GABRIEL URBAIN FAURÉ, THE UNSUNG MODERNIST: A PERFORMANCE SURVEY OF SELECTED LATE WORKS WRITTEN AFTER 1892 FOR PIANO SOLO, AND PIANO IN COLLABORATION WITH VIOLIN, VIOLONCELLO, AND VOICE

Gabriel Urbain Fauré lived during one of the most exciting times in music history. Spanning a life of 79 years (1845-1924), he lived through the height of Romanticism and the experimental avant-garde techniques of the early 20th century. In Fauré's music, one can find traces of Chopin, Liszt, Mendelssohn, Debussy and Poulenc. One can even argue that Fauré presages Skryabin and Shostakovich. The late works of Gabriel Fauré, chiefly those composed after 1892, testify to the argument that Fauré holds an important position in the shift from tonal to atonal composition and should be counted among such transitional composers as Gustav Mahler, Claude Debussy, Erik Satie, Richard Strauss, and Ferruccio Busoni. Fauré's unique way of fashioning harmonic impetus of almost purely linear means, resulting in a synthesis of harmonic and melodic devices, led me to craft the term mélodoharmonique. This term refers to a contrapuntally motivated technique of composition, particularly in a secondary layer of musical texture, in which a component of harmonic progression (i.e. arpeggiation, broken chord, etc.) is fused with linear motivic or thematic development. This dissertation seeks to bring to public attention through exploration in lecture and recital format, certain works of Gabriel Fauré, written after 1892. The repertoire will be selected from works for solo piano and piano in collaboration with violin, violoncello, and voice, which support the notion of Fauré as a modernist deserving larger recognition for his influence in the transition to atonal music. The recital repertoire includes the following--Song Cycles: La bonne chanson, opus 61; La chanson d'Ève, opus 95; Le jardin clos, opus 106; Mirages, opus 113; L'horizon chimérique, opus 118; Piano Works: Prelude in G minor opus 103, No. 3; Prelude in E minor opus 103, No. 9; Eleventh Nocturne, opus 104, No.1; Thirteenth Nocturne, opus 119; Chamber Works: Second Violin Sonata, opus 108; First Violoncello Sonata, opus 109; Second Violoncello Sonata, opus 117.

EFFECT OF MUSIC ON THE SOUL: INTENT OR INDIFFERENCE IN THE COMPOSITION OF EWAZEN, FETTER, HIDAS, HOVHANESS, PEDERSON AND WILDER

This performance dissertation completed in 2009 by bass trombonist and Doctor of Musical Arts candidate Karl Wiederwohl consists of three live recitals and a written document which serves as a complement to the performances. The document discusses the six composers whose music is performed on the recitals. The document's six chapters respectively discuss each composer's disposition with regard to their purpose in composing music. As a complement to the performances the document gives special attention to each composer's thoughts on affecting listeners through their music. Wiederwohl creates a window into the mentality behind the artistry of Eric Ewazen, David Fetter, Frigyes Hidas, Alan Hovhaness, Tommy Pederson and Alec Wilder. The document serves to inform and enrich the experience of both performers and listeners of these six composers. This is achieved through the document's treatment of the following four questions for each composer: How did each come to be a composer? How did each come to compose in his particular style? Does the composer intend his music to serve a purpose? Does the composer intend his music to serve a purpose, and, if so, does this purpose involve reaching and/or affecting the listener at the deepest level?

