The life and career of American composer Elie Siegmeister (1909-1991) spanned most of the Twentieth century. His music provides a unique voice in classical music of the United States. With an acute awareness of social issues, Siegmeister desired for his music to communicate with audiences. His love of American folk music, blues, and jazz contributed to his distinct compositional style, first overtly with lyrical folksong-like melodies in the 1940s before becoming sublimated into a dissonant idiom by the 1960s. This thesis provides a survey of the change in Elie Siegmeister’s compositional style, specifically the years between 1940 and 1970. I provide an overview of Siegmeister’s entire compositional career in Chapter One. Chapter Two finds Siegmeister’s involvement with folk music coalescing into a lyrical and tonal style during the 1940s. With Chapter Three, I reveal pivotal events that urged Siegmeister to concentrate on form and thematic development during the 1950s. In Chapter Four I look at the 1960s as a synthesis of his past compositional styles.

Thesis (Ph. D.)--University of Virginia, 2003. / Includes bibliographical references (leaves 239-246). Also available online through Digital Dissertations.

No description available.

During the early evening of 22 June 2007, a violent tornado impacted the western edge of Elie, Manitoba. This was Canada’s first documented F5 tornado. Three primary research questions were posed: (1) What were the pre-storm environmental conditions on 22 June 2007? (2) How did the storm and associated tornado evolve? (3) How does this event compare to other major tornadic events in Canada and the U.S.? The tornado passed in close proximity to a fixed-location Environment Canada Doppler radar at Woodlands, Manitoba. This allowed for a detailed examination of local mesoscale boundaries that were present prior to and during the event. The Elie tornado was rare in the fact that it looped three times within the main track and it moved approximately 5 km during its 40 minute lifetime causing F5 damage to homes and structures when it was an estimated 50 m wide.

During the early evening of 22 June 2007, a violent tornado impacted the western edge of Elie, Manitoba. This was Canada’s first documented F5 tornado. Three primary research questions were posed: (1) What were the pre-storm environmental conditions on 22 June 2007? (2) How did the storm and associated tornado evolve? (3) How does this event compare to other major tornadic events in Canada and the U.S.? The tornado passed in close proximity to a fixed-location Environment Canada Doppler radar at Woodlands, Manitoba. This allowed for a detailed examination of local mesoscale boundaries that were present prior to and during the event. The Elie tornado was rare in the fact that it looped three times within the main track and it moved approximately 5 km during its 40 minute lifetime causing F5 damage to homes and structures when it was an estimated 50 m wide.

Thesis (M. Phil.)--University of Hong Kong, 1997. / Includes bibliographical references (leaves 53-56).

Although Shakespeare deliberately downplays characterization in his moonlit dream fantasy, both Britten and Siegmeister exploit this dramatic element as the basis of their opera settings of the play. Through the operas, the shallow characters take on new dimensions, creating musical experiences existing quite independently of Shakespeare, while at the same time retaining the atmosphere of a dream-fantasy. Placing emphases upon varying aspects of the play, the two composers create entirely different revelations from the Bard's dream. This paper presents a study of the way in which drama and characterization are treated in the operas, A Midsummer Night's Dream and Night of the Moonspell.

