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The purpose of this study is to trace the invention and development of a greatly abused instrument, the saxophone, and its use in the symphony orchestra. The first chapter concerns the instrument's invention and acceptance. The second chapter discusses physical characteristics of the saxophone. The third chapter deals with the particular methods of using the saxophone in orchestral literature by various composers, from its use in the nineteenth century through the present. An appendix provides a comprehensive listing of orchestral literature in which the saxophone is utilized.

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A measurement-independent formulation of quantum mechanics called ‘regular histories’ (RH) is presented, able to reproduce the predictions of the standard formalism without the need to for a quantum-classical divide or the presence of an observer. It applies to closed systems and features no wave-function collapse. Weights are assigned only to histories satisfying a criterion called ‘regularity’. As the set of regular histories is not closed under the Boolean operations this requires a new con- cept of weight, called ‘likelihood’. Remarkably, this single change is enough to overcome many of the well-known obstacles to a sensible interpretation of quantum mechanics. For example, Bell’s theorem, which makes essential use of probabilities, places no constraints on the locality properties of a theory based on likelihoods. Indeed, RH is both counter- factually definite and free from action-at-a-distance. Moreover, in RH the meaningful histories are exactly those that can be witnessed at least in principle. Since it is especially difficult to make sense of the concept of probability for histories whose occurrence is intrinsically indeterminable, this makes likelihoods easier to justify than probabilities. Interaction with the environment causes the kinds of histories relevant at the macroscopic scale of human experience to be witnessable and indeed to generate Boolean algebras of witnessable histories, on which likelihoods reduce to ordinary probabilities. Further- more, a formal notion of inference defined on regular histories satisfies, when restricted to such Boolean algebras, the classical axioms of implication, explaining our perception of a largely classical world. Even in the context of general quantum histories the rules of reasoning in RH are remark- ably intuitive. Classical logic must only be amended to reflect the fundamental premise that one cannot meaningfully talk about the occurrence of unwitnessable histories. Crucially, different histories with the same ‘physical content’ can be interpreted in the same way and independently of the family in which they are expressed. RH thereby rectifies a critical flaw of its inspiration, the consistent histories (CH) approach, which requires either an as yet unknown set selection rule or a paradigm shift towards an un- conventional picture of reality whose elements are histories-with-respect-to-a-framework. It can be argued that RH compares favourably with other proposed interpretations of quantum mechanics in that it resolves the measurement problem while retaining an essentially classical worldview without parallel universes, a framework-dependent reality or action-at-a-distance.

Principals and vice-principals occupy a vital role in our public schools. They hold politically and organizationally powerful positions to influence change and support educational reform. Riehl (2000) points out that one’s practice of leadership is influenced by one’s identity, thus knowing who administrators are is significant. Although understanding who our formal administrators are is still an emerging area of scholarly inquiry, most of the educational literature focuses on administrators from the mainstream, dominant culture. Little attention has been given to who our visible minority principals and vice-principals are, especially within in a Canadian and British Columbia context. This study explores how the life histories and life experiences of visible minority principals and vice-principals of BC who are immigrants and children of immigrants have created their identities. In particular, how have their experiences as “other” influenced their praxis as formal school leaders? Using a life history methodological approach, data were gathered through semi-structured in-depth interviews. Six themes and three sub-themes emerged from the interviews that highlight participant life experiences, meaning and learning about their identity and praxis as leaders. Participants linked their present views, beliefs, and approaches to leadership with events and personal experiences from their past. Participants’ enactment of school leadership was informed by their experiences trying to fit in with mainstream culture; identity issues and cultural identity development; connecting with minority students and families; needing to promote diversity; being mentored and now being mentors; and influencing change. Therefore, a connection was made by the research participants between who they are as leaders and how their experiences have influenced them. / Graduate / 0514 / shailoo@uvic.ca

