Dubuisson (fl.1666-c.1685) is the sole French viol player-composer between Nicolas Hotman (1613-1663) and Le Sieur de Sainte-Colombe (d.c.1700) whose works are extant. His four suites from a Library of Congress manuscript (1666) are the oldest dated French music for the bass viol; his approximately 125 pieces are contained in five manuscript sources. This thesis brings together, for the first time, all the music from the five sources for study and analysis. Together with the few biographical details, this material is used to assess his position within the French viol school. Brief histories of the viol and the suite in France precede a discussion of Dubuisson's contributions to the evolution of the genre.

Syftet med studien var att undersöka vad klasslärare som arbetar i årskurs F–3 anser påverkar elevers läsmotivation samt hur de uppfattar att skönlitterära bokval och arbetsmetoder påverkar elevernas läsmotivation och läsutveckling. Bakgrundsavsnittet inleds med en redogörelse för hur inre och yttre motivation samt hur bokval och arbetsmetoder påverkar elevernas läsmotivation och läsutveckling. Studien har sin teoretiska utgångspunkt från det sociokulturella perspektivet på lärande samt den motivationsbaserade teorin Self-determination theory. Datan har samlats in med hjälp av kvalitativa semistrukturerade intervjuer med sex olika klasslärare. Intervjuerna spelades in till ljudfiler för att sedan transkriberas och sammanfattas med de olika steg som ingår i en innehållsanalys. Resultatet som framkommit visar att de tillfrågade klasslärarna i enlighet med den tidigare forskning som bearbetats anser att läsmotivation kan öka elevers läsutveckling. Eftersom motivation inte är beständigt tycks det anses viktigt att klasslärarna alltid utgår från eleverna och deras intressen och erfarenheter vid arbete med skönlitteratur för att läsmotivationen ska bibehållas. Resultatet visar även att klasslärarna i enhet med tidigare forskning anser att tid är avgörande för att eleverna ska utveckla sin läsmotivation till den grad att de så småningom ska kunna bli en del av vårt kunskapssamhälle. / The purpose of the study was to investigate what classroom teachers working in grades F–3 consider affecting pupils’ reading motivation and how they perceive that fictional book choices and working methods affect pupils’ reading motivation and reading development. The background section begins with a description of how intrinsic and extrinsic motivation as well as how choosing fiction and teaching methods affects the pupils’ reading motivation and reading development. The study has its theoretical starting point in the sociocultural perspective and in the Self-determination theory. The data of the study has been gathered through qualitative semi-structured interviews with six different primary school teachers. The interviews were recorded as audio files to be transcribed and then be summarised with the different steps by the analysis method. The result shows that, in accordance with the previous research, the asked classroom teachers believe that reading motivation can increase pupils’ reading development. Since motivation is not constant, it is important that the primary school teachers always has the students interests and experiences in mind while working with fiction in order to maintain reading motivation. The result also shows that the classroom teachers as well as previous research think that time is crucial for the pupils to develop their reading motivation to the extent that they eventually can become part of our knowledge society.

Sonatas for oboe in the classical period are classified as 'solo sonatas.' These 'solo sonatas,' which originated in the baroque period, consist of a melody instrument and basso continuo. Solo sonatas for oboe, which account for a sizeable repertory in the baroque period, continued to be composed in the classical period but in the baroque style. The basso continuo setting for sonatas gradually disappeared toward the end of the period, developing into the duo sonata in which a solo instrument and piano played an equal role in presenting melodic material. While the fully developed classical sonata was written for piano alone, and duos for violin and piano and cello and piano, the sonatas for oboe did not make this transition. The duo sonatas for oboe and piano by Jacques Christian Michel Widerkehr are exceptions to the baroque style 'solo sonatas.' Widerkehr's sonatas are the only true 'duo sonatas' for oboe and piano written in the classical period. François Devienne's sonatas deserve special recognition as the only 'solo sonatas' for oboe written predominantly in the classical style. In addition to presenting an overview of sonatas for oboe, biographical information on Widerkehr and Devienne, current state of research of Widerkehr's sonatas, changes in performance venue and instrumental design of the oboe, an examination of Widerkehr's Duos for Oboe and Piano in E Minor and C Major will follow. Examples of classical style elements and procedures are identified in each analysis with an emphasis on the duo setting. Devienne's Sonata in G Major, Op. 71, No. 1, serves as an example of his six oboe sonatas. Although the work is composed in a basso continuo setting, examples of classical style characteristics are identified in an analysis of the three movements.

