My work dealt with the life within inanimate objects and what occurred when one placed apparently unrelated objects together in an arrangement. The arrangements had three interrelated elements: the objects, spacial relationships, and materials.

Questions that arise are: 1. How will the form and content of my current work be affected by a more implicit narrative form? 2. How will the work be affected by: a. source of imagery? b. scale of images and overall works? c. materials? d. intent? Will the intent of my current work change because of a more linear narrative format? 3. Assuming the narrative will change from one piece to another, what will be the effect of placement of images in each work and how will the placement of each work in relation to the others be affected?

My intent in this creative project has been to further explore the transcendence of reality in my work in seven still lifes. The body of work done for this problem was reviewed and analyzed after completion rather than during the process.

The purpose of this thesis project was to explore my decision-making process as it took place during the act of painting. I was interested in how my paintings evolved, either naturally or through a critical stage. Resolving a work which was in a crisis between success and failure was an important part of the creative process and required definite purposive action on my part. In this connection, I explored the nature of the decisions which either redirected my work toward a successful conclusion, or toward its abandonment.

The objective of my creative project was to decorate vertical and horizontal shapes using low-fire glazes with added organic materials. I experimented with the materials as introduced into the glaze formula, applied to the forms, and fired at low temperatures to obtain useful decoration for the ceramic medium.

The purpose of the creative project was an attempt to intensify the perceptual disruption while simultaneously continuing my exploration of the expressive power of certain images and symbols. These ideas were explored in a new series of paintings.

The purpose of this project was to develop a body of work in which the content has probable, if not definite, cross-cultural application. It was my intent to analyze images for their content and underlying themes. This collection of "image content" was to be used in the production of a body of work which hopefully would transcend cultural bias or limitations. I consulted art and anthropological texts, books, and periodicals (listed in bibliography) which contained images produced by different cultures.

Concertino consists of two movements, Paean and Dithyramb, either of which may be performed independently. Paean, a work of calm and majestic intensity, is characterized by a rhythmic pulse which is more consistently regular than that of the Dithyramb. Its three major sections form an arch, the final measures (mm. 87-95) returning to the material of the opening (mm. 1-14). The first section begins quietly, Maestoso ma sostenuto, in a very slow tempo. The activity and intensity increase until a brief, more active middle section begins in a faster tempo (Ancora piu mosso, m. 55). A fff climax (m. 63) begins in the third section (Tempo I). After a brief poco piu mosso (mm. 72-81), the opening tempo is restored (m. 82), the opening material returns (m. 87) and the final chord fades away. Dithyramb is a free and dramatic movement in which the musical material of the wind group usually contrasts with that of the string group. The piano, which has its own material, occasionally takes on the character of one group or the other as though mediating the conflict.

This five movement cantata is scored for large SATB chorus, bass and soprano soloists, piano, organ, and percussion (2 players). The text, sung in Hebrew, comprises selections from the Psalms, Isaiah, and the Jewish daily prayer book. A transliteration into the Roman alphabet and an English translation (not for singing) are provided.

The three respond motets from Matins for the Dead by Robert Parsons constitute an important part of the sacred Latin repertory of mid-sixteenth-century England, illustrating central features of the English mid-century style. Although he worked within a conservative musical tradition, Parsons experimented with that tradition in personal and individual ways. Specifically his modal and thematic construction as well as his practice of musica ficta are singled out for closer analysis. Consequently, a methodology for editorial decisions concerning musica ficta is developed. Two special problems, the simultaneous cross-relation and diminished fourth, are shown as the result of normative polyphonic processes and vertical structures.

The number of tissue eosinophils were counted and phospholiphase B activity was assayed in the intestines of nonsensitized and sensitized and sensitized mice infected with Trichinella spiralis.

the toxic effects resulting from acrylic monomer exposure can pose as occupational risk factors for those involved in the manufacture, distribution, and use of the monomer and as potential risk factors for those accidentally exposed. This study is a toxicological assessment of the in vivo (intact animal) and in vitro (isolated human cell culture) responses to acute methyl (α)-chloroacrylate (MCA) exposure.

Physiological and behavioral effects of exposure of fathead minnows (Pimephales promelas) and channel catfish (Ictalurus punctatus) to selenate-selenium (Se) and nitrite were investigated.

Glycopeptidolipid (GPL) antigens isolated from Mycobacterium intracellulare were used to sensitize BALB/c mice. Primary footpad challenge of mice sensitized with GPL antigens suspended in phosphate buffered saline demonstrated an increased footpad swelling reaction.

The effects of rat fibroblast interferon and a retinoid (Ro 10-9359) on the transformed state were investigated using normal rat kidney (NRK) fibroblasts and its derived cell lines, B77-NRK, transformed by temperature-sensitive mutants of Rous sarcoma virus.

This study provides commentary on Mizler's Dissertatio and Anfangs-Gründe des General Basses. Chapter V is an annotated guide to his Neu eröffnete musikalische Bibliothek, one of the earliest German music periodicals. Translations of Mizler's biography in Mattheson's Grundlage einer Ehrenpforte and selected passages of Mizler's Der musikalischer Staarstecher contribute a sampling of the critical polemics among Mizler, Mattheson, and Scheibe. As a proponent of the Aufklärung, Mizler was influenced by Leibnitz, Thomasius, and Wolff. Though his attempts to apply mechanistic principles to music were rejected during his time, his founding of a society of musical sciences, which included J. S. Bach, Telemann, Handel, and C. H. Graun as members, and his efforts to establish music as a scholarly discipline deserve recognition.

