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Dissertations / Theses on the topic 'Classical arts'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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1

Minnix, Douglas Wayne. "Mental Toughness in the Classical Martial Arts." Diss., Virginia Tech, 2010. http://hdl.handle.net/10919/26392.

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The construct of mental toughness is in a state of evolution and refinement. The current study proposed to investigate; (1) the importance of mental toughness attributes from a Classical Martial Arts context, (2) the trainability of the mental toughness attributes from a Classical Martial Arts context, (3) and the extent to which classical martial artists perceive that attributes converge under broader, overarching sub-categories. The current study used a two-phase approach to evaluate the perceptions of mental toughness in 174 non-competition based classical martial artists. Phase One used a survey (a) to assess the perceived importance and trainability of mental toughness, (b) to evaluate unique CMA (CMA) mental toughness components, and (c) to determine underlying factors via factor analysis. Phase Two used interviews to enhance study perspectives of 20 randomly selected CMA participants. Phase One survey results support (a) the inclusion of all items as important to the mental toughness construct, (b) the trainability of all but 4 items, and (c) anticipation, learning attitude, and ethics as three unique CMA mental toughness components. The factor analysis supports the use of a six-factor model, which accounts for 60% of the variance, to explain CMA toughness. Phase Two promotes the use of several key themes as important to mental toughness in the CMA¬- conviction, commitment, conditioning, readiness to perform, distraction control, and shifting focus of attention. Phase Two also provides insight into the context specific application of the six-factor model. Previous perspectives on attribute importance, trainability, and general dimensions of mental toughness are supported by the current study. Variations exist between dimensions in the current study and those found previously. However, these differences are noted to exist more in context applications than in the essential meanings.
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2

Zonhoven, Ludovicus Martinus Johannes. "Studies on the sdm.tf verb form in Classical Egyptian." [S.l. : s.n.], 1997. http://www.ub.rug.nl/eldoc/dis/arts/l.m.j.zonhoven/.

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3

Yeagley, Jeremy R. "Commercial music for the classical trumpeter." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1589665.

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The modern trumpet performer will be called upon to perform many different styles during their career. One of the ways a classical trumpet student can learn to play different styles is through performing in as many ensembles as their school offers and playing solos written in the vein of third stream music. One of these solos is Alfred Reed's Ode for Trumpet. This work allows the performer to experiment with jazz sounds and style without the worry of improvisation. To successfully perform this work one must have a proper sound concept, style, and the ability to tastefully embellish the melody.

The methodologies that will be used in this project report are performance practice, theoretical and analytical, and narratology. The performance practice methodology will be used to describe how to perform a work in the third stream of music. The theoretical and analytical methodology will be used to show why certain embellishments work harmonically and why the piece is considered third stream music. Finally, the short biographies of Alfred Reed and Don Jacoby will fall under the narratology methodology.

The purpose of this project report is to investigate how to properly and successfully perform trumpet works in the third stream genre and how they relate to the needs of the everyday professional trumpet player. It will cover sound concepts, style, and embellishments that will help guide a performer to their own voice in this music. The ability to change tonal colors, swing, and use extended techniques will be required of the player in various musical settings from playing in pops orchestras to Broadway style musicals to playing in a big band. These topics are important for every trumpet player, specifically classical trumpeters, to learn because they will be required to be knowledgeable and have mastered these skills to have success as a professional trumpeter.

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Boggs, Roger. "INNOVATIONS IN CLASSICAL SCULPTURE :STILL I RISE." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1406202064.

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5

Miller, Louise May Whilhemina. "Classical mythology and the contemporary playwright." Thesis, Kingston University, 2014. http://eprints.kingston.ac.uk/29879/.

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This practice-based thesis explores, through the creation of three new full-length plays, the ways in which a contemporary playwright might engage with classic mythology, specifically ancient Greek mythology in the development of new work. The plays form a triptych, each inspired by a single, yet interconnected Greek myth: their mythic inspirations are as follows, Sodium (2010-11) Theseus and the Minotaur, Sulphur (2011-12) Ariadne at Naxos, and Silver (2010) Icarus and Daedalus. Non-dramatically extant ancient Greek myths were selected in order to seek to explore dramatic possibilities beyond Greek tragedy. The diverse ways in which this body of work was approached is framed by the influence of contemporary theatre practice. Alongside this creative enquiry, the thesis explores the impetus which prompted practitioners to turn to classical mythology for inspiration over two millennia since the myths were created. Reflection on the processes which led to the creation of these plays in relation to the author’s own highlights potential conflicts between ancient and contemporary theatre practice, and seeks to explore ways in which the juxtaposition between traditional and contemporary approaches to theatre making can spark creative engagements. The fission between tradition and subversion was a key factor in the creation of the plays now presented, offering possible insights into the ways in which contemporary practitioners can benefit from a playful engagement with traditional practice in order to generate new work.
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Rask, Katherine. "Greek Devotional Images: Iconography and Interpretation in the Religious Arts." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338473387.

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7

Touchette, L. A. "Roman copies of Classical relief sculpture : changes in form, function, and meaning." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284282.

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8

Campbell, Lee Winston. "Recognizing classical ballet steps using plase space constraints." Thesis, Massachusetts Institute of Technology, 1994. http://hdl.handle.net/1721.1/61085.

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9

Brunson, Kerry. "Mass classical| America, accessibility, and the Atlanta school of composers." Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10137432.

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When Robert Spano joined the Atlanta Symphony Orchestra as music director in 2001, he brought with him a mission to change the soundscape of the American concert hall. His goal, to gradually change the public’s perception of new music by introducing accessible works of lesser-known living American composers, led to sustained partnerships with the composers that came to be known as the Atlanta School. In this project I trace the formation of the Atlanta Symphony Orchestra up to Spano’s appointment as Music Director. I then examine Spano’s model for commissioning new works as both an effective means of disseminating new music and an attempt to “plug into” the standard repertoire. Finally, I explore the notion of “accessibility” as it emerged in the nineteenth century to distinguish between classes of music and to show how the term is wielded in much the same way today to keep modernist ideologies in control of the canon.

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Arafat, K. W. "The iconography of Zeus on Attic red-figured vases of the classical period." Thesis, University of Oxford, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.359574.

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Chang, Lian. "Articulation and the origins of proportion in archaic and classical Greece." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=86574.

