Thesis explores the vocal music of the Comédies-Ballets written by Jean Baptiste Lully and Jean Baptiste Molière. Susan Kaye Schafer provides historical context to the collaboration between Lully and Molière and investigates the content of their work.

This paper analyzes Johann Sebastian Bach's Cantata No. 52, Falsche Welt, dir trau' ich nicht. Janette Cook Williams presents findings on the evolution of the sacred solo cantata and examines the style of Bach's work.

This paper discusses the development of jazz that occurred in the Storyville district of New Orleans. Bernard Norman Rose explores the history of the area and the influences that resulted in a synthesis of music.

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 describes the creation and impact of Franz Liszt's "Dante" Sonata. Bill Blaine gives historical context and elaborates on the literary and philosophical influences evident in the piece before providing an examination of the music.

The problem for the project emerged threefold: (1) to further explore the uses of the graphite medium including the possible integration of wet media color on large surfaces, (2) to use the human figure as subject matter, and (3) to explore gessoed drawing surfaces of masonite and paper.

The intention of this study is to examine the relationship between fired clay and certain found objects. Working from the assumption that clay, being a natural substance, shares a common ground with certain other natural substances, such as wood, hemp, rock, etc., a primary aspect of the investigation consists of discovering successful combinations of these materials. In each design two subordinate problems were encountered. These were (1) determining the best means of combining and preserving objects in a semi-permanent state and (2) ascertaining whether the thrown form is by itself visually satisfying or if it would be improved by distortion.

A search for innovative synthetic routes to new metal-metal bonded metal-halide clusters resulted in isolation of two completely independent dimeric species. The syntheses and characterizations of Ta/sub 2/X/sub 6/(SC/sub 4/H/sub 8/)/sub 3/ (X = Cl, Br) and ((n-C/sub 3/H/sub 7/)/sub 4/N)/sub 2/(W/sub 2/Br/sub 9/) followed entirely different experimental routes, yet occasionally similar properties linked the two projects. (auth)

A comparison is made between matrix elements calculated using the uncoupled channel Sussex approach to second order in DWBA and matrix elements calculated using a square well potential. The square well potential illustrated the problem of the determining parameter independence balanced with the concept of phase shift difference. The supersoft core potential was used to discuss the systematics of the Sussex approach as a function of angular momentum as well as the relation between Sussex generated and effective interaction matrix elements. In the uncoupled channels the original Sussex method of extracting effective interaction matrix elements was found to be satisfactory. In the coupled channels emphasis was placed upon the /sup 3/S/sub 1/-/sup 3/D/sub 1/ coupled channel matrix elements. Comparison is made between exactly calculated matrix elements, and matrix elements derived using an extended formulation of the coupled channel Sussex method. For simplicity the potential used is a nonseparable cut-off oscillator. The eigenphases of this potential can be made to approximate the realistic nucleon-nucleon phase shifts at low energies. By using the cut-off oscillator test potential, the original coupled channel Sussex method of determining parameter independence was shown to be incapable of accurately reproducing the exact cut-off oscillator matrix elements. The …

Grimaldi is a synesthetic work composed of aural and visual media including noise, tone, electronic devices, lighting and theatrical events. It is designed for solo saxophone with an accompanying ensemble of eight wind instruments and four percussion. The most important aspect of the piece is its texture, which consists of constantly changing and interacting aural and visual events. The compositional process of Grimaldi began with the selection of a form constructed of two equal arches of unequal subdivision, and the designation of texture for each section. After these selections were made, the theatrical elements were selected, based on a traditional story about the clown Joseph Grimaldi (1787-1836). By gradually refining these general selections into specific notation, and by considering them as a whole rather than individually, consistent relationships were maintained.

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Nyiragongo is a composition for large orchestra. The title is taken from Mount Nyiragongo, an active volcano in the Virunga Mountains of east central Africa. The composition is in one movement and the performance time is approximately eight to nine minutes.

Concerto for Piano and Orchestra consists of three movements. The whole work follows a general character of Fast -- Slow -- Fast; but within each movement are sections with contrasting tempi. The performance time approximately eighteen minutes.

This is a quartet in three movements: allegro ben marcato (free form); adagio appasionato (passacaglia); and presto (scherzo). These three movements comprise an arch-form, the first and third being similar stylistically and thematically, the second forming the "pillar".

The composition is in four scenes and requires approximately twenty-two minutes for performance. The discussion and analysis includes a brief description of the plot, the techniques used for unification, and an explanation of the treatment of the musical parameters in each scene.

The compositional goals strived for in this work are (1) to unify the past and present, (2) to present a rhythmically simple but harmonically complex use of the voices, (3) to explore the timbral complexities of voices and instruments, (4) to explore rhythmic changes without changing meters, (5) to integrate the orchestra and chorus so as to produce one musical entity rather than two opposing groups, (6) to produce a work that is both practicable in performance and contemporary in spirit.

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