This study has attempted to observe and understand the reorchestrations of the four Robert Schumann symphonies through the analysis of revisions found in the edited scores of several eminent conductors. To provide a faithful and effective performance of Schumann's orchestral conception, the conductor may find it necessary to alter certain features in his scores. Conductors have complained that Schumann's symphonies are ineffectual in many passages. This is the reason they are less frequently performed than they deserve. Four performance editions of the complete Schumann symphonies were chosen to form the basis for this study. They are: Gustav Mahler, Arturo Toscanini, George Szell, Felix Weingartner. The revisions of other conductors were incorporated as available and appropriate. These include: Fritz Reiner, Bruno Walter, Wilhelm Furtwangler, Georg Solti, Joseph Keilberth, Gotthold Lessing, Willem Mengelberg, Eugene Ormandy, Hans Pfitzner, Theodore Thomas, Max Reger, Fritz Busch. The study of Schumann's orchestration involved the investigation of his development as an orchestral composer, including the influence of the piano on his scoring and his understanding of the orchestra. The state of the orchestra in Schumann's time and his development as an orchestral composer were also studied in order to better understand his technique in terms of his orchestral experience. The study of the revisions reveals that Schumann's scoring was less successful than many other composers in providing an orchestration which supports and clarifies the structural logic of the composition. It thus becomes the conductor's responsibility to assume the role of editor to provide a faithful performance of the work. Analysis of the reorchestrations reveals changes concerning dynamic balance, clarity, timbre and style, as well as manner of performance. This study has attempted to provide vital information about the performing editions and the aesthetic effect achieved through alteration of the original Schumann scores.

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This thesis presents an original long poem, followed by a short study of two other poems: "Abt Vogler" by Robert Browning, and "Transcription of Organ Music" by Allen Ginsberg.

This investigation is concerned primarily with describing some characteristics of the institutionalist school of economic theory and then relating these characteristics to the writings of Thomas Robert Malthus. Thus in the course of this thesis two distinct sections are developed: one describing what are felt to be the outstanding characteristics of institutionalism and the second relating these characteristics directly to Malthus.

By presenting the auditor as a unifying principle that links Browning's earliest works to his dramatic monologues, this dissertation enhances the importance of the ever-ignored experimental works in developing the dramatic monologue technique. An exploration of the emergence and development of the auditor has an additional, but never ancillary, effect of proclaiming the originality and inventiveness of Browning's dramatic technique.

This paper thoroughly examines the production of the thesis film, Covered. Writing, production design, cinematography, editing, sound, technology, workflow, and direction are discussed with attention to how each uniquely contributed to the story. In an effort to objectively critique the finished film, feedback from test audiences will be examined.

In this paper, I will analyze the production process of my thesis film, The Ninth Step. I will examine all of the various elements of the project, from development, through post-production to determine how effective it is in depicting human drama and conflict. I will employ the notes of unbiased audience members as a key criterion in the measure of this study.

This study analyzes the Canadian poet, typographer, and translator Robert Bringhurst’s (b. 1946) extensive engagement with the poetry, poetics and metaphysical concerns of the American modernist poet Wallace Stevens (1879-1955). It asserts that Bringhurst’s poetry responds to Stevens’ poetry and poetics to a degree that has not previously been recognized. Although Bringhurst’s mature poetry—his works from the mid-1970s and after—departs from the obvious imitation of the elder poet’s writing that is present in his early poems, it continues to engage some of Stevens’ central concerns, namely the fertility of the liminal moment and/or space and a meditative contemplation of the physical world that frequently challenges anthropocentric narcissism. The dissertation proposes that Bringhurst shares Stevens’ desire to inscribe an authentic encounter between person and place. The first chapters establish the literary basis for the comparison of the poets’ works. The following chapters show how both poets draw on the symbology and metaphors of the Christian concept of the Sacrament in order to describe poetically the nature of the personally renewing experience of place. They examine poems from throughout Stevens’ career, including those that express a more determinedly materialistic vision, and the pervasive use of sacramental terminology in Bringhurst’s polyphonic poetry; such language is integral to Bringhurst’s efforts to describe a transformative experience of encounter with the physical world. The final chapters contend that Stevens’ and Bringhurst’s divergent visions of the ethical responsibility of poetry are shaped by their differing perspectives on the relation between the poem and the sacramental experience inscribed within it. The dissertation makes original contributions to the study of the poetry of both Bringhurst and Stevens. It demonstrates the significance of the inheritances of the Protestant religious tradition to both poets’ bodies of work, and it casts Bringhurst as a profoundly Stevensian author. A study of poetic influence, it attests to the vitality of Stevens and Bringhurst as ecologically oriented writers concerned with the meaning of place in North America. / Graduate / 2018-01-17

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