At the turn of this century, Charles Martin Loeffler (1861-1935) was considered to be among the finest of the handful of well-known American composers of the time. His music was often performed by major symphony orchestras, chamber groups and solo artists. Deux rapsodies for Oboe, Viola and Piano: L'Etang and La Cornemuse, after poems by Maurice Rollinat (1846-1903), show Loeffler's affinity for programmatic concepts. These works, completed in 1901, are revisions of settings of 1898 for low voice, clarinet, viola and piano, and are now, unfortunately, out of print; but the oboe, viola and piano setting has been published (originally as Deux rapsodies by G. Schirmer, 1905; the latest edition, Two Rhapsodies, is by McGinnis and Marx, N.Y., 1979) and recorded several times. Loeffler has reflected Rollinat's poetry in his settings by means of melodic, rhythmic and harmonic devices unique to his style. Formal and articulative devices also tend to point to his dependence on the poetry as a source of inspiration and as means for defining the final musical product. Indeed, the music seems incapable of existence independent of its source in the richly imagistic poetry of Rollinat.

I detta examensarbete utforskades William Waltons Violakonsert utifrån olika aspekter. Syftet var att undersöka de formmässiga val som kompositören har gjort samt hur de påverkar balansen mellan orkester och soloviola. Undersökningen genomfördes metodiskt genom att studera och analysera verket, reflektera över hur olika speltekniska utmaningar löstes i samband med själva instuderingen, och dokumentera det logistiska arbetet rörande sammanställningen av en orkester och planeringen kring detta. Studiens resultat påvisar att kompositören har skrivit orkestreringen så att orkestern spelar svagt när sololinjen pågår och när soloviolan har paus spelar orkestern starkt. De tre olika satserna visade sig innebära utmaningar av skiljande karaktär. Violakonserten innehåller modernistiska stildrag som stora dissonanta intervallsprång, polyrytmik och polytonalitet samt tonartsbyten, lägesväxlingar och intonationsutmaningar. Första satsen, som ovanligt nog är långsam, är interpretationsmässigt den svåraste att spela. God framförhållning och goda marginaler visade sig vara viktiga aspekter för projektets realisering. Planeringen och genomförandet av projektet har lärt mig oerhört mycket, såväl konstnärligt som orkestersolist som praktiskt med organisering och framförande av en stor konsert. Jag är mycket nöjd över att ha lyckats genomföra projektet och uppskattar de många skickliga musikervänner som tog sig tid för att göra det här med mig. / <p>Bifogat ljudfil är inspelning av examenskonsert 11/5-2022. </p><p>Program samt medverkande:</p><p></p><p>F. Schubert - ur Winterreise (arr. R. Benedict):</p><p>Erstarrung</p><p>Frühlingstraum</p><p>Der Stürmische Morgen</p><p></p><p>Isela Halonen, viola</p><p>Georg Öqvist, piano</p><p></p><p>W. Walton - Violakonsert</p><p></p><p>Isela Halonen, soloviola</p><p>Maria Itkonen, dirigent</p><p>Orkester med studenter från KMH</p>

Viola pedagogy has historically been closely intertwined with and highly dependent upon violin repertoire. As the viola emerged as an instrument worthy of independent study, many still rely on transcriptions of violin etudes. Fortunately, the efforts of performers, teachers, and scholars have brought forth discoveries of original viola literature and thus shifted toward the perception that viola should begin to embrace its individual pedagogy. Viennese composer and violist Marco Frank contributed three volumes of Viola-Etuden and a method book, Praktische Viola-Schule, which are suitable for the intermediate violist. This document explores and analyzes the usefulness of an original viola series in comparison to the ‘tried and true' violin transcriptions.

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This thesis serves to provide insight into the interpretation and performance of Rebecca Clarke’s Sonata for Viola and Piano (1919). To provide context to the analysis and interpretation, the life and work of Rebecca Clarke (1886-1979) is described. The viola sonata is analysed in terms of harmony, colours and technical elements for the purpose of aiding the interpretation and performance. The sonata is also cross referenced with other works by the same composer, to further pinpoint the stylistic elements and their importance for the result. From the analysis it is concluded that the common elements in Clarke’s music and in the sonata in particular, include modality, harmonic ambiguity, polytonality and a range of instrumental techniques. The meticulous notation and the overall instrumental ergonomics of the piece shows both that Clarke had a clear vision for her music, and that she knew the nature of both the viola and the piano well. In conclusion, I argue that in order to present a captivating performance of the piece, great care must be taken to the distinction and sensitivity of these elements in particular. / <p>R. Clarke: Viola Sonata</p><p>I. Impetuoso</p><p>II. Vivace</p><p>III. Adagio</p><p>S. Prokofiev: Romeo and Juliet, arr. V. Borisovsky</p><p>I. Introduction</p><p>III. Juliet as a Young Girl</p><p>IV. Dance of the Knights</p><p></p><p>Isela Halonen, Viola</p><p>Anna Christensson, Piano</p>

