Johann Joachim Quantz, am 30. Januar 1697 im niedersächsischen Oberscheden geboren und am 12. Juli 1773 in Potsdam gestorben, gilt nicht nur als einer der bedeutendsten Flötenvirtuosen seiner Zeit, sondern hatte sich auch einen großen Namen gemacht als Lehrer des Flöte spielenden Preußenkönigs Friedrich II. und als Verfasser des theoretischen und selbst noch für die heutige Musikforschung wichtigen Grundlagenwerkes Versuch einer Anweisung die Flöte traversiere zu spielen (1752)1. Überdies hatte er ein umfangreiches OEuvre an Kompositionen – Konzerte und kammermusikalische Werke vornehmlich für sein Instrument – geschaffen, die zumeist für seinen königlichen Schüler bestimmt waren, an dessen Hof er seit Dezember 1741 lebte und wirkte. Zwar gehörten die Jahre am preußischen Hof für den Flötenmeister zu den wichtigsten seines Lebens und Schaffens, jedoch war seine vorangegangene Anstellung – seit 1718 als Mitglied der so genannten »Polnischen Capelle«2 und seit 1728 Flötist in der Hofkapelle – am Hofe August II. (des Starken) in Dresden für seine Entwicklung und Reife entscheidend. Dort hatte er nicht nur Gelegenheit, die hohe künstlerische Qualität der vorzüglichen Hofkapelle hauptsächlich unter Leitung von Johann Georg Pisendel (1687–1755) zu erleben und späterhin mitzugestalten, sondern sich frühzeitig durch gründlichen Unterricht beim ersten Flötisten der Königlichen Kapelle, Pierre Gabriel Buffardin (1689–1768), ausbilden zu lassen und sich selbst zu einem herausragenden Musiker zu entwickeln. Während einer dreijährigen Studienreise (1724–1727) nach Italien, Frankreich und England machte er sich mit den bekanntesten Instrumentalisten und Gesangskünstlern bekannt, versuchte, sich auch kompositorisch weiter zu bilden (u. a. Unterricht bei Francesco Gasparini) und studierte mit Eifer die Eigenheiten und Besonderheiten des italienischen und französischen Nationalstils.

Johann Joachim Quantz, am 30. Januar 1697 im niedersächsischen Oberscheden geboren und am 12. Juli 1773 in Potsdam gestorben, gilt nicht nur als einer der bedeutendsten Flötenvirtuosen seiner Zeit, sondern hatte sich auch einen großen Namen gemacht als Lehrer des Flöte spielenden Preußenkönigs Friedrich II. und als Verfasser des theoretischen und selbst noch für die heutige Musikforschung wichtigen Grundlagenwerkes Versuch einer Anweisung die Flöte traversiere zu spielen (1752)1. Überdies hatte er ein umfangreiches OEuvre an Kompositionen – Konzerte und kammermusikalische Werke vornehmlich für sein Instrument – geschaffen, die zumeist für seinen königlichen Schüler bestimmt waren, an dessen Hof er seit Dezember 1741 lebte und wirkte. Zwar gehörten die Jahre am preußischen Hof für den Flötenmeister zu den wichtigsten seines Lebens und Schaffens, jedoch war seine vorangegangene Anstellung – seit 1718 als Mitglied der so genannten »Polnischen Capelle«2 und seit 1728 Flötist in der Hofkapelle – am Hofe August II. (des Starken) in Dresden für seine Entwicklung und Reife entscheidend. Dort hatte er nicht nur Gelegenheit, die hohe künstlerische Qualität der vorzüglichen Hofkapelle hauptsächlich unter Leitung von Johann Georg Pisendel (1687–1755) zu erleben und späterhin mitzugestalten, sondern sich frühzeitig durch gründlichen Unterricht beim ersten Flötisten der Königlichen Kapelle, Pierre Gabriel Buffardin (1689–1768), ausbilden zu lassen und sich selbst zu einem herausragenden Musiker zu entwickeln. Während einer dreijährigen Studienreise (1724–1727) nach Italien, Frankreich und England machte er sich mit den bekanntesten Instrumentalisten und Gesangskünstlern bekannt, versuchte, sich auch kompositorisch weiter zu bilden (u. a. Unterricht bei Francesco Gasparini) und studierte mit Eifer die Eigenheiten und Besonderheiten des italienischen und französischen Nationalstils.

