I intend to explore various canvas sizes and many formal issues, focusing on space and the application of paint are paramount in my work. I used closely cropped photographs to aid in this study and my exploration addressed the following questions: 1) How does the speed of execution affect the spontaneity and authority of the piece? 2) How important is the unexpected for the success of my painting in regards to formal issues?

a. How does the use of different materials such as string, screen, fabric or wire personalize the work? b. How does the addition of subtly recognizable imagery change the reductive field? c. How do processes such as wrapping, printing, dripping, and other techniques infer meaning? d. How does the choice of color and scale affect the work?

My interest in the patterns of nature and culture has led me on a long journey through studies of math, sciences, and religions culminating in my current studies in art. Continuing my inquiry into processes of human perception and conception of time. My intention was to incorporate the "process" aspect of the printmaking medium into the final work by creating hybrid works that would take the "print" out of its traditional two-dimensional form. Finally, I planned to utilize the "multiple" aspect of printmaking to address ideas of patterns and evolution.

My premise was the marriage of two forms, book and sculpture. My goal was to determine if these two unique types of work could be joined as one. In each oth the proposed works, I focused on an element of design as well as the challenges present when works are produced for a particular space (the Cora Stafford Gallery).

I have suggested that the ornamental element employed in my painting functions as historical, cultural and social text, and also as a carrier of ideas and ideals about beauty and art which have been invalidated by the Modernist view. I will explore how the elements of painting: material, paint application, palette, figure/ground relationship, scale and other formal and technical factors, combine and interact to transform, contradict, subvert or negate the ornamental element in the painting; and how in turn these combinations effect the way the paintings function both formally and in terms of content.

This research addresses the application of a large eddy simulation (LES) to Arbitrary Lagrangian Eulerian (ALE) simulations of Rayleigh-Taylor instability. First, ALE simulations of simplified Rayleigh-Taylor instability are studied. The advantages of ALE over Eulerian simulations are shown. Next, the behavior of the LES is examined in a more complicated ALE simulation of Rayleigh-Taylor instability. The effects of eddy viscosity and stochastic backscatter are examined. The LES is also coupled with ALE to increase grid resolution in areas where it is needed. Finally, the methods studied above are applied to two sets of experimental simulations. In these simulations, ALE allows the mesh to follow expanding experimental targets, while LES can be used to mimic the effect of unresolved instability modes.

Many areas of research rely on the detection of radiation, in the form of single photons or particles. By measuring the photons or particles coming from an object a lot can be learned about the object under study. In some cases there is a simple need to know the number of photons coming from the source. In cases like this a simple counter, like a Geiger-Mueller survey meter, will suffice. In other cases one want to know the spectral distribution of the photons coming from the source. In cases like that a spectrometer is needed that can distinguish between photons with different energies, like a diffraction or transmission grating. The work presented in this thesis focused on the development of a new generation broad band spectrometer that has a high energy resolving power, combined with a high absorption efficiency for photon energies above 10 keV and up to 500 keV. The spectrometers we are developing are based on low-temperature sensors, like superconducting tunnel junctions or transition edge sensors, that are coupled to bulk absorber crystals. We use the low-temperature sensors because they can offer a significant improvement in energy resolving power, compared to conventional spectrometers. We couple the low-temperature sensors …

Motivated by the need for establishing a reliable database useful for the application of x-ray spectroscopic tools for the diagnostic of very high temperature plasmas, high-resolution crystal spectrometer measurements have been performed investigating the characteristic K-shell radiation of highly charged krypton and xenon. The measurements, which have been performed at the Electron-Beam-Ion-Trap (EBIT) facility of the Lawrence Livermore National Laboratory, include the investigation of the n = 2 {yields} 1 transitions in heliumlike krypton (Kr{sup 34+}) and innershell excited lithiumlike krypton (Kr{sup 33+}) utilizing a conventional reflection-type crystal spectrometer of von Hamos geometry. The electron-excitation-energy selective measurements map the contribution of the dielectronic recombination lines providing the means of accurate interpretation of the line profiles of the characteristic K{alpha} x-ray emission of plasmas. The high-resolution measurements of the n = 2 {yields} 1 transitions in heliumlike xenon (Xe{sup 52+}) and hydrogenlike xenon (Xe{sup 53+}) were based on a new transmission-type crystal spectrometer of DuMond geometry. The resolving power of the developed spectrometer was sufficient for charge state specific observation allowing the determination of the electron-impact excitation cross section for the hydrogen- and heliumlike K{alpha} transitions. The disagreement with theoretically predicted values is a measure of the magnitude of the Breit …

