To see the other types of publications on this topic, follow the link: The original.
Dissertations / Theses on the topic 'The original'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'The original.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Bouyacoub, Asma. "L'enfant, originel et original, chez Violette Leduc et Marie NDiaye." Thesis, Toulouse 2, 2019. http://www.theses.fr/2019TOU20112.
Full textAbstract:
Cette étude aborde plusieurs thèmes inhérents à l’enfance telle qu’elle est perçue par Violette Leduc et Marie NDiaye qui, en dépit de leurs différences, notamment leur place dans le paysage littéraire, se rejoignent dans leurs visions du monde enfantin, ce qui nous a permis de relever nombre de leurs convergences. En effet, dans leurs œuvres, les liens familiaux sont marqués par l’omniprésence ou l’absence des parents, par la prédominance de l’apparence et de l’argent au sein même de la famille, d’où l’inscription sociale de cette dernière et, partant, la détermination de l’enfant par la société. Le domaine familial ainsi s’élargissant, cela nous mène à l’interversion des rôles d’ascendants et de descendants. Dans ce monde changeant de la famille, l’enfant perd parfois son identité et ses repères. Toutefois, à travers tous ces aspects, nous constatons que, malgré les tentatives, soit des géniteurs autoritaires soit de la société réglementée, de restreindre la liberté et le champ de l’enfance, celle-ci est en continuel renouvellement. Cette perpétuelle renaissance est celle de l’enfant, qui s’exprime sous maintes manifestations, mais également celle de son univers peuplé de créatures animés ou non animées. Multiple, l’enfance est ainsi à l’image de son écriture, nos deux auteures, dans leur processus scriptural, choisissant le camp de l’enfance pour la défendre, et pour écrire (de manière romancée ou fidèle) la leur, originelle et originale<br>This study addresses several themes relating to childhood, as viewed by Violette Leduc and Marie NDiaye. There are many similarities in how these two authors perceive childhood, even though their positions in the literary landscape are quite different. In both of their works, a child's parents are either completely absent or else ever-present, and family relationships are influenced by objects of value to society such as money and appearance. This naturally leads us to consider the relationship between children and society, and how each one views the other. As social values impinge on the family, familial roles become reversed and children lose both their identity and their bearings. Nevertheless, despite attempts by parents and society to impose rules on children that restrict their freedom, we argue that childhood is constantly in a state of renewal. This manifests itself in many different ways, including the varied creatures and objects which fill a child's environment. Childhood, and its depiction within literature, is both rich and complex. As the authors write in defence of childhood, they alternate between fiction and autobiography. In doing so, they provide a perspective on childhood which is at the same time original and which takes its origins in their own respective childhoods
2
Kline, Katherine. "Original alterity." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112401.
Full textAbstract:
In this thesis I examine the notion of ethical subjectivity as characterized by an original relationship to alterity. Drawing upon Derrida, Levinas and psychoanalytic theory, I give a picture of a subject who is fundamentally responsive and inexorably bound to others, and I discuss the ethical and political implications of this condition. I extend the discussion of 'others' to include technology, suggesting that our ethical responsibility to alterity has been radicalized through deconstruction.
3
Bergman, Malin, and Beatrice Dinu. "Original Copies." Thesis, KTH, Arkitektur, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-223235.
Full textAbstract:
This thesis aims to investigate copying in architecture in relation to context. Is it possible to copy a building?With the advances of 3D-scanning and digital fabrication, the possibilities for copying form and material are constantly increasing. However, more so than the artistic object, architecture is always contextual - a building exists on a specific site. Therefore, when investigating copies in architecture, context becomes crucial. How does context change the specifics of the building?While studying the copy in relation to context and the adaptations, the relation between the original and the copy is highlighted. At what point does the copy detach itself from the original? Is there a copy or just multiple originals?In relation to these questions, there are several issues that surface, that might be defined by studying the subject. What is architecture? What is a building? What makes a building a piece of architecture? Who has authorship over a piece of architecture? And most importantly: where in a building lies the originality?
4
Ingimundardottir, Gudrun 1963. "Dawn (Original composition)." Thesis, The University of Arizona, 1990. http://hdl.handle.net/10150/291376.
Full text
5
Rothacker, Kurt Van Meter 1964. "Paean (Original composition)." Thesis, The University of Arizona, 1988. http://hdl.handle.net/10150/291824.
Full textAbstract:
This original composition is primarily in the key of C and is in a style of expanded tonality. Although the work loosely follows an established formal structure, the harmonic changes exist freely within this structure and occur more as modal changes rather than diatonic. The structure of the work is a loose sonata form including introduction, transitions and retransitions, and coda.
6
Bürger, Thomas. "Original, Kopie, Fälschung." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-136811.
Full textAbstract:
In der Ausstellung „Original und digital – Schätze der SLUB und die Kunst ihrer Reproduktion“ werden in der Schatzkammer und im Buchmuseum der SLUB Dresden die technischen Möglichkeiten von Nachdruck, Faksimile und digitaler Kopie vor Augen geführt. Während im Krieg beschädigte oder zerstörte Originale dank ihrer Reproduktion in Form von Abschriften oder Faksimiles erhalten sind, bietet die Digitalisierung heute exzellente Möglichkeiten, den Schutz von Originalen mit weltweiter Verfügbarkeit für Kultur und Wissenschaft in exzellenter Qualität zu verbinden.
