DOCSLIB.ORG

Kimberlie Rose Dillon Oboe & English Horn Teamdillonmusic.Wordpress.Com

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Kimberlie Rose Dillon Oboe & English Horn Teamdillonmusic.Wordpress.Com Kimberlie Rose Dillon Oboe & English Horn teamdillonmusic.wordpress.com I. Education & Training McLennan Community College | Teacher Certification in Early Childhood-Grade 12 Music 2013 Baylor University | Teaching Certificate in Higher Education 2012 Baylor University | Master of Music Degree in Oboe Performance 2012 Oboe Professor: Doris DeLoach, DMA University of Minnesota Duluth (UMD) | Bachelor of Music Degree in Oboe Performance 2010 Oboe Instructor: Laurie Van Brunt Jeanne Inc. | Oboe Gouger Assembly & Maintenance Workshop 2009 Other Primary Teachers Julie Gramolini Williams | Minnesota Orchestra 2015-Present Susan Tomkiewicz, DMA | Luther College 2005-2006 Jennifer Gookin, DMA | Luther College 1999-2005 II. Employment UMD Fine Arts Academy | Community Music Teaching Specialist 2014-Present teach weekly private oboe lessons to middle and high school students Rock Hill Community Church | Administrator 2013-2015 assisted pastoral staff with organizational functions coordinated volunteer schedules, supported bookkeeping efforts, and helped with event planning Waco Baptist Academy | Preschool-Grade 6 General Music Educator 2012-2013 taught Prekindergarten – Grade 6 general music classes and directed school performances Baylor University Golden Wave Marching Band | Administrative Assistant 2012 supported the Golden Wave Marching Band Director by serving in an administrative role Baylor University Fine Arts Library | Student Assistant 2011-2012 assisted patrons in research and checking out materials and shelved books and scores Baylor University School of Music | Graduate Assistant 2010-2012 co-instructed oboe methods, taught secondary oboe lessons, and coached chamber music ensembles coordinated student music recitals and performed secretarial tasks III. Performance Experience Ensembles Mesabi Symphony Orchestra, Sub. Oboe & English Horn 2016-Present, 2013 Itasca Symphony Orchestra, Sub. Oboe & English Horn 2013-Present Lake Superior Chamber Orchestra, Sub. Oboe 2015, 2008 Arrowhead Chorale, Oboe - Bach St. Matthew Passion 2015 UMD Department of Music Sinfonietta in partnership with the Minnesota Ballet, 2014 Oboe & English Horn - Tchaikovsky The Nutcracker North Shore Philharmonic Orchestra, Sub. Oboe 2014 Duluth Superior Symphony Orchestra, Sub. Oboe 2013, 2010 UMD Festival Orchestra, Oboe 2008-2010 Chamber Ensembles Zenith Winds 2015-Present Woodwind Trio Ensembles 2014-Present Solo Performances Rock Hill Community Church, Oboe Recital (May 2016) Rock Hill Community Church, Oboe Recital 2015 Duluth Symphonic Winds - Rimsky-Korsakov Variations on a Theme by Glinka 2015 UMD Chamber Orchestra - Bach Concerto for Violin and Oboe in C Minor 2010 UMD Chamber Orchestra - Handel Concerto for Oboe in G Minor 2007 IV. Awards & Affiliations Awards Pi Kappa Lambda National Music Honor Society Member 2012-Present BU Fine Arts Library Awesome Student Worker Citation 2012 BU Graduate Assistantship 2010-2012 The Fanfare Award 2010 The Aufderheide Award 2010 UMD Department of Music Outstanding Music Theory Award 2008 UMD School of Fine Arts Dean’s List 2006-2010 Undergraduate Scholarships & Grants 2006-2010 Best of Class Scholarship, Cecilian Society Scholarship, Isaac and Rose Gershgol Scholarship, Beverly and Erwin Goldfine Scholarship for Academic Excellence, Gregg Johnson Music Scholarship, Chester E. and Marion D. Groth Music Scholarship, Iron Range Merit Scholarship, Matinee Musicale Scholarship Award, & Omnibus Music Scholarship John Philip Sousa Band Award 2006 The “Semper Fidelis” Award 2006 Affiliations International Double Reed Society Member 2011-Present .
