Ocean Waves: Nine Preludes for Solo Piano is a collection of preludes that sets ocean waves and sea currents for piano. The preludes range from being minimal and sparse in content, to being melodic and heavy in material. Waves of notes are used to push in and out of new musical ideas throughout the preludes. The work experiments with note density, motivic growth, and multiple pitch centers and harmonic structures all while centering around the musical color of each prelude.

This composition is a symphonic poem for full orchestra roughly eighteen minutes in length. The work takes both its title and inspiration from George Orwell's novel 1984. Each individual section of music reflects on a specific scene from the novel, but the sections function as transient and free-flowing "scenes" rather than as distinct movements, and musical material is transferred freely between them over the course of the piece.

"Transformations" is a three-movement work that is approximately 17'30" in duration and is scored for full orchestra. The piece is a tone poem and employs extended tonal pitch content. Each of the three movements is based upon a cell of planing intervals: the cell of I. Molto Moderato consists of two parallel fifths played by the double basses; the cell of II. Adagio is three intervals (a seventh, third, and fourth) sounded first by the violins; and the cell of III. Allegretto is four intervals (a sixth followed by three fourths) played by the bassoons, violas, and double basses. The planing motifs, which evoke both medieval and contemporary popular styles, recur throughout the piece with varied pitch content (including inversions) and in a variety of orchestrations (e.g. in "transformations," as implied by the title).

Made available in DSpace on 2014-06-11T19:27:29Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-02-24Bitstream added on 2014-06-13T20:36:05Z : No. of bitstreams: 1 gomes_ra_me_jabo.pdf: 463923 bytes, checksum: 093c31f69538b0fc07e18d34599830eb (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Objetivou-se com este estudo avaliar aspectos produtivos e nutricionais dos híbridos de amoreira FM Shima-Miura (SM) e IZ 56/4 (IZ), colhidas aos 30, 60, 90 e 120 dias de crescimento. Ao atingirem a idade de crescimento pré-estabelecida, as plantas foram colhidas, sendo folhas e caules pesados e amostrados separadamente. Foram realizadas análises de fracionamento, seguindo o esquema proposto pelo CNCPS, onde carboidratos foram separados em fração A, B1, B2 e C e os compostos nitrogenados nas frações A, B1+B2, B3 e C. Para estudo da cinética de degradação ruminal utilizou-se a técnica de produção de gases in vitro, sendo os dados obtidos ajustados ao modelo logaritmo bicompartimental. O híbrido SM apresentou produção de matéria seca (MS) e proteína bruta (PB) de folhas e caules superiores à IZ (P<0.05). Nas folhas, o híbrido IZ apresentou maiores proporções de componentes relacionados à parede celular, comparando-se com o SM (P<0.05). Não houve, no entanto, diferença entre híbridos na digestibilidade in vitro da matéria orgânica (DivMO) e nos parâmetros de produção de gases (P>0,05). Com o avanço da idade de crescimento, as folhas apresentaram aumento das frações B2 (de 108 a 146 g/kg de MS) e C (de 90 a 108 g/kg de MS) dos carboidratos (P<0,05), e redução nos de PB (de 224 a 191 g/kg de MS) para as idades de crescimento entre 30 e 120 dias. Contudo não houve alteração nos teores das frações A e B1 dos carboidratos, B1+B2, B3 e C dos compostos nitrogenados, na DivMO nem na produção de gases (P>0,05). Pelo desempenho produtivo superior, recomenda-se o híbrido SM para uso em sistemas de produção de ruminantes / The objective of this study was to evaluate the production and the nutritional aspects of mulberry hybrids FM Shima-Miura (SM) and IZ 56/4 (IZ), harvested at 30, 60, 90 and 120 days of regrowth. The plants were harvested, and leaves and stems were weighed separately. Carbohydrates and protein analyses followed the scheme proposed by CNCPS. Carbohydrates were separated into fractions A, B1, B2 and C and the nitrogen compounds, in the fractions A, B1+B2, B3 and C. To study the kinetics of ruminal degradation, we used the technique of in vitro gas production, and the data fit to the model log bicompartmental. The dry matter (DM) and crude protein (CP) contents of leaves and stems from SM hybrid were greater (P <0.05) than from IZ hybrid. The IZ hybrid had greater proportions of leaf components related to the cell wall compared to SM (P <0.05). However, there were no differences between hybrids in the in vitro digestibility of organic matter (ivOMD) and in the parameters of gas production (P> 0.05). With advancing age of regrowth, the leaves showed an increase of B2 (108- 146 g /kg of DM) and C (90 to 108 g / kg DM) carbohydrate fractions (P <0.05), and decrease in CP (224-191 g / kg DM) harvested between 30 to 120 days. However, there were no changes in the contents of carbohydrate fractions A and B1, nitrogen fractions B1+B2, B3 and C, ivOMD and parameters of gas production (P> 0.05). Due to its higher production, SM hybrid is recommended to use in ruminant production systems

