The purpose of this study was to develop a guide to help teach commercial music style imitation, Styles selected were ragtime, dixieland, Whiteman, Goodman, Miller, bop, Berry, Presley, Motown, hard rock, horn band, soft rock, straight ahead big band, Ellington, Basie, country rock, bluegrass, Country-Western, Mantovani, Boston Pops, and Love Unlimited Orchestra. Melody, harmony, rhythm, voicing, instrumentation, form, special effects, performance techniques, electronic alteration, and articulation were discussed for each style. A table summarizing each discussion, and an arrangement and recording of the same melody in each style were included, The guide appears successful, judging from commercial writers' estimations, The work will probably aid writers, performers, researchers, and publishers. Similar works could be done on other commercial and ethnic styles.

British composer Tarik Hamilton O’Regan (b. 1978, London) is earning a reputation as an important composer of today. The innovative works of O’Regan are entering the spectrum of professional, educational, and community performing organizations across the United States and Europe. Scattered Rhymes’ intricate melodic, harmonic, and rhythmic relationships with Messe de Notre Dame by Guillaume de Machaut (c.1300-1377) make an examination and comparison of the two works significant. Analyzing Scattered Rhymes by tracing its roots to Guillaume de Machaut’s Messe de Notre Dame, results in a renewed interest in this ancient work and brings prominence to Tarik O’Regan’s modern musical interpretation of ancient ideas. Understanding Scattered Rhymes as a work based on ideas from the fourteenth century in fusion with compositional concepts rooted in the modern era promotes Scattered Rhymes as one that is valuable in the current musical landscape.

This dissertation contains two parts: Part I, which discusses the elegy of possessive intent, a subgenre of the contemporary American elegy; and Part II, Antigravity, a collection of poems. English elegies have been closely rooted to a specific grief, making the poems closer to occasional poems. The poet—or at least the poet’s speaker—seeks some kind of public consolation for (often) a private loss. The Americanized form does stray from the traditional elegy yet retains some of its characteristics. Some American elegies memorialize failed romantic relationships rather than the dead. In their memorials, these speakers seek a completion for the lack the broken relationship has created in the speakers’ lives. What they can’t replace, they substitute with something personal. As the contemporary poem becomes further removed from tradition, it’s no surprise that the elegy has evolved as well. Discussions of elegies have never ventured into the type of elegy that concerns itself with the sort of unacknowledged loss found in some contemporary American poems of unrequited love. These poems all have speakers who willfully refuse to acknowledge the loss of their love-objects and strive to maintain control/ownership of their beloveds even in the face of rejection.

A study through short stories of the emotional effects on close family relationships before and after a traumatic death.

This thesis examines the relationships between popular contemporary musical styles and classic-era art music. Analysis of pop-rock songs, and their referential treatment in art rock, classical music, and society will be examined. Pop-rock musicians borrow from the masters of the past and from each other. Rock guitarists such as Eddie Van Halen employ a virtuosic technique suggestive of Liszt and Paganini. The group Rush borrowed freely from opera seria. Frank Zappa referenced contemporary musicians as well as classical techniques. Referential treatment in popular music and the recent advancements in technology, have challenged copyright law. How these treatments and technologies affect copyright legislators and musicians will be discussed.

This study explores intersections between performance, race and masculinity within a variety of expressive cultural contexts during and after the African American Civil Rights Movement. I maintain that the work of James Baldwin is best situated to help us navigate this cross section, as his fiction and cultural criticism focus heavily on the stage in all its incarnations as a space for negotiating the possibilities and limits of expressive culture in combating harmful racial narratives imposed upon black men in America. My thesis begins with a close reading of the performers populating his story collection Going to Meet the Man (1965) before broadening my scope in the following chapters to include analyses of the diametric masculinities in the world of professional boxing and the black roots of the American punk movement. Engaging with theorists like Judith Butler, bell hooks and Paul Gilroy, Underground Men attempts to put these seemingly disparate corners of American life into a dynamic conversation that broadens our understanding through a novel application of critical race, gender and performance theories. Baldwin and his orbiting criticism remain the hub of my investigation throughout, and I use his template of black genius performance outlined in works like Tell Me …