Le modèle ELIE (pour Equal Labour Income Equalization) est un modèle inédit de redistribution globale des revenus – qui a été proposé par Serge-Christophe Kolm dans Macrojustice (2005). Les enjeux de ce modèle, qui repose notamment sur une réflexion profonde concernant les implications économiques des systèmes de valeurs acceptés dans les sociétés occidentales contemporaines, méritent d’être discutés. Notre thèse est qu’en prenant ses distances avec le paradigme dominant en économie normative, à savoir le welfarisme, Kolm est conduit à modifier la définition de l’économie normative. Pour être plus précis, alors que l’économie normative ne traitait jusque-là que de la question des modalités de la redistribution, laissant celle de la nature de l’assiette de redistribution à la philosophie morale et politique (comme en atteste la controverse « égalité de quoi ? » initiée par Sen), Kolm entend réintroduire cette seconde question dans le champ de l’économie normative. La thèse se compose de trois parties portant sur les implications de ce changement de paradigme et de la redéfinition du champ de l’économie normative. La première partie s’attache aux fondements du modèle ELIE et plus précisément à la justification de la redistribution des revenus et à la détermination de son intensité à travers la question d’un choix social libéral. La deuxième partie aborde les implications théoriques de ce changement de paradigme et traite plus spécifiquement de la relation du modèle avec la théorie mirrleesienne de la fiscalité optimale et avec le welfarisme en général. La troisième partie se tourne vers les conséquences de ce modèle en termes de règles de redistribution. / The ELIE model (for « Equal Labor Income Equalization ») is a new model of global income redistribution – proposed by Serge-Christophe Kolm in Macrojustice (2005). What is at stake in this model, which is based on a Deep Thought concerning economic implications of values systems accepted in contemporary occidental societies, deserves to be discussed. I defend the idea that by distancing himself from the dominant paradigm in normative economics, namely the welfarism, Kolm is led to modify the definition of normative economics. To be more precise, while until then normative economics dealt only with the question of redistribution modality, leaving the question of nature of redistribution to moral and political philosophy (as shown in the « equality of what? » controversy initiated by Sen), Kolm reintroduces this second question in the field of normative economics. The dissertation is composed of three parts relating to implications of this paradigm shift and to Kolm’s redefinition of normative economics field. The first part focuses on fundaments of the ELIE model and, more precisely, on income redistribution justification and on the determination of the intensity of redistribution, through the question of a liberal social choice. The second part is about implications of this paradigm shift and is devoted more specifically to the relation of the ELIE model with the mirrleesian theory of optimal taxation and with welfarism in general. The third part turns toward this model’s consequences in terms of redistribution rules.

Tableau d’honneur de la Faculté des études supérieures et postdoctorales, 2010-2011 / Ce texte est une réflexion en construction. Elle évolue jour après jour. Je vous fais lire où je suis rendue. Un peu comme si vous trouviez pliées et repliées des notes que j'aurais laissées dans mes poches. J'ai développé une série de notions. J'ai essayé de mettre des mots sur des expériences. L'expérience que l'on a de mon art. Mon travail en art, est un travail qui prend en compte tout ce que je peux percevoir (ou plutôt tout ce qui m'intéresse dans ce que je vois). Les projets réalisés dans le cadre de cette maîtrise sont in situ. Ils questionnent les limites entre l'oeuvre et le lieux qui l'accueille. Ainsi que notre rôle actif de regardeur.

Elie-Paul Cohen est un médecin et un compositeur encore inconnu du grand public. Ses œuvres électroacoustiques sont construites autour d’un matériau sonore physiologique, issu de la captation des vibrations du corps humain. L’étude de ces pièces pose la question de la relation entre le corps et la musique, notion déjà abordée par les humanistes de la Renaissance. Il fait également partie d’un groupe de recherche médicale qui vient de mettre au point des modèles sonores de molécules d’ADN qu’il utilisera dans sa prochaine production musicale. Ces sons de provenance physiologique ont un impact énorme sur la perception que nous avons des sons mais également de la musique ; ceci nous a amené à nous interroger sur la notion même de musique, sur la perception que nous en avons. Une éventuelle universalité de la musique pourrait-elle reposer, depuis toujours, sur la modélisation sonores des vibrations corporelles ? Pour ce faire nos travaux ont abouti à une transversalité de disciplines telles que musique, musicologie, phénoménologie, neurosciences, physiques, recherche médicale de pointe ou biologie. / Elie-Paul Cohen is a doctor and a composer who is relatively unknown by the general public. His electroacoustic works are built around a physiological sound material, resulting from the capturing of human body vibrations. The study of these works raises the question of the relationship between the body and music, a concept which was already being addressed by the Renaissance humanists. He is also part of a medical research group which has developed sound patterns of DNA molecules that he will use in his next musical production. These physiological sounds have a huge impact on our perception of sounds but also of music; this led us to question the very notion of music and the perception we have of it. Could a universal music based on the sound modeling body vibrations exist? This led our work to result in a cross-disciplinary approach including the fields of music, musicology, phenomenology, neuroscience, physics, medical research or advanced biology.