Thesis (D. M. A.)--Ohio State University, 2006. / Title from first page of PDF file. Includes bibliographical references (p. 138-140).

Thesis (M.A.)--University of Wisconsin--Madison, 1967. / Description based on print version record. Includes bibliographical references.

As one of Great Britain's leading composers, Sir Richard Rodney Bennett (b. 1936) is prolific in a wide range of media, idioms, and genres, including concert and stage music, jazz, and film scores and has to his credit an extensive discography. He excels in solo vocal, instrumental, and chamber music composition and has a significant but lesser known corpus of choral music. A classically trained pianist, Bennett enjoys a parallel performing career as a jazz musician and cabaret singer. He has lived in New York since 1979.Bennett is one of a group of twentieth-century British composers who have cultivated distinctly English styles of composition. Like his near contemporaries Kenneth Leighton (1929-88), William Mathias (1934-92), and Paul Patterson (b. 1947), Bennett borrows from ancient and modern English traditions and from twentieth-century techniques to create an individual style.This study provides an historical context for English choral tradition, traced from its medieval roots through a twentieth-century musical renaissance, then identifies and examines a wide array of eclectic traits in Bennett's unaccompanied choral compositions for mixed voices. A component of the study is a literature survey to aid the choral conductor's preparation of these works for performance.This investigation revealed Bennett's affinity for English poetry and his desire to communicate the emotional content of his chosen texts through musical expression. Salient features of his compositional method are fluent linear part-writing within a contrapuntal texture, skillful textural manipulation, refined rhythmic control, and structural symmetry and balance. Other style traits emerged, including modality, pitch cross-relations, canonic imitation, word-painting, cross-rhythms, metric shifts, harmonic shifts, tone clusters, driving repetitive rhythms, extended vocal techniques, and use of the octatonic scale. Collectively, these suggest the composer was influenced by Tudor polyphony (possibly subconsciously), Igor Stravinsky (1882-1971), Francis Poulenc (1899-1963), William Walton (1902-83), Olivier Messiaen (1908-92), and Benjamin Britten (1913-76).

Thesis (M.A.)--University of Wisconsin--Madison, 1967. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Atualmente na odontologia ainda há muita dificuldade na compreensão do movimento de Bennett ou laterotrusão. Devido a questões de inviolabilidade inerentes à característica da articulação temporomandibular não é possível observar diretamente o seu interior, de maneira que a análise da sua dinâmica durante a função torna-se questionável. Assim, o autor trabalhou com imagens e inferências aplicadas numa metodologia utilizada para tal fim. A proposta dessa pesquisa foi a de analisar o comportamento condilar durante os movimentos de lateralidade Centrífuga e de Bennett em pacientes portadores de prótese total. Vinte e dois indivíduos receberam novas próteses totais. O registro maxilomandibular foi realizado com a técnica de Gysi com a plataforma e pua extraoral. Utilizando-se uma pua modificada de forma que esta realizasse dois registros (pua dupla) com o mesmo movimento e, ao invés da cera aplicada sobre a plataforma, o registro foi feito sobre um fino papel carbono aderido a esta com uma fita adesiva dupla face. Através de imagens digitalizadas do articulador e dos registros no carbono foi possível, com a utilização de um programa de tratamento de imagens, arbitrar e testar a posição do eixo vertical de rotação condilar durante a lateralidade centrífuga e de Bennett. Os resultados mostraram uma predominância nos eventos onde o eixo vertical do côndilo posicionou-se na região ântero-lateral e póstero-medial durante a lateralidade de Bennett, porém mostrou uma predominância de eventos localizados na região póstero-medial durante a lateralidade Centrífuga. Houve casos onde o eixo vertical localizou-se exatamente sobre o centro da esfera, o que indica que o paciente durante a lateralidade não promoveu excursão do côndilo de trabalho, realizando um movimento de rotação puro se analisado no plano horizontal. De acordo com a metodologia aplicada nessa pesquisa concluiu-se que o eixo da lateralidade Centrífuga é mais medial que o da lateralidade de Bennett e que a maior parte dos eixos não coincide com aquele sobre o centro da esfera condilar. / It has been controversial the understanding of both the Bennett’s side shift and Centrifuge lateral movements. Had the inherent questions of TMJ´s inviolability it is not possible to observe its interior directly, thus the analysis of its dynamics during the function becomes questionable. The author worked with images and inferences applied to a methodology used for such end. The proposal of this research was to analyze the behavior of jaw condyle Bennett’s side shift and Centrifuge lateral movements in complete denture wearers. Twenty two subjects had new dentures constructed. The mandible tracings were made using the technique of Gysi with an extra oral device with two registration markers. Instead of wax it was applied a fine articulating paper adhered to the platform by a double face adhesive ribbon. Digitalized images from articulator and from articulating papers were set together. It was used a software of treatment of images both to decide and to test the position of the vertical axle of rotation of the jaw during the Bennett’s side shift and during Centrifuge lateral movement. The results were a predominance of the events where the vertical axis were located in the backward medial region for the centrifuge lateral movement and were located both in the backward medial and in the forward lateral region for the Bennett’s side shift. It had cases where the vertical axle was situated accurately on the center of the condyle sphere, what is supposed to mean that the patient, during the lateral jaw movement did not promote excursion of the working side condyle. In accordance with the methodology applied in this research, the author concluded that the axis of the centrifuge lateral movement is more medial than the one of the Bennett’s side shift, and that in the great majority of the events the axis did not met the condyle sphere of the articulator.