Orientador: Florivaldo Menezes Filho / Banca: Marisa Trench de Oliveira Fonterrada / Banca: Eduardo Seincman / Resumo: A temática que norteia o presente trabalho consiste em estudar as influências dos softwares de produção sonora na composição eletroacústica. Os ambientes gráficos demonstram grandes similaridades às partituras convencionais. Como demonstração destes meios tecnológicos na composição eletroacústica acusmática, temos como parte do trabalho uma peça eletroacústica acusmática intitulada 'Histórias ocultas ou metamúsica?' (gravada em CD) na qual é evideciado processo de composição. / Abstract: Thematic that it guides the present work consists to study the influences of software used to make sound in the eletroacoustic composition. The graphical environments demonstrate similarities t the convencional partitions. As demonstration of these technological ways in the acousmatic eletroacustic composition, we have as part of the academicals work an acousmatic eletroacoustic composition entitled 'Hidden histories or metamusic?' (recorded in COMPACT DISC)in wich the composition process is evidenced. / Mestre

abstract: This study analyzes syllabi for first-year college composition courses and interview responses to examine how the choices made by instructors affect online course design. Using the Syllabus Assessment Instrument designed by Madson, Melchert and Whipp (2004), this dissertation looks specifically at attendance and participation policies, course behavior policies, contact information, required material choices, course organization decisions and tool decisions to reveal how instructors do or do not accommodate online class pedagogies. This study finds that the choices instructors make in syllabus design provide significant information about the overall online course design itself. Using Selber's multiliteracies as a frame for understanding the choices made by instructors, this study finds that instructors focus primarily on functional literacies in their discourses and in the way they communicate their choices to students. Instructors vary in how they inform students of the mechanics of how to interact with tools, how often to interact with the online course, and how to use the tools within the online course. While these aspects of online courses are important, focusing on these aspects of the online course overshadows alternative perspectives on tool use that could encourage critical reflection by both instructors and students. To help instructors and departments design more effective syllabi and courses, this study raises questions and offers observations about how instructors communicate policies and how they understand these policies and pedagogies in online courses. In providing general guidelines for syllabus design and course design, this study will help writing instructors and composition programs better understand the significance of the choices they make in online course design. / Dissertation/Thesis / Ph.D. English 2013

abstract: Preservation Symphony is a short, multi-movement, orchestral composition that explores the versatility of the [016] pitch class set as the dominant unifying force of this cyclical work. The composition is scored for Piccolo, two Flutes, two Oboes, English Horn, two Clarinets, Bass Clarinet, full complement of Brass, Timpani, two Percussionists, and Strings. Movement one is in sonata form; the [016] set is used in structuring its overall formal scheme. The primary focus of the movement is on the tritone [0 6] as a replacement for the traditional tonic and dominant polarity. The movement features a driving force that alternates between pulse subdivisions of even sixteenth notes and sixteenth-note triplets. Movement two is in simple binary form with a central tonality of A. An English Horn solo functions as both the opening of the movement and a transition from the tonality of movement one (F) into the new tonal center of A. The unifying pitch class set [016] is used in this movement in a Phrygian context. Movement two has a contemplative and dark tone, which is in stark contrast to the outer movements. Movement three has a lighter, upbeat nature. The movement is in rondo form with its main theme written in a folk-like character. This movement returns to F as the central tonality, completing the overall tonal plan of the work. As in movement one, it explores the tritone polarity of F and B. The movement also revisits the chromatic mediant relationship found in the middle of movement two in the oboes. The pitch class set is now used in the context of a Lydian-Mixolydian (or acoustic) scale, from which both the central and secondary themes of the rondo are derived. / Dissertation/Thesis / M.M. Composition 2014