This study was designed to determine how institutions accredited by the Council for the Accreditation of Counseling and Related Educational Programs (CACREP) meet the practicum requirements set forth in CACREP's 2001 standards. Practicum is a vital part of the matriculation process of counselors in training. This clinical based course allows students to practice the skills they have learned in previous, more didactic based courses. Trainees can stretch skills, all under the watch of a counselor supervisor with greater experience. Although CACREP instructs all accredited counseling programs to have such a course in place, the standards are not specific. Schools are often interpreting the standards in a multitude of ways, presumably to successfully meet the standards while still serving the student as well as the clientele who seek out mental health assistance (Pitts, 1992a). The purpose of this study was to determine what measures CACREP accredited institutions enact to meet the clinical practicum standards. The difference between this study and prior research that has addressed the practicum requirement is that the instrument used in this study specifically addressed every CACREP practicum standard, including technology, diversity, and concerns with supervision and meeting the direct client contact hour requirement. The results of the …

This thesis grounds its examination of the maras of El Salvador in the historical past (1971-1992) rather than the present, which constitutes a departure from current scholarship on the subject. This thesis revises our current understanding of the emergence and development of maras in El Salvador through the recovery, insertion and examination of key local events, conditions, and historical actors of the 1970s and 1980s. From signifying friendship and camaraderie prior to the late 1980s, the maras increasingly became the target of public concern and Salvadoran security forces over the course of the 1980. By the late 1980s the maras increasingly became associated with criminal activity in Salvadoran society and popular culture. To document these changed conditions, this thesis relies extensively on previously untapped and ignored primary sources: newspapers and oral history interviews.

On the one hand, using a traditional narrative approach, this dissertation examines disco's historical trajectory from an underground movement to a mainstream phenomenon, and analyzes its relationships to American cultural and racial tensions during the 1970s and 1980s. On the other hand, this dissertation also departs from traditional historical approaches by emphasizing an archive of personal experiences, memories, and reflections produced over the last four decades by individuals, living and dead, whose creative expressions help give disco its definition. Each chapter is organized around the story of an individual DJ whose work and play reflected the broader disco landscape. Together, the anecdotal experiences of these DJs help to conjure a collective biography of disco, emphasizing the significance of disco not only as a "genre" of pop music, but as a larger reference point for shared, and sometimes contested, cultural experiences.

Based on the poetry of Jehanne Dubrow, professor of English at the University of North Texas, Stateside: An opera in one act uses the mythology of Penelope and Odysseus to tell a story of a modern day military wife. David T. Little's opera Soldier Songs, Sarah Kirkland Snider's song-cycle Penelope, and Stateside are dramatic musical works influenced by the genre, instrumentation, and formal structures of popular music that broadly deal with the emotional and internal elements of military life. These three works prioritize narrative structure of the text in relation to character, and employ elements of popular music harmony, melody, and structure. The critical essay analyzes selections from Soldier Songs and Penelope and explains the compositional process of Stateside. The creative document consists of the full score of Stateside: an opera in one act.

North Texas State University and the surrounding Denton community enjoyed a quiet college atmosphere throughout most of the 1960s. With the retirement of President J. C. Matthews in 1968, however, North Texas began witnessing the issues most commonly associated with the turbulent decade, such as the struggle for civil rights, the anti-Vietnam War movement, the fight for student rights on campus, and the emergence of the Counterculture. Over the last two years of the decade, North Texas State University and the surrounding community dealt directly with the 1960s and, under the astute leadership of President John J. Kamerick, successfully endured trying times.

Concerto for Solo Percussion and Concert Band was commissioned by Staff Sergeant Rone Sparrow, a percussionist with the West Point Military Academy Band. Funding for the project was provided by the Barlow Foundation. The piece was premiered April 13, 2005 in the Eisenhower Hall Theater at West Point, New York. Rone Sparrow performed with the USMA band, and Colonel Thomas Rotondi Jr., Commander/Conductor, conducted the piece. The concerto consists of three movements, and each movement features a different instrument: the first features marimba, the second, vibraphone, and the third movement features the drum kit together with a rhythm section (piano, bass, and drums). In addition to the piece, the dissertation paper discusses important technical detail related to the piece, including: harmony, form, rhythm, programmatic ideas as they relate to motivic strands, and the process of generating and discarding material. The paper also focuses on a number of factors that were influential to the piece, such as postmodern philosophy.

