Master of Music / Department of Music, Theatre, and Dance / Frank C. Tracz / Three essential components of wind band conducting are as follows: music selection, score study, and rehearsal planning. This report contains an analysis and rehearsal plan for two band works and a discussion on quality literature selection for band as well as a personal philosophy of music education and student learning. The two works presented are Dances of Innocence by Jan van der Roost and Air for Band by Frank Erickson.

Thesis advisor: Donald Fishman / The purpose of this thesis is to examine a multitude of concepts related to the phenomenon of whistleblowing. Chinn, Mufson, and Pearlman (2013) underline that we find ourselves “in the age of the whistleblower” and it is therefore imperative to understand this new phenomenon. The visibility of whistleblowers in the media is increasing but whistleblowers are not always portrayed accurately, and, as such, it may be beneficial to examine them in a more legitimate context. As whistleblowers can provide a tremendous service to the public, their organization, and the current economic situation, it is in society’s best interest to understand the whistleblowing process in order to encourage its expansion. The first half of the thesis examines the logistics of the whistleblowing process, the characterization of a whistleblower, and the various groups that can benefit from the whistleblowing phenomenon. This in depth analysis aims to dispel any misconceptions about whistleblowing and provides readers with a comprehensive overview of the literature available on whistleblower dynamics. The second half of the thesis reviews whistleblower laws from their foundation nearly two centuries ago all the way to current developments in whistleblower legislation. It analyzes the strengths and deficiencies of various legal measures and seeks to demonstrate why whistleblower legislation may never fully afford whistleblowers the comprehensive protection they deserve. This section will argue that, though whistleblower legislation has certainly improved in aiming to promote whistleblowing, certain deficiencies remain a permanent part of whistleblower law. / Thesis (BA) — Boston College, 2013. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: Communication Honors Program. / Discipline: Communications.

I syfte att undanröja oegentligheter förekommer det att arbetstagare inom bolag avslöjar uppkomna missförhållanden; så kallad whistleblowing. För svensk rätts vidkommande lagstiftades detta rättsinstitut först år 2017, i syfte att förhindra företeelser såsom marknadsmissbruk, korruption och miljöförstöring. Den nyligen antagna lagstiftningen tycks enligt kritikerna dock innehålla oklara moment. Det är sålunda av vikt att undersöka huruvida lagstiftningen kommer verka effektivt för whistleblower[s]. Skulle lagstiftningen vara att anse otillräcklig och icke förutsebar, föreligger nämligen risk för informationsasymmetrier. För att utreda problematiken är en komparativrättslig studie med stöd av amerikansk rätt avseende whistleblowing relevant. Aktuellt för detta arbete är Sarbanes-Oxley Act och Dodd-Frank Act, vilka antogs år 2002 i genmäle till större redovisningsskandaler inom Enron och Worldcom, respektive marknadskollapsen år 2008 och efterföljande bankkonkurser. Det huvudsakliga syftet var att etablera procedurer för behandling av larm avseende missförhållanden, förbud mot repressalier, samt skadestånds- och straffrättsligt ansvar respektive främjande av finansiell stabilitet. Beträffande svensk rätt har whistleblower[s] erhållit skydd medelst yttrandefrihet, meddelarskydd, arbetsrättsligt skydd, lojalitetsplikt, samt av bolag företagen självreglering. Denna gällande rätt har dock ansetts ofullständig och omständlig. Den för svensk rätts vidkommande antagna lagstiftningen avseende whistleblowing innehåller krav på allvarliga missförhållanden och fog för påstående, samt möjliggörs intern- och externrapporterting. Argumentationen i propositionen framstår emellertid såsom inkonsekvent. Det bör sålunda vara rimligt anta, att de svagheter i svensk rätt som kan återfinnas i regleringen avseende whistleblowing resulterar i ett, för svensk rätts vidkommande, skydd för arbetstagare som är fragmenterat och svårtillämpat. Visserligen har även amerikansk rätt avseende whistleblowing fått utstå kritik. Oavsett reflektioner beträffande kritiken amerikansk rätt mottagit, får amerikansk reglering anses erbjuda tydligare skydd, varför det bör vara möjligt överföra vissa delar av amerikansk rätt till svensk reglering avseende whistleblowing, för att stärka regleringen och möjliggöra att dess ändamål uppfylls. / In order to eliminate irregularities in companies, workers can reveal anomalies; through so-called whistleblowing. In Swedish law, this legal phenomenon was adopted into legislation in 2017. However, according to critics, the legislation contains unclear clauses. Thus, it is important to examine whether the legislation will work effectively. Should the newly adopted legislation be considered inadequate and unpredictable, there is a risk for information asymmetries. Therefore, a comparative legal study with support of American law regarding whistleblowing, is motivated. In this thesis, I will examine the Sarbanes-Oxley Act of 2002 (SOX) as well as the Dodd-Frank Act of 2008, which were adopted in response to the major accounting scandals of Enron and WorldCom, respectively the market collapse in 2008 and subsequent bank failures. In both SOX and the Dodd Frank Act, procedures for the management of whistleblower alarms, prohibitions on reprisals as well as rules on tort and criminal liability were introduced with an aim to promote financial stability. As to Swedish law, whistleblowers have received protection from reprisals by laws regulating freedom of speech, protection of sources, labor law protection, the concept of duty of loyalty, and by companies establishing self-regulation. However, statutory protection of whistleblowers in other laws has been considered incomplete, which is why the legislature has deemed whistleblowing worthy of protection by a separate law only governing whistleblowing. However, the newly adopted Swedish law regarding whistleblowing appears to contain some weaknesses due to inconsistencies and unclear clauses. It is true that American laws regarding whistleblowing have endured criticism. However, it is reasonable to assume that the weaknesses in Swedish law regarding whistleblowing result in a protection for workers, which is fragmented and difficult to apply. Given the fact that American regulation regarding whistleblowing is providing more consistent protection to whistleblowers, Swedish regulators should consider the adoption of certain rules from American law, to strengthen the regulation and allow its purpose to be fulfilled.

