American mezzo-soprano, Beverly Wolff has not received the credit or respect that she deserves in operatic history. Her career began in 1952 and flourished until her retirement from the stage in 1981. Her intense characterizations, innate musicianship, and intelligence made her one of the most sought-after performers from the 1950s to the 1970s. For thirty years, she worked with some of the operatic world’s finest musicians, including Leonard Bernstein, Gian-Carlo Menotti, Samuel Barber, Ned Rorem, Beverly Sills, Norman Triegle, Placido Domingo, among others. She was represented by Columbia Artists Management Inc (CAMI), one of New York’s oldest and most prestigious management companies, and maintained an active performance schedule that often included operatic, concert, and recital performances in the same week. She trained at the American Vocal Academy in Philadelphia and was inducted into its Hall of Fame. She performed in New York, Boston, Washington, D.C., San Francisco, New Orleans, and Atlanta and was an active member of the New York City Opera, Handel Society, Tanglewood, and the Handel Society of Washington, D.C. Wolff is credited with over sixty recordings. She also appeared on several of NBC’s live operatic programs, which brought opera to the masses. Perhaps most importantly, she created and debuted several important roles in American opera. Few have heard of her; the purpose of this document is to fill in this gap in operatic history, and to clarify and correct misinformation about her. In this document, I will answer the following questions: What determines a performer’s worth? What secures a performer’s place in history? Finally, and more specifically, what imprints did Beverly Wolff leave for posterity?

The purpose of this study is to find and analyse conceptual metaphors in the lyrics, A Thousand Kissed Deep, Here It Is, and Boogie Street from the album Ten New Songs (2001) by Leonard Cohen using Conceptual Metaphor Theory (CMT). In order to detected the conceptual metaphors, the source and target domains were identified. Conceptual metaphors were found by mapping source domains onto target domains and viewing the lexical expressions in the lyrics. The result and analysis of the findings in this study show that linguistic expressions of LOVE, LIFE and DEATH are conceptually present in the lyrics.

In his 1987 essay "Canadian Poetry After Auschwitz," Michael Greenstein argues that A.M. Klein's mock-heroic poem, The Hitleriad (1944), ultimately fails to portray the severity and tragedy of the Holocaust because "it lacks the necessary historical distance for coping with the enormity" of the event (1). Greenstein's criticism is interesting because it suggests that in order for a writer to adequately represent the horrors of a traumatic event like the Holocaust it is "necessary" for him to be distanced from the event. While Greenstein specifically addresses historical (or temporal) distance, Canadian authors writing about the Holocaust have also, inevitably, had to negotiate their geographical and cultural distance from the historical event as well. Not surprisingly, their works tend to be immensely self-reflexive in nature, reflecting an awareness of the questions of authority and problems of representation that have shaped critical thinking about Holocaust literature for over half a century. This dissertation examines the role that distance has played in the creation and critical understanding of representative works of Canadian Holocaust literature. It begins with an extensive analysis of the poetry and prose of geographically-distanced poet A.M. Klein, whose work is unique in the Canadian literary canon in that it mirrors the shifting psychological state of members of the Canadian Jewish community as news of the Holocaust slowly trickled into Canada. This is followed by a discussion of the Holocaust texts of Irving Layton and Leonard Cohen, both of whom experimented with increasingly graphic Holocaust imagery in their works in response to the increasingly more horrifying information about the concentration camps that entered the Canadian public conscience in the 1960s. The dissertation then turns its attention to the uniquely post-memorial and semi-autobiographical works of two children of Holocaust survivors, Bernice Eisenstein and J.J. Steinfeld, before focusing on the Holocaust works of Timothy Findley and Yann Martel, both of whom produce highly metafictional novels in order to respond to the questions of appropriation and ethical representation that often surround works of Holocaust fiction created by non-Jewish writers. The dissertation concludes with an analysis of Anne Michaels' novel Fugitive Pieces—a text that addresses all three types of distance that stand at the center of this dissertation, and that illustrates many of the strategies of representation that Canadian writers have adopted in their attempts to negotiate, highlight, erase, and embrace the distance that separates them from the Holocaust.