<p> The aim of this study is to provide insight into the percussion music of Dave Maric through an analysis of a trilogy of pieces with backing track, <i> Trilogy</i> (2000), <i>Sense &amp; Innocence</i> (2002/2014), and <i>Thrice Into Flames</i> (2017). The present study examines Maric&rsquo;s influences, analyzes his compositional style, and provides a performance guide. Brief biographical information is provided to introduce Maric. His compositional style is examined by analyzing tonal language and formal structures. The tonal language of these pieces combines octatonic scales and diatonic scales. In terms of form, Maric uses mathematical sequences to determine proportions between sections, including the Fibonacci sequence. The performance guide includes sticking suggestions, transcriptions of backing track cues, and additional comments.</p><p>

<p> In a letter from July 21, 1840, Felix Mendelssohn Bartholdy (1809&ndash;1847) shared with his friend Karl Klingemann that in his Symphony No. 2 in B-flat Major, the <i>Lobgesang</i>, &ldquo;all the movements, vocal and instrumental, are composed to the words &lsquo;Everything that breathes, praise the Lord&rsquo;; you understand that the instruments first praise in their own way, and then the chorus and the individual voices.&rdquo; This tantalizing passage is not a direct profession of faith, but the language of praising God through music does raise questions about Mendelssohn&rsquo;s personal religious philosophy. The topic of Mendelssohn&rsquo;s faith has been the subject of much speculation; some have assumed as the grandson of eighteenth-century Jewish philosopher Moses Mendelssohn, he ought to be considered Jewish, while others, such as R. Larry Todd, have posited that &ldquo;despite a willingness to compose sacred music for different faiths, in his personal convictions Mendelssohn adhered to the Protestant creed.&rdquo; </p><p> Mendelssohn&rsquo;s <i>Lobgesang</i> contains evidence of his deeply-held Protestant identity. Its &ldquo;motto&rdquo; theme appears at the beginning, middle, and end of <i>Lobgesang</i>. The first time with instruments alone; the second time sung with the text, &ldquo;Alles, was odem hat, lobe den Herrn&rdquo; (&ldquo;Everything that breathes, praise the Lord,&rdquo; Psalm 150:6), and lastly, at the end of the work, by the instruments alone, suggesting the associated text even though it is not uttered aloud. Combining this cyclical quality with the appearance of self-quotations and the Christo-centric thrust of the rest of <i>Lobgesang</i>&rsquo;s text, we are invited to view <i>Lobgesang</i> as a lens through which to view other works as having been composed for the glory of God&mdash;specifically, the God Mendelssohn knew from a Protestant perspective. </p><p> This paper contributes to the ongoing discussion about the relationship between music and identity, with a focus also placed on the continuing conversation about musical quotation and reference.</p><p>

The doctoral composition concerned by this document is a contemporary oratorio of 95 minutes: it involves seven solo singers (two sopranos, a mezzo, two altos, a tenor and a bass), a polyphonic chamber choir (divided in three to sixteen parts) and an electroacoustic quartet of guitars and synthesisers. The title refers to the otherworldly guardians of the Jewish canon (Tanakh) and speculates on the energetic appearance of the Elohim, reflected by the timbral qualities of the electronic instruments. The narrative, built around four angelic characters (Seraphim) and a female earthling counterpart, outlines in seven movements a fictional cosmogony, and the evolution of human society overseen by astral mentors. The libretto has been written on purpose by the composer himself, mostly in Italian: some multi-linguistic fabrics blend poetry with Christian fragments in Greek and Latin.