Thesis (M.S.)--University of Wisconsin--Madison, 1974. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1938. / Typescript. Includes abstract and vita. eContent provider-neutral record in process. Description based on print version record. Bibliography: leaves 751-765.

Thesis--Wilhelms Universität zu Münster.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1949. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [i]-xxxiv).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1941. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [294]-299).

Thesis (M.S.)--University of Wisconsin--Madison, 1962. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 104-113).

Thesis (M.A.)--Ohio State University. / Includes bibliographical references (leaves 179-185).

Thesis (MA)--University of Stellenbosch, 2006. / Bibliography. Also available via the Internet.

Thesis (M.A.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / In this thesis, I argue that musical motion takes the place of 'content' as the bridge between form and meaning in the context of instrumental music - music without text, program, or any other verbal indication of subject matter. I begin by discussing the question of musical content: does instrumental music have a conceptual content? Is such a non-representational art capable of communicating ideas? Historically, this question has been answered through the connection of instrumental music to human emotion. In part one, I describe philosophies of musical content, including theories of imitation, representation, and symbolization. I also describe the formalist position, which argues that music's non-verbal nature renders it incapable of communicating anything other than uniquely musical ideas (thematic ideas, movies, etc.). I agree with the formalists that music does not imitate, represent, or symbolize human emotion. Insofar as these sorts of relations traditionally define the idea of 'content,' I agree that music has no explicit 'content.' However, I disagree with the formalist claim that emotions have no aesthetically relevant role in the experience of instrumental music. It is my view that emotions find their place in instrumental music not as a kind of 'content,' but as part of the human experience of musical motion. In part two I discuss this idea of musical motion, and in parts two and three I consider the relationship between music's movement, the emotions that we perceive in music, and the meaning that we give to it. / 2031-01-02

The study of body motion in social settings is a relatively unexplored area of human behaviour. In this study an attempt was made to develop a rational model for information control under conditions of uncertainty which could be applied to gross body movement during interaction. The theory specified that body motion would be a function of the subject's perception of the probability that his behaviour might violate expectations and lead to punishments. It was hypothesized that subjects who experienced uncertainty about expectations of others when in the presence of important others would inhibit body motion. It was further hypothesized that the relative use of different body parts would be a function of the experimental condition. An experiment was designed in which subjects were photographed on motion picture film while being interviewed by a role player who assumed different statuses in different experimental conditions. The amount of uncertainty in a condition was manipulated by the selection of subjects and by the instructions given to them during the experiment. The first hypothesis was supported although the converse of the hypothesized relationship was not and in fact presented an anomalous difference. The second hypothesis was not supported although differences are considerable and. in the expected direction. / Arts, Faculty of / Anthropology, Department of / Graduate