Load more

Recommended publications
  • Murder-Suicide Ruled in Shooting a Homicide-Suicide Label Has Been Pinned on the Deaths Monday Morning of an Estranged St
    -* •* J 112th Year, No: 17 ST. JOHNS, MICHIGAN - THURSDAY, AUGUST 17, 1967 2 SECTIONS - 32 PAGES 15 Cents Murder-suicide ruled in shooting A homicide-suicide label has been pinned on the deaths Monday morning of an estranged St. Johns couple whose divorce Victims had become, final less than an hour before the fatal shooting. The victims of the marital tragedy were: *Mrs Alice Shivley, 25, who was shot through the heart with a 45-caliber pistol bullet. •Russell L. Shivley, 32, who shot himself with the same gun minutes after shooting his wife. He died at Clinton Memorial Hospital about 1 1/2 hqurs after the shooting incident. The scene of the tragedy was Mrsy Shivley's home at 211 E. en name, Alice Hackett. Lincoln Street, at the corner Police reconstructed the of Oakland Street and across events this way. Lincoln from the Federal-Mo­ gul plant. It happened about AFTER LEAVING court in the 11:05 a.m. Monday. divorce hearing Monday morn­ ing, Mrs Shivley —now Alice POLICE OFFICER Lyle Hackett again—was driven home French said Mr Shivley appar­ by her mother, Mrs Ruth Pat­ ently shot himself just as he terson of 1013 1/2 S. Church (French) arrived at the home Street, Police said Mrs Shlv1 in answer to a call about a ley wanted to pick up some shooting phoned in fromtheFed- papers at her Lincoln Street eral-Mogul plant. He found Mr home. Shivley seriously wounded and She got out of the car and lying on the floor of a garage went in the front door* Mrs MRS ALICE SHIVLEY adjacent to -• the i house on the Patterson got out of-'the car east side.
    [Show full text]
  • 5-1 Shostakovich's Knowledge and Understanding of the Oboe and Cor
    5-1 CHAPTERS MELODIC ASPECTS 5.1 Introduction Shostakovich's knowledge and understanding of the oboe and cor anglais are clearly reflected in the allocation of solo material throughout his 15 symphonies. 5.2 Allocation of solo material to the oboe Although the oboe is clearly not Shostakovich's favourite instrument, the solo material reveals a deft understanding of the instrument's technical and lyrical capabilities. Symphonies No.2, 11 and 13, however, have no solos for the oboe. The oboes are not used in Symphony No. 14 as it is scored for strings, percussion and soloists. As early as Symphony No. 1 Shostakovich establishes himself with insight as an orchestrator of oboe solos. A wide range of dynamic indications accompany the oboe solos, unlike the cor anglais whose predominantly allocated dynamic range is piano. Shostakovich writes very sympathetically for the player by not exhausting his stamina and by allowing sufficient rests in solo passages and avoiding long phrases. Solo passages are sometimes given to the second oboe and cor anglais in unison or in thirds, sixths or otherwise (see Ex. 5-5). Solo passages are also sometimes shared with other woodwind instruments. Oboe solos are generally approximately 8 bars long, although longer solos are found in Symphonies No.1, 4, 7 and 10 with 16 or more bars in length. The first movement of Symphony No.7 has the longest solo of 35 bars in which the bassoon and first oboe have solos in free imitation. Oboe solos are often supported by a characteristic tremolo string accompaniment, or by sustained strings or low woodwinds.