7
Protásio, Luís Fernando 1981. "A tradução original." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269519.
Full textAbstract:
Orientador: Maria Viviane do Amaral Veras<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-22T18:30:30Z (GMT). No. of bitstreams: 1
Protasio_LuisFernando_M.pdf: 2079799 bytes, checksum: b780b8bdf5be46864de9844132593e06 (MD5)
Previous issue date: 2013<br>Resumo: No contexto teórico contemporâneo dos estudos da linguagem e, em particular, dos estudos da tradução, os discursos produzidos e difundidos parecem cada vez mais deferir em favor da precariedade das distinções absolutas que marcariam aquilo que, classificado como sistemático, tradicional, clássico, convencional, exigiria, portanto, uma postura salvadora. Projetados fundamentalmente a partir dos modelos da filosofia continental, esses discursos atribuem ao século 20 a superação dessas distinções (teoria e prática, corpo e espírito, original e tradução) e o apagamento das fronteiras que, nessa leitura, ameaçariam o sucesso do sagrado projeto democrático. Entretanto, ao renunciar às fronteiras e revogar as distinções, criando um espaço ambíguo transterritorial fundado na coincidência primordial de identidades legítimas (em certo sentido, o espaço ocupado pela Linguística Aplicada e pretendido pelos Translation Studies), o que se produz, na maioria das vezes, é um discurso totalitário que coloca ênfase naquilo que supõe abandonar, isto é, sublinha o mecanismo da proibição e repete (reproduz) a lógica da simbolização que presume renunciar. Considerado esse contexto, a proposta deste trabalho é pensar, a partir da experiência da escritora canadense Nancy Huston, o estatuto da autotradução como uma prática que (1) interdita os discursos totalitários dos estudos da linguagem e dos estudos da tradução produzidos contemporaneamente e (2) desponta como um performativo que divulga os limites teóricos de quaisquer modelos em que a ética comparece como um espaço institucionalizado de sacralização da diferença e de comemoração da exceção<br>Abstract: The produced and spread discourse in the contemporary theoretical context of language studies - and particularly of translation studies - seems to more and more grant in favor of the precariousness of the absolute distinctions. Being classified as systematic, traditional, classical, and conventional, distinctions such as theory and practice, body and spirit, original and translation would mark what would require a redeeming approach. Designed fundamentally from the models of continental philosophy, such discourses ascribe to the 20th century the overcoming of the aforementioned distinctions, and the erasing of the boundaries which, accordingly, would threaten the success of the sacred democratic project. However, once boundaries are renounced and distinctions are revoked, an ambiguous, transterritorial space founded on the primordial coincidence of legitimate identities arises - in a sense, the space occupied by Applied Linguistics and intended by Translation Studies. Consequently, most of the time what is produced is a totalitarian discourse that emphasizes what it supposedly abandons, i.e., highlights the prohibition mechanism and repeats (reproduces) the presumably disowned logic of symbolization. Acknowledging such context, and taking into account the experience of Canadian writer Nancy Huston, this study considers the status of self-translation as a practice that (1) interdicts the totalitarian discourses of both language and translation studies contemporarily produced, and (2) arises as performative practice that exposes the theoretical limits of any models in which ethics appears as an institutionalized space of both sacralization of difference and celebration of exception<br>Mestrado<br>Teoria, Pratica e Ensino da Tradução<br>Mestre em Linguística Aplicada
8
Horany, Sarah B. (Sarah Beth). "Original Short Stories." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc501088/.
Full textAbstract:
This thesis consists of three original short stories: "August Morning," "Weekend Idyll," and "Free Ride." In addition, an appendix has been added which contains "Hamilton House Roundabout," the original version of "Weekend Idyll." It is included to illustrate the dramatic changes that can occur in the writing process. "August Morning" focuses on a young man's struggle to gain his freedom from his family, particularly his overbearing father. Whether or not he succeeds is ultimately up to the reader. "Weekend Idyll" follows a young woman as she tries to live a dream she has long believed in. Ultimately, her vision is shattered. The final story, "Free Ride," centers on a hapless teenager who finds happiness only in the exhiliaration of racing. Ultimately, it kills him. I wrote stories rather than an analysis primarily for practical reasons. As a teacher I found an exercise in writing more readily transferrable to my classroom.
9
Cary, Tristram. "Portfolio of original compositions." Title page and table of contents only, 2000. http://web4.library.adelaide.edu.au/theses/09MUD/09mudc333.pdf.
Full textAbstract:
Includes comprehensive bibliography the composer's works. Biographical notes and list of works -- The ladykillers: a suite for orchestra in three movements based on the music composed for the 1955 Ealing comedy -- Contours and densities at First Hill: fifteen landscapes for orchestra -- I am here, for soprano and tape -- Scenes from a life, for orchestra - one movement with three sections. Apart from Contours and densities at First Hill, which was commissioned by the University of Adelaide, these works submitted for D. Mus have not ben published commercially.
10
Cookson, Jennifer Colleen. "Topographies (Original writing, Poetry)." Diss., Connect to online resource, 2005. http://wwwlib.umi.com/cr/colorado/fullcit?p1425798.
Full text
11
Golden, Carol Anne. "Venerable Doe. [Original opera]." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185390.