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This dissertation searches for the origins of western ideas of proportion in the archaic and classical Greek conceptual terrain of articulation. We think of articulation, in the first instance, as having to do with the joining of parts to fabricate an object, such as in the physical connection of pieces of wood, cloth, metal, or stone. However, the early Greek language that described these craft processes also, and inextricably, spoke in a number of ways about what it meant for a person, thing, or the world to be beautiful, healthy, and just. Taking Homer as its primary source, Part One therefore explores archaic ideas of bodily experience (Chapter One); of crafts (Chapter Two); and of the interrelations between the two (Chapter Three). These chapters lay emphasis on how the language and concepts of articulation constructed a worldview particular to early Greece. Part Two then examines early ideas of proportion, in social and political life as depicted by Homer (Chapter Four); in classical ideas about the medicalized human body and the civic body of the polis (Chapter Five); and in the cosmogonic theories of Empedocles and Plato (Chapter Six). In so doing, I aim to demonstrate how ideas of articulation allowed for and expanded into those of proportion, binding together the ordering of bodies, of the kosmos, and of crafts, including architecture.
Cette dissertation cherche l'origine des idées occidentales de proportion à partir du concept de l'articulation dans la Grèce archaïque et classique. De nos jours, l'articulation est perçue comme étant le jointoiement de pièces pour fabriquer un objet, telle la connexion physique entre des pièces de bois, tissu, métal, ou pierre. Toutefois, dans le grec archaïque, les mots utilisés pour décrire ces procédés d'assemblage parlaient aussi, et inextricablement, de la signification pour une personne, une chose, ou le monde, d'être beau, sain et juste. La première section de la dissertation explore, à partir de l'oeuvre d'Homère, les idées archaïques d'expérience corporelle (chapitre un); de métiers d'art (chapitre deux); puis de leurs interrelations (chapitre trois). Ces chapitres mettent l'emphase sur la manière dont le langage et les concepts d'articulation construisirent une perception du monde particulière à la Grèce antique. Ensuite, la deuxième section examine les idées antiques de proportion, dans la vie sociale et politique telle que dépeinte dans Homère (chapitre quatre); dans les idées classiques du corps humain médicalisé et le corps humain civique de la polis (chapitre cinq); puis dans les théories cosmogoniques d'Empédocle et de Platon (chapitre six). Ainsi, cette dissertation vise à démontrer comment les idées d'articulations permirent d'une part et évoluèrent d'autre part en celles de proportions, fusionnant l'ordre du corps, du cosmos, et des métiers d'art, incluant l'architecture.
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Monaco, Bernadette. "The Hellenistic Ideal of the Good or Virtuous Life." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/honors/158.

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13

Duncan, Dean William. "Classical music in narrative film : strategies for use and analysis." Thesis, University of Glasgow, 2000. http://theses.gla.ac.uk/9082/.

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The present study deals with the use of classical music in narrative film, and some of the theoretical and historical considerations that can help us contextualize and understand that use. The following is a list of chapters, and a summary of concepts contained therein. CHAPTER ONE: After briefly considering some of the challenges of interdisciplinary scholarship, I will review the literature on classical music in the sound film. This review will touch upon the early (1930s and 1940s) commentaries of Kurt London, Hanns Eisler and Theodor Adorno, and John Huntley, and then pass on to a kind of concensus held between both commentators and composers of the 1960s and 1970s. Finally I will review the work of more recent film music scholars who, along with some others working in other fields, provide what I feel to be a more open model for understanding this kind of film music. CHAPTER TWO: Having reviewed the position of the film music community, this chapter will concern some responses of music critics to film music generally, and the appropriation of classical music in particular. I will outline specific complaints and criticisms, and attempt to show some of the broader socio-musical issues that motivated them. CHAPTER THREE: This chapter will consider the musical parallelism associated with traditional Hollywood-type narratives, and then concentrate on the oppositional model (derived from "montage" aesthetics) represented by Soviet and other modernist cinemas. I will deal especially with the influential "counterpoint analogy, " and consider how musical discourse can resolve some of the confusions that this analogy has habitually presented. CHAPTER FOUR: The last chapter will have presented a counterpoint based on musical principles as a possible analogy or metaphor for how film music works, and how its meaning and affect can be understood. This chapter is about the programme music tradition that prevailed in the nineteenth century. I will enumerate some of its sin-fflarities, musically and in terms of its critical reception by the music community, to film music. I will explore how programmes, or extra-musical narratives, are also central to understanding musical meaning, and to the use of classical music in films. CHAPTER FIVE: Here I will look more closely at montage, meaning, and classical music on film. A number of questions will be addressed. What are the interpretive strategies that most apply? How does musical meaning function in a film context, especially with regard to source music? Beyond classical music in general, what is the importance of periods, idioms, composers and specific pieces? What is the significance of the artist's intent? What about when the artist is not fully in control of his circumstances, or of his craft? What of phenomenology? All of these expansions obviously complicate the equation. Accordingly the concept of indeterminacy will be reviewed to suggest how both chance and control operate within musical montage. CHAPTER SIX: I will suggest and expand upon some of the extra-musical implications of this study. I will suggest some of the possibilities these raise for future research.
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BO, ELENA. "Archaeoacoustics, from antiquity to nowadays: contemporary use of the classical ancient architecture for performing arts." Doctoral thesis, Politecnico di Torino, 2017. http://hdl.handle.net/11583/2687278.

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Present conditions of Roman and Greek ancient theatres of the Mediterranean basin are critic from the point of view of the architectural conservation. The remarkable acoustics that characterized them in antiquity was not anymore attested by the latest main researches in this field (i.e. ERATO project in 2006). This represents an obstacle for the proper usage of these spaces as contemporary performance spaces. In fact, despite their status, a high number of theatrical and musical festivals still take place in these environments every year. This research deals with the re-usage of the ancient classical theatres nowadays. Two main topics are investigated: a) the evaluation of measuring and simulating techniques in their application to the open-air conditions; b) the enhancement of the ancient theatres’ acoustics through passive-acoustic solutions. Two case studies were chosen: the ancient theatre of Tyndaris, TYN, and the ancient theatre of Syracusae, SYR. In the first part of the thesis, acoustical measurements performed in TYN and in SYR on the basis of the ISO 3382-1 are reported. Acoustical parameters Reverberation Time, RT (s) – labelled as T20 – Clarity for speech and for music, C50 and C80 (dB), and Sound Strength, G (dB), are calculated as indicated in the standard. Their analysis reveals similar results to those obtained during ERATO project, in terms of RTmid and Gmid parameters. Evaluation of the Impulse response-to-Noise Ratio, INR (dB), attests measurement quality for all the frequencies, except for 125 Hz. The critical analysis of the applied measuring protocol 3382-1, which actually refers to indoor environments, shows the necessity of a specific standard for outdoor spaces. Direct-to-Reverberant energy Ratio, DRR (dB), is proposed in this thesis as alternative parameter to characterize the open-air theatres. Measured and simulated DRR values are statistically evaluated to assess their reliability, together with the values of standard parameters T20, C50, C80 and G. Following recommendations by JCGM-100, a high number of repetitions is necessary to guarantee consistent results, and to reduce errors that could occur in open-air spaces. Measurement uncertainties due to repeatability are calculated for each parameter in the case of TYN, and compared to the relative Just Noticeable Difference, JND. Results evidence that only G and DRR are able to detect systematic differences among the different positions in the theatre. T20, C50, C80 result to be more affected by random effects, due to unstable outdoor conditions. Two acoustic software, Odeon and CATT-Acoustic, are investigated in their simulation of the open-air conditions. The reliability of simulated results is related to algorithm sensitivity to the variation of the input variables, which are controlled by the operator. Simulation uncertainty due to variability of the input values of absorption and scattering are defined for each parameter in the case of SYR. Results show that lower values than their JNDs are obtained for all the parameters, except for T20, C50, C80 when CATT-Acoustic is used. The lower uncertainty means that the software algorithm is less sensitive to absorption and scattering variation. Concerning the calibration procedure of the models, the comparison of measured/simulated results shows that, among all the parameters, only G and DRR results are in agreement. In the second part of the thesis, curved orchestra shells for the enhancement of the acoustics of TYN and SYR are defined by means of computational design. Genetic algorithms allow researches based on an optimization criterion, which in this case is the maximization of the number of reached listeners with a perceived level over the measured Background-Noise-Level, BNL + 10 dB(A). Simulated results of the orchestra shells show significant improvements of the theatres acoustics for G and DRR. This parametric approach allows the realization of feasibility studies, and it is transferable also to other similar ancient theatres.
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Tyulkova, Yana. "Classical and Jazz Influences in the Music of Nikolai Kapustin| Piano Sonata No. 3, Op. 55." Thesis, West Virginia University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3702047.

