French composer Fernande Decruck (1896-1954) composed over forty works for the saxophone, but her music fell into obscurity soon after her death. In recent years, the Sonate en ut# pour saxophone alto (ou alto) et orchestre (1943) has been rediscovered, performed, and recorded by prominent concert saxophonists. This document takes a historical approach by examining Decruck's biography, as well as a theoretical approach to provide a deeper understanding and appreciation of her work through analysis. The first four chapters of this document provide biographical background on Decruck, her career, professional associations, and her husband, Maurice Decruck, saxophonist and music publisher. Additionally, an examination of her saxophone output includes a brief discussion of her compositional development. Fernande Decruck dedicated her sonata to French saxophone virtuoso Marcel Mule, but a version for solo viola also exists. From the discrepancies between the versions, one might infer that portions of the work were composed originally for the viola. There are also two versions of the accompaniment: one for full orchestra and the other for piano. Analysis comprises the bulk of this study. The work is composed in a traditional four-movement setting: a sonata-form opening movement, a slow second movement, a movement entitled "Fileuse" (spinning song), substituting for the traditional scherzo, and a rondo-like finale. The work incorporates trends of Impressionism through its harmonic vocabulary, chordal planing, and pentatonic scales. It also demonstrates a sophisticated application of polytonal techniques in several passages. In addition to analysis of each movement, common interpretive practices are discussed, based upon available commercial recorded performances, and performance suggestions are given. There are several notation errors within the parts, as well as some significant differences between the two accompaniments. These errata and discrepancies between the solo parts are listed and discussed.

Michael Daugherty has created his niche in the music world by composing works inspired by icons of American popular culture. Red Cape Tango is the final movement of his Metropolis Symphony, a work inspired by the life and times of the comic book character Superman. This movement in particular deals with the death of the superhero through the use of musical elements, most notably the Latin Sequence of the Mass for the Dead, Dies irae. Daugherty's ingenuity in blending profoundly dark subjects with humor is particularly evident in this work. Death is personified as a temptress and lures Superman through the power of a seductive tango. This study concentrates on Daugherty's compositional style and its impact in musical circles. A transcription for wind orchestra was created by another composer/conductor precisely because of the need to bring such an important work to another medium, thus making it accessible to a wider audience. In addition, this study looks at the changes in instrumentation necessary to create a second, equally formidable version of the work.

In response to Irish philosopher Richard Kearney’s recent proposal of a post-metaphysical re-imagination of God, the thesis asks how we may begin to reimagine the Christ-event, post-metaphysically. Specifically, it investigates the implications of such post-metaphysical thought for the theological categories of hamartiology and soteriology. Methodologically, the thesis proceeds from hermeneutical re-readings of biblical narratives and traditions. Via an archaeology of the biblical yetser, the concept of imagination is offered as a way to re-imagine sin and salvation. The Eden narrative is read within its ancient Near Eastern context, and the narratives of the Annunciation and Transfiguration also receives special mention, as well as the window that Song of Songs opens on the metaphor of the desire of God. What results from this approach is, first, yet another deconstruction of the Augustinian formulation of original sin, as well as an eschatological reinterpretation of the Christ event in terms of the messianic Kingdom of God. Christ, who submits his yetser to the will of the Father in an act of worshipful surrender, becomes the perfect embodiment of the Word of God to a humanity whose yetser is perpetually put in service of itself in an act of idolatry. The enabling of the Kingdom of God in Jesus, who embodies the human telos, captures the human imagination and transfigures humanity through the existential experience of transcendence which breaks into its concrete reality through the Christ-event and its retelling. In this way, realised eschatology is possibilised through the imagination. Christ as prototype of the divinely intended telos of humanity becomes an existential possibility via the transfiguration, enacted by the imagination. This enables humanity to become co-creators with God of a new creation, symbolised by God’s messianic Kingdom of love and justice. / Thesis (PhD)--University of Pretoria, 2016. / University of Pretoria Postgraduate bursary / Dogmatics and Christian Ethics / PhD / Unrestricted

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Many cultural histories have been written of Utah, but not one of Weber County. The purpose of this thesis is to develop the history of drama in Weber County. Particular interest is given to the stage and its evolution. Also, I include the outstanding leaders of this art, because they are the builders of this history. The hypothesis is that the present-day drama owes much to our pioneers of Weber County. This thesis is written in commemoration of these pioneers for our Centennial Year, 1947.

The purpose of this thesis is to give the prospective performer an insight into the content of the vocal solos of Charles Ives and to give the student and musicians in general an understanding of the musical devices employed by Ives and of his position as a song writer.

Québec Université Laval, Bibliothèque 2012

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In this study I present a new understanding of Vietnamese existentialism during the period 1954-1975, the period between the Geneva Accords and the fall of Saigon in 1975. The prevailing view within Vietnam sees Vietnamese existentialism during this period as a morally bankrupt philosophy that is a mere imitation of European versions of existentialism. I argue to the contrary that while Vietnamese existential philosophy and European existentialism share some themes, Vietnamese existentialism during this period is rooted in the particularities of Vietnamese traditional culture and social structures and in the lived experience of Vietnamese people over Vietnam's 1000-year history of occupation and oppression by foreign forces. I also argue that Vietnamese existentialism is a profoundly moral philosophy, committed to justice in the social and political spheres. Heavily influenced by Vietnamese Buddhism, Vietnamese existential philosophy, I argue, places emphasis on the concept of a non-substantial, relational, and social self and a harmonious and constitutive relation between the self and other. The Vietnamese philosophers argue that oppressions of the mind must be liberated and that social structures that result in violence must be changed. Consistent with these ends Vietnamese existentialism proposes a multi-perspective ontology, a dialectical view of human thought, and a method of meditation that releases the mind to be able to understand both the nature of reality as it is and the means to live a moral, politically engaged life. This study incorporates Vietnamese existential philosophy from 1954-1975 into the flow of the Vietnamese philosophical tradition while also acknowledging its relevance to contemporary Vietnam. In particular, this interpretation of Vietnamese existentialism helps us to understand the philosophical basis of movements in Vietnam to bring about social revolution, to destroy forms of social violence, to reduce poverty, and to foster equality, freedom, and democracy for every member of society. By offering a comparison between Vietnamese existential thinkers and Western existentialists, the study bridges Vietnamese and the western traditions while respecting their diversity. In these ways I hope to show that Vietnamese existentialism makes an original contribution to philosophical thought and must be placed on the map of world philosophies. / Philosophy