Graffiti composition: screenplay

Ongoing collaboration with Christian Marclay. ‘Graffiti Composition’ and ‘Screenplay’ are two related works consisting of live musical improvisation and performance. They are part of an ongoing collaboration with the artist Christian Marclay. 'Graffiti Composition' involved Beresford directing an invited orchestra of improvising musicians. The work focuses on making music from the random compositional acts of strangers. Prior to realization, Marclay fly-posted several hundred sheets of blank manuscript paper, collecting the sheets some days later, after passers-by had written on them – using either traditional music notation or more transgressive interference modes (colour-blocks, torn holes in or abstract graphic symbols on the paper) – and sending photographs of them to Beresford. Beresford’s directorial decisions helped these random graffiti become music via simple formal processes – restricting each musician to a handout of two MS each, or stipulating a mini-concerto for each player. Beresford’s contribution explores the paradox of improvisation stipulated by strangers and controlled, however loosely, by the structuring agency of a musical director. ‘Screenplay’ extended this collaborative process between Marclay and Beresford. Beresford and other musicians responding to a visual track comprising found and public domain moving images manipulated by Marclay – gunfight scenes from a TV Western; running water; racing cars morphing into crying children, and so on, in black-and-white, with single-colour blocks appearing and developing as lines, spots, and other suggestive ‘notation’. The elliptical, surprising, humorous nature of the images at times is hyperexplicated by the improvised music, and at others challenged, ignored or contradicted by the musicians’ interaction. ‘Graffiti Composition’ was performed by the LSO at St. Luke’s, London, March 22, 2005. ‘Screenplay’ premiered in Dundee in 2006, and toured Europe during 2007. Reviewed in the Herald (21 Feb 06) and Times (24 March 07). Beresford’s work as improviser, composer and performer was profiled in The Wire (April 2002, May 2005).

The influence of salinity and sea star wasting syndrome on sea star species composition and distribution in Nootka Sound, British Columbia

Senior thesis written for Oceanography 445

Analysis of zooplankton species composition and depth-based habitat preference in Nootka Sound, B.C., Canada

Senior thesis written for Oceanography 445

Trahisons liquides : la composition d’un opéra dans le contexte des productions multimédias actuelles

La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (http://www.bib.umontreal.ca/MU).

A study of my personal approach to composition

La version intégrale de ce[te] mémoire [thèse] est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU).

Language use at home and performance in English composition in multilingual Ghana

Ghana has witnessed a recurrent debate on the usefulness of indigenous Ghanaian languages in childhood education. It is assumed that using the mother tongue as a Medium of Instruction (MOI) during the early years improves children’s ability to acquire knowledge and other languages. Not everybody subscribes to this view though. There are those who feel that a solid start in English offers children a better chance of succeeding in school and in their careers. Presently, some parents who subscribe to the latter view have taken the extra step of stopping the use of indigenous Ghanaian languages at home. This paper presents the results of our investigation into whether the home language practices of Ghanaian students have any impact on their performance in English written argumentative discourse. The results are based on an analysis of an assigned essay of 92 students from one of Ghana’s best senior high schools. We then correlated their per¬formance with responses they gave to a questionnaire interrogating their background and language use at home. While some speak the native language at home, others grew up speaking exclusively English. We show that students who combine English and native Ghanaian languages at home performed better than those who used only English or only Ghanaian languages.

Composition of sediments, rocks, and ores from the Northern and Equatorial Indian Ocean

The monograph has been written on the base of data obtained from samples and materials collected during the 19-th cruise of RV ''Akademik Vernadsky'' to the Northern and Equatorial Indian Ocean. Geological features of the region (stratigraphy, tectonic structure, lithology, distribution of ore-forming components in bottom sediments, petrography of igneous rocks, etc.) are under consideration. Regularities of trace element concentration in Fe-Mn nodules, nodule distribution in bottom sediments, and engineering-geological properties of sediments within the nodule fields have been studied. Much attention is paid to ocean crust rocks. The wide range of ore mineralization (magnetite, chromite, chalcopyrite, pyrite, pentlandite, and other minerals) has been ascertained.

The steel industry in the European Union: Composition and drivers of energy prices and costs. CEPS Special Report No. 80, 17 December 2013

This report assesses the energy costs borne by the steel industry in the EU between 2010 and 2012, and compares the energy costs, including both the energy components and other regulatory costs, to production costs, turnover and margins of steel-makers. The estimates of energy costs are based on primary sources, i.e. is on information provided by steel-makers through a written questionnaire. This information was validated by the research team by checking annual energy bills, when available, and other public sources. In this respect, this exercise represents a unique fact-based investigation into the costs of energy for steel-makers in Europe, whereas most of the information currently available in the public domain is based on secondary or statistical information. In 2012, the median EU steel plant pays about €33/MWh for gas, up from €26/MWh in 2010. As for electricity, in 2012 the EU median plant pays €62/MWh, up from €59/MWh in 2010. The report also includes a comparison with the prices of energy carriers paid by producers based in the US.

