Regarding the structural logic behind Jacob’s death-bed story (Gen 47.28-50.26), biblical scholars historically have seen its enigmatic features as evidence of diachronic development. Those who treat it as an intentionally composed whole typically either simply assume that intention or else argue for it using only basic logical structures (chiasm, parallel). The story’s composition is better explained, however, through the lens of conventional structures, especially that of a Hebrew death-bed type-scene. In the first chapter I overview approaches to the passage in biblical scholarship and evaluate recent synchronic approaches. Structuralist readings of other biblical texts are considered and mostly dismissed as a precedent, though Propp’s method is similar. I then state my reasons for beginning with 47.28, rather than 47.27. In chapter two, I investigate the first of the four Episodes that make up Jacob’s death-bed story: 47.28-31. Specific issues addressed include: evidence of competing chronologies, phrasal similarities with the chosen-line genealogies of Genesis 5 and 11, and the characterization of Joseph as a Worthy Successor, one of four tale-roles taken by characters in death-bed stories. Chapter three deals with 48.1-22, giving special attention to the similarity of verses 3-12 to covenant-initiation forms, the issue of adoption, the conventional characterization of Joseph and his sons as Worthy Successors, and the grammar of verses 13-20. In chapter four I focus on the climactic aspects of the language of verse 28 and the characterization of all twelve sons as Worthy Co-Successors. Chapter five treats the Preparation and Testament sections (49.29-33) of the fourth and final Episode. Certain words and phrases are best understood in a legal register. In chapter six I turn to the extended conclusion of the fourth Episode, or the Epilogue, which encompasses the three short stories in 50.1-26. All three deal with conventional concerns typically addressed in death-bed stories. Furthermore, 50.22-26 is a conventional death-bed story in its own right. This investigation of conventional structures in Jacob’s death-bed story opens up new and more objective ways of understanding long-recognized problems in the passage as intentional elements, regardless of the process of the text’s composition and transmission.

Gordon Jacob's (1895-1984) Old Wine in New Bottles (1959) and More Old Wine in New Bottles (1977) are regularly performed works within the canon of chamber wind repertoire. Composed for thirteen instruments, the original work and its sequel are a reflection of Jacob's refined compositional style, which emphasizes unique textures, clear formal structures, and recognizable folk melodies. Gordon Jacob was a British composer from Upper Norwood, London. During his youth he studied piano and took up percussion in order to join his school band and orchestra. After serving in the First World War, Jacob enrolled at the Royal College of Music (RCM) where he studied composition with Ralph Vaughan Williams and Sir Charles Villiers Stanford. Shortly after graduation, he was offered an instructor position at the RCM. He remained on faculty for forty-two years, instructing many musicians who would later become internationally recognized composers, including Imogen Holst, Sir Malcolm Arnold, and Philip Cannon. As a composer, he has approximately four-hundred works to his name and is best known in the area of wind band for his compositions William Byrd Suite (1922), An Original Suite (1928), Music for a Festival (1951), Flag of Stars (1954), and Giles Farnaby Suite (1967). This study is an analysis of and conductor's guide for two of Jacob's chamber works that have not been the subject of any previous scholarly publications. The opening chapters include a brief biography of the composer emphasizing the musical developments of his youth, his achievements as an educator, and a discussion of his compositional style. The following two chapters delve into Old Wine in New Bottles and More Old Wine in New Bottles, respectively. Each includes an original historical account of the piece, discussion of the preexisting folk music, theoretical analysis, and suggestions for the conductor. This study is intended to assist conductors in the score-study and preparation process, leading to more effective rehearsals and informed performances.

Thesis (M.A.)--Memorial University of Newfoundland, 2005. / Bibliography: leaves 110-118.

Texte remanié de: Dissertation--Philosophische Fakultät--Kiel--Christian-Albrechts-Universität, 2000. / Bibliogr. p. 241-258.

Inaug.-diss.--Leipzig. / Lebenslauf. "Beilage I[-II]" (Latin and Flemish in parallel columns): xvi p. Bibliography included in "Noten und anmerkungen" (p. 99-103).

Proefschrift Vrije Universiteit Amsterdam, 2003. / Met lit. opg. - Met samenvatting in het Engels.

Freie Universiẗat, Diss., 2006--Berlin. / Dateiformat: zip, Dateien im PDF-Format.

Thesis (Ph. D.)--State University of Iowa. / Includes bibliographical references (v. 1, p. 166-[173]). Also issued in print.

Zugl.: Berlin, Humboldt-Univ., Diss., 2006

Proefschrift--Letteren--Nijmegen, 1981. / Paraît également comme n°15 dans la coll. "Gelderse historische reeks" Résumé en allemand. Bibliogr. des œuvres de J.J.L. Van der Brugghen p. 312-314. Bibliogr. p. 315-329. Index.