Thesis (Ph. D.)--Florida State University, 2006. / Advisor: Hamid Garmestani, FAMU-FSU College of Engineering, Dept. of Mechanical Engineering. Title and description from dissertation home page (viewed Sept. 19, 2006). Document formatted into pages; contains xiii, 101 pages. Includes bibliographical references.

By drawing on local newspapers and the diaries, journals, and autobiographies of nearly fifty pioneers, this thesis examined the varied musical experiences of Utah's Latter-day Saint women during the years 1847-1900, and sought to determine whether they followed national gender trends in music during this era. Women in nineteenth-century Utah participated in a wide variety of musical activities, including using music in their homes, taking lessons, and teaching. Women also composed and wrote song lyrics. Many women performed in community musical events, such as concerts and operas. Despite their accomplishments, women did face conflict over the demands of family responsibility and the desire to pursue public musical careers. In some cases, women retreated from performance or even abandoned their interest. Nonetheless, music allowed these women to enrich their personal and social lives, express their feelings on a variety of topics, bond together in both religious and political sisterhood, and involve themselves more fully in their communities. In their many musical activities, women in Utah, often regarded as a singular or isolated population because of their affiliation with the Church of Jesus Christ of Latter-day Saints, reflected changing trends for women throughout the United States. This became especially noticed as music became less a social accomplishment and more an expression of serious study through which women redefined their roles and society's acceptable standards for work and public performance.

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Context Colors are an important aspect of video games, they have a key roll when designing everything from characters to world objects. Therefore designers and developers need to know what colors that are preferred over others. Objectives This paper tries to determine which color setting that is the most preferred on a game avatar. Methods To do this an experiment conducted with 15 participants. They conducted a two alternative forced choice test (2AFC) with 236 pairs of pictures. All of the 236 pairs were based on color harmonies and displayed on an avatar and a cube. The different color harmonies that were used sprung from the three primary colors of the RGB-color wheel that worked as a base in this experiment. The results that were collected went through a Chi-square test. Result Some interesting results were generated from the experiment. For instance, the most preferred color harmony for the avatar was the split complementary with the base in the primary color red. Second to that was the color harmony triad, built on the three primary colors red, green and blue. The color harmonies that had their base in the color green were with zero percent the least preferred of all harmonies. On the other hand the color harmonies that had their base in the color blue were generally the most preferred among all of the harmonies. Conclusion The main conclusion that was made and that could answer the research question was that the most preferred color harmony for the avatar was split complementary red. There were also some conclusions made that could help to create a more general preference for all kind of avatars, if this experiment would be remade on a larger scale.

An interpretive approach to performing two works by Franz Krommer for wind ensemble. Including a short history of Harmoniemusik, with origins, development, and chronology of the instruments and repertoire, the roles of "better-known" composers of Harmoniemusik, and its importance in both general music history and history of the wind band. An account of known biographical detail concerning Franz Krommer, his life, his musical involvement and career in Europe, and his place in music history. An overview of his compositions for wind groups other than the Harmoniemusik, including his symphonic music and concertos. Detailed analyses of the two octet-partitas, Partita in F, Op. 57 and Partita in E-flat, Op. 79, with discussion of thematic, harmonic, melodic, articulation, and formal characteristics illustrated through score examples. Examination of issues for a conductor to consider when approaching a performance of these works such as instrumentation (modern vs. period instruments, selecting 16-foot instrument), taking (or not taking) repeats with respect to form, interpreting articulations, determining metronomic tempos, ensemble balance, and style based on wind music of the Classical period. Also, how this music can (and why it should) be used by wind conductors as both a teaching supplement and a compositional model for pieces from the Classical period. Conclusion includes a call for further research on Krommer and his works.

Dans l’histoire de la musique occidentale, de nombreuses formes orchestrales se sont imposées de l’orchestre symphonique aux ensembles de musique de chambre. L’intérêt pour ces formes s’est rarement porté sur les ensembles d’instruments à vent particulièrement adaptés à la musique de plein air. Le choix de la longue durée historique laisse entendre tous les possibles d’une histoire politique, culturelle et sociale de 1700 à 1914. Les conditions dans lesquelles sont nés et se sont développés ces ensembles en France, permet d’en voir leur usage, leur répertoire, leur sociabilité et leur impact sur la vie musicale.L’histoire de l’ensemble à vent est complexe. Musique ostentatoire ou militaire il est pendant longtemps l’objet sonore du pouvoir. L’étude des conditions de la création musicale spécifique pour ces ensembles fait apparaître des usages musicaux particuliers et permet d’établir un premier recensement d’oeuvres originales et de compositeurs, tout en montrant les relations entre création musicale savante et usage utilitaire ou populaire.La pratique instrumentale évolue avec les innovations de la facture tout comme l’art de l’orchestration. Le statut des musiciens évolue du professionnalisme à l’amateurisme orphéonique. La modélisation de la musique d’harmonie ou de fanfare et son instrumentalisation par le pouvoir lui confère une fonction représentative officielle. Le modèle « français » se répand sur tous les continents. Parallèlement, d’un usage ostentatoire et privé, l’ensemble à vent devient musique du peuple et sa pratique se diffuse sur l’ensemble du territoire national imposant un mode original de transmission musicale en marge des enseignements officiels et en quête de reconnaissance.Entre unité et diversité cette étude invite à redécouvrir la part patrimoniale des ensembles d’instruments à vent dans les champs historiques, sociologiques et musicologiques, à l’heure où, pour de multiples raisons, ces ensembles sont menacés. / In the history of western music, a lot of different shapes of bands grew on, from the symphony orchestra to the chamber music ensembles. But among these bands, the wind bands hardly attracted interest to perform outdoor music. With the choice of a historically long time period we are able to imagine all that their political, cultural and social history could be, from 1700 to 1914. The conditions of birth and development of these ensembles allow us to observe what their uses, repertoire and sociability were and what was their impact on musical life.The history of the wind band is complicated. For a long time period, being either conspicuous music or military music, it was used by the political power as an object of expression. Studying the conditions of musical creation of these ensembles reveals specific musical uses. It enables to establish a first inventory of original works and composers, while linking scholar musical creation and practical or popular use.The instrumental practice changes according to the innovations in the making process, as the orchestration art. The musicians' status evolves from professionalism to band amateurism. The establishment of a model of concert band music or brass band music and its exploitation by the political power leads to an official representative function. France becomes all over the world a country to look up to in this matter. At the same time the wind ensemble, for a conspicuous and private use, happens to become the music of the people. Its practice spreads throughout France, setting a specific way to pass music on, detached from the official teachings and in search for recognition.Between unity and diversity, this study is an invitation to discover again the cultural heritage of the wind bands in the history, sociology and musicology fields, when today these bands are threatened.