    [Show full text]
  • MOSAIC: FACULTY SPOTLIGHT ' " O R
    University of Washington ,~ B THE SCHOOL OF MUSIC lW , 20 '-I ,..... Presents _-/2. iI'" .. ...... MOSAIC: FACULTY SPOTLIGHT ' " o r With performances by Michael Brockman Kyung Sun Chee Tom Collier Jay Easton Arthur Grossman Don Immel David Kappy Robin McCabe William McColl Doug Miller Steven Novacek Christopher Olka Marc Seales Craig Sheppard Vern Sielert Allen Vizzutti 7:30PM February 12,2004 MEANY THEATER "D,/'f-f.:n:- It,S-~ 1­ CD.1F lit, 5S'j .... ,,~ PROGR A M [0 KvnIN MCCABE and CRAIG SHEPPARD, piano four-hands '2... H UNGARIAN D ANCE NO 6 IN IY MA JOR ........................... JOHANNES BRAHMS CD1F 1 ~.:)5'$ 3 SLA VONIC D ANCE No 1 IN C M AJOR. OPUS 46 ................ ANTONIN DVORAK FACULTY JAZZ ENSEMBLE I SLA VONIC DANCE NO. 8 IN G MINOR, 'FURIAlvT' ............. ANTONIN DVORAK 1- €/y\[c (e.. []JCOWl~~, ~~1Wt1 . @ SqV~ l l.(\. 1;' . • L. Bc~ lO __ - d Y' t, c;,. Sm ve~'"; ~&')ne..(,.! . FACULTY BRASS QUINTET t ,.31­ Don Immel, trombone David Kappy, French horn Christopher Olka, tuba Vern Sielert, trumpet Allen Vizzutti, trumpet KYUNG SUN CHEE, violin ~ PRELUDE AND PRESTO FOR BRASS QUlNTET.. .... :/~Z~.. I .............. ALLEN VIZZUTTI ~(O'{G '~~~S A- PI .eV\T~ I { ; Lfj- ~OMAN ..........•.• .... h/..\t.'f.?............... ......... ........... .JOEL-FRAN<;:OIS DURAND The TUBAX MIRABILIS TRIO is made up of artists who have mastered STEVEN NOVACEK, guitar these unusual instruments, old and new: William McColl will perform on his sopranino clarinet in G, an 3 J.7OYUNBABA ............., '..2........'' :,­ .I. CARLO DOMENICONI instrument he has built himself in reference to mid-19th century Vien­ nese examples. It was used in folk music and military music.
    [Show full text]
  • Heckelphone / Bass Oboe Repertoire
    Heckelphone / Bass Oboe Repertoire by Peter Hurd; reorganized and amended by Holger Hoos, editor-in-chief since 2020 version 1.2 (21 March 2021) This collection is based on the catalogue of musical works requiring heckelphone or bass oboe instrumen- tation assembled by Peter Hurd beginning in 1998. For this new edition, the original version of the repertoire list has been edited for accuracy, completeness and consistency, and it has been extended with a number of newly discovered pieces. Some entries could not (yet) be rigorously verified for accuracy; these were included nonetheless, to provide leads for future investigation, but are marked clearly. Pieces were selected for inclusion based solely on the use of heckelphone, bass oboe or lupophone, without any attempt at assessing their artistic merit. Arrangements of pieces not originally intended for these instruments were included when there was clear evidence that they had found a significant audience. The authors gratefully acknowledge contributions by Michael Finkelman, Alain Girard, Thomas Hiniker, Robert Howe, Gunther Joppig, Georg Otto Klapproth, Mark Perchanok, Andrew Shreeves and Michael Sluman. A · B · C · D · E · F · G · H · I · J · K · L · M · N · O · P · Q · R · S · T · U · V · W · X · Y · Z To suggest additions or corrections to the repertoire list, please contact the authors at [email protected]. All rights reserved by Peter Hurd and Holger H. Hoos, 2021. A Adès, Thomas (born 1971, UK): Asyla, op. 17, 1997 Duration: 22-25min Publisher: Faber Music (057151863X) Remarks: for large orchestra; commissioned by the John Feeney Charitable Trust for the CBSO; first performed on 1997/10/01 in the Symphony Hall, Birmingham, UK by the City of Birmingham Symphony Orchestra under Simon Rattle Tags: bass oboe; orchestra For a link to additional information about the piece, the composer and to a recording, please see the on-line version of this document at http://repertoire.heckelphone.org.
    [Show full text]
  • The Harmonic Oscillator
    Appendix A The Harmonic Oscillator Properties of the harmonic oscillator arise so often throughout this book that it seemed best to treat the mathematics involved in a separate Appendix. A.1 Simple Harmonic Oscillator The harmonic oscillator equation dates to the time of Newton and Hooke. It follows by combining Newton’s Law of motion (F = Ma, where F is the force on a mass M and a is its acceleration) and Hooke’s Law (which states that the restoring force from a compressed or extended spring is proportional to the displacement from equilibrium and in the opposite direction: thus, FSpring =−Kx, where K is the spring constant) (Fig. A.1). Taking x = 0 as the equilibrium position and letting the force from the spring act on the mass: d2x M + Kx = 0. (A.1) dt2 2 = Dividing by the mass and defining ω0 K/M, the equation becomes d2x + ω2x = 0. (A.2) dt2 0 As may be seen by direct substitution, this equation has simple solutions of the form x = x0 sin ω0t or x0 = cos ω0t, (A.3) The original version of this chapter was revised: Pages 329, 330, 335, and 347 were corrected. The correction to this chapter is available at https://doi.org/10.1007/978-3-319-92796-1_8 © Springer Nature Switzerland AG 2018 329 W. R. Bennett, Jr., The Science of Musical Sound, https://doi.org/10.1007/978-3-319-92796-1 330 A The Harmonic Oscillator Fig. A.1 Frictionless harmonic oscillator showing the spring in compressed and extended positions where t is the time and x0 is the maximum amplitude of the oscillation.
