This thesis serves to provide insight into the interpretation and performance of Rebecca Clarke’s Sonata for Viola and Piano (1919). To provide context to the analysis and interpretation, the life and work of Rebecca Clarke (1886-1979) is described. The viola sonata is analysed in terms of harmony, colours and technical elements for the purpose of aiding the interpretation and performance. The sonata is also cross referenced with other works by the same composer, to further pinpoint the stylistic elements and their importance for the result. From the analysis it is concluded that the common elements in Clarke’s music and in the sonata in particular, include modality, harmonic ambiguity, polytonality and a range of instrumental techniques. The meticulous notation and the overall instrumental ergonomics of the piece shows both that Clarke had a clear vision for her music, and that she knew the nature of both the viola and the piano well. In conclusion, I argue that in order to present a captivating performance of the piece, great care must be taken to the distinction and sensitivity of these elements in particular. / <p>R. Clarke: Viola Sonata</p><p>I. Impetuoso</p><p>II. Vivace</p><p>III. Adagio</p><p>S. Prokofiev: Romeo and Juliet, arr. V. Borisovsky</p><p>I. Introduction</p><p>III. Juliet as a Young Girl</p><p>IV. Dance of the Knights</p><p></p><p>Isela Halonen, Viola</p><p>Anna Christensson, Piano</p>

No description available.

The purpose of this study is to examine three works for the unusual combination of violin and voice. Chamber music for violin and keyboard and violin and other instruments has been extant since the Baroque period. However, three English composers found a unique chamber grouping in the first decades of the twentieth century: Gustav Holst (1874-1934), Rebecca Clarke (1886-1979), and Ralph Vaughan Williams (1872-1958) each wrote works for violin and voice. Holst's Four Songs for Voice and Violin, Op. 35 (1917), Vaughan Williams' Along the Field, Eight Housman Songs for Voice and Violin (1927, revised 1954), and Clarke's Three Old English Songs (1924) each utilize the combination of violin and voice. The violin in each is not relegated to accompaniment but is instead a true partner. This study will investigate these works. A history of each composition will be chronicled. An analytical discussion of formal organization and significant style features will include consideration of the musical structure, harmonic language, and the use of text in select movements of each work. Finally, performance suggestions pertaining to technical and artistic issues offer specific recommendations as an aid in performance preparation. In order to provide historical and musical context, a brief overview of Late Romantic and early Twentieth-Century chamber music with strings and voice will be given. This overview will help to illuminate the uniqueness of the pairing of violin and voice. Discovery of the works discussed here makes possible an expanded repertoire of good music for both violinists and vocalists. It is also hoped that through the performance of these works a spark might be set with composers to create more pieces for this most intimate of duos.

Ce mémoire est globalement axé sur la légitimité de la notion d'identité dans les contextes postcolonial et postmoderne. Plus précisément, il porte sur le concept de métissage dans l'art actuel à l'heure de la mondialisation culturelle, lieu propice à un renouvellement de l'identité et de l'imaginaire pour les communautés des Premières Nations d'Amérique du Nord. Il est divisé en deux parties. Les deux premiers chapitres énoncent une perspective socio-ethnohistorique autour des notions d'identité et de métissage, alors que le troisième chapitre expose un point de vue analytique à partir d'un corpus d'oeuvres de trois femmes artistes autochtones du Québec et de l'Ontario s'exécutant sur la scène artistique contemporaine, soit Sonia Robertson, Sylvie Paré et Rebecca Belmore. Plus spécifiquement, le premier chapitre fait état des connaissances et des discours sur les définitions même d'identité et de métissage dans les contextes colonial / postcolonial et moderne / postmoderne. Par extension, je pose cette question concernant l'hybridité culturelle: s'agit-il d'un principe d'homogénéisation et d'essentialisation des cultures ou d'un facteur garant d'hétérogénéité, favorable au mélange et aux échanges interculturels ? Le deuxième chapitre, quant à lui, énonce les contextes de dépossession territoriale et d'exiguïté culturelle dans lesquels ont été contraints les peuples des Premières Nations depuis l'époque coloniale. Il fait aussi mention des métissages artistiques (post)postmodernes, qui contribuent à un renouveau de l'imaginaire amérindien. Dans un esprit à la fois de contestation face à l'image folklorisée de l'« Indien » et de transmission des valeurs traditionnelles, les artistes autochtones font place à la réappropriation culturelle. Enfin, le troisième chapitre souligne les parcours identitaires de Sonia Robertson (Ilnue), Sylvie Paré (métisse huronne-wendat) et Rebecca Belmore (Anishinabekwe). À titre de comparaison, j'analyse un corpus d'installations et de performances sous le thème de la mémoire et de l'identité en lien avec les concepts élaborés dans les chapitres précédents. Le choix d'examiner le travail de trois femmes artistes provenant de communautés différentes permet de rendre compte de réflexions personnelles de la part de femmes autochtones face à la culture dominante et par rapport à leur culture d'origine. Ce choix vise par ailleurs à circonscrire, au sein même de leur production, l'importance de la tradition en fonction de leur affirmation identitaire. Je souhaite ainsi étudier comment ces propositions se positionnent dans un contexte de déterritorialisation culturelle en fonction d'une réalité post(néo)colonialiste, corrélative d'un entre-deux mondes. Pour conclure, je reviens sur les questions d'identité, de mémoire et de territoire en soulignant l'importance idéologique du combat identitaire des communautés autochtones, qui vise la mise en échec des préjugés et des constructions mythiques persistantes entre le « Blanc » et l' « Indien ». Je mesure en ce sens l'impact que pourrait avoir la pensée universelle amérindienne sur nos sociétés hypermodernes en crise et en quête de valeurs. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Identité, Métissage, Mémoire, Premières Nations, Néocolonialisme.

