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The history of the town and district of Coronation, Alberta, was written with two objectives in mind. The first was to recreate the beginnings and growth of a prairie town in an attempt to portray the general tone, character, and purpose of country living, as well as the hopes, thoughts, and feelings of rural and small town folk. This was to be achieved by tracing in detail the development of a special prairie community, but, at the same time, it was felt that such a story of one settlement in a semi-dry area would typify the history of dry belt pioneering throughout much of the West. This was my second aim. Typical of the West was the diversity of language and national origin of Coronation's early settlers. Typical also were the reasons for leaving their homeland and their methods of travel. Like most pioneers of the semi-dry belt they had been led to expect a land of everlasting plenty; instead they found hardships almost impossible to overcome. In common with the rest of the West their fortunes rose or fell according to the crop year, but, typical of the dry areas, their crop failures were far more numerous than in districts more blessed with rain. Typical, too, was the overdependence on wheat and the overinvestment in land -- factors leading to ruin in the hungry Thirties. And, as depression and frustration took the place of wild expansion and unbridled optimism, the people of Coronation joined their neighbours in the fight for a farmers' government to oppose the suspected dominance of eastern big-business interests. Finally, with the rebounding faith so typical of the West, Coronationites were quick to forget the hardships of the past with the promise of good times to come. In order to set the stage for my detailed study I have purposely included a fairly extensive introductory chapter. Here I have discussed briefly the main steps in western development, from the time of Confederation up to the early 1900's, when Coronation's story really begins. By first presenting a general picture of what was happening throughout the entire West, I felt that my story of one community could slip more readily into proper perspective. / Arts, Faculty of / History, Department of / Graduate

In this study I attempted to create a historically informed performance of Handel's Four Coronation Anthems at the pitch of a1 = 423, without the benefit of baroque instruments. The issue of lowering the performance pitch from a1 = 440 to a1 = 423 had varying effects on the singers and instrumentalists. Replicating the baroque sound required some modifications to modern instruments and some mental and vocal adjustments for the singers. Several singers experienced vocal relief due to the lowered pitch, while some instrumentalists were faced with re-adjusting their technique to compensate for the modifications made to their instruments. The modifications ranged from exchanging the violin and viola strings from steel to gut to lengthening the oboe reeds and the bassoon's bocal enough to effectively lower the pitch almost a half step, or .17 Hertz (Hz.). Through the aid of audio and visual recordings of the performance and the performer's questionnaires, several discoveries were made about creating a historically informed performance. Primarily, when changing the pitch of a composition, it is better to adjust the pitch in half steps rather than quarter-tone increments. It was further revealed when changing the pitch that some singers experienced difficulty maintaining pitch due to their vocal muscle memory, whereas, some instrumentalists possess varying degrees of individual pitch memory and perception. In order to deal effectively with the issue of maintaining pitch, it was revealed that it is important to have more rehearsal time at the adjusted pitch. With respect to the modifications made to the instruments, it is vital to the success of the performance to allow the players enough time with modified instruments to be able to maintain consistent tuning within the instrument. The musician's individual pitch perception and preference have an affect on the performance, and the conductor would be well advised to refer to the discoveries presented in this document. This study was successful in discovering ways to present a historically informed performance at a pitch other than a1 = 440 and several suggestions for creating further historically informed performances were explored.

The crowning of a King or Queen of England is and remains an essential part of English tradition. For centuries, British subjects have flocked to the city streets to catch a glimpse of their next monarch. For the Tudors, the spectacle of pageantry was often an ostentatious display of wealth and grandeur. Using horses as an historical lens, this study will examine four different components of equestrianism in Tudor coronation ceremonies: The King’s Champion, the Gilded Spurs, the Master of the Horse, and the Horse of Honor. Despite significant political, religious, and cultural changes that occurred during the Tudor era, these four components remained an essential part of coronation ceremonies and, indeed, was elevated in status, identity, and symbolism to parallel the rise of horse culture in early modern England.

