Karen Tuttle is unquestionably a living legacy in the world of viola pedagogy. The potency of her teaching philosophy, along with her dynamic personality, has influenced music students for almost sixty years. She has always been a famously free spirit whose ideas have consistently drawn both controversy and allegiance. Despite changes in cultural climate, Tuttle's belief in the importance of personal exploration has remained steadfast. Her contributions to both the meaning of performance and the mechanics of viola playing have enriched the field of viola pedagogy on a scale that is rare. More than a playing technique or a school, Tuttle's teaching is truly a philosophy. The nature of her playing philosophy, and the level of exposure it has received, has made her teaching both controversial and misunderstood. The purpose of this study is to examine Karen Tuttle's influence on modern viola teaching. Based primarily on many articles and interviews, topics covered include her biography, her teaching principles, and her influence in teaching. This influence is researched through interviews with former students. Of her legacy in viola pedagogy, we see specifically what is most groundbreaking and effective, and how this has made her teaching so revered.

Critics have appointed various genres to Maria Zambrano's Delirio y destino. I write that Delirio y destino creates a new genre. The most encompassing generic framework for Delirio y destino is auto-biography, or an autobiography written with the added intent of biography. I present Zambrano's life and times, the context of Delirio y destino, and the importance of generic definition. I review key critics' generic propositions, and supply Zambrano's definition of autobiography and confession. After showing the other genres as sub-genres to auto-biography, the thesis focuses on the text's confirmations. I catalog Zambrano's generic postulations and goals in writing. I show Zambrano's life-writing as representative of the life-writing of peers, and her version of Spain. I expound Zambrano's individual self-discovery, and the national self-revelation and self-creation. I relate Zambrano's narrative style to auto-biography. My thesis reveals Zambrano's dual purpose of writing her life and that of her Spain, creating the assignment of auto-biography.

Music in South Africa today is as diverse as its people. Due to this diversity, there are many different ways of describing the various styles of music in the country. Because of my interest in these styles and in gender and music studies, I have focused on the lives and works of three South African women composers, namely, Jeanne Zaidel-Rudolph (b. 1948), Princess Constance Magogo (1900--1984), and Rosa Nepgen (1909--2000). These women come from English, Zulu, and Afrikaans circumstances respectively, and my study reflects their individual stories and how their music developed in the South African context. Jeanne Zaidel-Rudolph composes mainly in classical music genres, while Princess Magogo, a performer on the musical bow, concentrates on Zulu traditional song repertoire. Rosa Nepgen's output consists mostly of art songs. While there are links between these three women, each has left her own personal "songprint" to enrich the musical life of South Africa.

Gerbert of Aurillac lived at the end of the millenium preceding our own. He was born an obscure peasant. But by virtue of his excellent education, political acumen and good fortune, he ascended to the highest post in Christendom, becoming Pope Sylvester II at the end of the tenth century. His meteoric rise in power helped bring about the genesis of "the legend of Gerbert" after his death. A renowned teacher, Gerbert was accomplished in all the liberal arts and distinguished himself in nearly every field of human endeavor. It was in the context of his role as a teacher and a mathematician that he acquired a reputation as an organbuilder. Among his contributions in that area is a treatise on pipe measurements which is attributed to him in a 12th-century manuscript. Gerbert's reputation as an organbuilder has rested mainly, however, not on any actual deeds he may have accomplished, but on the testimony of William of Malmesbury, a 12th-century English historian. William completed the legend surrounding Gerbert's life, which began in the eleventh century. In the course of his narrative, William credited Gerbert with having built a hydraulic organ in the cathedral of Reims. William's account of the organ is examined in its context, perhaps for the first time. This study reveals that William's account must be dismissed as pure fancy. A feature unique to this study is the use of sources from a variety of disciplines. In order not to present a one-dimensional (and therefore false) appraisal of Gerbert as an organbuilder, we have examined him in his various roles as letter-writer, mathematician, scientist, politician and churchman. Only when we know Gerbert in the context of his life and times can we make a valid assessment of his contribution to the art and craft of organbuilding.

The literary autobiography of childhood is an extension of the literary autobiography, portraying the distilled essence of the author's life. The autobiography of childhood is distinct from autobiographical fiction but includes more than the "poetical" childhood. Jean Starobinski's model of the elegiac and picaresque forms of autobiography applies to the childhood autobiography. While the structure of autobiography is preserved, there are distinct features resulting from the limited time frame. The forward movement of the autobiography is accentuated, and the teleological aspect is enhanced by the distance from the time described and the greater sense of completeness. The extremely elegiac autobiography is similar to the extremely picaresque autobiography in that both desire a break between the past and the present. The moderate forms show continuity between the past and the present. Both extreme forms are contrary to the intention of the childhood autobiography. The autobiographer may end with his childhood as a matter of convenience or to avoid embarrassment, but the early closure may reflect the author's purpose. Theodor Fontane, by means of coming to some clarification of the conflict between the principled and empathetic sides of humanity, achieves convalescence through the writing of Meine Kinderjahre. Marie von Ebner-Eschenbach illustrates the principle of repetition in Meine Kinderjahre. through the theme of "Abschied," as well as displaying contentment in her understanding of her relationship with her Heavenly Father. Hans Carossa attempts to create a new childhood in Eine Kindheit and Verwandlungen einer Jugend, in that he melds an imaginary childhood with his own, while omitting essential components of his own childhood. The result is the illusion of childhood autobiography. Jugend in Wien is Arthur Schnitzler's confession and bid for absolution for the hypocrisy and snobbery of his youth; Schnitzler's atheism, however, leaves him no alternative but pretense. As with any literary work, the reader needs to be careful to understand the author's intent, not read his own intent into the work. The autobiography of childhood is not uniform, but rather, rich and diverse.

