Thesis (Ph. D.)--University of Rochester, 2008. / Duration: ca. 15:00. Includes program and performance notes. Accompanied by: Cycle of cycles : ordering principles suggested by George Perle's twelve-tone tonality / by Christopher Clay Winders (x, 45 leaves : music). Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/7635

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In the composition Archetypal Dreams, musical imagery is created through motifs and ideas that represent the symbolic messages of the unconscious. These motifs are introduced, developed, transformed, and overlapped in contrapuntal dialogue. This unfolding of material grows in significance and complexity building to a resolution of tension. The relationship of motifs to the row is re-established and the row is reconstructed. In this manner the conscious and unconscious elements of the personality are symbolically reconciled. The four movements of the work are entitled: I. Primordial Images; II. Archaic Remnants; III. Mythological Motifs; IV. The Process of Individuation

This play is a comedy which revolves around the importance of a French Chair (Louis Xiii) in the life of a family. A young newlywed woman discovers that her husband has a "secret" half sister born out of wedlock. Her mother-in-law has had an affair with a French man, but her husband always believed she had been abused. The young lady senses something is not clear and decides to look for her "half" sister-in-law. She does and manages to organize a get-together to bring everyone in the same place and finally understand what really happened. Eventually, her mother-in-law, now a widower, falls in love again with her ex-lover and they decide to marry. The French Chair was a reason of fights in the young couple and with the mother-in-law. But at the end we learn that young lady's half sister-in-law was conceived on this chair.

Thesis (M.M.)--Ohio University, August, 2001. / Title from PDF t.p. Includes bibliographical references.

The comparison of structural and formal traits in the concert grossi of Corelli's Opus VI and Vivaldi's Opus III will proceed in the following manner: first, the cycle as a whole will be taken up; next, the individual movements will be considered. Finally, in each instance of comparison, Corelli's music will be dealt with first.