Browsing by Author "Sanders, Paula"
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Item Conducting Research with the British Parliamentary Papers(Rice University, 2006-10-30) Getman, David; Sanders, PaulaThis course is designed to introduce you to the basic structure of the British Parliament and the organization of its historical documents.Item Dimitar Nenov: Form and Content of His Works for Solo Piano(2017-11-28) Valkov, Viktor; Blattler, Damian; Parker, Jon Kimura; Lowen, Peter; Sanders, PaulaThe piano works of Bulgarian composer Dimitar Nenov have been largely unknown in the West. While Nenov did not make his name known during his lifetime, his music contains depth and nuance which are well-worth exploring. In the present document I aim at shedding light on a few compositions from the 1930’s and 1940’s, where my main concern is the elucidation of his forms, compositional techniques, and pianism. Using the analyses of Etude N.1, Variations in F-sharp Major, and Miniatures (1945), I follow his compositional development as it unfolds through a tireless experimentation with various styles and aesthetics. In the search for his personal voice, Nenov tended to employ certain organizational procedures regardless of the surface harmonic layout of a particular piece. Every piece under discussion here is partially or entirely based on a simple bass formula which acts as a unifying force in holding the form together. Although Nenov completely avoids the use of internal cadences, this underlying bass movement shapes each individual piece as an uninterrupted harmonic progression.Item Everyday Imperialism: The Landscape of Empire, London, 1870-1939(2013-12-05) Francis, Pamela; Michie, Helena; Doody, Terrence A.; Sanders, PaulaWhile many historians of the British Empire have dismissed the presence of imperial motifs and themes in Britain in the early twentieth century, this dissertation identifies and analyzes two discourses of Empire that shaped the material and cultural landscape of London during that period. Chapter one establishes several contexts relating to this period, including New Imperialism, as outlined by Disraeli and later, Joseph Chamberlain. As Disraeli?s New Imperialism evolved, it incorporated the national efficiency movement as a way to make the Empire modern and relevant while maintaining traditional social and political hierarchies, resulting in a cultural milieu of ?conservative modernity.? While uncovering these ideas in the imperial spectacle of the first four decades of the twentieth century, I employ aspects of critical human geography to demonstrate how those ideas inscribed themselves onto the urban landscape of London. Chapter two describes three royal Jubilees in terms of imperial spectacle. These events reflect an imperial ethos built on the concept of the Empire as modern, prosperous, healthy, and tasked by Providence with a civilizing mission. Once identified, I introduce seemingly opposite ways of talking about the Empire: discourses of exceptionalism, and discourses of degeneration and decline. I explain that these discourses manifest themselves in numerous cultural practices as well as official programs and policies that are then reflected in the urban landscape. A description of the British Empire Exhibition at Wembley in 1924-1925 focuses on public and private responses to the dominant narrative of empire. Chapters three and four investigate exceptionalism and decline and provide examples of ?official? responses to these themes, as in the institution of new bureaucracies, such as the Ministry of Health, as well as from ?below,? as in the celebration of Empire Day. A close look at both formal and informal responses to these discourses of exceptionalism proves that patriotic imperialism was very much a part of the cultural and material landscape of London until 1939, when German bombs erased the landscape of empire, clearing the ground for the construction of a new landscape of nation.Item Orgullo Crítico: An Anti-Capitalist Approach To Pride In Spain And The United States(Rice University, 2021-05) Lin, Amy; Sanders, PaulaEvery June, many people around the world come together to celebrate queer identities at various state-sponsored Pride events. However, given the infiltration of rainbow capitalism in mainstream Pride movements, many radical leftists within the queer community have begun to organize anti-capitalist "Critical Pride" protests. In this thesis, I trace the emergence of mainstream Pride celebrations in Spain and the United States and their role in the creation of Critical Pride movements, and I explore how academic queer theory, specifically queer Marxist theory, relates to this form of real-life praxis.Item The Evening Shadow(2013-09-16) Walczak, Christopher; Gottschalk, Arthur W.; Chen, Shih-Hui; Bailey, Walter B.; Sanders, PaulaThe Evening Shadow, a six-minute work for symphony orchestra, is a short symphonic poem composed with the intent of evoking a sensation of lament and eventual deliverance. Drawing from the “Neapolitan Complex” found in Beethoven’s string quartet in C-sharp minor, op. 131 (exploitation of the semitone between C#-D), I attempted to create a dramatic “storyline” utilizing the semitone relation between E and F. From a programmatic standpoint, upward motion from E to F is meant to represent yearning (mm. 5-6, violins, mm. 14-15, violin/vibraphone, m. 18, cello, embedded in m. 20, flute 2) while downward motion from F to E (mm. 110-113, brass) symbolizes rescue and redemption. Motivic transformation was paramount to the construction of The Evening Shadow. Five primary motives are stated and developed. The first appears in the solo violin from mm. 3-4 and is transformed at m. 44 in the oboe and 2nd violins. The second motive is stated in mm. 9-12 in the 1st violins, and returns in canon from mm. 96-106. The third motive appears in the oboe in mm. 29-30 and is developed extensively (mm. 41-42, 47-48, 110-113). The fourth motive is stated in the 1st violins at m. 33 and returns in m. 52 in the 2nd violins. The final motive is first heard in the horns in mm. 39-40 and ends the piece from mm. 127-129. The motivic transformations make use of transposition, modal “adjustment,” and built in rubato effects, as well a large degree of fragmentation and recombination. Traditional contrapuntal technique was utilized throughout the work. Global harmonic motion of the piece, which makes use of skeletal tonic/dominant relations, can be heard as a progression through the following “tonicizations” and respective modalities: E/F (pitch-centric, no modality, mm. 1-33), D (Dorian, mm. 34-55), A (Dorian, mm. 52-54), E (pseudo-Phrygian, mm. 65-87), C (Mixolydian, mm. 108-121), G (Mixolydian, mm. 127-132), and E/F (pitch-centric, no modality, mm. 133-137). Atonal pitch-class set sonorities were used as structural rhetoric throughout. The aggregate collection, drawing from dodecaphonic theory, is used sparingly both melodically (mm. 16-17, violins and violas), and harmonically (mm. 2-3, 64, 66, 69, 137). Conceptual difficulties arise from orchestrational considerations in a contemporary work due to the broad array of possibilities demonstrated in the scores that span the history of orchestral music. I sought to create a hybrid of advanced traditional orchestration (Mahler, Strauss) and texturalist practices (Lutoslawski, Ligeti).