MILES DAVIS Conception

Total Page:16

File Type:pdf, Size:1020Kb

MILES DAVIS Conception DESCRIPTION Following the 1949 and 1950 recordings compiled on Birth Of The Cool (1957), which created the sub-genre of cool jazz, Miles Davis had already moved onto the next thing, because that's what an innovator does. By 1951 he was recording hard bop of the highest order on a variety of formats, including 10" and 7". This LP compiles a number of those recordings, and the fact that the entire record was recorded on one day, October 5, 1951, would be surprising if it weren't the one and only Miles Davis. Featuring Art Blakey , Sonny Rollins , Walter Bishop, Jr. , Tommy Potter , and Jackie McLean in his very first recording session, this is classic '50s Miles Davis. TRACKLISTING A1. Conception A2. Dig A3. It's Only A Paper Moon A4. Denial B1. Out Of The Blue B2. My Old Flame B3. Bluing MILES DAVIS HIGHLIGHTS • Following the 1949 and 1950 recordings compiled on Birth Of The Cool Conception (1957), which created the sub-genre of cool jazz, Miles Davis had already moved onto the next thing: hard bop. Label • By 1951 he was recording hard bop of the highest order on a variety of WAX LOVE formats, including 10" and 7". This LP compiles a number of those recordings. • Features Art Blakey , Sonny Rollins , Jackie McLean , and more. Format LP Also available: Catalog Number (ACV 2043LP) DAVIS, MILES: Quiet Nights LP [889397020439] WLV 82131LP (ACV 2098LP) DAVIS, MILES: Young Man With The Horn, Vol. 1 LP [889397020989] (ACV 2099LP) DAVIS, MILES: Young Man With The Horn, Vol. 2 LP [889397020996] EAN (ACV 2100LP) DAVIS, MILES: Young Man With The Horn, Vol. 3 LP [889397021009] 8055515231328 (DAD 128LP) DAVIS & JIMMY FORREST, MILES: Live At The Barrel 2LP [889397001285] (DAD 144LP) DAVIS, MILES: Kind of Blue LP [889397001445] (DOG 904LP) DAVIS, MILES: Sketches of Spain LP [8013252889042] x(0F5FB5*MNLNMS( (DOK 224LP) DAVIS, MILES: Jazz Track LP+CD [8013252882241] Store Price (DOX 817LP) DAVIS, MILES: Milesin' 3LP [8013252888175] $12.39 (DOX 879LP) DAVIS, MILES: In Person, Friday Night at the… 2LP [8013252888793] (DOX 897LP) DAVIS, MILES: At Newport 1958 LP [8013252888977] (DOX 898LP) DAVIS, MILES: Jazz At The Plaza LP [8013252888984] Release Date (HH 001CD) DAVIS, MILES: Fillmore West 15-10-70 CD [5297961900110] 11/22/19 (HH 001LP) DAVIS, MILES: Fillmore West 15-10-70 2LP [5297961900127] (HH 012CD) DAVIS, MILES: Live in Tokyo 1975 2CD [5297961901216] Territory (HH 012LP) DAVIS, MILES: Live in Tokyo 1975 2LP [5297961901223] NORTH AMERICAN EXCLUSIVE (HH 3029CD) DAVIS OCTET, MILES: Live in San Juan '89 CD [5297961302914] (HH 3029LP) DAVIS OCTET, MILES: Live in San Juan '89 LP [5297961302921] Genre (HH 3032CD) DAVIS, MILES: Paul's Mall. Boston, September 1972 CD [5297961303218] FILE UNDER - D - JAZZ (HH 3032LP) DAVIS, MILES: Paul's Mall, Boston, September 1972 LP [5297961303225] (HH 3037CD) DAVIS, MILES: Melbourne '88 2CD [5297961303713] (HH 3049CD) DAVIS, MILES: Chicago Jazz Festival '90 CD [5297961304918] (HH 3049LP) DAVIS, MILES: Chicago Jazz Festival '90 2LP [5297961304925] (HH 3083CD) DAVIS SEXTET, MILES: Fillmore West 1970 CD [5297961308312] (JAM 13005LP) DAVIS, MILES: Monterey Jazz Festival, 1963 LP [8592735003750] (WLV 82016LP) DAVIS, MILES: Plays For Lovers LP [8592735007604] (WLV 82066LP) DAVIS, MILES: Porgy & Bess LP [637913807398] (WLV 82099LP) DAVIS, MILES: Lift To The Scaffold LP [634438987994] (WLV 82101LP) DAVIS, MILES: At Newport 1958 LP [634438619932] (WLV 82128LP) DAVIS, MILES: Birth Of The Cool LP [8055515231007] (WLV 82134LP) DAVIS, MILES: Monterey Jazz Festival 1963 LP [8055515231359] Exclusively Distributed by And more, contact your salesperson for a full list. Press Contact: [email protected] 60 Lowell St, Arlington, MA 02476 ph: (781) 321-0320 • fx: (781) 321-0321 [email protected] .
