Now showing items 20727-20746 of 39116

    • J. Ross Browne as special agent in the West, 1854-1860

      Goodman, David M. (David Michael) (The University of Arizona., 1964)
    • J.S. Bach's BWV 232: Augmented Sixth Chords in the Symbolum Nicenum as Structural and Theological Unifying Factors

      Chamberlain, Bruce B.; Lusted, Luke Alan; Chamberlain, Bruce B.; Schauer, Elizabeth R.; Brobeck, John T. (The University of Arizona., 2015)
      The focus of the present research is to examine Johann Sebastian Bach's (1685-1750) use of augmented sixth chords in the Symbolum Nicenum portion of his Mass in B Minor, BWV 232, as structural and theological unifying factors. Previous scholarly research has focused on other composers' settings of the Crucifixus text and detailed the conventions of chromatic harmony that many have incorporated in their works. Analysis of Bach's works dealing with Christ's crucifixion indicates that Bach was aware of both the augmented sixth chord and the conventions such a chord provided in service of Affekt. Further investigation of Bach's placement of these augmented sixth chords in the Symbolum Nicenum suggests that he intended to emphasize specific theological arguments presented in Martin Luther's (1483-1546) Ein Sermon von der Betrachtung des heiligen Leidens Christi ("A Sermon of Meditation on Christ's Holy Passion") written in 1519. In analyzing J.S. Bach's usage of augmented sixth chords in the Symbolum Nicenum, one recognizes his use of this sonority in service of Affekt for Christ's crucifixion related to Lutheran Passion theology.
    • J.S. Bach's Suite in G Minor, BWV 995: A Comparison of Manuscripts for Violoncello, Lute and Lute Intabulation as a Model for a Guitar Arrangement of the Suite in D Major BWV 1012

      Patterson, Thomas; Fojas, Ivar-Nicholas; Patterson, Thomas; Rosenblatt, Jay; Buchholz, Theodore (The University of Arizona., 2017)
      J.S. Bach (1685 – 1750) is celebrated for his exemplary musical compositions, but less known is Bach the inveterate transcriber. He not only transcribed at least nine concertos by Antonio Vivaldi (1678 – 1741), but he also arranged and adapted his own works, recasting them for other instruments. Among Bach's arrangements, are those for the lute, which were originally written for solo violin and cello. These two arrangements form a significant portion of J.S. Bach’s oeuvre for the lute, an instrument Bach would have been familiar with through his encounters with the finest lutenists of the age. Bach's lute arrangements provide valuable insight into the editorial decisions that were made when transcribing from solo strings to the lute, an instrument most similar to the guitar in sonority, structure and technique. This study examines J.S. Bach's process of arranging for the lute by comparing three extant versions of the same work: Bach’s Suite in C Minor BWV 1011 for cello, his Suite in G Minor BWV 995 for lute and an unsigned version in lute tablature dating back to Bach's time in Leipzig (Sammlung Becker. MS. III. 11. 3, housed at the Stadtbibliothek of Leipzig). The three extant versions of the Suite in G Minor form a unique trifecta among Bach's body of works that can be compared to reveal unique features in Bach's lute arrangements. By comparing the three sources, this study will demonstrate that J.S. Bach displayed a propensity towards musical elaboration when arranging from violoncello to the lute. In particular, Bach had a tendency to elaborate the following musical elements: melody, harmony, polyphony and rhythm. This study will show that these elaborations may be applied in a new guitar arrangement of Bach’s Suite in D Major BWV 1012. Finally, this author hopes that this study may be used as a guide or starting point for other arrangers in their attempt to create a stylistically cogent guitar arrangement of Bach’s unaccompanied works for violin or cello.
    • J.S. Bach’s Chaconne for Solo Violin: A Performer-Composer’s Approach to Interpretation

      Roth, Lauren R.; Aléjo, Philip; Abraham, Immanuel Tzemach; Patterson, R. Thomas; Brobeck, John T. (The University of Arizona., 2018)
      The thesis of this document comprises two parts. The first demonstrates that recomposing Bach’s Chaconne has formed an interpretive tradition among performer-composers over the past one hundred eighty years. The second is dependent upon the first, and explicates how this tradition may be methodically used by performer-composers interpreting Bach’s Chaconne upon the unaccompanied modern violin. A comprehensive realization of this thesis has been arranged by the author in a complete, annotated score following the document's conclusions.
    • J.S. Hermstedt and the Four Clarinet Concertos of Louis Spohr

      Denman, John; Montoya, Patrick A. (The University of Arizona., 1980)
      Great clarinet virtuosi have always been involved in the expansion of the repertoire for their instrument. In some cases they were themselves gifted composers--a good example being Franz Tauch--but their greatest contribution by far has been their ability to inspire other, better composers to devote the time and creative energy necessary to the composition of major works for an instrument not usually thought of as a major solo medium. Johann Simon Hermstedt's collaboration with Louis Spohr is a lesser known example of such composer-clarinet virtuoso partnerships which have included, among others, Mozart and Stadler, Weber and Baermann, and Brahms and Muehlfeld.
    • Jack London and socialism: a study in contrasts

