This paper discusses and analyzes the music and methodology of Sigfrid Karg-Elert's Thirty Caprices for Flute, Opus 107. Jon Novi examines how Karg-Elert provides clues and instruction in The Logical Development, a paper appended to the Thirty Caprices.

This paper analyzes Francis Poulenc's Concerto for Piano and Orchestra written in 1949. Deborah Lee Erftenbeck explores his eclectic style and the manner of its development, determining the originality of its nature and his works.

This paper explores the influence of French surrealism in the composition of La Courte Paille by Francis Poulenc. Martha Ann Pampell discusses the history of the surrealist movement, Poulenc's style, and provides an analysis of the piece.

In the fall of 1972 I was required to read Dee Brown's "Bury My Heart At Wounded Knee" as an "atmosphere setter" for a seminar on artists of the westward expansion in the United States. When I first started making drawings of some of the Indian leaders, I had no idea of doing a series. I also had no idea that Indians and more especially those of the West, would be consuming so much of my time and thoughts for such a long period. In the beginning the drawings were prompted by a fascination with the bone structure of the Indian faces. The high cheekbones, the prominent noses and unusual eyes caused marvelous patterns of light and dark, making the faces very conducive to caricature. As I began to know these faces as individuals and personalities, however, I knew that caricature was not the direction which i wanted to pursue.

As a painter, I have been working the past few years to develop a mature pictoral image and the concepts of space that were flexible enough for me to produce what I believed was a valid art statement. I have investigated several avenues for improving my work, i.e., acquiring certain technical painting skills, reading more to broaden my concepts and imagination, and visiting various art galleries and museums. During an earlier critique it was realized that the majority of my paintings were all very similar in scale. I decided to approach my work on a much larger scale than previously attempted in the hopes of discovering a better, or at least different painting concept.

I resolved to consciously examine the role of precise and spontaneous aspects of my drawings as my creative project. I felt that an investigation into the use of precise and spontaneous elements and their relationship to each other would strengthen my understanding of my own work.

The abstract expressionist movement aided in the development of this new personality for the clay world. An entire new dimension was added with extreme manipulation of ceramic pieces. My work reflects feelings and ideas concerning today's society and the status-quo. Common, everyday images recur in my art objects, with a major interest in cars, food, slogans, and puns. These are all a part of the hysteria of the American scene today.

The problem for this creative research in lieu of thesis has been to investigate in depth the difficulties and possibilities encountered when combining the woodcut and intaglio media into one entirely editionable print. Arriving at this particular problem was natural-- I feel an innate affinity and facility for creating with the woodcut medium.

This problem is involved with attempting to answer two basic questions: (a) Can I, a commercial artist, expand and develop as an artist through screen printing and make valid aesthetic statements unrelated to client and/or product? and (b) Can knowledge of reproduction methods and photo-mechanical techniques be successfully utilized in screen printing for non-commercial purposes? Extensive notes in the form of a journal were maintained as work on the project progressed. These notes, combined with the completed prints, were the sources of data for this paper.

My work is based upon the photographic image and deals with the juxtaposition of abstract elements within a figurative format. The camera and the photograph have become my sketch book and, as such, seem to influence the manner in which I approach and compose my prints and drawings.

Three intaglio prints and three drawings will be investigated to answer three specific questions. The questions are: 1. Is it possible to isolate the source of subject matter in my work? 2. What effect do media and subject matter have on each other during image development? and 3. Does my subject matter contained in an entire work contribute to the subject matter of my later works?

This problem concerns the production of large scale ceramic sculpture and its affect on the working method of the artist. Traditionally, western ceramics deals with functional pieces of a personal scale, that is smaller ceramic works which serve specific utilitarian purposes. The concepts of clay as an art medium and the studio-potter have developed over only the last 125 years of western ceramic history.

This document is an attempt to objectify the subjective. The purpose of the investigation was to determine how a previous mode of expression, namely, two dimensional mixed media, could evolve toward an expressive mode which incorporated the making of three dimensional works. The main concern was to determine how the two dimensional statement gave way to one which was three dimensional, or what constituted the three dimensionality of the work.

This paper is presented in satisfaction of the requirement for two problems in lieu of thesis which are required for the degree, Master of Science. The two problems are: (1) to provide an electric interface between the M6800 microprocessor and the printer; and (2) to design an Arabic character set and to provide the logic required for its implementation. As it would be artificial and impractical to document these problems separately, a single document here is provided.

Cēgə Trouhèst is a three-movement work of about thirteen minutes duration. The text by the composer provides a vehicle for aural stimulation only. Cēgə Trouhèst is a continuum of resonances embellished by melodic and rhythmic passages. These embellishments along with other devices and the choice of instrumentation all contribute to the development of the varied timbres. The first two movements introduce the material to be employed in the third, which continues the idea of change exhibited in the text by modification and extraction. Timbre is the most important aspect of this work. It is exploited homophonically, contrapuntally, and through instrumental/vocal interchange and timbre modification of a single tone.