Recommended publications
  • Seeing (For) Miles: Jazz, Race, and Objects of Performance
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2014 Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, and the American Studies Commons Recommended Citation anderson, Benjamin Park, "Seeing (for) Miles: Jazz, Race, and Objects of Performance" (2014). Dissertations, Theses, and Masters Projects. Paper 1539623644. https://dx.doi.org/doi:10.21220/s2-t267-zy28 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Seeing (for) Miles: Jazz, Race, and Objects of Performance Benjamin Park Anderson Richmond, Virginia Master of Arts, College of William and Mary, 2005 Bachelor of Arts, Virginia Commonwealth University, 2001 A Dissertation presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Doctor of Philosophy American Studies Program College of William and Mary May 2014 APPROVAL PAGE This Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Benjamin Park Anderson Approved by T7 Associate Professor ur Knight, American Studies Program The College
    [Show full text]
  • Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel
    Navigating Jazz: Music, Place, and New Orleans by Sarah Ezekiel Suhadolnik A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Musicology) in the University of Michigan 2016 Doctoral Committee: Associate Professor Charles Hiroshi Garrett, Chair Professor David Ake, University of Miami Associate Professor Stephen Berrey Associate Professor Christi-Anne Castro Associate Professor Mark Clague © Sarah Ezekiel Suhadolnik 2016 DEDICATION To Jarvis P. Chuckles, an amalgamation of all those who made this project possible. ii ACKNOWLEDGEMENTS My dissertation was made possible by fellowship support conferred by the University of Michigan Rackham Graduate School and the University of Michigan Institute for the Humanities, as well as ample teaching opportunities provided by the Musicology Department and the Residential College. I am also grateful to my department, Rackham, the Institute, and the UM Sweetland Writing Center for supporting my work through various travel, research, and writing grants. This additional support financed much of the archival research for this project, provided for several national and international conference presentations, and allowed me to participate in the 2015 Rackham/Sweetland Writing Center Summer Dissertation Writing Institute. I also remain indebted to all those who helped me reach this point, including my supervisors at the Hatcher Graduate Library, the Music Library, the Children’s Center, and the Music of the United States of America Critical Edition Series. I thank them for their patience, assistance, and support at a critical moment in my graduate career. This project could not have been completed without the assistance of Bruce Boyd Raeburn and his staff at Tulane University’s William Ransom Hogan Jazz Archive of New Orleans Jazz, and the staff of the Historic New Orleans Collection.
    [Show full text]
  • Juilliard Jazz Ensembles
    The Juilliard School Presents Juilliard Jazz Ensembles Monday, January 29, 2018, 7:30pm Paul Hall The Music of Miles Davis Wynton Marsalis, Guest Coach Dizzy Gillespie Ensemble Swing Spring (Miles Davis, arr. Joel Wenhardt) Flamenco Sketches (Miles Davis and Bill Evans, arr.Andrea Domenici) Nardis (Miles Davis, arr. Jeffery Miller) Paraphernalia (Wayne Shorter, arr. Adam Olszewski) Half Nelson (Miles Davis, arr. David Milazzo) David Milazzo, Alto Saxophone Anthony Hervey, Trumpet Jeffery Miller, Trombone Andrea Domenici, Piano Joel Wenhardt, Piano Adam Olszewski, Bass Cameron MacIntosh, Drums Elio Villafranca, Resident Coach Intermission (Program continues) Juilliard gratefully acknowledges the Talented Students in the Arts Initiative, a collaboration for the Doris Duke Charitable Foundation and the Surdna Foundation, for their generous support of Juilliard Jazz. Major funding for establishing Paul Recital Hall and for continuing access to its series of public programs has been granted by The Bay Foundation and the Josephine Bay Paul and C. Michael Paul Foundation in memory of Josephine Bay Paul. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and the use of recording equipment are not permitted in this auditorium. 1 The Dave Brubeck Ensemble Dig (Miles Davis, arr. Dave Brubeck Ensemble) Fall (Wayne Shorter, arr. Dave Brubeck Ensemble) Milestones (Miles Davis, arr. Dave Brubeck Ensemble) Circle (Miles Davis, arr. Dave Brubeck Ensemble) So Near, So Far (Tony Crombie and Bennie Green, arr. Dave Brubeck Ensemble) Zoe Obadia, Alto Saxophone Noah Halpern, Trumpet Jasim Perales, Trombone Joseph Block, Piano Isaiah Thompson, Piano Adam Olszewski, Bass Francesco Ciniglio, Drums Helen Sung, Resident Coach Program order and selections are subject to change.