Full textAbstract:
This work is a setting of "Venerable 'Doe,' " and original story and libretto by the composer. "Venerable 'Doe' " is the temporary appellation of Javanese music spirit whose true name is not known. It is also the name of the gamelan over which the spirit reigns and in whose pusaka gong he resides. The work combines traditional Western dance, instruments, orchestration, notation and theory and traditional Javanese court dance, instrument, instrumentation, performance practice and theory with the composer's innovations created to facilitate the combining of two divergent worlds of music. The language of the libretto and the selection of pitch material have been determined by an original, extended, soggetto cavato technique. This technique accommodates all letters of the English alphabet and all pitch classes of both the Western and Javanese scales used in the work. While the soggetto cavato technique expands upon techniques used in the works of J. S. Bach, Venerable Doe's continuous rather than sectional deportment, devotion to symbolism and personification of specific sound patterns as 'motives' continue innovations of Richard Strauss. Venerable Doe is an opera containing two major formal divisions, a fantasy-ballet "Overture," the score of which constitutes the "original composition" portion of this dissertation, followed by four acts of the opera's main body. The "Overture" is designed to be performed with the main body of the opera or as an independent composition. The programmatic content of the "Overture" is drawn from the first half of the story, "Venerable 'Doe,' " while the program of the four acts is from the second half. The work is set in English, and uses Javanese terminology, as well as Swedish, German and Latin translations of Psalm 23. It is scored for full Western orchestra, Javanese gamelan, chorus, soloists, Western and Javanese dancers. Lighting, costuming, dance, stage and visual projection directions appear on the score and in preliminary pages.
12
Hall, Matthew. "Portfolio of original compositions." Thesis, Cardiff University, 2013. http://orca.cf.ac.uk/52335/.
Full textAbstract:
This portfolio of original works and commentary is submitted for the qualification of PhD in June 2013. Its intention is to give a representative account of my compositional journey since I began reading for the qualification in 2005. The portfolio contains small-scale works and large-scale works of varying durations with the intention being to display a high level of understanding of the subject matter combined with compositional flair and talent. At the outset, the challenges were to develop my compositional skills to a higher level, compose longer-scale works and find a medium I felt comfortable writing for that also complimented my writing style. My aim has been to show the distinct difference in my work from the beginning and the end of the course in this portfolio. I feel that I am much more of an accomplished composer now who has a distinctive style and character to my music. This portfolio and commentary will act as a guide to my thought process during the compositional tasks in addition to my personal musical and compositional background and influences.
13
Power, K. P. "Portfolio of original compositions." Thesis, Queen's University Belfast, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.517055.
Full text
14
Vega, H. A. "Portfolio of original compositions." Thesis, Queen's University Belfast, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.517586.
Full text
15
Cathcart, Joel Alexander. "Portfolio of original compositions." Thesis, Queen's University Belfast, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.600638.
Full text
16
陳錦標 and Kam Biu Joshua Chan. "Portfolio of original compositions." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31234094.
Full text
17
Cooke, Phillip A. "Portfolio of original compositions." Thesis, Cardiff University, 2007. http://orca.cf.ac.uk/55705/.
Full textAbstract:
Three Pieces comprises three works written at different times over the period 2003--2005, arranged for full orchestra in January--March 2007. The first piece Intrada was written for the London Contemporary Music Group's inaugural concert in October 2005 it was initially scored for large chamber ensemble of 14 players (essentially a chamber orchestra) and I had always felt it would benefit from being arranged for full orchestra. The third piece Dance was written for the Oxford Millennium Orchestra in March 2005, and was already scored for orchestra. I revised the work in March 2007, adding percussion and harp and re-scoring some of the bass textures. The second piece, Elegy has a more chequered history as it is essentially a composite of several pieces and ideas the main bones of the work are from an organ piece I wrote in March 2003 for the funeral of a close friend. After this occasion I spent years trying to write an elegiac orchestral work in her memory, though was eventually over-burdened by the enormity of this idea. Elegy therefore fuses together elements from the organ work, with many different fragments from the elegiac sketches. The three works form a very useful fast-slow-fast form, and therefore work well as a set of thee pieces however, having wrote all three as individual pieces they can and should be played separately.
18
Lane, Liz. "Portfolio of original compositions." Thesis, Cardiff University, 2009. http://orca.cf.ac.uk/54345/.
