Since the invention of the Indian writing system around the third century BC, Sanskrit literature was no longer exclusively oral. However, not all genres immediately adopted the new possibilities.... Show moreSince the invention of the Indian writing system around the third century BC, Sanskrit literature was no longer exclusively oral. However, not all genres immediately adopted the new possibilities. In order to fully understand the orality and writing of Sanskrit literature, I will first define a threefold division of what I call ‘the compositional complex’, the totality of processes involved in the creation of texts and their subsequent usages. The first stage is the composition of the text, the second is its preservation for the sake of future generations, and the third is its transmission to the audience. Each stage can be oral or written. After a brief discussion of secondary literature on the compositional complex of the Vedas, the Mahābhārata and the Purāṇas, I look for textinternal evidence for the compositional complex of Purāṇas in the Bhaviṣyapurāṇa, ‘the Purāṇa of the future’. On the basis of this single Purāṇa, it is possible to make a reconstruction of the composition, preservation, and transmission of Purāṇas, where orality and writing intertwine. Show less
With the advent of multicore processors and data centers, computer hardware has become increasingly parallel, allowing one to run multiple pieces of software at the same time on different machines.... Show moreWith the advent of multicore processors and data centers, computer hardware has become increasingly parallel, allowing one to run multiple pieces of software at the same time on different machines. Coordination of these pieces is best expressed in a coordination language as an explicit interaction protocol that clearly defines the interactions among all components in the software. An explicit interaction protocol not only improves code structure but also enables automated analysis of the protocol to improve execution efficiency of the software. In this thesis, we focus in particular on improving execution efficiency by means of scheduling, which concerns with the allocation of (computing) resources to software tasks. Almost always, scheduling is the responsibility of a general-purpose operating system that makes no assumptions on the software and thereby ignores all relevant scheduling information in that software. As a result, the operating system alone cannot ensure optimally scheduled execution of the software. In this thesis, we propose a solution that changes the software such that it will be efficiently scheduled by the general-purpose operating system. The main idea is to take advantage of the duality between scheduling and coordination. To be precise, we analyze the protocol of the software to determine an optimal scheduling strategy for this software. Then, we enforce this optimal schedule by incorporating the strategy in the original protocol. As a result, we force the ignorant operating scheduler to follow our precomputed optimal schedule. Show less
In this research project I analyze and reflect on taqsīm recordings by two leading figures of ‘ūd playing who were pillars of modern Arabic music, namely the Egyptians Muḥammad al-Qaṣabjī (1898... Show moreIn this research project I analyze and reflect on taqsīm recordings by two leading figures of ‘ūd playing who were pillars of modern Arabic music, namely the Egyptians Muḥammad al-Qaṣabjī (1898-1964) and Riyāḍ al-Sunbāṭī (1906-1981). I decode and underline their most significant traits in order to:1) enrich and develop my melodic-rhythmic vocabulary;2) deepen my understanding of the structural, melodic and rhythmic processes underlying the genre;3) design a structural framework or a model for pre-composing taqsīm-like pieces of music.To put it another way, the dissertation discusses the creation of pre-composed taqāsīm. The pieces follow a specific model of pre-composition that was designed while taking al-Qaṣabjī and al-Sunbāṭī’s taqsīm practice as a reference and a source of inspiration. This model contributes to both artistic research and practical knowledge, and provides new insights into structural, melodic and rhythmical processes of the genre. The artistic outcome of this project includes five new works for solo ‘ūd. Show less
Tin electrodeposition applications have rapidly evolved in the past 25 years. Usage of tin coatings has advanced from being mainly used for corrosion protection and decorative purposes, to being... Show moreTin electrodeposition applications have rapidly evolved in the past 25 years. Usage of tin coatings has advanced from being mainly used for corrosion protection and decorative purposes, to being used in modern technology such in electronic devices, photovoltaic cells and Li-ion batteries. The new tin coating applications have also come with challenges that require the production of nanostructured deposits, multilayers coatings and composites. Furthermore, the need to reduce energy and source consumptions, and the implementation of more environment-friendly processes, require detailed and fundamental knowledge of the electrodeposition process.The emphasis throughout this thesis is therefore to obtain detailed mechanistic information of tin electrodeposition process.The experimental and theoretical work presented in this thesis attempts to understand the mechanism of tin electrodeposition, and the effect of electrolyte anions and naphthalene-based additives, during the early and subsequent stages of the process. Show less
