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Tessari, Silvia. "Il corpus innografico attribuito a Fozio. Edizione critica e analisi musicale." Doctoral thesis, Università degli studi di Padova, 2012. http://hdl.handle.net/11577/3425314.
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The aim of the dissertation is to collect in one corpus all the Byzantine hymns (almost forty) that are attributed to Photius by the manuscript tradition or, in some cases, by the assumptions made in the editiones principes. In the case of hymns already published, I review the question of the attribution, re-publishing them on the base of a wider paradosis. Some unedited have been identified thanks to the recensio carried out by me (manuscripts from Paris, Lesbos and St. Catherine Monastery – Mount Sinai) and are published here for the first time. All of them are translated into Italian. I analyze issues related to structure, language and style of the hymns, in order to collect any evidence that could bring light on the identity of the hymnographer who wrote them, so far tacitly identified with the patriarch of Constantinople Photius (858-867, 877-886). Because we cannot consider the corpus simple “poetry”, but hymnody, ie intended to be sung at liturgical functions, together with the philological study, I deepened my knowledge in Byzantine musical palaeography, transcribing into staff-notation the melody of each hymn from at least three manuscripts, written in Middle-byzantine notation, dating from the Twelfth to the Sixteenth Century, and making a comparison with the oldest sources (in Palaeo-byzantine musical notation). The study of the melodic line (cadences, coincidence of textual and musical accents) made it possible to evaluate from time to time metric anomalies found in the text of the hymns, justifying or correcting them according to the strict union between words and music.Scopo della dissertazione è raccogliere in un corpus i componimenti innografici bizantini (una quarantina) che sono attribuiti a Fozio dalla tradizione manoscritta o, talvolta, solo dagli editori. Nel caso di inni editi, si riesamina la questione dell’attribuzione, ripubblicando i componimenti sulla base di una più vasta recensio da me condotta. Si dà inoltre la prima edizione di alcuni inediti tratti da codici custoditi a Parigi, a Santa Caterina del Sinai, a Lesbo. Gli inni sono tutti tradotti in lingua italiana. Affronto in dettaglio le questioni inerenti struttura, stile e metrica dei componimenti, al fine di raccogliere tutti gli elementi che possano portar luce sull’identità dell’innografo che li scrisse, sinora identificato con il patriarca di Costantinopoli Fozio (858-867; 877-886). Poiché il corpus considerato non è semplice poesia, ma innografia, destinato cioè ad essere cantato durante le funzioni liturgiche ortodosse, a fianco dello studio filologico si è intrapreso quello della paleografia musicale bizantina, trascrivendo su pentagramma la melodia di ciascun inno da almeno tre fonti manoscritte, vergate in notazione mediobizantina, databili dal XII al XVI secolo, e operando un confronto con testimonianze più antiche (in notazione musicale paleobizantina). Lo studio della linea melodica (cadenze, coincidenza di accenti testuali e musicali) ha consentito di valutare di volta in volta le anomalie metriche riscontrate nel testo degli inni, giustificandole o emendandole in base allo stretto connubio tra parola e musica.
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Eato, Jonathan. "Composition folio." Thesis, University of York, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.431243.
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Simaku, Thoma. "Composition folio." Thesis, University of York, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.338858.
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Fells, Nicolas A. "Composition folio." Thesis, University of York, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.242161.
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Tondini, Raffaele. "Origenes brevior. Ricerche su Origene e sulla tradizione del Commento a Matteo (con l'edizione dei libri XII-XIII)." Doctoral thesis, Università degli studi di Padova, 2019. http://hdl.handle.net/11577/3425411.