The synthesis and insecticidal activity of certain alcohols (hydroxymethyldibenzofurans, hydroxymethyldibenzothiophenes and some of their ⍺-cyano derivatives), esterified with trans-chrysanthemic acid, were investigated. The preparation of these planar alcohol moieties was undertaken to study conformation-activity effects in insecticides of the pyrethroid type. The synthesis of final ester products employed two methods. One was the direct condensation of the appropriate alcohol with chrysanthemic acid chloride in the presence of pyridine. The other involved the in situ formation of the cyanohydrin from the appropriate aldehyde and subsequent condensation with chrysanthemic acid chloride in the presence of a phase transfer reagent. Insecticidal activity is to be tested at rates of 0.001, 0.01, 0.1, 10, 100, and 1000 ppm. Fenvalerate is used as the standard against Diabrotica undecimpuntata (spotted cucumber beetles).

The objective of this paper is to show how Olivier Messiaen's Mode de valeurs et d'intensites influenced the development of postwar serialism. Written at Darmstadt in 1949, Mode de valeurs is considered the first European work to organize systematically all the major musical parameters: pitch, duration, dynamics, articulation, and register. This work was a natural step in Messiaen's growth toward complete or nearly complete systemization of musical parameters, which he had begun working towards in earlier works such as Vingt regards sur 1'Enfant-Jesus (1944), Turangalila-symphonie (1946-8), and Cantyodjaya (1949), and which he continued to experiment with in later works such as Ile de Feu II (1951) and Livre d'orgue (1951). The degree of systematic control that Messiaen successfully applied to each of the musical parameters influenced two of the most prominent post-war serial composers, Pierre Boulez and Karlheinz Stockhausen, to further develop systematic procedures in their own works. This paper demonstrates the degree to which both Boulez' Structures Ia (1951) and Stockhausen's Kreuzspiel (1951) used Mode de valeurs as a model for the systematic organization of musical parameters.

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Benjamin Keach (1640-1704) was a seventeenth-century preacher and hymn writer. He is considered responsible for the introduction and continued use of hymns, as distinct from psalms and paraphrases, in the English Nonconformist churches in the late seventeenth century, and is remembered as the provider of a well-rounded body of hymns for congregational worship. This thesis reviews the historical climate of seventeenth-century England, and discusses Keach's life in terms of that background. Keach's influence on congregational hymn singing, hymn writers, preaching, and education is also examined. Keach's writings and contributions to hymn singing are little known today. This thesis points out the significance of these writings and hymns to seventeenth-century religious life.

The study was designed to determine the effects of psychological sex-role on pre-performance anxiety in masculine (rugby), feminine (balance beam), and neutral (badminton) sex-typed motor activities. Instruments used to gather data included the Personal Attributes Questionnaire, the Sport Competition Anxiety Test, and the Competitive State Anxiety Inventory-2. Twenty-six masculine, 24 feminine, and 27 androgynous males and females were submitted to a three-phase training session for each sport skill. At the conclusion of each session, prior to performing the skill in front of a panel of judges (confederates of the experimenter), subjects were administered the self-report state anxiety (A-state) inventory. Data were analyzed by a 2 x 3 x 3 design. Conclusions were that individuals classified as feminine reported more feelings of A-state prior to performance than individuals classified as masculine or androgynous. Furthermore, the performer's biological sex affected anxiety levels, depending upon perceptions concerning the sex-appropriateness of the activity.

The sex-role orientation was determined for 352 high school seniors in Plano, Texas. Using maternal employment status as the independent variable, the students were divided according to full-time employed mothers or full-time homemaker mothers. Results indicated that adolescents of employed mothers had a more liberal sex-role orientation and attitude towards the division of household tasks than adolescents of homemaker mothers. When male and female scores were analyzed separately, the order from most liberal to least liberal was females of employed mothers, females of homemaker mothers, males of employed mothers, and males of homemaker mothers. The mean scores indicated a nontraditional attitude. The study also indicated that maternal happiness with employment did not affect male and female sex-role orientation.

This thesis evaluates tragic characters from three representative tragedies, Macbeth, Antigone, and Death of a Salesman, in terms of Lawrence Kohlberg's six stage theory of moral development. A tragic character's moral judgment is described as being founded on universal values and principles which determine stage placement. The tragic situation is precipitated by conflict experienced by a character between his present stage form of evaluation and the more preferred, differentiated and integrated form of the next higher stage. Since Kohlberg's theory is cognitive-developmental with the moral principle of justice emerging autonomously at the stage six level, its application aids in supporting a view of tragedy based on a moral order having justice as its highest principle and on a continuity independent of historical and cultural influence.

This study has two purposes: (1) to provide a reference tool--a list of the best books, articles, and audiovisual materials about photojournalism, and (2) to make a general evaluation of available literature. In response to a mail survey, photojournalists and photojournalism educators recommended twenty-four sources of information about photojournalism in twenty subject categories. Respondents believe reading about photojournalism is important in helping professionals do their jobs well. But, they do not think there is enough up-to-date information available. Further, a majority think photojournalism literature is unrealistic, poorly written and designed, and ineffective in preparing students.