OVERGROWN discusses the music elements found in the thesis composition of the same name. OVERGROWN was written for soprano solo, flute, bass clarinet, soprano saxophone, baritone saxophone, trumpet, trombone, vibraphone, percussion, cello and double bass. The text was written by Matthew Raymond Smith.

abstract: Light Emerging is a symphonic dance suite in five movements. The work’s approximate length is 25 minutes; it is scored for flute, oboe, clarinet in Bb, bassoon, horn in F, trumpet in C with loop pedal, trombone, percussion, electronic percussion, piano, strings, and fixed media. Each movement of the dance suite is written to be performed as a standalone piece or together as one multimovement work. The music showcases open quintal sonorities layered in conflicting substructures, which contract into denser brooding passages and transform into tonal fanfares. Attempting to capture the essence of how humanity uniquely experiences light and assigns personification to it, the composer presents light and dark as the main characters in a grand ballet of good and evil. Prism (Movement I) is an overture that is constantly shifting and evolving. A rainbow of colors is presented by the various orchestra members, as timbral and pitch evolutions showcase the ever-changing perspectives of a prism held to light. Yin/Yang (Movement II) explores the relationship between light and dark. The solo clarinet represents light breaking through the darkness as its colorful flourishes pierce through the brooding fixed media. Sunrise (Movement III) captures the impressive majesty of light bursting over the dark horizon in the early morning. Lux (Movement IV) is a dance of light, using solo trumpet and a chorus of phantom trumpets. Light Eternal (Movement V) expresses the deep need for humans to worship that which is unknown and eternal, and the power of light to overcome the dark. The “March of Eternal Light” signals our end in this world and the journey to the beyond. / Dissertation/Thesis / Doctoral Dissertation Music 2019

Le système d’information coopératif (SIC) est un élément central dans le domaine de la coopération interentreprises. Son développement nécessite une attention particulière afin de prendre en considération tous les problèmes émergeants, surtout celui des préoccupations transversales qui posent des difficultés pour la compréhension, la maintenance, l’évolution, et la réutilisation des systèmes développés. Dans les approches usuelles de développement, la construction de ce genre de système part de zéro et nécessite de tout reconstruire à chaque fois. Nos travaux de recherche dans cette thèse examinent comment une approche orientée aspect appliquée de la phase de recueil des exigences à la phase de conception peut être proposée comme un outil permettant de développer des SICs à partir de systèmes d’information (SIs) préalablement existants produits à l’occasion de développements antérieurs. L’utilisation du paradigme Aspect dans cette approche tente de réutiliser des artéfacts des SIs existants afin de développer le futur SIC supportant la coopération interentreprises. / It is often difficult for a single Information System (IS) to accomplish complex requirements. One solution is to combine many different ISs and make them collaborate to realize this task. Information systems composition is an active ongoing area of research in the field of information systems. The result of IS composition produces one type of a so called Cooperative Information System (CIS). Its development requires a particular attention to process all emerging problems, especially the crosscutting concerns that pose difficulties to understand, maintain and reuse such cooperative systems. Moreover, the aspect paradigm is presented as a promising avenue for reusability. Thus, we argue that it is interesting to propose an aspect approach to build a new system in order to accomplish complex tasks based on the reuse of system’s artefacts previously developed. According to our best of knowledge few works have tackled this question. In this thesis, we present an aspect-oriented approach called AspeCiS, applied from the requirements engineering phase until the design phase, in order to develop a CIS from existing ISs by using their artifacts such as requirements, architectures and design. Therefore, this approach is opposed to conventional development ones in which the construction of a new system starts from nothing and needs reinventing everything every time.

