Mystery of the Wax Museum: An Original Film Score for Orchestra and an Analysis Outlining the Evolution of Film Music Through American Horror Films of the Early 1930s

This thesis illustrates the transitional period between silent films and fully-scored sound films. Connecting the history between producers, directors, and composers reveals how and why film scoring became an accepted practice by the mid-1930s while shedding light on the commonly-overlooked composers whose innovations in these early films paved the way for future film composers. The principle objective of this project is to score selected sequences of Mystery of the Wax Museum (1933) by synthesizing contemporary film scoring practices with techniques commonly used in horror films of the 1930s. An accompanying analysis of the score will explain the purpose of each cue and how it functions to appropriately enhance the already-completed film. Keywords: Film, Music, Horror, Universal Monsters, Cinema, Film Scor

Zum Ares Borghese

Gegenstand des Artikels ist der statuarische Typus des Ares Borghese, der auf ein klassisch-griechisches Vorbild zurückgeht und in zahlreichen römisch-kaiserzeitlichen Kopien bekannt ist. Eine genaue Beschreibung des Erhaltungszustands der namengebenden und am besten erhaltenen Kopie sowie ein eingehender Vergleich der bekannten Repliken geben eine bessere Vorstellung des verlorenen Originals. Stilistische Vergleiche verhelfen zu einer Datierung ins Jahrzehnt 430/420 v. Chr. Die alte Zuschreibung an Alkamenes kann nicht untermauert werden; dennoch ist zu beachten, dass der Ares Borghese die einzige Statue dieses Gottes aus dem 5. Jh. ist, die auf einer breiten Kopienbasis rekonstruiert werden kann, und dass er der am häufigsten kopierte nicht-polykletische Typus dieser Zeit ist. Hinsichtlich der Rezeption des Typus in der römischen Kaiserzeit existiert eine ganze Reihe von Umdeutungen, als Bildnisträger (von Kaisern und Privatpersonen) sowie als Herakles und Asklepios.The subject of this article is the statuary type of the Ares Borghese, which is based on a classical Greek statue and known in numerous Roman copies. A precise description of the condition of the eponymous and most complete copy and a detailed comparison of the extant replicas give a better idea of the lost original. Stylistic comparisons help in dating the original to the decade 430/420 B.C. The old attribution to Alkamenes can’t be substantiated, but it is noteworthy that the Ares Borghese is the only statue of this god from the 5th century B.C. which can be reconstructed with numerous copies, and that it is the most often copied non-Polycleitan type from this period. Concerning the reception of the type in the Roman Imperial period, there are several transformations, into portraits (of Imperial and ›private‹ persons) as well as into Herakles and Asklepios

Formal Exhibition

This paper examines surface and glaze exploration within ceramic sculpture. By using wheel and hand building techniques to make the foundation of forms, graduate student Brianna Deterling experimented with the surface and non-traditional techniques to give her sculptures an interesting appeal. Her discoveries from these experiments led to expanded possibilities for reaching a final, unified form. This paper supports the artist?s thoughts and the processes of the sculptural forms evolving into quality pieces of art

Factors influencing the lateral spread displacement from the 2011 Christchurch, New Zealand earthquake

textLiquefaction induced lateral spreading during earthquakes poses a significant hazard to infrastructure and has severe consequences. It is critical for geotechnical earthquake engineers to be able to accurately predict lateral spread movements. Empirical and semi-empirical models and various liquefaction index parameters are available to help predict the potential for damage and movements associated with liquefaction and lateral spreading. In this thesis, the available models and liquefaction index parameters were investigated using the observed lateral spread displacements from the Christchurch earthquake in New Zealand. The analysis includes investigation of the Youd et al. (2002), Bardet et al. (2002), Rauch and Martin (2000) and Zhang et al. (2004) displacement models; and the liquefaction potential index (LPI), settlement indicator (Sv1d) and liquefaction severity number (LSN) parameters. The results of this study show that both the Youd et al. (2002) and Bardet et al. (2002) models predict lateral spread displacements much smaller than observed in Christchurch, most likely due to the relatively small magnitude of the Christchurch earthquake (M[subscript w] = 6.2) relative to the earthquake magnitudes included in datasets used to develop the Youd et al. (2002) and Bardet et al. (2002) models (i.e., Mw >= 7.5). The Rauch and Martin (2000) and Zhang et al. (2004) models predicted lateral spread displacements more similar to those observed. The Rauch and Martin (2000) model predicts the average lateral spread displacement over an entire slide area, as opposed to predicting lateral spread displacement at a point, which may have contributed to the more favorable comparison.Civil, Architectural, and Environmental Engineerin