Thesis (Ph. D.)--University of Texas at Austin, 2009. / Title from PDF title page (University of Texas Digital Repository, viewed on Sept. 9, 2009). Vita. Includes bibliographical references.

Thesis (D. Min.)--Northern Baptist Theological Seminary, Lombard, Ill., 1997. / Includes bibliographical references (leaves 89-94).

Thesis (Ph. D.)--Princeton University, 1985. / Includes bibliographical references.

Dissertation (M.Mus(Uitvoerende Kuns))-Universiteit van Pretoria, 2004. / Summary in English and Afrikaans. Includes bibliographical references. Available on the Internet via the World Wide Web.

Thesis (Ph. D.)--University of California, San Diego and San Diego State University, 2001. / Vita. Includes bibliographical references (leaves 87-96).

The notion of harmonic ‘function’ was introduced by Riemann in 1891 to describe aspects of tonal music, but, as musical language evolved, its meaning and application developed beyond the premise of tonality. This study re-evaluates the relevance of harmonic functionality for composers today, through a reassessment of what may constitute functionality in post-tonal music and a practical exploration of the concept in ten new compositions. The general openness of harmonic systems since the 1980s has led composers across a variety of aesthetic standpoints to often combine diverse types of harmonic material in one same piece; this thesis argues that, within such a framework, harmonic functionality is potentially an important instrument of coherence, strength and inventiveness in the musical argument. The first part examines the main terminology, including the notions of ‘harmony’, ‘post-tonality’ and the origin and development of the idea of ‘harmonic functionality’. Several composers and theorists are considered, with a particular focus on Riemann. The second part centres on the ten compositions, particularly on Nachtmusik, with both detailed and large-scale analysis aiming to clarify how each piece informed specific aspects of the study. For the sake of comparison, aspects relating to harmonic functionality in other composers’ work are also discussed, namely in Stravinsky’s Requiem Canticles and Adès’ Polaris and Tevot. It is concluded that harmonic functionality is generally related to formal functions, and that the combined action of pitch and other parameters establishes functional properties very much depending on musical context. Certain elements play a central role in the definition of functionality: 1) sense of direction; 2) recurrence and change; 3) hierarchy; 4) pitch polarity; 5) extra-musical meaning. The creation of harmonic functionality in post-tonal music is a problem which composers often deal with intuitively in their practice, and the notion is still frequently considered in a strictly tonal sense by theorists; through the clarification and discussion of the process in post-tonality, its potential is likely to be more fully explored, both theoretically and practically.

It is the aim of this investigation to compare the use of normally recommended toys, ordinarily used in the play-therapy setting, with more sophisticated, "grown-up" toys, when working with twelve-year-old children.

Twelve-Step programs of substance abuse recovery are the most popular and most used mutual-help model in the U.S. One of the pivotal aspects of Twelve-Step is the often controversial idea of powerlessness. While a few recent dissertations have been conducted to look at issues related to women in Twelve-Step, most of what has been published in the literature on powerlessness in Twelve-Step is hypothetical, anecdotal, and theoretical. There is debate about the usefulness of the concept of powerless, especially for women in recovery, though no research was found specifically exploring this issue. The current study examines the experiences of powerlessness among women who are using Twelve-Step substance abuse recovery. Because experiences of powerlessness are abstract and may be difficult to articulate, a data collection method called ZMET (Zaltman, 2004) was utilized. This method helped women discuss their thoughts and feelings about powerlessness through the use of images of representative metaphors and analogies. Participants were 13 women who were in various stages of recovery using Twelve-Step. In-depth interviews were used to understand women's experiences of powerlessness in their recovery while two surveys were used to determine women's levels of affiliation with Twelve Step programs and their level of agreement with the First Step of Twelve Step. Overall, women felt positively about powerlessness in their recovery and felt it provided a sense of relief. Eleven of the 13 women felt powerlessness was an important aspect of their recovery while two felt it was either not relevant or not something they fully embraced. In exploring the metaphors women had for their experiences of powerlessness, a number of themes emerged. Many of the metaphors indicated processes while some were static. Themes also included metaphors of current events, nature, and babies. Other themes were: Higher Power; a general sense of powerlessness over many things in life and; choosing not to share certain experiences in Twelve-Step meetings. Implications for women in recovery, clinicians, and future research are included as well as strengths and limitations of the study. / Ph. D.

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