Thesis (M.F.A.) -- Montana State University -- Bozeman, 2007. / Typescript. Chairperson, Graduate Committee: Richard Helzer.

Thesis--Indiana University, 2006. / Includes bibliographical references (leaves 303-308), abstract, and vita.

During Aaron Copland's long and productive life, he has written many compositions of distinction; among his piano compositions are the Passacaglia, Piano Variations, and Four Piano Blues. These three piano works were composed during a span of over twenty years and reflect many different influences in the composer's musical life. The Passacaglia, an early work, was written under the direction of Copland's teacher, Nadia Boulanger. It was strongly influenced by her and the French neoclassic school. The influence of jazz is most prominent in the Four Piano Blues, whereas the Piano Variations were influenced by Arnold Schoenberg and other composers of the twelve-tone school. This study contains an examination of each of three piano pieces mentioned, with emphasis upon aspects of thematic development, harmony, rhythm, and sonority; then a comparison between the pieces is made.

Analysis of Appalachian Spring, Rodeo, and Billy the Kid

This thesis presents a short biography of Aaron Burr followed by a look at his controversial political life from 1783-1804.

No description available.

This thesis presents an analysis of Copland's first major serial work, the Quartet for Piano and Strings (1950), using pitch-class set theory and tonal analytical techniques.

In Appalachian Spring, Aaron Copland creates a unique tonal environment. Although often considered a tonal work, it contains many non-functional progressions and techniques that belie common-practice norms. The entire first movement, and sections of other movements contain no harmonic motion, in part because tonic and dominant chords sound together as a single sonority. In other movements, harmonic motion, in part because tonic and dominant chords sound together as a single sonority. In other movements, harmonic motion is increased by shifts to third-related keys, and non-functional progressions. Also, the variations on the melody "Simple Gifts" never employ common-practice techniques. Through the free use of materials, Copland creates an individualistic example of tonality in twentieth-century music.

Föreliggande systematiska litteraturstudie syftade till att samla information och söka evidens för bröstcancerdrabbade kvinnors omvårdnadsbehov från sjuksköterskans i form av stöd för psykiska, sociala eller informativa behov. Sexton vetenskapliga artiklar valdes ut via databasen CINAHL (Cumulative Index to Nursing and Allied Health Literature) och fulltextdatabasen ELIN (Elecronic Library Information Navigator) för vidare granskning. Till sökningen användes sökorden breast*, cancer*, nurs* och support. Alla utvalda artiklar som härrör till syftet kvalitetsbedömdes genom på förhand bestämda granskningskriterier från modifierade förlagor efter Forsberg och Wengström (2003) och Willman, Bahtsevani och Stoltz (2007). Av resultatet framkom det att det fanns stark evidens för att kvinnor med bröstcancer har ett omvårdnadsbehov av socialt stöd, psykiskt stöd och även av information av sjuksköterskan. Omvårdnadsbehov som även kom fram i denna studie är kontinuitet i vården och personliga samtal med sjuksköterskan. Att få utöva sin religiösa tro, sin andlighet och utöva sin kulturella tillhörighet samt likaså känna förtroende är omvårdnadsbehov som blev uppenbarat i resultatet. Resultatet diskuterades utifrån Aaron Antonovskys omvårdnadsteori där känslan av sammanhang är central.

Difficulties are encountered in any discussion of Copland's style, for his works cover the spectrum from harsh, dissonant works to folk music. To avoid the task of defining a style which encompasses this array of vastly different pieces, a sharp distinction is frequently made between the abstract and popular works. However, Copland has repeatedly objected to such categorization, claiming that he composed from a single vision. A careful examination of his total output proves the validity of his claim. Many common characteristics are found throughout works from all categories and time periods. These traits include a basic economy of materials, emphasis on thirds, consistent method of development, use of declamation, jazz-influenced rhythms, cyclicism, and a slow/fast/slow sequence of movements, as well as within single movements. This document uses the Piano Sonata as a model of Copland's style, for it exemplifies these characteristics more clearly than any other major piece for piano. By making numerous comparisons with other works, Copland's single vision is revealed.