Oral history’s purposes have metamorphosed from a record of lifeways and stories of the elite to a means of healing for minority communities oppressed by trauma. This dissertation focuses on the power of oral history to catalyze the restorative justice process of moral repair for victims—in this case the Mexican Americans of Texas—who were traumatized by the Jim Crow laws and practices prior to 1965. I researched the racial, socio-cultural history of Texas from its colonial days up to the Jim Crow historical era of 1876-1965 and utilized archival, legal, and historical sources for my study. Additionally, I explore theories and frameworks of trauma, structural violence, and restorative justice, and analyze twenty-eight oral histories from the Voces Oral History Collection (University of Texas, Austin). Lastly, I apply oral history methodology to collect seventeen oral histories for my own project, Project Aztlan. My findings reveal a community suffering from structural violence—a theory that argues unjust laws harm individuals as much as physical violence. The oral histories unearth several issues: first, both groups of narrators were victims of structural violence as a result of traumatic racism. I anticipated finding traumatic racism, but not on such a broad scale. The results reveal it occurred in all four corners of Texas. Second, these Jim Crow laws and practices targeted members individually and collectively through racially restrictive housing covenants, segregation of schools/public facilities, job discrimination, and disfranchisement or poll taxes. Thirdly, the oral histories demonstrate and legitimize the fact that the Mexican American community deserves atonement, apology and reparation from historically guilty institutions. The State of Texas battered them with mass lynchings, disfranchisement, racially restrictive housing covenants, school segregation, and discrimination, oppressing them for over 100 years. My dissertation concludes that the oral history process helps victims attain moral repair because, similar to moral repair, it also allows them the space to voice their stories of injustice. In turn, the oral historian validates their claims and reconciliation occurs when narrators received vindication through this reparatory process. This acknowledgment fuses broken moral bonds by equalizing members of society. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2018. / FAU Electronic Theses and Dissertations Collection

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La Plaza Cubierta, obra del arquitecto venezolano Carlos Raúl Villanueva, es el espacio que articula los edificios de Biblioteca, Rectorado y Aula Magna de la Ciudad Universitaria de Caracas. Alberga una particular propuesta de interacción entre diferentes expresiones artísticas que, junto a la desconcertante ausencia de discurso por parte del proyectista, ha llevado a su adscripción a la poética general de la Síntesis de las Artes, pretendiendo comprender así la obra sin desglosar la riqueza de sus matices. El conjunto que surgió indirectamente de las torsiones experimentadas por el proyecto durante su concepción, se inscribe en el campo de clausuras e indeterminaciones en el que se estructuraron las construcciones del arte de vanguardia. No obstante, su vivencia trasciende las trasmisiones unívocas, herederas del programa romántico y latentes aún en las manifestaciones de comienzos del siglo XX, por una difusa definición como plaza, por la condición de cubierta, por su paradójica designación, así como por la presencia de una arquitectura que propicia inusitadas conexiones mediante la dramatización de las emociones plásticas desde la desnudez de sus componentes. La riqueza de significados emanada de los juegos de luces y sombras que se suceden y de la dilatada confrontación de sus sistemas espaciales sugieren un espectro infinito de interpretaciones que apelan al substrato de indeterminación propio del arte mas actual. Estas características constituyen una vertiente del arte de la segunda mitad del siglo XX que, eludiendo la luz, elogió el umbral y habitó los resquicios y pliegues de una obra abierta. Armar la topología que urde el observador al experimentar la construcción espacial generada por Villanueva y descubrir los fundamentos constitutivos de su poética particular a partir de los documentos no textuales que estuvieron presentes en su concepción, es la ambiciosa proposición de esta Tesis. La metodología asumida parte de cuestionar la operatividad del programa contenido en los planteamientos estéticos de la Síntesis de las Artes, desarrollados en torno a una difusa teoría de la Obra Total (Gesamtkunstwerk), para abordar un ejercicio de acondicionamiento de la mirada. Desde este intento por saber ver, como lo definiera Berger, se rearma el discurso espacial del arte de vanguardia elaborado por aquellos autores que asumieron la diseminación y la percepción dilatada subyacente en las múltiples derivaciones de la interpretación. El análisis fenomenológico de La Plaza Cubierta surge de cotejar las consideraciones dimanadas de este enfoque con el desglose de los factores y elementos que la estructuran. Este método evidencia que el objeto concebido por Villanueva no busca entregarse en un contexto ya dispuesto para el consumo, sino presentarse como un lugar de conexiones en el que la obra emerge de la participación del intérprete, quien en sus desplazamientos completa su armazón. Se descubrirá entonces que los esquemas de los flujos establecidos por el arquitecto constituyen la base operativa de esta obra. El carácter plástico que Villanueva imprimió al dibujo de los Movimientos, como el propio autor los llama, reconoce los límites de los sistemas de representación de la Arquitectura, al mismo tiempo que expande los márgenes de expresividad del hecho espacial. Esos trazos sinuosos que celebran el devenir y desestiman la entidad del contenedor, ensamblan un auténtico Manifiesto gráfico y esbozan la poética suspendida de un proyecto transtextual entre distintos soportes expresivos. Una topología construida a partir de una arquitectura liminar que apeló a lo más esencial de su gramática. / The Plaza Cubierta, a masterpiece of the Venezuelan architect Carlos Raul Villanueva is the space in which the main buildings of the University City of Caracas are articulated: the Library, the Rectorate, and the Aula Magna. It houses a particular proposal of interaction among different artistic expressions and along the disconcerting absence of discourse from the architect. It has been attributed to the general poetics of the Synthesis of the Arts, by trying to understand in this way the work without detaching the richness of its shade.The space, emerged indirectly from the torsion experimented in the project during its conception, is registered in the field of closures and indeterminations in which are conceived the proposals of the Avant Garde. However, its experience transcends the univocal transmissions, heiress of the romantic program which even were latency in the plastic manifestations of the beginnings of the XXth. Century, due to a diffuse definition as square, the condition of being covered, its paradoxical designation and also for the presence of an architecture which supports unusual connections through the dramatization of the plastic emotions from the bareness of its components.The richness in meanings that emanates from the games of lights and shadows, which follow one another, and the extended confrontation of its spatial systems suggest an Infinite spectrum of interpretations that appeals to the indetermination substrate that is characteristic of the up to date art. These particularities constitute a trend in the art of the second half of the XX century that, by avoiding light, praises the threshold and inhabited the corners and folds of an Open piece of work. The ambitious purpose of this thesis is to decipher the topology articulated by the observant when experimenting the spatial construction generated by Villanueva and to discover the constituent foundation of its particular poetics beginning with non-textual documents, which were present in his conception.The methodology used starts by questioning the capacity to operate of the program restrained in the aesthetics statements of the Synthesis of the Arts (developed around a diffuse theory of the Gesamtkunstwerk) to approach an exercise of conditioning of the vision. From this intention of knowing how to look, as its defined by Berger, it is rebuild the spatial discourse of the Avant Garde given by those authors who assumed the dissemination with the underlying extended perception in the multiple derivations of the interpretation.The phenomenological analysis of the Plaza Cubierta comes from comparing the consideration arisen from this approach with the separation of the factors and elements, which organize it. This method makes evident that the object conceived by Villanueva does not look to fit in a context already prepared for the consumption, but to present itself as a place of connections in where the work emerges from the participation of the observer who, through his movements, completes the Frame. It will be discovered that the flow diagrams established by the architect constitute the operative base of this work. The plastic character that Villanueva imprinted to the movements drawing, "Movimientos" as he calls it, acknowledges the limits in the system of representation in architecture and, at the same time, expands the margins of expressiveness of the spatial fact.These sinuous traces, which celebrate the becoming and disesteem the entity of the spatial container, assemble an authentic graphic manifestation and outlines the poetics suspended of a trans-textual project among different expressive supports. A topology built beginning with a borderline architecture that appealed to the most essential of its grammar.

