<p>In this paper, I have examined if and how Saul Bass adapts his title sequences to the respective film in the matter of genre, plot, milieu, feeling and appearance. Saul Bass was really a graphic artist who has made himself a long career in film production, foremost as a creator of title sequences. Of all the films Bass has created title sequences to, I’ve chosen six films, whose title sequences I analyse more thoroughly. I do this to point out the differences between them and thus also show how Bass adapt them to the individual work. To do this I’ve used an auteuristic perspective. The analysis I’ve made of the six films points to that Bass adapts his title sequences to the respective films. I have for instance found that certain title sequences is an integrated part of the film itself, others work as a prologue to the plot of the movie, and others present the genre, the plot or a specific theme. Most of the title sequences also introduce a fundamental feeling, that follows the viewer throughout the whole film. However, it has also come forth certain likenesses in his work, certain images and themes. Despite this, I believe that Saul Bass designs his title sequences according to the specific work and not according to his personal style.</p> / <p>I denna uppsats har jag undersökt om och hur Saul Bass anpassar sina förtexter till respektive film ifråga om genre, handling, miljö, känsla eller utseende. Saul Bass var i grunden en grafisk designer som har gjort sig en lång karriär inom filmproduktionen, och då främst som skapare av förtexter. Av alla filmer som Bass har gjort förtexter till har jag valt ut sex filmer, vars förtexter jag analyserar mer ingående. Detta gör jag för att belysa olikheterna dem emellan och därmed också hur Bass anpassar dem efter det individuella verket. Till detta använder jag mig av ett auteuristiskt perspektiv. De analyser jag har gjort av de sex filmerna pekar på att Bass verkligen anpassar sina förtexter till respektive film. Jag har till exempel funnit att vissa förtexter är en integrerad del av själva filmen, vissa fungerar som prologer till filmens handling och vissa presenterar genren, handlingen eller ett specifikt tema. De allra flesta av förtexterna introducerar även en grundläggande känsla, som sedan följer med åskådaren genom hela filmen. Dock har det även dykt upp vissa likheter i hans arbeten, vissa bilder och teman. Detta till trots anser jag att Saul Bass utformar sina förtexter med tanke på det specifika verket och inte med tanke på hans personliga stil.</p>

In this paper, I have examined if and how Saul Bass adapts his title sequences to the respective film in the matter of genre, plot, milieu, feeling and appearance. Saul Bass was really a graphic artist who has made himself a long career in film production, foremost as a creator of title sequences. Of all the films Bass has created title sequences to, I’ve chosen six films, whose title sequences I analyse more thoroughly. I do this to point out the differences between them and thus also show how Bass adapt them to the individual work. To do this I’ve used an auteuristic perspective. The analysis I’ve made of the six films points to that Bass adapts his title sequences to the respective films. I have for instance found that certain title sequences is an integrated part of the film itself, others work as a prologue to the plot of the movie, and others present the genre, the plot or a specific theme. Most of the title sequences also introduce a fundamental feeling, that follows the viewer throughout the whole film. However, it has also come forth certain likenesses in his work, certain images and themes. Despite this, I believe that Saul Bass designs his title sequences according to the specific work and not according to his personal style. / I denna uppsats har jag undersökt om och hur Saul Bass anpassar sina förtexter till respektive film ifråga om genre, handling, miljö, känsla eller utseende. Saul Bass var i grunden en grafisk designer som har gjort sig en lång karriär inom filmproduktionen, och då främst som skapare av förtexter. Av alla filmer som Bass har gjort förtexter till har jag valt ut sex filmer, vars förtexter jag analyserar mer ingående. Detta gör jag för att belysa olikheterna dem emellan och därmed också hur Bass anpassar dem efter det individuella verket. Till detta använder jag mig av ett auteuristiskt perspektiv. De analyser jag har gjort av de sex filmerna pekar på att Bass verkligen anpassar sina förtexter till respektive film. Jag har till exempel funnit att vissa förtexter är en integrerad del av själva filmen, vissa fungerar som prologer till filmens handling och vissa presenterar genren, handlingen eller ett specifikt tema. De allra flesta av förtexterna introducerar även en grundläggande känsla, som sedan följer med åskådaren genom hela filmen. Dock har det även dykt upp vissa likheter i hans arbeten, vissa bilder och teman. Detta till trots anser jag att Saul Bass utformar sina förtexter med tanke på det specifika verket och inte med tanke på hans personliga stil.

Thesis (D.M.A.)--University of North Texas, 2001. / For solo trombone, 4 trumpets (2 doubling flugelhorn), 4 horns, 3 trombones, euphonium and tuba. Includes analysis by composer. Includes bibliographical references.

Thesis (M.S.)--University of North Carolina at Wilmington, 2003. / Vita.

Fokus på basens roll i musik. Hur används instrumentet i ensemblen? Vad händer om basens roll utvecklas och hittar nya ytor i gruppen? Ett arbete om skapa musik med influenser från jazz och fusion som sätter basen i nytt ljus. / Focusing on the role of the bass in music. How is the instrument used in an ensemble? What happens if it develops and finds new spaces in the group? A work about creating music with influences from jazz and fusion that puts the bass in a new light.

White bass Morone chrysops are native to the Mississippi River and its tributaries. This range includes the Barren River in south central Kentucky. Over the last thirty years, the population of white bass in Barren River Lake, a reservoir of the Barren River, has been in decline. During that same time, two congeners of white bass have been introduced to the lake. Hybrid striped bass Morone chrysops × Morone saxatilis were introduced in 1979 and yellow bass Morone mississippiensis were first discovered in 2000. Due to the similar life histories and spawning strategies of all three Morone species, I hypothesized that the two introduced species are interfering with reproduction of the native white bass. In the springs of 2012 and 2013 I sampled fish from within a five kilometer stretch of Barren River upstream of the lake. I collected 144 white bass, 111 yellow bass and 29 hybrid striped bass. Detection of species at spawning sites was staggered with yellow bass and hybrid striped bass arriving after white bass but leading to a period of co-occurrence. White bass on the spawning sites appeared healthy: fecundity (75,200 to 741,150 eggs per female), mean gonadosomatic indices (peaked at 10.7% and 23.7% in sequential years), mean relative weight (93.8), and length at age (above the 50th percentile). Of the yellow bass stomachs examined, 21.6% contained fish eggs or larval fish. Based on arrival times and evidence of egg and larval fish predation, it is likely that yellow bass are directly impacting white bass spawning success through reproductive interference and the consumption of white bass offspring. Schoener’s index values revealed a significant degree of dietary overlap between white bass and yellow bass in larval fish, post larval fish, and arthropods (Cxy = 0.992,0.994, and 0.804, respectively), and between white bass and hybrid striped bass in arthropods (Cxy = 0.851). Information from this study may elucidate causes of the declining white bass population and aid in its management in Barren River Lake.

Thesis (Ph. D.)--University of Chicago, Department of Music, June 2003. / For flute, B♭ clarinet, soprano saxophone, bass clarinet, violin, viola, violoncello, double bass, and percussion (marimba, vibraphone, flexatone, castanets). Also available on the Internet.

Thesis (Ph. D.)--University of Texas at Austin, 2008. / Vita. Includes bibliographical references.

Thesis (M.S.)--University of North Carolina at Wilmington, 2004. / Includes bibliographical references (leaves : [89]-95).

Thesis (M.S.)--Montana State University--Bozeman, 2004. / Typescript. Chairperson, Graduate Committee: Christopher S. Guy. Includes bibliographical references (leaves 41-48).