This creative nonfiction dissertation is a series of braided narratives that chronicle the author's career as a trombonist in the John Smith Ensemble. As an amateur trombonist, the author is shocked to be hired as a professional musician for an orchestra that plays on PBS and at Carnegie Hall. She quickly realizes, however, that the job requires her to play the trombone quietly in front of an unplugged microphone while a CD recording of another, more talented trombonist is blasted out toward an unknowing audience. The job also requires the author to tour around America. The scenes of from this tour are braided with scenes wherein she reflects on her life as a professional fake musician and her past failed attempts at getting a job.

Babel is a work for rock ‘n’ roll band (two electric guitars, electric bass, drum set), four soprano singers, and a twenty-one instrument mixed chamber ensemble. The 50-minute composition is based on the Tower of Babel story in Genesis 11:1-9, and the four-movement structure is derived from the form of this narrative. The first movement, “building rebellion,” establishes man’s intent to build a grand city and tower in a rebellion against God, while the second movement, “seeing/coming down,” describes the all-seeing God’s knowledge of man’s rebellion and God’s descent to the city. Movements three and four, “confusion” and “scatter,” depict the actions of God, confusing humankind’s language and scattering him over the earth. This project fuses rock ‘n’ roll influences with contemporary classical improvisation, creating a work that is sonically and dynamically excessive. One compositional goal was to use small amounts of material as the impetus for directed improvisation, which would be developed to create intricate and evolving textures. Each movement’s score is confined to a single page of music per part, necessitating highly graphic and aleatoric notation. The musical history and musicianship of each player greatly shapes the sonic outcome of Babel. Rigorous structure was mixed with extra-musical associations …

The dissertation consists of a critical preface and excerpts from the novel Derivation. The preface details how the novel Derivation explores the tension between the artist and the academy in the university, as well as the role memory plays in the construction of fictional narratives. The preface also details how narrative voice is used to expand the scope of Derivation, and ends with a discussion of masculine tropes in the novel. Derivation traces the path of a woman trying to rebuild her life in the wake of the 2008 financial crisis, returning first to her blue collar roots before pursuing a career as an academic.

Christopher Rouse (b. 1949), winner of the Pulitzer Prize for his Trombone Concerto (1993) and a Grammy award for his Concerto de Gaudi (1999), has come to the forefront as one of America's most prominent orchestral composers. Several of Rouse's works feature quotations of and strong allusions to other composers' works that are used both rhetorically and structurally. These borrowings range from a variety of different genres and styles of works, from Claudio Monteverdi's L'incoronazione di Poppea to Jay Ferguson's "Thunder Island." Due to the more accessible filtering and funneling methods of musical borrowings (proliferation of mass media), the weighty discourses attached to them, and their variety of functions (critiquing canons, engaging in an allusive tradition, etc.), quotation has become elevated to the most prominent of musical actors that trigger narrative listening strategies, which in turn have a stronger role in the formation of narratives about music as well as narratives of music. The primary aim of this study is to adapt and apply more recent methodological narrativity frameworks to selected instrumental compositions by Rouse containing quotations, suggesting that their manner of insertion, their method of disclosure, and their referential potential can benefit from being examined through various narrative lenses …

Through an examination of 402 songs that charted in the top 20 of the Billboard year-end charts between the years 1990 and 2009, this dissertation builds upon previous research in form of popular song by addressing the following questions: 1) How might formal sections be identified through melody, harmony, rhythm, instrumentation, and text? 2) How do these sections function and relate to one another and to the song as a whole? 3) How do these sections, and the resulting formal structures, relate to what has been described by previous theorists as normative? 4) What new norms and trends can be observed in popular song forms since 1990? Although many popular songs since 1990 do follow well-established forms, some songwriters and producers change and vary these forms. AAA strophic form, AABA form, Verse-Chorus form, Verse-Chorus with Prechorus and/or Postchorus sections, Verse-Chorus-Bridge form, “Other, with a Chorus” and “Other, without a Chorus” forms are addressed. An increasing number of the songs in each of the above listed forms are based on a repeating harmonic progression or no harmonic progression at all. In such songs, the traditional method of identifying sections and section-functions through harmonic analysis is less useful as an analytical tool, …