    [Show full text]
  • Gerry Mulligan Discography
    GERRY MULLIGAN DISCOGRAPHY GERRY MULLIGAN RECORDINGS, CONCERTS AND WHEREABOUTS by Gérard Dugelay, France and Kenneth Hallqvist, Sweden January 2011 Gerry Mulligan DISCOGRAPHY - Recordings, Concerts and Whereabouts by Gérard Dugelay & Kenneth Hallqvist - page No. 1 PREFACE BY GERARD DUGELAY I fell in love when I was younger I was a young jazz fan, when I discovered the music of Gerry Mulligan through a birthday gift from my father. This album was “Gerry Mulligan & Astor Piazzolla”. But it was through “Song for Strayhorn” (Carnegie Hall concert CTI album) I fell in love with the music of Gerry Mulligan. My impressions were: “How great this man is to be able to compose so nicely!, to improvise so marvellously! and to give us such feelings!” Step by step my interest for the music increased I bought regularly his albums and I became crazy from the Concert Jazz Band LPs. Then I appreciated the pianoless Quartets with Bob Brookmeyer (The Pleyel Concerts, which are easily available in France) and with Chet Baker. Just married with Danielle, I spent some days of our honey moon at Antwerp (Belgium) and I had the chance to see the Gerry Mulligan Orchestra in concert. After the concert my wife said: “During some songs I had lost you, you were with the music of Gerry Mulligan!!!” During these 30 years of travel in the music of Jeru, I bought many bootleg albums. One was very important, because it gave me a new direction in my passion: the discographical part. This was the album “Gerry Mulligan – Vol. 2, Live in Stockholm, May 1957”.
    [Show full text]
  • SPRING 2019 INSIDE THIS EDITION BALTIMORE JAZZ ALLIANCE Jam Sessions
    SPRING 2019 INSIDE THIS EDITION BALTIMORE JAZZ ALLIANCE Jam Sessions .................................................................. 2 Transitions: A Contrarian’s Delight.................................... 6 Remembering Baltimore’s First Lady of Jazz.................... 8 John Thomas Quartet: Hotel Indigo’s Poet’s .................. 10 BJA Presents Father’s Day Jazz .................................... 12 BJA Member Benefits...................................................... 12 VOLUME FIFTEEN • ISSUE TWO • THE BJA NEWSLETTER • WWW.BALTIMOREJAZZ.COM BRANDON WOODY Rising Trumpet Star By Mitch Mirkin I first encountered trum- peter Brandon Woody, now aged 20, last August, when he led an open-mic jam ses- sion at the Motor House on North Avenue with his PHOTO COURTESY OF ALEXANDER JARMAN group, Upendo (Swahili for “love”). I then caught one of Baltimore Kissa Society his monthly gigs at An die Musik on North Charles. At By Bob Jacobson both performances, three Since 2016, BJA member Alexander Jarman has hosted the monthly jazz things about the trumpeter record listening sessions of the Baltimore Kissa Society (BKS). Named for impressed me. the cafés (kissa) where people in over 600 Japanese cities and towns gath- One was his fiery, intense ered in the 1950s-’70s to hear jazz recordings, BKS has afforded its mem- yet lyrical and fluid style. bers listening opportunities of everyone from Django Reinhardt to Sun Ra; PHOTO CREDIT: MITCH MIRKIN He reminded me of Freddie themed sessions have included the jazz influence on Steely Dan and Afro- Hubbard, who once described his own playing as “very futurism. loose, elastic.” Woody played blazes of short, repeated, Jarman, 36, is the Walters Art Museum’s manager of community pro- melodically complex riffs that grew in intensity, driven by grams and contemporary art initiatives.
