Thesis (Ph. D.)--University of Wisconsin--Madison, 1968. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 270-276).

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Informe de Seminario para optar al grado de Licenciado en Filosofía / Pocos saben a qué se refieren, de manera concreta, cuando hablan de inteligencia. Por inteligencia se puede entender el comportamiento de los animales, de las máquinas y los seres humanos según quién se exprese. Hay muchos, por ejemplo, que defenderían que la inteligencia es un rasgo particular de los seres humanos y no es propio de ningún otro organismo. Pero la verdad es que no existen buenas razones científicas para considerar esto último cierto. Es posible que la naturaleza de la inteligencia sea transversal a todos los organismos y no sólo característica del ser humano. Los comportamientos inteligentes en general cumplen con dos criterios: actúan en concordancia con las leyes sociales y físicas del ambiente y son diversos para responder a las circunstancias que se presentan. Esta manera de ver la inteligencia nos permite restarle relevancia en la explicación de la inteligencia a los mecanismos cognitivos que pudieran determinarla, y darle más importancia, en aquella misma explicación, a la relación de ese comportamiento con el ambiente.

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Thesis (Ph. D.)--University of Washington, 1997. / Vita. Includes bibliographical references (leaves [382]-301).

Thesis (A.Mus.D.)--University of Illinois at Urbana-Champaign, 2007. / Source: Dissertation Abstracts International, Volume: 69-02, Section: A, page: 0425. Adviser: William Moersch. Includes bibliographical references (leaves 194-195) Available on microfilm from Pro Quest Information and Learning.

This study is an analysis of three English Canadian operas, Beatrice Chancy (composed by James Rolfe with a libretto by George Elliott Clarke), Elsewhereless (composed by Rodney Shaman with a libretto by Atom Egoyan), and Louis Riel (composed by Harry Somers with a libretto by Mavor Moore), that place Canadian history and Canadian historical fictions on the lyric stage. All three operas engage variously with race, gender, sexuality, power, and the political formation of the state. The central concern of this study is the representation through music of difference and race in Louis Riel, Elsewhereless, and Beatrice Chancy. The analysis considers music as a medium of representation and therefore an equal participant, with the libretto and the mise en scine, in creating subtle delineations of character, relationships, and complex interchanges with the world outside the work. In particular, through the analysis of music, narrative, and operatic performance, the study will consider how race is represented in these operas. Independent but affiliated studies on modern opera and the theoretical context of cultural musicology, and a longitudinal consideration of the representation of race and racism in historical operas, will form a theoretical and comparative historical background to the analysis of the operas. This study intends to contribute to the field of opera studies by focusing on contemporary Canadian operas.

This document examines Rodney Friend’s approach to violin technique for the left hand, with specific emphasis on the execution of fifths. The application of this technique plays a valuable role in establishing correct hand positioning, creating consistent intonation, improving vibrato, and adding to the palette of colors available to the violinist. Mr. Friend is an esteemed violinist, a perceptive pedagogue, and a dedicated mentor in today’s music world, and, in those roles, he exemplifies the qualities of beauty, truth, and goodness that characterize meaningful engagement in the arts. His thoughtful teaching style is the product of decades of careful observation combined with a devotion to constant personal improvement. As a performer who has toured the world as concertmaster of classical music’s most renowned orchestras, Mr. Friend’s early and continued success could have easily led him to a justifiable sense of arrival. Instead, he continues to hone his craft daily--both as a performer and as a teacher--always striving to remove the roadblocks from the tricky terrain of violin playing. In Mr. Friend’s words, violin playing is “a whole complicated business that we need to make less complicated.” His keen insights into the mechanics of the trade prove that simplification is possible. I firmly believe that his pedagogical innovations will greatly serve the rising generation of violinists. Most recently, Mr. Friend has turned his attention to an area of left hand technique that is commonly avoided by violinists in their practice, and often glossed over by teachers: the study of fifths. For the past six years Mr. Friend has been systematically exploring the benefits of this ignored technique. Other pedagogues have had little to offer in specifically addressing this interval because there is a general lack of understanding about the benefits provided by mastering the execution of fifths. Examples of this omission can be seen in pedagogy books by some of the 20th century’s greatest violinists and teachers. For instance, when Leopold Auer discusses the left hand in his book, Violin Playing as I Teach It, he suggests practicing scales in thirds, fourths, sixths, and octaves, but completely skips over the interval of the fifth. The same omission is also made by Yehudi Menuhin in his instructional text entitled Violin and Viola. Mr. Friend has developed a systematic approach to mastering this difficult technique that is both simple and effective. He plans to publish his method later this year. Some of the benefits provided to the violinist from the consistent practice of this traditionally difficult and neglected interval include better hand positioning, improved vibrato, and more consistent intonation--the continual quest of every violinist. I have experienced the remarkable benefits of his method in my own playing, which motivated me to seek Mr. Friend’s permission to further explore and document his techniques, and with this monograph to share these benefits with the violin community.

The purposes of the essay are to transcribe and analyze selected solos from the 1964 J. J. Johnson recording, Proof Positive as well as to increase the amount of analytical literature on J. J. Johnson presently obtainable for study by jazz trombonists. J. J. Johnson will further be affirmed as a jazz musician worthy of doctoral level study. Selected solos from the 1964 J. J. Johnson recording Proof Positive will be transcribed and analyzed in depth using a method of analysis incorporating improvisational devices identified by the author. A brief biography of J. J. Johnson is presented along with a review of jazz trombone history in order to provide perspective. A review of related literature will be provided as well. The study will be limited to those solos that meet a selection criterion. The specific solos that were selected met the standard of containing a substantial number of Johnson's characteristic improvisational devices. Melody, harmony, rhythm, and stylistic inflection within each solo are discussed in detail and musical examples from the improvisations are cited to provide emphasis. The 1964 J. J. Johnson recording, Proof Positive was chosen for transcription and analysis due to its historical significance as a seminal recording and for the fact that only "Stella by Starlight" has been published. The remaining trombone solos have not yet been readily made available for study.

This thesis surveys the major works on the topic of verbal aspect. Chapter 1 provides an introduction, giving the background to the issue and listing some of the major contributors to the topic, Stanley Porter, Rodney Decker, Buist Fanning, and Constantine Campbell. Chapter 2 reviews and analyzes the contributions of these authors in this area of study. Further, this thesis seeks to clarify the topic, by exposing each author's views concerning the major matters of debate and by listing some subjects in verbal aspect that are in need of further study; in particular, the issue of the aspect of the perfect verb form, the aspect of the future verb form, and the historical present. Finally, chapter 3 demonstrates the importance of this issue for the study of Scripture, specifically, the study of the New Testament, and it gives suggestions for further study in this area.