Thesis (doctoral)--Friedrich-Wilhelms-Universität Berlin, 1859. / Vita.

No description available.

Jag har sedan jag började spela pedal steel varit intresserad av hur instrumentet kan användas på olika sätt i olika sorters musik. Efter att ha hört musik där jag tycker pedal steel låter likt en klarinett blev jag intresserad av hur jag kunde ta fram det soundet ur instrumentet. Genom att studera ett antal låtar och solon har jag fått en djupare förståelse för hur en klarinett låter i swingmusik. Jag har utformat ett antal övningar utifrån de upptäckter och svårigheter jag har stött på, vars mål är att göra mitt sound mjukare och mer likt en klarinett. Övningarna har kompletterat inlärningen av låtar och solon och tydliggjort de faktorer jag tycker ha bidragit till mitt resultat. I den här studien har jag upptäckt olika speltekniska faktorer som kan bidra till att en pedal steel låter mer som en klarinett, framförallt hur jag gör mitt anslag för att få ett mjukare sound. I arbetets avslutande del behandlar jag mina frågeställningar och kommer fram till studiens styrkor respektive svagheter. På vissa områden har min metod visat sig vara mycket effektiv och på andra områden skulle metoden kunna utvecklas och förbättras.

abstract: The normal playing range of a brass instrument includes a definitive stopping note in the instrument's low register. However, players have the ability to manipulate their lips to extend the low range beyond this point; notes sounding below an instrument's normal playing range are called pedal tones. The history of pedal tones in trumpet performance and pedagogy has long been a source of confusion and misinformation. Consequently, this paper also discusses the educational value of using pedal tones, includes a brief history of players and teachers who have formulated pedal tone exercise methods, and examines their use within the six most influential method books that promote the use of pedal tones. The six books are Original Louis Maggio System for Brass by Carlton MacBeth, Double High C in 37 Weeks by Roger Spaulding, Systematic Approach to Daily Practice by Claude Gordon, Trumpet Yoga by Jerome Callet, James Stamp Warm-Ups +Studies by Thomas Stevens, and The Balanced Embouchure by Jeff Smiley. / Dissertation/Thesis / D.M.A. Music 2014

No description available.

Triathlon involves three different modes of endurance events, swim, bike and run, consecutively. Transitions between events are critical to be successful in the sport; however, many triathletes report impaired running performance due to adverse residual effects from cycling. One of the strategies that triathletes use to manage the adverse effects is to use a bicycle with a more vertical seat post angle. There is limited evidence that support the effectiveness of such bicycle geometry, but many of these studies lacks ecological validity. Twelve triathletes and cyclists completed a 20-km simulated course with instrumentations for 3D motion, kinetic, and electromyographic analyses under two different seat post angle settings: shallow (ROAD) and steep (TRI). Series of paired-t tests were used for statistical analysis. Results indicated cycling mechanics between two seat post angle conditions were similar; however, the steep condition resulted in time-delay in muscle activation and pedal force application. There was no significant difference in cycling performance. The athletes were able to retain relatively consistent pedaling techniques with modification of seat post angle.

Thesis. 1978. B.S.--Massachusetts Institute of Technology. Dept. of Mechanical Engineering. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ENGINEERING. / Bibliography: leaves 61-62. / by Charles B. Fly. / B.S.

This thesis is concerned with design of pedal box for Formula Student vehicle. Summary of design solutions is presented in introductory chapter, especially those used in Formula Student competition. Designed assembly is divided into parts of single pedals and base plate. The proposed design is supported by stress analysis of loaded parts in pedal box. In conclusion, design is reviewed in terms of the results, as well as compared with current pedal box.

Nosso trabalho consiste na análise das indicações de pedal encontradas nos Prelúdios op. 28 de F. Chopin. A ideia desta pesquisa surgiu através de comparações entre diferentes edições das obras do compositor, onde encontramos grande incompatibilidade referente às indicações de utilização do pedal de Chopin com as de alguns editores. Percebemos que sua pedalização foi ignorada ou alterada por muitos revisores, que optaram por empregar uma indicação padrão de pedal. O nosso trabalho está divido em três capítulos. No primeiro faremos um breve histórico do emprego e escrita para o pedal desde os seus primórdios até os dias de hoje. No segundo capítulo trataremos da escrita para pedal de Chopin, onde abordaremos a linguagem adotada pelo compositor e suas especificidades. O terceiro capítulo será dedicado à análise das indicações de pedal dos 24 Prelúdios op. 28 encontradas no manuscrito autógrafo. / This study consists of a research about the pedal indications by F. Chopin and more specifically those founds in his Preludes op. 28. The idea for this research came through the comparisons of different editions of the composer\'s work, where we found great inconsistency regarding indications of Chopin on using the pedal. Chopin\'s pedaling was ignored or altered by many reviewers, who often chose to employ a standard indication. The work is divided into three chapters. The first presents a brief history of employment and notation for the pedal from its beginnings until the present day. The second deals with how Chopin wrote his pedaling, where we discuss the language adopted by the composer and their specificities. The third chapter is devoted to the analysis of the indications of the pedal found in the autograph manuscript of the 24 Preludes op. 28. These statements seek to be understood not only by the intrinsic characteristics of each musical excerpt, but also through comparison with other editions of the work and based on the literature on the subject.

Nosso trabalho consiste na análise das indicações de pedal encontradas nos Prelúdios op. 28 de F. Chopin. A ideia desta pesquisa surgiu através de comparações entre diferentes edições das obras do compositor, onde encontramos grande incompatibilidade referente às indicações de utilização do pedal de Chopin com as de alguns editores. Percebemos que sua pedalização foi ignorada ou alterada por muitos revisores, que optaram por empregar uma indicação padrão de pedal. O nosso trabalho está divido em três capítulos. No primeiro faremos um breve histórico do emprego e escrita para o pedal desde os seus primórdios até os dias de hoje. No segundo capítulo trataremos da escrita para pedal de Chopin, onde abordaremos a linguagem adotada pelo compositor e suas especificidades. O terceiro capítulo será dedicado à análise das indicações de pedal dos 24 Prelúdios op. 28 encontradas no manuscrito autógrafo. / This study consists of a research about the pedal indications by F. Chopin and more specifically those founds in his Preludes op. 28. The idea for this research came through the comparisons of different editions of the composer\'s work, where we found great inconsistency regarding indications of Chopin on using the pedal. Chopin\'s pedaling was ignored or altered by many reviewers, who often chose to employ a standard indication. The work is divided into three chapters. The first presents a brief history of employment and notation for the pedal from its beginnings until the present day. The second deals with how Chopin wrote his pedaling, where we discuss the language adopted by the composer and their specificities. The third chapter is devoted to the analysis of the indications of the pedal found in the autograph manuscript of the 24 Preludes op. 28. These statements seek to be understood not only by the intrinsic characteristics of each musical excerpt, but also through comparison with other editions of the work and based on the literature on the subject.