Carl A. Helmecke, like many German Americans marginalized by the anti-Germanism of the First World War and interwar period, believed that democracy had failed him. A professor with a doctoral degree in social philosophy, he regularly wrote newsletter columns declaring that the emphasis on individualism in the United States had allowed antidemocratic forces to corrupt the government, oppress citizens, and politicize schools and institutions for propaganda purposes. Moreover, widespread hunger and unemployment during the Great Depression added to the long list of failures attributable to democracy. What the United States needed, Helmecke thought, was political change, and he believed that the Nazi regime in his homeland, albeit flawed, had much to offer. In 1937, he went on a teaching sabbatical to Nazi Germany to study the Third Reich's education and social programs. When he returned to the United States, he began promoting Nazi ideals about education and labor camps. Although Hitler's 1939 invasion of Poland, followed by the United States entry into World War II, brought his fascist illusions for political change in the United States to an abrupt end, his belief in the correctness of an autocratic system of governance for Germany rather than that of the western democracies …

The struggle for survival of an American family revolves around Mitch Wilcox, a relief pitcher for a fictional major league baseball team. Nearing the end of his long career, he must decide whether to retire or to sign a new contract. His dilemma centers on his wife, Nicole, who argues for his retirement; and his only child, Twylight, who has run away from home. The novel traces the final two weeks of a season, during which Mitch's team battles for a pennant and he delays his decision because of events that expose the precarious nature of both his professional and personal identities. During a crucial game, his journey culminates with a choice that directs him toward a new life.

Historians of the prohibition movement in Texas have assumed that the state's main ethnic minorities-Germans, Mexican Americans and African Americans-strongly opposed restrictions on the production, sale, and transportation of alcoholic beverages. This study focuses on the voting patterns in fifteen counties chosen to represent varying percentages of these ethnic minorities in their populations during three statewide anti-alcohol elections (1997, 1911, and 1919) in an effort to determine exactly the extent of opposition to prohibition on the part of ethnic minorities in Texas. It also examines the actions of the prohibitionists and anti-prohibitionists in courting the vote of ethnic minority groups. This analysis and comparison of election results in fifteen counties confirms overwhelming opposition to prohibition on the part of all three of Texas's ethnic minorities.

The intensely divided but vocal minority that denounced Great Britain's declaration of war in 1914 and decried Britain's continuance in the war illustrated both the strengths and weaknesses of their nation's politics and the impotence of dissent against a majority united in arms.

This study examines the five American Legion battalions of the Canadian Expeditionary Force formed in 1915 specifically to recruit American volunteers for the Canadian overseas contingent of the First World War. This study reviews the organization of Canada's militia and Anglo-American relations before examining the formation of the American Legion, the background of its men, and the diplomatic repercussions it sparked. This study is based largely on material in the Public Archives of Canada including war records and the personal papers of several participants. During its brief existence, the American Legion precipitated constitutional, diplomatic, and political problems. The issues the American Legion raised were mostly solved by America's entry in the war. The episode hastened the maturity of Canada as a nation.

This thesis is an analysis of the arguments over the major questions about the Battle of Jutland. These questions include ones on naval strategy, tactics, materiel, and the effect of the battle.

489 Days is an animated documentary about the harrowing experiences of Egyptian-American Mohamed Soltan, who survived 16 months of hunger strike in an Egyptian prison. Caught up in the political turmoil which followed the Arab Spring uprisings, Soltan was unjustly incarcerated between August 2013 and May 2015, when the United States government intervened to release him weeks after an Egyptian court sentenced him to life in prison. The film is also the larger story of an estimated 60,000 political detainees currently held in Egypt without due process, and in violation of local and international human rights conventions.