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Questa tesi si prefigge due obiettivi distinti ma tra loro collegati. Essa prende le mosse da ricerche volte a saggiare la maggiore o minore disponibilità dei lettori bizantini a dialogare con l'affascinante ma controversa eredità di Origene. In questa prospettiva verrà indagato un curioso riferimento, contenuto negli atti del Secondo Concilio di Nicea (787), a dei fantomatici atti di un sinodo apostolico tenutosi ad Antiochia e conservati nella biblioteca di Origene (capitolo 1). Ci dedicheremo poi allo studio dei rapporti di Fozio con la figura e l'opera di Origene. La valutazione del suo pensiero teologico si salderà qui con la trasmissione materiale delle opere di Origene: particolare peso in questa ricerca avrà infatti il codice Marc.gr. 47 della Filocalia (capitolo 2). In secondo luogo, questa tesi si occuperà della ricezione e della trasmissione medievale di un'opera di Origene, il Commento a Matteo. Si fornirà pertanto l'edizione dei libri 12 e 13 discostandosi dai criteri ecdotici adottati da Klostermann nella sua edizione del 1935. Per quest'opera disponiamo di un testo di tradizione diretta greca (libri 10-17 su 25), parzialmente sovrapposto a un'anonima traduzione latina (V-VI sec.). Si intende qui dimostrare che i nostri manoscritti greci non trasmettono il testo così come licenziato dall'autore: essi sono bensì testimoni di un compendio successivo, in cui il Commento a Matteo è stato pesantemente abbreviato. Si giungerà a questa conclusione tramite il sistematico confronto del testo greco con la traduzione latina, che appare spesso più ampia (capitolo 4) e con le catene esegetiche dedicate a i Vangeli sinottici che, laddove attingono al commento origeniano, offrono passaggi ignoti alla tradizione diretta (capitolo 3). Le medesime conclusioni si ricaveranno poi dallo studio di altri rami di tradizione, tra cui spiccano i frammenti palinsesti del Crypt. Γ. β. VI, testimoni della redazione non compendiata del Commento a Matteo (capitoli 5 e 6). Nella sua edizione del 1935 Klostermann aveva inserito nel testo greco innumerevoli congetture e integrazioni ricavate dal confronto sistematico con la traduzione latina. In questa sede offriamo invece un'edizione della sola redazione compendiaria greca, depurata dagli interventi dell'editore tedesco. Il testo greco sarà accompagnato da una traduzione italiana di servizio e sarà seguito da una serie di note atte a giustificare le scelte ecdotiche più delicate. L'edizione sarà peraltro basata su un aggiornato studio codicologico e paleografico dei manoscritti greci del Commento a Matteo (Cantabr.Trin.Coll. B. 8. 10; Monac.gr. 191; Marc.gr. 43, Vat.gr. 597; Par.gr. 455; Matr.gr. 4725; Barb.gr. 575; Barb.gr. 556), dei quali si offrirà un'aggiornata sistemazione stemmatica (capitolo 7).This thesis has two distinct but related purposes. First of all, it aims at testing the greater or lesser willingness of Byzantine readers to dialogue with the fascinating but controversial Origen's legacy. In this perspective, we will investigate a curious reference, contained in the acts of the Second Council of Nicaea (787), to the presumed acts of an apostolic synod held in Antioch and kept in Origen's library (chapter 1). We will then focus on the study of Photius' appreciation of the figure and work of Origen. The evaluation of his theological thought will be joined with the material transmission of Origen's works. Indeed, ms. Marc.gr. 47of the Philocalia will be particularly relevant in this research (chapter 2). Secondly, this thesis will deal with the reception and the medieval transmission of a work by Origen, the Commentary on Matthew. The edition of books 12 and 13 will therefore be 560 provided, departing from the ecdotic criteria adopted by Klostermann in his 1935 edition. For this work, a Greek text is available (books 10-17 on 25), partially overlapping with an anonymous Latin translation (5th-6th century). Our aim is to demonstrate that our Greek manuscripts do not transmit the text as licensed by the author. On the contrary, they attest a later compilation, in which the Commentary on Matthew has been heavily abbreviated. We will come to this conclusion through the systematic comparison between the Greek text and the Latin translation, which often appears wider (chapter 4), and with the exegetical chains dedicated to the Synoptic Gospels which, where they draw from Origen's Commentary, offer passages unknown to the direct tradition (chapter 3). The same conclusions will then be drawn from the study of other branches of the tradition, among which the fragments of Crypt. Γ. β. VI stand out. They are in fact a witness of the unabridged version of the Commentary on Matthew (chapters 5 and 6). In its 1935 edition, Klostermann had inserted in the Greek text conjectures and additions derived from the systematic comparison with the Latin translation. Here we offer instead an edition of the Greek abridged version, purified from the interventions of the German scholar. The Greek text will be accompanied by a strictly literal Italian translation and will be followed by a series of notes to justify the most delicate ecdotic choices. The edition will also be based on a new codicological and palaeographic study of the Greek manuscripts of the Commentary on Matthew (Cantabr.Trin.Coll. B. 8. 10; Monac.gr. 191; Marc.gr. 43, Vat.gr. 597; Par.gr. 455; Matr.gr. 4725; Barb.gr. 575; Barb.gr. 556). Finally, an updated stemmatic arrangement of the manuscript tradition will be offered (chapter 7).
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Hines, John. "Folio of compositions /." Title page and contents only, 1993. http://web4.library.adelaide.edu.au/theses/09MUM/09mumh662.pdf.
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Smith, Mark Colin. "Folio of compositions." Title page, contents and fanfare only, 2000. http://web4.library.adelaide.edu.au/theses/09MUM/09mums655.pdf.
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Ring, Judith. "Folio of Compositions." Thesis, University of York, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.503331.
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Armstrong, Thomas. "Folio of compositions." Thesis, University of York, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.241116.
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Hood, Anthony. "Folio of compositions." Thesis, University of York, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336846.
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Whitty, Paul. "Folio of compositions." Thesis, University of Sussex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310238.
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Docherty, Claire Docherty Claire Docherty Claire. "Compostion research folio." Connect to e-thesis, 2009. http://theses.gla.ac.uk/838/.
