Ouverture fur Harmoniemusik, op. 24 / Felix Mendelssohn-Bartholdy -- Concertino for flute, op. 107 / Cecile Chaminade -- Octet, op. 103 / Ludwig van Beethoven -- Ragtime for eleven instruments / Igor Stravinsky. / text

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Born in 1972, Luis Serrano Alarcón has in a very short period of time, established himself as one of Spain’s most prominent composers. His works are constantly being performed, not only in his home country, but throughout the world. While some of his compositions tend to retain the rhythmic, harmonic, and melodic style typical to Spanish music, many of the works sound as if they were borne more from the Viennese symphonic tradition, both during the time of Haydn and Beethoven, but also during the time of Arnold Schoenberg. As a young boy Alarcón took up piano lessons with a local teacher by the name of Javier Barranco. Through him, Alarcón learned “the music for piano of the great masters of Classicism, Romanticism, and Spanish Nationalism.” In addition he began to study with two other teachers: Jose Cervera Collado and Jose Maria Cervara Lloret. With Collado, Alarcón studied conducting, and with Lloret he studied harmony. As a result of all of this training, Alarcón was drawn toward the symphonic music of the Classical and Romantic periods, especially gravitating toward the music of Beethoven and Brahms. Alarcón’s compositional style has maintained a chameleon-like flexibility as he is able to change styles from one composition to the next with litheness and grace, showing a strong grasp of American jazz as well as flamenco music of his native country in Duende, capturing the sounds of tango from Argentina in Concertango, and of course, in the many examples of his paso dobles. Unlike many of his contemporaries, though, Alarcón’s unique voice seems to emerge through any style he is embracing or any combination of instruments in his orchestration. In terms of style, Symphony for Wind Orchestra (2012) is an entirely different type of composition. It is immediately apparent from the opening tutti strikes, that (like Mozart and many other traditional composers before and after), Alarcón is embracing a iii traditional symphonic style in this composition by utilizing one of its most common symphonic topos. Symphony for Wind Orchestra is an amazing study of the Classical symphony from its earliest beginnings in Mannheim, to its codification at the hands of Haydn, Mozart, and Beethoven, and to its explosion in size and scope at the end of the nineteenth and early twentieth century with composers like Brahms, Bruckner, and Mahler. Perhaps more important, though, is his choice of harmonic language and compositional approach. The work is decidedly based upon thematic material that is reminiscent of the Second Viennese School; atonal at times, semi-tonal at others, but consistently manipulated through the operations (transposition, inversion, retrograde, verticalization, and serialization), that were made popular by Arnold Schoenberg, his students, and those who followed them. The genesis of this composition was a consortium of band directors from the Southeastern Conference Band Association, led initially by Tom Verrier, who is Senior Band Conductor and Director of Wind Ensembles at Vanderbilt University. Dr. John Cody Birdwell was a part of the consortium from its onset, but didn’t initially plan on conducting the premiere at his school (the University of Kentucky). Birdwell stated,“...the opportunity to premiere the work sort of ‘landed in our lap.’ I had heard some of Alarcón’s other compositions in recent years, and I knew that this piece was going to be fantastic, so we moved forward without any hesitation.” Clearly with so much positive feedback regarding the work, this document is certainly justified. The goals of this study are to provide some background for the work and its composer, to analyze the work while providing examples of all of its main themes and important figures, and where appropriate, to show how they relate to each other. This document will also create a helpful performance guide for conductors, which should facilitate and contribute to many more performances of this significant work in the future. Along with the harmonic and thematic analysis of the work, this document will also include interviews with the composer, the conductor of the premiere of the work (Dr. John Cody Birdwell), one of the early and staunch supporters of Alarcón’s works (Dr. Tim Reynish), and Javier Enguidanos Morató - another Spanish conductor who recently performed the work.

O objetivo desta dissertação é descrever os processos graduais utilizados por György Ligeti na composição de sua obra Dez peças para quinteto de sopros (1968). Através dessa descrição, pretende-se pôr em evidência a gradação como uma ferramenta importante na construção da linguagem utilizada na obra. A análise das Dez peças é abordada em relação a diferentes parâmetros ou aspectos do discurso musical: movimento das vozes, harmonia, timbre, densidade, estrutura rítmica. São observadas as transformações mínimas dos materiais, os movimentos das alturas por proximidade ou contigüidade, bem como os processos de adição presentes no tratamento dos diferentes elementos. Este estudo demonstra que o procedimento das transformações progressivas não é utilizado por Ligeti de maneira linear. A idéia de gradação deve ser entendida com certa flexibilidade e não de um modo literal. Os movimentos por passos literalmente graduais existem, porém, geralmente são parte de um processo que procura dissimular essa linearidade. / The main goal of this dissertation is to describe the gradual processes used by György Ligeti in its work Ten pieces for wind quintet (1968). Through this description we try to put in evidence the gradual processes as an important tool in the construction of the Ten pieces language. The analysis of the Ten pieces considers different parameters or aspects of the composition: melodic motion, harmony, timbre, density, rhythmic structure. We also observe minimal transformations of materials, movements of pitches by proximity or contiguity and treatment of different elements by addition. This study demonstrates that the procedure of progressive transformations is not used by Ligeti in a linear form. The gradual processes must be understood in a flexible way. The motion generated by literal gradual steps exist, but generally they are part of a process that attempts to dissimulate this linearity.