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To the coronations which took place in Pre-White time, not enough attention has been paid yet. As it appears, enough accounts were preserved not only in contemporary prints but also in manuscript sources - in the works of chroniclers, in memories of persons present and above all in official and private correspondence. In addition to writen sources also material sorces and great part of iconographic sources have been preserved. The elaboration and evaluation of the sources to one of them, to the coronation of Matthias of Habsburg in Prague on May 23rd 1611, is a subject of the first half of this thesis. The coronation in the life of souvereign is a ceremony that generally certificates his leading position in the country. This ceremony customary is executed in accordance to the prede- terminated order. In case of the lands of Bohemian crown binding form has been set by coronation order of Bohemian kings Ordo ad coronandum Regem Bohemorum, prepared by Charles IV. The main core of this order was maintained also by Matthias coronation. His coronation in the cathedrale of Saint Vitus was a festive ceremony strongly influenced by then political situation. It placed under the strong protection of troops, excluding the general public, mostly ordinary people. Despite of it the ceromony was performed with...

This thesis provides a detailed interpretation of three key texts described in Egyptological research as "coronation inscriptions:" the Historical Inscription of Hatshepsut, Thutmose III's Texte de la jeunesse, and Horemheb's Turin inscription. Similarities and differences between these texts, as well as other sources, both textual and pictorial, are discussed. A clear terminology is laid out, distinguishing between accession (the royal heir becoming king at the death of their predecessor), crowning (the action of placing the crowns on the new king's head), and coronation ceremony (following the accession by some time on which occasion the new ruler would have been bestowed with the crowns and regalia of his office, perhaps for the first time). The main aim of this thesis is to determine whether it would be accurate to label the discussed texts as coronation inscriptions and, if not, how they can best be described. It is determined that the evidence supports the earlier conclusion reached by Redford, that it would be incorrect to speak of a “coronation ceremony” in the dynastic period, for new kings would have been crowned at their accessions in a palace setting, soon after the death of their predecessors, this followed some time later by a public “appearance ceremony” in a temple festival setting. While it is determined that Thutmose III's inscription describes the time when kingship was predicted to him, it is concluded that the Hatshepsut and Horemheb texts narrate exceptional events on which occasion their accessions in a palace and public "appearance ceremonies" intersected.

Nous proposons une appréhension conjointe de la royauté dans ces trois royaumes de l’Orient chrétien, établis respectivement à la fin des XIe et XIIe siècles, ce qui constitue une approche historique et anthropologique inédite. Ces royaumes partagent l’originalité de situations de fondation ou de refondation qui permettent d’envisager non seulement les cadres structurels mais surtout le substrat théorique qui sous-entend la construction étatique. Dans les cas que nous étudions, cela se traduit par le choix, non automatique et donc réfléchi, d’une forme de gouvernement par l’instauration d’une royauté. Nous nous interrogeons sur son unicité, la solidité de ses structures et finalement son caractère dynamique puisqu’elle s’articule sur une communauté actrice de sa fondation, de sa délégation et de son exercice même. Et ces royautés s’établissent sur des espaces nouveaux qui nécessitent des territorialisations dont les aspects symboliques sont remarquables et plus prégnants que les réalités parfois altérées.À partir d’un large corpus de documents, notre analyse est fondée sur la notion de représentation qui induit un processus de diffusion, d’acceptation et révèle la malléabilité du concept de royauté intrinsèquement lié à des éléments de dynamiques internes et externes. La royauté s’avère alors avant tout interactive, fondée sur un faisceau de légitimités concourantes plus que concurrentes, renvoyant à ses dimensions plurielles. Les parts collectives et personnelles s’imbriquent, supposant un pouvoir plus partagé que délégué avec une diversité d’acteurs. / We propose a joint apprehension of those three kingdoms in Christian East, which is an original historical and anthropological analysis. Those kingdoms share the original aspect of being state’s foundation, so we consider the structural and theoretical frameworks which underlie the state construction. In those cases it appears that the choice of a kingship as a government way in conscious and well-considered. We wonder about its uniqueness and its dynamics because this kingship is built by an active community of the constituents of the kingdoms which work for its foundation, its exercise and its delegation. These kingships settle in new spaces which need to be characterized and present symbolic aspects in link with the Holy land. From a wide corpus of documents, we analyze the concept of representation: the process of acceptance of power with its ways and supports of diffusion, its contents, particularly how they are defined by the actors of kingship themselves in order to justify the mediating and eminent position of the king.