    [Show full text]
  • JREV3.8FULL.Pdf
    JAZZ WRITING? I am one of Mr. Turley's "few people" who follow The New Yorker and are jazz lovers, and I find in Whitney Bal- liett's writing some of the sharpest and best jazz criticism in the field. He has not been duped with "funk" in its pseudo-gospel hard-boppish world, or- with the banal playing and writing of some of the "cool school" Californians. He does believe, and rightly so, that a fine jazz performance erases the bound• aries of jazz "movements" or fads. He seems to be able to spot insincerity in any phalanx of jazz musicians. And he has yet to be blinded by the name of a "great"; his recent column on Bil- lie Holiday is the most clear-headed analysis I have seen, free of the fan- magazine hero-worship which seems to have been the order of the day in the trade. It is true that a great singer has passed away, but it does the late Miss Holiday's reputation no good not to ad• LETTERS mit that some of her later efforts were (dare I say it?) not up to her earlier work in quality. But I digress. In Mr. Balliett's case, his ability as a critic is added to his admitted "skill with words" (Turley). He is making a sincere effort to write rather than play jazz; to improvise with words,, rather than notes. A jazz fan, in order to "dig" a given solo, unwittingly knows a little about the equipment: the tune being improvised to, the chord struc• ture, the mechanics of the instrument, etc.
    [Show full text]
  • Weeksville Lost Jazz Shrines
    1 Weeksville Lost Jazz Shrines Annotated Bibliography and Discography Primary Sources Interviews Note: Most of the artists listed below were interviewed over a period of two years (April, 2010 –October, 2011 through Weeksville’s Lost Jazz Shrine Project). Artists interviewed include: Brooklyn natives; longtime Brooklyn residents; or artists who performed frequently at some of Brooklyn's Lost Jazz Shrines and in some cases, continue to perform in Brooklyn. Abdullah, Ahmed. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 6 April 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 46 mins 36 sec. Barnes, Wade E. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 7 December 2010. Audio. No Transcription. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 51 min. 26 sec. Barron, Kenny. Oral History Interview. Interviewed by Willard Jenkins. 9 October 2010. Audio. No Transcription. Weeksville Heritage Center Lost Jazz Shrines Project. Braithwaite, “Fab 5” Freddie. Oral History Interview. Interviewed by Willard Jenkins and Jennifer Scott. 7 Oct 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 1 hr. 25 mins. 32 secs. Carroll, Alma. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 24 August 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project. Length: 1 hr. 10 mins. 34 secs. Cheatham, Jo Ann. Oral History Interview. Interviewed by Willard Jenkins, Jennifer Scott and Kaitlyn Greenidge. 6 April 2010. Audio. Transcription. Transcription date: April 2011. Weeksville Heritage Center Lost Jazz Shrines Project.
    [Show full text]
  • Tune Suggestions by Jerry Coker
    Tune suggestions by Jerry Coker. Vol: 1 How to Play Jazz Track 6 – 4 measure cadences, Track 9 – Cycle of Dominant. Vol: 2 Nothing but Blues Track 4 – Slow Blues, Track 5 - Fast Blues, Snap, Crackle & pop Vol: 3 II V7 I Track 3 – ii V7 I Major, Track 2 – Random ii V7 I, Track 4 – ii V7 I minor. Vol: 4 Movin’ On Magic Morning Vol: 6 Charlie Parker Now’s the Time, Billie's Bounce, Confirmation, Ornithology, Scrapple for the Apple, Yardbird Suite. Vol: 7 Miles Davis Four, Old Milestones, Solar, Dig Vol: 8 Sonny Rollins Airegin, Doxy, Oleo Vol: 10 David Baker Le Miroir Noir Vol: 12 Duke Ellington Perdido Vol: 14 Benny Golson Killer Joe Vol: 16 Turnarounds Track 7 – Coltrane changes, Track 9 – Rhythm Changes, Track 11 – Some of the Things I Am, Track 12 – Guess What Key I'm In Vol: 17/18 Horace Silver Song for My Father, Strolling, Barbara, Ecorah, Nica’s Dream, Room 608, Silver Serenade, Sister Sadie Vol: 19 David Liebman Lookout Farm, Piccadilly Lilly VolL 21 Minor/Minor Majors: Track 1 & 2, Track 14 dominants b9, Dominant 7th up and down chromatic Track 3 Vol: 27/28 John Coltrane Giant Steps, Countdown, Impressions, 26-2, A Love Supreme Vol: 33 Wayne Shorter all of it Vol: 34 Jam Session Just Friends, Spring Is Here, Star Eyes, On Green Dolphin Street Vol: 35 Cedar Walton Cedars Blues, Bolivia, Clockwise, Hand in Glove, Firm Roots, Ojos de Rojo. Vol: 36 Bebop and Beyond Freight Trane, Ray's Idea Vol: 41 Body and Soul Body and Soul, Alone Together, What Is This Thing Called Love Vol: 48 In A Mellow Tone In A Mellow Tone, I Got I t Bad, Warm Valley, I Didn't Know About You, Do Nothing Till You Here From Me.
