1 score (viii, 57 p.) / Enmity was conceived in collaboration with choreographer Liana Conyers and was premiered on May 17, 2011 in Dougherty Dance Theater at the University of Oregon, School of Music and Dance. This piece was born out of my strong belief in art as collaboration. The initial idea for this project began with my prior interest in music as it pertains to dance and the dynamic relationship between the two art forms. Having composed several works for dance, I explore the specific relationships between music and movement and how they combine to engage the viewer. The narrative of Enmity shares a social commentary that is relevant and personal to my experience as an artist. Enmity was consciously composed with the intent of movement being part of the compositional process. There is a strong influence and connection between sound and movement; often, composers are subconsciously thinking about music as it relates to movement, conceptually or physically. / Committee in charge: David Crumb, Chairperson; Robert Kyr, Member; Christian Cherry, Member

viii, 87 p. : ill. (some col.) / This thesis examines the history of distribution platforms for artists' video. Artists' video is defined as time based art works that employ the medium of film, videotape, digital video, or any combination thereof. The thesis categorizes different points of access for artists' video from the 1960s to the present as well as how artists have distributed their work. Three macro level platforms serve to classify the different sites of access between artists' video and a viewer - the first is television, the second is institution, and the third is the Internet. Over the past forty years, artists' video has transitioned from a marginal practice that existed outside of the institution to a medium that is now synonymous with the idea of a contemporary art museum. However, the Internet as a platform allows artists' video to exist outside of the museum, which is consistent with the earliest goals associated with this medium. / Committee in charge: Kate Mondloch: Chair and Advisor; Albert Narath: Member; John Fenn: Member

ix, 77 p. : ill. (some col.) / The contemporary artistic practice of Andrea Zittel incorporates a variety of working methods and mediums in making objects that slip easily from one context to another. Zittel's artworks, which range from textiles to found objects, domestic implements and architectural structures, are simultaneously featured in museum collections and used functionally in everyday life. Focusing on her artistic endeavors in New York in 1990s, this study investigates the slippery nature of Zittel's work through the lens of the equally slippery concept of technology. In order to interrogate such intersections, I will examine three of Zittel's projects: Repair Work (1991), A-Z Personal Uniforms (1991-present) and the A-Z Escape Vehicle (1996). These cases exemplify how Zittel's engagement with technology creates a dialogue between her work and artistic and historical movements of the past, while also engaging and critiquing contemporary culture. / Committee in charge: Albert Narath, Chairperson; Kate Mondloch, Member; Allison Carruth, Member

1 score (viii, 129 p. ： music) / Age of Legends is an original orchestral composition in three movements, of approximately twenty minutes in duration. In the tradition of the literature-inspired symphonic poem, the piece is based on the celebrated fiction series The Wheel of Time , by acclaimed American author Robert Jordan (1948-2007). The title of the thesis refers to a particularly enchanting era described in the series, wherein the magical and miraculous are interwoven into everyday life. The piece's three movements portray a purely musical depiction of the breathtaking adventures that unfold throughout the fourteen-volume fantasy saga, evoking its richly imaginative scenes and thrilling, dramatic developments. Additionally, the music seeks to embody the intense emotional and psychological states experienced in the lives of The Wheel of Time 's fascinating literary characters, as they undergo defining moments of tremendous bravery, extreme peril, and exultant triumph. / Committee in charge: Dr. Robert Kyr, Chair; Dr. David Crumb, Member; Dr. Jack Boss, Member

During a long and distinguished career, the Canadian composer Jean Coulthard (b. 1908) has become widely recognized for her many works for voice, keyboard, choir and chamber ensembles. Until recently, however, her large and diverse catalogue of works for orchestra has been overshadowed. The present study presents a critical assessment of her orchestral catalogue of music composed from the late 1930s until the present. In a biographical introduction, Coulthard's initial training with Vaughan Williams in London is discussed, as is her life-long identification with the early French modern figures Debussy and Ravel. As her career progressed, her earliest orchestral scores were championed by the Australian-born composer/conductor Arthur Benjamin (who resided in Coulthard's native Vancouver, Canada, during the formative years of her development as an orchestral composer). Further training brought her into contact with figures such as Copland, Milhaud, Bartok, and Schoenberg, as well as studies with Bernard Wagenaar in New York. Following her protracted apprenticeship, Coulthard began to teach at the University of British Columbia and to commit to the major genres of orchestral writing. In this later respect she was somewhat atypical of Canadian composers of her generation, and has been viewed by earlier scholars as an exponent of the "conservative tradition" in Canadian music of the 20th century. More recent perspectives stress the quality of her work, her regional significance, and the uniqueness of her achievement in a field of music not traditionally associated with women. Paralleling Coulthard's personal and artistic development, a consideration of Canadian orchestras and the emergence of a Canadian orchestral repertoire is presented. Coulthard's orchestral repertoire includes orchestral suites, small scale orchestra compositions, works for strings, works for soloist(s) and orchestra, concerti, and symphonies. A comprehensive overview of Coulthard's extant orchestral works is presented, with a number of particularly important compositions singled out for detailed analysis. As well major style elements, aspects of Coulthard's role in Canadian music and a brief assessment of her creative personality are included. / Graduate

