This thesis discusses the notion of free verse in poetry with emphasis on Walt Whitman and Amy Lowell. The majority of the paper consists of original poetry by the author.

This thesis explores the eleven solo piano nocturnes by living American composer Lowell Liebermann (b. 1961), to serve as a performer's guide. Characteristics of previous nocturnes provide historical context for Liebermann's pieces, illustrating similarities to the style developed by John Field, Frédéric Chopin, and Gabriel Fauré. Other musical influences on Liebermann, such as Ludwig van Beethoven and Ferruccio Busoni, demonstrate his relationship to the Western art music tradition and placement within the canon. Four distinct facets of Liebermann's musical style are presented: his reliance on traditional formal practices, motivic coherence, his particular harmonic vocabulary, and his use of texture. Liebermann's works use consonant triads, third relations, and smooth voice leading; because of these features, Neo-Riemannian models are suggested as a potential lens through which to view and analyze these pieces. In particular, hexatonic systems and their depiction of the musically "uncanny" relate to how Liebermann's music can have a sort of "defamiliarizing" and destabilizing effect on the listener. The salient musical features of motivic coherence, harmonic relationships, and formal innovations within tradition are presented for each nocturne alongside descriptions of musical character, to capture the essence and spirit contained within the works. The pieces verge on the fantastic and the rhapsodic, demonstrating Liebermann's imaginative approach to tradition. By utilizing a harmonic language that both synthesizes gestures of the past with a rich history of suggestive emotional content, and that innovates with a more modern and dissonant sensibility, Lowell Liebermann has achieved a distinctive musical vocabulary that captures the poetic and dark essence of nocturnes.

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Th. B.A.--English and American literature and language--Cambridge (Mass.)--Harvard university, 1993.

Thesis (M.A.)--Ohio State University, 1929. / Includes bibliographical references (leaves iii-vi). Available online via OhioLINK's ETD Center

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This thesis investigates the female labor force of the Lowell textile mills from 1820 to 1850. First, it describes the development of the Lowell system and the philosophy on which it was founded. Next, it examines the working conditions in the mills and the daily lives of the women who worked in them. Finally, it describes the circumstances that brought about labor unrest and ultimately a complete change in the work force at Lowell, from the young, single, New England farm women to immigrant laborers. A variety of primary sources, such as letters, diaries, essays and poems written by the mill workers themselves, provide insights into how these women viewed their work, their lives, and the events that transformed the factories and city of Lowell. / Master of Arts

The purpose of this essay is to encourage the study and performance of trumpet concertos written by notable contemporary composers. The essay focuses on two outstanding trumpet concertos composed in recent years: Lowell Liebermann’s Concerto for Trumpet and Orchestra, op. 64 and John Williams’ Concerto for Trumpet and Orchestra. The essay specifically provides the following information: 1) a concise history of the concerto for trumpet, 2) a short biography of Lowell Liebermann and John Williams, 3) the history of Liebermann’s and Williams’ concertos for trumpet, 4) musical analysis of both concertos, 5) a soloist’s practice and performance guide to both works, and 6) a short list of other contemporary trumpet concertos worthy of study. Both Liebermann’s and Williams’ trumpet concertos acknowledge established musical convention, and neither uses any experimental performance techniques. However, both works are written in their own distinctive harmonic language, and each provides its own unique modifications to traditional forms and melodic shapes. Hopefully, this essay will advance the status of Liebermann’s Trumpet Concerto and Williams’ Trumpet Concerto in the history of the trumpet concerto genre and serve as a resource for those who wish to research, study, and perform Liebermann’s Concerto, Williams’ Concerto, or other contemporary trumpet concertos.

In accordance with the title, the present paper divides itself into two parts, of which the first wil1 be a brief resume of the planetary work done here, with a few details and announcements which have not heretofore been given to the public, and the second will present the writer's personal opinions of why it has been possible to reach these results. The latter must necessarily be more in the form of suggestions than facts, for to give facts one must have tried personally many widely separated localities over long periods of time.