The History of Horn Playing in Los Angeles from 1920 to 1970 begins with the horn players who played in the silent film orchestras and the Alfred Brain's tenure with the Los Angeles Philharmonic. This study details the introduction of soundtracks, the early studio orchestras, the contract studio orchestras, the musician union's role in structuring the work environment, the horn players who played in both the Los Angeles Philharmonic and the studios, major figures from the subsequent freelance period such as Vincent de Rosa, and the local and international influence of the Los Angeles Horn Club.

Paul Wittgenstein (1887-1961) made significant contributions to the piano literature for the left hand through numerous commissioned works as well as his own transcriptions. In the transcriptions, Wittgenstein preserved the texture of two-hand music, aiming for the simulation of the original works. This requires special techniques in the performance by the left hand alone. This dissertation investigations technical means and performance problems associated with the transcriptions as well as Wittgenstein's own recordings of selections from his works. Chapter 1 serves as an introduction, providing a historical overview of the role of the left hand in two-hand piano literature. Chapter 2 gives biological information on Paul Wittgenstein and discusses the commissioned works. Chapter 3 investigates special techniques in the transcriptions, in the areas of arpeggios, widespread chords, fingering, pedaling, and others. Chapter 4 discusses Wittgensteins's performance style based on his recordings. Chapter 5 presents a conclusion pointing to the benefits of performing left-hand music in two-hand piano playing.

Twi major areas concerning the problems of practice are discussed. One is that poor practice often relegates itself to mindless repetition. The second problem is that the student often has a vague definition of piano technique. All technique should be a means of expression, not just an isolated physical exercise. Therefore, the purpose of this thesis was to understand the nature of practice and to develop a suggested practice routine which incorporates both technical and musical aspects. Two recommendations, strategies toward effective practice and an ideal practice sessions, serve as a practice outline and reference for both piano teacher and student. An appendix presents a collection of the thoughts and viewpoints on practicing from forty-four internationally acclaimed pianists.

The purpose of this study is to define the French sonatina of the twentieth century, to expose those works which are most suitable for concert performances, and to provide a resource for teachers and performers. Of the seventy-five scores available to the writer, five advanced-level piano sonatinas of the twentieth century were chosen as the best of those by French composers, in attractiveness and compositional craftsmanship: Maurice Ravel's Sonatine (1905), Maurice Emmanuel's Sonatine VI VI(1926), Noel Gallon's Sonatine (1931), Alexandre Tansman's Troisieme Sonatine (1933), and Jean-Michel Damase's Sonatine (1991). The five works were analyzed, with a focus on compositional techniques used to create unity in the work. In comparison to the classical model of the late-eighteenth and early-nineteenth centuries, the French sonatina of the twentieth century exhibits four new features. First, it is more expansive in length and has greater philosophical depth. Second, there is an emphasis on unity at the motivic and thematic levels in which the development of material, based on the techniques discussed, occurs throughout a movement instead of being limited to a "development" section. Third, the formal structures are more flexible, allowing for cyclic quotations and the accommodation of varying styles. Fourth, the advanced technical skills …

The metamorphosis and transformation of forms as metaphors continued to be the focus of my work. The use of modular forms with lightweight materials increased mass and volume in my work. The reconstructing and reassembling of sculptures formed with modules was an excellent vehicle for the content of metamorphosis and transformation. The focus of this problem was to create a series of multi-media art pieces that were each composed of a number of modules.

