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V. Widder et. al. eds., New York City, American Mathematical Society. - Giancarlo Bizzi, Specchi invisibili dei suoni - Brenno Boccadoro 2008, “Le passioni e i numeri”, in Vendrix 2008, 147–183. -DerkBodde 1959, “The Chinese Cosmic Magic Known As Watching For the Ether”, in Studia Serica B. Kalgren Dedicata, E. Glahn ed., Copenhagen. 14–35. - Severinus Boetius 1867, De Institutione Arithmetica Libri duo. De Institutione Musica Libri Quinque, Godofredus Friedlein edidit, Leipzig, Teubner. - Philip V. Bohlman 1986, “R.G. 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Gillispie (ed.), New York, Scribner’s Sons, 597–613. 1986, “The Concept of Construction, and the Representation of Curves in Seventeenth-Century Mathematics”, preprint Dep. of Mathematics University of Utrecht. 2004, Simon Stevin (1548–1620): L’émergence de la nouvelle science, Brussels. - Umberto Bottazzini 1981, Calcolo sublime: storia dell’analisi matematica da Euler a Weistrass, Torino, Boringhieri. - Marie-Thérèse Bouquet 1986, “Alembert, Jean le Rond d’ ”, in Dizionario Enciclopedico Universale della Musica e dei Musicisti, Alberto Basso (cur.), Torino, UTET, 59–60. -CarlB.Boyer 1990, Storia della matematica, Milano, Mondadori. - Francesca Bray & Georges Métailié 2001, “Who Was the Author of the Nongzheng Quanshu?”,
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    K. HELSEN – I. BEHRENDT – J. BAIN, OPTICAL NEUME RECOGNITION, ARMUD6 48/2 (2017) 241-266 241 A MORPHOLOGY OF MEDIEVAL NOTATIONS IN THE OPTICAL NEUME RECOGNITION PROJECT KATE HELSEN UDK / UDC: 781.24:004.352.242 DOI: htt p://doi.org/10.21857/94kl4cxpqm Don Wright Faculty of Music Izvorni znanstveni rad / Research Paper Western University Primljeno / Received: 10. 5. 2017. Talbot College, Room 210 Prihvaćeno / Accepted: 16. 11. 2017. LONDON, Ontario, Canada, N6A 3K7 INGA BEHRENDT Hochschule für Kirchenmusik der Diözese Rott enburg-Stutt gart St.-Meinrad-Weg 6 72108 ROTTENBURG, Germany Eberhard Karls Universität Tübingen Musikwissenschaftliches Institut Schulberg 2 72070 TÜBINGEN, Germany JENNIFER BAIN Fountain School of Performing Arts Dalhousie University 6101 University Avenue HALIFAX, NS, B3H 4R2, Canada 242 K. HELSEN – I. BEHRENDT – J. BAIN, OPTICAL NEUME RECOGNITION, ARMUD6 48/2 (2017) 241-266 Abstract The study of medieval notations depends ume tables help scholars to understand the use on eff ective categorization of individual signs of medieval neumes in the same way a linguist in order to facilitate a comprehensive under- understands the morphology of words. This standing of their musical meaning. Over the article presents the principles on which this past century, chant scholars have developed new kind of neume table has been developed several kinds of neume tables which arrange and suggests the ways in which this new way and contextualize neumes either according to of thinking might inform the discipline in the graphical type, chronology, or scribal tradition. future. Some neume tables contain longer strings of neumes that link certain notation conventions Keywords: neume table, morphology of with performance traditions.
  • Ubc Virtual Graduation Fall 2020 November 25 Dear Graduate

    Ubc Virtual Graduation Fall 2020 November 25 Dear Graduate

    ubc virtual graduation fall 2020 november 25 Dear Graduate, Today’s virtual ceremony celebrates your very real accomplishment. Your graduation began long before this day. It began when you made the choice to study that extra hour, dedicate yourself more deeply and strive to reach for the degree you had chosen to fully commit your life to pursuing. Many of the people that helped you arrive here today— family, friends, classmates—are watching this ceremony with you. While they may not be physically next to you, they stand with you in spirit, take pride in your achievement and share your joy. We are honoured to have given you a place to discover, inspire others and be challenged beyond what you thought was possible. Yours, UBC TABLE OF CONTENTS The Graduation Journey 2 Lists of Fall 2020 Graduating Students Graduation Traditions 4 The Faculty of Graduate and Chancellor’s Welcome 6 Postdoctoral Studies 17 President’s Welcome 8 The Faculty of Applied Science 27 Musqueam Welcome 10 The Faculty of Arts 28 The Board of Governors & Senate 12 The Faculty of Commerce and Business Administration 30 Scholarships, Medals & Prizes 14 The Faculty of Dentistry 31 The Program of Ceremony 16 The Faculty of Education 32 The Faculty of Forestry 36 The Faculty of Land and Food Systems 36 The Peter A. Allard School of Law 37 The Faculty of Medicine 37 The Faculty of Pharmaceutical Sciences 37 The Faculty of Science 38 Acknowledgements 40 O Canada 40 Alumni Welcome 41 1 FALL GRADUATION 2020 THE GRADUATION JOURNEY The UBC graduation journey has been forged by the spirit of the university’s motto, Tuum Est, (meaning ‘it is yours’) since 1915.
  • Transcendental Oscillations in Popular and Classical Music Since the 1800S

    Transcendental Oscillations in Popular and Classical Music Since the 1800S

    Transcendental Oscillations in Popular and Classical Music Since the 1800s by Maxwell Ramage Department of Music Duke University Date:_______________________ Approved: ___________________________ Nicholas Stoia, Advisor ___________________________ Philip Rupprecht ___________________________ R. Larry Todd ___________________________ Jacqueline Waeber Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2021 ABSTRACT Transcendental Oscillations in Popular and Classical Music Since the 1800s by Maxwell Ramage Department of Music Duke University Date:_______________________ Approved: ___________________________ Nicholas Stoia, Advisor ___________________________ Philip Rupprecht ___________________________ R. Larry Todd ___________________________ Jacqueline Waeber An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music in the Graduate School of Duke University 2021 Copyright by Maxwell Ramage 2021 Abstract In music both popular and classical since the nineteenth century, one finds everywhere chord progressions that alternate between two harmonies in ways that deviate from conventional “textbook” tonality. This thesis aims to answer the following questions: are there meaningful generalizations to be made about these progressions? What is their role in music history? Why have they been so popular with composers of the past two centuries?