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Christopher Lasch (1932-1994) est un historien et un critique social américain connu pour ses ouvrages portant sur la politique et la culture américaines au XXème siècle. Cette thèse cherche à éclairer sa présentation de l’idée de progrès et de ses conséquences pour la polis américaine. Nous interprétons la pensée de Lasch comme un « libéralisme tragique », en voulant signifier par-là que l’historien américain voit une tension non résolue entre le libéralisme politique et l’idée de progrès. Pour présenter ce constat, nous abordons tout d’abord la genèse de cette formulation critique de l’idée de progrès en présentant une succincte biographie intellectuelle de Lasch. Nous examinons, ensuite, l’histoire que Lasch fait de l’idée de progrès dans son maître ouvrage de 1991 intitulé, The True and Only Heaven: Progress and Its Critics. Nous analysons enfin les conséquences sur la vie politique et sociale des démocraties libérales contemporaines que Lasch analyse à la suite de ce qu’il juge être l’expansion et le triomphe sans partage de l’idée de progrès dans nos sociétés. Ce dernier point nous permettra d’illustrer en quoi la conception laschienne du libéralisme est, à notre avis, tragique.

The master of music recital, being one of my final musical endeavors before the completion of my graduate degree in vocal performance, featured a wide variety of repertoire. As a new member of the tenor fach, finding music that is challenging and appropriate for my level of development was difficult. The recital featured works by Stefano Donaudy, Hugo Wolf, ��duardo Lalo, Gabriel Faur��, Georges Bizet, and Samuel Barber. Each musical set presented its own challenges. The Italian set by Donaudy featured smooth legato vocal lines intertwined with a thick musical texture and lavish supportive harmonies. The German Wolf set featured more angular and tonally progressive music that was very different from the Donaudy set. The French set featured two famous tenor arias from operas by Lalo and Bizet respectively and a well-known, but little performed, song cycle by Faur��, each appropriate for the union of a vocal fach transition and performance of a master of music recital. The most challenging set of the recital was the Barber settings of poems by James Joyce - a set which challenged me to utilize the full extent of my vocal and artistic talents. This set solidified the growing nature of challenge throughout the progression of the recital and placed a final exclamation point on the growth and development I have displayed as a vocalist, artist, and performer the past two years. Overall, the completion of the recital required the utmost sensitivity to the artistic needs of the music and the utilization of my full vocal development in order to do justice to the spirit of the music. / Mary Pappert School of Music; / Music Performance / MM; / Recital;

The purpose of this essay is to explore the commissioning process of a wind ensemble piece by notable composer Christopher Rouse, and its significance to the wind ensemble repertoire. This essay will use the University of Miami Frost Wind Ensemble and Christopher Rouse's Wolf Rounds as the primary example. This discussion will provide an extensive background review of Christopher Rouse's early musical experience and life's accomplishments. It will focus on his creative process and document the performance preparation of Wolf Rounds as experienced by the Frost Wind Ensemble, conducted by Professor Gary D. Green. The final part of this essay will investigate the compositional insight of Wolf Rounds as well as the inspiration and motivation of Rouse to write for the wind ensemble genre. While Rouse has written for many different types of ensembles, this will be his first published addition to the wind repertoire. Wolf Rounds was chosen as the primary composition because of its significance to the composer as his first composition for winds and percussion.

Thesis (Ph. D.)--Indiana University, 1963. / Typescript. Vita. Vol. 2 contains transcriptions of selected keyboard, instrumental ensemble, and secular and sacred vocal compositions of Christopher Gibbons. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (v. 1, leaves 233-243).

Zugl.: Berlin, Techn. Univ., Diss., 2008. / Hergestellt on demand.

Thesis (D.M.A.)--University of Texas at Austin, 2000. / Vita. Includes bibliographical references (leaves 246-250). Available also in a digital version from Dissertation Abstracts.

The following is an in-depth look into the artistic process of actor Kyle Christopher Schnack, as reflected through his three year graduate level education in acting at the University of Texas at Austin and his work in Suzan Zeder’s play “The Edge of Peace;” a joint production through The University of Texas at Austin and Seattle Children’s Theatre. / text

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In the biographical sketch of Christopher Marlowe which prefaces his 1818 edition of The Jew of Malta, Oxberry wrote: "Of his (Marlowe's) family we know absolutely nothing; their very names are forgotten...Ali the genius or Marlowe...has not had the power to save the records of his life from oblivion." [...]