Thesis (M.A.)--Catholic Theological Union at Chicago, 1997. / Vita. Includes bibliographical references (leaves 89-94).

This thesis presents a method of analyzing jazz improvisation and jazz style by using a voice-leading model called “Top Lines.” It compares three separate performances of Thelonious Monk’s “’Round Midnight” by Monk, Gerry Mulligan, and Wes Montgomery. The term Top Lines refers to a voice-leading procedure created by moving as little as possible between chords tones (roots, thirds, fifths, sevenths, and upper functions) of a chordal progression. Top Lines are potential voice-leading lines in the uppermost register and follow the “Law of the Shortest Way.” The thesis defines Top Lines, shows how they interconnect, and ultimately how the improvisor navigates through and manipulates them. Jazz harmony and improvisation have been explored by scholars such as Mark Levine (1989, 1995), Steve Larson (2005), Henry Martin (1988, 1996), and Steven Strunk (1996). Although many scholars deal with coherence and structure in the improvisation, their discussions focus on voice leading coherence and structure in improvisations, where this thesis differs is it provides a voice-leading model on a small scale within the improvisation itself. The model presented in this thesis raises the notion of describing jazz improvisation not simply as a motion from one chord tone to another, but instead as motion between voice leading Top Lines. These motions between Top Lines create coherence and motives—called “Particles”— in one’s improvisation. Particles ultimately demonstrate stylistic features in one’s improvisation, motivic connections, and coherence. The thesis concludes by describing how the Top Line model can be applied to jazz performance and jazz pedagogy. The thesis will be of interest to scholars of jazz theory, musicology, pedagogy, and jazz performance.

Issu de Dada et du surréalisme, le groupe Panique, constitué de Fernando Arrabal, Roland Topor et Alejandro Jodorowsky, est créé en 1962. L’évolution de la pratique artistique de Jodorowsky de 1962 à 2016 est riche d’enseignements sur la performance théâtrale et l’interaction entre le théâtre et le cinéma. Nous suivons le constat que fait Joseph Danan dans Entre théâtre et performance: la question du texte qu’à un « état d’esprit dramaturgique » évoqué par Bernard Dort a succédé un « état d’esprit performatif » sur la scène contemporaine. L’œuvre de Jodorowsky est traversée par cet « état d’esprit performatif », de ses « éphémères paniques » qu’il réalise entre 1962 et 1967, à son « théâtre panique » puis son « théâtre essentiel », à son cinéma. L’analyse des éphémères, proches temporellement et essentiellement des premières performances historiques, permet de faire ressortir les caractéristiques de la performance qui peuvent passer dans d’autres formes artistiques. Avant la présentation d’une performance se noue implicitement un pacte entre les performeurs et les spectateurs. Ce « pacte performatif », correspondant aux attentes et aux croyances du spectateur de performance, repose sur trois points : l’implication de l’artiste lui-même dans son œuvre, l’unicité de la performance et la réalisation d’actes réels. Notre étude permet de voir comment ces trois points, tout en s’adaptant à l’art dans lequel ils sont apportés, constituent le noyau de l’ « état d’esprit performatif » qui parcourt l’ensemble de l’œuvre de Jodorowsky. / Deriving from Dada and surrealism, the Panic group, made up of Fernando Arrabal, Roland Topor and Alejandro Jodorowsky, was created in 1962. The evolution of Jodorowsky's artistic practice from 1962 to 2016 is rich in teachings on theatrical performance and the interaction between theatre and cinema. We agree with the observation made by Joseph Danan in Entre théâtre et performance: la question du texte that from a "dramaturgical state of mind" evoked by Bernard Dort has succeeded a "performative state of mind" on the contemporary scene. Jodorowsky's work is crossed by this "performative state of mind", from his "panic ephemera" that he realised between 1962 and 1967, to his "panic theatre" and his "essential theatre" and his cinema. The analysis of the ephemera, temporally and essentially close of the first historical performances, makes it possible to highlight the characteristics of the performance which can pass in other artistic forms. Before the presentation of a performance is implicitly a pact between the performers and the spectators. This "performance pact", corresponding to the expectations and beliefs of the performance spectator, is based on three points: the involvement of the artist himself in his work, the uniqueness of the performance and the realization of real acts. With our study we are able to see how these three points, while adapting to the art in which they are brought, constitute the core of the "performative state of mind" that runs through the whole of Jodorowsky's work.

