Doctor of Musical Arts, The Ohio State University, 2020, Music

In North American colleges, universities, and conservatories it is not uncommon to find the main languages required of music students to be French, Italian, German, and English. Beyond the scope of these four most common languages, Russian, Spanish, and Czech are sung by more advanced or native singers of the languages; however, many other languages seem to be ignored in academia in both solo performance as well as in choral settings. It is a disservice to limit the scope of languages and repertoire when there exists a plethora of rarely performed compositions; moreover, it is not reasonable for these institutions to limit student's learning because of this “tradition.” Among the overlooked are the Scandinavian languages. This document will specifically address the repertoire of the most renowned Norwegian composer of the nineteenth century, Edvard Grieg (1843-1907). There exist but two published works that provide a singer with the resources to learn the pronunciation of curated Grieg selections. Neither of these resources was written by native Norwegian speakers; therefore, utilizing my linguistic skills as a native speaker and singer I intend this document to be a contribution toward the goal of providing near-native, accurate International Phonetic Alphabet (IPA) transliterations of three song cycles representing Grieg's early, middle, and late writing.

Committee: Scott McCoy (Advisor); Youkyung Bae (Committee Member); Edward Bak (Committee Member); Loretta Robinson (Committee Member) Subjects: Language; Music

Ph.D., Antioch University, 2024, Leadership and Change

The correctional officer (CO) has one of the most critical roles in the correctional setting and is one of the least studied topics amongst criminal justice professionals (Butler et al., 2018). In the United States, a CO's primary responsibility is to ensure the safety and well-being of an incarcerated individual and the staff that work in the prison setting (Cheek, 1984). Paradoxically, in the United States, the CO works in an organizational system based on deprivation and punishment toward incarcerated people. The United States Prison system's current structure does not support rehabilitation efforts of incarcerated people and ultimately impacts any attempts at a successful re-entry into the community (Ahalt et al., 2019). Furthermore, this punitive-oriented organizational structure has acute and deleterious effects on the mental and physical health of the CO. This study used critical incident technique to examine humanizing interactions between corrections officers and incarcerated people, from the perspective of the COs. Participants were asked to identify moments where they felt an incarcerated person (IP) saw their (the COs) humanity, they saw an IPs humanity, and suggestions regarding how corrections leaders could further support a humanizing approach. Findings included three overarching themes which describe the essence of these humanizing interactions: Being Emotionally Available, Responding with Active Support, and Interacting with Intention. Exploration of these critical incidents also revealed that COs experienced a range of positive outcomes from taking a humanizing approach. The goal of the study was to gain insight to the humanizing practices of COs in the United States from the officers' perspectives, which is largely underrepresented. This dissertation concludes with recommendations for COs and corrections leaders to further support and develop humanistic approaches to corrections culture and practice. This dissertation is available in open access (open full item for complete abstract)

Committee: Harriet Schwartz PhD (Committee Chair); Aqeel Tirmizi PhD (Committee Member); Timothy Eklin PhD (Committee Member) Subjects: Criminology

Doctor of Musical Arts, The Ohio State University, 2015, Music

When we think of Norwegian composers, the name Edvard Grieg readily comes to mind, yet we can seldom name others, let alone more contemporary composers. This document explores the twentieth-century flute compositions of Norway, emphasizing Øistein Sommerfeldt, publications by Norsk Musikforlag, and several other Norwegian composers, including Johan Kvandal, Egil Hovland, Carl Gustav Sparre Olsen, and Finn Mortensen. A brief history of Norway with specific emphasis on the country's musical development is included to gain understanding of the events and characteristics that define Norway's musical voice. In addition to a chapter entirely focused on Norway's musical history in the twentieth century, we will examine Norwegian folk music and its resulting impact on several twentieth-century composers. Through an examination of twentieth-century flute music by Norwegian composers, we discover works outside our normal scope, yielding a more comprehensive and globally encompassing standard flute repertoire library.

