three-act chamber opera, Серце Оксани (The Heart of Oksana), commissioned in 1969 for the 100th anniversary of the creation of Canada’s Province of Manitoba (and its subsequent settlement by members of the Ukrainian diasporic community). The score is prefaced by brief introductions to both Turkevych and Серце Оксани as well as an explanation of editorial procedure and a critical report. Lost Soviet-era voices carry particular social and political weight as present-day Ukraine reclaims an identity that moves beyond reductive “Russian vs. European” dichotomies, and solidifying that identity seems even more urgent against the backdrop of the current Donbass War (2013-present). This project represents the first step in a much longer-term effort to unearth and share Turkevych’s story and overlooked contributions as a composer, teacher, and lifelong advocate of Ukraine’s language and culture. / Dissertation/Thesis / Doctoral Dissertation Music 2020

The final product of this thesis is a high-quality recording of selected piano works by Juan Francisco García. Juan Francisco García (1892-1974), a Dominican composer, was a prominent figure in the classical music scene of the Dominican Republic during the first half of the twentieth century. As a pioneer who fostered the nationalistic musical movement in the Dominican Republic, García sought to create compositions that sounded authentically Dominican. Garcia accomplished this goal through his piano works, which are distinctly expressive, and abridged compositions exhibiting beautiful lyrical melodies and attractive rhythmic qualities. García’s piano music displays a rich variety of compositional approaches. In his early works he employed a traditional classical language, followed by impressionist and modern techniques in his later compositions. Regardless of compositional style, his piano compositions integrate various elements of Dominican folk music and dances; their programmatic and dancing nature call for an imaginative and expressive playing. The chosen pieces for this project are fine examples of Garcia’s style and show the journey of his development as a composer. This recording includes the following three piano suites: Fantasía Indígena para Piano, Suite de Impresiones para Piano and Suite para Piano, as well as seven shorter pieces: Capricho Criollo no. 1, Capricho Criollo no. 2, Quisqueyana: Capricho, Recuerdo Grato: Danza Criolla, Yo me Enceleré: Danza- Merengue, Sambumbia and Ruego: Vals al Estilo Criollo. This recording is the first consisting entirely of piano compositions by García. As a Dominican pianist, I aspire to advance and revive the interest in García’s piano works as well as to present Dominican piano music to both musicians and audiences worldwide.

Until the recent publication of twelve choral compositions, Rebecca Clarke (1886-1979) was known solely as a professional violist and composer of chamber music and art songs. Clarke composed choral music throughout her active period from 1906 to 1944. In 2004, the first study of Clarke's complete compositional output provided an introduction to the choral music, but only covered selected works. The present study traces the development of Clarke's compositional style through chronological analysis of all twelve choral compositions and an incomplete fragment. Clarke's choral music reveals the selection of high quality, expressive texts; exploration of the timbral, registral, and textural potential of unaccompanied choral music; changes in the treatment of all musical elements; the persistent acquisition of new techniques; and reliance on English choral genres including the madrigal, glee, carol, part song and motet. Chapter one establishes Clarke's importance through a survey of publication, criticism, and scholarship. The chapter also examines the society in which Clarke lived and the issues women composers encountered. A biography then reveals that despite obstacles, Clarke tenaciously pursued compositional study, eagerly acquired new techniques, and expressed enthusiasm for each compositional project. Her skill was confirmed by success in competitions and festivals. Throughout her active period, Clarke supported herself as a professional violist who specialized in chamber music, and a busy performing schedule limited her compositional work. Chapter two documents Clarke's formative vocal- and chamber-music experiences and suggests that her thorough knowledge of chamber music influenced her approach to choral composition. The chapter continues with analysis of Clarke's first seven choral works. The first three are well-crafted part songs that demonstrate Clarke's assimilation of basic compositional techniques. The next four show the increasing complexity of Clarke's style that culminates in her mature masterpiece, "He That Dwelleth in the Secret Place of the Most High." Chapter three presents analysis of three choral arrangements, two works for women's voices, and a choral fragment for mixed voices. The last five complete choral compositions confirm elements of Clarke's mature style and demonstrate her interest in exploring the new challenges of choral arranging and writing for women's voices. While Clarke's choral arrangements of her own songs are idiomatic adaptations for unaccompanied, mixed voices, the last three compositions display the diversity of styles Clarke employed in her late works. Chapter four summarizes changes in Clarke's choral style from 1906 to 1944, examines reasons for her obscurity, and raises questions that merit further research. The appendix which follows clarifies Clarke's intentions and illustrates common editorial issues and solutions through comparison of choral manuscripts and published editions.