This study investigates effects on the ephemeral artwork and its ephemeral quality when documented and archived. To define the ephemeral artform a definition presented by Mary O’Neill in her thesis Ephemeral Art: Mourning and Loss (2007) is used, and two ephemeral artworks are studied: Zoe Leonard’s Strange Fruit (for David) (1992-1997) and Felix Gonzalez-Torres' ”Untitled” (Portrait of Ross in L.A.) (1991). Results from these case studies are compared to each other and to Peggy Phelan’s critical stance on the possibilities of documenting time-based and performative artforms in Unmarked: The Politics of Performance (1993). Results show that the ephemeral artwork becomes ephemeral through slow degradation and the experience this degradation generates in the observer; processes in time that cannot be documented. However, documentation can affect the observer’s experience of ”here and now,” which may alter the artwork’s communicative abilities and its effectiveness in creating a sense of presence within the passing of time. / I denna studie studeras påverkan på det efemära konstverket och dess efemära egenskap när det dokumenteras och arkiveras. För att definiera den efemära konstformen används en definition som presenteras av Mary O’Neill i avhandlingen Ephemeral Art: Mourning and Loss (2007), och två efemära konstverk studeras: Zoe Leonards Strange Fruit (for David) (1992–1997) och Felix Gonzalez-Torres ”Untitled” (Portrait of Ross in L.A.) (1991). Resultat från verkanalyser av dessa verk jämförs mot varandra samt mot Peggy Phelans uppfattning att performance-baserad konst inte kan dokumenteras i Unmarked: The Politics of Performance (1993). Resultat visar att det efemära konstverket blir efemärt genom sin långsamma nedbrytning och genom betraktarens upplevelse av denna nedbrytning – temporala processer som inte kan dokumenteras med exakthet. Dokumentering kan dock innebära att betraktarens upplevelse av ”här och nu” påverkas och således verkets förmåga att kommunicera effektivt om passerande tid och frambringa närvaro i nuet.

Arnold Schoenberg's teaching career spanned over fifty years and included experiences in Austria, Germany, and the United States. Schoenberg's teaching assistant, Leonard Stein, transcribed Schoenberg's class lectures at UCLA from 1936 to 1944. Most of these notes resulted in publications that provide pedagogical examples of combined elements from Schoenberg's European years of teaching with his years of teaching in America. There are also class notes from Schoenberg's later lectures that have gone unexamined. These notes contain substantial examples of Schoenberg's later theories with analyses of masterworks that have never been published. Both the class notes and the subsequent publications reveal Schoenberg's comprehensive approach to understanding the presentation of the Gedanke or musical idea. In his later classes especially, Schoenberg demonstrated a method of analyzing musical compositions using illustrations of elements of the Grundgestalt or "basic shape," which contains the technical aspects of the musical parts. Through an examination of his published and unpublished manuscripts, this study will demonstrate Schoenberg's commitment to a comprehensive approach to teaching. Schoenberg's heritage of eighteenth- and nineteenth-century music theory is evident in his Harmonielehre and in his other European writings. The latter include Zusammenhang, Kontrapunkt, Instrumentation, Formenlehre (ZKIF), and Der musikalische Gedanke und die Logik, Technik, und Kunst seiner Darstellung (the Gedanke manuscripts), written over the course of several years from the 1920s to the early 1930s. After emigrating to the United States in 1933, Schoenberg immediately began teaching and writing in an attempt to arrive at a comprehensive approach to his pedagogy. The remainder of Schoenberg's textbook publications, with the exception of Models for Beginners in Composition, were left unfinished, were edited primarily by Leonard Stein and published after Schoenberg's death in 1951. Preliminary Exercises in Counterpoint, Fundamentals of Musical Composition, and Structural Functions of Harmony complete his ouevre of theory publications. An examination of the Stein notes offers contributing evidence to Schoenberg's lifelong pursuit to find a comprehensive approach for teaching an understanding of the musikalische Gedanke. With the addition of an analysis of the first movement of Mozart's G minor Symphony, K. 550, which Schoenberg used often to illustrate examples of basic concepts as liquidation, transition, neutralization in the minor key, the role of the subordinate theme, retransitions, codettas, melodic and harmonic overlapping, and motivic analysis, this study focuses on Schoenberg's comprehensive approach to both analyzing the musical work and teaching methods of composing.