Full textAbstract:
I had considered the possibility of studying for a PhD for many years, but never seriously thought it could be a reality until a chance meeting with Professor Anthony Powers on a train to London, who mentioned that I might be interested in the new PhD in Composition at Cardiff University. Anthony was one of my composition tutors when I was an undergraduate and along with Professor Stephen Walsh, had encouraged my work as a composer at a time when I was unsure if this was the direction I wanted to take. Since graduating, I had established a professional music career but after thirteen years, felt I lacked focus and direction I had also kept in touch with both Anthony and Stephen and it was these reasons, amongst others, that led to my decision to undertake the course. I am very grateful to Cardiff University School of Music for giving me a scholarship to enable me to pursue my studies without financial burden and for believing in me as a composer. The wealth of experiences during my period of study has been extensive, ranging from performance opportunities, workshops, concerts (many featuring twentieth and twenty-first century music), seminars and lectures, to being part of a lively and vibrant postgraduate community, all of which I have greatly valued. I am also indebted to Professor Anthony Powers, for his help and encouragement and to Professor Stephen Walsh and Professor Judith Weir, who kindly gave up their time to look over this Commentary. Writing about my music has been one of the greatest challenges of this PhD. Whereas composing music is a skill I have developed over several decades and studying for a PhD in Composition has, in some respects, been a continuation of this, analysing my approach to composing music and the music itself has been a new, and surprisingly rewarding, experience. Being first and foremost a composer who writes intuitively with little recourse to planning, at first I wondered how I would gather together enough information to write about my music, let alone articulate this in an appropriate way. However, I found that, after a while, I had not only amassed more written material than I needed but that the exercise was both enlightening and beneficial, giving me an interesting perspective on how and why I approached certain aspects of composing. The instinctive approach to my work has changed during the last few years. Looking back I see a gradual progression, both stylistically and visually, of the music I have written, and this is not just because I have become more aware of the mechanisms which drive the creative process but because I have taken on board a wealth of musical experiences and applied these to my composing, teaching me to question what I write and to find new and different ways of achieving sounds which I would not have previously considered. In this way, and many others, my PhD studies have provided a platform both academically and practically which has initiated, and continues to initiate, professional opportunities, both as a composer and within the academic community. Not only have I accrued an extensive collection of music which I can offer for performance but the music itself is often eclectic. Most recently, the list of works and soundclips on my website has attracted a commission and several proposed performances, both in this country and America. I have always known that a composer's life is seldom straightforward and never predictable, hardly ever financially rewarding in itself. Sometimes I question what it is that makes me want to continue writing music in a tough and competitive profession. However, the opportunity over the last few years (and perhaps in many ways, the luxury) of being able to write music intensively, study that of others and learn from a wide variety of sources within a supportive environment has been invaluable and it is this, which, together with my own underlying personal motivation, has given me the further skills to continue with and develop my future career as a composer.
19
Delap, G. B. "Portfolio of original compositions'." Thesis, Queen's University Belfast, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.411091.
Full text
20
Knight, Stephen. "PhD in original composition." Thesis, University of Wolverhampton, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.425751.
Full text
21
Bearden, Stephanie. "Wanderer : an original composition /." Lynchburg, VA : Liberty University, 2007. http://digitalcommons.liberty.edu.
Full text
22
Debat, Michelle. "L'impossible original en photographie /." Paris : Michelle Debat, 1985. http://catalogue.bnf.fr/ark:/12148/cb350861353.
Full text
23
Brown, Joshua. "Portfolio of original compositions." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/portfolio-of-original-compositions(ad6c8f03-aedb-4e5f-87ea-b2755b36c0f7).html.
Full textAbstract:
This composition portfolio consists of six original compositions, as listed below: String Trio (Violin, Viola and Violoncello, 2015) Duet for Clarinets (2 Clarinets in Bb, 2015) A reed before the wind ... (Chamber Orchestra, with ShÄng and Clarinet soloists, 2016) Singing Ringing Tree (Solo Flute, 2016) A Summer Night (Flute, Clarinet, Percussion, Piano, Violin, Violoncello, with Mezzo-Soprano soloist, 2016) Convergences (Symphony Orchestra, 2017) The following commentary gives details of the research conducted during the process of their composition. This includes chapters discussing the following specific research areas: the influence of music from cultures outside the Western concert hall tradition, the use of pattern within the process of composing, the importance of line and teleology, and the exploration of performer freedom in my work. The sixth chapter discusses how the previous investigations into these topics for earlier works influenced the outcome of Convergences, the final and largest piece in the portfolio.
24
Vogel, Michael. "Kampf um das Original." SLUB Dresden, 2016. https://slub.qucosa.de/id/qucosa%3A7792.
Full textAbstract:
Fraßschäden durch Insekten stellen nur eine der vielfältigen Herausforderungen beim Erhalt eines Bibliotheksbestandes dar. Lichteinwirkungen und drohender Schimmelpilzbefall bei unangepassten klimatischen Lagerbedingungen, aber auch unvorhergesehene Eventualitäten wie Wasserschäden machen diesen Bereich der Bibliotheksarbeit zu einem komplexen Arbeitsfeld. Deshalb kommen Bibliotheks- und Archivmitarbeiter regelmäßig zum Sächsischen Werkstatttag für Bestandserhaltung zusammen. Das diesjährige Treffen fand Ende September an der SLUB Dresden statt.
25
Garbett, Andrew. "Portfolio of original compositions." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/portfolio-of-original-compositions(b91b41f5-df94-4f2a-8798-7ac88f1ec2d2).html.
Full textAbstract:
It is my contention that the worlds of instrumental and electroacoustic music are essentially grounded in one basic reality â the physical properties of sound. If there is a divide, then it is based on compositional models and conventions. This is not to diminish the stylistic or technical differences between the two but rather to make the case for a focus on the core aspects of sound, in order to discover different ways of exploring various possible relationships between music for instrumental performer(s) and digital (electroacoustic) means. My thesis stems from the argument that every sound has its own spectromorphologyâ its own inner life governed by envelope, spectral content, energy and internal pulsation. This leads architecturally to considering the relationship of micro- to macro- phenomena and provides the essential foundations for all the compositions in this portfolio. Taking Pierre Schaefferâs concept of the âsound objectâ as its starting point, my portfolio explores various forms of interaction between instrumental and electroacoustic techniques, methodologies and aesthetics, via a range of outcomes for fixed media, acoustic instruments, and combination of instruments with electroacoustic media.
26
Duarte, García Mario. "Portfolio of original compositions." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/portfolio-of-original-compositions(e0a5e175-d4d0-417c-a5d1-1b9587f019f4).html.