Wladimir Vogel's (1896-1984) interest in twelve-tone composition began to develop in 1936 after hearing a series of lectures by Willi Reich, a music critic and supporter of the new music of the Second Viennese School. The transition for Vogel from a large-scale orchestral “classical” style, influenced by his study with Ferruccio Busoni in Berlin in the early 1920s, to a new technique involving dodecaphony is apparent in his instrumental writing, the third and fourth movements of the Konzert für Violine und Orchester (1937), as well as in his vocal writing, the Madrigaux for mixed a cappella choir (1938/39). Vogel's twelve-tone works exhibit tertian structures which are particularly emphasized by triads located as consecutive pitches within the rows. Emphasis on tertian structures are not limited to small-scale segmentation of the rows but can also be seen in the structural and tonal organization of complete movements and works. A primary example is the Konzert für Violoncello und Orchester (Cello Concerto) (1955) in which, on a smaller scale, the presentation of the row emphasizes both diminished and minor triads, and at the macro level, the structural triadic relationships unify passages within individual movements as well as the concerto as a whole. Since the work is composed using the twelve-tone method, consideration is given to the structure of the serial components. In addition, the concerto is analyzed in terms of its cognitive features-those elements that are demonstrably related to traditional practice- such as tertian melodic/harmonic outlines reinforced by rhythmic features that are common to eighteenth- and nineteenth-century practice. The compositional features evident from the serial structure of the work are addressed in conjunction with references to traditional practice made evident through the serial technique. The findings in the analysis of the Cello Concerto support the argument that the inclusion of consonant sonorities and tertian structures in Vogel's works results in a certain degree of tonal coherence while the large-scale compositional framework is dodecaphonic.

Abstract This paper will present my master project which is a collaboration with the Israeli composer Matan Ben Zahav. The idea behind this work, came from my wish to widen the kind of contemporary repertoire I wish to play more of, these days and in the future. The pieces we dealt with in the project were a sonata for recorder and keyboard and a recorder trio that Ben Zahav composed. The trio was composed before the idea for the project was fully formed and helped me think of the idea for the project. After forming an idea, I asked Ben Zahav if he was willing to compose a sonata and that's how the project started. I decided that I would investigate the process and product of a collaborative work with Ben Zahav on the sonata for recorder and keyboard and recorder trio. The collaboration started during rehearsals in which we explored the new repertoire both musically and technically, we suggested different options and tried to make the pieces as comfortable for the recorder as we could. This exploration revealed the different opportunities and benefits that a collaboration can bring.

The thesis focuses on developing prototype of e-commerce platform. This platform will be used as a base for a full-fledged e-commerce solution of specific trader in the future. The thesis deals with the analysis of the current state, analysis of available solutions, description of selected technologies, including a description of how these technologies were specifically implemented in the project. The result of this thesis is a functional prototype of e-commerce platform.

Mit Beginn der 30er Jahren dieses Jahrhunderts, d.h. seit der Gründung des Konservatoriums in Katowice durch Witold Friemann im Jahre 1929, bildet die klassizistische und romantische Dichotomie die Grundlage und den Kern der Entwicklung der schlesischen Sinfonik.