This study conducts watershed analysis using biological and geo-spatial techniques. Incorporating landscape features with biological attributes has been shown to be an effective method of monitoring environmental quality within watersheds. In situ biomonitoring using the Asiatic Clam, Corbicula fluminea, habitat suitability, and water quality data were evaluated for their potential to describe ecological conditions in agricultural and urban areas within the Upper Trinity River watershed. These data were analyzed with GIS to identify effects of land use on ecological conditions. C. fluminea downstream of point source effluents was effective detecting in-stream toxicity. Ambient toxicity appears to have improved in the Trinity, although urban influences limit aspects of aquatic life. No association between habitat quality and land use was identified.

Today many selling organizations are reexamining and revising their philosophy for managing salespeople because of increase costs of hiring and maintaining a sales force. More than everm management is looking for ways to assist salespeople in becoming more productive and effective faster. One avenue for enhancing salespersons' performance is through improved sales training practices. improved sales training practices should help salespeople view training, and how sales training transcends to the job environment. Considering the need for greater understanding concerning salespeople's perceptions of sales training and assuming the influence of those perceptions on job performance and other outcomes, this study develops and executes an analysis of several proposed relationships among personal characteristics, job related characteristics, perceived training needs, sales training variables, and related outcomes. The program of research identifies and evaluates salespeople's attitudes toward sales training and specifies influences of those training perceptions on salesperson' behaviors and general attitudes. As well, a relationship between salespeople's transfer of training materials, their use, and individual performance are evaluated.

This study addresses on facet of Joseph Turrin's compositional oeuvre: his published works for solo trumpet. Complete histories if all six trumpet compositions are chronicles. A discussion of formal organization and significant style features including harmonic language, melodic style and rhythmic features is included. A detailed performance analysis follows. The degree of difficulty of each work is assessed through an investigation of tessitura, range, melodic contour, endurance factors, fingerings, and technical features of the accompaniment. Analysis of tempi and dynamics, articulation and phrasing, and timbral considerations provides additional points of focus to the study. Finally, the importance of Turrin's works for trumpet and his impact on trumpet literature is assessed. Idiomatic aspects of composition that make Turrin's music attractive to performers are investigated and discussed.

This thesis examines access to managerial jobs in the Australian labor market by immigrant women and men from five continents and five individual countries. Comparisons were not made only among both continent and country groups, but also between the women and men within each group, as a measure of occupational gender inequality. An index of managerial representation in the Australian labor market (MORI) was computed and nine independent variables were applied to measure immigrant representation in managerial occupations. Rank order correlates were used to calculate relationships between variables. Results indicate that women (with the exception of Vietnamese) from all countries were disproportionately underrepresented in managerial jobs and that the more dissimilar immigrant men are to native born Australians, the less likely they are to hold managerial jobs.

The dissertation includes a critical essay on Jorie Graham's "The Guardian Angel of the Little Utopia and a full-length collection of poetry entitled Moonlight in Quota. The essay is a critical examination which argues that Graham's poems question Western anthropocentric thought through her constant arrangement of particular images (flowers, yellow sky, leaves) and her subsequent questioning of such intellectual and linguistic arrangements. Graham grapples with ideas of perception, questions the historical concepts of truth and knowledge, and engages in linguistic play both musically and imagistically. Each section is tied together by some overriding theme or persistent image: 1.) forgetting, Mexican-American border scenes 2.) poverty and faith shown through images of marginalized characters 3.) Artistic creation as a means for the survival for the "other."

The study compared an experimental group (n=26) who participated in weekly SIS sessions as an adjunct to existing treatment protocols for a period of 6-8 weeks, to a control group (n=14) who matriculated in treatment without the addition of SIS training for a period of 6-8 weeks. Subjects completed a battery of questionnaires at the beginning of the measurement period and at the end of the measurement period. The SASSI-2, The McMaster Family Assessment Device (FAD), and the Rotter Internal-External Locus of Control Scale were used to measure groups on recovery related variables at Pre-Test and Post-Test. Results demonstrated a consistent pattern of improvement over the time measure. The results of the interaction of group and time demonstrated a pattern of gains which did not reach statistical significance, partially as an artifact of the small sample size. An investigation of effect sizes was conducted to detect the effect of SIS training. The training was found to have a moderate effect size, which was consistent with other research using SIS training. Some areas for possible future research were addressed.