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The subject of this dissertation is the contemporary Russian composer and pianist Nikolai Kapustin. Being himself a virtuoso pianist, Kapustin has written a large repertoire for solo piano. During the last fifteen years, the popularity of Kapustin in the United States has grown enormously through performances, publications, presentations, and recordings. Kapustin's output has over 150 opus numbers in all major forms of Baroque, Classical and Romantic music, such as suite, invention, preludes and fugues, variations, sonata, concerto, and more.

Kapustin's style fuses the classical approach to form and the jazz approach to harmony and rhythm in a very unique way. His compositional style is strongly influenced by American jazz, particularly the style of Oscar Peterson, Art Tatum, Herbie Hancock, and Bill Evans. From the other side, his music is strongly influenced by composers of Classical music such as Alexander Scriabin, Sergei Rachmaninov, Frederick Chopin, Maurice Ravel, and Bela Bartok.

Kapustin composed twenty Piano Sonatas during the period of 1984-2011. There has been little research to this point regarding the music of Kapustin and no formal research has been completed concerning Piano Sonata No. 3. This sonata is the particular scope of this dissertation, as nearly every aspect of Kapustin's compositional style can be found in this work.

Sonata No. 3 was composed in 1990 and was published in August 2014. The Sonata is a one-movement work and it contains a quote of the "Dies Irae" theme, which sets this work apart from his other sonatas.

This dissertation will provide biographical information on Nikolai Kapustin, historical and musical background, and will include an analysis of Piano Sonata No. 3.

Fortunately, the author speaks the Russian language and had opportunities to meet with Nikolai Kapustin. The information obtained in personal interviews with the composer will also be presented.

Hopefully, this dissertation will promote further research, performance, and understanding of the music of one of the most outstanding modern day composers, Nikolai Grigorievich Kapustin.

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Thobani, Sitara. "Dancing diaspora, performing nation : Indian classical dance in multicultural London." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:c189d163-b113-408f-9f3b-181c6fd5fbce.

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This thesis examines the performance of Indian classical dance in the contemporary 'diaspora space' (Brah 1996) represented by the city of London. My aim is to analyse whether and how performances of "national" art, assumed to represent an equally "national" culture, change when performed in transnational contexts. Drawing upon theories of postcolonialism, multiculturalism and diaspora, I begin my study with an historical analysis of the reconstructed origins of the dance in the intertwined discourses of British colonialism and Indian nationalism. Using this analysis to ground my ethnography of the present-day practice of the dance, I unearth its relation to discourses of contemporary multiculturalism and South Asian diasporic identity. I then demonstrate specific ways in which the relationship between colonial and postcolonial artistic production on the one hand and contemporary performances of national and multicultural identity on the other are visible in the current practices and approaches of diasporic and multicultural Indian classical dancers. My thesis advances the scholarship that has demonstrated the link between the construction of Indian classical dance and the Indian nationalist movement by highlighting particular ways in which historical narrative, national and religious identities, gendered ideals and racialised categories are constituted through, and help produce in turn, contemporary Indian classical dance practices in the diaspora. Locating my study in the UK while still accounting for the Indian nationalist aspects of the dance, my contribution to the scholarly literature is to analyse its performance in relation to both Indian and British national identity. My research demonstrates that Indian classical dance is co-produced by both British and Indian national discourses and their respective cultural and political imperatives, even as the dance contributes to the formation of British, Indian and South Asian diasporic politico-cultural identities.
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Rountree, Janet, and n/a. "A framework for virtual artifacts : digital images as teaching tools in Classical art." University of Otago. Department of Information Science, 2005. http://adt.otago.ac.nz./public/adt-NZDU20060809.112225.

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This thesis explores the problem of how to present digital images of ancient artifacts in a manner that supports the task of visual analysis. The real object presents the "truth": exact scale, colour, and fine details. An original work of art provides the viewer with the opportunity to react directly with the object, is closest to the impact intended by the artist, and provides a tangible physical link with the past. Digital images limit and alter the experience of a work of art (1) with regard to the amount of data available (resolution), and (2) through the interpretation of the object by the producers of the digital copy (mediation). A new framework is developed to improve the understanding and presentation of virtual artifacts. This Fidelity-Mediation framework provides a continuum for considering the effects of design strategies on media used in teaching Classical arch�ology. Two small-scale experiments and follow-up interviews were undertaken to assess the usefulness of the Fidelity-Mediation framework as a descriptive model. During the experiments, quantitative analysis could detect no statistical difference in the effectiveness of different types of presentation (real object, VR object, and still digital images). This is a surprising result as it might be expected that there is nothing like seeing the real thing. Digital images provide less visual integrity. However, the digitised artifacts make up for the loss of excitement and authenticity by providing the advantage of mediated focus. Digitised artifacts thus turn out to be useful, effective study tools in the analysis of Classical art. Findings from this research are expected to generalise only to learning situations which support task orientation--situations conducive to developing personal skills and mastery--in contrast to performance orientation where the goal is to display performance relative to others. The distinction between task orientation and performance orientation is discussed in Chapter Eight of this thesis.
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Truax, Yarger Colleen. "Louis H. Sullivan: The Aesthetic Movement, Classical Monumentality and the Skyscraper." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/583.