      Tuso, Joseph F. (The University of Arizona., 1964)
    • Jack London's literary treatment of women

      Garfield, Virve M. Sein, 1938- (The University of Arizona., 1963)
    • Jack London's superman: the objectification of his life and times

      Kerstiens, Eugene J. (The University of Arizona., 1952)

      Davis, Donald Rae, 1939- (The University of Arizona., 1967)
    • Jacobians of etale covers of the projective line minus three points

      Kim, Minhyong; Rasmussen, Christopher Jorgen (The University of Arizona., 2004)
      We consider the outer pro-2 Galois representation on the algebraic fundamental group of the projective line minus three points. This representation has a kernel, whose fixed field Ω₂, is a pro-2 extension of Q(μ₂∞), unramified away from 2. The fields of 2-power torsion of the Jacobians of curves defined over Q, possessing good reduction away from 2, are also pro-2 extensions of Q(μ₂∞), unramified away from 2. In this dissertation, we show that these fields are contained in O2 for certain choices of curves. In particular, the result is shown for all elliptic curves over Q with good reduction away from 2. In proving this theorem, we will demonstrate that these curves appear in the tower of finite etale 2-covers of the projective line minus three points. In the final chapter, we briefly consider three natural generalizations of the result and give partial results in these cases. Specifically, we consider the case of elliptic curves defined over certain extensions of Q, the case of the prime ℓ = 3, and the case of higher genus curves occurring as 2-covers.
    • Jacobians of plane quintic curves of genus one

      McCallum, William G.; Al-Shammari, Fahd M. (The University of Arizona., 2002)
      Let K be a number field. By representing genus one curves as plane quintic curves with 5 double points, we construct (up to birational equivalence) the universal elliptic curves defined over the modular curves X₁(5) and X(μ)(5) (X(μ)(5) is the modular curve parameterizing pairs (E, i : (μ)₅ → E) where E is an elliptic curve over Q). We then twist the latter by elements coming from H¹(Gal(K̅/K), (μ)₅) to construct universal families of principal homogeneous spaces for the curves E. Finally we show that every principal homogeneous space arising this way is visible in some abelian variety.

      Carter, Paul; WEBB-VIGNERY, JUNE. (The University of Arizona., 1985)
      In 1896, Carlos Jacome opened "La Bonanza," a general mercantile store in downtown Tucson. For eighty-four years the store flourished, evolving into a mainstay of Tucson's retail life as Jacome's Department Store. As the store grew and prospered it developed a distinctive image derived from the Mexican-American background of its owners and managers which set it apart from other retail establishments in Tucson's downtown business district. Special attention placed on the two men guiding Jacome's growth and development, Carlos and later his son, Alex, Sr., provided an opportunity to examine the interaction between Mexican-American culture and the store's internal and external environments. Additionally, comparisons between Jacome's and their competitors, Anglo-owned retail stores in the downtown business district, delineated the effect of culture upon Jacome's organizational structure and the store's survival strategy. Like Jacome's, each of these stores had its roots in an era when Tucson was far removed from the mainstream of American economic life and local concerns dictated survival. Fundamental changes in American business organization, economy, and values beginning with World War I and reaching maturity during the 1920's portended an end to Tucson's placid retail environment. Many of these changes brought short-term benefits, but by the 1960's it was evident that in the long run they had worked against the independent retailers' interests. Increasingly, like their counterparts across the United States, Tucson's merchants encountered increased competition from chain stores and shopping centers, as well as problems tied to their central city location and the repeal of federal and state fair trade laws. As problems multiplied each retailer in downtown Tucson pursued a separate survival strategy. Primary in Jacome's strategic decisions was the precedence family interests took over the maximum exploitation of economic opportunities. Ultimately, however, whatever decision was reached, Tucson's independent department stores faced extinction. Within a few years of Jacome's closing in 1980 the last of the old-time department stores, at one time synonymous with retailing in Tucson, were gone.

      Paré, Marie Sylvie, 1923- (The University of Arizona., 1974)
    • The Jade File System.

      Peterson, Larry; Rao, Herman Chung-Hwa.; Schlichting, Rochard; Hudson, Scott (The University of Arizona., 1991)
      File systems have long been the most important and most widely used form of shared permanent storage. File systems in traditional time-sharing systems such as Unix support a coherent sharing model for multiple users. Distributed file systems implement this sharing model in local area networks. However, most distributed file systems fail to scale from local area networks to an internet. This thesis recognizes four characteristics of scalability: size, wide area, autonomy, and heterogeneity. Owing to size and wide area, techniques such as broadcasting, central control, and central resources, which are widely adopted by local area network file systems, are not adequate for an internet file system. An internet file system must also support the notion of autonomy because an internet is made up by a collection of independent organizations. Finally, heterogeneity is the nature of an internet file system, not only because of its size, but also because of the autonomy of the organizations in an internet. This thesis introduces the Jade File System, which provides a uniform way to name and access files in the internet environment. Jade is a logical system that integrates a heterogeneous collection of existing file systems, where heterogeneous means that the underlying file systems support different file access protocols. Because of autonomy, Jade is designed under the restriction that the underlying file systems may not be modified. In order to avoid the complexity of maintaining an internet-wide, global name space, Jade permits each user to define a private name space. In Jade's design, we pay careful attention to avoiding unnecessary network messages between clients and file servers in order to achieve acceptable performance. Jade's name space supports two novel features: It allows multiple file systems to be mounted under one directory, and it permits one logical name space to mount other logical name spaces. A prototype of Jade has been implemented to examine and validate its design. The prototype consists of interfaces to the Unix File System, the Sun Network File System, and the File Transfer Protocol.
    • Jainendra Kumar's The Resignation: a critique