Collaborative Poetics: Frank O’Hara and Robert Creeley draws on literary studies, art history, and bibliography to examine the transactions between the visual and verbal arts found in the American poets’ work. Bringing longstanding aesthetic debates about poetry and painting to bear on studies of collaboration, the dissertation counters the field’s prevailing intra-disciplinary focus. Visual-verbal collaborations, it suggests, undo conventional dichotomies between these descriptive systems, rendering insufficient a binary view of the “sister arts” as antagonists or analogues. By examining Creeley’s and O’Hara’s interdisciplinary forms and practices, this study advances a notion of “collaborative poetics” that centrally depends on both inter-artistic and inter-subjective exchange. As two of the most prolific collaborators of the mid-20th century – completing over 50 projects with visual artists between them – O’Hara and Creeley serve as exemplary case studies, situated at the forefront of an era in which reciprocity between the avant-garde arts was increasingly common. Through analyses of O’Hara’s early ekphrastic poems (Chapter 1) and Creeley’s literary self- portraiture (Chapter 3), Collaborative Poetics suggests that poets’ interactions with visual media destabilize lyric authority, creating space for reciprocal attachments between artists, artworks, and audiences. The poets’ artists’ books – Frank O’Hara and Michael Goldberg’s 1960 Odes (Chapter 2) and Robert Creeley and Robert Indiana’s 1968 Numbers (Chapter 4) – further advance a claim for alterity by refusing the conservative demand for “artistic purity” and prompting conversation between different (and traditionally opposed) artistic media. Restoring these little-studied works to their original interdisciplinary contexts, the project reinvigorates their status as material objects and subjects of analysis. Finally, the coda both considers the still-tenuous place of such interdisciplinary projects within many institutional spaces, including the academy and the museum, and reflects on the midcentury poets’ collaborative legacy as it turns to a brief reading of contemporary American poet Mei-mei Berssenbrugge and painter Kiki Smith's 2006 artist’s book Concordance. / 2020-12-11T00:00:00Z

My dissertation, The Endless Roar in which We Live: The Figure of Noise in Nineteenth-Century U.S. Fiction is the first extended study that locates an intersection between sound studies and literary studies in order to examine noise as it defines spaces and places, and the characters that live and work in them, in American literature from the second half of the nineteenth century through the beginning of the twentieth century. I evaluate noise in a sampling of American fiction, and consider how the imagined sounds of fiction echo nineteenth-century soundscapes and underscore contemporary discernment of noises – and sometimes the lack of noises – in the national consciousness. I consider the street noise that the upper classes wished away, the factory noise that so many women workers spent a lifetime hearing, and the resounding noise of the United States’ expansion westward. Conversely, I also consider how authors and characters respond to the noises that penetrate their ears and create their soundscapes. Together, these considerations shape my argument that sounds help to construct and characterize localities, just as certain places construct particular sounds. Moreover, however, I argue that noise creates spaces wherein identities – such as those of gender, class, and ethnicity – also often tied to place, are discovered, defined, and challenged. In many ways, classifications of noise are subjective and varied, depending on who makes and who hears the noise, where and why the noise is produced, and how and by whom is the noise interpreted. Considering noise as malleable and interpretable based on context allows me to most effectively examine noise as a facilitator of identity formation.

A selected sample of classroom teachers from the Jefferson County, Kentucky, school system, some of whom were also certified counselors, were surveyed to determine the extent to which they participated in certain teacher-pupil relationship activities. From the survey, it was determined (1) that of the teachers surveyed those with counselor certification participated in seventy-seven percent of these selected activities; (2) that those surveyed classroom teachers that do not have counselor certification also participated in these activities although generally to a lesser extent than those with certification; (3) that both teachers without and those with counselor certification felt that a master's degree program in guidance was to be preferred over others, and (4) that more members of both groups felt that too much of the school counselor's time was occupied with non-guidance activities, such as paperwork, scheduling, and disciplinary duties. Both groups also felt that too little time was spent by the school counselor in actual guidance activities. Additional studies were recommended.