Atualmente na odontologia ainda há muita dificuldade na compreensão do movimento de Bennett ou laterotrusão. Devido a questões de inviolabilidade inerentes à característica da articulação temporomandibular não é possível observar diretamente o seu interior, de maneira que a análise da sua dinâmica durante a função torna-se questionável. Assim, o autor trabalhou com imagens e inferências aplicadas numa metodologia utilizada para tal fim. A proposta dessa pesquisa foi a de analisar o comportamento condilar durante os movimentos de lateralidade Centrífuga e de Bennett em pacientes portadores de prótese total. Vinte e dois indivíduos receberam novas próteses totais. O registro maxilomandibular foi realizado com a técnica de Gysi com a plataforma e pua extraoral. Utilizando-se uma pua modificada de forma que esta realizasse dois registros (pua dupla) com o mesmo movimento e, ao invés da cera aplicada sobre a plataforma, o registro foi feito sobre um fino papel carbono aderido a esta com uma fita adesiva dupla face. Através de imagens digitalizadas do articulador e dos registros no carbono foi possível, com a utilização de um programa de tratamento de imagens, arbitrar e testar a posição do eixo vertical de rotação condilar durante a lateralidade centrífuga e de Bennett. Os resultados mostraram uma predominância nos eventos onde o eixo vertical do côndilo posicionou-se na região ântero-lateral e póstero-medial durante a lateralidade de Bennett, porém mostrou uma predominância de eventos localizados na região póstero-medial durante a lateralidade Centrífuga. Houve casos onde o eixo vertical localizou-se exatamente sobre o centro da esfera, o que indica que o paciente durante a lateralidade não promoveu excursão do côndilo de trabalho, realizando um movimento de rotação puro se analisado no plano horizontal. De acordo com a metodologia aplicada nessa pesquisa concluiu-se que o eixo da lateralidade Centrífuga é mais medial que o da lateralidade de Bennett e que a maior parte dos eixos não coincide com aquele sobre o centro da esfera condilar. / It has been controversial the understanding of both the Bennett’s side shift and Centrifuge lateral movements. Had the inherent questions of TMJ´s inviolability it is not possible to observe its interior directly, thus the analysis of its dynamics during the function becomes questionable. The author worked with images and inferences applied to a methodology used for such end. The proposal of this research was to analyze the behavior of jaw condyle Bennett’s side shift and Centrifuge lateral movements in complete denture wearers. Twenty two subjects had new dentures constructed. The mandible tracings were made using the technique of Gysi with an extra oral device with two registration markers. Instead of wax it was applied a fine articulating paper adhered to the platform by a double face adhesive ribbon. Digitalized images from articulator and from articulating papers were set together. It was used a software of treatment of images both to decide and to test the position of the vertical axle of rotation of the jaw during the Bennett’s side shift and during Centrifuge lateral movement. The results were a predominance of the events where the vertical axis were located in the backward medial region for the centrifuge lateral movement and were located both in the backward medial and in the forward lateral region for the Bennett’s side shift. It had cases where the vertical axle was situated accurately on the center of the condyle sphere, what is supposed to mean that the patient, during the lateral jaw movement did not promote excursion of the working side condyle. In accordance with the methodology applied in this research, the author concluded that the axis of the centrifuge lateral movement is more medial than the one of the Bennett’s side shift, and that in the great majority of the events the axis did not met the condyle sphere of the articulator.