Tactile Paths: on and through Notation for Improvisers is an artistic research project that articulates and expands the nexus of notation and improvisation in contemporary and experimental... Show more Tactile Paths: on and through Notation for Improvisers is an artistic research project that articulates and expands the nexus of notation and improvisation in contemporary and experimental music. The project interweaves direct artistic experience with insights from improvisation studies, the social sciences, philosophy, and various scholarship in the arts to reveal methodological connections among diverse artists such as Richard Barrett, Cornelius Cardew, Malcolm Goldstein, Lawrence Halprin, Bob Ostertag, Ben Patterson, and the author. By focusing on how notation is used, rather than on what it represents in an abstract sense, the author shows how written scores emerge from and feed back on ongoing improvisational processes. Thus, it is argued, they are not fixed texts whose primary purpose is to prescribe and preserve, but rather tactile paths in the improviser’s ever-crescent musical and social environment. This practice-based approach aims to lay the conceptual groundwork for theorizing and broadening the creative relevance of work whose importance to practitioners belies its marginal presence in academia and institutions. Show less
The use of the electronic medium to compose music entails a variety of cognitive idiosyncrasies which are experienced by both the artist and the audience. Structured around this medium on both... Show moreThe use of the electronic medium to compose music entails a variety of cognitive idiosyncrasies which are experienced by both the artist and the audience. Structured around this medium on both practical and conceptual levels, this study utilizes a tripartite methodology involving artistic practice, cognitive experimentation and theoretical discourse to investigate these idiosyncrasies. All three components of this methodology operate concurrently to address a succession of questions: How do we experience electronic music? How does electronic music operate on perceptual, cognitive and affective levels? What are the common concepts activated in the listener’s mind when listening to electronic music? Why and how are these concepts activated? In this dissertation I argue that our experience of electronic music is guided by a cognitive continuum rooted in our everyday experiences. I describe this continuum as spanning from abstract to representational based on the relationship of gestures in electronic music to events in the environment. Conducting this research has significantly expanded my comprehension of the experiential depth of electronic music. It has also affirmed my belief that we have much more to gain from the electronic medium, and that the cognitive continuum is one of its most remarkable offerings. Show less
Although the guitar has been part of the classical music tradition for centuries, writing for the guitar remains a formidable challenge for many composers. Where orchestral instruments have a long... Show moreAlthough the guitar has been part of the classical music tradition for centuries, writing for the guitar remains a formidable challenge for many composers. Where orchestral instruments have a long history of scoring guides that help composers develop their craft, the number of studies dedicated to guitar scoring remains scarce. This has led to a myriad of scoring problems in guitar works written by non-guitarist composers, often evidenced in unplayable passages and underdeveloped textures. The present study aims to fill this gap by establishing and developing guidelines for effective use of the classical guitar__s scoring potential. These guidelines are described through the sound-cell-texture chain, a model introduced in this study that identifies building blocks for guitar scoring that are believed to give the composer access to the scoring potential for the guitar. The second aim of this study is to use the findings of the research to compose a set of new guitar etudes. Show less
The music-performing body fulfills an essential role in the creation of new instrumental compositions. However, its presence is rarely the primary concern of compositional thinking. With most... Show moreThe music-performing body fulfills an essential role in the creation of new instrumental compositions. However, its presence is rarely the primary concern of compositional thinking. With most musical experimentation, the music-making body keeps a self-evident function as a transparent medium for musical ideas, but also as a limitation on the potential for musical exploitation. Recent artistic and theoretical developments invite a rethink of the compositional potential of the music-performing body. Focus on the music-making body and the physicality of the music experience has intensified in recent decades. A body paradigm is becoming audible and visible in the work of a generation of young composers, as well as in musicological research. The micro-temporality of physical gesture and instrumental timbre have become key points of interest. In the micro-temporal space, physical presence is unveiled as a very direct interactive ability of the performer or improviser but also as a 'bodily thinking' of the composing body. Based on recent scientific insights and both historical and recent music examples, the author develops a concept of 'intercorporeality' that sheds new light on the relationship between music performers, composers and music consumers. Show less