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The aim of this study is to understand the extent, depth, magnitude and significance of subglacial sediment deformation. It will examine the role of this deformation in controlling glacier dynamics and landform generation in glaciers in general, and polythermal glaciers in particular. A detailed multi-dimensional approach is used to study recently exposed glacigenic sediments on the forefields of three polyglaciers in the Tarfala Valley, northern Sweden. Overridden fluted moraines and diamicton plains occur in each forefield. These palimpsest landforms consist of multiple subglacial traction tills. Flutes have quasi-regular geometry and about half of those studied have no initiating boulder. It is suggested here that flute formation by forced-mechanisms was superimposed on flute formation related to a topographically-induced flow instability. In each forefield the depth of the deforming-bed averaged between 0.2m and 0.6m thickness. Detailed clast fabric data suggest the diamicton plain is composed of thin layers of traction tills that accreted over time as the zone of deformation moved upwards. Laboratory shear box tests show that subglacial deformation required elevated pore-water pressures, which suggests deforming-bed conditions and flute formation were restricted to the temperate zones of polythermal glaciers. Magnetic fabrics suggest strain magnitudes were moderate (≤10), rather than the very high strain magnitudes (>10²) required by the deforming-bed model. The application of the micro-structural mapping technique demonstrates that subglacial deformation was multi-phase, heterogeneous, and partitioned into the softer and more easily deformed parts of the matrix. Consequently, deformation is controlled by variations in sediment granulometry and pore-water pressure, and is likely to have been spatially and temporally variable, a finding that supports the ice-bed mosaic model. The strain magnitudes and deforming-bed thickness suggest that soft-bed deformation did not exert a major control on glacier dynamics during the Little Ice Age advance.

AND KEYWORDS The dissertation The Harmonic Flute and Its Derivatives in the Carpathian Regions of the Czech Republic - an organological hologram contains the summary, analysis and syntheses of data obtained through the research of little-known instrumental kind in this area of the Czech Republic. Most of the data is published for the first time in this range. In three chapters - Harmonic flute, Tradition, Present - the musical instrument is viewed from many perspectives. The harmonic flute is displayed as a part of worldwide and Carpathian instrumentary; its acoustic and playing features are explained, archaic manufacturing methods are shown and the possible influence on musical thinking of the area is discussed. The theses also investigates the harmonic flute and its derivatives as disappeared musical instruments of the local traditional music and tries to map contemporary revival of its manufacturing and playing. The dissertation is based on analysis of written, audio and visual documents, comparisons, experimental reconstructions, empirical evaluation of objects in museums and private collections and interviews with informants. The theses includes an extensive photo documentation and a CD with audio samples discussed in the text. This theses was inspired by models formulated by...

This document contains scores for the works performed at a recital of compositions by Kirsten Carlson at 8:00 p.m. April 21, 1995 at the University of British Columbia Recital Hall. Model-Deviation is written for solo flute and was composed in 1992. Those That Follow is written for two flutes and was composed in 1993. The Distance is written for soprano voice, spoken voice, violin and cello and was composed in 1993. The text is by Kirsten Carlson. For will is written for flute and trumpet and was originally composed in 1994 and revised in 1995. This is a photograph of me is written for soprano, clarinet, bassoon and violin. It was composed in 1995 with text by Margaret Atwood. The Swimmer is written for two soprano voices, flute, clarinet, two violins, viola, and cello. It was composed during 1994-95 with text by the composer. We Are Still One is written for 10 flutes and was composed in 1994.