    [Show full text]
  • An Annotated Catalog of Selected I.D.R.S. Bassoon Articles, with an Appendix of Categorized Bassoon Articles Shaye Bowman
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2014 An Annotated Catalog of Selected I.D.R.S. Bassoon Articles, with an Appendix of Categorized Bassoon Articles Shaye Bowman Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC AN ANNOTATED CATALOG OF SELECTED I.D.R.S. BASSOON ARTICLES, WITH AN APPENDIX OF CATEGORIZED BASSOON ARTICLES By SHAYE BOWMAN A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2014 Shaye Bowman defended this treatise on December 10, 2013. The members of the supervisory committee were: Jeff Keesecker Professor Directing Treatise James Mathes University Representative Deborah Bish Committee Member Eric Ohlsson Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS I would like to thank my doctoral committee members, Professor Jeff Keesecker, Dr. Eric Ohlsson, Dr. Deborah Bish and Dr. James Mathes for their time and helpful support. I am especially grateful to Professor Jeff Keesecker for his support and guidance over the past three years. Additional thanks to Dr. Jeffrey Kite-Powell for his support and guidance over the past three years. Thanks to Dr. Shelley Martinson, Brad Behr, and Katie Phillips for their help in editing and Kyle Phillips for his help in printing articles for my research. Finally, thank you to my parents, Jim and Sue Bowman, for supporting me in my musical journey.
    [Show full text]
  • Joël Bons E C | P Music1 Air#3In C Contextair#4 Air#0 Air#1 Air#2 Joël Bons
    Joël Bons E C | P Music1 air#3in C contextair#4 air#0 air#1 air#2 Joël Bons Invitation / 3 The international music world is increasingly shaped by music from diverse cultures. However, almost no structural research has been performed into the impact this has, or might have in the future, on musicians in training. air#3 That the distinction between composition and performance differs according to culture is also an area of interest. The Amsterdam Conservatory has invited Joël Bons to investi- gate the opportunities arising from the combination of differ- ent music cultures, for both composition and performance prac- tice. Particular attention will be given to bringing these two practices closer to one another. Where possible he will, in response to his findings, advise the Board on the selection of guest tutors and other teaching air#4 staff, the development and reform of the curriculum, and the programming of the Composition Department. In addition, the Amsterdam Conservatory has asked Joël Bons to investigate the feasibility of a Centre of Excellence at the Conservatory devoted to various aspects of non-Western music, namely knowledge, research, composition and performance. air#0 air#1 From the letter of appointment air#2 Joël Bons Joël Bons studied guitar and composition at the Sweelinck Conservatory in 4 5 Amsterdam. After completion of his composition studies, he attended summer Winds courses by Franco Donatoni in Siena and the Darmstädter Ferienkurse für Neue Musik. In 1982 he resumed his composition studies, with Brian Ferneyhough in Freiburg. and Strings At the beginning of the 1980s, Joël Bons co-founded the Nieuw Ensemble, a leading 3 international ensemble for contemporary music that is pioneering in its programming (02–2005) / and innovative in its repertoire.