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This dissertation looks at some of the most famous structures by talented and cryptic American architect Louis Sullivan (1856-1924) for fusions of Aesthetic Movement surfaces and two-part Classical Monumentality. For architects, the Aesthetic Movement allowed for a greater amount of freedom when it came to sources, massing, and ornament, which resulted in the creation of more highly textured surfaces than ever before. Under raking light, this texture produces some scintillating effects. Sullivan used this textural freedom throughout his career, creating some surfaces that sparkle. It will also be demonstrated that Sullivan changed his drawing style to better articulate his textural visions to others. The second way in which this dissertation looks at Sullivan’s architecture is through the lens of Classical monumentality, specifically that used in Donato Bramante’s Palazzo Caprini (constructed ca. 1512), which is better known today as the House of Raphael. Composed of a basement surmounted by a major order, Bramante’s venerable two-part pattern spawned legions of descendants. This dissertation will demonstrate that Sullivan applied lessons from derivatives of this structure’s facade to a range of building types. Visual analysis of select building facades will demonstrate that Sullivan kept combining these two themes throughout his career.
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McKendrick, Scot. "Classical mythology and ancient history in works of art at the Courts of France, Burgundy and England 1364-1500." Thesis, Courtauld Institute of Art (University of London), 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.282956.

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Bueasa, Noor M. "THE ADAPTATION OF LOANWORDS IN CLASSICAL ARABIC: THE GOVERNING FACTORS." UKnowledge, 2015. http://uknowledge.uky.edu/ltt_etds/7.

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Loanwords are integrated into Classical Arabic from various languages such as Latin, Greek, Persian, Syriac, Turkish, and others. When such words get borrowed into Arabic, they either get adopted, remaining as they are in the source language, or get adapted by undergoing certain phonological and morphological alterations. Such morphophonological changes would be defined within an adaptability scale which exhibits three different positions. The first position is occupied by merely adopted (MA) loanwords, like khurasān ‘cement’ (Persian), the second position is assigned for partially adapted (PA) loanwords, as shatarandj ‘chess’ (Persian chatrang), and the third position is for the fully adapted (FA) loanwords, like dirham ‘a silver coin’ (Greek dhrakhmi) which is analogical with the C1iC2C3aC4 pattern, as in hidjradj ‘naïve’. Among these various loanwords’ alterations, the most productive ones are the ones in the third position in the adaptability scale and they are the ones that are the most numerous. They are productive due to their conformity with the Arabic morphological patterns in contrast with the other ones. Many studies have been conducted to analyze the morphophonological alterations that loanwords in Arabic undergo, yet there hasn’t been a study conducted to investigate the factors governing the degree of integration or adaptability that loanwords in Arabic undergo. The current study, however, proposes a number of criteria that determine the degree of alteration that loanwords in Classical Arabic go through by analyzing an existing corpus of loanwords in Classical Arabic and comparing between the source language and the Arabic language.
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Gutsche-Miller, Sarah. "Pantomime-Ballet on the music-hall stage: The popularisation of classical ballet in fin-de-siècle Paris." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=94948.

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This dissertation explores the history and aesthetic of ballet in Parisian music halls at the turn of the twentieth century. Although the phenomenon is now long forgotten, ballet was for more than four decades a popular form of entertainment for a large audience. Between 1872 and 1918, nearly two hundred ballets were staged in Paris's music halls, more than half of which were premiered by the three most prominent halls: the Folies-Bergère, the Olympia, and the Casino de Paris. These newly written, composed, and choreographed ballets were often complex productions with lavish scenery and costumes, large ballet corps, and star ballerinas. Although they were in many ways structurally comparable to ballets staged at the Paris Opéra, music-hall ballets reflect the preferences of their fashionable, pleasure-seeking audiences through their emphasis on catchy up-beat music, stage spectacle, and the female body. My doctoral research brings to light this important ballet culture and repertoire. I begin with an overview of the historical circumstances that made it possible for variety theatres to adopt ballet. I then examine ballet's new context in order to establish the institutional features that helped shape music-hall ballet, and provide biographical information about the artists who created and performed them. This is followed by analyses of music-hall ballet's conventions, with sections on the types of subjects favoured by librettists, the formal structures of popular ballets, the choreographic elements that were typically incorporated, and the musical characteristics of the genre. I end with an exploration of the visual and musical elements that distinguish music-hall ballet as a “popular” genre, and discuss its mediation of high and lowbrow features and intersections with contemporary popular culture.
Cette thèse examine l'histoire et l'esthétique du ballet dans les music-halls parisiens au tournant du XXe siècle. Quoiqu'on l'ait longtemps oublié, le ballet constitua pour plus de quatre décennies une forme de divertissement populaire auprès d'un vaste public. Entre 1872 et 1918, près de deux cent nouveaux ballets furent mis en scène dans les music-halls de Paris, dont plus de la moitié furent créés dans trois établissements proéminents, les Folies-Bergère, l'Olympia et le Casino de Paris. Ces œuvres aux partitions, chorégraphies et livrets originaux constituaient fréquemment des productions complexes et spectaculaires, faisant appel à des décors et costumes flamboyants, un important corps de ballet et des danseuses étoiles. Bien que les ballets de music-halls aient été comparables, sous plusieurs aspects, aux ballets contemporains présentés à l'Opéra de Paris, ils reflètent néanmoins les préférences de leur audience épicurienne par l'importance accordée à une musique vive et entraînante, au spectaculaire et au corps féminin. Ma recherche met en lumière l'importance de la culture et du répertoire du ballet de music-hall. Je me penche d'abord sur les circonstances historiques qui permirent aux music-halls d'adopter le ballet. J'examine ensuite ce nouveau contexte de représentation du ballet afin d'établir les caractéristiques institutionnelles qui contribuèrent à façonner les ballets de music-hall, et offre de l'information biographique sur les artistes qui créèrent et interprétèrent ceux-ci. J'analyse les conventions du ballet de music-hall, les types de sujets abordés par les librettistes, les structures formelles des ballets populaires, les éléments chorégraphiques communément incorporés et les aspects du langage musical propres au genre. En terminant, j'explore les attributs visuels et musicaux caractérisant le ballet de music-hall comme un genre « populaire », discute de la façon dont il ama
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Neste, Berit Van. "Cicero and St. Augustine's Just War Theory: Classical Influences on a Christian Idea." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001467.

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Plagens, Emily S. Hafertepe Kenneth. "Collecting Greek and Roman antiquities remarkable individuals and acquisitions in the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, and the J. Paul Getty Museum /." Waco, Tex. : Baylor University, 2008. http://hdl.handle.net/2104/5259.

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Frantz, Elizabeth Lorraine. "Is Technology the Way Forward for Classical Music? Exploring Audience Engagement in the Digital Era." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429625667.