Throughout centuries of great classical music, many viola compositions have been crafted from a wealth of literature for instruments of similar range. Clarinet, violin, and cello concerti and ensemble literature often adapt into challenging literature for the viola. In November 2009, Oxford Music Publishing gave me permission to transcribe and perform the Prelude, Allegro, and Pastorale by Rebecca Clarke in New York's famed Carnegie Hall - Weill Recital Hall. This dissertation explains the process by which I transcribed the Prelude, Allegro, and Pastorale from an original Bb-clarinet/viola duo, to a new arrangement for two violas (approved by Oxford Music Press arrangement license #7007940), and discusses challenges faced throughout the transcription process.

Ce mémoire aborde le problème de la détection de visages à partir d'une image compressée. Il touche également à un problème connexe qui est la qualité des standards de compression et l'estimation de celle-ci. Ce mémoire est organisé sous la forme d'une introduction générale sur la détection de visages et de deux articles soumis à des conférences internationales. Le premier article propose une amélioration de la méthode classique pour comparer la qualité de deux standards. Le deuxième propose une méthode de décompression spécialisée pour faire fonctionner le détecteur de visages de Viola-Jones dans le domaine compressé.

In this thesis I have examined the benefits of working with a help of self-recording. I wanted to experiment self-monitoring with different working methods to improve my practicing skills as well my performing skills as I prepared for my examination concert. This process consisted of a lot of recording, listening and practicing and repeating this cycle numerous times. I wanted to implement different practice methods and reflect on different aspects of playing the viola. This thesis is written from a violist point of view. The main focus of this work is audio recording as a tool in self-monitoring practice. I have been using two main methods in reviewing the audio material gathered from practice sessions:  1) time between recording and reviewing the material and 2) recording, analyzing and practicing in line with the recordings within a practice session. I wanted to take self-recording process into more regular use because I see it as an essential part of the self-teaching process. A music student has to go through a lot of practicing hours and most of these are spent alone in a practice room. Some of this time is wasted and misused in learning unwanted habits. I wanted to learn to practice in the most deliberate way and use my practice hours as effectively as possible by structuring my practice in self-teaching phases and putting the emphasis on self-monitoring. / <p>CONCERT REPERTOAR</p><p><strong>C. Stamitz</strong>: Viola Concerto in D Major, Op. 1*</p><p>Allegro</p><p><strong>I. Stravinsky</strong>: Elegie</p><p><strong>R. Schumann</strong>: Märchenbilder, Op. 113**</p><p><em>I. Nicht Schnell</em></p><p><em>II. Lebhaft</em></p><p><em>III. Rasch</em></p><p><em>IV. Langsam, mit melancholischen Ausdrück</em></p><p><strong>B. Bartok</strong>: Concerto for Viola and Orchester, Sz. 120, BB 128*</p><p>I. Moderato</p><p>Pianist:</p><p>*= Erik Lanninger</p><p>**= Eeva Tapanen</p><p></p>

Master of Science / Department of Geology / Matthew Totten / The Viola Limestone is a prominent petroleum reservoir in the Mid-Continent Region, particularly in Oklahoma and Kansas. Coral Coast Petroleum established production from the Viola Ls. in 2011 in their Stephens Ranch lease in Clark County, south-central Kansas. Development of this lease has been hindered by the unpredictable production rates encountered in each of the subsequent eleven development wells. Infield drilling locations to date were chosen by favorable structural position as determined by 3D seismic. The best reservoir conditions, however, do not necessarily coincide with structural position. It was the purpose of this study to determine whether the ideal porosity and permeability are controlled by depositional environment, diagenetic alterations, or a combination of these factors. Several approaches to solve this question were implemented and utilized, including well log analysis, petrographic inspection of well cuttings and thin sections, and the application of the Scanning Electron Microscope (SEM). An exploration model of the Viola Ls. in this field was developed, where the Viola A and B zones were dolomitized during during marine transgressions by mixing of sea water with other Mg-rich fluids. Reservoir conditions are found where these facies were preserved as paleotopographic highs during a subsequent sea level low-stand. These preserved dolomitized facies correspond to the seismic facies identified by seismic attributes in a 3D seismic study by Vohs (2016).