Inaug.-Diss.--Rostock. / Lebenslauf. "Der ... hier vorgelegte teildruck umfasst das kapitel II und einen teil der anhänge der eingereichten dissertation: 'Carl Borromäus v. Miltitz als musikschriftsteller. Ein beitrag zum musikalischen schrifttum des 19. jahrhunderts.'" "Verzeichniss der musikschriftstellerischen arbeiten von Carl Borromäus von Miltitz": p. 91-96; "Vorhandene musikalische werke von Miltitz": p. 97-113; "Nicht auffindbare kompositionen und entwürfe" p. 114-115.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1980. / Typescript. Vita. Description based on print version record. Includes bibliographical references (leaves 279-289).

Thesis (M.A.)--University of Wisconsin--Madison, 1960. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 136-138).

Thesis (M.A.)--Georgia Southern University, 2006. / "A thesis submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Master of Arts" ETD. Includes bibliographical references (p. 151-158)

No description available.

No description available.

This thesis investigates the political career of Stephen Dorsey, an Ohio industrialist who moved to Arkansas in 1871. Dorsey was elected to the U.S. Senate from Arkansas in 1873, served as secretary of the Republican National Committee for. the election of 1880, and was tried twice, in 1882 and 1883, for the Star Route postal frauds. Although Dorsey was acquitted, the Star Route frauds ended his political career. Separate chapters treat each phase of Dorsey's career. Major sources included the D41 Arkansas Gazette, the Congressional Record, the Garfield Papers, and the official transcripts of the Star Route trials. The thesis concludes that Dorsey's career was, the product of Ulysses S. Grant's influence within the Republican party in. the Gilded Age.

Thesis (D.M.A.)--Ohio State University, 2008. / Title from first page of PDF file. Includes bibliographical references (p. 83-85).

The purpose of the study was to examine the musical methods used by Stephen Sondheim to create a sense of internal unity in scores that, because of the nature of musical theater, required diverse styles of composition and often involved extended periods of time between the occurrence of musical selections. This dissertation topic was chosen in an attempt to provide evidence of the utter sophistication with which Sondheim pursues his craft.The perspective taken was that of a conductor analyzing the scores as if in preparation for rehearsing the cast of a production. The assumption was that a more convincing performance would result from the performers' awareness of the devices used to achieve continuity from selection to selection.Findings1. In both scores, Sondheim employs ostinato, counterpoint, syncopation, and hemiola as primary rhythmic material.2. In both scores, Sondheim presents his primary motives at the beginning of the score and uses them exclusively to generate all melodic material in the work.3. Sondheim is consistent in his harmonic language, revealing a decided preference for extended diatonic and chromatically-altered chords. He uses simple, "pure" triadic harmony on relatively few occasions. He often uses his dense harmoric structures to reflect the tension inherent in the dramatic situation.

No description available.