Developers are often faced with the task of implementing new features or diagnosing problems in large software systems. Convoluted control and data flows in large object-oriented software systems, however, make even simple tasks extremely difficult, time-consuming, and frustrating. Specifically, Java programs manipulate objects by adding and removing them from collections and by putting and getting them from other objects' fields. Complex object histories hinder program understanding by forcing software maintainers to track the provenance of objects through their past histories when diagnosing software faults. In this thesis, we present a novel approach which answers queries about the evolution of objects throughout their lifetime in a program. On-demand answers to object history queries aids the maintenance of large software systems by allowing developers to pinpoint relevant details quickly. We describe an event-based, flow-insensitive, interprocedural program analysis technique for computing object histories and answering history queries. Our analysis technique identifies all relevant events affecting an object and uses pointer analysis to filter out irrelevant events. It uses prior knowledge of the meanings of methods in the Java collection classes to improve the quality of the histories. We present the details of our technique and experimental results that highlight the utility of object histories in common programming tasks.

Developers are often faced with the task of implementing new features or diagnosing problems in large software systems. Convoluted control and data flows in large object-oriented software systems, however, make even simple tasks extremely difficult, time-consuming, and frustrating. Specifically, Java programs manipulate objects by adding and removing them from collections and by putting and getting them from other objects' fields. Complex object histories hinder program understanding by forcing software maintainers to track the provenance of objects through their past histories when diagnosing software faults. In this thesis, we present a novel approach which answers queries about the evolution of objects throughout their lifetime in a program. On-demand answers to object history queries aids the maintenance of large software systems by allowing developers to pinpoint relevant details quickly. We describe an event-based, flow-insensitive, interprocedural program analysis technique for computing object histories and answering history queries. Our analysis technique identifies all relevant events affecting an object and uses pointer analysis to filter out irrelevant events. It uses prior knowledge of the meanings of methods in the Java collection classes to improve the quality of the histories. We present the details of our technique and experimental results that highlight the utility of object histories in common programming tasks.