I look to the common and mundane as sources for inspiration and imagination. In an attempt to evolve a veneer away from representing a coveted material, I have taken phenomenological events from my own personal experience and have searched for commonalities with them to create a new idea for veneering. My exploratory use of Google as a grammar-less machine deciphers the very nature of naming and its ambiguous attachment to an image. I am interested in the multiplicity of personal associations that become attached to images, and the subjectivity thus involved in the naming of an image.

This paper will provide a far-ranging analysis of the relevant aspects of the filmmaking process as it pertains to the development and production of the thesis project, The Good Killing. This analysis will include both a detailed, biographic overview of the making of the film, as well as an in-depth critique of the creative decision-making and practical methodology that guided the production. In this regard, special attention will be first be given to how the project was initially conceived, and, broadly speaking, what was originally intended. Secondly, proceeding sections will examine key elements of the filmmaker’s technical planning, performance, and working philosophy, specifically citing directing style, cinematography, sound and editing. Through this evaluative process, the film will be judged from the standpoint of both concept and execution in order to determine overall success.

[pt] O texto de Nm 16-17 trata da revolta de diferentes grupos contra a autoridade de Moisés e Aarão. Sua composição é complexa, e ao menos três mãos participaram de sua elaboração. As interpolações e glosas, segundo os críticos, sinalizam tentativas frustradas de harmonização em vista de unir a história da revolta de Datã e Abiram com a história da revolta de Coré e os duzentos e cinqüenta líderes. Diante das novas abordagens mais voltadas para o estilo, a pesquisa aborda o texto na sua forma final como um enredo construído e articulado em torno do conflito de autoridade. A construção dramática de Nm 16-17 possui um início determinado com a apresentação dos personagens, a presença dos conflitos (Nm 16,1-3), com um desenvolvimento (Nm 16,5- 11), dramatização (Nm 16,12-15) e auge dos conflitos (Nm 16,19). Essa dramatização (Nm 16,19b- 24. 25-30) e desfecho com aniquilação dos revoltosos (Nm 16,31-35), caracteriza o texto como unidade literária com elementos estilísticos e narrativos peculiares. O fim do enredo ocorre com a aniquilação dos culpados. Porém isso não indica ainda o fim dos conflitos. Eles reaparecem na segunda história de revolta que envolveu todo o povo (Nm 17,6-15). A intenção do autor final é defender a identidade judaica do povo, por meio da classe sacerdotal que assumiu a liderança após o exílio. Essa história, ao enfatizar a aniquilação dos revoltosos contra a autoridade, foi então escrita na ótica daqueles que estavam no poder, justamente porque sua conclusão (Nm 17,16-28) visa à confirmação divina do eleito Aarão como sumo-sacerdote. Ao destacar a derrota dos revoltosos, o autor também quer apresentar uma história de rebelião arquétipo em vista de hostilizar ou ameaçar todos aqueles que ousarem revoltar-se contra as autoridades constituídas pelo próprio Deus. / [en] The text of Nm 16-17 relates the revolt of different groups against the authority of Moses and Aaron. Its composition is complex, and at least three hands contributed to its elaboration. The interpolations and glosses, according to critics, signal frustrated attempts at harmonization, with the aim of uniting the story of the revolt of Dathan and Abiram with the story of the revolt of Core and the two hundred and fifty leaders. Faced with news studies, more interested in style, research has treated the text in its final form as a plot constructed and articulated around conflict of authority. The dramatic construction of Nm 16-17 contains a clear beginning with the presentation of personalities, the presence of conflicts (Nm 16,1-3), development (Nm 16,5-11), dramatization (Nm 16,12-15) and a high point of conflict (Nm 16,19). This dramatization (Nm 16,19b-24; 25- 30) and the ending, with the liquidation of the rebels (Nm 16,31-35), characterize the text as a literary unit with stylistic elements and peculiar narratives. The plot ends with the wiping out of the guilty. However this does not yet mean the end of the conflicts. They reappear in the second story of revolt which involved the people as a whole (Nm 17, 6 -15).The intention of the final author is to defend the Jewish identity of the people, by means of the priestly class, which had assumed leadership after the Exile. This story, emphasising the liquidation of those who rebelled against authority, was therefore written from the viewpoint of those who were in power, exactly because its conclusion (Nm 17,16- 28) aims to show the divine confirmation of the Elected One, Aaron, as High Priest. Emphasising the defeat of the rebels, the author also wishes to present an archetypical story of rebellion, with the aim of confronting or threatening all those who would dare rebel against the authorities constituted as such by God himself.

The purpose of this essay is to examine Leon Kirchner’s "For Cello Solo" for the preparation of a performance. The score, manuscripts, and recordings were analyzed to better inform the author’s interpretation of the work. Backgrounds for both the piece and the composer are included to illuminate the origins of the work. Additional information was accumulated through interviews with Carter Brey and Maria Kitsopoulos, performers of the work who collaborated with the composer. This essay aims to aid a performer’s preparation and interpretation of the composition by describing the piece’s historical and biographical context, analyzing its compositional design, and addressing specific sound and musicality issues related to the work.

Aaron Copland¡¦s Clarinet Concerto was written for jazz clarinetist Benny Goodman in 1948. The composition used not only the jazz style of 20s that he had been appreciated, but also the frequent used compositional techniques -- developing and expanding the plain materials that presented into various ways. Moreover, besides the treatment of jazz rhythms, the combination of elements of Brazilian folk song and American popular music were also applied to the Clarinet Concerto. Although ¡§concerto¡¨ has never been the center of Copland¡¦s works, the Clarinet Concerto has taken an outstanding place in the 20th century clarinet repertoire. This is explained by the arrangement of instrumentation, the originality of structure and the techniques of using plain materials. It combines the characteristics of uncomplicated melodies and meanwhile demands challenging performance techniques. This research includes three chapters. The first chapter introduces Copland¡¦s musical career, shifts of style and the illustration of the Clarinet Concerto¡¦s background. The second chapter brings in the discussion of the concerto from three aspects -- structure, musical elements and performance practice. The final chapter deals with the distinctiveness of the Clarinet Concerto.

Thesis (Ph. D.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references. Available also from UMI Company.

Thesis (Ph. D.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references (leaves 169-185). Available also in a digital version from Dissertation Abstracts.

Not available / text

Thesis (D.M.A.)--University of Southern California. / Includes bibliographical references.

Thesis (Ph. D.)--Ohio State University, 2005. / Title from first page of PDF file. Includes bibliographical references (p. 146-152).