This dissertation examines the pedagogical practices and written texts of The New York Association for Working Girls between 1890 and 1894 in order to identify elements that are useful in constructing a just rhetoric for teaching business communication today. The late 1890s were a period of economic pressure In the face of cultural, physical, and industrial expansion for the United States much like the late 1990s--early 2000s mark a time of economic pressure in the context of cultural, physical, and technological expansion for the university. The older New York women aimed to uplift the souls of the newly arrived immigrant working girls by defining and identifying for them appropriate ways of speaking, writing, dressing, and living. They were concerned with the exterior identity and conscious identifications among all females. However, an identification of the pedagogical unconscious, that is those sites of conflict, ambiguity, or contradiction in the works of the New York Association for Working Girls serves as a foundation for using the past to examine current definitions and identities in teaching business communications. Most research on business communications within a technological age identifies theoretical links between composition and computers, business communications and rhetoric, but few if any identify practical pedagogy within the context of links between electronic business, rhetoric, and composition within an integrated curriculum of a business college. In using the tools to uncover the unexamined differences within the New York Association for Working Girls, I define the pedagogical unconscious of a team-taught MBA course that integrates business communications. I use the elements I identify to construct a new pedagogy that I believe is just and inclusive to all when used to teach business communications in a technological age.

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Symphony No. 1, "fall with me" is a five-movement work--approximately thirty-five minutes in duration--that explores intramusical thematic relationships through the use of cyclic themes, reminiscence motives, and an adapted version of Igor Stravinsky's "poles of attraction" concept. This is accomplished through a focus on three main musical ideas that form the basis for the entire work, as well as through the utilization of altered traditional forms in each of the movements.The instrumental forces called for in the work are as follows:Winds 3.3.3.3 / Brass 4.3.3.1 / Timp. + 3 perc. / Piano (dbl. Cel.) / Harp / Strings

Light Traveller is motivated by the works of Czech photographer Josef Sudek. Masterfully portraying contrasts of light and dark in his black and white photography, Sudek has been described as a “traveler in light” for his photography work. In creating this orchestral composition, I was interested in exploring compositional methods that aurally express how Sudek manages space, texture, and most specifically the use of light and dark variances in his photos. I consulted specific collections of photographs from his body of work. The subject materials in these photographs became metaphors that I explored sonically. Light Traveller is structured into four main sections: a beginning section, two middle sections, a final section that recapitulates ideas from the first section, and lastly a coda at the end of the final section. This work embraces measured and deliberate pacing, and is mainly concerned with exploring the range of timbre and resonance possibilities that the orchestra is capable of creating. The composition utilizes static harmonies and slowly unfolding harmonic changes. Quarter tones are employed as a means of expanding the colour and harmonic palette used for this composition. Differing textures are generated through intricate rhythmic materials, gradually moving materials, and static material.

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Calibration powders were developed using combinations of milk ingredients for the purpose of calibration of infrared milk analyzers. They were shown to be capable of producing calibrations very similar to conventional calibration milks available commercially. A subsequent collaborative study was carried out involving nine laboratories to assess the performance of the preformulated powders in industrial quality control, payment and dairy herd analysis laboratories. The calibration powders were shown to produce consistent calibrations within laboratories and between laboratories and met AOAC specifications in terms of accuracy and repeatability. The reconstituted solutions were shown to be stable for up to 6 h at 40$ sp circ$C and could be stored under refrigerated conditions and used for repeated analyses for up to 21 days without apparent deterioration in calibration performance. It was concluded that the calibration powders perform as well as conventional calibrants, were more consistent overall and suitable for any calibration application. The calibration powders have the stability and performance characteristics to serve as reference standards for monitoring instrument performance and would be a useful tool for accrediting payment and dairy herd analysis laboratories.

In 1890, Dr. S. M. Babcock developed a practical method for the determination of butterfat in milk. From that time, fat was regarded as the major milk constituent and indeed, has controlled milk price variations in many countries, even up to the present time. [...]