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Thesis (Ed.D.)--Teachers College, Columbia University, 1992. / Typescript; issued also on microfilm. Sponsor: Harold F. Abeles. Dissertation Committee: Jan Eric Douglas. Includes tables. Includes bibliographical references.

Thesis (M.A.)--Marshall University, 2009. / Title from document title page. Includes abstract. Document formatted into pages: contains 29 p.

Musikstück für den Musikschulbereich, Liederzyklus, Klavier, Gesang, vertonte Lyrik

Thesis (M.A.)--University of Toledo, 2010. / Typescript. "Submitted to the Graduate Faculty as partial fulfillment of the requirements for the Masters of Musical Performance Degree." "A thesis entitled"--at head of title. Title from title page of PDF document. Bibliography: p. 84-86.

Thesis (Ph. D.)--University of North Texas, 2005. / System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 346-354).

I tidigare musikproduktioner har jag lagt mycket tid på att skapa välljudande kompositioner och arrangemang, men sällan låtit sången komma i första rummet. Syftet med den här uppsatsen och dess tillhörande konstnärliga arbete är att bidra till att skapa en fördjupad förståelse av hur man i processens alla delar lyfter fram sången i en musikproduktion. För att undersöka detta har jag skrivit tre låtar, som jag har låtit en referensgrupp lämna synpunkter på. Under skrivprocessen undersökte jag några specifika områden nämligen tonarter, dynamik, språk och text, och melodispråk. Gällande arrangemang jobbade jag med att låta melodier göra rum för sången, reflektera textens budskap i känslan av arrangemanget och matcha energin i sånginsatsen med energin i arrangemanget. När det kommer till inspelningen lade jag stort fokus på att förbereda och genomföra inspelningen av leadsången, för att jag som sångare skulle ges så goda förutsättningar som möjligt. Redigeringsprocessen syftade till att sätta sången i centrum i ljudbilden. Resultatet, enligt mig och referensgruppen, blev att sången till största del spelar huvudrollen i kompositionerna och arrangemangen, men att den inte ännu ligger i centrum i mixen. / <p>Jag bifogar 3 stycken ljudfiler, där varje ljudfil innehåller utvalda delar av de låtar jag har jobbat med i den konstnärliga delen av mitt arbete. </p><p>Låtskrivare, arrangör, producent:- Helena Alin</p><p>Musiker:- Elgitarr/pedal steel/akustisk gitarr; Petter Alin- Bas; Douglas Hedström- Trummor; Jonatan Lindh- Piano; Julia Nilsson- Kör; Helena Alin, Mimmi Forsberg- Leadsång; Helena Alin</p>

This work tests the validity of using a commercial cloud condensation nuclei (CCN) counter (CCNc) on the Facility for Airborne Atmospheric Measurements (FAAM) research aircraft. The CCNc was suitable for aircraft work with sta- ble and repeatable supersaturation, temperature and pressure relationships. The sample architecture of the aircraft fitted CCNc was found to transmit particles with acceptable losses in the diameter range of interest as was a pressure control device designed for airborne work. Rosemount inlets, used to sample aerosol, were found to be sensitive to particle density resulting in disparate aerosol being sam- pled with different efficiencies. In dust dominated aerosol inlet efficiency peaks at 10.24 at an optical diameter of 2.91 μm, with a minimum inlet efficiency between 1.78 and 1.51 at 0.28μm. In less dense aerosol inlets sample representatively below 0.6 μm and comparably below 1.0 μm. The thorough testing of the CCNc, associated sampling architecture and mea- surement strategies, enabled vertical and horizontal CCN to be investigated along with other aerosol and cloud microphysical properties in the Southern Equato- rial Pacific (SEP). The primary source of particulates was the South American continent, with sulphate dominating composition. There were strong gradients in aerosol and gas phase chemistry concentration with distance from the coast and in the cloud microphysics measurements where highest droplet numbers and smallest diameters were close to the coast. These data represent an important validatory and parameterisation data set for models of all scales. CCN data were used to calculate the aerosol hygroscopicity parameter, the mean project value, κ, was 0.21 ± 0.18 . There was no evident variation in hygroscopicity with distance from the Chilean coastline suggesting a single dominant source and a well mixed boundary layer up to 907km to the west. CCN measurements were also com- pared to predictions from multiple models of different composition and mixing state assumptions. The best CCN closure used an external mixture of inorganic and organic aerosol components, with a modelled to observed ratio of 1.37 ± 0.32. It was hypothesised that this large ratio and the relatively low bulk hy- groscopicity was influenced by an external mixture. Incorporating this external mixture is imperative if CCN are to be accurately modelled and any subsequent cloud processes accurately captured.

No scholarship yet exists on Erin Gee’s extensive Mouthpieces catalogue, aside from her own program notes and non-academic reviews of her work. My dissertation endeavors to remedy this gap through analyses of two formative works by Gee, Mouthpiece I (1999/2000) for solo voice and SLEEP (2008), an opera in 12 scenes for two voices, choir, and mixed ensemble. This dissertation is the offspring of two seemingly disparate theoretical influences: Pierre Schaeffer’s Traité des objets musicaux and Marion A. Guck’s definition of analysis as interpretation. In Chapter 1, I introduce Schaeffer’s reduction to the objet sonore as an analytical methodology, then interrogate the pros and cons of this method through the lens of feminist and post-humanist scholarship as well as sound studies focusing on vocal physiology. Chapter 2 considers the historical legacy of experimental non-semantic vocality in the United States, and considers how Afrodiasporic vocal techniques in jazz and gospel weave their way into Eurodiasporic experimentalism generally and Gee’s music in particular. I also ask why these hugely prevalent genres in both commercial and academic music circles fail to be included in standard scholarly narratives of non-semantic vocality in the United States. In Chapter 3, I propose an idiosyncratic typology and typomorphology for Mouthpiece I as an analytical framework for understanding the building blocks of Gee’s music more generally. I than take a broader look at the relationship between form and materials in SLEEP to consider how Gee intertwines semantic and non-semantic vocality to replace the operatic norms of high drama and individual virtuosity with an intimate, collective sonic ecology that presents both human and non-human on stage at the same time.

Syftet med denna studie är att få större insikt i vad det innebär att utveckla en ny sångteknik. För att undersöka detta har jag under en fyraveckorsperiod övat edge tio minuter per dag, fem dagar i veckan. Tre av dessa övningstillfällen har videofilmats. Jag har också använt mig av loggbok för att dokumentera mina olika upplevelser under processens gång. Som teoretisk utgångspunkt har jag utgått utifrån ett sociokulturellt perspektiv. I resultatet redovisas vilka redskap som användes och hur dessa hanterades samt hur processen gällande lärandet har utvecklats. Resultatet visar att de mest centrala redskap som användes var kroppen, metodboken, pianostol, vägg och en låt. Flera av redskapen användes för att få bättre luftkontroll. I diskussionen beskriver jag utifrån det sociokulturella perspektivet vilka förutsättningar som har funnits samt vilka redskap som användes vid lärandet. / The purpose of the study is to get a deeper insight of what it means to develop a new singing technique. To study this I have practiced edge ten minutes per day during a period of four weeks, five times a week. Three of these exercices have been videotaped. I have also used a logbook to document new experiences during the process. I have a socio-cultural perspective as a theoretical base in this study. In the result the different tools that were selected show how these were handled and how the process in learning has developed. The results show that the most central tools that were used were the body, the method book, the piano chair, the wall and a song. In the discussion I describe, from a socio-cultural perspective, what the conditions have been, and which tools I have used.