The Four Horsemen is an original composition in three movements that sets the texts of the Greetings and Doxology, the story of the four horsemen, and the River of Life from the Book of Revelation as found in the New International Version of the Bible. The text, which is presented in English, is set for a large SATB choir and narrator with a mixed ensemble, which consists of flute, clarinet, horn, trumpet, piano, organ, and cello. This fifteen-minute composition makes extensive use of pitch and numerical symbolism by way of a twelve-tone row. Although the piece uses a row, it contains elements of tonality and is globally organized around a tonal center. The piece uses several extended vocal and instrumental techniques to heighten the dramatic character of the apocalypse story. The accompanying document provides historical context for the piece and a discussion of the musical elements and compositional processes used in the work. The symbolic nature of the text, as well as a detailed account of the story of the four horsemen, is also included in this document. The review of repertoire considers a selection of recent works that set portions of the text, as well as compositions inspired by Revelation. The methodology chapter explains the construction, use, and symbolic elements of the row as well as the inclusion and setting of well-known motives like the Dies Irae and the chromatic-fourth lament bass. An analysis of each movement includes discussion of the use of pitch and rhythmic material, texture, setting of the text, and other musical elements that contribute to and/or enhance the symbology of the work. The first movement establishes C as the tonal center, introduces the row and other important motives, and sets the mood for the piece. The second movement, which includes two ostinato figures (a figure based on the reordered version of the row and the lament bass), makes extensive use of syncopation and hemiola throughout the multi-metric environment. The final movement sees the return of motives from the first movement; it employs the row’s retrograde and concludes with a plagal cadence. / School of Music

For those living in resource rich countries such as Canada a positive HIV diagnosis no longer means an imminent death. In response to this change, numerous treatment and therapeutic institutions have arisen to assist individuals with managing their illness. Illness narratives then, the stories people tell and retell about their illness experience, are constructed by and within this multiplicity of medical frameworks that can interact in ways that are both complimentary and contradictory. Drawing on ethnographic data obtained through two months of participant observation and seven in-depth interviews at an HIV/AIDS treatment facility in Vancouver, British Columbia I discuss how illness narratives reveal the presence of and an orientation towards the powerful discourses of medicine. Some of the frameworks evident in the narratives I examine include biomedical understandings of health and disease, support group dialogues on self-empowerment, tenets of complementary and alternative medicines, clinical models of low-threshold access to health care, notions of health services as a human right, and addiction treatment concepts. In order to afford a place for the institutional discourses of medicine in my analysis, the subjective experience of illness is contextualized with reference to it’s situatedness amongst the myriad of other voices that both construct and constrain narrative production. Ultimately, I seek to demonstrate how the incorporation of disparate institutional voices into a subjective story of illness reflects the development of a unique orientation to the institutions of medicine an understanding that I conceptualize as medical consciousness.

People who are diagnosed with ‘severe mental illness’ experience some of the most extreme and pervasive prejudice of all groups in Western society. How can this still be so? Although the term ‘mental illness’ is typically reserved for the most ‘serious’ of ‘cases’, psychiatry’s medical model is expanding into increasingly everyday realms. Thus, in concert with efforts to reduce social stigma, ‘mental illness’ is becoming ‘normal’. Nevertheless, ‘abnormality’ is a requirement of biopsychiatry and its offshoots; professionals require some ‘thing’ to remedy. How do ‘clinical’ professionals manage these tensions? And what alternatives are there to the pathologizing of such phenomena? Such concerns are considered in relation to my main thesis question: How do professionals represent ‘schizophrenia’ and hearing voices in theoretical texts, and how is that played out in the minutiae of therapy practices? Drawing on discourse analysis and conversation analysis, I critique professional categorizations of what are typically known as ‘schizophrenia’, ‘mental illness’, ‘patients’, ‘clients’, and ‘therapists’. My case in point is the experience of hearing voices - pathologically known as ‘auditory hallucinations’. ‘Delusional’ beliefs are also considered. In Part 1, accounts of voices as supernatural or ordinary phenomena, or as a ‘symptom’ of ‘severe mental illness’, are considered. Mainstream psychiatric and psychological texts are analyzed and critical alternatives are summarized. In Part 2, a selection of studies of interactions involving ‘severe mental illness’ are reviewed and ongoing analytic/methodological debates are discussed. A cognitivebehavioural therapy group for hearing distressing voices then provides data from ‘clinical’ talk-in-interaction for analysis. I focus on negotiations of ‘reality’ (the ordinary versus the psychiatric) and on what I take to be sanist prejudice-in-action. Part 3 relates findings from Part 2 to the context and findings of Part 1. There is also discussion of the positive implications of a more social and dialogical approach to understanding and otherwise dealing with the phenomena in question; for voice hearers, ‘schizophrenics’, and society at large.

Thesis (M.A.)--State University of New York at Binghamton, Department of Music, 2006. / Includes bibliographical references.

Thesis (Ph. D.)--University of California, San Diego, 2004. / Amplified quartet consists of flute, guitar, violoncello, and percussion; chamber choir for a minumum of 16 performers, SSSSAAAATTTTBBBB. Text fragments taken from Black magic by Amiri Baraka. Includes performance instructions preceding score. Vita.

Thesis (M.M.)--Bowling Green State University, 2009. / Document formatted into pages; contains 1 score (74 p.) Duration: ca. 20 min. Includes bibliographical references.

Thesis (Ph. D.)--University of Iowa, 1974. / Includes bibliographical references (v. 1, leaves 275-287).

Thesis--University of Michigan. / Vol. 2 consists of Weelkes anthems, edited from original MSS. and transcribed into modern notation in score, by Walter Stowe Collins. The anthems are for chorus and organ. Includes bibliographical references.

Thesis--University of Pennsylvania. / "Text adapted from J. Newton Hill's 'American vignettes.'" Reproduced from ms. For contralto, chorus (TTBB) and orchestra.

Thesis (D.M.A.)--University of Wisconsin--Madison, 1980. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 52-53).