This thesis presents an analysis of Copland's first major serial work, the Quartet for Piano and Strings (1950), using pitch-class set theory and tonal analytical techniques.

In Appalachian Spring, Aaron Copland creates a unique tonal environment. Although often considered a tonal work, it contains many non-functional progressions and techniques that belie common-practice norms. The entire first movement, and sections of other movements contain no harmonic motion, in part because tonic and dominant chords sound together as a single sonority. In other movements, harmonic motion, in part because tonic and dominant chords sound together as a single sonority. In other movements, harmonic motion is increased by shifts to third-related keys, and non-functional progressions. Also, the variations on the melody "Simple Gifts" never employ common-practice techniques. Through the free use of materials, Copland creates an individualistic example of tonality in twentieth-century music.

Tesis para optar al grado de Magíster en Historia mención Historia de Chile / Uno de los objetivos centrales de nuestra investigación, es profundizar principalmente en el pensamiento sindical de Clotario Blest. Es por ello que analizamos sus discursos y prácticas a través de su presidencia en la Agrupación Nacional de Empleados Fiscales (ANEF, 1943 – 1957). Desde la década de 1940 nos aproximaremos también hacia el movimiento sindical de la época, mediante una descripción generalizada del contexto y de la escalada unitaria hacia la creación de la Central Única de Trabajadores (CUT). Teniendo en consideración nuestro objetivo central, realizaremos un análisis extensivo sobre su pensamiento sindical fundamentalmente durante su presidencia en la Central Única de Trabajadores (1953 – 1961) a través de un seguimiento detallado de sus discursos y estrategias. Gran parte de nuestra investigación se centrará en su presidencia en la CUT, ya que fue precisamente mediante ésta organización en la cual desarrolló una propuesta histórica de renovación de la cultura sindical chilena.

Difficulties are encountered in any discussion of Copland's style, for his works cover the spectrum from harsh, dissonant works to folk music. To avoid the task of defining a style which encompasses this array of vastly different pieces, a sharp distinction is frequently made between the abstract and popular works. However, Copland has repeatedly objected to such categorization, claiming that he composed from a single vision. A careful examination of his total output proves the validity of his claim. Many common characteristics are found throughout works from all categories and time periods. These traits include a basic economy of materials, emphasis on thirds, consistent method of development, use of declamation, jazz-influenced rhythms, cyclicism, and a slow/fast/slow sequence of movements, as well as within single movements. This document uses the Piano Sonata as a model of Copland's style, for it exemplifies these characteristics more clearly than any other major piece for piano. By making numerous comparisons with other works, Copland's single vision is revealed.

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.

Couramment utilisées dans les laboratoires du monde entier, les techniques de cryoconservation issues des recherches en cryobiologie sont aujourd’hui devenues des outils incontournables dans plusieurs domaines tels que la biomédecine et l’industrie agroalimentaire. À partir de l’étude des écrits du biologiste anglais Alan Sterling Parkes (1900-1993), ce mémoire propose une reconstruction historique et épistémologique des avancées en cryobiologie. Pour ce faire, nous examinerons, dans un premier temps, les premières observations qui ont avivé l’intérêt pour l’étude des effets du froid sur les organismes vivants. Nous prendrons comme point de départ les découvertes fascinantes des naturalistes du XVIIe siècle. Nous verrons que leurs constats sont souvent étroitement associés à d’autres épisodes majeurs de l’histoire de la pensée biologique. Nous aborderons ensuite la période plus prolifique concernant les avancées en biologie aux basses températures. La découverte des propriétés protectrices du glycérol par l’équipe du National Institute of Medical Research (NIMR) au milieu du siècle dernier marque un point de rupture dans l’histoire de cette spécialité. Ce cryoprotecteur permet en effet d’élargir considérablement la gamme de tissus et de cellules pouvant être cryoconservés. Les développements orchestrés par les chercheurs anglais ont, à cet égard, contribué à l’émergence d’une nouvelle discipline scientifique : la cryobiologie. Enfin, nous étudierons dans une dernière section de ce mémoire le contexte sociohistorique dans lequel ont eu lieu les premières applications pratiques des méthodes de cryoconservation. Cela nous conduira à analyser, en particulier, certains enjeux soulevés par l’implantation de ces techniques dans le champ de la médecine reproductive. Ce mémoire aura non seulement permis de retracer certains évènements qui ont jalonné l’histoire de la cryobiologie au fil du temps, mais aussi de mettre en valeur les contributions fondatrices de Parkes et son équipe tout en montrant le rôle de premier plan qu’elles ont joué dans la structuration de cette discipline. / With a panoply of applications ranging from therapeutics to everyday processes in the biomedical and agricultural industry, cryobiology-derived techniques have become essential to many present-day human activities. In this master’s thesis, I explore the history and epistemology of cryobiology through the lens of English biologist Alan Sterling Parkes (1900-1990). I will start by looking at the very first observations made by naturalists in the XVIIth century on the effects of low temperatures on living organisms and how these have been essential to the field of cryobiology. Those observations, as we will see, are also linked to other major episodes in the history of biology. From there, I will trace the early days of cryobiology, with a particular focus on a major scientific breakthrough: the discovery of protective properties of glycerol by Parkes and his colleagues at the National Institute of Medical Research (NIMR) at the end of World War II. This new cryoprotective agent enabled the preservation of living tissues and cells, thus revolutionizing the field of biology at low temperatures as well cementing cryobiology as a brand-new research field of its own. Finally, I will analyze the socio-historical context of cryobiology’s first practical applications, most notably in the field of reproductive medicine. This work aims at reconstructing the history of cryobiology and highlights the contribution of Parkes and his NIMR colleagues while also showing the role these played into structuring the emerging field.

Memoria (licenciado en ciencias jurídicas y sociales) / Trata sobre el desarrollo histórico de la Agrupación Nacional de Empleados Fiscales, ANEF, cuerpo que reúne a la generalidad de los funcionarios estatales de la Administración Pública, desde su constitución en el año 1943 hasta el año 1953. Busca dar luces sobre la influencia que habría tenido la federación funcionaria en la constitución de la Central Unitaria de Trabajadores, CUT y su rol en la década estudiada. Metodológicamente, está construida a partir de la recopilación de fuentes secundarias y primarias de la antedicha Agrupación y de trabajos realizados sobre historia sindical chilena. Concluye con la ponderación de los principales resultados obtenidos, tanto respecto de la evolución de la ANEF, como de su influencia en la formación de la CUT.

The dissertation consists of four recitals: one chamber music recital, two solo recitals, and one lecture recital. The repertoire of these programs was chosen with the intention of demonstrating the capability of the performer to deal with problems arising in works of varying types and of different historical periods. The lecture recital, Aaron Copland's Concerto for Clarinet, begins with biographical information, followed by a discussion of various other works of the composer and of important stylistic traits that are contained therein. After thus setting the Concerto in perspective to other major works, an investigation is made into various aspects of form and style which make the Concerto atypical in some respects to the composer t total body of works. Particular emphasis is given to rhythmic and melodic characteristics of the piece which are related to jazz and Latin-American popular music. The formal and stylistic analysis is followed by a discussion of problems involved in performing the Concerto with a piano reduction of the orchestral part, and the lecture concludes with a survey of interpretative problems posed by the work. At the conclusion of the lecture portion of the presentation, the Concerto was performed.