This dissertation is a biography of American missionary Frank W. Price, friend and advisor to Madame and Generalissimo Chiang Kai-shek, and KMT official for two decades. Price was closer to Chiang than any other American, yet no one has attempted to unravel his role within Chiang’s government or his impact on Sino-U.S. relations. This dissertation makes that attempt, giving special attention to the years between 1937 and 1947, during which Price was most involved with Chiang and the KMT. Groundbreaking research was undertaken in Taiwan, the United States, and China. New archives and family collections were used, and recently declassified documents were accessed in the United States through the Freedom of Information Act. Chiang’s diaries were utilized and interviews conducted with at least twenty individuals in China, the United States, and Taiwan, most of whom either knew Frank Price or whose parents or spouse worked with him. These interviews include Price’s son and niece. In the final analysis evidence will reveal that though his ultimate policy impact was minimal, missionary Frank Price was a valued member of Chiang’s political inner circle, acting, for more than a decade, as a diplomatic backchannel between Chiang Kai-shek and President Roosevelt’s administration. The dissertation demonstrates that unconventional actors – missionaries specifically – may have been more involved in Sino-U.S. relations during China’s Nationalist period, particularly during the Second Sino-Japanese War, than has been previously supposed. It will also be asserted that Price’s role in the China Lobby indicts the KMT for secretly exerting influence on that lobby as early as 1938. / published_or_final_version / History / Doctoral / Doctor of Philosophy

John Philip Sousa conducted his professional band from September 26, 1892, until his death in 1932. During that time the Sousa Band became one of the premier musical organizations in the world, recognized for its consistently high level of musicianship and for its stunning instrumental and vocal soloists. Ten saxophonists performed solos with the Sousa Band: Edward Lefebre (1893-94), Jean Moeremans (1894-1900, 1902-1905), Ralph Lick (1917), H. Benne Henton (1919-20), Jascha Gurewich (1920-21), Anthony D'Ortenzio (1921), Frederick Bayers (1923), Richard Gooding (1924), Harold Stephens (1925-26), and Edward Heney (1924-1930). These men were some of the most influential concert saxophonists performing during the years after the death of Adolphe Sax in 1894 until the development of the solo careers of Cecil Leeson, Marcel Mule, Sigurd Rascher and Larry Teal in the 1930's. 518 solo appearances by Sousa's saxophone soloists and over 60 different compositions have been documented through concert programs, concert reviews, and previews.

There is no abstract available for this thesis.

published_or_final_version / English / Master / Master of Philosophy

Not available / text

William Bell was an active photographer for more than a half century, successfully making the technical and commercial transitions from the daguerreotype process of the 1840s and 1850s to the collodion processes of the 1860s, 1870s, and 1880s, and finally to the dry plate processes that dominated the medium from the mid-1880s until the time of Bell's death in 1910. The purpose of this thesis is to provide a biography of Bell (1830-1910), to assess his contributions to photography, and to suggest something of the growth of professionalism in nineteenth century photography using Bell as "typical."

In this memoir, I have written about being born disabled; my resulting childhood of surgery, medical intervention, otherness, and pain; my complicated relationship with my parents and my own reluctance to have children and thereby pass on this unfortunate genetic malady; as well as my development as an artist, my interest in flight, and my work in the aerospace industry, which was dramatically impacted by the events of 9/11/01. Subsequent to that terrible day, I returned to graduate school here at Ball State to pursue graduate work in fine art, new media, and creative writing. I like many others lost virtually everything in the world economic collapse of 2008 and this project revolves around the first ten years of this century, these diverse experiences, reaches back in time for connections and insights, and includes themes of truth, God and the big questions, life and death, the universe and our place in it, the Tarot, and the occult, fame, childhood, brotherhood, love, art, education, astral projection, 2012, black holes, writing, Kurt Vonnegut, a sense of humor, and those things to avoid in order to maintain one, but the writing process itself, as I am still learning, is an invaluable tool with which to keep track of both my reach and my grasp. Adversity and suffering are a part of every life, both personally and at large, but our trajectory depends entirely upon how we respond. / Trajectory -- Progression -- Faces in the trees -- Foundations -- The treatment -- Celebrity -- The sunshine box -- Malefica -- In the dream -- Castaways -- The artist as shaman -- Beyond light speed -- The black hole -- The super unknown -- The war on douchebaggery. / Access to thesis permanently restricted to Ball State community only. / Department of English

Since 1939, Dorothy Munger's career has encompassed many roles-piano teacher, accompanist, soloist and ensemble performer. Munger's early piano training included study with Karin Dayas, Rosina and Josef Lhevinne, and Guy Maier. Munger's professional performing career has included work with the Indianapolis Symphony Orchestra, solo concerto performances with orchestras around the Midwest, and accompanying for members of the Metropolitan Opera in solo recitals. Honors bestowed upon Dorothy Munger include an endowed chair with the Indianapolis Symphony Orchestra, being named a Steinway Artist, and having a performance hall named for her at Meridian Music Company in Indianapolis.Munger has served on the faculties of Jordan College of Fine Arts (now part of Butler University) and Indiana Central College (currently University of Indianapolis). Her teaching career became internationally recognized when she spoke at two European Piano Teachers Association annual conventions. At these events Munger gave workshops discussing her technique of playing with relaxed wrists and forearms.Munger students learn to keep their wrists relaxed by using motions which relate to the rhythm of the music. These motions allow the fingers to work without interference from tension in the shoulders, forearms, or wrists. Forte passages are performed by using the weight of the body to its full capacity without "pushing" the keys. The use of the diminished seventh chord helps teach the student how to create a full chordal tone while strengthening every finger. Diminished seventh exercises include chord jumps, inversions, and arpeggiated patterns. Using wrist motions during scale practice keeps the passage steady along with keeping the arm relaxed.Munger students have excelled as performers and teachers using these relaxed wrist and arm techniques. Many pianists have come to Munger with physical problems due to tensions while practicing and performing. Dorothy Munger works with all students individually to teach them the basics for performing to their capacity without injury. This information may provide a resource for others studying the methods of successful teachers. / School of Music

Thesis (Ph.D.)--Indiana University, Dept. of Theatre and Drama, 2007. / Source: Dissertation Abstracts International, Volume: 68-05, Section: A, page: 1735. Adviser: Ronald H. Wainscott. "Title from dissertation home page (viewed Jan. 12, 2008)."

Thesis (Ph.D.)--Indiana University, Dept. of History, 2005. / Source: Dissertation Abstracts International, Volume: 66-06, Section: A, page: 2362. Adviser: James H. Capshew. "Title from dissertation home page (viewed Nov. 28, 2006)."