Diary of Francis Evans, secretary to Bishop Lloyd, 1699-1706 /

Mode of access: Internet.

The apostle of the North, Rev. James Evans,

Mode of access: Internet.

Addresses delivered at the service of induction of the Reverend Daniel Evans,

Mode of access: Internet.

Rebekah : a tale of three cities /

Mode of access: Internet.

Christmas evans

Mode of access: Internet.

Address of Sir Arthur Evans, delivered at the anniversary meeting 1st May, 1919.

Mode of access: Internet.

Into the Bends of Time and Musical Forces in Jazz: Group Interaction and Double-time in “My Foolish Heart” as performed by the Bill Evans Trio with Scott LaFaro and Paul Motian.

Into the Bends of Time is a 40-minute work in seven movements for a large chamber orchestra with electronics, utilizing real-time computer-assisted processing of music performed by live musicians. The piece explores various combinations of interactive relationships between players and electronics, ranging from relatively basic processing effects to musical gestures achieved through stages of computer analysis, in which resulting sounds are crafted according to parameters of the incoming musical material. Additionally, some elements of interaction are multi-dimensional, in that they rely on the participation of two or more performers fulfilling distinct roles in the interactive process with the computer in order to generate musical material. Through processes of controlled randomness, several electronic effects induce elements of chance into their realization so that no two performances of this work are exactly alike. The piece gets its name from the notion that real-time computer-assisted processing, in which sound pressure waves are transduced into electrical energy, converted to digital data, artfully modified, converted back into electrical energy and transduced into sound waves, represents a “bending” of time.

The Bill Evans Trio featuring bassist Scott LaFaro and drummer Paul Motian is widely regarded as one of the most important and influential piano trios in the history of jazz, lauded for its unparalleled level of group interaction. Most analyses of Bill Evans’ recordings, however, focus on his playing alone and fail to take group interaction into account. This paper examines one performance in particular, of Victor Young’s “My Foolish Heart” as recorded in a live performance by the Bill Evans Trio in 1961. In Part One, I discuss Steve Larson’s theory of musical forces (expanded by Robert S. Hatten) and its applicability to jazz performance. I examine other recordings of ballads by this same trio in order to draw observations about normative ballad performance practice. I discuss meter and phrase structure and show how the relationship between the two is fixed in a formal structure of repeated choruses. I then develop a model of perpetual motion based on the musical forces inherent in this structure. In Part Two, I offer a full transcription and close analysis of “My Foolish Heart,” showing how elements of group interaction work with and against the musical forces inherent in the model of perpetual motion to achieve an unconventional, dynamic use of double-time. I explore the concept of a unified agential persona and discuss its role in imparting the song’s inherent rhetorical tension to the instrumental musical discourse.

Evans functions for integral neural field equations with Heaviside firing rate function

In this paper we show how to construct the Evans function for traveling wave solutions of integral neural field equations when the firing rate function is a Heaviside. This allows a discussion of wave stability and bifurcation as a function of system parameters, including the speed and strength of synaptic coupling and the speed of axonal signals. The theory is illustrated with the construction and stability analysis of front solutions to a scalar neural field model and a limiting case is shown to recover recent results of L. Zhang [On stability of traveling wave solutions in synaptically coupled neuronal networks, Differential and Integral Equations, 16, (2003), pp.513-536.]. Traveling fronts and pulses are considered in more general models possessing either a linear or piecewise constant recovery variable. We establish the stability of coexisting traveling fronts beyond a front bifurcation and consider parameter regimes that support two stable traveling fronts of different speed. Such fronts may be connected and depending on their relative speed the resulting region of activity can widen or contract. The conditions for the contracting case to lead to a pulse solution are established. The stability of pulses is obtained for a variety of examples, in each case confirming a previously conjectured stability result. Finally we show how this theory may be used to describe the dynamic instability of a standing pulse that arises in a model with slow recovery. Numerical simulations show that such an instability can lead to the shedding of a pair of traveling pulses.