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Thesis (MMus.) - University of Glasgow, 2008.MMus. thesis submitted to the Faculty of Arts, Department of Music, Univeristy of Glasgow 2008. Includes bibliographical references. Print version also available.
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Zlikas, Athanasios. "Folio of compositions." Thesis, University of York, 2013. http://etheses.whiterose.ac.uk/5683/.
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As a result of six years of research in further developing my personal compositional techniques, this portfolio contains eight pieces of music. Each one of them is an attempt to solve certain aesthetic or technical problems concerning composition, by finding a viable balance between coherent construction and intuitive creativity.
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Chung, Ming Him. "Folio of compositions." Thesis, University of York, 2013. http://etheses.whiterose.ac.uk/5305/.
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This portfolio of original compositions focuses on exploring instrumentation and orchestration techniques. The eight pieces, composed between October 2010 and September 2013 represent different genres varying from solo work to full orchestra. These pieces are the results of my exploration of various compositional and orchestration techniques that I have developed over the period of research. Before examining the pieces individually, general comments are provided to explain my orchestration principles and how I put them into practice.
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Wright, Tim. "Folio of compositions." Thesis, University of York, 2013. http://etheses.whiterose.ac.uk/4612/.
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This folio presents eight works, composed between 2007 and 2013. The works represent the outcomes of my research which has focussed on the development of compositional approaches that bring together techniques and materials from different areas of musical practice, including electroacoustic music and electronic dance music. All of the pieces use algorithmic compositional techniques to some degree. A visual component is important in four of the pieces. The Bridge is a film soundtrack, 8 Switches, Algorithms for Electronics Fake Woodwind and Strings and Bastard Structures 2 are audio-visual works. In two of the pieces, Some Trees and Untitled (Two Pieces for Surround), 5.1 surround sound is used as a compositional element. The commentary serves to give background information, placing the work in context with other work in the field and to explain the compositional approaches that have been taken.
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Gait, Benjamin K. J. "Folio of compositions." Thesis, University of York, 2012. http://etheses.whiterose.ac.uk/3940/.
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This folio of compositions represents three years of practice-led research into the development of my own distinct compositional voice, through the use of techniques and ideas that I have explored and developed. All of the works presented here are concerned with at least two of the following areas, which have been the focus of my research during this time: note rotation as a method for expanding on a small amount of material, free rhythm and bar-less notation, movement form, and the corporeal aesthetic of the American composer Harry Partch (1901-1974). The pieces in this folio were all written between October 2009 and September 2012. They employ a variety of forces, from chamber to orchestral, including two vocal works. Through these compositions, common threads can be traced, as I explored and investigated these different compositional techniques and ideas, all of which reach a peak in the two summative pieces of the folio, the orchestral work 'trees and paths I loved fade' and the smaller-scale song cycle 'cloud chamber music'.
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Clarke, Desmond. "Folio of compositions." Thesis, University of York, 2015. http://etheses.whiterose.ac.uk/12640/.
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The ten works presented here were composed between early 2012 and early 2015. They chart a process of experimentation, development and clarification with regards to my personal approach to composition and share a broad set of musical ideas. The works are diverse in terms of forces, aesthetics and sound-worlds, but are unified by the application of musical dialectics that can be metaphorically traced back to the investigation of human perception, an interest which ultimately derives from my experiences as a performer of notated and improvised music. This investigation is represented practically, descriptively, and metaphorically in various ways across the folio. This is not a scientific study: my own curiosity about the conscious and unconscious processes which shape one’s perception of the world provided a starting point for the construction of a set of musical relationships. These formative dialectics may provoke a listener to think about perceptual phenomena, or they may have an entirely different effect.
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Maronidis, Dimitrios. "Folio of compositions : commentary." Thesis, University of York, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.550327.
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Alcorn, Michael. "Folio of original compositions." Thesis, Durham University, 1993. http://etheses.dur.ac.uk/10186/.
