The seven symphonies of Arnold Bax, written between 1921 and 1939, are the climax of a fruitful career of music composition. This study investigates the determinants of form in these works, considers some of the formal problems, and makes a correlation between form and style. The two primary formal determinants are thematic organization and textural formation. Other factors, such as rhythm, dynamics, timbre, register, and harmony, act on the thematic and textural process in a secondary way. Tonality sometimes plays an important formal role and is discussed in conjunction with thematicism and texture. Harmony, though an important aspect of Bax's style, frequently has an ornamental rather than structural significance. For the sake of generalization and comparison, formal patterns of individual movements are outlined. Formal patterns are described by simple diagrams of how themes appear in a movement as defined by textural formation. In some cases, these bear a resemblance to traditional formal models, though in an individual way. Formal patterns serve to show that Bax has definite formal shapes in mind. Bax, however, does not artificially impose these patterns on the music; instead, they arise from Bax's need for creative expression. A conclusion of this study is that textural-thematic contrast and variation are fundamental to the form and style of Bax's symphonies. Contrast, especially, is vital to Bax's romantic aesthetic, and variation is largely responsible for the variety of textural change and the evolution of thematic ideas. The Second Symphony is analyzed in some detail. In that work, a cyclical use of themes and motives provides an interesting study. Contrast and variation are very pervasive and result in a very individual and satisfying formal design.

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Wong, Hoi yan. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (leaves 149-159). / Abstracts in English and Chinese. / Abstract --- p.ii / Abstract (Chinese Translation) --- p.iii / Acknowledgements --- p.iv / Chapter Chapter 1 --- Background --- p.1 / Chapter 1.1 --- Chen Yi and Her Music --- p.1 / Chapter 1.2 --- Western Music in China --- p.5 / Chapter 1.3 --- Institutionalization of Music Education in China --- p.7 / Chapter 1.4 --- Key Figures in Music Education --- p.10 / Chapter Chapter 2 --- Literature Review and Scope of Study --- p.13 / Chapter 2.1 --- Literature Review --- p.13 / Chapter 2.2 --- Objective and Scope of Study --- p.19 / Chapter Chapter 3 --- Recurring Themes in Chen's Music --- p.21 / Chapter 3.1 --- Baban --- p.22 / Chapter 3.2 --- 12-tone Row --- p.33 / Chapter 3.3 --- Chen Yi Theme --- p.41 / Chapter 3.4 --- Scale X --- p.43 / Chapter Chapter 4 --- Analyses --- p.48 / Chapter 4.1 --- Piano Concerto and Ba Ban (solo piano) --- p.48 / Chapter 4.2 --- Sparkle --- p.84 / Chapter 4.3 --- Golden Flute --- p.91 / Chapter 4.4 --- SiJi (Four Seasons) --- p.108 / Chapter Chapter 5 --- Conclusion --- p.118 / Appendix A The Interview with Chen Yi --- p.123 / Appendix B An Analysis of Monologue --- p.135 / Appendix C List of Chen Yi's Works --- p.137 / Selected Bibliography --- p.149

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The principal aim of this thesis has been to trace the course of Dylan Thomas's poetic evolution, which falls roughly into three main periods. It would be wrong to consider these water-tight compartments, however, since it is possible to discern from any one stage of his development lineaments of the past or of the future. Thus any generalization is automatically so qualified. The first period is principally concerned with the creative and destructive forces which comprise the pattern of the changing and unchanging universe. Its focal image is procreative and its exploration of the natural dialectic is rendered very largely through the kind of perceptions belonging to the subconscious mind. It would be mistaken to infer from this that the poetry is chaotic, but its almost continual reliance upon symbolic meaning demands a response in which areas of the mind outside the rational are very often brought into play. The obscurities of style reflect the difficulties inherent in the putting into words of the chaos beyond consciousness. There are places where a nucleus of significance is lacking, and the poet becomes lost in obfuscated imagery, but at best he achieves a superb, solidified resonance. The second period shows a growing concern with the relation of the macrocosm to the microcosm. Correspondingly, the degrees of both affirmation and negation are more extreme. At this time the growing pressure of problems of personal existence and of a greater awareness results in the questions outnumbering the answers. There are poems so dense and so opaque they virtually defy efforts to elucidate them; others, however, reveal a greater measure of clarity and a more plastic command of language. The third period is, in my opinion, the finest. It explores the many-colored world and possesses the mellowed abundance of artistic maturity. At last the poet appears to have transformed the void at the heart of being into a shining image of faith and redemption, but it should be remembered that in Thomas the negation remains and provides the impetus to his triumphant acclamation of life. Taken on its own terms existence is intolerable; his reconciliation occurs as a result of his rejecting the earth for a vision of immortality. He achieves the poised tranquillity if not the neutral flexibility of the language of, say, Keats or Yeats, which marks the vast and detached power of great poetry. Though there are places where the inspiration seems a trifle flaccid, I should not hesitate to describe the end as a rich and complete poetic harvest. / Arts, Faculty of / English, Department of / Graduate

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Thesis (M.A.)--University of North Texas, Aug., 2007. / Title from title page display. Includes bibliographical references.

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Tesis para optar al grado de Magíster en Estudios Latinoamericanos

In this thesis I have attempted to give some indication of the divergence of the theory underlying the Soviet Constitution from the principles of classical Marxism. The scope of this subject is such that each facet with which I have dealt merits further extensive study and analysis, although I would humbly submit that such further consideration would serve only to verify, substantially. the main conclusions which I have reached. The subject of the thesis is dynamic. The period with which I have dealt is too recent and too momentous to permit complete objectivity to be achieved, and I can only express the hope that my dislike of the arbitrary use of power has been tempered by my enthusiasm for economic, social and political experiment based on profound humanitarian motives. The bibliography omits my most important acknowledge, and I therefore take this opportunity of thanking Mr. D. Novak for his invaluable advice and assistance. / Thesis / Master of Arts (MA)