Thesis (Ph. D.)--University of Leipzig, 1892. / Includes bibliographical references.

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The advent and development of the electric bass as an instrument was examined in relation to its application to the genre of jazz and related styles. The evolving role of the bass in the early stages of the development of the jazz genre was considered. The work of pioneering acoustic bassists such as Jimmy Blanton emancipated the bass from its traditional, subordinate and supportive function. Bassists began to explore harmonically elaborate solos in a similar fashion to horn players. Electric bassists are able to expand on the harmonic aspects of the instrument partly due to the playability afforded by the electric bass as opposed to the acoustic bass. Leo Fender’s 1951 Precision bass was a significant development, though it was preceded by earlier attempts to create various electric amplified basses. Jaco Pastorius and Stanley Clarke were key figures in the history of the electric bass, and were influenced by traditional jazz music. In turn, they influenced the development of jazz and related styles such as fusion. Modern electric bass virtuosos such as Steve Bailey and Victor Wooten have effectively incorporated traditional jazz influences into their compositions and performances. Jazz and related styles of music continue to evolve, influenced by pedagogical practices and electric bass instruction in academic settings.

It has long been the opinion of the writer that behind the great movements "which shape the lives of the multitudes, in the shadows of the public personalities which sponsor them, work quiet, unassuming men who really determine the course of our society. Uncompromised by the limelight, with little thought of great personal reward, these dedicated, prescient thinkers prepare the stage for posterity. [...]

Thesis (Ph. D.)--University of Wisconsin--Madison, 1969. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 168-181).

Diss.--Bamberg--Universität, 1995. / Bibliogr. p. 331-365.

Texte remanié de: Doct. diss.--Faculty of Fuller theological seminary's center for advanced theological studies, 1993. / Bibliogr. p. 221-232. Index.

Austin Clarke dedicated himself to the ideal of an independent Irish literature in English. This dedication had two principal consequences for his work: he developed a poetic style appropriate to expressing the Irish imagination, and he found inspiration in the matter of Ireland, in hex mythology and folklore, in her literary, artistic and religious traditions, and in the daily life of modern Ireland. The basic orientation of Clarke's work determines the twofold purpose of this thesis. It seeks to provide a clarifying background for his poetry, drama and fiction up to 1938; and, in examining the texts in their proper context, it seeks to reveal the permanent and universal aspects of his achievement. Clarke's early development in response to the shaping influence of the Irish Revival is examined in the opening chapter. His initial interest in heroic saga is considered, but, principally, the focus is on his effort to establish stylistic links between the Anglo-Irish and the Gaelic traditions, an effort that is seen to culminate with his adoption of assonantal verse as an essential element in his poetic technique. In the second chapter, the emphasis shifts to the thematic consequences of Clarke's involvement with Ireland. His understanding of Irish tradition is discussed, and, in particular, the origins and nature of his imaginative preoccupation with the culture of early Christian Ireland are examined. What emerges is that Clarke perceives a permanent tension in the Irish mind between the Christian and the pagan viewpoints, a conflict of values that he termed the drama of conscience. The conflict informs each of the major texts analysed in the remainder of the thesis. Pilgrimage and Other Poems, discussed in the second chapter, reveals the recurrence of the tension between the Christian and the pagan traditions in the course of Irish history. Clarke's early plays and novels, which are the focus of the third chapter, relate the conflict to the culture of medieval Ireland. The fourth chapter examines Clarke's own experience cf the conflict as it is presented in Night and Morning. In the recognition that the drama of conscience remains a vital element in Clarke's imagination after 1938, the thesis concludes by indicating the main lines of continuity between the earlier and the later work. / Thesis / Doctor of Philosophy (PhD)

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Thesis (doctoral)--Paris, France. / Includes bibliographical references (p. [139]-145).