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The works prepared for this folio represent seven years of focussed compositional activity, guided largely by the desire to shrug off the heavy mantle of influences and studied techniques which envelop many young composers, and by the necessity of finding an original voice in a society which so often suggests that there is very little left to say. This search has run parallel with a need to refine (and therefore define) my own compositional technique which has been brought to bear on the increasingly simple musical language to which I am attracted. The eight works (selected from twelve written during this period) utilize a wide variety of resources (both in terms of compositional techniques and in terms of performers and ensembles) and reveal many of the feature~~ which I regard as central to my compositional thinking: energy, movement, dramatic structure and climax. These attributes help create the goal orientated and mosaic-like structures that characterize the works of this period. Other features, of a musical nature, include a preoccupation with resonance and timbre, with lyricism (especially in later pieces) and with complexities arising from simple rhythmic procedures ('aleatoric counterpoint') or from manipulating simple units of duration. As will be seen in the commentaries, the titles of the pieces play a large part in the compositional processes and qualities of each work. In most cases they are descriptive of some musical or gestural process or event which is central to the piece. Three of the (recent) compositions in the portfolio employ electro-acoustic resources and thereby reflect my growing desire to integrate technology into my work. Although I have worked (and taught) in the studio for a number of years it has taken me a while to understand how such resources best suit my compositional needs. The clearest indication of this in the folio is the electroacoustic material devised for A Slow Dance. These (often simple) sounds were created using only one resource (Csound) and borrow many of the stylistic qualities of my instrumental music. This link with the instrumental music is a two- way process. Several of my pieces draw upon proce!;ses or techniques devised in the studio and apply them as structural, timbral or textural processes in the instrumental writing. Large sections of the orchestral piece Incantation borrow technological ideas - for example labyrinth (multiple two-track tape delays), delay line effects, and 'white noise' ('highest note possible' strings imitate this). Other pieces have even attempted to simulate the electrical processes at work in the studio; electrical states in circuits such as resistance, capacitance and the effect of components such as transfc,rmers and diodes finding musical analogies in early pieces (not included here).
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Burt, Theodore. "Theo Burt : composition folio." Thesis, University of York, 2012. http://etheses.whiterose.ac.uk/3817/.
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A folio is presented consisting of seven computer-generated compositions. Many of the works create and explore relationships between sound and video, reflecting a concern with the multi-modal nature of perception. In most of these compositions, material is structured by simple algorithmic processes. Tese processes are used to explore relationships between perception and cognition: how the changing form of a work over time reveals the nature of a process to us, and how our understanding of that process affects our expectation and anticipation of future form. One work in the folio takes the approach of transforming existing sound and image. Tis process is used in an attempt to disrupt 'musical meaning' and other symbolic content encoded in the source material. These compositions were completed between 2009 and 2012 and are presented chronologically, demonstrating the progression of my ideas throughout this period. An accompanying text discusses ideas relevant to the folio in general and gives a critical commentary on each work. Compositions included: Four, Colour Projections, Control Processes, Summer Mix, Colour Projections / set 2, Bastard Structures 2, Tiling Sessions.
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Walsh-Roberts, Patricia. "Paper folio one : foundations of workplace learning. Paper folio two : workplace learning, influences and approaches. Paper folio three : authentic assessment of learning /." Internet access available to MUN users only, 2003. http://collections.mun.ca/u?/theses,172038.
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McIntyre, Scott. "Folio of compositions 2008-2009." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7046.
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Sweeney, Eric. "A folio of original composition." Thesis, University of Ulster, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.240739.
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Seago, Robert. "A folio of musical compositions." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/2823/.
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The folio of compositions submitted here consists of the six large-scale works that I have completed between the years 1994 and 2003. Over the course of this nine-year period I hope that the folio demonstrates a consistent and constantly evolving thread of techniques and processes in spite of the substantial developments in my overall compositional style, intentions and interests. The works make use of a wide and unconventional range of source materials and instrumental combinations indicative of the numerous and diverse musical styles and genres with which I have been involved. The two areas of study that were to have the most profound influence on my compositional methodology were those of minimalism and serialism. Compositions: by air, sea and land journey xpianos drum no bass journey’s end
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Dunphy, Donna L. "Folio Paper One: Collaboration skills for educators : folio paper two: Collaborative partnerships between home and school: folio paper three: Interagency collaboration in transition planning /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ36112.pdf.
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Denniss, Graeme Wright. "Folio of compositions and critical commentary /." [St. Lucia, Qld.], 2003. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18251.pdf.
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Grant, John Ward. "Folio of compositions and critical commentary /." [St. Lucia, Qld.], 2006. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19321.pdf.
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Choi, Chang Seok. "Ever-changing fragments : folio of compositions." Thesis, University of York, 2014. http://etheses.whiterose.ac.uk/13540/.
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Fragments are essential for the realisation of my musical ideas. This commentary explains the musical, aesthetical and philosophical backgrounds to my work, and also the detailed compositional processes employed. Chapter one is a brief overview of Sigimsae and main-tone as found in traditional Korean music, which subsequently become transformed in my composition through the integration with contemporary Western musical elements. Chapter two analyses six compositions in this folio to clarify how unique sounds and forms are developed and achieved through the ever-changing fragment.
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Jones, Patrick John. "Unfurl : folio of compositions with commentary." Thesis, University of York, 2017. http://etheses.whiterose.ac.uk/20572/.
