Thesis--Philosophie--Liverpool--The Univ., 1994. / Chronologie f. 276-290. Bibliogr. f. 263-275.

Thesis (D. Mus. Arts)--University of Washington, 1991. / Vita. Includes bibliographical references (leaves [116]-120).

Thesis (M.M.)--Bowling Green State University, 2007. / Document formatted into pages; contains v, 64 p. Includes bibliographical references.

This study comprises a synthesis of textual, iconographic and archaeological evidence relating to kingship in the later Achaemenid empire, from the end of the reign of Darius II to the invasion and death of Alexander III of Macedon. Chapter 1 deals with the textual evidence for the defenition of the Achaemenid dynasty in the fourth century and considers literary definitions of kingship in epitaphic eulogies and heroic conquest narratives. Authors referred to include Xenophon, Isocrates, Arrian and Herodotus and Darius I's inscriptions are discussed in detail. Chapter 2 considers 'Court Tales' in Greek, Aramaic and Hebrew, looking at how foreign groups presented themselves in the Achaemenid court and in relationship to the king. Chapter 3 begins with court tales about objects and luxury material culture associated with the Persian king and goes on to discuss pictorial and archaeological evidence for its extent and associations. A detailed survey is made of extant Achaemenid-style glass tableware. Chapter 4 expands this discussion into a survey of the fourth century royal visual environment. Two case studies examine the iconographic presentation of the king in two roles in a variety of media: the enthroned monarch accessible to petitioners and the combative royal hero fighting beasts and representatives of subject nations. Both genres represent structures through which regional cultures could formulate distinctive relationships with Achaemenid authority. Key themes throughout include regional engagement with royal culture and ideas and the continuing depth of Near Eastern historical tradition in the later Achaemenid period.

Thesis, 1983. / Bibliogr. p. 432-439.

Thesis (Ph. D.)--University of Texas at Austin, 2007. / Vita. Includes bibliographical references.

The purpose of this study is to demonstrate that Cantate pour l'inauguration du Musee de l'Homme, op. 164, Darius Milhaud's musical setting of a poem by Robert Desnos, can be made accessible to choral ensembles by employing a choir in addition to the vocal quartet traditionally used in performances, thereby reflecting more accurately the poet's concept of the work, even though these indications are not present in Milhaud's musical score.In order to provide conductors and scholars with the tools to understand and perform Cantate pour l'inauguration du Musee de l'Homme, in this document I describe the work, analyze its poetic and musical structure, trace its performance history and practice, and suggest ways to realize Desnos's original concept of the work. I also present some possible explanations as to why Milhaud did not include any indication for vocal performance forces in Cantate pour l'inauguration du Musee de l'Homme, and why he himself performed the work with vocal quartet and not with choir. Finally, I propose that employing a choir in addition to soloists for Cantate pour l'inauguration du Musee de l'Homme is consistent with the performance history of Milhaud's other vocal quartet works of similar style.

Thesis (D.M.A.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

Darius Milhaud's 1923 ballet "La création du monde" ("The Creation of the World") was and is a fascinating work for chamber ensemble. The French composer's inventive blending of jazz harmony and compositional technique, Harlem musical instrumentation, and the discipline of cutting-edge European art music remains a milestone in the cross-Atlantic pollination that America's original art form engendered in the early 20th century. All of this was accomplished before Gershwin's ultimately better known Rhapsody in Blue. Milhaud's progressive percussion writing in the work, as well as his combination of jazz harmonies with his own particular polytonal voice, makes the work even more stunning. However, all of these features also make the work challenging to prepare and perform. Prior to this thesis, the extant literature on "La création du monde" examined the work either theoretically (specifically in terms of polytonality), or historically (in terms of its relationship to the cross-pollination of jazz and western art music). These publications do not provide the necessary information for a conductor and ensemble to effectively interpret and perform this work. The present study synthesizes the historical and biographical events that led to the composition of the work with the musical considerations of form and theme compounded by a foreign language score with period terminology, notation, and indications with the wind conductor as the intended audience. The purpose of this study was to collect, categorize, interpret, and synthesize the necessary information to enable a conductor to undertake this work, while simultaneously encouraging more modern conductors and performers to do just that. Using historical documentation from primary sources and careful study, translation, and interpretation of available editions, this study provides the wind conductor with all of the tools and information required to prepare and conduct this work. Through this thesis, it is hoped that a new generation of conductors will be encouraged to approach, study, interpret, and program this wonderful piece of music.

Dissertation--München--Universität der Bundeswehr, 2002. / Bibliogr. p. 363-379.