Full textAbstract:
This portfolio of compositions researches the use of DNA sequences as a system for music composition. The main objective is to identify and create musical expression using sequences of DNA, which carry embedded structure and organisation. An effective model of DNA sonification was implemented through the use of a Parameter Mapping Sonification Interface that can obtain a musical rendering of the genetic material through the replication of different stages of DNA coding. In this way the composer could make compositional decisions a priori in mapping musical parameters (musification), and make use of sonification as a tool in order to successfully generate, organise and develop musical material in a compositional system based on DNA and RNA sequences. This is in contrast to a hard scientific sonification perspective, where unedited outputs are presented as a musical composition. As a result, the portfolio provides an intelligible corpus of music that integrates science, literature, cultural heritage and the social sphere in order to deliver my musical discourse. Nine compositions are presented in the portfolio, each of these explores the use of sonification and musification as a compositional tool to generate and organise musical materials.
27
Cano, Pedro. "San Ignacio, Legislador Original." Pontificia Universidad Católica del Perú, 2015. http://repositorio.pucp.edu.pe/index/handle/123456789/116639.
Full text
28
Eccles, Yvonne. "Portfolio of original compositions." Thesis, University of Manchester, 2017. https://www.research.manchester.ac.uk/portal/en/theses/portfolio-of-original-compositions(ef18ee8d-af9e-4457-9659-807fec1b4722).html.
Full textAbstract:
The objective in this compositional research has been to create a portfolio of compositions with the goal of developing my musical language. This has been achieved through a portfolio that explores characterisation, transformation, dialogue, interaction, contrast and, latterly, timbre in the context of a teleological framework. Seven works are presented for a range of instrumental and vocal forces according to the opportunities taken throughout the research period. The majority of the works in the portfolio are under 10 minutes in duration and the final two cumulative works explore longer timeframes of c.15 and c.30 minutes respectively. The seven pieces are presented in the order of completion:1. Multiple Infection (2010) for clarinet, cello, percussion and piano.2. Contrasting Spectrum (2011) for flute, clarinet, violin, cello and piano.3. Splintering Factions (2012) for chamber orchestra.4. Chinese Whispers (2013) for violin and viola.5. Memoriam retinebimus (2014) for SATB choir and solo group (4 females and 2 males). 6. Sporos (2015) for string quartet.7. Relentless Continuum (2015-2016) for symphony orchestra. This portfolio also includes an analytical commentary in eight chapters prefaced with an opening section (part one) introducing the author and compositional research. This part also presents elements of the author's musical language including a short introduction of characterisation, teleology, transformation, dialogue, interaction, contrast and timbre with a brief discussion of notable influences that led to the implementation of these elements. Lastly, part two details the seven pieces of the portfolio in the form of musical commentaries over seven chapters, one piece being discussed in each chapter. The last chapter presents reflections and evaluations on the portfolio and future goals.
29
Gonçalves, José Pedro Rodrigues. "Cuidado original em saúde." reponame:Repositório Institucional da UFSC, 2013. https://repositorio.ufsc.br/xmlui/handle/123456789/122655.
Full textAbstract:
Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas, Programa de Pós-Graduação em Interdisciplinar em Ciências Humanas, Florianópolis, 2013.<br>Made available in DSpace on 2014-08-06T17:12:25Z (GMT). No. of bitstreams: 1
322790.pdf: 1929232 bytes, checksum: 6acd71442058ab4a3fd19e9a0c14864b (MD5)
Previous issue date: 2013<br>Cuidado em saúde, na ideia corrente, é um conjunto de procedimentos orientados tecnicamente para se alcançar um resultado favorável no tratamento de doenças, porém, o cuidado deve ser mais amplo, compreendendo todas as possibilidades da existência do ser humano. Assim, esta Tese tem como objeto argumentar que é possível resgatar o sentido original do cuidado, tomando como ponto de partida as experiências atuais dos cuidados paliativos, como uma alternativa à biomedicina vigente, propiciando um modelo que, alicerçado na condição humana, recoloca em novas bases a relação do ser humano com a técnica, a vida e a morte. Para tanto, o enfoque adotado foi o da pesquisa qualitativa e o referencial teórico-filosófico de Heidegger, na decodificação do cuidado proposta por Torralba Roselló, para formular os atributos do cuidado original em saúde. A coleta do material empírico, que adotou como estratégias observação sistemática, diário de campo e entrevistas semiestruturadas, foi realizada na Enfermaria de Cuidados Paliativos de um hospital público na Cidade de São Paulo, entre novembro e dezembro de 2012, envolvendo profissionais, funcionários, doentes e familiares acompanhantes. A análise do material foi feita utilizando uma abordagem interdisciplinar, permitindo compreender a conexão entre os dados coletados e os atributos do cuidado original. A pesquisa atendeu a Resolução nº196 do Conselho Nacional de Saúde, preservando o anonimato dos informantes e das situações encontradas. Os dados levantados evidenciaram que os cuidados paliativos oferecidos no local da investigação, foram capazes de resgatar o sentido original do cuidado, pois suas premissas foram identificadas nas ações praticadas, revelando o respeito à autonomia e às circunstâncias da vida, o atendimento das necessidades dos doentes, a preocupação/ocupação e a preservação da identidade do outro. Foi possível