The intent of this dissertation is to provide a reference guide for any prospective performer of Alec Wilder's four works for marimba: Suite for Solo Guitar (1976), Suite for Trumpet and Marimba (1977), Suite for Flute and Marimba (1977), and Sextet for Marimba and Wind Quintet (1977). The first part of the dissertation provides background information pertaining to Wilder himself, the works for marimba, and theoretical aspects of Wilder's music. The second part addresses specific performance problems contained in the music. The dissertation culminates with the presentation of a performance edition of the marimba part of the previously unedited Sextet. This dissertation will facilitate and enhance future performances of these works. It is hoped that this document will serve to help perpetuate and sustain interest in these important compositions.

A stylistic analysis of John Stevens' second brass quintet, Fabrics, which discusses the composer's use of orchestration, harmonic language, rhythmic activity, melodic and formal considerations, and performance practice issues. Collaboration between composer and performer is investigated, particularly through Stevens' status as member of the Wisconsin Brass Quintet, the ensemble for which Fabrics was composed. Biographical information about Stevens and the Wisconsin Brass Quintet is provided, with appendices providing information regarding Stevens' activities as composer and performer and the activities of the Wisconsin Brass Quintet. Stevens was extensively interviewed as source material for this dissertation.

The intent of this dissertation is to investigate Michael Tippett's eclectic approach to the sonata form in the twentieth century as demonstrated in his Sonata No. 1. Topics of discussion include historical background of English music, particularly the English piano sonata, at the turn of the century (chapter 1), biographical information and a general overview of Tippett's music (chapter 2), a brief examination of Tippett's Sonata Nos. 2, 3, and 4 (chapter 3) and a formal analysis of Sonata No. 1 as well as Tippett's approach to contrapuntal techniques, rhythm, harmony and tonality (chapter 4). In addition to the lecture recital given on February 1, 1999, three others were given: the first recital, on April 3, 1995, contained works by Beethoven, J.S. Bach/Busoni, and Bartok: the second recital, on February 5, 1996, included works by Schumann, Mozart, and Ginastera: and the third recital, on January 2, 1998, featured works by Barber and Chopin.

The interaction of the construction and the images was the focus of my proposed exploration. Previously, I viewed the images as the vehicle for content with little thought to the construction. I thought of the construction as a painter might think of his or her canvas, a place for the images to reside. The relationship between constructions as part of my content is essential. Exploration of form and image will push the limits of how the images and constructions may interact. Now that I was conscious of the construction being included in the content, I wanted to discover how the ideation process would change. I was also hoping to determine how the imagery would be affected by the redirection of my decision making process concerning the construction as part of the content.

A little-known chamber work by Benjamin Britten is the dramatic cantata Phaedra, op.93, for mezzo-soprano and small orchestra. Among his chamber works, the solo cantata was a musical form used only once by Britten, thus making Phaedra unique among Britten's oeuvre. Britten chose a genre that flourished in the seventeenth and eighteenth centuries the cantata - as a vehicle for the story of Phaedra. He employs clear allusions to Baroque music in Phaedra by the use of harpsichord and continuo in the recitatives, ornamentation, and word painting. The text for Britten's setting of Phaedra is a translation of Jean Racine's Phedre by the American poet Robert Lowell. From Lowell's complete play, Britten extracted Phaedra's key speeches that deal with her three confessions of incestuous love for her stepson, Hippolytus. These monologues are set in a series of recitatives and arias that make up the entirety of this chamber cantata. In order to gain complete understanding of Phaedra, this document will begin with an investigation into the historical background of Racine's Phedre and the conventions of French tragedy from which it arose. Lowell's translation method will then be explored in comparison to Racine's play. In turn, Britten's extractions from Lowell's translation …