Thesis (D.M.A.)--University of North Texas, 2003. / Accompanied by 2 recitals, recorded Apr. 20, 1992, and Nov. 30, 1992. Includes bibliographical references (p. 162-165).

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Zugl.: Hagen, Fernuniv., Diss., 2009

This dissertation explores Kant’s theory of perceptual experience. A reconstruction of Kant’s conception of perceptual synthesis is pursued through an examination of two interpretations given by Wilfrid Sellars and John McDowell. The two interpretations defended by Sellars and McDowell emphasize on the conceptual synthesis of the understanding in shaping the sensory consciousness. Also, the two interpretations seek to articulate a conception of external constraint in perceptual activity that is answerable to independent reality. The external constraint is necessary to explain the occurrence of perceptual experience. The manifold of sense is considered as an external constraint in perceptual synthesis. Sellars takes sheer receptivity as providing this constraining element in perceptual experience, whereas McDowell argues that sensations as informed by the understanding can sufficiently provide this constraining content. After examining both interpretations, I will argue that Sellars and McDowell incorrectly take external constraint as appropriated by the concepts of the understanding. To defend this claim, I will reconstruct Kant’s conception of perceptual experience by demonstrating that Kant posits the manifold of sensations as independent of the operation of the understanding. The manifold of sensations constrains the conceptual content of experience through the synthesis of apprehension. In this synthesis, the manifold of sensations resists the figurative synthesis of imagination from being re-constituted through the extensive forms of space and time.

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James Sellars has established himself as one of America's foremost composers whose eclectic style reveals a wealth of influences. His artistic combination of various traditional and avant-garde techniques, along with his sensitive and expert craftsmanship has earned him an important position in contemporary American music. Sellars' compositional styles have encompassed neo-Romanticism, in his early days, through post-serialism and Dada to an eclectic, post-Romantic style utilizing popular elements including electro-acoustic techniques. His extensive catalog of over 150 compositions includes works for orchestra, opera, chorus, dance, chamber, voices with ensemble, solo voice, piano, instrumental solos, band, and media. Sellars' compositions for piano solo span a 38-year period and total 17 works, the most important of which are his six one-movement sonatas, which represent, according to Sellars, "a journey from modernism to post-modernism." Their value lies in their eclectic stylistic approaches, artistic nd technical challenges, and pianistic effectiveness. The first three sonatas, incorporating post-serial elements, fall into a modernist stylistic stance while numbers four through six, in postmodern style, contrast one another drastically. Sonata Brasileira, recalls the broad sweeping gestures of the Romantic period; Sonata V reveals the influence of the absurdist Dada movement; and the last sonata Patterns on a Field, blends minimalism with elements of rock music. These sonatas represent Sellars' significant contribution to the genre of the piano sonata and deserve a position among other important American piano sonatas of the twentieth century. Despite Sellars' numerous successes and highly active performance schedule, no study or research has focused on the composer or any of his works. Taken as a whole, the six sonatas represent an important yet relatively unknown body of twentieth century solo piano literature, which justifiably merit further study and performance. The aim of this dissertation is to provide an introduction to the composer and present a study of the sonatas through an analysis focusing on the aspects of form, rhythm, texture, and style.

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Thesis (Ph. D.)--University of Washington, 2004. / Vita. Includes bibliographical references (p. 332-343).

Thesis (M.A.)--Boston University / The question --- whether a biological concept, such as evolution, can have a profound effect in such a remote field of study as professional philosophy --- must begin with a discussion of what evolution means to biologists, and did mean at the time the philosopher in question was formulating his philosophy. The names of Lamarck, Darwin, and DeVries stand for three theories of the method of evolution, current at the time Sellars was formulating his metaphysics; and there was no acceptable way of choosing among them. However, all were agreed that evolution had occurred and by evolution they meant a continuous chain of descent accompanied by modification of inheritance until new species had been formed. Since Sellars does, as most philosophers do, have his own vocabulary of special terms, the need of a glossary is indicated, to contain terms as: thing, existent, datum, content, perception, category, thinghood, intuit, knowledge, object, correspond, physical, law, connection, continuity, structure, function, organism, system, emergence, time, explanation, history, and cumulation. The thorough explanation of these terms acts to describe, to a considerable extent, Sellars' philosophy. However, another separate chapter is necessary to give an adequate picture of Sellars' metaphysics, epistemology, unification of the sciences, approach to the mind-body problem, emphasis on evolution, and rejection of God. [TRUNCATED]

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