identificar, também, a preocupação dos cuidadores com o autocuidado. Cada profissional da equipe é respeitado e incentivado a participar das decisões sobre os cuidados a serem prestados ao doente/família, considerados como a unidade do cuidado, que tem uma vulnerabilidade passível e possível de ser superada. A preocupação e o respeito à autonomia do doente/família evidenciou-se como um imperativo ético e como a força motora da ação/reflexão da equipe multiprofissional para a construção de uma proposta terapêutica interdisciplinar adequada às necessidades de cada doente, ampliada com a inclusão das demandas de bem estar e qualidade de vida. Este modo de atuação contrapõe-se ao encontrado em serviços tradicionais de saúde,12baseados na biomedicina e no uso intensivo da técnica e da tecnologia, que levam a medicina a perder sua face arte e empobrecer sua dimensão humana. O lado arte apareceu no trabalho dos profissionais estudados no momento em que colocam a condição humana como ordenadora das práticas, centrando a ação no doente e não na doença, possibilitando uma nova relação do homem com a técnica, a vida e a morte. A inclusão dos cuidados paliativos como modelo na formação prática na área da saúde apresenta-se como uma possibilidade para que os futuros profissionais possam se autoconstruir moral e profissionalmente. <br><br>Abstract : Health care, on current conception, is the set of procedures technically oriented to achieve a favorable result on the treatment of diseases, however, it should have a broader meaning, comprising all possibilities of human existence. Thus, this thesis argues that its possible to redeem the original meaning of care, taking as starting point the current experiences of palliative care as an alternative to present biomedicine, providing a model that, grounded on human condition, relocates in new bases the relation of human being with technique, life and death. For that, the adopted approach was the use of qualitative research and Torralba Roselló?s proposed decoding of Heidegger as theoretical-philosophical referential to formulate the attributes of the original health care. The collection of data, which adopted as strategies systematic observation, field diary and semi-structured interviews, was carried at the Palliative Care Infirmary of a public hospital in São Paulo, between November and December 2012, encompassing health professionals, employees, sick patients and accompanying family members. Data analysis was done using an interdisciplinary approach, allowing the comprehension of the connection between collected data and the attributes of original health care. The research complied with Resolution nº196 of Brazilian National Health Council, preserving anonymity of informants and situations found. The collected data showed that palliative care offered at the site of investigation was capable of redeeming the original meaning of care, for its premises were identified in the practiced actions, showing respect for the autonomy and life circumstances, compliance to the needs of patients, concern/occupation for the other and preservation of other`s identity. It was also possible to identify the concern of caregivers with self-care. Each staff professional is respected and encouraged to participate in decisions about the care to be provided to the patient/family, considered as the unity of care, with vulnerabilities possible to be overcame. The concern and respect for the autonomy of patient/family revealed itself as an ethical imperative and a driving force for action/reflection of the multiprofessional team in the construction of an interdisciplinary treatment plan tailored to the needs of each patient, expanded to include the demands of well-being and quality of life. This method of action is opposed to that found in traditional health care services, based in biomedicine and on intensive use of technique and technology, which lead medicine to lose its art face and impoverish its human dimension. The art side shined through the work of studied professionals at the time they put human condition as14collator of the practices, focusing the action on the patient and not on the disease, enabling a new relation of man with technique, life and death. The inclusion of palliative care as a model on the practical training in health care presents itself as a possibility for future professionals to develop themselves morally and professionally.
30
Buchholz, Robert Henry. "Triathlon: an Original Screenplay." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc504205/.
Full textAbstract:
A young man, out of college and work, sets out to make his mark on the world, by winning the endurance sport of the eighties: the Hawaiian Ironman Triathlon. As he eats, sleeps and breaths "Ironman," he shuts others out of his life because he feels that he must do it alone for the victory to be genuine; a philosophy that has been dogging him all his life.
31
Narunsky, Michael Dan. "Portfolio of original compositions." Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/8252.
Full textAbstract:
Includes bibliographical references.<br>I wish to make a few comments regarding the recordings of the compositions presented in this portfolio: Certain discrepancies exist between the written score and the recorded music. For example: The recording made with Dave Liebman is from 1994. The two compositions from that recording presented in this portfolio, were newly composed pieces at the time. Since then, Waltz for Lenny is a tune that I have performed on many occasions, and over the years small changes have been made.
32
Glover, Martin Stewart. "Portfolio of original compositions." Thesis, Goldsmiths College (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.514289.
Full text
33
Popp, Constantin. "Portfolio of original compositions." Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/portfolio-of-original-compositions(19dcb2c6-041d-4cf6-9d7c-52ab54c0eb81).html.