Mixed human saliva, its variations in composition and amylolytic power and the action of its freed enzyme, a series of observations and experiments from a chemical standpoint; submitted in partial fulfillment of the requirements for the degree of M.S. [in the] University of California.

Type-written manuscript.

Environmental controls on zooplankton composition and distribution in Muchalat Inlet, Nootka Sound, B.C., Canada

Senior thesis written for Oceanography 445

The influence of composition on the optical properties of electrodeposited gold

In industry the colour of a gold alloy electrodeposit is checked by visual comparison with standard panels. The aims of the present work have been to access the application of spectrophotmetric techniques to the measurement of the colour of gold alloy electrodeposits and to examine the factors that influence the colour of thin deposits. The minimum thickness of deposit required to produce its final colour and completely hide the underlying substrate was measured and found to depend on the nature of the substrate, the plating solution and the operating conditions. Bright and matt electrodeposits were studied. The influence of alloying gold by adding copper, silver and indium to the plating solution were investigated. CIE chromaticity coordinates were calculated from spectrophotometric data using a computer programme written for the purpose. The addition of silver to a simple gold bath caused the colour of the deposit to change from yellow through green to near white in a smooth progression as the amount of silver in solid solution steadily increased. The colour of deposits formed when additions of copper were made was complicated by the formation of intermediate phases. À colour in the blue region of the spectrum was obtained in a few experiments investigating the influence of indium additions to the gold bath.

La pensée mixte : une approche de la composition par l'interaction des pensées instrumentale, électroacoustique et informatique

La « pensée mixte » est une approche de la composition caractérisée par l’interaction de trois pensées: la pensée instrumentale, la pensée électroacoustique et la pensée informatique. Elle prend la forme d’un réseau où le compositeur fait des aller-retours entre les trois pensées et réalise des équivalences paramétriques. La pensée instrumentale se rattache à la tradition de l’écriture occidentale, la pensée électroacoustique fait allusion aux pratiques du studio analogique et de la musique acousmatique, et la pensée informatique fait référence aux pratiques numériques de la programmation visuelle et de l’analyse spectrale. Des lieux communs existent où s’opèrent l’interaction des trois pensées: la notion du studio instrumental de Ivo Malec, la notion de musique concrète instrumentale de Helmut Lachenmann, la composition assistée par ordinateur, la musique spectrale, l’approche instrumentale par montage, la musique acousmatique s’inspirant de la tradition musicale écrite et les musiques mixtes. Ces domaines constituent les influences autour desquelles j’ai composé un corpus de deux cycles d’œuvres: Les Larmes du Scaphandre et le Nano-Cosmos. L’analyse des œuvres met en évidence la notion de « pensée mixte » en abordant la pensée électroacoustique dans ma pratique instrumentale, la pensée informatique dans ma pratique musicale, et la pensée instrumentale dans ma pratique électroacoustique.

La pensée mixte : une approche de la composition par l'interaction des pensées instrumentale, électroacoustique et informatique

La « pensée mixte » est une approche de la composition caractérisée par l’interaction de trois pensées: la pensée instrumentale, la pensée électroacoustique et la pensée informatique. Elle prend la forme d’un réseau où le compositeur fait des aller-retours entre les trois pensées et réalise des équivalences paramétriques. La pensée instrumentale se rattache à la tradition de l’écriture occidentale, la pensée électroacoustique fait allusion aux pratiques du studio analogique et de la musique acousmatique, et la pensée informatique fait référence aux pratiques numériques de la programmation visuelle et de l’analyse spectrale. Des lieux communs existent où s’opèrent l’interaction des trois pensées: la notion du studio instrumental de Ivo Malec, la notion de musique concrète instrumentale de Helmut Lachenmann, la composition assistée par ordinateur, la musique spectrale, l’approche instrumentale par montage, la musique acousmatique s’inspirant de la tradition musicale écrite et les musiques mixtes. Ces domaines constituent les influences autour desquelles j’ai composé un corpus de deux cycles d’œuvres: Les Larmes du Scaphandre et le Nano-Cosmos. L’analyse des œuvres met en évidence la notion de « pensée mixte » en abordant la pensée électroacoustique dans ma pratique instrumentale, la pensée informatique dans ma pratique musicale, et la pensée instrumentale dans ma pratique électroacoustique.