    [Show full text]
  • The Modality of Miles Davis and John Coltrane14
    CURRENT A HEAD ■ 371 MILES DAVIS so what JOHN COLTRANE giant steps JOHN COLTRANE acknowledgement MILES DAVIS e.s.p. THE MODALITY OF MILES DAVIS AND JOHN COLTRANE14 ■ THE SORCERER: MILES DAVIS (1926–1991) We have encountered Miles Davis in earlier chapters, and will again in later ones. No one looms larger in the postwar era, in part because no one had a greater capacity for change. Davis was no chameleon, adapting himself to the latest trends. His innovations, signaling what he called “new directions,” changed the ground rules of jazz at least fi ve times in the years of his greatest impact, 1949–69. ■ In 1949–50, Davis’s “birth of the cool” sessions (see Chapter 12) helped to focus the attentions of a young generation of musicians looking beyond bebop, and launched the cool jazz movement. ■ In 1954, his recording of “Walkin’” acted as an antidote to cool jazz’s increasing deli- cacy and reliance on classical music, and provided an impetus for the development of hard bop. ■ From 1957 to 1960, Davis’s three major collaborations with Gil Evans enlarged the scope of jazz composition, big-band music, and recording projects, projecting a deep, meditative mood that was new in jazz. At twenty-three, Miles Davis had served a rigorous apprenticeship with Charlie Parker and was now (1949) about to launch the cool jazz © HERMAN LEONARD PHOTOGRAPHY LLC/CTS IMAGES.COM movement with his nonet. wwnorton.com/studyspace 371 7455_e14_p370-401.indd 371 11/24/08 3:35:58 PM 372 ■ CHAPTER 14 THE MODALITY OF MILES DAVIS AND JOHN COLTRANE ■ In 1959, Kind of Blue, the culmination of Davis’s experiments with modal improvisation, transformed jazz performance, replacing bebop’s harmonic complexity with a style that favored melody and nuance.
    [Show full text]
  • Flamenco Sketches”
    Fyffe, Jamie Robert (2017) Kind of Blue and the Signifyin(g) Voice of Miles Davis. PhD thesis. http://theses.gla.ac.uk/8066/ Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten:Theses http://theses.gla.ac.uk/ [email protected] Kind of Blue and the Signifyin(g) Voice of Miles Davis Jamie Robert Fyffe Submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy School of Culture and Creative Arts College of Arts University of Glasgow October 2016 Abstract Kind of Blue remains one of the most influential and successful jazz albums ever recorded, yet we know surprisingly few details concerning how it was written and the creative roles played by its participants. Previous studies in the literature emphasise modal and blues content within the album, overlooking the creative principle that underpins Kind of Blue – repetition and variation. Davis composed his album by Signifyin(g), transforming and recombining musical items of interest adopted from recent recordings of the period. This thesis employs an interdisciplinary framework that combines note-based observations with intertextual theory.
    [Show full text]
  • Proquest Dissertations
    A comparison of embellishments in performances of bebop with those in the music of Chopin Item Type text; Thesis-Reproduction (electronic) Authors Mitchell, David William, 1960- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 03/10/2021 23:23:11 Link to Item http://hdl.handle.net/10150/278257 INFORMATION TO USERS This manuscript has been reproduced from the miaofillm master. UMI films the text directly fi^om the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be fi-om any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and contLDuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book.
    [Show full text]
  • The “Second Quintet”: Miles Davis, the Jazz Avant-Garde, and Change, 1959-68
    THE “SECOND QUINTET”: MILES DAVIS, THE JAZZ AVANT-GARDE, AND CHANGE, 1959-68 A DISSERTATION SUBMITTED TO THE DEPARTMENT OF MUSIC AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Kwami Taín Coleman August 2014 © 2014 by Kwami T Coleman. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial 3.0 United States License. http://creativecommons.org/licenses/by-nc/3.0/us/ This dissertation is online at: http://purl.stanford.edu/vw492fh1838 ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Karol Berger, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. MichaelE Veal, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Heather Hadlock I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Charles Kronengold Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost for Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format.
    [Show full text]