Thesis (Ph. D.)--University of Oregon, 2001. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 239-250). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p3024517.

Violence against Native women in Canada is widespread and has deeply systemic and colonial roots. This paper will attempt to show the role that dominant representations of culture, race, and gender have in allowing this violence to continue by eclipsing many different narratives and ways of expressing cultural and individual identities. Violence in the mainstream media will be explored and analyzed drawing on concepts from critical theories, Aboriginal epistemological frameworks, and anti-racist, disability, and Afro-centric feminisms to build a framework on which to analyze the meanings of the representations. After exploring violent and colonial discourse, the discussion will turn to art. Self and cultural representation and expression by Native women can act as important forms of resistance to the tools of colonial oppression. The artwork of Rebecca Belmore and Shelley Niro are powerful examples of addressing and exploring issues of identity, culture, resistance, and survival for Aboriginal women.

Violence against Native women in Canada is widespread and has deeply systemic and colonial roots. This paper will attempt to show the role that dominant representations of culture, race, and gender have in allowing this violence to continue by eclipsing many different narratives and ways of expressing cultural and individual identities. Violence in the mainstream media will be explored and analyzed drawing on concepts from critical theories, Aboriginal epistemological frameworks, and anti-racist, disability, and Afro-centric feminisms to build a framework on which to analyze the meanings of the representations. After exploring violent and colonial discourse, the discussion will turn to art. Self and cultural representation and expression by Native women can act as important forms of resistance to the tools of colonial oppression. The artwork of Rebecca Belmore and Shelley Niro are powerful examples of addressing and exploring issues of identity, culture, resistance, and survival for Aboriginal women.

Thesis (Ph. D.)--University of Missouri-Columbia, 2007. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on January 29, 2007) Vita. Includes bibliographical references.

Friction Bit Joining (FBJ) is a new technology that allows lightweight metals to be joined to advanced high-strength steels (AHSS). Joining of dissimilar metals is especially beneficial to the automotive industry because of the desire to use materials such as aluminum and AHSS in order to reduce weight and increase fuel efficiency. In this study, FBJ was used to join 7075 aluminum and DP980 ultra-high-strength steel. FBJ is a two-stage process using a consumable bit. In the first stage, the bit cuts through the top material (aluminum), and in the second stage the bit is friction welded to the base material (steel). The purpose of the research was to examine the impact a solid head bit design would have on joint strength, manufacturability, and ease of automation. The solid head design was driven externally. This design was compared to a previous internally driven head design. Joint strength was assessed according to an automotive standard established by Honda. Joints were mechanically tested in lap-shear tension, cross-tension, and peel configurations. Joints were also fatigue tested, cycling between loads of 100 N and 750 N. The failure modes that joints could experience during testing include: head, nugget, material, or interfacial failure. All tested specimens in this research experienced interfacial failure. Welds were also created and examined under a microscope in order to validate a simulation model of the FBJ process. The simulation model predicted a similar weld shape and bond length with 5 percent accuracy. Joints made with external bits demonstrated comparable joint strength to internal bits in lap-shear tension and cross-tension testing. Only external bits were tested after lap-shear tension, because it was determined that external bits would perform comparably to internal bits. Joints made with external bits also exceeded the standard for failure during fatigue testing. Peel tested specimens did not meet the required strength for the automotive standard. Examining specimens under a microscope revealed micro-cracks in the weld. These defects have been shown to decrease joint strength. Joint strength, especially during peel testing, could be increased by reducing the presence of micro-cracks. The external bit design is an improvement from the internal bits for manufacturability and ability to be automated, because of the less-expensive processes used to form the bit heads and the design that lends to ease of alignment.

The focus of this research paper is to analyze how Rebecca West’s book Black Lamb &amp; Grey Falcon contributes to the construction of a theoretical concept created by M. Todorova, ”balkanism”. This is achieved through extensive analysis of her work, focusing on how West creates her own stereotype of Yugoslavia and how her portrayal of people and the Yugoslavian society relate to her discussions of the region’s history. With the help of two categories, ethnography and historiography, I will be able to look how West uses the history of Yugoslavia in the construction of” the other” and” otherness”. The main theory used in this paper is Maria Todorova who came up with the concept of” balkanism”. This combination makes the analysis in question unique. With the help of Todorova, it will be possible to understand why West wrote her book in the way that she did while at the same time trying to find out how West contributed to the construction of the theoretic concept of” balkanism.” In conclusion it can be said that West’s way of writing about Yugoslavia is often characterized by certain words and patterns that will be discussed further in the analysis.