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Grumet, Amanda Jocelyn. "The elusive cabaret song: The marriage of classical and popular styles in the Cabaret Songs of William Bolcom and Arnold Weinstein." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290696.

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The Cabaret Songs of William Bolcom and Arnold Weinstein merge characteristics of European cabaret song and art song with characteristics of American popular song to create a modern American form of cabaret song which generates a complete theatrical characterization in each piece. Aspects of European cabaret song evident in these songs include satire, parody, and directness and intimacy of presentation. Independence of the piano, partnership of the piano and voice, and effective word setting and word painting are qualities identified with European art song which appear in these Cabaret Songs. Elements of American popular song woven into these works include jazz figurations, quasi-improvisatory sections, musical theater style, and the presence of complete theater "scenes" in each piece. These songs are derived from a multiplicity of styles which have become part of the American vernacular and run the gamut from Negro spiritual to pachanga. These Cabaret Songs provide the classically trained singer with the opportunity to experience and perform in a popular idiom. William Bolcom's writing demonstrates his fluid integration of diverse musical styles which reflect the richness of the mosaic which is the United States of America.
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Lundberg, Erik. "Problems in Classical Potential Theory with Applications to Mathematical Physics." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3220.

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In this thesis we are interested in some problems regarding harmonic functions. The topics are divided into three chapters. Chapter 2 concerns singularities developed by solutions of the Cauchy problem for a holomorphic elliptic equation, especially Laplace's equation. The principal motivation is to locate the singularities of the Schwarz potential. The results have direct applications to Laplacian growth (or the Hele-Shaw problem). Chapter 3 concerns the Dirichlet problem when the boundary is an algebraic set and the data is a polynomial or a real-analytic function. We pursue some questions related to the Khavinson-Shapiro conjecture. A main topic of interest is analytic continuability of the solution outside its natural domain. Chapter 4 concerns certain complex-valued harmonic functions and their zeros. The special cases we consider apply directly in astrophysics to the study of multiple-image gravitational lenses.
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Connell, Kathleen R. "Investigating Performance Career Making and Career Transition through the Lens of Australia's Elite Classical Singers." Thesis, Griffith University, 2020. http://hdl.handle.net/10072/398418.

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Creative careers in the performing arts follow a somewhat unique trajectory that is driven by specific skill demands and market conditions. This thesis investigates the careers of Australian classical singers through a qualitative interview-based study and analysis. The thesis outlines a trajectory of singers’ careers as they have become evident in the experiences of professional singers. Interviews with 13 retired professional classical singers were undertaken. Career theories and empirical studies from elite dance and sportsperson were interrogated to provide a basis for a qualitative examination of performance careers. Building on this, an analysis of the singers’ experiences of their professional life was undertaken. Implications arising were related to career models from the film industry, to discourses from cultural economics and sociology, to music training concepts and to the latest research on entrepreneurial approaches to working in the creative arts. The result was the identification of a distinct career trajectory for professional classical singers comprising several stages. The career stages proposed are: (1) pre-career; (2) breaking in; (3) the peak career; (4) denouement; (5) moving on. Other findings include that creativity and identity are tightly intertwined for the professional singers in the study, and when seeking new directions following the denouement stage, the majority of the singers attempted to remain attached to an artistic field even when they accepted that their time as a professional singer had passed. The thesis highlights that creative careers are difficult to sustain and that the fragility of the creative career, once realised, can have very real implications for the well-being of the creative professional. The research also revealed that career trajectories in professional singing follow a distinctive arc because of the way the work is creatively embodied. The findings suggest that career planning has often been inadequate in this industry and it is only in the consideration of the lifecycle of a creative performance career that the critical link between pre- and post-career stages can be made.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
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Carboni, Marius Julian. "Marketing strategies in the UK classical music business : the significance of 1989." Thesis, University of Hertfordshire, 2011. http://hdl.handle.net/2299/5740.

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The process by which the classical music business operates in the UK changed significantly through the marketing of a classical music recording which took place in 1989. EMI’s recording of Vivaldi’s work Four Seasons with the violinist Nigel Kennedy was given a unique marketing campaign for a classical music recording. Instead of the traditional marketing approach for a classical music release, pop marketing techniques were employed. In a different but related development, in 1990, the first of the Three Tenors concerts was held in Rome to mark the final match of the 1990 Fédération Internationale de Football Association’s (FIFA) world cup competition. The success of this second record campaign lay in the novelty of three tenors performing together at a football competition. The result was classical music achieving worldwide exposure through global radio and television broadcasts. Both case studies help further classical music as a form of popular culture. Earlier precedent demonstrates pieces of classical music being used for adverts or films and becoming popular. For example Ravel’s Bolero was used in a seduction scene in the film 10 between Bo Derek and Dudley Moore in 1984, and by ice-skaters Torvill and Dean in the same year for the final of the 1984 Winter Olympics. Another example is Orff’s Carmina Burana sections of which have been used for aftershave and lager adverts as well as being sung at football matches. Because the reach of the audience is larger than that in a traditional classical music setting, the pieces achieve a mass cultural perspective in this context. My thesis examines the impact that the success of the Four Seasons and Three Tenors releases had on the classical music business and the development in marketing and selling techniques that emanated from their success. Examples of marketing campaigns post the Four Seasons are included to show the extent of non-traditional classical marketing techniques used subsequently by the classical music industry, some of which I devised and implemented. My research also analyses how trading over the internet has had an impact on the music business as a whole, and how the classical music sector has followed the pop area of the music industry in creating different ways of selling to traditional and new consumers through online trading. This part of the thesis focuses on the period between 2000-2010, especially from 2006 when developments in this field progressed. My study will draw on a Case Study approach using multiple data collection methods. Also employed is descriptive analysis using a combination of qualitative and quantitative techniques, in particular through industry reports. The reasons for the sales success of both recordings are examined in my thesis. The Four Seasons achieved 2 million sales and an entry into the Guinness Book of Records as the best-selling classical music recording of all time at that point. The recording of the 1990 Three Tenors concert and the successive recordings of similar concerts in 1994 and 1998 led to these albums becoming the all-time best-selling classical recordings. For example, worldwide sales for the 1990 recording reached over 12 million CDs, cassettes and videos combined and 23 million for the 1990, 1994 and 1998 Three Tenors recordings. These projects not only gave increased exposure to the classical music genre by expanding its traditional consumer reach, they also created a force for change in business models affecting the marketing and visibility of classical music since 1989. A further significant factor in the success of these vocal recordings (as well as the chance for classical music to be heard outside its traditional boundary) was the use of the arresting aria Nessun dorma from Puccini’s opera Turandot. This was sung by Pavarotti and used by the BBC for all its programmes broadcasting the 1990 football matches in the competition. The effect of internet selling and downloading on the music business was encouraged by the creation of Apple’s iTunes program in 2001. The invention of the iPod in 2002 and the legal entity of Napster in 2004 led to much increased accessibility of music. For classical music with its long movements and being part of a slow-moving market (compared to pop music), this area of the business only witnessed an increase in activity through the expansion of Broadband nationally during 2006 and 2007, reaching 70% in 2009 (discussed on page 90, chapter 4). Since then, the growth of classical music e-tailers has forged a new way of operating in the classical music field. The thesis will give examples of the leading companies trading over the internet and their influence on the classical music market. Contributions from practitioners in the music business inform my thesis through their own witnessing of changes in the classical music business since the Four Seasons campaign. My own experience as a former Head of Press and Promotion for both Decca Classics and EMI Classics, and also currently as a marketing and business consultant for classical music organisations, offers a useful and relevant addition to my research. My contribution to knowledge is to identify the adaptation of pop music marketing tools by the classical music industry over a 20 year time frame. My close involvement in the EMI Four Seasons campaign places me in a unique position to identify and evaluate the significance of the publicity campaign of that recording not only at that time but in the years that followed.
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Fischer, Julia Claire. "Private Propaganda: The Iconography of Large Imperial Cameos of the Early Roman Empire." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1414586866.