Since it arose in the 1960s, the minimalist aesthetic has increasingly influenced composers of art and popular music around the world and, in turn, minimalist composers have drawn on the compositional ideas of Western popular music and several non-Western musics. Educationally, minimal music offers much potential for music in the classroom as it embodies a number of musical characteristics known to, and preferred by, students aged 9-18 years at primary, secondary and first year tertiary level. Socially, it offers teachers an opportunity to engage students, through composing activities, with contemporary society. The study aims, firstly, to analyse compositions by students aged 9, 12, 15 and 18 years and their teachers, seeking pastiche development of, and compositional expansion beyond, the musical concepts presented in a resource booklet of projects, The Pulse Music Album. Secondly, this study aims to investigate how nineteen participating teachers in three countries engage their students with minimalist composing activities stimulated through the resource booklet. The study attempts to determine why teachers adopt their particular roles and strategies by examining music qualifications, preferences and experience, teaching perspectives and teaching environments. It also seeks to identify reasons why one group of teachers submitted pieces which were pastiches of those presented in the projects and another group submitted compositions which moved well beyond pastiche into an expansion of these same musical concepts and argues for this as evidence of dialogue with contemporary society. Conclusions drawn from the findings note that while there are many commonalities between the backgrounds and approaches of both groups of teachers, there are clearly observed differences. These differences suggest approaches to classroom composition for consideration by practising classroom teachers, in-service instructors and teacher training institutions.

Thesis (Ph.D.)--Bowling Green State University, 2007. / Document formatted into pages; contains xii, 242 p. Includes bibliographical references.

Thesis (M. S.)--Pennsylvania State University, 1975. / Includes bibliographical references.

Copies of author's previously published works inserted. Bibliography: leaves 260-299. This thesis describes the concept of organic matter turnover and various methods to measure the decay rates of organic materials in the soil. Methods are developed to separate SOM from different locations within the soil matrix. Free particulate organic matter (POM), located between or outside the soil aggregates is isolated. Occluded POM is disaggregeted by sonification. The compositional differences noted among the three components of SOM are used to describe the changes that OM undergoes during decomposition. The process is followed as organic matter enters the soil, is enveloped in aggregates and is eventually incorporated into the microbial biomass and metabolites then becoming associated with clay minerals.

The technique of symphonic composition requires a deliberate and methodical process by the composer; when the symphony is intended to aesthetically convey a specific subject matter, the compositional process must become even more deliberate. First a subject must be chosen and examined in a contemporary standpoint. Then the composer must determine how to reflect this subject through his or her composing. Ideally, the end result of this composition should encompass the subject matter as thoroughly as possible. While the great majority of textbooks on music theory and composition centralize themselves on elements of pitch in music, the composer has many other elements to consider, notably rhythm, texture, timbre, and form. These elements – be they working independently of one another, supporting one another, or at odds with one another – can be influenced by a wide variety of both traditional and developmental artistic movements. Oftentimes, a composer may find it ideal to synthesize both older techniques of one element with newer techniques in another. This synthesis was the objective in composing a modern program symphony based on the four seasons. Emulating different styles and affects of the twentieth century, this work aimed to synthesize both older and newer techniques. This thesis explains in detail the compositional process used for this program symphony.

Let X be a compact Hausdorff topological space. The Banach space C(X) consists of all continuous complex value functions with the supnorm. An operator P on C(X) is called a generalized bicircular projection if P + £f(I − P) is an isometry for all |£f| = 1, £f in C and P2 = P. In this thesis, we study some projections which are the averages of two composition operators or two weighted composition operators on C(X). If a projection is the average of the identity and a composition operator, it is a generalized bicircular projection. And give an example of a projection which is the average of the identity and a weighted composition operator, but not a generalized bicircular projection. We also discuss some projections which are the average of two bounded linear operators on a Banach space. And the main result is that, let T1 and T2 are two bounded linear operators on a Banach space, and Q = T1+T2 2 . If T1 ¡CT2 = T2 ¡CT1 and T2 1 = T2 2 = Id then Q is a tripotent, i.e. Q3 = Q.

Composition for symphonic wind ensemble.