Aaron Copland's music for The Red Pony (1948-49), based on John Steinbeck's story collection, is probably the best known of his film scores. The effectiveness of The Red Pony score stems from Copland's belief that film music should be subordinate to the film it accompanies. Copland composed The Red Pony score using his self-described method of "assembly," augmenting this process with devices to synchronize the music with the picture. Examination of archival sources shows how the score reflects the acknowledged influence of Igor Stravinsky, the needs of the film medium, and the plot of The Red Pony specifically. Despite Copland's modern style characteristics, the music functions much like a conventional Hollywood film score.

The Piano Fantasy will be compared to Aaron Copland's other major piano works, the Piano Variations and Piano Sonata, to determine if he has retained his basic stylistic features, although he has employed serial principles more extensively in the piano fantasy than in the other two works and has passed through two different style periods, the "Abstract" (1929-1935) and the American "Folksong" (1934-1955).

Traditions in orchestration can be described by relating the practices of most of the important composers of a particular time. This was done with great success by two composers of the nineteenth century, Hector Berlioz and Nicolai Rimsky-Korsakov, in their books on orchestration. These texts are the basis for the traditional uses of brass instruments appearing in the chapter.

The analytical literature posits a dichotomy between Copland’s “popular” and “serious” music. Despite different motivic and hannonic structures on the surface, however, these styles are consistent in their underlying use of tonality. Tonics in both styles are defined by the same set of tonicizing techniques; and tonics in both styles serve the same function — to define the changing scale-degree function of pcs that are emphasized in various ways as common to the collections of successive tonics. The most important of these changes in scale-degree function are summarized in pitch-class continuity graphs that show the relation of the changes to thematic and harmonic form. Detailed analyses, which cover two “popular” and two “serious” works by Copland, demonstrate the consistency between the two styles. Besides demonstrating an underlying stylistic consistency these graphs provide useful information about structure in Copland’s music because they confirm striking features of Copland’s thematic and tonal designs.

The analytical literature posits a dichotomy between Copland’s “popular” and “serious” music. Despite different motivic and hannonic structures on the surface, however, these styles are consistent in their underlying use of tonality. Tonics in both styles are defined by the same set of tonicizing techniques; and tonics in both styles serve the same function — to define the changing scale-degree function of pcs that are emphasized in various ways as common to the collections of successive tonics. The most important of these changes in scale-degree function are summarized in pitch-class continuity graphs that show the relation of the changes to thematic and harmonic form. Detailed analyses, which cover two “popular” and two “serious” works by Copland, demonstrate the consistency between the two styles. Besides demonstrating an underlying stylistic consistency these graphs provide useful information about structure in Copland’s music because they confirm striking features of Copland’s thematic and tonal designs. / Arts, Faculty of / Music, School of / Graduate

An analysis of American independent cinema from 1990 until 2007, with an emphasis on these films? relationship to the Remarriage Comedies of the 1930s and 1940s. There is a uniquely American tendency to use cinema to reevaluate marriage that was most clearly evident in the Remarriage Comedies of the 1930s and 1940s, this thesis contends that this tendency has emphatically reemerged in American independent cinema since 1990. Using detailed analyses of films that most clearly evidence the persistence of this theme, this thesis explores, in-depth, four films: Hal Hartley?s Trust (1990), Richard Linklater?s Before Sunrise (1995) and Before Sunset (2004), and Aaron Katz?s Quiet City (2007). These four films combine to form a coherent vision of a new perspective on romantic coupling, uniting to together show what they are rebelling against, what their new relationships should be built upon, and, finally, what the new kind of relationship that they present can look like. The definitively American theme that is delineated in these four films not only forms a clear connection to the history of American cinema, but also shows how new generations approach the essential questions implicit in coupling and marriage.

This thesis will survey a group of problems related to certain number-theoretic functions. In particular, for said functions, these problems take the form of when and how often they are equal over consecutive integers, n and n+1. The first chapter will introduce the functions and the histories of the related problems. The second chapter will take on a variant of the Ruth-Aaron pairs problem, which asks how often sums of primes of two consecutive integers are equal. The third chapter will examine, in depth, a proof by D.R. Heath-Brown of the infinitude of consecutive integer pairs with the same number of divisors---i.e. such that d(n)=d(n+1). After that we examine a similar proof of the infinitude of pairs with the same number of prime factors---ω(n)=ω(n+1).

