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Leung Choi Ha. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2001. / Includes bibliographical references (leaves 119-121). / Abstracts in English and Chinese. / Introduction --- p.1 / Chapter Chapter1 --- The Meaninglessness of Existence --- p.11 / Chapter Chapter2 --- Tension and Alienation --- p.40 / Chapter Chapter3 --- Man's Power of Choice --- p.64 / Chapter Chapter4 --- The Power of the Poet --- p.89 / Conclusion --- p.111 / Works Cited --- p.119

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Charles Edward Ives was the first twentieth-century North American composer to write from a purely American perspective. His music also anticipated many of the stylistic features which characterize later twentieth-century music. This study begins with an examination of secondary literature to show how other scholars have interpreted Ives's music. Few projects have dealt with the question of coherence in Ives's music, in large part due to the seemingly disjunct nature of the music. Unity and coherence were overriding concerns to Ives, as is evident in his writings which are strongly steeped in transcendental philosophy. The second part of the thesis presents analyses of four songs from the 114 Songs: "The Cage," "Ann Street," "Like a Sick Eagle," and "At the River." Linear techniques in concert with the labelling system of pitch-class set theory are the principal analytical tools used to investigate the songs. The analyses begin from the premise that each song contains an underlying compositional plan and is a coherent whole.

This study examines the expressed thoughts, writings, objectives, and actions of peace advocate Norman Angell in the critical years of the First World War and attempts to ascertain if and how his objectives and methods of operation changed. As a basis for comparison, Angell's earlier life is briefly examined. Because Angell first achieved prominence with the publication and success of his book, The Great Illusion, activities growing out of that success, including the Norman Angell movement, also are examined.

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