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This portfolio of compositions is the result of four years of practice-led research. It consists of nine original scores, all of which are written for acoustic instruments and intended for concert hall performance: 1. Unfurl (2014) — mixed sextet 2. Uhtceare (2014) – mixed quartet 3. Uncanny Vale (2014) — wind quintet 4. Ropes of Maui (2015) — symphony orchestra 5. Cast (2016) — piano soloist and nine players 6. Locks of the Approaching Storm (2016) — mixed octet 7. Monologues & Dialogues (2017) — bass clarinet and piano 8. Betelgeuse Astral Funicular (2017) — sixteen players 9. Three Movements for String Quartet (2017) — string quartet In the commentary, these compositions are discussed in terms of a series of interconnected dialectical relationships: motion and stasis; line and circle; continuity and discontinuity; change and repetition; unity and disunity. These oppositions provide ways of illuminating the shared features of the portfolio, whilst also demonstrating what makes each work unique. In addition, the commentary reflects the developing nature of my practice over the course of the PhD. It does so by illustrating the continuous process of analysing, refining, and expanding my repertoire of constructive compositional techniques. Finally, this music represents the confluence of a wide range of influences, musical and otherwise. These are too numerous to acknowledge comprehensively, and so are outlined selectively where they help to elucidate specific aesthetic ideas and technical processes.
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Fisher, Andrew M. S. "Composition folio : musicals vols. I-IV." Thesis, University of Southampton, 2003. https://eprints.soton.ac.uk/50601/.
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The musical language of popular music theatre continues to gain a growing academic scrutiny. Our understanding of the possibilities of the genre can be enriched by innovative work that experiments with a variety of musical techniques. Moreover developing fresh insights into this musical potential has an aesthetic importance: it could contribute to a revitalisation of the creative ambition of the musical language of the genre, which is generally one of highly derivative stock. This submission consists of a composition folio that includes one work of substantial proportions (the stage-work Stationcery) and five satellite pieces. Stutioncery uses a diverse range of jazz cultures (including numerous improvised sections) in a single large scale staged narrative, which it could be argued has not been attempted in this way or to this degree before. Stationery, and the other pieces, also develop other experimental musical techniques that are rarely used in popular music theatre: nonchronological story-telling, collage construction, and the extreme use of diverse parody and quotations. In addition there is a written element of fifteen thousand words which discusses semantic, aesthetic and technical issues prompted by the works and the genre in general. The submission has been organised into four volumes: VOLUME ONE: Stationery A three act jazz stage-work: Full Score in C. VOLUME TWO: Stationcery Piano/ Vocal Score. VOLUME THREE: Satellite pieces: That Baling Feeling - A three act musical: Piano/ Vocal Score. Mart - A theatre of the absurd mis-en-scene: Full Score in C. Descendit De Celis - A third-stream work for small orchestra: Full Score in C. Napoleon On St Helena - Four scena for actor and piano. Rain - A film score extract for small chamber group. VOLUME FOUR: Written Element, Libretti and Lyrics.
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Hooper, David Johannes. "Folio of compositions and critical commentary /." St. Lucia, Qld, 2001. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16287.pdf.
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Davidson, Robert. "Folio of compositions and critical commentary /." St. Lucia, Qld, 2001. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe15926.pdf.
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Davidson, Robert A. "Folio of compositions with critical commentary." Thesis, University of Queensland, 2001. https://eprints.qut.edu.au/6034/1/6034_v1.pdf.
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Folio of original music compositions and critical commentary. Thesis PhD completed 2001: University of Queensland, School of Music. The thesis is contained within 2 volumes: [v.1] Folio of compositions and critical commentary -- [v.2] Folio of compositions.
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Moret, Thomas J. "Paper folio one, Defining conduct disorder and its contributing variables, Paper folio two. Intervention strategies to treat conduct disorder, Paper folio three. Conduct disorder : an individual case." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0018/MQ54940.pdf.
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Curnow, Demelza Jayne. "Five case studies on the transmission of popular Middle English verse romances." Thesis, University of Bristol, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272055.
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Rodríguez, Fontecha Ana Belén. "Folio of compositions : commentary and 11 compositions." Thesis, University of York, 2015. http://etheses.whiterose.ac.uk/12243/.
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This Folio of Compositions is the result of an intense musical search. A search that I do not believe to be finished yet and which probably never will be, as being a composer is a lifelong journey of exploration. There has been a clear development in my personal voice during the last 5 years, a development that is documented in the music of these 11 pieces. The folio includes solo pieces, several chamber works and an orchestral score. Through the composition of these works I have consolidated a style where polyphonic texture, which involves a strong use of polyrhythms and isorhythm, and progressive transformations in pitch and harmony, play an important role. This commentary is divided into two sections. The first part contains some information about all the compositions, outlining facts such as the date of composition, first performance and main features of the piece. In the second part I present details and examples of compositional techniques, focusing on three specific music elements: harmony and pitches, melody and rhythm. By composing this corpus of pieces I had the aim of looking further into the essence of music, into the process of communication and the beauty of art.
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Kosviner, David Gordon. "Folio of nine original compositions with work commentaries." Thesis, Keele University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.402658.
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Acheson, Keith. "Original composition : a folio of works and commentaries." Thesis, Ulster University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395332.