Å arbeide som miljøarbeider i psykisk helsevern er krevende, og kan føre til utmattelse, utbrenthet og sykemeldinger. Dette forskningsarbeidet har som tema hvordan veiledning kan være helsefremmende for de som deltar. Med utgangspunkt i Aaron Antonovskys teori om salutogenese og sense of coherence, på norsk opplevelse av sammenheng, har jeg undersøkt hvordan veiledning kan bidra til en slik opplevelse av sammenheng. Gjennom en kvalitativ studie med dybdeintervju av tre miljøarbeidere som arbeider i psykisk helsevern, har jeg sett på hvordan elementer i veiledning bidrar til opplevelse av begripelighet, håndterbarhet og mening. Jeg har hatt et spesielt fokus på narrativer og nyskriving av historien, som en måte å skape sammenheng i tilværelsen. For analysering av datamaterialet har jeg brukt både en Voice Centred Relational- metode og Interpretativ Phenomenological Analysis (IPA). Studien viser at det er betydningsfullt for opplevelse av sammenheng å få hjelp til å sette ord på erfaringer og å reflektere over egen person og praksis. Det er også betydningsfullt å være i deltager i en gruppe. Forskningen min viste at i tillegg til veiledningsgrupper var det et viktig supplement at miljøarbeiderne også får kollegaveiledning og kollegial bistand i avdelingen der de jobber. Forskning som kunne vært interessant i kjølvannet av denne studien, men som det ikke har vært mulighet for å gjøre innenfor oppgavens rammer er om kjønn har betydning for hvordan veiledning oppleves, og veiledning som kompetansehevende verktøy. / Working as a social worker in mental health care is demanding, and can lead to exhaustion, burnout and sick leave. This thesis is based on a qualitative research project where the main topic is how counseling can be health enhancing for those who participate. Empirical basis are in-depth interviews with three social workers working in mental health care. The research material is viewed through the lenses of Aaron Antonovsky’s theory on salutogenesis and sense of coherence. Analysis the data I have used both Voice Centred Relational method and Interpretative Phenomenological Analysis (IPA). The aim has been to examine how counseling can contribute to a sense of coherence. More specifically I have looked at how elements in counseling contribute to experience of comprehensibility, manageability and meaningfulness. I have had a special focus on narratives and rewriting of one's history as a way to create coherence in the existence. The study shows that to articulate experiences and reflect on own person and practice is an important contribution in creating and maintaining sense of coherence. It is also significant to participate in a group. My research showed that in addition to counseling groups, colleague counseling and collegial assistance in the department where they work, is an important supplement for the social workers that participated in the study. In the wake of this study I find it would be both interesting and useful to do research into the role of gender in counseling: to take a look at how men and women experience counseling, and its use as a tool for increasing competency. This lies outside of this project and cannot be investigated at this time.

This thesis will survey a group of problems related to certain number-theoretic functions. In particular, for said functions, these problems take the form of when and how often they are equal over consecutive integers, n and n+1. The first chapter will introduce the functions and the histories of the related problems. The second chapter will take on a variant of the Ruth-Aaron pairs problem, which asks how often sums of primes of two consecutive integers are equal. The third chapter will examine, in depth, a proof by D.R. Heath-Brown of the infinitude of consecutive integer pairs with the same number of divisors---i.e. such that d(n)=d(n+1). After that we examine a similar proof of the infinitude of pairs with the same number of prime factors---ω(n)=ω(n+1).

Aaron Copland's Clarinet Concerto was written for jazz clarinetist Benny Goodman. The work's incorporation of popular elements, particularly jazz, has led to the perception that it is a "lightweight" representative of Copland's output. However, the concerto shares many characteristics with French neoclassical works of the 1920's and SCfs, and demonstrates a highly skilled construction that belies this label. The neoclassical aspect of the concerto raises important questions as to whether the jazz elements in the piece are really central to its expressive essence, or whether they merely reflect a choice of materials common to Copland and to other neoclassical composers. This dissertation is directed to the potential performer who wishes to have a better knowledge of the concerto's performance issues. It discusses the influence of neoclassicism on Copland's compositional style, gives the historical background to the Clarinet Concerto's composition, and outlines its general stylistic characteristics. The concerto's structure is examined in detail, and then applied to the work's performance issues, as the document investigates the performance practice of the piece through the study of recordings. The purpose of this dissertation is not to burden performers with a detailed set of instructions to be followed in performing the concerto. Rather, it aims to equip them with the techniques necessary to developing an individual, personal interpretation, based on a thorough understanding of the piece.