This thesis examines cultivation in the lives of Sarah and Columbia Bennett between the years 1852 and 1874. The Bennett women's letters convey an intimate sense of the agro-economic preoccupations (and gardening pleasures) of these slave-owning white women, and the centrality of cultivation in mid-nineteenth-century rural Louisiana within a landscape of country stores, plantations, and people. As the lives of the Bennett women illustrate, white women's gardening knowledge and practice formed a cornerstone of central Louisiana society. The Bennett women's gardening knowledge and skill were primary components in the creation of a self-sustaining plantation household. By cultivating produce and other foodstuffs for consumption, the Bennett women made possible the family's participation in the lucrative market for cotton and other cash crops, a market that also tied their household to plantation economies elsewhere in the transatlantic world.

Thesis (Ph. D.)--University of North Texas, 2006. / System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 185-192).

The resurgence of modern periodical studies has expanded our understanding of “littleqrdquo; magazines and the editors behind them, but many studies continue to be restricted to the 1920s, examine male editors, and focus on well–established literary journals, rather than the subversive magazines that expanded the reign of modernism in the years from 1910 to 1950. These studies, though fascinating, privilege a select few and leave many lost to the archive. The new theory of book history and those who evaluate the book as a material object that is designed to circulate among a range of publics provide powerful and useful frameworks for recognizing the significance of what had previously been considered mere data. This study focuses on several neglected female little magazine editors who, despite various obstacles, powerfully intervened in the modernism debates throughout the 1910s through to the late 1940s by shaping successful publications to invite public appreciation of values they espoused. Unlike canonical modernist figures such as Ezra Pound and T.S. Eliot who championed an elite style of modernism that was usually inaccessible to most, Lola Ridge, Gwendolyn Bennett, Caresse Crosby, and Kay Boyle encouraged diversity and fostered heterogeneity by selecting and juxtaposing material by new writers and artists who moved easily around and over the borders separating high art and mass culture, who recovered marginalized voices from history, and who appealed for social justice. Further, their traditional and non–traditional roles while they served as editors show that in many cases being an editor meant more than just choosing works and arranging them. One chapter is devoted to Lola Ridge, the American literary editor of Broom (1922-1923). Ridge was a cosmopolitan modernist who welcomed a broad audience to Broom and invited readers to champion styles of writing and artwork that contained strong social commentary with American subjects, instead of copying European models that many argued were created for art's sake. Another chapter focuses on African American poet, graphic artist and literary columnist, Gwendolyn Bennett, who held several editorial roles at Opportunity, Fire!!, and Black Opals, from the mid–1920s until the early 1930s. A heterodox modernist, Bennett skillfully discussed and placed artistic work by members of the New Negro movement next to the work by their forefathers, subsequently fostering congeniality between the two conflicting literary groups and promoting a united front during the development of the Harlem Renaissance. She also promoted co–operation between black and white artists and writers with her universally themed poetry, graphic art, and literary column. Chapter four centers on Black Sun Press book publisher, novelist, and poet, Caresse Crosby, owner and editor of Portfolio (1945-1948), who challenged artistic reception on both sides of the Atlantic by bringing glamorous modernism to her unbound journal of eclectic work. Crosby promoted co–operation between artists and writers from conflicting World War II countries through the placement and types of materials she published on the pages of her magazine. The epilogue calls for scholars to expand their view of the modernist project and recover the often “hidden” work by overlooked female little magazine editors. Like Ridge, Bennett, and Crosby before her, Kay Boyle (This Quarter 1927-1929), who can be linked to each editor (directly or indirectly), relied on her trusted network of friends as she edited This Quarter. Her editorial support for young and experienced artists who used innovative styles and her commitment to social justice parallels her colleagues' dedication to the modernist project. These women's labor, the significant literary time periods they worked in, the different genres, critical content, and styles of modernism they championed, and the social formations their journals produced expanded the base of modernism and reinvigorated American art and literature between the Wars, leaving a legacy for future artists and writers.

No description available.