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Williams, Steven Andrew. "Folio of compositions and productions with critical commentary." Thesis, Kingston University, 2017. http://eprints.kingston.ac.uk/37906/.
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This practical portfolio PhD presents a collection of my pop music compositions and productions, with an accompanying exegesis that examines my process whilst creating these tracks. The exegesis analyses the methods and techniques I use, with the aim of achieving a better understanding of my productions. This will in turn reveal my idiolect, which is the distinctive way an individual creates that produces their particular style (Middleton, 1990: 136, 174; Moore, 2012: 120, 166-7). This research also includes analyses of interesting, innovative and important moments or processes that draw on perspectives taken from theories of creativity, technology as well as the social aspects of creation and innovation. These theories are the systems approach to creativity (Csikszentmihalyi, 1997, 1999), and the Social Construction of Technology [SCOT] (Bijker, Hughes & Pinch, 1987, 2012). The focus of this thesis will be on understanding the detail of my creative practice. This exegesis consists of critical commentaries of four of the fifteen portfolio tracks, each in its own chapter. It is the intention that concentrating on just four tracks will enable a better understanding of the processes in question. Other portfolio tracks serve as further examples of the points made, or demonstrate alternatives where relevant. An autoethnographical approach is used as a methodology for the commentary chapters. This is in order to achieve a comprehension of my personal experience (Bochner and Ellis in Denzin, 2000: 736-9; Muncey, 2010: 26-33). The reader could then potentially ‘resonate with’ this experience and ‘reflect on it’ (Bochner and Ellis in Denzin, 2000: 753). Chapter 1 outlines the various roles I play when creating a pop music track, which include composer, producer, engineer, performer and collaborator. This chapter additionally explores my position as listener as well as the significance of the opinions of the audience. Chapter 2 focuses on composition and melody, including a discussion of intuition and invention. The vocal production techniques used in the creation of the featured track are explored as well as my approach to mixing. Chapter 3 centers on how my drum performances and the lead vocal parts were created, and edited for the portfolio track in question. It also outlines several models of collaboration that refer to the creation of this track. Chapter 4 discusses the frame of mind one draws upon whilst 6 creating pop music. It examines how I chose equipment for the production, the production techniques used, and the creation of timbre and texture. Chapter 5 examines the application of reverbs and effects, and also explores my approaches and attitudes, some philosophical, towards the perspective of the listener. The composition collaboration situation differs in each commentary chapter, including: sole composition for Chapter 2; equally shared composition between two collaborators in Chapter 3; three collaborators in Chapter 4, of which I have least compositional input; and two way collaboration in Chapter 5, where I have no compositional input. As a result of this study, a better understanding of my creative practice has been achieved, which includes further comprehension of my idiolect. This research has not only informed my recent composing and producing, but it is also likely that it will influence my future productions. Furthermore, it is hoped that the insights presented in this thesis could potentially serve as useful knowledge for others, with the prospect that they can approach their own productions with this knowledge in mind.
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Corcoran, Carolyn. "A paper folio on the topic of learned helplessness." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0015/MQ55497.pdf.
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Sabin, Nigel. "A critical commentary on a folio of original compositions /." [St. Lucia, Qld.], 2000. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe20241.pdf.
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Fell, Mark. "Works in sound and pattern synthesis : folio of works." Thesis, University of Surrey, 2013. http://epubs.surrey.ac.uk/804661/.
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An integrated portfolio of writings, music and audio-visual works that responds to aesthetic, technical and critical concerns encounter in the production of the portfolio. The written component initially considers the relationship between technical tools and creative practices, and then considers how temporality is constructed and treated in computer music softwares. In a series of commentaries, I show how these issues are both derived from and feature within a number of works contained here. The works are grouped into 3 sections: audio-visual works, microtemporal works, and works responding to house musics; a 4th further section 'three exhibitions' is included in the appendices. The works, produced between 2008 and 2013, explore various vocabularies and materials using sound synthesis and pattern generating procedures. Of particular interest is the relationship between temporality, image, sound and geometry; how works are encountered by the audience; and, the role of works as critical exegesis of the musical and technical histories within which they are embedded. The development and structure of each work is documented, and analysis of each is presented. In response to the folio a number of theoretical concerns are identified and articulated. A description of creative process based upon a distinction between thought, technology and practice is critiqued and alternatives are drawn from Heidegger's analysis of 'Being-in-the-world', Latour's account of action as constituted in networks of humans and non-humans, and Clark and Chalmers' extended mind hypothesis. Developing from this I offer a reading of the role of music in Husserl's account of temporality and suggest that music has a time-constituting function.
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Power, Stephen Patrick. "Folio paper one: Constructivism defined and implications for the classroom. Folio paper two: Constructivism in mathematics education as exemplified by the NCTM Standards. Folio paper three: Problem-solving in technology education as a model of constructivism /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0014/MQ36166.pdf.