Full textAbstract:
The PhD investigates the creation of closeness and immediacy through composition, exploring the processes of capturing, processing and composing sound materials, their spatialisation both during production and performance, and the sound materials' contexts. It is suggested that closeness can be understood spatially, temporally and in addition as being familiar with sounds and musical languages; whereas immediacy adds the meaning of being involved at some level in the shaping or decoding of the meaning of sounds of a composition. In that sense closeness and immediacy together form entry-points for the listener to make him/her become engaged in the compositional narrative. Seven original acousmatic and mixed media works are presented in the portfolio. These are stone and metal, empty rooms, weave/unravel, skalna, pulses, beeps and triptych. The pieces rely on found sounds and their referential qualities, with both informing the compositional methodologies. They also borrow elements from soundscape composition, electronic music and film music. Over the development of the portfolio the inclusion of elements of other genres of music became a valuable source of inspiration and shaped the compositional methodology which lead to the development of a unique, personal style of composition. Three of the PhD’s compositions – pulses, beeps and triptych – investigate the musical opportunities of an acousmatic take on stems to improve the flexibility and perceived depth of spatialisation. The spatial layers of the compositions are split into parts of a soundfile. These parts can be mapped according to specific rules to the number of loudspeakers available. The portfolio pieces demonstrate that composing in spatial stems enhances spatial depth as close and distant sounds can be reproduced independently of each other on dedicated loudspeakers at the same time. The sounds of the distant loudspeakers merge with the acoustic properties of the performance space and therefore assist in making the composed spaces credible. In addition to the compositions, one original software tools are presented in the portfolio (PLib), as well as a substantial contribution to an existing tool (MANTIS Diffusion System). They aim to facilitate the production and performance of electroacoustic music. Their application and potential is briefly discussed in the commentary.
34
Martin, Brona Colette. "Portfolio of original compositions." Thesis, University of Manchester, 2015. https://www.research.manchester.ac.uk/portal/en/theses/portfolio-of-original-compositions(7253d29c-0bbc-45f1-acc2-65acd0041ff0).html.
Full textAbstract:
Electroacoustic music has a unique ability to connect the listener to places, space and stories both real and imaginary. Each work within the portfolio explores specific objects, spaces and places. The intrinsic sonic qualities are explored and a musical narrative takes the listener through a newly composed imaginary space. Six original compositions are presented in this portfolio. The titles of these works are as follows: Lamenting, 192, All Along the Bell Tower, Oz, The Thing About Listening is…. and A Bit Closer to Home. Narrative structures that simulate a journey are used as a guide for the listener through immersive, virtual soundworlds. These spoken word and musical narratives also serve as a structural tool for the composer. Imagined and real sonic layers within stories and soundscapes are analysed, deconstructed and manipulated. These works convey a message, story or sense of place to the listener, while revealing sonic qualities that are not normally the focus of listening. My aim as a composer is to enhance the daily listening experiences of the listener, as they become more aware and appreciative of the sounds around them, through the sounds and spaces they experience in my music.
35
Puello, Jose Guillermo. "Portfolio of original compositions." Thesis, University of Manchester, 2015. https://www.research.manchester.ac.uk/portal/en/theses/portfolio-of-original-compositions(755bba56-fb3f-4221-a4c3-d5a431bcc6e3).html.
Full textAbstract:
The portfolio consists of seven instrumental compositions, composed during a period of three years. The portfolio is accompanied by a CD and DVD, containing the recordings of the compositions, and a written commentary. The latter gives an overview of the portfolio and focuses on the most important compositional issues. The Introduction presents the early influences and describes the evolution of the author’s musical language. Chapter 1 studies the author’s personal identity and Dominican identity and their influence on the music. Chapter 2 examines the different musical structures in the portfolio, comparing them to the traditional narrative arc. Chapter 3 discusses the origins of the rhythmic language and its elements, focusing on the creation of different textures. Chapter 4 deals with pitch and the construction of harmonic soundworlds. Chapter 5 studies the ritualistic elements and their evolution in the portfolio. The conclusion gives details of the compositions the author has written since finishing the portfolio and his future plans.
36
Berger, Ulrich. "Brown's Original Fictitious Play." Elsevier, 2007. http://epub.wu.ac.at/5588/1/2007_JET.pdf.
Full textAbstract:
What modern game theorists describe as fictitious play is not the learning process George W. Brown defined in his 1951 paper. Brown's original version differs in a subtle detail, namely the order of belief updating. In this note we revive Brown's original fictitious play process and demonstrate that this seemingly innocent detail allows for an extremely simple and intuitive proof of convergence in an interesting and large class of games: nondegenerate ordinal potential games.
37
Azevedo, Carlos. "Portfolio of original compositions." Thesis, University of Sheffield, 2017. http://etheses.whiterose.ac.uk/18604/.
Full text
38
Soria, Luz Rosalia. "Portfolio of original compositions." Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/portfolio-of-original-compositions(721ea6ce-c0bc-4bd3-aa2d-1d0cecbb684e).html.
Full textAbstract:
This portfolio of compositions investigates the adaptation of state-space models, frequently used in engineering control theory, to the electroacoustic composition context. These models are mathematical descriptions of physical systems that provide several variables representing the system’s behaviours. The composer adapts a set of state-space models of either abstract, mechanical or electrical systems to a music creation environment. She uses them in eight compositions: five mixed media multi-channel pieces and three mixed media pieces. In the portfolio, the composer investigates multiple ways of meaningfully mapping these system’s behaviours into music parameters. This is done either by exploring and creating timbre in synthetic sound, or by transforming existing sounds. The research also involves the process of incorporating state-space models as a real-time software tool using Max and SuperCollider. As real-time models offer several variables of continuous evolutions, the composer mapped them to different dimensions of sound simultaneously. The composer represented the model’s evolutions with either short/interrupted, long or indefinitely evolving sounds. The evolution implies changes in timbre, length and dynamic range. The composer creates gestures, textures and spaces based on the model’s behaviours. The composer explores how the model’s nature influences the musical language and the integration of these with other music sources such as recordings or musical instruments. As the models represent physical processes, the composer observes that the resulting sounds evolve in organic ways. Moreover, the composer not only sonifies the real-time models, but actually excites them to cause changes. The composer develops a compositional methodology which involves interacting with the models while observing/designing changes in sound. In that sense, the composer regards real-time state-space models as her own instruments to create music. The models are regarded as additional forces and as sound transforming agents in mixed media pieces. In fixed media pieces, the composer additionally exploits their linearity to create space through sound de-correlation.