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Price, Timothy Shaun. "Pedagogy as theological praxis : Martin Luther and Herman Bavinck as sources for engagement with classical education and the liberal arts tradition." Thesis, University of Aberdeen, 2013. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=195976.

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This thesis seeks to put two theologians, Martin Luther and Herman Bavinck, and their theological traditions in conversation with emphasis upon how they approach the topic of education. Specific emphasis is placed upon their understanding and application of the classical education tradition. The purpose of such a conversation is to point to what returning to Luther and Bavinck as sources can add to a discussion on pedagogy, as well as to examine how their theological positions lead to a different emphasis in regards to pedagogy. The thesis is entitled “Pedagogy as Theological Praxis” because it makes the case that there are definite ethical implications in how one approaches pedagogy. In a broader spectrum, the thesis also examines how the epistemological presuppositions of these two traditions may effect the application of their theology. The first half of the thesis deals primarily with Martin Luther. Luther’s understanding of the three estates of ecclesia, oeconomia, and politia are used as a lens by which to examine his writings. The three estates are used specifically to examine Luther’s 1524 letter, “To the Councilmen of all Cities in Germany that they Establish and Maintain Christian Schools.” The thesis then shifts to an examination of Dutch theologian Herman Bavinck and his theological tradition of neo-Calvinism. Several prominent themes in neo-Calvinism are noted, and the distinctive contributions of Bavinck are also examined. As the thesis previously applied the framework of Luther’s theology to his work, the thesis also applies the Reformed neo-Calvinist framework to Bavinck’s article “Classical Education” and his book Pedagogical Principles. The thesis ends by putting Luther and Bavinck, as well as their traditions, into conversation in regards to the subject of Christian classical education. Emphasis is placed upon the North American context, which has seen a recent resurgence in the practice of classical education. Luther’s and Bavinck’s distinct contributions are placed alongside the contemporary practice of classical education for the purpose of fruitful dialogue and engagement.
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McNamara, James David. "The portrayal of the Germani in German Latin textbooks : a thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in Classics /." ResearchArchive@Victoria e-Thesis, 2008. http://hdl.handle.net/10063/783.

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Zabrovskaya, Yulia, and Monika Pavilonyte. "Revenue determinants of music festivals : A case of pop/rock, jazz and classical music festivals in Scandinavia." Thesis, Högskolan i Jönköping, Internationella Handelshögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-13771.

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We have chosen several types of festival (rock/pop, classic and jazz) in Scandinavian region (Sweden, Denmark and Finland), selected the biggest music events in each of the regions and marked the main factors affecting the revenue of the festival, why some of festivals occurring every year and some just have lack of visitors, as we suppose. Purpose is to define the main factors which influence revenues of festivals of classic, rock/pop and jazz genre. Methodology is to determine these factors. Quantitative analysis was used in order to collect necessary data. Organizers of festivals in Sweden, Finland and Denmark took part in the survey; they answered and gave information to main research questions, primary data. Secondary data was sourced from music events web-pages and articles. The collected data was analyzed by means of the statistical programs. We conclude that the research showed that the share of international artists, number of sponsors, the number of volunteers, the length of the music event, the music genre of a festival and government grants for the classic festivals affect festival revenues.
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Smith-Laing, Tim. "Variorum vitae : Theseus and the arts of mythography in Medieval and early modern Europe." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:0f4305c6-3c62-4f89-a3b2-d8204893fdfb.

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This thesis offers an approach to the history of mythographical discourse through the figure of Theseus and his appearances in texts from England, Italy and France. Analysing a range of poetic, historical, and allegorical works that feature Theseus alongside their classical and contemporary intertexts, it is a study of the conceptions of Greco-Roman mythology prevalent in European literature from 1300-1600. Focusing on mythology’s pervasive presence as a background to medieval and early modern literary and intellectual culture, it draws attention to the fragmentary, fluid and polymorphous nature of mythology in relation to its use for different purposes in a wide range of texts. The first impact of this study is to draw attention to the distinction between mythology and mythography, as a means of focusing on the full range of interpretative processes associated with the ancient myths in their textual forms. Returning attention to the processes by which writers and readers came to know the Greco-Roman myths, it widens the commonly accepted critical definition of ‘mythography’ to include any writing of or on mythology, while restricting ‘mythology’ to its abstract sense, meaning a traditional collection of tales that exceeds any one text. This distinction allows the analyses of the study’s primary texts to display the full range of interpretative processes and possibilities involved in rewriting mythology, and to outline a spectrum of linked but distinctive mythographical genres that define those possibilities. Breaking down into two parts of three chapters each, the thesis examines Theseus’ appearances across these mythographical genres, first in the period from 1300 to the birth of print, and then from the birth of print up to 1600. Taking as its primary texts works by Giovanni Boccaccio, Geoffrey Chaucer, John Lydgate and William Shakespeare along with their classical intertexts, it situates each of them in regard to their multiple defining contexts. Paying close attention to the European traditions of commentary, translation and response to classical sources, it shows mythographical discourse as a vibrant aspect of medieval and early modern literary culture, equally embedded in classical traditions and contemporary traditions that transcended national and linguistic boundaries.
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Donnison, Alexandra. "The appropriation of death in classical Athens : a thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in Classics /." ResearchArchive@Victoria e-Thesis, 2009. http://hdl.handle.net/10063/1153.

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Jimenez, Francesca M. "Music Performance Anxiety and Interventions in Conservatory and Liberal Arts Institution Music Students." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/779.

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Music performance anxiety (MPA) is reported in musicians of all experience, levels, and genre. However, solo classical musicians report MPA more often and at higher levels than performers in other genres because of its formal culture and traditional structure. Within solo classical musicians, collegiate training greatly differs between conservatories that award a Bachelor of Music (B.M.) and liberal arts institutions that award a Bachelor of Arts (B.A.). In 2 studies, the proposed research examines the differences in general anxiety, MPA, and private lesson content between these two groups. Participants will be from the two groups of types of collegiate music students. In Study 1, participants will take the Beck Anxiety Inventory (BAI), Kenny Music Performance Anxiety Inventory (K-MPAI), and a Personal and Musical Background Questionnaire (PMBQ) at 3 times intervals before a public, solo performance in order to assess general connections between anxiety and MPA. In Study 2, participants will partake in weekly session of 1 of 3 interventions (meditation, journal entry, and biofeedback training) in order to determine an effective method for preventing and coping with MPA. Proposed results suggest higher levels of general anxiety and MPA in conservatory music students and lower levels of MPA in participants who undergo biofeedback training. Individuals who report learning about MPA strategies in their lessons will have lower levels of MPA, suggesting the need to consistently address MPA in classical music pedagogy.
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Johnson, Matthew. "DEVELOPING A MASTERS OF FINE ARTS IN CLASSICAL PERFORMANCE FOR CINCINNATI SHAKESPEARE COMPANY: THE TRANSFORMATION OF AN EDUCATION DEPARTMENT INTO AN EDUCATION." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3013.

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The thesis focuses on the development of a fully accredited Masters of Fine Arts in Classical Performance degree program for Cincinnati Shakespeare Company (CSC). Chapter 1 is a narrative of the author’s experience with CSC’s Young Company, the touring and teaching artist arm of the educational department. This chapter establishes culture of the company and the context of the program, the argument for the thesis. Chapter 2 is an exploration of existing and defunct MFA programs in Classical Performance or related fields of study, the steps toward NAST accreditation and curriculum development. Chapter 3 is a description of the MFA at CSC laid out semester-by-semester, its vision and mission. The thesis is undertaken with complete cooperation with CSC under Artistic Director Brian Isaac Phillips.
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Menes, Julia C. "The Tazza Farnese : a reinterpretation /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p1420940.

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Heimisson, Gudmundur Torfi. "The importance of program-delivered differential reinforcement in the development of classical music auditory discrimination." [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000440.

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Antrobus, Bobby J. "Exploring Classical and Contemporary Conception of Ethos Applied Case-The Rhetorical Ethos of President George W. Bush." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1363.

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By exploring classical and contemporary conceptions of rhetorical ethos, this thesis assembles theories of analysis and then applies them in the form of rhetorical analysis of the rhetorical ethos exhibited by President George W. Bush in his presidential speeches. The theoretical investigation reveals the extensive use of the ethical appeal in all manner of rhetorical situations in the contemporary world but especially focuses on how political rhetoric has come to rely predominantly on this persuasive appeal. The study examines several speeches given by President Bush and concludes that his success as president is attributed largely to the sophisticated rhetorical strategies executed by his administration, especially its construction of a presidential ethos. However, the inquiry also reveals a disconcerting degree of misleading and deceptive rhetoric, which the author argues has resulted in a serious decline in public support for President Bush as he approaches his sixth year in office.
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Rogers, David. "Capillarity: a Theory of mLearning and its Application in Emerging Markets." Doctoral diss., University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5852.

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The theory of capillarity is an organic metaphor invoked to explore the role of network communications as a vehicle for education in a healthy society.Capillarity is offered as a theory in two parts: a mechanism for distribution and a method for engagement. Capillarity seeks to build an architecture that reflects radical humanism's emphasis on access and inclusion as a vehicle for classical humanism's emphasis on the individual expansion of potential and consciousness. The technical instrument whereby this program of humanist education may be deployed is mLearning.
Ph.D.
Doctorate
Dean's Office, Arts and Humanities
Arts and Humanities
Texts and Technology
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Bekdache, Jamal A. H. "A Study of the Critical Condition of a Battened Column and a Frame by Classical Methods." [Tampa, Fla.] : University of South Florida, 2003. http://purl.fcla.edu/fcla/etd/SFE0000118.

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Jones, Natalie. "Lost in Translation : To what extent can sign language be used to translate the meaning of the text for hearing audiences in classical vocal music?" Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3625.

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The purpose of this project is to examine the extent to which sign language can be used as a means of communicating the text for hearing audiences attending classical vocal recitals. The project discusses historical practices for providing text translation of classical repertoire sung in foreign languages and gives an account of the increasing popularity of sign language interpretation for hearing audiences within the contemporary, commercial music industry. A trial performance is undertaken in order to examine the effectiveness of the idea in the context of classical vocal music. Feedback is gathered from the audience and singer’s perspective during performance and through observations made by studying the video documenting the performance.

The sounding part of the work consists of the following recording: NJones100619. The Corona virus situation spring semester 2020 has caused limitations in the recording possibilities. The recording may be supplemented. 

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Rupley, Zachary Scott. "Augustus, Justinian, and the Artistic Transformation of the Roman Emperor." Digital Commons @ East Tennessee State University, 2009. https://dc.etsu.edu/etd/1863.

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The purpose of this thesis project is to discuss and describe the transformation of the image of Roman Emperor through artistic representation and cultural demonstration. The ultimate goal is to determine why the presentation of the office changed so greatly. I have selected certain works of art depicting the first Roman Emperor, Gaius Octavian Caesar, best known as Augustus, and Justinianus, the greatest Roman Emperor. More than 500 years separates these two men, whose only connection, at first sight, is that both served as Roman Emperor. I will analyze each piece of art, discuss its history, determine what each piece represents and discuss the cosmetics of the Emperor in the work. Once both Emperors have been dissected artistically, I intend to answer the question of why the office of Roman Emperor changed so thoroughly over 500 years by observing cultural and world developments between the first and sixth centuries of the Common Era.
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Ingle, Jennifer F. "Virtue and inquiry, knowledge and ignorance : lessons from the Theaetetus." [Tampa, Fla.] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0001962.

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Ross, Iain Alexander. "The New Hellenism : Oscar Wilde and ancient Greece." Thesis, University of Oxford, 2008. http://ora.ox.ac.uk/objects/uuid:574a4841-5fb9-4b1f-bd09-6965c9ecef1c.