The lecture recital was given July 18, 1977. The lecture began with the performance of the Three Preludes and a discussion of these final works in relation to the composer's last period of composition which included the Sonata for Piano. After the biographical foundation was laid, the Sonata for Piano was detailed concerning form and compositional techniques. All works were performed from memory. In addition to the lecture recital, three public recitals were performed. The first solo recital, performed on August 11, 1975, consisted of works by Schubert and Liszt-Busoni. The second recital, a chamber recital, performed March 29, 1976, consisted of solo and chamber works of Messiaen. The final solo recital, performed on August 1, 1977, consisted of works by Clementi, Satie, and Rubinstein. All four programs were recorded on magnetic tape and are filed, along with the written version of the lecture recital, as part of the dissertation.

Franz Liszt (1811-1886) made fifty-six transcriptions of Schubert's songs over a period of eight years (1838-46) to introduce the name of the composer, who was little known both in and outside Vienna during his lifetime. Because Liszt intentionally preserved all the details of the original songs, these transcriptions present challenges for a pianist, such as how to produce a vocal line on the piano, as well as interpretive issues such as ornamentation, style, and conveying the meaning of the lyrics on the piano. The purpose of this study is to introduce pianists to study practices employed by singers, with the goal of interpreting the vocal aspects of Liszt's Schubert song transcriptions. The composer Robert Schumann once remarked that Liszt's transcriptions were perhaps the most difficult pieces written for the piano up to that time, and only an intelligent artist could satisfy Liszt's high level of virtuosity without destroying the identity of the original work. This could be considered a warning to pianists not to focus on the technical aspects only. The pedagogical guide presented in the study, based on singers' approaches to the actual songs, should help pianists to "see beyond the notes" and achieve a performance closer to the heart of the songs.

Dan Beaty (1937-2002) was a prolific composer, pianist, researcher, educator, and writer. His large compositional output included chamber works, choral works, songs, orchestral pieces, electronic music, and keyboard works. Beaty was well versed in traditional Western music as well as the more avant-garde and perplexing idioms of the twentieth century. Beaty's compositions reflect the many fascinating, if not always popular, musical trends of his time. His music encompasses styles from serial to jazz, shows compositional influences from Arnold Schoenberg to Indonesian music, and demonstrates thought-provoking and highly intellectual craftsmanship. This document explores several of Beaty's songs through a discussion of the composer's life and compositional process. Songs included in this document are Three Weeks Songs, October, November, A Sappho Lyric, Love Song, That Night When Joy Began, and War Lyrics. This document was written to accompany the author's DMA Lecture-Recital at the University of North Texas. Unfortunately, Beaty's vocal music was never published and is mostly unknown. One goal of the project was to initiate interest in Beaty's songs. Through this document, Lecture-Recital, and additional performances, considerable strides have been made to bring Beaty's songs to new audiences throughout the United States. In addition, the author has received permission from the Beaty family to publish Dan Beaty's songs.

I strävan att nå en hållbar utveckling i världen, och för att nå de globala hållbarhetsmålen, spelar arbetet i våra städer en allt större roll. En stor del av detta arbete grundar sig i städernas grönområden och hur dessa ska bevaras och skötas, men även utökas, för att öka tillgången till ekosystemtjänster i städerna. Dessa grönområden utgörs idag till stor del av parker. För att bevara och förstå dessa parkers egenskaper är det viktigt att veta vilka växter som planteras var och varför. Därför syftar detta arbete till att förstå motiven bakom växtvalen i parkerna. För att kunna besvara detta har tre av Stockholms stads parker studerats; Norr mälarstrands parkstråk. Rinkeby norra stadspark och parkleken Vårgården. De valda parkerna är geografiskt spridda i kommunen och därför antas de ge en god bild av de olika förutsättningar som finns i Stockholm. Förutom motiven bakom växtvalen har även kommunens ansvar undersökts, samt vilken roll styrande dokument har när det handlar om växtval. Därmed har dessa dokument analyserats och sedan kompletterats med tre intervjuer med ansvariga inom olika områden för att få en större förståelse för nuvarande arbete. Den viktigaste slutsatsen som dragits är att det till mycket stor del är parkens lokala förutsättningar och eventuella lokala utmaningar, såsom otrygghet, som styr växtvalen. Dessa förutsättningar skiljer sig från varandra i staden vilket förklarar varför det ofta är olika teman och prioriteringar i olika parker. Hållbar utveckling kan dock ses som en gemensam nämnare mellan parkerna, även om det i vissa fall prioriteras en social hållbarhet och i andra fall en miljömässig hållbarhet, alternativt båda samtidigt. En annan slutsats är att budgeten inte styr växtvalen i särskilt stor utsträckning utan att det mycket är upp till den enskilde landskapsarkitekten att använda växtvalen i utformningen av parken design. / In our strive to reach a sustainable development in the world, and to achieve the sustainable development goals, the work in our cities plays a big role. A big part of this work is grounded in the green spaces of the cities and how these are supposed to be preserved and expanded, in order to increase the offers of ecosystem services in the cities. These green spaces are largely made out of parks. To preserve and comprehend the attributes of the parks it is crucial to know which plants are planted where. Thus aims this work to understand the motives behind the choice of plants in the parks. To be able to answer this, three parks in the city of Stockholm has been closely viewed upon. The selected parks are as follows; Norr mälarstrands parkstråk, Rinkeby norra stadspark and parkleken Vårgården. These parks are spread, from north to south in Stockholm and therefore they are assumed to give a representative image of the different conditions in the city. Besides the motives behind the choices of plants, it has also been studied what responsibility the municipality of Stockholm has and what role the governing documents have when it comes to the choices of plants. These documents has thereby been reviewed and supplemented with three interviews with persons in different positions in the municipality in order to grasp a larger understanding of their work. The most important conclusion that could be drawn from this study is that it is mostly the local conditions and problems, such as insecurity, that determines the choices of plants in the park. These conditions differ within the municipality which explains why there often are different themes and priorities being made in different parks. Sustainable development can, however, be seen as a common aspect, even if it in some parks are prioritised to work for a social sustainability and in some parks for environmental sustainability, or both at the same time. Another conclusion is that the choices of plants is not determined by the budget at hand, to any large extent. It is rather the individual landscape architect that determines which plants are being planted.