O objetivo desta dissertação é descrever os processos graduais utilizados por György Ligeti na composição de sua obra Dez peças para quinteto de sopros (1968). Através dessa descrição, pretende-se pôr em evidência a gradação como uma ferramenta importante na construção da linguagem utilizada na obra. A análise das Dez peças é abordada em relação a diferentes parâmetros ou aspectos do discurso musical: movimento das vozes, harmonia, timbre, densidade, estrutura rítmica. São observadas as transformações mínimas dos materiais, os movimentos das alturas por proximidade ou contigüidade, bem como os processos de adição presentes no tratamento dos diferentes elementos. Este estudo demonstra que o procedimento das transformações progressivas não é utilizado por Ligeti de maneira linear. A idéia de gradação deve ser entendida com certa flexibilidade e não de um modo literal. Os movimentos por passos literalmente graduais existem, porém, geralmente são parte de um processo que procura dissimular essa linearidade. / The main goal of this dissertation is to describe the gradual processes used by György Ligeti in its work Ten pieces for wind quintet (1968). Through this description we try to put in evidence the gradual processes as an important tool in the construction of the Ten pieces language. The analysis of the Ten pieces considers different parameters or aspects of the composition: melodic motion, harmony, timbre, density, rhythmic structure. We also observe minimal transformations of materials, movements of pitches by proximity or contiguity and treatment of different elements by addition. This study demonstrates that the procedure of progressive transformations is not used by Ligeti in a linear form. The gradual processes must be understood in a flexible way. The motion generated by literal gradual steps exist, but generally they are part of a process that attempts to dissimulate this linearity.

The two works of Joseph Schwantner which are the focus of this study, are quite unique for this composer. These two pieces represent the only instance in which Schwantner used the same music for two different compositions. From a Dark Millennium, and Sanctuary from the Music of Amber, are identical in musical material, form and length. While From a Dark Millennium was written for a large wind ensemble, Sanctuary was scored for a sextet of flute, clarinet/bass clarinet, violin, cello, piano, and percussion. The comparative analysis of these pieces reveal the essence of the music, as well as explores the scoring of each version. Both the melodic and harmonic material in this music is based almost entirely on an octatonic scale of alternating whole and half steps. Very little musical material is used in these works, however the approach toward expanding this material is exceptionally creative. The music shifts abruptly from sections that are sparse and soloistic, to scoring that is very dense. While the piano is utilized as the central timbre in both versions, the wind ensemble presents a much heavier and more percussive sound throughout. The chamber version, due to its size and instrumentation, is more ethereal, and features the performers in a soloistic environment. In examining both of these works, many of the distinctive traits found in the music of Joseph Schwantner are exhibited. The differences between these two versions help to illustrate his unique approach to composition and orchestration. The two works have also had a significant impact in their respective performance media as well. From a Dark Millennium has become an important part of the repertoire for wind ensembles; and Music of Amber, which won the 1981 Kennedy Center Friedheim Award for excellence in chamber composition, is one of Schwantner's most performed chamber pieces.

Mgr. Petra Kolátorová Abstract: Thesis dealt with the Serenade E major Op. 22 (B 52) and the Serenade for Wind Instruments Op. 44 (B 77) of Antonín Dvořák in the view of the musical genre of the orchestral serenade. It answered the question of influence and meaning of the Dvořák's Serenades among Serenades of his contemporaries, the question of place of this genre among the other musical genres and the question of reflection of music criticism at that time. Analysis of both works and their comparison with the selected works showed the way how the expectation of this genre reflected in the compositional ways and methods of both Dvořák's Serenades. The composer in his Serenades depicted all layers of meaning of this genre as was such a noble simplicity, oscilation of the genre between chambre and orchestral music between artistic or rather entertaining character of music, continuity of original serenades and history of the genre. Dvořák had created the works which in certain aspects foreshadowed near future (neoclasicism).