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I examine Wilde’s Hellenism in terms of the specific texts, editions and institutions through which he encountered ancient Greece. The late-nineteenth-century professionalisation of classical scholarship and the rise of the new science of archaeology from the 1870s onwards endangered the status of antiquity as a textual source of ideal fictions rather than a material object of positivist study. The major theme of my thesis is Wilde’s relationship with archaeology and his efforts to preserve Greece as an imaginative resource and a model for right conduct. From his childhood Wilde had accompanied his father Sir William Wilde on digs around Ireland. Sir William’s ethnological interests led him to posit a common racial origin for Celts and Greeks; thus, for Wilde, to read a Greek text was to intuit native affinity. Chapters 1–3 trace his education, his travels in Greece, his involvement with the founding of the Hellenic Society, and his defence of the archaeologically accurate stage spectaculars of the 1880s, arguing that in his close association with supporters of archaeology such as J.P. Mahaffy and George Macmillan Wilde exemplifies the new kind of Hellenist opposed by Benjamin Jowett and R.C. Jebb. Chapter 4 makes a case for Wilde’s final repudiation of archaeology and his return to the textual remains of Greek antiquity, present as an intertexual resource in his mature works. Thus I examine the role of Aristotle’s Ethics in ‘The Soul of Man Under Socialism’ and of Platonism in the critical dialogues, The Picture of Dorian Gray and ‘The Portrait of Mr W.H.’ I present The Importance of Being Earnest as a self-conscious exercise in the New Comedy of Menander, concluding that Wilde ultimately returned to the anachronistic eclecticism of the Renaissance attitude to ancient texts.
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Kunneriath, Madhavi. "Lower and Middle Palaeolithic lithic assemblages from southern Peninsular India: a geometric morphometric and classical approach to Large Cutting Tools." Doctoral thesis, Universitat Rovira i Virgili, 2021. http://hdl.handle.net/10803/672263.

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El subcontinent indi ofereix un gran potencial per contribuir als debats en curs sobre dispersions d’hominins i transicions tecnoculturals. Els jaciments de la vall de Malaprabha, al sud de l’Índia peninsular, proporcionen una perspectiva regional sobre els processos de transició entre el Paleolític inferior i el Paleolític mitjà. Es van triar tres conjunts, des del final de l'Aixelià fins al Paleolític mitjà, com a col·leccions clau i després es van comparar amb dos dels seus homòlegs del sud-est. Aquests conjunts, excavats o recollits en superfície, es troben en diversos Museus de l'Índia, França i el Regne Unit. L’objectiu d’aquesta tesi doctoral és rastrejar els canvis tecnològics i tipològics dels Large Cutting Tools (LCT: Grans Eines Tallants, bifaços i fenedors) en la transició del Paleolític inferior al Paleolític mitjà. Un segon objectiu era discernir els efectes de les matèries primeres sobre la variabilitat de formes dels LCT. La combinació de l’anàlisi tecnotipològica clàssica i l’anàlisi Geomètrica-Morfomètrica (2D i 3D) ens permet obtenir resultats holístics precisos i reversibles. Els LCT inclouen més bifaços que fenedors. Es fabriquen constantment a partir de quarsita local en diversos tipus de suports amb un ús creixent de les ascles com a suport. La seva variabilitat morfològica s’observa principalment en la perifèria de l’objecte i no està influenciada pels tipus de suports
El subcontinente indio, ofrece un gran potencial para contribuir a los debates sobre la dispersión de los homínidos y las transiciones tecnoculturales. Los yacimientos del Valle de Malaprabha, en el suroeste de la India, proporcionan una perspectiva regional sobre los procesos de transición entre el Paleolítico Inferior y Medio. Se eligieron tres conjuntos, del Achelense tardío hasta el Paleolítico medio local y luego se compararon con dos de sus homólogos. Estos conjuntos, excavados o procedentes de recogidas de superficie, se encuentran en varios museos de India, Francia y Reino Unido. El objetivo era trazar los cambios tecnológicos de los Large Cutting Tools en la transición del Paleolítico Inferior al Medio. Un segundo objetivo es discernir la influencia de las materias primas y los tipos de soporte en las variabilidades de forma de los LCTs. La combinación del análisis tecno-tipológico y el enfoque de la morfometría geométrica (2D y 3D) nos permite obtener resultados holísticos precisos. Los LCTs de Malaprabha incluyen más bifaces que hendedores. Se fabrican casi exclusivamente en cuarcita local en varios tipos de soportes con un uso progresivo de lascas. Su variabilidad de forma se encuentra en la periferia y no está influenciada por los soportes.
The Indian sub-continent, midway between Africa and South-east Asia, offers great potential to contribute to the ongoing debates of hominin dispersals and techno-cultural transitions. The Malaprabha Valley sites, in south-western Peninsular India, provides a regional perspective on the transitional processes between Lower and Middle Palaeolithic. Three assemblages, from local Late Acheulean to Middle Palaeolithic were chosen as the key collections and then compared to two of their south-eastern counterparts. These assemblages, excavated or collected from surface, are housed in various museums in India, France and UK. The aim of this PhD was to trace the technological and typological changes of the Large cutting tools (LCTs: handaxes and cleavers) at the transition from Lower to Middle Palaeolithic. A second objective was to discern raw material and blank effects on the shape variabilities of the LCTs. Combining the classical techno-typological analysis and Geometric Morphometric approach (2D and 3D) allow us to get accurate, reversible holistic results. LCTs in Malaprabha Valley always include more handaxes than cleavers. They are constantly made from local quartzite on various types of blanks with gradual increasing use of the flakes. Their shape variability is mostly located on their periphery and is not influenced by the blank types. Whatever variability occurred it seemed to result from varying relative width and thickness.
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Fechik, Jennifer R. "Interaction in the Symposion: An Experiential Approach to Attic Black-Figured Eye Cups." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363802054.

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Jaegers, Sarah Elizabeth Korneisel. "Turkish Classical Clarinet Repertoire: Performance, Accessibility, and Integration into the Canon, with a Performance Guide to Works by Edward J. Hines and Ahmet Adnan Saygun." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555635997664089.

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49

Payne, Andrew J. "The Development of the Bassoon Idiom as Seen in Three Concerti by Antonio Vivaldi, Johann Christian Bach, and Wolfgang Amadeus Mozart." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1607082064118953.

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50

Vilanova, Vinadé Clara. "How Do We Learn a Piece by Heart? : Strategies, experience and reflections." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4131.

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Abstract:
The present work consists of a research of the process of memorizing a music score and performing it with its main goal being to understand which is the better and the most efficient process of learning and memorizing it. The piece that has been chosen for this project is Sonata n.1 op.120 in F minor for clarinet and piano by Johannes Brahms.The project is based on two methods and some strategies made by psychologists and musicians that suggest to do a theoretical analysis of the piece and afterwards, define some points (cues) that will help the musician to remember. The work consists in to apply these strategies in the practice sessions, in lessons with teachers and in concerts and observe if they have been successful. This paper concludes with the results of the practical part and with a discussion about them and about the experience to play the piece.

Sounding part of the project:

Johannes Brahms - Sonata n.1 op. 120 in F minor for Clarinet and Piano

Clarinet: Clara Vilanova

Piano: Erik Lanninger

The concert took place on May 3rd, 2021 in Nathan Milstein Hall in the Royal College of Music in Stockholm

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