Typescript (photocopy). / Digitized by Kansas Correctional Industries

This study proposes temporal referentiality—roughly defined as the orientation of substance in its temporal medium—as a theoretical and analytical framework for musical form. Operating on the principle of music as a temporally extended entity, this thesis explores the connections that occur between substance across its medium, suggests an additional interpretation of medium connections (temporality) in terms of language tense, and examines substance connections (referentiality) through different types of filtering. I also propose a means for visual and literary interpretation of temporal referentiality, depicting a network of substance relationships established over a piece’s timespace. Analysis of this type assumes a listener’s complete familiarity with the substance in its temporal boundaries. Visual representations portray the amount and strength of future- and past-oriented musical substance at a given point in time, including which sections are connected to one another (medium connection) and which variables or features of sameness are responsible for this connection (substance connection). Employing an analogy between orientation and tense, it also becomes feasible to construct a “model prose composition” with the same temporal referentiality as a piece of music. Finally, a system of filtering serves to isolate portions of medium and substance and to clarify what elements are responsible for the elusive concept of “sameness.” The possibilities for temporal reference analysis are applied to the first movements of Bartók’s Fourth String Quartet and Brahms’s Violin Concerto, as well as Bach’s Contrapunctus #9 from The Art of Fugue and the Variations movement of Webern’s Symphony op. 21.

published_or_final_version / abstract / Psychology / Master / Master of Philosophy

<p class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span style="font-size: small; font-family: Times New Roman;">Jag har arbetat med att producera ett informationsmaterial för nya hyresgäster hos hyresvärden Ydewalls i Katrineholm. Jag har använt mina kunskaper inom informationsdesign, textdesign och grafisk form för att utforma materialet. </span></p><p class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span style="font-size: small;"><span style="font-family: Times New Roman;"><span style="mso-spacerun: yes;">   </span>Syftet med informationsmaterialet är att ge de nya hyresgästerna den information som de kan tänkas behöva under tiden de bor i lägenheten. Ydewalls vill genom att förbättra sitt material minska antalet onödiga förfrågningar från hyresgästerna.</span></span></p><p class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span style="font-size: small;"><span style="font-family: Times New Roman;"><span style="mso-spacerun: yes;">  </span><span style="mso-spacerun: yes;"> </span>Jag har arbetat efter min huvudfråga: hur skapas ett informationsmaterial utifrån de principer som finns inom informationsdesign? För att få svar på min fråga använde jag mig av metoder som litteraturstudier, komparation, deskription, enkätundersökning samt utprovningar. </span></span></p><p class="MsoNormal" style="margin: 0cm 0cm 0pt;"><span style="font-size: small;"><span style="font-family: Times New Roman;"><span style="mso-spacerun: yes;">   </span>Genom att göra medvetna val inom typografi, rubriksättning, text och bilder har jag kunnat framställa ett enhetligt informationsmaterial som är informativt, läsbart och har hög läslighet. </span></span></p>

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This project is a composition of the intersectionality between process, structure, and materiality, and an obsession, fixation, and fetishization of the simplistic yet repetitive ‘chain’ form. The thematic infatuation with the chain form became evident throughout my work in Spring 2014, while working with bronze, wood, and brass at the Slade School of Fine art in London, England. This fall I expanded on this concept to create my own representations of the chain form, abstracting and deterring it from any sociocultural origins, contexts, or landscapes.

Mary Shelley’s novel Frankenstein has been the direct source for many adaptations on stage, television and film, and an indirect source for innumerable hybrid versions. One of the central premises of Julie Sanders’s Adaptation and Appropriation (2006) is that adaptations go through a movement of proximation that brings them closer to the audience’s cultural and social spheres. This essay looks at how this movement of proximation has impacted the monster’s form and behaviour and concludes that this is the main reason Shelley’s vision of her monster has rarely been accurately reproduced on screen. It is clearly impossible for an essay of this length to adequately cover the vast number of adaptations spawned by Frankenstein. It is clear that James Whale’s Frankenstein (1931), where the monster has a bolt through its neck and a stitched forehead, created the stereotype that has been the source for many other Frankenstein film adaptations. However, contemporary film adaptations cater to target audiences and specific genres, while also reflecting the current political climate and technological innovations. The conclusion reached here is that while the form and behaviour of Frankenstein’s monster in film has inevitably been revised over the years, precisely as a result of social and cultural factors, it is the stereotype created by Whale that has prevailed over the figure produced by Shelley. This, in turn, supports and confirms Sanders’s theory of movement of proximation.

This research projects deals with the question of whether the paintings of artists who have committed suicide is reflective of their mental states both in terms of content and form. It specifically attempts to answer whether the deterioration in mental state from a time of better mental health to the time of their suicide is expressed graphically in the paintings of those artists and whether this can be reliably observed. It was discovered that paintings in the absence of contact with or interpretation by the artists, provided enough information to enable non-expert judges to make reliable global content-related judgements (e.g. destructiveness and hopelessness) as well as form-specific ratings (e.g. lack of detail) that distinguished between paintings created near the time of artists’ suicides and their paintings created at a time of better mental health as well as paintings from artists who were suffering from depression. It was also found that non-expert judges were able to correctly identify paintings that were created just before artists’ suicides as reflecting serious mental health problems. Furthermore, it was discovered that there was a general preference for paintings from depressed artists over the last paintings by artists who have taken their own lives. The implications of these findings for clinical work both in terms of assessment and treatment were discussed. Furthermore, several limitations of this research project were noted and suggestions for future research were provided.

Draws a comparison between the piano variation techniques of Beethoven and Copland with reference only to the two works discussed herein, Thirty-Two Variations and Piano Variations, with the intent of gaining from these isolated examples knowledge of the changes in variation writing from Beethoven's time to the present.

To meet the need of making clinical evaluations in the most efficient way, many scales and short forms of the MMPI have been developed. A review of the literature indicated that the Mini-Mult devised by Kincannon (1967) and the Short Form by Hugo (1971a) were the best short forms of the MMPI which have been constructed. The purpose of this study was to determine which of these short forms would most accurately predict the standard MMPI in a clinical population.