Thesis (M.A.)--Miami University, Dept. of Theatre, 2007. / Title from first page of PDF document. Includes bibliographical references (p. 143-145).

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Approved for public release; distribution in unlimited. / Trying to adapt to the post-9/11 challenges to Euro-Atlantic security, the Romanian Ministry of National Defense continues its efforts to modernize and professionalize the country's armed forces in accordance with NATO standards. Part of this process is the development of a Special Forces (SF) capability that is to accomplish initial operational readiness by FY 2005. With appropriate organizational arrangements and focused combat training, the Romanian SF will increase their performance during future deployments in joint and combined settings. This project analyzes Romania's strategic documents, identifies the missions that can be conducted by the country's General-Purpose Forces or other security services, and finally proposes five appropriate tasks for the SF: Combating Terrorism, Counterproliferation of Weapons of Mass Destruction, Special Reconnaissance, Direct Action, and Security Detail for Romanian officials in crisis zones. In exploring what are the most effective structural arrangements for the Romanian Special Forces, this thesis uses a design program the recommendations of which lead to the proposal of a new organizational structure. Thus, it is determined that Romania's Special Forces elements should develop into a flexible, highly-mobile and joint organization displaying a flat hierarchy and centralized command and control. / Lieutenant, Romanian Army

George Enescu (1881-1955) is the best-known Romanian composer and has been widely lauded for his folk- inspired compositions. While folk music was an important influence in Enescu’s music, it was always balanced by his passion for and intimate understanding of late Romantic compositional techniques. The extent to which he was influenced by the folk music of his homeland is a point of contention amongst some of the leading Enescu scholars. The English-speaking representative, Noel Malcolm believes that the influences in Enescu´s musical language were more diverse than scholars have suggested prior to the 1989 revolution. He believes that the depiction of Enescu as a folkloristic composer has contributed to his marginalisation and relative obscurity. By contrast, scholars such as Boris Kotlyarov and Grigore Constantinescu give greater weight to national characteristics in Enescu’s music. Enescu conceded that some of his early works made direct quotation of Romanian folk melodies, and that such an approach was limited in its possibilities. The composer’s more mature works employ characteristics of folk music and its performance traditions without the use of direct quotation. This critical commentary will observe and comment on the folk influences in Enescu’s compositions as well as noting the influence of Western traditions and techniques. Due reference will be given to the work of Bartók, whose incisive study of Romanian folk music remains one of the most substantial and detailed primary sources today. In order to highlight specific examples of folk influence, as well as other techniques, three of Enescu’s works are targeted for specific study, namely the Romanian Rhapsody, op. 11 no. 1, Sonata for Violin and Piano, op. 25 no. 3 and his Impressions D’Enfance for violin and piano, op. 28. Each work exhibits a tie with the composer’s Romanian origins, but also with 19th and early 20thC composers such as Brahms, Wagner, Debussy and Fauré. This critical commentary highlights the fact that Enescu’s works display folk idioms and techniques developed using late-Romantic techniques.

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George Enescu (1881-1955) is the best-known Romanian composer and has been widely lauded for his folk- inspired compositions. While folk music was an important influence in Enescu’s music, it was always balanced by his passion for and intimate understanding of late Romantic compositional techniques. The extent to which he was influenced by the folk music of his homeland is a point of contention amongst some of the leading Enescu scholars. The English-speaking representative, Noel Malcolm believes that the influences in Enescu´s musical language were more diverse than scholars have suggested prior to the 1989 revolution. He believes that the depiction of Enescu as a folkloristic composer has contributed to his marginalisation and relative obscurity. By contrast, scholars such as Boris Kotlyarov and Grigore Constantinescu give greater weight to national characteristics in Enescu’s music. Enescu conceded that some of his early works made direct quotation of Romanian folk melodies, and that such an approach was limited in its possibilities. The composer’s more mature works employ characteristics of folk music and its performance traditions without the use of direct quotation. This critical commentary will observe and comment on the folk influences in Enescu’s compositions as well as noting the influence of Western traditions and techniques. Due reference will be given to the work of Bartók, whose incisive study of Romanian folk music remains one of the most substantial and detailed primary sources today. In order to highlight specific examples of folk influence, as well as other techniques, three of Enescu’s works are targeted for specific study, namely the Romanian Rhapsody, op. 11 no. 1, Sonata for Violin and Piano, op. 25 no. 3 and his Impressions D’Enfance for violin and piano, op. 28. Each work exhibits a tie with the composer’s Romanian origins, but also with 19th and early 20thC composers such as Brahms, Wagner, Debussy and Fauré. This critical commentary highlights the fact that Enescu’s works display folk idioms and techniques developed using late-Romantic techniques.

George Enescu (1881-1955) is the best-known Romanian composer and has been widely lauded for his folk- inspired compositions. While folk music was an important influence in Enescu’s music, it was always balanced by his passion for and intimate understanding of late Romantic compositional techniques. The extent to which he was influenced by the folk music of his homeland is a point of contention amongst some of the leading Enescu scholars. The English-speaking representative, Noel Malcolm believes that the influences in Enescu´s musical language were more diverse than scholars have suggested prior to the 1989 revolution. He believes that the depiction of Enescu as a folkloristic composer has contributed to his marginalisation and relative obscurity. By contrast, scholars such as Boris Kotlyarov and Grigore Constantinescu give greater weight to national characteristics in Enescu’s music. Enescu conceded that some of his early works made direct quotation of Romanian folk melodies, and that such an approach was limited in its possibilities. The composer’s more mature works employ characteristics of folk music and its performance traditions without the use of direct quotation. This critical commentary will observe and comment on the folk influences in Enescu’s compositions as well as noting the influence of Western traditions and techniques. Due reference will be given to the work of Bartók, whose incisive study of Romanian folk music remains one of the most substantial and detailed primary sources today. In order to highlight specific examples of folk influence, as well as other techniques, three of Enescu’s works are targeted for specific study, namely the Romanian Rhapsody, op. 11 no. 1, Sonata for Violin and Piano, op. 25 no. 3 and his Impressions D’Enfance for violin and piano, op. 28. Each work exhibits a tie with the composer’s Romanian origins, but also with 19th and early 20thC composers such as Brahms, Wagner, Debussy and Fauré. This critical commentary highlights the fact that Enescu’s works display folk idioms and techniques developed using late-Romantic techniques.

Thesis (Ph. D.)--UCLA, 2007. / Vita. Includes bibliographical references (leaves 232-251).