Cette thèse de doctorat propose une méthodologie d’identification et de quantification du gisement éolien dans un contexte insulaire caractérisé par une topographie complexe et une forte pression sur l’usage des sols, puis elle l’applique au cas de l’île de La Réunion. Notre approche est interdisciplinaire, faisant appel tour à tour au droit, à la géographie, à la statistique et à la physique pour quantifier le gisement éolien à l’île de La Réunion, puis à l’économie pour évaluer le coût d’exploitation de ce gisement et définir des politiques publiques de soutien à la production d’électricité éolienne. La première partie de la thèse évalue l’impact du cadre réglementaire foncier sur le potentiel éolien en termes de puissance éolienne crête installable à La Réunion. Ce cadre réglementaire est défini en termes de scenarios décrivant les enjeux sociaux et environnementaux propres à l’installation de capacités éoliennes à l’île de La Réunion. Une approche basée sur les Systèmes d’Information Géographique est développée pour identifier la répartition spatiale des sites éoliens accessibles en fonction de l’évolution du cadre juridique foncier à La Réunion. La deuxième partie de la thèse vise à quantifier le gisement éolien sur les sites accessibles du point de vue règlementaire. La thèse expose la méthodologie d’étude de la distribution jointe de la distribution de la vitesse et de la direction horizontales du vent basée sur une analyse des variations saisonnières et journalières, et identifie les différents régimes de vent en vigueur à La Réunion. Elle justifie le recours au modèle paramétrique de Weibull dans un cadre probabiliste et montre l’intérêt d’utiliser un mélange de distributions de Weibull conditionnelles à la direction du vent, pour quantifier le potentiel éolien d’un site, par rapport au modèle conventionnel de Weibull à deux paramètres. La thèse présente également une méthodologie de construction de l’information géographique concernant les obstacles au sol, nécessaire pour profiler le cisaillement vertical du vent à La Réunion. Elle propose ensuite deux méthodes de prévision spatiale de la ressource éolienne permettant de l’évaluer à partir des observations réalisées aux stations météorologiques disponibles et utilise ces méthodes pour modéliser l’évolution spatiale de la moyenne et du coefficient de variation empiriques de la vitesse du vent. La dernière partie de notre thèse présente une méthode d’évaluation croisée de la politique réglementaire et de la politique de subvention de l’électricité éolienne par le biais de systèmes de tarifs de rachat garantis. Pour chaque scénario de politique réglementaire, on identifie les éoliennes qui sont économiquement profitables dans le cadre de la politique publique de subvention de l’éolien pratiquée à La Réunion. Pour chaque scénario réglementaire, on évalue également le niveau du tarif de rachat garanti de l’électricité éolienne permettant d’atteindre les objectifs publics de développement de l’éolien à La Réunion, ce qui permet de chiffrer le montant du subventionnement public nécessaire pour atteindre ces objectifs. / This doctoral thesis proposes a methodology to identify and quantify the wind power resource in a context characterized by a complex topography and a strong competition for land use, and then it applies it to the case of Reunion island. Our approach is interdisciplinary by using in turn law, geography, statistics and physics to quantify the wind power resource in Reunion Island, then economics to cost the mining of this deposit and to formulate public policies to support wind power generation. The first part of the thesis assesses the impact of land regulatory framework on the wind power resource defined in terms of installable peak power. This regulatory framework is defined in terms of scenarios depicting the social and environmental challenges associated with wind power generation in Reunion Island. A methodology based on Geographic Information Systems is developed to identify the spatial distribution of installable wind farms and to assess the impact of an evolution of land legal framework in Reunion. The second part of the thesis aims at quantifying the wind power on sites accessible from a regulatory point of view. The thesis presents a methodology to study the joint distribution of horizontal wind speed and direction based on the analysis of its seasonal and daily variations, and identifies the different wind regimes in force in Reunion. The thesis supports the use of Weibull distribution model on ground of probability theory, and provides evidence of superiority of using a mixture of Weibull distributions conditional on wind direction to quantify the wind power resource of an accessible site with respect to the use of the conventional marginal two parameters Weibull model. The thesis also provides a methodology to construct the geographical information regarding ground obstacles necessary for profiling the vertical wind shear profile in Reunion. Then, the thesis proposes two spatial prediction methods to assess the spatial distribution of wind resource allowing its estimation from the observations recorded at the available weather stations, and uses these methods to model the spatial evolution of the wind speed mean and variation coefficient. The last part of the thesis provides a method to cross assess the regulatory public policy and the public subsidy policy for wind power generation through feed-in-tariff schemes. For each regulatory scenario, we identify the wind power plants which are profitable under existing feed-in-tariff schemes. For each regulatory scenario, we also evaluate the level at which the feed-in-tariff must be set to reach public objectives of wind power development in Reunion, which allows to assess the amount of public subsidy needed to achieve these objectives.