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Mignonac, Alexis. "Attracting Foreign Real Estate Investors to the Brazilian Hotel Market." Thesis, KTH, Fastigheter och byggande, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-102295.
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The last financial and economic crises have revealed the fragility for developed countries, especially European countries, to resist to a major upheaval. This event has affected for a long time their capacity to spur their economy and their attractiveness. Indeed, trapped in a low GDP and with a high public debt, the last summer has recalled that the situation stay unstable in Europe and U.S. Nevertheless, following this event, some countries have succeeded to emerge stronger. These emerging countries, especially BRIC countries (Brazil, Russia, India, China), achieve to recover quickly a high GDP rate in spite of the global crisis and are confirming their capacity to reach their economic objectives. This thesis report focuses on a Real Estate investment recommendation in one of the most attractive emerging countries in the world, Brazil. The country, the last American country entered in recession and the first one exited from it, is becoming more and more attractive. Now, the country is among the ten largest economies in the world and remains very attractive to foreign investors due to its growth potential, large and competitive market and political stability, transforming the country from "a country of the future to a country of the present". Their ability to master the inflation to a stable value, to reduce the net debt and to pay off international Monetary Fund loans reassured investors. The new Domestic demands accompanied by an increasing business development and touristic demand are transforming the country, especially in the Real Estate sector, ranking it as one of the best place to invest in the world. Thanks to specific strategic investments in Real Estate, investors can make interesting returns and diversify their port-folio which is essential to decrease their exposition to specific risks. My thesis focus on a specific Real Estate sector: the Brazilian Hotel Market, and describe some strategic investments for foreign investors in Brazil.
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Berndt, Jeremy. "Usman dan Fodio's Ifḥām al-munkirīn: modes of religious authority in Islamic West Africa." Thesis, Boston University, 1998. https://hdl.handle.net/2144/27595.
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Boston University. University Professors Program Senior theses.PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02
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Yang, Ji Sun. "Folio of compositions : composing breathing effect in music : decay of sound." Thesis, University of York, 2015. http://etheses.whiterose.ac.uk/10092/.
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My portfolio of compositions includes eight original scores, plus two revised scores and accompanying recordings. The recordings are presented on one CD and one DVD. Written over three years, the compositions are for a variety of instruments from solo piano through to orchestra. Most of the works have been performed, either by professional musicians or by students. My research is focused on the role of breath within the dynamic relationship between events, reverberations and rests. My primary goal was to compose decaying musical shapes from the concrete object to silence. In this commentary, I also discuss other aspects of my compositional practice, such as individual ritardando techniques. I have analysed the harmonic progression, pitch materials and structure for some of my pieces. In chapter II, I explain how my music is related to the ideas of the musical gestures of appearance and disappearance. In chapter III, I clarify the method of organising broken looping as repetition. Both chapters also include an explanation of my cultural, musical background and influences.
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Pakašiūtė, Justina. "Folio rūgšties, cianokobalamino ir geležies įvertinimas daugiakomponenčio antianeminio vaistinio preparato sudėtyje." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140630_140704-18151.
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Tyrimo tikslas – išvystyti analitinę metodiką tinkamą geležies sulfato, folio rūgšties ir cianokobalamino įvertinimui jiems esant daugiakomponenčio vaistinio preparato sudėtyje.
Uždaviniai: surinkti informaciją apie anemiją ir medicinoje vartojamus antianeminius preparatus; apžvelgti plačiausiai naudojamus folio rūgšties, cianokobalamino ir geležies tyrimo metodus; pasirinkta metodika atlikti daugiakomponenčio preparato Ferro-folgamma komponentų atskyrimą; pasirinktais metodais identifikuoti cianokobalaminą, folio rūgštį, geležies sulfate; atlikti folio rūgšties ir geležies kiekybinę analizę.
Metodai: efektyvioji skysčių chromatografija, spektrofotometrija.
Tyrimo objektas – vaistinis preparatas “Ferro-folgamma”, kurio vienoje kapsulėje yra 100 mg bevandenio dvivalentės geležies sulfato (atitinka 37 mg geležies), 5 mg folio rūgšties, 10 μg cianokobolamino.
