This essay will explore the salient performance characteristics of three selected works for solo trombone by major composers of popular media. The works selected for this study are Colloquy for Solo Trombone and Symphonic Band by William Goldstein, Concerto for Trombone in C Major by Nino Rota, and Arrows of Time by Richard Peaslee. These composers have written extensively for television, motion pictures, theater, and dance. In addition to their significant popular media repertoire, these three composers have made a significant contribution to the solo trombonist's repertoire. Although these works have been performed, recorded, produced, and reviewed, they have not been studied together as a group, nor have they been established in the general repertoire for solo trombone.

Such personality idiosyncrasies of creative persons as a preference for disorder and complexity rather than neatness and simplicity may erroneously have earned them the nomenclature of maladjusted, emotionally unstable and eccentric. This field study explores the conventional approach to the evaluation of creative behaviour and suggests that there is an urgent need to revolutionise our acceptance and encouragement of such behaviour in an integrated social and educational sense. Chapter 1 reviews various definitions of creativity and in particular the sociological discrimination against creativity in contemporary society. The notion of the relativity of the predominant social, educational and psychological research perspective is raised. The confusion in meaning which the terms &quotegiftedness&quote, &quotegenius&quote and &quotecreativity&quote evoke in the context of classical research efforts is discussed in Chapter 2. Chapter 3 reviews traditional psychoanalytic, psychiatric and psychometric research into creativity. Orthodox methodology which fragments the total human individual, is seen as detrimental to understanding, accepting and facilitating research into creativity. It has only been where total personality has been considered, that research has proved meaningful. Chapter 4 attempts to correlate the theoretical viewpoints of various authors on creativity, in particular Jung, Barron, Maslow, Assagioli and Hudson. The empirical chapter 5 is divided into four sections. Section I explores teacher attitudes towards creative personality characteristics using Torrance's Ideal Pupil Checklist. The results of the sample of A.C.T. teachers surveyed,correspond closely with those found by Torrance in five other countries, although creativity is markedly less encouraged in Australia than in the United States. Section II explores the attitudes of a sample of Year 10 A.C.T. high school students towards creative personality characteristics. Results show an alarmingly low correlation with expert rankings. Section III compares the teachers' and students' responses on the checklist and finds interesting discrepancies. Section IV is concerned with identifying &quotecreativity&quote in students using a number of instruments, in particular the Myer-Briggs Type Indicator. Additionally, results on this instrument are compared with WL/WQ results and career preferences, where few trends emerged. Chapter 6 restates the necessity of adopting a total personality perspective when considering creativity. The &quotepsychosynthesis&quote model is suggested as fundamentalising and facilitating creative growth personally, educationally and socially. Futuristic aspects of evolution and creativity are raised. Wholeness as opposed to separatism and synthesis as opposed to fragmentation are considered paramount contemporary psychological issues, as exemplified by the &quotesoul searching&quote associated with the drug culture. The need to achieve growth and balance between the different, diverse and complementary, aspects of the psyche, both in individuals and in society is seen as being paramount and of increasing sociological relevance.

This thesis focuses on the financial careers of Lionel and Barron Jacobs in Tucson, Arizona, from 1867 to 1913. As early merchants, the Jacobs brothers discovered that cash and credit were scarce in the region, and in 1870 opened a money exchange and lending business. Then in 1879, the Jacobs brothers opened the Pima County Bank to serve the increased economic activity caused by the Tombstone silver discoveries. Mastering the details of banking, they developed management skills and insights. They organized and operated the First National Bank of Tucson (1882-1885), the Bank of Tucson (1885-1887), the Consolidated Bank of Tucson (1887-1890), and the Arizona National Bank (1890-1913). At retirement the Jacobs brothers were among the preeminent financiers of Arizona. A study of their banking experience provides a valuable perspective on the economic growth of southern Arizona during the late nineteenth century and mirrors the problems that bankers faced on remote frontiers.