In September 1901 the North-West Mounted Police learned that a group of American miners, calling themselves the Order of the Midnight Sun, were planning to take over the Yukon. The Conspiracy, as the plot to overthrow the Mounted Police and establish an independent republic in the Alaska boundary region was known, appealed to Americans in the region. The location of the Alaska boundary was not set when the Klondike Gold Rush (1897-1899) brought thousands of miners and traders into the Yukon, northern British Columbia, and Alaska. The Canadian government’s efforts to maintain order and protect its interests in the Alaska boundary dispute angered American miners and businessmen and led them to support the Order. After the Conspiracy was discovered, the Mounted Police and the Canadian government launched a full scale investigation and response. To fully investigate the Conspiracy during the Alaska boundary dispute, the Mounted Police, a domestic force, had to operate in Canada and the United States and cooperate with American authorities in Skagway. The Dominion Police were also involved in the investigation and they too had to work with American authorities in Seattle and San Francisco. But the Mounted Police did not view the Conspiracy as a serious threat. Their experience in the north had shown that such threats rarely amounted to anything. The Canadian government, however, responded differently. Canadian officials in Ottawa feared that the Conspiracy would cost Canada in the Alaska boundary negotiations and they took steps to ensure that the Mounted Police could defend the region and prevent further unrest. This thesis examines the Mounted Police and Canadian government responses to the Conspiracy and the reasons for these different responses, within the context of the Alaska boundary dispute.

With over 600 articles about terrestrial invertebrates in Svalbard we still lack basic knowledge about pollinator-plant interactions in this part of the high-Arctic. It has never before been investigated how the activity of pollinators varies over a 24-hour timeframe in the high Arctic. Insects in the lower Arctic have been shown to have their peak foraging around noon but as Svalbard experiences midnight sun during the whole summer season pollinators could potentially forage any time during the 24-hour day. In this study pictures were taken every minute over cushions of Silene acaulis, capturing visiting pollinators during 5 days around the beginning of July 2019. Pollinators showed no higher abundance around noon. Instead, no significant difference in the abundance of pollinators was found between the hours of the 24-hour timeframe. No significant connection between the abundance of insects and temperature was found as well as no significant connection between the abundance of insects and wind. The results in this study can contribute to fill the knowledge gap of pollinator-plant interactions in Svalbard and show the need for more research about pollinators temporal dynamics in the high-Arctic.

No description available.

<p dir="ltr">When diagnosed with cancer, it is not uncommon for patients to turn to narratives—both fiction and non—looking for comfort or a way to make sense of their situation. When it comes to cancer on screen, we often see a romanticized version of cancer diagnosis: young sick kids falling in love, messages of going on to do amazing things after treatment, or visuals of glamorized sickness. This is not reflective of the dark thoughts that often find homes in the minds of cancer patients. And yet, little media exists to resonate with these darker narratives. Netflix’s The Midnight Club, a horror show catered toward young adults, helps to twist the pre-existing narratives surrounding cancer by utilizing the conventions of the horror genre to explore the darker sides of cancer diagnosis through storytelling. Though often uncomfortable, the show’s ability to discuss thoughts of mortality, pain, and loss in wake of terminal diagnosis is one important of discussion, as is done in this paper.</p>

