No description available.

Thesis (M.A.)--Eastern Illinois University, 1990. / Includes bibliographical references (leaves 171-179).

Thesis (M.A.)--Virginia Polytechnic Institute and State University. / Vita. Abstract. Includes bibliographical references (leaves 165-173). Also available via the Internet.

Thesis (Ph. D.)--University of Western Australia, 2007.

Proefschrift--Katholieke Universiteit van Nijmegen, 1993.

Dissertation (D.M.A.)--The University of North Carolina at Greensboro, 2008. / Title from PDF t.p. (viewed Jun. 2, 2009). Includes bibliographical references (p. 65-66).

Thesis (Ph. D.)--University of California, Santa Cruz, 1997. / Typescript. Includes bibliographical references (leaves 482-495).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1980. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 206-211).

RONALD REAGAN RAIN is a collection of poems that explore the wildness and terror lurking beneath the surface of contemporary suburban landscapes in a largely imagined America. Images of menacing policemen, bears, fast food restaurants, and dead film stars appear as substantive figures that embody loss and a preoccupation with aging, money woes, and a failed national confidence. Influenced by Russel Edson and Georg Trakl, poets whose work is characterized by Hermeticism and Expressionism, the poems in RONALD REAGAN RAIN suggest a similar dual need for autonomy and compromise in both highly charged poetic fragments and longer prose passages that examine issues of civil and personal estrangement as the outside world calls for constant introspection and reassessments of identity.

This paper investigates Ronald Stevenson's unique treatment of large-scaled structure in his Passacaglia on D S C H. This piece's unusual eighty-minute length, use of traditional forms and unusual piano techniques, musical references to other cultures and a massive triple-fugue over a ground bass will be examined as they relate to its overall form. The elements of rhythm, melody/mode, harmony, counterpoint, piano techniques, and tonality are also used as means of highlighting many unifying elements of the piece which contribute to its overall cohesiveness. Tributes to other composers, among them Dimitry Shostakovich to whom the piece is dedicated, are discussed in addition to many references to world cultures and events which support Stevenson's views on what he terms world music. Rarely is a piece written that encompasses such a wide range of musical elements that possess the ability to engage an audience for an uninterrupted length of eighty-minutes. As of yet, an in-depth scholarly investigation of Stevenson's treatment of formal unity in this landmark piano work has not been done. This analysis reveals Stevenson's approach to composing in such a large form, as well as illustrating his mastery of variation, counterpoint and unending ingenuity for innovative piano techniques. The composer's background and philosophies are discussed as well as the major impact made on his compositional style by both Percy Grainger and Ferruccio Busoni.