Joan Tower is one of the most highly regarded and awarded composers practicing today. Her compositional "profile" has been characterized as a balance of serial and organic elements, and has been best expressed in the works in which there were collaborative efforts between her and the performers of her music. These elements of Tower's compositional profile, coupled with her great regard and affinity for the clarinet are apparent in Turning Points for Clarinet and String Quartet. This document contains a synopsis of Tower's compositional career, a discussion of her collaborative methodology, and an analysis of the aforementioned work. These were facilitated through interviews with Tower and two of her foremost interpreters on the clarinet, Laura Flax and David Shifrin; these interviews are included in their entirety as a part of the Appendix to this document.

The six artists presented in this paper hold important places in the world of the performing arts. Their outstanding talent and perseverance have brought them world recognition. Clara Schumann, the pioneer of women pianists, performed throughout her life, receiving an enthusiastic reception by the public. Living in an era when women performers were scarce, Clara Schumann was accepted on an equal basis to any male artist. Teresa Carreno, known for her extremely passionate and bravura playing especially in her youth, captivated her audiences wherever she went. Despite a tumultuous personal life, Carreno enjoyed tremendous success in her own life time. Myra Hess led a blossoming career in England and on the Continent before having a grand success in the United States. She led the National Gallery Concerts during World War II, which brought about much appreciation from her countrymen. Clara Haskil's life was filled with ill health and World War II made it difficult for her to gain recognition; she only launched a career in her 50s. By then, she performed with the best of orchestras and conductors, enjoying the success due her much earlier in her life. Alicia de Larrocha, known as the Queen of Spanish Music, has performed widely since the late 1960s. She has been invited to perform much of Mozart's output besides the Spanish repertoire. Despite her success on stage, she has had to battle her personal feelings regarding the balance between a career and family. Martha Argerich's thundering excitement and devilish technical capabilities keep her at the height of her profession, yet she has had ambiguous feelings toward her career. She limits her appearances, yet her powerful magnetism overwhelms the audience and keeps them asking for more. By many standards, women pianists' careers have evolved to a high level of social acceptance. However, today, as in the nineteenth century, many obstacles remain, and women in pursuit of a concert career are faced with the same competing---and often irreconcilable---challenges. These six pianists have risen above the challenges facing them as women artists and their names have been firmly planted in the history of piano performance.

William Louis Poteat (1856-1938) was a prominent educator, Progressive reformer, and leader in the Baptist denomination in North Carolina. He was the son of a slaveholder and grew up on a large tobacco plantation in Caswell County, North Carolina. From 1872 until 1877 he attended Wake Forest College, a Baptist school near Raleigh. He returned there in 1878 as a tutor and soon became a largely self-taught professor of biology. His introduction to modern science forced him to liberalize somewhat his conservative religious beliefs. He was a rarity in the South for openly teaching evolution beginning in the 1880s and was widely known among Southern Baptists for his advocacy of social Christianity. He led numerous campaigns for reform during the Progressive era on subjects including prohibition, public education, child labor, race relations, care of the insane, and eugenics. From 1905 until 1927 he served as president of Wake Forest College and guided the college based on a philosophy of Christian culture, a contrast to the zeal for practical training that simultaneously swept through the New South's state universities. In 1920 conservative Tarheel Baptists began to criticize Poteat for teaching his liberal (for the region) views on science and religion. He withstood assaults in 1920, 1922, and 1925 in a decade when a number of southern colleges dismissed professors for teaching evolution. This study advances historical understanding on several topics. It examines the intellectual compromises necessary for a social critic to avoid condemnation in the South in this period. Historians have identified Poteat as a foremost southern exemplar of social Christianity, but this biography reveals the individualistic, traditional roots of his quest for Progressive social reform, emphasizing the lack of a social gospel in the South. Analyzing Poteat's philosophy of education is a first step toward interpreting the history of denominational higher education in the South in the early twentieth century. Further, regarding the history of science in the postbellum South, Poteat's efforts toward original research indicate that he sought professional development but faced many obstacles such as a lack of resources and colleagues as well as his own commitment to broad liberal learning. This study also reinterprets the evolution controversy of the twenties by placing the religious conservatives who attacked Poteat within the context of a democratic opposition to Progressive-era bureaucratization, rather than regarding them only as irrational zealots.

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This thesis concerns the artworks of Donald Judd, particularly those created between 1979-1994 and installed at Fort D. A. Russell in Marfa, Texas and conserved by the Chinati Foundation. A brief examination of Judd's early sculpture and experimentation with serial imagery, as they relate to the Marfa works, is provided as are some of Judd's writings which assisted the development of permanent installation sites. A discussion of Judd's move from a traditional gallery/museum environment to an outdoor site in Texas during the 1970's is provided as well as a history of the Dia Art Foundation which developed partially in response to artists' needs. Two series in particular installed at Fort Russell--one hundred milled aluminum boxes and fifteen concrete groups--are given thorough examination. The ensuing litigation between Judd and the Dia, the creation of the Chinati Foundation, and later permanent and temporary installations in Marfa are also considered.