39
Alcorn, Michael. "Folio of original compositions." Thesis, Durham University, 1993. http://etheses.dur.ac.uk/10186/.
Full textAbstract:
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).
40
Davies, Maxwell Charles. "Portfolio of original compositions." Thesis, Cardiff University, 2011. http://orca.cf.ac.uk/54524/.
Full text
41
Gormley, John. "Portfolio of original compositions." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/7072.
Full textAbstract:
This folio and accompanying commentary draw together my compositional work over the period of the PhD and plot the development and exploration of a number techniques which are to be found in varying degrees in each of the works but with different emphases. These techniques include the use of: parallel structures and metres to provide a sense of independence of compositional ideas; parallel tonal centres within overarching schema to control and draw thematic material together; the use of rhetorical musical gestures that seek to break free of their context; fragmentation and the accumulation of material in terms of quantity and density in order to facilitate a sense of change; the limitation of pitch material in order to create a sense of stasis; and the use of slow sustained melodies that lack a clear pulse in order to create a sense of musical events that are not bound by time.
42
Arinsoy, Memis Deniz. "The Determinants Of Original Sin." Master's thesis, METU, 2012. http://etd.lib.metu.edu.tr/upload/12615079/index.pdf.
Full textAbstract:
Original sin in economy literature is defined as the inability of countries to borrow in domestic currency from abroad (even from local markets with long maturities and fixed-rate). There are two dimensions of the problem, international and domestic. In this thesis, some of theories on determinants of international original sin phenomenon are investigated. The results suggest that absolute size of the economy is a significant determinant of the international original sin. Financial and economic development is also found to be necessary in order to redeem from the original sin problem. Existence of strong policies and institutions, monetary credibility, and flexible exchange rate regime are found as other significant factors in terms of explaining the phenomenon. Countries that faces credit market imperfections and poor contract enforcement more prone to original sin problem.
43
Epstein, Rebecca. "Bartleby the Original the Queer." Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/pomona_theses/6.
Full textAbstract:
Insofar as human beings try to “know” we must define concepts, objects, actions. We label, we distinguish between one concept and another, and in doing this, we make categories. Labels are categories. Our categories are imperfect. Our labels are always relative, defined by and dependent on that which they exclude. The boundaries of our terms, what “counts” as something or what is considered to be within a certain term, are always shifting. Our definitions change based on our method of analysis. For instance, the definition of “human” is different in different disciplines, like science, philosophy, sociology, economics, etc. Given their instability, categories can only be rough approximations of what we mean, and not always very good ones at that. To our detriment, we sometimes forget that they are approximations, and already laden with meaning of their own. Michel Foucault and other thinkers have pointed out that some of our ways of knowing, for example, the scientific method, have become synonymous with truth, objectivity or neutrality. When this happens, we cease to question those ways of knowing, and the questions within those ways of knowing. We forget that the kinds of questions we ask determine the kinds of answers we find. Then, when something that does not prove easily “knowable” or categorizable troubles our ways of knowing, we call it trouble. Instead of remembering that our methods are imperfect, we think that the thing we want to know about is flawed, wrong or bad. This thesis is a reclamation of the flawed, the failed, the queer, a revaluation of it as something positive and productive. It is a reminder to be critical of our categories, and to rule them rather than be ruled by them. Categories are tools, not truth.
44
Ivashkin, Pavel. "Synthesis of original fluorinated cyclopropylcarboxylates." Phd thesis, INSA de Rouen, 2013. http://tel.archives-ouvertes.fr/tel-00924650.
Full textAbstract:
Organofluorine compounds constitute a large part of all the drugs, crop protection agents and advanced materials produced nowadays. Therefore, there is a great interest in developing the new methods of synthesis of organofluorine compounds. In this thesis we report a novel method of synthesis of monofluorinated cyclopropanes based on the Michael-initiating ring closure (MIRC) reaction. Our method allows obtaining polysubstituted monofluorinated cyclopropanes from ethyl dibromofluoroacetate and various Michael acceptors. We have also implemented the asymetric version of cyclopropanation using a novel oxazolodinone-derived chiral fluorinated reagent. In the final part of this thesis we report the synthesis of a fluorinated analog of L-FAP4, a potent agonist of group II metabotropic glutamate receptors (mGluR II). Incorporation of a fluorine atom is expected to increase the biological activity and bioavailabiblity of this compound.
45
Yamanaka, Keiko. "X (Original composition, Chamber orchestra)." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/mq50702.pdf.
Full text
46
Ryan, Damian. "A portfolio of original compositions." Thesis, Queen's University Belfast, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.579782.
Full text
47
Karamanlis, Orestis. "A Portfolio of Original Compositions." Thesis, Queen's University Belfast, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527820.
Full text
48
Longbottom, Adam John. "Portfolio of original musical compositions." Thesis, University of Leeds, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540569.
Full text
49
吳俊凱 and Chun Hoi Daniel Ng. "Original compositions for young musicians." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1993. http://hub.hku.hk/bib/B31212608.
Full text
50
Sweeney, Eric. "A folio of original composition." Thesis, University of Ulster, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.240739.
Full text