No description available.

Since the early 1900's demand for fuel efficient vehicles has motivated the development of electric and hybrid electric vehicles. Unfortunately, some components used in these vehicles are expensive and complex. Today's consumer electric vehicles use dangerously high voltage,expensive electronic controllers, complex battery management systems and AC motors. The goal of this research at BYU is to increase safety by lowering the operating voltage and decrease cost by eliminating expensive controllers and decrease the number of battery cells. This paper specifically examines the use of a Ward Leonard Motor Control system for use in a passenger vehicle. The theory of the Ward Leonard system as an Infinitely Variable Transmission (IVT) is presented along with its history and past uses. Analogous systems are presented and similarities made in an attempt to enlighten designers to a broader design approach to increase safety and decrease cost of an electric or hybrid electric vehicle. The results of this research include a characterization of the Ward Leonard system as an IVT for use in an electric or hybrid (EV or HEV) passenger vehicle. These results include a study of past uses of the Ward Leonard system and what method is now used as a replacement. The theory of the Ward Leonard system and it operation is explained to an extent that someone not familiar with electronics can understand its working principles. A Control Factor metric was developed as a result of this research to measure the Ward Leonard System's ability to reduce the size of the electronic controller for application in an EV or HEV. The potential cost reduction of the electronic controller that would be used to control the Ward Leonard System compared with current EV and HEV vehicles was also research and identified. A bench top model of the Ward Leonard system was tested validating the Control Factor metric. The Ward Leonard system is capable of reducing the controller size by 77% and potentially reducing its cost by 68% or more. This work also provides performance characteristics for automotive designers and offers several design alternatives for EV and HEV architectures allowing the reduction of high voltage, the use of AC inverters, AC motors, expensive controllers and high cell count battery packs.

No description available.

Th. univ.--Litt.--Paris 8, 1978. / Bibliogr. p. 701-723.

Government investigations into the motion picture industry are well-documented, as is the widespread blacklisting that was concurrent. Not nearly so well documented are the many investigations of musicians and musical organizations which occurred during this same period. The degree to which various musicians and musical organizations were investigated varied considerably. Some warranted only passing mention, while others were rigorously questioned in formal Congressional hearings. Hanns Eisler was deported as a result of the House Committee on Un-American Activities' (HUAC) investigation into his background and activities in the United States. Leonard Bernstein, Marc Blitzstein, and Aaron Copland are but a few of the prominent composers investigated by the government for their involvement in leftist organizations. The Symphony of the Air was denied visas for a Near East tour after several orchestra members were implicated as Communists. Members of musicians' unions in New York and Los Angeles were called before HUAC hearings because of alleged infiltration by Communists into their ranks. The Metropolitan Music School of New York, led by its president-emeritus, the composer Wallingford Riegger, was the subject of a two day congressional hearing in New York City. There is no way to measure either quantitatively or qualitatively the effect of the period on the music but only the extent to which the activities affected the musicians themselves. The extraordinary paucity of published information about the treatment of the musicians during this period is put into even greater relief when compared to the thorough manner in which the other arts, notably literature and film, have been examined. This work attempts to fill this gap and shed light on a particularly dark chapter in the history of contemporary music.