In selecting a thesis project, my interest and experience with fibre-tip pen drawings suggested that further investigations would be profitable. Fibre-tip pens provide a fast and convenient means to draw under outdoor conditions. The pens make dense black and consistent lines at whatever speed they are moved. The ink supply is automatic; not requiring a separate container for dipping and not requiring cleaning. Fibre-tip pens designed to make lines of different widths are commercially available at low cost.

The objective of this work is to help the faculty, staffs and students of NTSU to use the CalComp plotting facility very easily. Therefore, this work is written in such a step by step and self-explanatory way to help the reader to understand and grasp the essential technique of the computer plotting. Each subroutine illustrated in this work has been run and checked by our NTSU computer-CalComp plotting facility; the results of sample programs and illustrated graphs are believed to be very useful to understand each individual subroutine. Basically, software packages are stored in the magnetic disk of the IBM 360 computer as the standard graphic subroutines. These subroutines were written in FORTRAN IV. The user can write the driving program to call these subroutines and also inputs the desire data to the computer for computation. The results of computation will be outputed and stored in the magnetic tape.

This paper explores the musical significance, history, and development of Vincenzo Bellini's four chamber arias. Nancy W. Barfield discusses the life of composer Vincenzo Bellini, his musical style, and the style of the arias themselves.

This paper discusses the origin of literary and musical ballads and focuses on analysis and interpretation of the four Chopin ballades. Jill Beth Street also discusses how to perform these ballades based off of this interpretation.

This paper analyzes the piano compositions of Sergei Prokofieff and identifies four elements evident in the literature: classicism, innovation, toccata, and lyricism. Elisabeth Euwer Roberts traces the history of his works and the evidence of these elements in them.

This paper explores the French mélodies written by Henri Duparc and includes a historical background of both Duparc and the mélodie as a type of song. Carol Tagg explores the roots of the mélodie and how influences of the Romantic movement are reflected in Duparc's work.

The questions answered by this investigation were as follows: 1. Will a clay surface accept multiple emulsions and multiple development processes with little or no loss of detail? 2. Can a gum-bichromate print be accomplished using a normal 35 millimeter negative in an enlarger? 3. What is the effect of different oxides and fluxes on the emulsion? and 4. What is the effect of firing on the experimental emulsions?

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.

Igor Stravinsky is widely considered one of the most important and influential composers of the 20th century and a pivotal figure in modernist music. This study analyzed how Stravinsky absorbed the bassoon's solo and ensemble functions which he inherited and later significantly extended the scope of these functions by adapting them to his individual needs. The study concluded that Stravinsky's compositions are and will remain important landmarks in the history of bassoon literature.

The questions answered by this investigation are as follows: 1. Which silkscreens and stencils will work in screening flat and three-dimensional objects? 2. Which mediums and coloring agents will survive a glaze firing to produce an acceptable image? 3. How can the image be modified by screening during the different stages of a ceramic piece (wet, green, bisque, glazed)? 4. What glazes and glaze applications will be compatible? 5. Generally, what is the relationship between the image and the object?

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.

This paper explores the connection between the Commedia dell'arte and the opera buffa genre and asserts that performers should be aware of this connection. John Arden Hopkin explores the history of the Commedia dell'arte and the rise of opera buffa.

The author's primary goal is to begin research leading ot the attainment of a low cost computer/music system which will allow the composer to write polyphonic music of up to eight voices into a computer through a terminal, and have the music played back by means of computer synthesized sound or by means of a conventional synthesizer controlled by a computer via digital-to-analog converters. The goal system will allow the composer to retreat and hear his product objectively as the painter steps back to review his canvas.

This study involves investigating the combination of delicately cast forms, domed shapes and forged silver into an aesthetic form of jewelry. The specific questions considered were as follows: 1) can the sequential interplay of forms be interrelated from initiation to completion of the study? 2) Can the techniques contrast with one another? 3) Can the scale of the forms be varied? 4) Can the three techniques of construction create body adornment? 5) Can these forms individually or in a combined grouping make a personal statement?

The objectives of the creative problem may be stated in two parts. First, the utilization of the self-portrait theme in order to explore a variety of drawing techniques, media combinations, and surface manipulations; and second, the maintenance of a sketchbook-diary which accompanies the study as supportive data. The sketchbook entries include not only pertinent visual material but also verbal commentary. The sketchbook-diary is sequential and denotes the various stages of development as well as the progression of the study.

Interspersed color blend lithography is a technique that facilitates simultaneous multi-colored printing. The problem of color blending was to gain control over the process and explore a variety of uses. The research was entirely experimental. Interspersed color blend lithography is a unique process that allows for the application of any number of colors at one time, and complete freedom in their placement. The results of the investigation produced a process that is at once predictable, simple and immediate.

The primary purpose of this investigation was to acquire information about the fundamentals of participating in group and one-person shows. The assumption was made that upon acquiring this basic information an understanding of the intricacies of the larger exhibition procedure could be attained. I proposed to investigate aspects important to the production, selection, and installation of my work in a formal gallery setting.

The problem was to investigate illusionary space as affected by dark surfaces using the elliptical and spherical shapes from previous work. I explored the potential of visual tension, movement, pattern, and various degrees of space on surfaces of opposite tonalities from those previously used. An investigation of space on dark surfaces was undertaken and ten works completed.

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.

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 project was an investigation into the specific influences upon my art produced by my living in Riyadh, Saudi Arabia for two years from August 1976 through August 1978. Initially, I had to make a major psychological and environmental adjustment. This period of adjustment, referred to as culture shock, was a time of personal confusion about the differences between the American and the Arabian cultures. I characterized my state of mind during this period as a psychological numbness and confusion. This adjustment period altered my interests so that the drawings I had done before I left the United States no longer held their original significance and new interests began to appear. I hope to identify some of the changes that occurred by examining and comparing my earlier drawings with those completed since my return.

The purpose of this project is to investigate the sculptural possibilities of warp distortion and manipulation through the utilization of the weighted-warp process. A secondary purpose is to explore the technique of warp weighting beyond a single fabric layer. It is projected that a weighted layer can be combined with one which is tensioned evenly and tied onto the floor loom (loom tensioned). In this manner, the loom-tensioned layer remains stable. The weighted layer is free to move through the heddles while maintaining tension on the warps.

In this creative project, I chose to explore the visual potentials of combining plastic materials with paper or fabric or both in such a way as to produce both visually strong and personally meaningful works. During the completion of the ten pieces, a written journal was kept in order to maintain a record of the progress and outcome of this investigation. In addition, data was illustrated by photographic slides. One piece was photographed at various stages of development, and all of the pieces were photographed at completion. The following analysis of the finished work was made from this information.

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.