The aim of this study was to map and date glacial flutings with ice flows deviating from the predominating northwesterly ice flow direction in the southern part of Norrbotten County in northern Sweden, and also to investigate if parts of the glacial landscape are older than previously thought. The traditional view is that most landforms in the area were formed during the late Weichselian (W3). Analysis of the new high resolution elevation model (2 m grid) derived from laser scanning was performed after treating the data with a hillshade tool in ArcMap to reveal terrain features such as flutings. The analysis resulted in a map showing four main groups of deviating ice flows (N-S, NO-SV, SO-NV and S-N) and several westerly ice flows. The majority of flutings with deviating ice flows were found in low terrain. This, together with studies suggesting a cold based late Weichselian ice sheet in Norrbotten, implies an old age of the deviating ice flows. The deviating ice flows are interpreted to originate from the first early Weichselian (W1), or predate the onset of the Weichselian glaciation. Some NV-SO flutings were located in high terrain, which implies a younger age relative to the low terrain flutings. They represent the youngest ice flow found in the area, possibly from the second early Weichselian (W2). The new elevation model clearly offers new possibilities for studying small scale landforms and shows that the traditional view of the Weichselian glaciation in northern Swedish needs to be reconsidered.

This thesis ventures into the world of twentieth century chamber music, specifically the trios written for flute, cello and piano. The first chapter discusses the history of the trio, tracing its development from the trio sonata of the Baroque Period to the accompanied sonatas and specifically the sonatas with flute and cello obbligato. Following the unpopularity of the genre throughout the Romantic period, its greater prominence in the Twentieth century is discussed, mentioning specific groups through whom the repertoire has been extended. Forty trios are grouped according to compositional styles. Six trios, each representing an example of a specific style period, have been selected for more detailed discussion, with particular reference to the various ways in which a sense of unity is achieved in each trio. The English composer Eugene Goossens uses impressionistic images, whole tone and chromatic scale patterns and other motifs to unify his trio: "Five Impressions of a Holiday". Nikolay Iosifovich Sil'vansky's "The Hedgehog and the Nightingale" is based on a Russian tale by Juri Jarmicha and uses a narrator. The three characters are represented by specific motivic and / or thematic material which is used throughout the trio. Günter Raphael's Trio-Suite op 44 is the only cyclic work unifying the two outer movements, without repeating any additional motivic material. Jean-Michel Damase condenses some of the material introduced in the opening Prelude in both the two Largo's and the two Arias in his "Sonate en Concert" of 1950. Karl Julius Marx builds his entire "Trio op 61" on a flexible six-note motif. Various movements in the trio" Vox Ba1aenae" by the American George Crumb are 1inked through the use of motives and characteristic instrumental colour. A comprehensive list of 180 twentieth century trios has been compiled, including details of dedications, commissions and first performances. 163 composers from twenty countries, are represented.

This document contains scores for the works performed at a recital of compositions by Kirsten Carlson at 8:00 p.m. April 21, 1995 at the University of British Columbia Recital Hall. Model-Deviation is written for solo flute and was composed in 1992. Those That Follow is written for two flutes and was composed in 1993. The Distance is written for soprano voice, spoken voice, violin and cello and was composed in 1993. The text is by Kirsten Carlson. For will is written for flute and trumpet and was originally composed in 1994 and revised in 1995. This is a photograph of me is written for soprano, clarinet, bassoon and violin. It was composed in 1995 with text by Margaret Atwood. The Swimmer is written for two soprano voices, flute, clarinet, two violins, viola, and cello. It was composed during 1994-95 with text by the composer. We Are Still One is written for 10 flutes and was composed in 1994. / Arts, Faculty of / Music, School of / Sound recording included. / Graduate

"Eyre" is a composition of approximately sixteen minutes duration for an instrumental ensemble consisting of two flutes, oboe, B𝄭 clarinet, bassoon, guitar, and cello. It is inspired by a large seasonal lake basin in South Australia of the same name. The piece is divided into three movements; the first is fast and quasi sonata-allegro form without the recapitulation; the second is slow and through-composed; and the third, essentially the missing recapitulation from the first movement. Much of the motivic material for the piece is derived from the initial progression of triads. Harmonic and melodic development of this material contains some modal tendencies. While the overall effect tends toward equal weighting of the instrumental forces, there is some featuring of the guitar and an interplay between the woodwind and string instruments.