Submitted by Renata Lopes (renatasil82@gmail.com) on 2015-12-15T16:23:17Z No. of bitstreams: 1 lucasgamonalbarradealmeida.pdf: 6415397 bytes, checksum: 0e477d764c08b89d0e965de7ca7d1605 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2015-12-16T11:16:10Z (GMT) No. of bitstreams: 1 lucasgamonalbarradealmeida.pdf: 6415397 bytes, checksum: 0e477d764c08b89d0e965de7ca7d1605 (MD5) / Made available in DSpace on 2015-12-16T11:16:10Z (GMT). No. of bitstreams: 1 lucasgamonalbarradealmeida.pdf: 6415397 bytes, checksum: 0e477d764c08b89d0e965de7ca7d1605 (MD5) Previous issue date: 2015-02-26 / Busca-se analisar a representação da cidade e as apropriações midiáticas a partir do filme Meia-Noite em Paris, de Woody Allen, lançado em 2011. Enquanto obra com maior bilheteria na carreira do diretor, a película também se destaca por ser parte do recente tour europeu do artista. A cidade se caracteriza por sua polifonia, sua multiplicidade e seu constante processo de construção. Os produtos culturais, por sua vez, realizam diversas representações da urbe, narrando a cidade-texto de várias maneiras. Os diferentes meios de comunicação também narram viagens e permitem deslocamentos simbólicos. Dessa forma, as viagens e o urbano são arquitetados pela mídia e esses imaginários, então, são reutilizados pelos diversos destinos turísticos a fim de se promoverem. O longa-metragem encaixa-se ao contexto apresentado por fazer emergir uma cidade – dentre várias outras possíveis – capaz de gerar interesses diversos. Os métodos da Análise de Conteúdo foram utilizados para identificar essa Paris de Allen e as apropriações realizadas pelo turismo. Através desta metodologia, chegou-se à conclusão de que a cidade-produto é revelada por uma imagem sacralizada, que destaca personagens e locais emblemáticos, e resulta em um grande apelo afetivo. / The present work seeks to analyze the representation of the city and the media appropriations through the movie Midnight in Paris, by Woody Allen, released in 2011. Besides being the highest grossing work in the director’s career, the film also stands out as part of the artist’s recent European tour. The city is characterized by its polyphony and its multiplicity, and for keeping itself in a constant process of construction. In turn, cultural products perform diverse representations of the metropolis, chronicling the city-text in various ways. Different media also narrate journeys and allow symbolic displacements. Thus, the travels and the urban are devised by the media and these ideals are then reused by various touristic destinations for the purpose of self-promotion. The film fits into the presented context by bringing out, among several other possibilities, a city capable of generating diverse interests. In order to identify Mr. Allen’s Paris and the appropriations made by tourism, the Content Analysis method was used. Through this methodology, it was reached a conclusion indicating that the city-product is revealed by a mythical image, which highlights characters and iconic locations, resulting in great emotional appeal.

The main purpose of this essay is to examine the narrative function of the city in the films of Woody Allen. This was achieved through a narrative and comparative analysis of four of his city films: Manhattan (1979), Vicky Cristina Barcelona (2008), Midnight in Paris (2011) and To Rome with Love (2012). The results of this examination show that the city has a variety of narrative functions throughout the films. The city provides a natural environment that enables character meetings. Living in the city can be so sought after, that the city itself becomes an important goal for the protagonist. Portraying the city is often an essential part of a reflexive narrative. The city is utilized for this and more in the films of Woody Allen.

This document focuses on the formal structures and tonal language of four trios that include horn by American composer Simon A. Sargon: "Huntsman, What Quarry?" Two Poems of Edna St. Vincent Millay for Soprano, Horn, and Piano (1990); Trio for Horn, Violin, and Piano: "The Legacy" (1993); A Clear Midnight: Six Songs Set to Poems of Walt Whitman for Baritone, Horn, and Piano (1996); and Sonic Portals: Trio for Oboe, Horn, and Piano (2003). Comparisons with precedent works of like instrumentation demonstrate that Sargon's trios, though musically unique, merit a place alongside masterworks like Carl Reinecke's Trio, op. 188, for oboe, horn, and piano; Franz Schubert's Auf dem Strom for soprano, horn, and piano; and especially Johannes Brahms's Trio, op. 40, for violin, horn, and piano. Other precedent, contemporary, and related works are also mentioned. Sargon's ability to write idiomatically for the horn and other instruments is discussed, and consideration is given to some elements required to create a good performance of Sargon's chamber music. Included are a brief biography of Simon Sargon, letters from colleagues with whom he has worked closely, lists of his instrumental music and recordings of some of these pieces, and lists of other works in the genres discussed herein.