The theoretical part of the thesis describes the live of Franz Liszt and his personality, focusing also on his personality, pedagogical work and innovative approaches in music. The practical part analyzes interpretation problems in his piano cycles Consolations, Harmonies poetiques et religieuses, Hungarian rhapsodies and Grandes Etudes de Paganini.

Notre recherche concerne les bandas, associations composées de musiciens amateurs interprétant un répertoire musical aux sonorités principalement hispaniques et basques. <p>Les premières sont apparues dans le sud-ouest de la France dans les années soixante, suite à l’engouement de musiciens français pour les formations musicales qui accompagnaient les fêtes espagnoles, notamment celles de San Fermin à Pampelune. <p>Les musiciens du Sud-Ouest ont reproduit le modèle qu'ils avaient observé, certains l'ont fait dans les détails, d'autres ont aménagé le modèle en fonction des habitudes de leur localité.<p>Par la suite, des bandas sont apparues dans d'autres régions de France et même en Belgique.<p>Des éléments ont favorisé cette diffusion :la présence de sociétés musicales dans les communes qui ont adopté la pratique musicale des bandas, l’existence de relations de jumelage entre communes dont l’une est le siège d’une banda, la présence de liens historiques entre communes, le contexte global de perte de succès des fanfares et harmonies locales.<p>Notre recherche nous a amenée à observer plusieurs phénomènes :une certaine hispanisation du Sud-Ouest de la France à travers l’apparition des bandas, une diffusion de cette pratique musicale et festive en France et en Belgique souvent accompagnée de mouvements de (re)constructions identitaires, de revendications d’authenticité et de conflits de légitimité. <p><p>A notre connaissance, notre thèse est la première recherche analysant l’univers des bandas sur un espace géographique aussi étendu. Celle-ci est en outre la première étude concernant la propagation de cette pratique. <p>De plus, cette recherche aborde les bandas de différents points de vue, à travers leur histoire, leurs participations aux fêtes, leurs rôles dans les fêtes, dans les corridas, les courses landaises et les ferias, la volonté pour les bandas situées en dehors du Sud-Ouest de créer des fêtes qui leur correspondent dans ces régions où il n’existe pas de lieux festifs qui leur soient spécifiques. <p>D’un point de vue musical, nous abordons la problématique du répertoire des bandas, les conflits au sujet de leur modification, de leur modernisation, de leur authenticité, de leur « tradionalité ». Nous analysons également les situations d’apprentissage musical que les bandas produisent, que ce soit de manière informelle ou que ce soit organisé en écoles de musique. <p>A travers notre recherche, nous espérons ainsi construire une mémoire de ces formations musicales, un éclairage sur cette pratique, son origine, sa propagation, son appropriation et les moyens de réinvention mis en œuvre par les musiciens pour la rendre cohérente avec leur localité. Cette logique de réinvention provoque de nombreux conflits internes entre bandas conservatrices et bandas modernistes et c’est dans ces discours revendicateurs que l’on perçoit l’importance que chaque banda tient dans la vie des musiciens.<p> / Doctorat en Sciences politiques et sociales / info:eu-repo/semantics/nonPublished

Title: The issue of musicality in gymnastics programs at UK FTVS Objectives: Qualify changes in the level of musicality on students due to the intervention program of subjects Rhythmic gymnastics, Gymnastics I - Dance and Adapted movement and dance pedagogy at UK FTVS and present results of testing. Methods: In my thesis I mostly used analytic and synthetic method based on consolidation of data from written and video sources and their organization in content of my thesis and context of time period. The thesis also used an experimental method associated with data collection and their evaluation. The practical part is conceived as testing. Results: Description of the musicality test results. Keywords: Musicality, height of tones, melodic memory, harmonies, rhythmic memory, A. Bentley.

Prenant comme exemple les associations musicales collectives (harmonies, fanfares, brass bands) ayant existé depuis 1930 à Magog, dans les Cantons de l’Est, cette recherche analyse les diverses dimensions de 1’integration sociale à un groupe, ainsi que les manifestations de l’identité individuelle et collective qui s’y traduisent. Par l’examen des pratiques rituelles et des coutumes de ces associations, nous observons l’importance des manifestations privées, renvoyant à un besoin de sociabilité formelle, ainsi que des manifestations publiques de ces regroupements qui ont marqué le relief musical et culturel de diverses localités du Québec.