The concepts of marginality, social class, and goal-orientation were operationally defined. The relationships between these concepts were explored in order to discern their utility in describing the marginal conditions of Indian migrants to an urban area. Marginality was found to be reflected by the extent of identification of Indian migrants with the urban community. Marginal conditions were also more closely linked to social class than goal orientations of parents. Differences in the types of marginality experienced are related to the length of residence in the urban area.

There were no restrictions as to style or technique, and since my previous works had been realistic, this direction was to be continued during the entire investigation. The primary objective was to create a series of drawings and paintings which would concentrate on the basic facial topography and idiosyncrasies of a constant model with variations in color, scale, medium, and expression.

Reflective eye movementa as a function of cognitive nodes were studied in English speaking and Spanish bilingual populations (N=20). A total of 40 questions were asked with the initial, lateral eye movement recorded. Questions consisted of 20 verbal-mathematical type intended to elicit right-eye movement and 20 spatial questions intended to elicit left-eye movement. A significant difference in responses was found dependent on the type of questions asked (F=114.3421,p<.001). No significant differences were obtained between the two groups.

Although more sophisticated designs of associative memories are not yet economically practical, with the dynamic advances in integrated circuitry currently taking place, the day appears not long off for an economical sophisticated associative memory to become a reality. This describes a general outline of a sophisticated DLM, but it also describes the actual logic involved in a building a working model. The design process involves formulating a set of commands sufficient to perform the desired algorithms, developing the logic necessary to implement these commands, and finally constructing a working model to test the logic.

This project is an investigation into the sources of sustained, thematically related images through a series of drawings, prints, photographs and sculpture. Because I have always worked best when I have hit upon an image or set of images of considerable symbolic depth, and because I have generally found such images intuitively, a major portion of this project is to determine if such images can be discovered more consciously.

Symphonie Militaire is a three movement work for twelve solo wind instruments composed by Edouard Batiste (1820-1876), a professor at the Paris Conservatoire and organist. The composition is scored for flute, two oboes, two B-flat clarinets, two bassoons, E-flat trumpet with valves, two F horns with valves, trombone, and B-flat ophicleide. In this edition, which was prepared from the original manuscript, the trumpet part is transposed to B-flat and a tuba has been substituted for the ophicleide. Based on a study of the score, as well as knowledge of wind band music of the period, several speculations have been made concerning the reason for the composition of the piece. The limited instrumentation supports the idea that, like other military symphonies, Symphonie Militaire may have been written for a special occasion. The work is, however, at least a reflection of the concern in 1845 for the reconstruction of the French military bands.

The purpose of this study is to catalogue the chairs and sofas of Old City Park that reflects the American Victorian style and to provide a brief historical account of the style's development. Old City Park in Dallas, Texas is the first major restoration of its kind in the Dallas area. Its aim is to provide an educational as well as historical center for the city. The restoration project began when Millermore, a Southern Colonial house built in 1862, was moved to Old City Park and an agreement was made between the Dallas Park Department and the Dallas County Heritage Society for its erection and restoration. the Society and the Park Department agreed ti create a heritage center in the Old City Park that will illustrate the growth and development of Dallas from 1841 to 1910. This catalogue was done to help justify the historical significance of the furnishing collections destined for use in the restoration of Old City Park. Organized according to substyles, the catalogue contains data collected on each entry and is illustrated by color slides. A brief account of the American Victorian Period precedes these entries.

A study was made of the effects of diphenylhydantoin (DPH) and the carrier solution on the spleen, lymph node, and thymus. DPH was injected i.p. at concentrations of 5 and 10 mg./100 gm. for 30 and 60 days. Hematologic effects observed were leucocytosis, neutrophilia, eosinophilia, and lymphopenia. Respiratory measurements of lymph node tissue slices were made using the oxygen electrode method. The carrier solution was found to cause a marked increase in oxygen consumption. A DPH effect on lymph tissue respiration was not observed. The carrier alone caused an atrophy of the lymph nodes and thymus, as well as an increase in the total body weight. Histological examination revealed that the 5 mg./100 gm. DPH injected for 60 days and the 10 mg./100 gm. DPH injected for 30 or 60 days produced a histiocytic cell type lymphoma, resembling Hodgkin's disease in the lymph node, thymus, and spleen in rats. The data indicated that DPH may not be a direct carcinogen, but it may interfere with the normal immune mechanism to produce the changes observed.

One molecular form of fumarase from Ascaris suum was demonstrated by cellulose acetate electroporesis and isoelectric focusing. The enzyme was partially purified by ammonium sulfate fractionation and ion-exchange chromatography to a specific activity of 49 units per mg protein. Enzymatic assay of the partially purified by ammonium sulfate fractionation amd ion-exchange chromatography to a specific activity of 49 units per mg protein. Enzymatic assay of the partially purified preparation showed glyceraldehyde-3-phosphate dehydrongenase to be the major preparative contaminant.