Most of the limited scholarship on Sedulius Scottus focuses on his poems and treatise, De Rectoribus Christianis. As the product of a central ecclesiastical figure in Liège, the intellectual capital of Louis the German’s kingdom, Sedulius’ biblical exegesis also deserves study. The Carolingians revered classical society and culture and at the same time sought to become a wholly Christian empire, thus, it is not surprising that the content of Sedulius’ Collectaneum in Apostolum contains both classical and Christian elements. In 1997, J. Frede published a critical edition of Sedulius’ Collectaneum in Apostolum, but there remains today neither a translation nor specific study of this work in any modern language. My thesis seeks to provide an introduction and translation for the Prologue and commentaries on Galatians and Ephesians as contained in Frede’s critical edition of Sedulius Scottus’ Collectaneum in Apostolum. After situating Sedulius in his historical context and highlighting the tradition of biblical collectanea, I present external evidence – which demonstrates Sedulius’ familiarity with Donatus’ Vita and Servius’ commentary on the Aeneid – as well as intertextual links to the latter works to argue that Servius’ pedagogical commentary served as a literary model for Sedulius’ Collectaneum. I also introduce and explain Sedulius’ organizing template for the Prologue, which is his employment of the classical rhetorical schema, “the seven types of circumstance”. This schema is an important rhetorical tool of many classical and medieval authors that has heretofore been misrepresented as originating from Hermagoras. Sedulius’ literary style and format are examined as matters of introduction, which further reveals the influence of Servius. The commentaries within the Collectaneum in Apostolum are essentially based on older, formative religious writers such as Jerome, Augustine, and Pelagius. Not only do I survey Sedulius’ doctrinal stances on important theological and ecclesiastical issues of his time, but I discuss Sedulius’ reception of the above three authors in particular and demonstrate how his Collectaneum in Apostolum attempts to harmonize their sometimes discordant voices.

Title supplied by cataloguer from accompanying Statement of submission. / Includes bibliographical references (p. 451-467) and index. / Has accompanying Statement of submission letter and application for candidature which includes a list of other publications by the author and details of works proposed for the submission. / 2 v. : / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Published texts submitted for doctorate are in French. / Thesis (D.Litt.)--University of Adelaide, School of Humanities, Discipline of European Studies and Linguistics, 2006

Contained in this study is a musical discussion and analysis of seven Romance Sans Paroles (song without words), written by three French composers, Charles-François Gounod, Camille Saint-Saëns, and Gabriel Fauré. The Romance Sans Parole genre seems to be quite unknown in the piano field; as a result, there are few secondary sources available. By immersing myself in these scores, I sought to discover their musical value and compositional nuance and excellence. I thoroughly investigated each composer’s unique treatment of melody, harmony, rhythm, texture, and form. Chapter One includes an Introduction, brief biographical information on each composer, the Need for the Study, the Purpose of the Study, a Review of Literature, and a Methodology. Chapters Two, Three, and Four consist of a musical analysis and discussion of the seven Romance Sans Paroles. Chapter Five offers a Conclusion and Suggestions for Further Study. I believe my dissertation will enhance the understanding and appreciation of this art form. / School of Music