Thesis (B.A.) Magna Cum Laude--Butler University, 1995. / Includes bibliographical references (leaves 42-46).

Thesis (D.M.A.)--University of Rochester, 1970. / Photocopy of ms. Vita. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/3483

Thesis (M.M.)--University of Wisconsin--Madison, 1965. / eContent provider-neutral record in process. Description based on print version record.

Thesis (M.A.) - Carleton University, 2003. / Includes bibliographical references (p. 267-276). Also available in electronic format on the Internet.

Thesis (D.M.A.)--University of Missouri-Kansas City, 1973. / Includes vita. Includes bibliographical references (leaves 286-306).

American film parody can be characterized as a distorted, comical and yet affectionate imitation of a given genre or specific work. Film noir as a genre with its distinct visual styles has been an easy target for such "creative criticism." Mel Brooks, famous for his series of successful parody films, has exhorted that the situation alone must be absurd while the actors must be serious, not funny to make a comedy funnier. He also said that funny is in the writing and not in the performance itself. Film noir through its unconventional visual styles and convoluted story lines engenders feelings of anxiety and paranoia in the audience, providing rich fodder for parody. The animated theatrical series Looney Tunes with its trademark slapstick style is well suited for making serious situations look absurd, affording "creative criticism". In this thesis I first analyze canonical examples to distill the distinct visual characteristics of these two different genres. I then employ the use of parody to bring together a few salient visual elements from each of these genres, thus enabling computer-generated visual parody. Finally, still image examples of such parody are produced by systematically combining visual elements from the two distinct genres, film noir for its expressionistic lighting and elliptical compositional elements, and Looney Tunes for its mischievous mise-en-scene and ingenuous characters.

Diss.--Helsinki. / Extra t.p., with thesis statement, inserted.

This item was digitized by the Internet Archive. Thesis (M.A.)--Boston University / https://archive.org/details/evolutionofhymnt00fran

Armenian music of today is largely influenced by Armenian folk music. Composers such as Sayat Nova and Gomidas Vartabed have left behind numerous tunes that are still sung today by Armenians whether in Armenia or the Armenian diaspora. This thesis comparatively analyzed piano arrangements of Armenian folk tunes by Armenian composers. The aim of this thesis is bifold: to find elements of piano arrangements that are commonly used by different composers and to introduce the riches of Armenian music to the Czech and International music communities. The comparative analyses revealed the existence of elements such as orchestral simulations, melodic and rhythmic variations, representations, composing introductions, and different accompaniment styles among the arragements of the same folk tunes by different composers or different folk tunes by the same composer at different levels of difficulty. Hence, the first aim of this thesis was verified, with the hopes of the second aim also being met and Armenian music being spread to all musical circles around the world. KEYWORDS Armenian music, folk tunes, arrangements, analysis, composers

This study represents an effort to analyze the forms used by Flor Peeters in his Thirty Chorale Preludes on Well-Known Hymn Tunes, op. 68, 69, and 70. Through this analysis it has been found that Flor Peeters has systematically used certain devices in the treatment of the cantus firmus. Furthermore, these devices can be used as a criterion in developing a classification system for the chorale preludes, which logically divide into six groups or types. The first type includes the chorale preludes in which the composition begins immediately with the first phrase of the chorale melody and continues without interruption to the end of the melody. The chorale melody is used in its entirety, the last note occasionally being sustained as an inverted organ point or organ point to form a coda. The chorale melody appears without ornamentation, but the rhythm may be subject to augmentation or diminution. The second type resembles the first type, with the exception that the chorale melody has been treated with ornamentation. Included in the third type are the chorale preludes in which the chorale melody appears in detached phrases, each phrase being separated from the next by an interlude or transition, the first phrase usually being preceded by an introduction. The chorale melody appears without ornamentation, but the rhythm may be subject to augmentation or diminution. The final note of the chorale melody may be sustained as an organ point or inverted organ point. Ornamentation constitutes the major difference between the third and fourth types. In the fourth type the chorale melody has been ornamented. The fantasia-type chorale preludes included in the fifth type make free use of the chorale melody. Entire phrases of the original chorale melody are omitted. The phrases used in the composition may appear in fragments or complete phrases with rhythmic and notational changes. The sixth type contains the chorale preludes wherein the chorale melody forms the basis of a series of variations, which constitute a partita. Each of the partitas in this type consists of an opening movement, three or five variations, and a finale. The variations are usually developed according to the specifications of types I, II, and IV. A minor consideration of this study is the harmonic devices used by Flor Peeters. Secondary chords and their sevenths, as well as parallel open fifths, are characteristic of the harmonic treatment. Like the composers of the Baroque period, Flor Peeters has composed the ornamented, figured, and the partita types of chorale preludes. In the thirty compositions considered in this study there is not an example of the canonic or the motet types. Even though Flor Peeters has not adhered to these latter types, he has made use of such devices as fugal expositions and imitation.