The current study examined the communication ecology of athlete motivation. Furthermore, gender differences in communication ecologies were evaluated, as were variations in communication tendencies for highly and lowly motivated athletes. Findings suggest that teammates and parents are strong motivators for athletes. Mass media were associated with athlete motivation while social media were not. Gender differences were found with males reporting being more motivated by mass media than females, while females were more strongly motivated by their parents and friends. There were significant differences found in the communication ecologies of highly motivated athletes compared to less motivated athletes. Athletes who were highly motivated communicated more often with interpersonal sources than did less motivated athletes. Implications of the findings and directions for future research are discussed.

The Federal Policy for the protection of human subjects in research is built on a positivist ideology which effects Institutional Review Boards (IRB) and the research it reviews. An ideological criticism of the regulations through a positivist and postmodernist perspective reveals its initial purpose for biomedical research and its negative effects on research not discussed during its development. Such effects are a shift in focus on regulation over ethics in IRBs, extended oversight of regulations, revisions in research design and objectives, and self-regulation through the punishment of noncompliance.

This thesis explores the contemporary world of video games and analyzes why people engage with single player and multiplayer video game experiences. Based on the uses and gratifications framework, this study examines how college students are engaging with video games and if they prefer single player or online multiplayer video games. Focus groups were conducted with college students to explore the video game culture. The results demonstrated that participants preferred single player video games due to less interruption from social interactions with online multiplayer games, but also to avoid harassment and negative criticisms that continue to plague online multiplayer experiences. Results also suggest that participants seek solitude while engaging with video games in order to become immersed within the game for a more relaxed and fun experience. Gratification dimensions were included from previous research including: arousal, challenge, competition, diversion, fantasy, and social interaction. Several new dimensions not matching previous research were discovered in the data that provided new perspectives on why players engage with single player video games. The participants discussed that single player video games could be played at their own pace, stopped at any time, and then continue their experience at their leisure. Participants were also researching and anticipating new game projects from their favorite developers. Additionally, participants suggest that if the developers made video games they enjoy playing, then the participants would continue to support and follow their future game projects.

Previous research has compared speech samples from people both diagnosed and not diagnosed with schizophrenia and found that differences exist between the speech patterns. However, the previous research has focused on specific aspects of speech. For example, sentence structure, adjective use, syntax, etc. The current study investigated if speech differences between people diagnosed with and not diagnosed with schizophrenia could be detected by people with no experience with schizophrenia using a global rating system. A comparison was made between the ratings of coherence and “weird/crazy” speech of people who described pictures seen on a computer screen. The participants were 61 adults from the Stockton, CA area who had no experience working with people diagnosed with schizophrenia. Participants were asked to rate the level of coherence of 42 speech samples and rate the statement as “weird/crazy.” The results indicated that the sentences of people diagnosed with schizophrenia were rated as significantly less coherent ( t [df 60] = −16.34, p < .001) and significantly more weird/crazy ( t [df 60] = 13.68, p < .001) than those of people not diagnosed with schizophrenia.

This thesis examines the public affairs crisis faced by the American Red Cross after the September 11 terrorist attacks. It begins with an introduction of the organization, and continues with a discussion of the crisis that developed over what the organization might do with money donated after the September 11 terrorist attacks. Eight themes emerged from this case study: similarities and differences between non-profit and corporate public relations; objectives in crisis communication; conflict between organizational protocol and public expectations; media sensationalism; effects of the crisis; the organization's response; the phenomenon of spinoff issues (secondary crises); and the veracity of statements concerning the organization. Four major implications exist. Non-profit organizations must communicate openly with the media in a crisis. Preparation is vital in issues management. It is important to consider prodomes (warning signs), value conflicts, and spinoff issues. Finally, organizations need to engage in proactive public relations.