José Antonio Gómez is an important figure in Mexican music history and his works are considered representative of the beginning of Mexico´s Independent era. Some musicians are familiar with Gómez´s choral output but his organ music is rarely considered. Due to the lack of an edition of Gómez´s Versets for Organ, a practical guide was found needed to aid its performance. This study is based on performance, analysis, and direct work on the only known source for it. The first chapter, Introduction, presents the argument for an edited version of the first part of the manuscript as a performance guide. The second provides biographical information on the composer. The third chapter discusses the background for the original performance of the Versets for Organ. Chapter 4 provides performance considerations for the works. The edition of the manuscript is included in chapter 5.

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Tesis doctoral--Filosofía y letras--Oviedo, 1976. / Contient une édition critique du "Libro de las constituciones" de Gutierre de Toledo, 1377-1384. Bibliogr. p. 10-22. Index.

Easter Island and Sala y Gomez are part of the Sala y Gomez Ridge, a broad band of high topography and scattered seamounts extending ESE from the East Pacific Rise. It has been proposed that the Sala y Gomez Ridge results from the movement of the Nazca Plate over a fixed melting spot in the mantle. To test this hypothesis volcanic rocks from Easter Island and Sala y Gomez were analyzed for their K-Ar ages and major element abundances. Subaerial Easter Island was constructed in three distinct episodes, occurring at 2.5 m.y., 0.9 m.y., and 0.4 m.y. ago. The youngest rocks on the island are the Roiho olivine basalts, and are probably less than 50,000 years old. Eruptive activity on Sala y Gomez was essentially contemporaneous with the early volcanism on Easter Island. No migration of volcanism with time is apparent along the Sala y Gomez Ridge, thus a major criterion of the melting spot hypothesis is not fulfilled. Volcanic rocks from Easter Island constitute a tholeiitic differentiation series; they are chemically similar to those from other islands situated near mid-ocean rise crests. The wide compositional spectrum is most likely the result of fractional crystallization from a basaltic parent liquid, though the data is ambiguous for the highly silicic differentiates. The youngest basalts possess more alkaline affinities which are probably not related to fractional crystallization from the earlier basalts. The alkaline nature of these rocks may be the result of a downward migration of the fusion zone with time, as the island moved eastward over a progressively thickening lithosphere. Volcanic rocks from Sala y Gomez belong to an alkali olivine basalt series. The fundamental chemical differences between the Easter Island and Sala y Gomez suites suggest that the two islands were not derived from a common source, as predicted by the melting spot hypothesis. The evidence does not support a melting spot origin for Easter Island, Sala y Gomez, and the Sala y Gomez Ridge. An alternative model involving diapiric intrusion and decompression melting of asthenosphere material along a major fracture in the Nazca Plate provides a better explanation for the data. Synchronous volcanism along the eastern extension of the Easter Island transform fault has given rise to the islands and seamounts on the Sala y Gomez Ridge. / Graduation date: 1975

Master of Music (Performance) / Eddie Gomez was the bassist in the Bill Evans Trio for eleven years. His contribution to the group’s sound was considerable, but while there has been some recognition of his virtuoso solos in the trio there has been little academic interest in his bass lines. This essay examines bass lines from the album Since We Met, recorded in 1974 by Evans, Gomez and drummer Marty Morell. Analysis of the bass accompaniments to the piano solos on “Since We Met” and “Time Remembered” reveals that they form a fragmented two-feel. A traditional two-feel employs two notes to emphasise the first and third beats in bar of 4/4 time. In Gomez’s bass lines these two notes are frequently replaced with short rhythmic motifs. These motifs occur in a variety of forms and at different metric displacements that alternately propel and retard the forward motion of the music. Additionally, Gomez uses a wide range of register and varied articulations to create a richly diverse bass line. The resulting effect has often been interpreted as interactive or conversational with the soloist. However there is very little interaction between the bass line and Evans’ solo. The bass line is a parallel stream to the solo that energises and colours the music.

Master of Music (Performance) / Eddie Gomez was the bassist in the Bill Evans Trio for eleven years. His contribution to the group’s sound was considerable, but while there has been some recognition of his virtuoso solos in the trio there has been little academic interest in his bass lines. This essay examines bass lines from the album Since We Met, recorded in 1974 by Evans, Gomez and drummer Marty Morell. Analysis of the bass accompaniments to the piano solos on “Since We Met” and “Time Remembered” reveals that they form a fragmented two-feel. A traditional two-feel employs two notes to emphasise the first and third beats in bar of 4/4 time. In Gomez’s bass lines these two notes are frequently replaced with short rhythmic motifs. These motifs occur in a variety of forms and at different metric displacements that alternately propel and retard the forward motion of the music. Additionally, Gomez uses a wide range of register and varied articulations to create a richly diverse bass line. The resulting effect has often been interpreted as interactive or conversational with the soloist. However there is very little interaction between the bass line and Evans’ solo. The bass line is a parallel stream to the solo that energises and colours the music.

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Focusing on artists Frida Kahlo and Guillermo Gomez-Pefia, my thesis concerns borders of all kinds: between nations and cultures, between varying artworks, context, and audiences, and between myth and reality. These border relationships are subject to constant evolution and negotiation, and I chose Kahlo's paintings and Gomez-Pefia's performance work to illustrate how two artists have portrayed border relationships across the twentieth and twenty-first centuries in Mexico and the United States, because both artists draw upon borders to hash out shifting personal, political, and cultural identities. Frida Kahlo's nationalist politics led her to portray the Mexican-U.S. border as a force of antagonism. In her modern context, this border starkly indicated a divide between colonial ambitions and domination, between the First and Third world paradigms of her time. Kahlo's consistent technique of self-portraiture led Germaine Greer to declare her "the first ever true performance artist," and in many ways Kahlo's work and life foreshadows contemporary questions of hybridity and pluralism brought to light by Guillermo Gomez-Pefia decades later. Gomez-Pefia's more direct performance pieces question dualistic borders by breaking boundaries and envisioning a borderless world, where boundaries are created and blurred organically rather than dictated by social or political elites. Like Kahlo, Gomez-Pefia's work is highly political, and his indictment of America's negative and dangerous images of Mexico and Mexican immigrants is particularly fierce. Both artists have produced impressive, controversial work that is dense and often difficult to understand, but it is also work that forces audiences to question the status quo and the boundaries we frequently take for granted.

Thesis (M. Mus. (Perf.))--University of Sydney, 2009. / Title from title screen (viewed October 27, 2009) Submitted in partial fulfilment of the requirements for the degree of Master of Music (Performance) to the Sydney Conservatorium of Music, University of Sydney. Includes bibliographical references.