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General education requirements comprise, on average, approximately 30% of the undergraduate curriculum and therefore represent an important feature of the student academic experience in American colleges and universities. Previous studies have not fully examined the origins of the most important models of general education, the distribution of these models among higher education institutions, or the causes for change in general education requirements over time. In this study, the authors describe and analyze the organization of general education requirements in U.S. four-year colleges and universities over a 25-year period, 1975-2000. They show that four models of general education persisted throughout the period. They will label these the "core distribution areas," "traditional liberal arts," "cultures and ethics," and "civic/utilitarian" models. They show that two of these models arose near the beginning date of the study. The rise of these new models is one important change in general education. Another is the addition of new subject requirements, particularly in areas related to basic academic skills, gender and racial-ethnic diversity, and non-Western cultures. These course-level changes, the authors will argue, reflect responses to the deeper-lying forces of expansion and diversification of higher education, as interpreted by influential actors in the system. The authors conclude by discussing the implications of their study for the further development of institutional theory, and particularly for the analysis of institutional change. (Contains 3 tables, 2 figures and 15 notes.)

Interpretations of Gustav Holst's The Planets traditionally gravitate around assumptions that Holst was depicting Roman mythology, astrological horoscopes, or astronomical science. But there are numerous contradictions problematizing each of these theories, and even an amalgamation of the three does not fully explain the enigmatic features of this work. Our interpretation of The Planets proposes that Holst envisioned this interplanetary voyage as a metaphorical escape from the bustle of society and even from life itself. We form this interpretation by drawing upon biographical information and intertextual references, as well as an analog to proxemics within pitch-class set theory. [ABSTRACT FROM AUTHOR]

A hybridization of two recent innovations in music theory—a focus on the progression of two triads as a unitary analytical object, and a component-wise formation of a set of equivalence classes—brings together under one conceptual and labeling system eight different approaches to the classification of harmonic progression. A holistic adoption of these eight approaches, each already preexisting within music scholarship in some partial or complete form, affords precise and gradated statements regarding the styles, associative meanings, and hermeneutics of music for recent multimedia. To that end, this article pays particular attention to progressions of like-moded triads a major third apart, as demonstrated through analyses of music for the television series Bridgerton and the movie Ex Machina. [ABSTRACT FROM AUTHOR]

After his examination of "Gandalf's Rescue", Lehman puts forth two conversely related claims: "Chromaticism using triads is I the i primary agent for connoting astonishment in mainstream film scoring", and "a sense of wonder is the central aesthetic goal of filmic pantriadicism" (167). 5 Lehman's figure 3.7b shows all six of these flips, but they are demonstrated as emanating one way (with single-tipped arrows) from a major triad in particular, which, having used such a major-triad-biased diagram with students before, I have found can constrain a learner's spatial conceptualization of these transformations. But these conditionals merely make more accessible the more abstruse idea, well discussed in Klumpenhouwer [11], that a particular NRT word moves the root of a triad by a particular number of semitones in the same "direction" as the triad "points", regardless of which direction the triad is "pointing" - that is, the triad's modal orientation. Following Tymoczko's ([27]) parametric approach to tonality, Lehman chooses three dimensions to frame this larger domain - diatonicity, functionality, and centricity - which he calls "triadic tonality space", shown in Figure 1. [Extracted from the article]

Saul Bass and Bernard Herrmann provided the visuals and music, respectively, for the main title of Alfred Hitchcock's 1958 movie Vertigo. These artworks correspond with one another in three ways. First, when aligning two dimensions of visual and pitch brightness, a portion of each artwork moves through this two-dimensional space using a similar path. Second, when arranging some of the tonal materials onto a certain space, these materials transform into each other using transformations similar to those that animate some of the visual designs. Third, under partial enharmonic equivalence, these pitch spaces curl into a partly-closed and partly-open shape that closely resembles manipulated visual forms whose looped closure is partially obscured. The first and third ways shed significant light on the film's narrative, and the first way in particular parallels the film's central dramatic form. [ABSTRACT FROM AUTHOR]