Thesis (Ph. D.)--University of Wisconsin--Madison, 1974. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

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Ralph Vaughan Williams and Benjamin Britten were two of the most prominent and popular composers in England in the first half of the twentieth century; however, their musical styles represent two different schools of thought, pastoralism and modernism. Despite their differences, they had much in common. They attended the same school; were heirs of a movement to promote English music, the English Musical Renaissance; and greatly admired their predecessor Henry Purcell. This document investigates how these two composers formulated diverse compositional styles even though they shared a common musical heritage.The investigation in this document is two-part. First, the investigation depicts the origin and formulation of both composers' styles through a discussion and comparison of their musical backgrounds, teachers, influences, and ideals. This discussion includes information on their personal training and ideas, as well as influential movements, composers, and teachers. The second portion includes analysis and comparison of Vaughan Williams' and Britten's Festival Te Deums. The document includes a discussion of the origin of the Te Deum text and history of musical settings. Specific elements of the Festival Te Deums are discussed, compared, and traced to possible origins of influence in each composer's heritage. This document includes an analysis of Purcell's Te Deum in comparison to the Vaughan Williams and Britten settings as a demonstration of the affects of a common influence on their music.The influences and ideals of each composer clearly manifest themselves in their respective Festival Te Deums. The analysis confirms there are obvious differences in their respective musical ideas; however, the effects of similar influences on their musical styles are not always similar. Although Vaughan Williams and Britten followed the principles of the English Musical Renaissance and emulated Purcell, each composer was so distinct in his musical interpretation that it is difficult to recognize the similar influences in the music itself. In this way, both remained committed to their heritage, but each developed a unique musical voice.

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Thesis (Ph. D.)--Miami University, Dept. of History, 2006. / Title from second page of PDF document. Includes bibliographical references (p. 151-160).

Master of Music / Department of Music / Frank C. Tracz / The following document is research and analysis from the comprehensive examination question based on the Graduate Conducting Recital of Chris R. VanGilder. The recital, performed by the Arkansas City High School Concert Band, was given in two parts at the Arkansas City High School Auditorium. Part one, presenting the two pieces They Led My Lord Away as arranged by Fred J. Allen and English Folk Song Suite by Ralph Vaughan Williams was given on April 12th, 2007 at 7:00pm. Part two, presenting the four pieces Variation Overture by Clifton Williams, Dance of the Rose Maidens as arranged by James Truscello, Prelude and Rondo by David Holsinger and Valdres Marsj as arranged by Loras J. Schissel was given on May 15th, 2007 at 7:00pm. The document contains theoretical and historical analysis, and outlines the procedures of planning and performing the graduate conducting recital.

Master of Music / Department of Music / Frank C. Tracz / This document was written after examination, research, score analysis, and lesson planning in preparation for the Graduate Conducting Recital of Travis M. Johnson. This recital was held on Monday, March 8, 2010 at the Cheney High School Auditorium at 6:00 pm. A philosophy of Music Education and criteria for quality literature selection is followed by the theoretical and historical analysis of four works; Flourish for Wind Band by Ralph Vaughn Williams, Air for Band by Frank Erickson, An American Elegy by Frank Ticheli, and Rough Riders by Karl King arranged by James Swearingen. Lesson plans, rehearsal aids, warm up exercises, and student assignments are included in the examination of this process.

This essay analyses the female hero in four urban fantasy novels, and evaluates several examples of the genre to find out whether or not the heroes can be found to be "sheroes" or traditionally male heroes. The study outlines the myth of the hero's journey and gives examples of the masculine as well as the feminine approach and how they apply to the four novels. The attributes of the hero are also reviewed and put into perspective within the studied material. It appears that while it is often argued that the urban fantasy genre has strong woman protagonists, the heroes therein are not "sheroes" since they behave like typically male heroes.