No description available.

This item was digitized as part of the Million Books Project led by Carnegie Mellon University and supported by grants from the National Science Foundation (NSF). Cornell University coordinated the participation of land-grant and agricultural libraries in providing historical agricultural information for the digitization project; the University of Arizona Libraries, the College of Agriculture and Life Sciences, and the Office of Arid Lands Studies collaborated in the selection and provision of material for the digitization project.

This study focuses on the development of architectural education at the University of Oregon's School of Architecture and Allied Arts (A&AA) in Eugene, Oregon. Applying a historic preservation perspective, this study examines how architectural perceptions are manifested through institutional changes in architectural education. Beginning with a focus on the A&AA under the administration of Dean Ellis F. Lawrence and Professor W. R. B. Willcox, this study transitions into an exploration of Dean Sidney W. Little's decidedly modernist alteration of the curriculum and building in the mid-twentieth century. During this period, the A&AA underwent a major shift from a curriculum and building based on the principles of the Arts and Crafts movement to a radically different approach that fully embraced the philosophy of modernism and actively rejected any allegiance to past architectural forms.

Call number: LD2668 .T4 1984 L39 / Master of Arts

Composer Joseph Willcox Jenkins (b. 1928), longtime professor at Duquesne University in Pittsburgh, Pennsylania (since 1961) and the first arranger for the United States Army Chorus (1956-1959), has composed and arranged a prolific amount of choral music, much of which has remained unpublished. After presenting a brief biography of Jenkins, this essay examines a sample of seven of his choral works, with analyses and scores of each. Catalogs of the choral compositions to which he assigned opus numbers and his U.S. Army Chorus arrangements follow, along with a classified list of remaining choral works and arrangements. The document concludes with the transcription of a conversation between Jenkins and the author about his career and music. It is hoped that this resource for choral musicians will encourage a more widespread knowledge of Jenkins’ choral music, providing increased possibilities for performance and further study.

No description available.