Tyrimo rezultatai. ESC su diodų matricos detektoriumi metodika atliktas folio rūgšties ir cianokobalaminio atskyrimas ir nustatymas. Vitaminų atskyrimas pasiektas naudojant 150×4.6 mm 3 µm ACE18 kolonėlę, judriąją fazę fluoracto rūgštį (0.1 proc.) ir acetonitrile, judrios fazės tekmės greičiui esant 1.0 ml/min. Folio rūgšties detekcija atlikta prie 287 nm ilgio bangos, nustatyta aptikimo riba – 0.04 µg/ml, kiekybinio nustatymo riba – 0.13 µg/ml. Cianokobalamino detekcija atlikta prie 360 nm bangos ilgio, nustatyta aptikimo riba – 0.474 µg/ml, kiekybinio nustatymo riba – 1.57 µg/ml. Spektrofotometriškai kiekybiškai nustatyta... [toliau žr. visą tekstą]Aim – to develop an analytical method that would be suitable for evaluating iron sulphate, folic acid and cyanocobalamin in the multicomponental drug. Objectives: gather information about anemia and antianemic drugs used in medicine; review the most often used methods of folic acid, cyanocobalamin and iron; carry out the separation of “Ferro-folgamma” components; identify cyanocobalamin, folic acid and iron sulphate; carry out a quantitive determination of folic acid and iron. Methods: high-performance liquid chromatography, spectrophotometry. Object: preparation “Ferro-folgamma” containing 100 mg anhydrous iron sulphate (37 mg of iron), 5 mg folic acid and 10 μg cyanocobalamin. Results: Identification and determination of folic acid and cyanocobalamin in pharmaceutical preparation was developed using HPLC with photodiode array detector (PDA). Folic acid and cyanocobalamin were separated on a ACE18 column (150×4.6 mm, 3 µm particle size) with a gradient elution of mobile phase consisting of 0.1% trifluoroacetic acid and acetonitrile. The separation was achieved with a flow rate of 1.0 ml/min. Detection of folic acid was performed at 287 nm wavelength, limit of detection – 0.04 µg/ml, limit of quantification – 0.13 µg/ml. Detection of cyanocobalamin was performed at 360 nm wavelength, limit of detection – 0.474 µg/ml, limit of quantification – 1.57 µg/ml. The absorbance of the iron complex was measured spectrophotometrically at 423 nm. Conclusions: HPLC/PDA method for... [to full text]
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Main, Christopher. "The first folio text of Macbeth : an annotated edition with commentary." Thesis, University of Exeter, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326883.
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Wilson, Nathan. "Heartbroken glass in the Sea of Tranquillity : a folio of compositions." Thesis, The University of Sydney, 2004. https://hdl.handle.net/2123/28028.
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The harmonic, rhythmic and timbral revolutions that have characterised musical composition throughout the twentieth century have enabled composers to continually define new methods of musical organisation and thus new means of artistic expression. HeartBroken Glass In The Sea Of Tranquillity is a folio of eleven musical compositions for mixed instrumentation in which musical organisation is influenced by literature, visual art, the calendar, natural phenomena and dream, astronomy, chemistry and physics, technological concepts and cartography. The research supporting these compositions demonstrates the parallels that exist between the elements of musical composition and the concepts that influence the works of this folio. Essential to the folio is integration and progression, concepts that arise from one work transfer and evolve into another.
The folio is presented in two volumes, the first of which presents the scores of the eleven compositions with program notes and a compact disc recording of selected works. The second is a volume of analytical notes that considers the theoretical and technical aspects of the submitted compositions with reference to a number of twentieth century composers and how their particular approaches to harmonic, rhythmic and timbral logic have been influential during the preparation of the folio. An additional volume containing an A3 reproduction of the score for Hear/Broken Glass In The Sea of Serenity for three chamber orchestras has been submitted for ease of reading.
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Nayler, Jennifer. "Storylines and storyspaces: a folio of learnings related to socially-just pedagogies." University of Southern Queensland, Faculty of Education, 2003. http://eprints.usq.edu.au/archive/00001478/.
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The Thematic Analysis Statement demonstrates the ways in which the various texts included in Storylines and storyspaces: a folio of learnings related to socially-just pedagogies, are linked in a common exploration of socially-just pedagogies. The Thematic Analysis Statement constitutes Folio Item 1 and provides an analysis of each of the four texts that constitute this folio of learnings. In Folio Item 2, A research journey: Reflective journal, I explore my own subjectivities and the discourses which led to this study and which shaped the research in particular ways. The journal also explores the ways in which the research journey itself shaped my subjectivities. The largest item of the folio, Pedagogies: Storylines and storyspaces (Folio Item 3, Part A) adopts the genre of teacher professional development materials and consists of theoretical, methodological and practical perspectives related to socially-just pedagogies. This folio item is accompanied by a companion text, Pedagogies: A journal of storylines and storyspaces (Folio Item 3, Part B). The companion text is designed to provide practical support to readers engaged in professional learning associated with the main text. Two papers both written for academic audiences and with similar titles constitute Folio Item 4. These two papers reflect my own learning journey in terms of developing a theoretical framework that resonates with feminist poststructuralism. These texts are all underpinned by feminist poststructural theorising. Each of these texts is considered in relation to three further aspects. First, the ways in which each item addresses the central research questions are explored. Second, each text is examined in terms of its place in relation to the five key stages of the research journey. Third, the place of "head work, field work and text work" (McWilliam, Lather & Morgan, 1997) and heart work is considered in relation to each text.