The purpose of this essay is to introduce readers to the music of living American composer Gabriela Lena Frank (b. 1972) through her chamber vocal works and to provide a resource to aid in the interpretation and performance of her music. Frank is an internationally recognized composer with a thriving career. However, she is not widely known among singers and teachers of singing and scholarship on her music is quite limited. This study seeks to fill that void by examining Frank’s published works as of January 2016 for solo voice and up to six instruments. These works are Cuatro Canciones Andinas (1999), for mezzo-soprano and piano; New Andean Songs (2008), for soprano, mezzo-soprano, two percussionists, and two pianos; Seven Armenian Songs (2013), for soprano, percussionist, and solo violin; and Honey (2013), for soprano, mezzo-soprano, and piano. Frank’s chamber vocal pieces are excellent additions to the repertoire and notable for Frank’s chamber music aesthetic, choice of diverse texts and languages (English, Spanish, and Armenian), dramatic storytelling, range of musical colors, and idiomatic writing for the performers. Frank’s ongoing exploration of her Peruvian heritage is reflected in two of these works, which draw inspiration from Andean folk music and poetry. This essay provides a brief biography of Frank; original poetic and musical analyses of the four works, exploring the areas of poetry, form, melody and motive, text painting, rhythm, harmony, folk influences, vocal writing, instrumental writing, timbre, range, and tessitura; and a summary of stylistic traits as seen across this sample. Poetic and word for word translations of foreign language texts, pronunciation guidelines for Latin American Spanish and International Phonetic Alphabet transliterations for the Armenian poems are included.

I argue that Guillermo Del Toro is a modern day storyteller, writing his film script as Ovid, The Grimms, or even Baum would pen their tales. I expand the idea of intertextuality to include not only conversations, thoughts, architecture, emotions, bodily activity, sounds, and innumerable other signifiers, but also analyzing the film "inter-imagically." By considering the film in this way it encourages a world conversation that can influence socio-political transformations in our world. I use the stories and images in myth, fairy tale and children's literature to support the importance of agency, agency in regard to finding your own voice, determining your own path and taking action by making choices that can ultimately result in transformations that are not only personal, but political ramifications in the world. In Echo and Narcissus, I explore issues surrounding the self-realization and loss of agency through Ofelia's refusal to follow someone else's path, allowing others to silence her voice or her potential. Using Little Red Riding Hood, I assert that Ofelia is the modern Little Red, refusing to take the path of her mother, defining her own way. Using The Wizard of Oz, I highlight the labyrinth of choice and the determination to return, restore or transform Ofelia's world. I further proclaim Del Toro is a master storyteller along the lines of Ovid, Grimm and Baum and that through his film, he inspires adults to get back in touch with the childhood disobedience and questioning in order to spark a world conversation that just may transform the world around us.

There are two inter-related parts to the hypothesis explored in this research. The first is that it is significant to employ fabric as a medium in a fine art context, and the second aspect argues that female artists who choose fabric as their medium should be recognised as 'artists' rather than as crafts practitioners. I propose that in choosing fabric as a medium and sewing as my method of making art, I am working within the framework of contemporary fine art practice. In his essay 'To Cut is to Think' Germano Celant succinctly described the 'cut' made by artists who choose cutting as their process: The cut of the scissor is like the click of a camera or the whirr of a movie camera, like a stroke of the pencil or paintbrush: all these acts decisively isolate a form or representation, marking a surface that generates a reality. The cut puts an end to the traditional representation of the image, dissolving it and then restoring it as a testimony to the artist's vision and understanding. In this light, the cut confers meaning, and its use unites artists, photographers, designers and tailors, who cut their visions from the magma of their materials, whether these be colour or bronze, fabric or film, metal or wool, wood or canvas (1996, p. 31). My own use of the cut, as the bespoke tailor, reinterpreted fabric as paint and utilized pinstriped fabric as a visual metaphor for relationships of power, pink satin as a symbol of the female inclusion and Frank Stella's Black Paintings as a tool to position my work. Therefore, I would claim that I am working towards a conceptual repositioning of fabric as a medium in fine art.

<p>This essay examine the femme fatal and the head character in the play Lulu Eine Monstretra gödie by Frank Wedekind. I have studied Lulu, who would be classified as a femme fatal, in terms to see what kind of woman’s portrait a femme fatal is. I will show with the theories of Judith Butler, Jacques Lacan and Joan Riviere how the femme fatal can be seen as a construc-tion, a role done by men. As well as a strong self owned woman. I will also discuss other con-cepts like femme-inism. My aim with this analysis is not to show one, but many different ways of looking at the femme fatal.</p>