      Orman, Stanley Bradford, 1943- (The University of Arizona., 1968)
    • Jakón Jói / hɐ'kõ 'hoʔi / – A Life-Giving Good Voice, Word, Language, and Message: Decolonizing the Shipibo-Konibo Dictionary and Language

      Zepeda, Ofelia; Kickham, Elizabeth A.; Best, B. R.; Gilmore, Perry (The University of Arizona., 2019)
      Indigenous languages are important agents of the Indigenous Decolonization Process with the potential to heal the deep wounds of colonization. Yet, few connections have been made on how Indigenous lexicography and Indigenous language dictionaries can assist these processes. By examining the literature on language, Indigenous linguistics and lexicography, and decolonization I demonstrate how the connections among these concepts can be applied to a viable process for decolonizing an Indigenous language dictionary. As a white male who has spent the past 16 years living, working with, and learning how language can heal from citizens of the Shipibo-Konibo Nation of the central Peruvian Amazon, I present my auto-ethnographical account of a nascent collaborative project working to decolonize the Shipibo-Konibo dictionary. This project is actively applying Indigenous linguistic wisdom to support events and processes of decolonization. The powers inherent in language are integral to maintaining well-being and can promote and support Indigenous decolonization efforts. A key approach to using Indigenous languages to assist decolonization can be found by recognizing colonial residues within the archaeo-linguistic record by examining pre- and post-colonized elements of languages. Careful, community-based decolonization of linguistic resources can strengthen revitalization objectives and support the regeneration of Indigenous language and culture. Such thinking underlies the proposed project to decolonize the Shipibo-Konibo Dictionary through its revision and regeneration, a process which has opened local discourses on Decolonization─a concept that was notably absent in the region─and has spurred the creation of a Shipibo-Konibo radio program and other activities focused on linguistic and cultural regeneration.
    • James

      Bushroe, Jennifer Danielle (The University of Arizona., 2010-05)
      Before Peter Pan, before the crocodile. and before the Jolly Roger, Captain James Hook was simply 'James,' a typical teenage boy from London who attended school, flirted with girls, and played cricket. Soon after he graduates from the prestigious Eton College, Britain is swept up into The Great War (WWI) and James finds himself falling for a girl his father doesn't approve of. How does he choose between duty and love, honor and happiness? We all know James' ultimate destiny, but his path to piracy has never been explained. What is it that causes him to commit his first crime of many--growing up?

      Cohen, Michael, 1943- (The University of Arizona., 1971)
    • Jan Dismas Zelenka's Missa Dei Patris (1740): The Use of stile misto in Missa Dei Patris (ZWV 19)

      Chamberlain, Bruce B.; Cho, Hyunjin; Chamberlain, Bruce B.; Schauer, Elizabeth; Bayless, Robert (The University of Arizona., 2010)
      Bohemian-born Baroque composer, Jan Dismas Zelenka (1679 --1745) and his music have been little known until recently. During his career in Dresden as a court church composer from 1710 until his death in 1745, Zelenka composed over150 sacred choral compositions.The three masses in the collection entitled Missae ultimae (ZWV 19 -- 21) were written toward the end of his life, between 1740 and 1741. Like his other masses, these three are cantata masses, in which the texts of the mass ordinary are divided, and set as separate movements.In each movement of each mass, Zelenka uses various forms, and compositional techniques in two different styles. Some movements are written in stile antico featuring imitative or fugal techniques. Other movements are written in stile moderno, and can be divided into two categories: choruses with orchestral ritornellos, and arias for solo voice or soli voices. Of great interest, however, is the skill with which Zelenka uses these two different styles within a complete setting of the mass ordinary, or even within single movements, creating stile misto in Missae ultimae by matching specific musical approaches to the character of the different texts.I will first discuss various musical forms and styles in the three masses of Missae ultimae. In Chapter 4, I will focus on the first mass, Missa Dei Patris (ZWV 19), since this work shows more stylistic contrast between movements than the other two masses. In Chapter 4, I will outline the compositional techniques of each movement. For the sake of consistency, the titles of each movement have been capitalized as published in Das Erbe Deutscher Musik -- Bands 93 (1985), 100 (1989), and 101 (1989) -- of Breitkopf und Hartel.