Diss.--Zürich, 1994. / Bibliogr. p. 167-177.

Thesis (D.M.A.)--University of North Texas, 2004. / Accompanied by 4 recitals, recorded Apr. 10, 2000, Mar. 11, 2002, Nov. 24, 2003, and July 5, 2004. Includes bibliographical references and discography (p. 34-37).

Thomas E. Dewey and Charles "Lucky" Luciano became household names during a 1936 vice trial in which Dewey successfully prosecuted Luciano, a prominent Mafioso, who received a thirty-to-fifty-year prison sentence. Later, Dewey became the Governor of New York and a perennial Republican presidential candidate while Luciano, still in prison, took part in a joint Navy-Mafia intelligence operation in World War II. In 1946, Governor Dewey commuted Luciano's sentence on the condition that he be deported to his native Italy. The commutation led to years of controversy fomented by the Federal Bureau of Narcotics (FBN), which downplayed Luciano's wartime services, spread rumors that he had bribed his way out of prison, and claimed that he was smuggling drugs into America from Italy. The FBN's narrative was echoed by muckraking journalists and Dewey's political opponents, finally prompting Dewey in 1954 to order an investigation that thoroughly debunked FBN assertions. However, the records of that investigation were quarantined until the mid-1970s. Since then, most scholars have used those records to explore the Navy-Mafia wartime alliance, but this dissertation exhaustively mines them and other documents in Dewey's papers, along with federal records, to disprove the FBN's narrative that there was something untoward about Dewey's commutation of Luciano's sentence and that Luciano spearheaded a drug ring during his Italian exile. Originally antagonists, the Governor and the Gangster later became unlikely allies of sorts, if only because they shared the same scurrilous detractors whose reckless accusations are belied by this study.

Inaug.-diss.--München. / "Angabe der benützten werke: p.[v]-vii.

Thesis (M.M.)--Baylor University, 2006. / Includes bibliographical references (p. 150-152).

Inaug.-diss.--München. / "Angabe der benützten werke: p.[v]-vii.

Thesis (M.M.)--Bowling Green State University, 2009. / Document formatted into pages; contains x, 71 p. : music. Includes bibliographical references.

The aim of my graduated work is the enter into problem of studies contemporary composition at the background of development music of the second half of 20th century. The work is aimed at the composition of Luciano Berio Sequenza XII. Bassoonists, who would like to study this work or studying it now, I can help them according to my practising experiences up to now and convince them how to win this "fight"

No description available.

This document examines Luciano Berio's Cinque Voriationi for solo piano (1952-3, rev. 1966) from the perspective of a performer seeking to convey something of the organization of its musical material to a broad audience. Criteria for identifying elementary partitioning (pulse) and grouping (gesture, phrase segments, and phrases) are explored. In analysing relationships between phrases and phrase groups several things must be considered: specific pitch issues, distinctions between primary and auxiliary or accompanimental material, and contour. Throughout the document, suggestions are given for successful realization of fundamental grouping structures in performance. Although the piece has elements of serial construction, it is primarily underlying linear motion which gives sections cohesiveness. Also, certain pitch classes are given special emphasis and become vital reference points. The placement of and linear movement around these emphasized pitch classes create traditional tonal implications, to varying degrees throughout the work. Cinque Variationi is a set of variations for which no theme is provided, and it is far from obvious what is being varied. After examining the grouping structures of this piece, it becomes clear that variations refer to each other in unsystematic ways, and that pitch centers serve as reference points across variations.