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Thesis (Ph. D.--Music)--University of California, San Diego. / Vita. For MIDI acoustic piano, concertino group (flute (piccolo), clarinet, violin, violoncello, and percussion), live or pre-recorded background ensemble or chamber orchestra, and electronics; may also be performed in shortened "suite" form, employing the live pianist and concertino without any technology. Electronic component includes electroacoustic sounds and texts drawn from Christ's Sermon on the Mount, Schumann's Critique attributed to Eusebius, and Nietzsche's Genealogy of morals. Includes performance instructions and technical details: p. v-viii.

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Long Distance is a work for solo percussion (marimba and vibraphone), wind ensemble, and electronics consisting of four movements and lasting approximately twenty minutes. Each movement is designed to be able to stand on its own and, when multiple movements are performed, their order is flexible. A version of this piece with no wind ensemble also exists and was commissioned by a consortium of 33 percussionists. From its inception, this solo version was composed with the possibility of expansion to a larger instrumentation in mind. In this paper, I will discuss and analyze many of the factors and influences involved in my composition process for this piece. This will include performance techniques, extracting and utilizing musical material from field recordings, audio processing techniques, orchestration, drawing musical inspiration from non-musical sources, and stylistic juxtaposition. In addition, I will provide some background on how this commission came about and how composition as a collaborative process shaped this piece especially in the context of working with such a large and diverse consortium. / text

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Recently there has been a surge in interest in coupling ensemble-based data assimilation methods with variational methods (commonly referred to as 4DVar). Here we discuss a number of important differences between ensemble-based and variational methods that ought to be considered when attempting to fuse these methods. We note that the Best Linear Unbiased Estimate (BLUE) of the posterior mean over a data assimilation window can only be delivered by data assimilation schemes that utilise the 4-dimensional (4D) forecast covariance of a prior distribution of non-linear forecasts across the data assimilation window. An ensemble Kalman smoother (EnKS) may be viewed as a BLUE approximating data assimilation scheme. In contrast, we use the dual form of 4DVar to show that the most likely non-linear trajectory corresponding to the posterior mode across a data assimilation window can only be delivered by data assimilation schemes that create counterparts of the 4D prior forecast covariance using a tangent linear model. Since 4DVar schemes have the required structural framework to identify posterior modes, in contrast to the EnKS, they may be viewed as mode approximating data assimilation schemes. Hence, when aspects of the EnKS and 4DVar data assimilation schemes are blended together in a hybrid, one would like to be able to understand how such changes would affect the mode-or mean-finding abilities of the data assimilation schemes. This article helps build such understanding using a series of simple examples. We argue that this understanding has important implications to both the interpretation of the hybrid state estimates and to their design.

Utifrån tidigare forskning och skolverkets rapporter tycks det finnas en stor utmaning i skärpunkten mellan det som styrdokumentens kriterier språkligen förmår uttrycka, och de ämnesspecifika kvaliteter och kriterier som musiklärare enskilt, och som yrkeskår utifrån detta förväntas kunna formulera. Denna studies syfte var därför att undersöka hur musiklärare tolkar och tillämpar kunskapskrav i musikämnet. Ett kunskapskrav i kursen Ensemble med körsång, 200p på gymnasiets estetiska program valdes ut för detta ändamål, varav följande forskningsfrågor ställdes: Hur tolkar musiklärare kunskapskravets innehåll? Samt hur går musiklärare tillväga när de bedömer elevers kunskaper i relation till kunskapskravet? Datainsamlingen skedde genom halvstrukturerade livsvärldsintervjuer med fem musiklärare. Data bearbetades med tematisk analys och en teori om bedömningsmetoder. Studiens ena slutsats är att större vikt läggs vid det musikaliska hantverket och genrekunskap än det konstnärliga uttrycket i kunskapskravet, samt att detta i hög grad kan relateras till att konstnärligt uttryck anses vara ett svårtolkat begrepp. Studiens andra slutsats är att bedömning av kunskapskravet i huvudsak sker genom att observera elevers processer – från repetition till konsert, men att de bedömningar som görs av elevers konstnärliga uttryck i mångt och mycket, baserat på ovanstående tolkningsproblem, vilar på oklara grunder. Utifrån denna studie, och i relation till tidigare forskning och Skolverksrapporter, föreslås därför en nationell lärarsamverkan kring tolkning av kunskapskrav och möjliga tillvägagångssätt för bedömningar som leder till summativa beslut i musikämnet. Även en utvärdering av bedömningsstöd i musik på gymnasiet, där också en översyn av kunskapskravens formuleringar i musikämnet skulle kunna vara tänkbar. Sammantaget föreslås det senare vara en uppgift värdig Skolverket, som dessutom identifierat en bedömningsproblematik i musikämnet i sina rapporter.

Songs out of Sorrow is a seven-movement work for wind ensemble and soprano. The text and title come from the second chapter of American poet Sara Teasdale’s collection Love Songs. The methodical use of trichord combinations provides the primary harmonic and melodic language of the work, creating rising tension through the first four movements and subsequent resolution through the final three. Movement one, Spirit’s House, utilizes non-functional triadic harmonies with the addition of fourths and seconds. The second movement, Mastery, contains whole tone language. An instrumental interlude precedes the vocal music of the third movement, Lessons. When the soprano enters, the harmonic material of the interlude intermingles with the octatonic nature of the vocal line to create a folk music quality. Another instrumental interlude follows, utilizing a truncated and re-orchestrated version of the musical material featured in the first interlude. This leads directly into the climatic fourth movement, Wisdom, which is characterized by chromatic lines and tritones. A subdued fifth movement, In a Burying Ground, follows, undulating with a percussion ostinato, which is also a feature of the first movement. Wood Song, the sixth movement, begins with a stylized birdcall based loosely on Messiaen's transcription of the call of the wood thrush, which is referenced in opening line of the text. The harmonies of this movement contain augmented triads. The final movement, Refuge, features a return to the triadic harmonic material of the first movement, providing a sense of large-scale resolution.

Contours is scored for full wind ensemble and percussion, and is approximately nine minutes in length. The title refers to the way melodic shape or contour is used to create unity and variety in the piece. Contours is a single-movement work containing three sections that are unified by thematic and harmonic materials. The melodic material is generated by three twelve-tone rows, which are then used in combination with freely composed material. The first and last sections are highly contrapuntal and rhythmically disjunct. Both sections share common rhythmic and melodic patterns. These sections are contrasted with a slower and more lyric middle section. This section is made of a series of episodes that create an overall A-B-A structure.