    [Show full text]
  • A HISTORY of the OBOE from ANTIQUITY to 1750 Thies IS
    379 A HISTORY OF THE OBOE FROM ANTIQUITY TO 1750 THiES IS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS by Perry 0. Stephens, B. M. E. McKinney, Texas August, 1955 PEFACE The purpose of this study is to trace the development of the oboe and its use from the primitive double reed instruments to the oboes of the Baroque Period. Toward the end of this period the oboe became thoroughly established as an important section in the symphony orchestra and has remained so to the present time. The history of the oboe is not a clearly defined one since it dates from antiquity and has developed with other double reed instruments such as the bagpipe. There have been recent attempts to assimilate the per- formance of music of the Baroque and earlier periods. There- fore, the quality of the sound and the limitations of the instruments must be considered in order to achieve an accu- rate reproduction of the performance. It is in this area that this study should be of some benefit. The writer is primarily concerned with documentary references to the genesis of the oboe. iii TABLE OF CONTENTS Page PRFACE.. .. ... iii LIST OF ILTTTiOK. * v LIST OF PLATES . vii Chapter I. ANTIQUITY TO THE THIRTEEITH CENTURY . * . II. THITEETTH TO TH EIGHTELETH CENTURY . 30 III. THE CULMTINNVPT PERIOD FOR THE OBOE 1700-1750 . * . 64 BIBLIOGRAPHY . * . * 100 iv LIST OF ILLIJSTHATIOJS Fig ure Page 1. Ranges of Bumbardes . 142 2. Lully's "Marche des Dragons du Roi" .
    [Show full text]
  • Volume 35, Number 05 (May 1917) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 5-1-1917 Volume 35, Number 05 (May 1917) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 35, Number 05 (May 1917)." , (1917). https://digitalcommons.gardner-webb.edu/etude/635 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. SYMPHONY NUMBER THE ETUDE PRESSERS MUSICAL MAGAZINE MAY, 1917 FIRST PERFORMANCE IN AMERICA OF GUSTAV MAHLER’S EIGHTH SYMPHONY PHILADELPHIA ORCHESTRA _ PRICE 15 CENTS $1.50 AYEAR THE ETUDE Page 2S9 MAY 1917 Men at the Heights in Almost Evervj Life Vocation Have Climbed There on Home Made Ladders of Opportunity Music boasts its WAGNER, statecraft its LINCOLN, invention its EDISON, literature its SHAKESPEARE, art its MICHAELANGELO, finance and manufacture its ROCKEFELLERS, CARNEGIES, SCHWABS—all supermen wbo owe tbeir greatness not to colleges and universities, but to books and life. Rich and poor, young and old, worker and dreamer, The college merely starts a man. everybody can find help in these wonderful books, because The conservatory merely starts a woman.
    [Show full text]
  • Medium of Performance Thesaurus for Music
    A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭.
    [Show full text]
  • 1. Title Page
    Pedagogical Insights to Successful English Horn Performance: A Guide for College-Level Oboists Item Type text; Electronic Dissertation Authors Behmer, Cynthia Lynn 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 05/10/2021 08:19:42 Link to Item http://hdl.handle.net/10150/202700 PEDAGOGICAL INSIGHTS TO SUCCESSFUL ENGLISH HORN PERFORMANCE: A GUIDE FOR COLLEGE-LEVEL OBOISTS by Cynthia Lynn Behmer ______________________________________ Copyright © Cynthia Lynn Behmer 2011 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2011 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Cynthia Behmer entitled Pedagogical Insights to Successful English Horn Performance: a Guide for College-Level Oboists and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. ____________________________________________________________ Date: 5/19/11 Neil Tatman ____________________________________________________________ Date: 5/19/11 William Dietz ____________________________________________________________ Date: 5/19/11 Jerry Kirkbride Final approval and acceptance of this document is contingent upon the candidate's submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement.
    [Show full text]
  • Twenty Chinese Instruments and "Concerto East and West." (Original Composition)
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1987 Twenty Chinese Instruments and "Concerto East and West." (Original Composition). Wayne Yunwei Chow Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Chow, Wayne Yunwei, "Twenty Chinese Instruments and "Concerto East and West." (Original Composition)." (1987). LSU Historical Dissertations and Theses. 4391. https://digitalcommons.lsu.edu/gradschool_disstheses/4391 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS While the most advanced technology has been used to photograph and reproduce this manuscript, the quality of the reproduction is heavily dependent upon the quality of the material submitted. For example: • Manuscript pages may have indistinct print. In such cases, the best available copy has been filmed. • Manuscripts may not always be complete. In such cases, a note will indicate that it is not possible to obtain missing pages. • Copyrighted material may have been removed from the manuscript. In such cases, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, and charts) are photographed by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each oversize page is also filmed as one exposure and is available, for an additional charge, as a standard 35mm slide or as a 17”x 23” black and white photographic print.
    [Show full text]