Thesis (Ph.D.)--Kent State University, 2005. / Title from PDF t.p. (Aug. 9, 2006). Advisor: Vera J. Camden. Keywords: intersubjectivity; Moll Flanders; Roxana; Fate; Providence. Includes bibliographical references (p. 347- 361).

Diss. Theologische Fakultät--Berlin--Humboldt-Universität, 1995. / Bibliogr. p. 279-298. Index.

Universiẗat, Diplomarbeit, 2004--Innsbruck.

Thesis (M.A.)--Indiana University, 2009. / Title from screen (viewed on August 28, 2009). Department of History, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Eric L. Saak. Includes vita. Includes bibliographical references (leaves 540-548).

This dissertation argues that Daniel relied on earlier Old Testament texts and theological convictions when he expressed the hope of bodily resurrection, and his expression informed and shaped subsequent nonbiblical and biblical authors. Chapter 1 introduces the thesis, methodology, and preliminary issues pertinent to the following study. Chapter 2 is a survey of research. This survey shows what proposals scholars have made regarding the emergence of resurrection hope in the Old Testament, it references the intertestamental literature that scholars believe Daniel 12:2 influenced, and it cites the New Testament passages that scholars believe may echo Daniel 12:2. Chapter 3 sets Daniel 12:2 in its context. Relevant considerations include the structure of the book of Daniel, the precursors of resurrection in the book, and a detailed exegesis of Daniel 12:2. Chapter 4 examines the seeds of resurrection hope sown in the Old Testament prior to Daniel 12:2. This study progresses through the Law, Prophets, and Writings. By looking for theological convictions, images, and expressions that advocate a belief in resurrection, it will be evident Daniel 12:2 was not the first occurrence of such hope. Instead, Daniel 12:2 had many implicit and explicit precursors in the Law, Prophets, and Writings. Chapter 5 focuses on the intertestamental literature in order to show and explain how Daniel 12:2 influenced authors of pseudepigraphal and apocryphal literature. Chapter 6 focuses on the New Testament authors and explains the influence of Daniel 12:2 on the Gospels, the book of Acts, the Epistles, and the Apocalypse. This influence is not only lexical but conceptual, and it is the latter kind of influence that has been neglected with regard to Daniel 12:2. Chapter 7 is the conclusion. It summarizes the evidence presented in the foregoing chapters as well as reiterates the conclusions drawn from this evidence.

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Many twentieth-century American composers have written works for chorus with brass accompaniment. This study focuses on the compositional techniques Daniel Moe applies to his brass and choral works and the musical and religious influences that aided in the development of Moe's composition language. Eight of Daniel Moe's works for brass and chorus are analyzed to determine the influences and techniques employed in his style of composition. The analysis reveals: the choir and brass remain independent and never dominate each other, the brass consistently play at their loudest dynamic levels while the choir is not singing, the heights of the choral phrases are unaccompanied, and final cadences are voiced with the highest pitches in the choral writing which allows an equality of forces. As a conductor, Moe has encountered many Venetian and contemporary works for brass and chorus that had a direct result on the techniques he applied to his brass and choral works. The evidence suggests that Daniel Moe's choral works with brass accompaniment involve a combination of twentieth-century harmonies and rhythms, Biblical and liturgical texts influenced by his strong Lutheran heritage, and a style of transparent scoring which carefully integrates the brass instruments into the overall texture of his compositions.

The purpose of this study is to present an account of the early career of Daniel Finch from 1679 to 1693. The investigation begins with an account of Finch's rise to prominence in parliament and at the Admiralty. It subsequently traces his role and involvement in the revolution settlement, and, after the accession of William III, Finch's responsibility as Secretary of State dealing principally with ecclesiastical affairs and naval affairs until his dismissal in 1693.

The concertmaster position has evolved into one of the most essential positions in an orchestra. The demands associated with the position make it a rigorous chair to occupy. The concertmaster is responsible for a number of duties that are critical for an orchestra’s success. These duties include serving as a liaison between the orchestral musicians and the conductor, being in excellent form as a violinist, and being prepared to lead any score and play any solos in the pieces being performed. A vast knowledge of string instruments and an understanding of an orchestra’s capability is also important. These are key factors for teaching specific techniques and clearly interpreting the composer’s and conductor’s interpretive wishes. Interpretive ideas are unified throughout a string section using specified bowing techniques. Bowings solidify musical ideas for the entire string section. Concertmasters decide bowings primarily based on the first violin part. Subsequently, the bowing decisions are distributed to the other principals. Through the specification of bowing, concertmasters define articulations and other important elements of bowing to shape musical phrases. Concertmasters are relied upon for careful consideration of bowings that will obtain appropriate results, based on knowledge of a bow’s physical qualities and its relationship to various musical styles. Bowing challenges for a concertmaster involve coordinating orchestra members’ inherently different styles of string playing and musical interpretations. Concertmasters, like orchestras, are unique and must adapt to diverse situations. In addition to determining bowing, the concertmaster leads the string section from the front desk through his/her sound and through gestures, which communicate musical intent. This essay presents various approaches for bowing different styles of music. One chapter provides an overview of the concertmaster position. The second chapter concentrates on the various bow strokes required in a score, each accompanied by brief descriptions. Finally, the third chapter explores different ways to play a variety of musical examples ranging from the classical era to modern day compositions. Each example demonstrates multiple approaches for deciding on reasonable bowings. The Appendix consists of bowings of major compositions that were used in performances. A glossary of terms every concertmaster should know is also included.