Thesis (M.M.) Florida State University, 2006. / Advisor: Clifton Callender, Florida State University, College of Music. Title and description from dissertation home page (viewed 8-20-2007). Document formatted into pages; contains 46 pages. For SATB choir with soprano soloist, string choir, and piano. Includes biographical sketch.

Dissertation (D.M.A.) Florida State University, 2004. / Advisor: Ladislav Kubik, Florida State University, College of Music. Title and description from dissertation home page (viewed 8-20-2007). English words by Wilfred Owen printed as text preceding score. Document formatted into pages; contains 90 pages. Includes biographical sketch.

Thesis (M.M.)--Bowling Green State University, 2007. / For SATB chorus (up to SSSAAATTTBBB), with flute, clarinet in B♭, horn, bassoon and piano. Document formatted into pages; contains 1 score (vi, 39 p.) Includes bibliographical references.

Thesis (D.M.A.)--Ohio State University, 2008. / Title from first page of PDF file. Includes bibliographical references (p. 196-208).

Thesis (M.A.)--Boston University / From the thirteenth century on, the antiphons to the propers of the Mass and to certain canticles of the Offices in the Roman Rite were sung to polyphonic motet settings. After the English Reformation in 1534, antiphons eventually disappeared from the services of the Book of Common Prayer and with them the motets. Because they had been a popular feature of the services, it was not long before a need was felt for an equivalent and the English anthem came into being. (The word "anthem" is but a corruption of the earlier terms for "antiphon".) The reformers desired that the complex additions of medieval pietism to the Roman Rite be either omitted or simplified and the attitude applied also to church music as did the ruling that all of the services be in a "tongue understanded of the people". The first Full Anthems of Tye, Tallis, Shepherd, Farrant, and others were in the simple, familiar style but with brief imitative "points" at the beginning of each phrase of the English text. The wish that the Archbishop of Canterbury, Thomas Cranmer, had expressed to Henry VIII that "the song...should not be full of notes but, as near as may be, for every syllable a note" was at first meticulously followed." [TRUNCATED]

There is a paucity of literature into the first-person account of hearing voices (HV)1, particularly from diverse cultural groups. This research aimed to explore the meaning-making of African-Caribbean men who have heard voices, within a social constructionist framework. Five participants were recruited via community networks and individually interviewed. Narrative analysis was employed to illustrate both individual and collective stories of HV. Four emerging storylines were constructed: 'Storylines of the changing understandings of hearing voices over time', 'Recovery: Reformation, Redemption and Restoration', 'Storylines of family life and understandings of culture and race', and 'From Silence to Freedom: Speaking Out and Reaching Out'. Findings of this research suggest re-storying HV outside of a medical framework, with voice-hearers' meaning-making of the voices an integral part of understanding the phenomenon, in the context of psycho-social and cultural factors. Implications for de-mystifying voice-hearing, particularly in African-Caribbean communities, are considered in the context of promoting education and awareness of HV through community-based approaches, cross-cultural working and supporting the voice of expert by experience, in the hope of challenging dominant discourses attached to HV. Future research suggestions are discussed and researcher reflexivity concludes the study.

Este trabalho apresenta a análise do salmo 137. Apontamos quais são os sujeitos falantes neste salmo identificando, então, uma multiplicidade de vozes. Comentaristas e exegetas bíblicos analisam estas vozes sob diferentes perspectivas. Propomos apresentar um paralelo destas interpretações , assim como também analisar o modo como tais vozes estão organizadas no salmo de forma que, mesmo com múltiplos falantes, o poema convirja para um único ponto de vista, formando a unicidade do salmo: o lamento pelo exílio e as possíveis réplicas para a crise instaurada. / This paper presents the analysis of Psalm 137. Pointed out which are the subject identifying speakers in this psalm, then a multiplicity of voices. Biblical exegetes and commentators analyze these voices from different perspectives. We propose a parallel display of these interpretations, as well as examine how these voices are arranged so that in the psalm, even with multiple speakers, the poem converge to a single point of view, forming the unity of the psalm: the lament for the exile and possible replies to the crisis brought.

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. / Arts, Faculty of / Anthropology, Department of / Graduate

Ring is a composition for orchestra (piccolo [doubling flute], two flutes, two oboes, English horn, two clarinets in B-flat, bass clarinet, two bassoons, contra-bassoon, four horns, four trumpets, two tenor trombones, bass trombone, tuba, three percussion parts [including glockenspiel, vibraphone, tubular bells, snare drum, toms, bass drum, suspended cymbal, drum kit, triangle, and gong], timpani, harp, piano, and standard strings) and spatially separated women's choir (SA right, SA left). This arrangement of media is intended to "ring" the audience with performers. At the notated tempo of two quarter-notes per second, the duration of the piece is exactly 17'40". The title of Ring comes from a poem of the same name written by the composer which is the principal text sung by the choir in the piece. The text of the poem is as follows: Wendy is a ring / A beginning and an end / Connected / The finest gold / Melted by touch / Cooled by breath / She fits my every finger / Without constraint / But permanent / Priceless, Precious, Beautiful / Alone / She clothes me. The poem and composition were written for, and dedicated to, the composer's wife. The ring metaphor ("ring" meaning cyclical, unending, complete) underlies many of the compositional choices in the work. Much of the surface of the music and its deeper structural elements are palindromes, which, because they end as they begin, have a circular nature. Also, the pitch structure of the piece involves the climactic completion of the "cycle" of the twelve available equal-tempered pitch classes. A further organizational element is the Fibonacci series, a mathematical construct which is used to determine small-scale rhythms and the duration of the larger sections of the work. These components, taken together, have resulted in a composition filled with variety and contrasts, which, nonetheless, is quite organically cohesive. / Arts, Faculty of / Music, School of / Graduate

Haiku Seasons is a choral work that uses several haiku to portray moments in nature. Spread throughout the performance space, four choirs (SATB, 3/part) depict larger parts of the pastoral scene (i.e., mountains, the moon, etc.). Soloists depart from the choirs in order to perform solo, duo, trio, and quartet passages, which take place throughout the work. If enough singers are available, individual soloists may be used. The soloist groups display the more intimate moments of the scenes (i.e., sparrows, a blade of grass, etc.). The intent of Haiku Seasons is to create an image of nature isolated from human interaction. Thus, the image is a pastoral setting with many independent parts all coexisting in a relatively silent world. I combine aspects of tonality, time, space, and silence to create this image.