Committee: Katherine Borst Jones (Advisor); Charles Atkinson (Committee Member); Russel Mikkelson (Committee Member); Karen Pierson (Committee Member) Subjects: Music

Doctor of Musical Arts, The Ohio State University, 2009, Music

Edvard Grieg (1843-1907), Norway's greatest composer of the 19th century, isparticularly known as a lyrical composer of songs and piano miniatures. The great majority of his piano works are short character pieces influenced by the Romantic tradition (mostly in three-part form), with a large part of them especially characterized by the use of Norwegian folk and folk-like melodies, harmonies, and rhythms. Grieg's larger works employing the piano (solo or chamber music) and exploring the sonata form include his Piano Sonata in E Minor, Op.7, a number of chamber music compositions (three Sonatas for Violin and Piano and one Sonata for Cello and Piano), and the most familiar Piano Concerto in A Minor, Op.16. Moreover, his larger-scale piano works include two important essays in the variation form: the Ballade in the Form of Variations on a Norwegian Melody, Op.24, for piano, and the Old Norwegian Melody (Romance) with Variations, Op.51, for two pianos. The Ballade, op.24 is relatively unknown outside Norway (although among Grieg's most significant solo piano works), while the Old Norwegian Melody, Op.51 is a work that most pianists are not familiar with. This document examines Grieg's approach to variation form as illustrated in his keyboard compositions, Ballade, Op.24 and Old Norwegian Melody with Variations, Op.51. Chapter 1 provides a brief introduction to the formal structures used by Grieg in his original keyboard and chamber-music compositions, concentrating on the variation form and aspects of this form that must have attracted Grieg's interest. The chapter introduces the two works discussed in the document and concludes with addressing the topic of this document: Grieg's treatment of the variation procedure (theme and its subsequent variations) in his two keyboard variation sets, both based on Norwegian folk tunes. Chapters 2 and 3 present the historical background and an analytical overview of the Ballade, Op.24 and Old Norwegian Melody, Op.51, discussing struc (open full item for complete abstract)

Committee: STEVEN GLASER (Advisor); KENNETH WILLIAMS (Committee Member); DANIELLE FOSLER-LUSSIER (Committee Member) Subjects: Music

Doctor of Philosophy, The Ohio State University, 2003, English

Although immigration is one of the defining elements of American history and ideology, texts written in the United States in languages other than English have been overlooked within American literary studies, as have the related categories of immigrant, ethnic, and regional writing and publishing. This dissertation addresses the need for studies in multilingual American literature by examining the concept of home or Vesterheimen (literally, “the western home”) in Norwegian-American literature. I argue that ethnic writers use the notion of home to claim and/or criticize American values and to narrate individual and collective identities—in essence, to write themselves into American literature and culture. Hence these “hyphenated” American authors are united in the common imaginative project of creating a home and history in the United States. My project locates and examines Vesterheimen in three main contexts: place, community, and culture. The first part of the dissertation focuses on Norwegian-American print culture as a dynamic force in shaping and promoting ethnic consciousness. The first and second chapters provide case studies on Augsburg Publishing House and one of its feature publications, the Christmas annual Jul i Vesterheimen. I reveal the ways in which Augsburg connects reading practices to class, culture, and citizenship. I also contend that Augsburg and Jul i Vesterheimen attempt to construct ethnic identity, create an historical legacy, and write Norwegian-Americans into the nation as Americans of distinction. The second part of the dissertation examines some of the major themes and issues introduced in the early chapters, especially literary portrayals of place and community in Vesterheimen, via close readings of selected works of Norwegian-American literature. The third chapter considers notions of rootedness and displacement. I argue that place forms a center of meaning in the texts as writers use literature to convey place identity and articulate t (open full item for complete abstract)

Committee: Kristin Fink (Advisor) Subjects:

Master of Arts, Miami University, 2005, Mass Communication

Myths affect children and adults because they help to construct our social worlds and identities. My thesis includes a theatrical play in three acts describing the Norwegian myth of the hulder (huldre plural) and the influences of gender and media in myths and society. Through my thesis analysis, I show how a particular Norwegian myth represents women and is a reflection of our patriarchy, commercialism, and capitalism and how the media influences children's imaginations and adult roles in society. Patriarchy has packaged women as products and has created myths out of women and fantasy; therefore, making women a form of fantasy that can be controlled and separated from reality and the public sphere. However, my theatrical play Lost in The Woods shows that it is possible to create new meanings for these roles in reading and writing against the grain; therefore, cross-cultural myths should be rewritten in a positive light.

Committee: Lisa McLaughlin (Advisor) Subjects: