Patrick Gammie Laurie was a western enthusiast who came west to work as a writer and printer on various newspapers in Manitoba between 1869 and 1878. Eventually he established his own newspaper, the Saskatchewan Herald, which he published from 1878 until 1903. His aspirations for the West were remarkably similar to the national and imperial sentiments expressed by the Canada First Movement. He envisaged an organic, "holistic" society for Western Canada which would be modelled on British customs and institutions.<p>A Conservative politically, Laurie was an ardent supporter of the nation building policies of Sir John A. Macdonald. He was a stern critic of those who disagreed with his visions of an Anglo-Canadian West. Laurie believed that such a society was the only factor to prevent the West from being absorbed into the United States.<p> Laurie was frustrated with the slow progress of settlement. He had difficulty, at times, reconciling his position as a westerner and as a Conservative, and his writings reveal ambiguous and sometimes contradictory arguments on policies that affected Western Canada. Laurie's uncertainties: were due, in part at least, to the difficulties the federal government had ironing out the details of their Land, Railway, Tariff and Inmigration policies to the satisfaction of most westerners.<p>But in spite of the many criticisms Laurie had of government policies, he renamed a loyal Conservative. As an immigrant from Eastern Canada he remained essentially dedicated to the imperial and national ideals as expressed by the Canada First Movement. Laurie saw the West as an integral part of Canada and the Empire and not primarily as a separate region.

Patrick Gammie Laurie was a western enthusiast who came west to work as a writer and printer on various newspapers in Manitoba between 1869 and 1878. Eventually he established his own newspaper, the Saskatchewan Herald, which he published from 1878 until 1903. His aspirations for the West were remarkably similar to the national and imperial sentiments expressed by the Canada First Movement. He envisaged an organic, "holistic" society for Western Canada which would be modelled on British customs and institutions.<p>A Conservative politically, Laurie was an ardent supporter of the nation building policies of Sir John A. Macdonald. He was a stern critic of those who disagreed with his visions of an Anglo-Canadian West. Laurie believed that such a society was the only factor to prevent the West from being absorbed into the United States.<p> Laurie was frustrated with the slow progress of settlement. He had difficulty, at times, reconciling his position as a westerner and as a Conservative, and his writings reveal ambiguous and sometimes contradictory arguments on policies that affected Western Canada. Laurie's uncertainties: were due, in part at least, to the difficulties the federal government had ironing out the details of their Land, Railway, Tariff and Inmigration policies to the satisfaction of most westerners.<p>But in spite of the many criticisms Laurie had of government policies, he renamed a loyal Conservative. As an immigrant from Eastern Canada he remained essentially dedicated to the imperial and national ideals as expressed by the Canada First Movement. Laurie saw the West as an integral part of Canada and the Empire and not primarily as a separate region.

This thesis is an analytical study of various cadenzas written for the first movement of Mozart’s Piano Concerto No.20 in D minor, K.466. As one of the six of his own concertos for which Mozart did not provide an original cadenza, the D minor concerto poses an important challenge to the performer: should she compose or improvise her own cadenza, or should she select one written by someone else? Many composer/pianists active during the nineteenth and twentieth centuries penned cadenzas to this concerto for their own use, and this thesis explores those by August Eberhard Müller, Emanuel Aloys Förster, Ludwig van Beethoven, Johann Nepomuk Hummel, Charles-Valentin Alkan, Clara Schumann, Johannes Brahms, Ferruccio Busoni, Bedrich Smetana and Paul Badura-Skoda. In addition to these written-out cadenzas, it also discusses improvised cadenzas in the recordings by Robert Levin and Chick Corea. Each composer/pianist’s unique compositional style is illuminated through the study of each cadenza, and consideration of these styles allows multiple views on a single concerto. A discussion of the meaning and history of cadenzas precedes the analytical study, and in conclusion, the author contributes her own cadenza.

Este trabalho tem como objetivo e se justifica por analisar o primeiro movimento da Sinfonia n. 3, de Mahler (1860-1911) sob a ótica da vertente teórica que considera a forma como processo, no tempo. Composta em 1895, esta peça apresenta uma combinação de processos harmônicos dilatados pelo uso do cromatismo, entradas sucessivas de elementos temáticos, passagens direcionadas por eventos com flutuações na densidade, textura, timbre e rítmica, o que resultou em certa dissolução nas fronteiras formais tradicionais. Para atingir tal meta, tem por base os conceitos de forma como processo segundo Schmalfeldt (2011); música como processo por Hasty (1997); e breves considerações acerca de filosofia do processo e devir, de acordo com Seibt (2013). De maneira complementar às nossas discussões acerca de forma como processo, o \"modelo\" de Forma Sonata se fundamenta em Hepokosky e Darcy (2006) e as funções formais da sentença, em Caplin (1998). Os gráficos de vozes condutoras schenkerianas são apresentados segundo Forte e Gilbert (1992), e Neumeyer e Tepping (1992); os cinco componentes da tonalidade, de acordo com Tymoczko (2011); aspectos de textura, rítmica e dinâmica têm por base as considerações apresentadas por Berry (1987), Erickson (1975), Kostka (2012) e Schoenberg (2008 [1967]); aspectos de cunho histórico se baseiam principalmente em Fischer (2011) e Liberman (2010). Na conclusão buscamos a inter-relação das questões históricas e as da análise musical, resgatando os principais aspectos de nossa análise processualmente baseada sob a luz de uma reflexão sobre as questões revelados. / This work aims to analyze the first movement of Mahler\'s 3rd Symphony from the perspective of Form as Process. Composed in 1895, this musical piece features a combination of expanded harmonic processes by use of chromaticism, thematic elements, and events with fluctuations in density, texture, timbre and rhythm, which results in some dissolution from formal boundaries. To achieve this goal, we have based on the concepts of Form as Process, according to Schmalfeldt (2011); Music as Process, according to Hasty (1997); and Process Philosophy and Becoming, according to Seibt (2013). Complementary to these ideas we present Sonata Form according to Hepokosky and Darcy (2006) and Sentence according to Caplin (1998). We also present concepts of these authors: Forte and Gilbert (1992) and Neumeyer and Tepping (1992), schenkerian analysis; Tymoczko (2011), Five Components of Tonality; Berry (1987), Erickson (1975), Kostka (2012) and Schoenberg (2008 [1967]), liquidation, aspects of texture, rhythm and dynamic; Fischer (2011) and Liberman (2010), historical perspective. At the conclusion we present reflections about our musical analysis and relate it to historical issues.

Este trabalho tem como objetivo e se justifica por analisar o primeiro movimento da Sinfonia n. 3, de Mahler (1860-1911) sob a ótica da vertente teórica que considera a forma como processo, no tempo. Composta em 1895, esta peça apresenta uma combinação de processos harmônicos dilatados pelo uso do cromatismo, entradas sucessivas de elementos temáticos, passagens direcionadas por eventos com flutuações na densidade, textura, timbre e rítmica, o que resultou em certa dissolução nas fronteiras formais tradicionais. Para atingir tal meta, tem por base os conceitos de forma como processo segundo Schmalfeldt (2011); música como processo por Hasty (1997); e breves considerações acerca de filosofia do processo e devir, de acordo com Seibt (2013). De maneira complementar às nossas discussões acerca de forma como processo, o \"modelo\" de Forma Sonata se fundamenta em Hepokosky e Darcy (2006) e as funções formais da sentença, em Caplin (1998). Os gráficos de vozes condutoras schenkerianas são apresentados segundo Forte e Gilbert (1992), e Neumeyer e Tepping (1992); os cinco componentes da tonalidade, de acordo com Tymoczko (2011); aspectos de textura, rítmica e dinâmica têm por base as considerações apresentadas por Berry (1987), Erickson (1975), Kostka (2012) e Schoenberg (2008 [1967]); aspectos de cunho histórico se baseiam principalmente em Fischer (2011) e Liberman (2010). Na conclusão buscamos a inter-relação das questões históricas e as da análise musical, resgatando os principais aspectos de nossa análise processualmente baseada sob a luz de uma reflexão sobre as questões revelados. / This work aims to analyze the first movement of Mahler\'s 3rd Symphony from the perspective of Form as Process. Composed in 1895, this musical piece features a combination of expanded harmonic processes by use of chromaticism, thematic elements, and events with fluctuations in density, texture, timbre and rhythm, which results in some dissolution from formal boundaries. To achieve this goal, we have based on the concepts of Form as Process, according to Schmalfeldt (2011); Music as Process, according to Hasty (1997); and Process Philosophy and Becoming, according to Seibt (2013). Complementary to these ideas we present Sonata Form according to Hepokosky and Darcy (2006) and Sentence according to Caplin (1998). We also present concepts of these authors: Forte and Gilbert (1992) and Neumeyer and Tepping (1992), schenkerian analysis; Tymoczko (2011), Five Components of Tonality; Berry (1987), Erickson (1975), Kostka (2012) and Schoenberg (2008 [1967]), liquidation, aspects of texture, rhythm and dynamic; Fischer (2011) and Liberman (2010), historical perspective. At the conclusion we present reflections about our musical analysis and relate it to historical issues.

This thesis sets out to demonstrate the role of Western missionaries and Korean Christians, especially Protestants, on Korean nationalism. The first significant introduction of Protestantism into Korea came in 1884. Within just over thirty years, the Protestant Church in Korea expanded and many of the nationalist leaders took active roles in the Korean nationalist movement against Japanese imperialism. This thesis consults both Western and Korean primary sources including period newspapers. Some of the Korean primary sources were translated from Korean into English and others were originally written in English by Koreans. Also consulted are many valuable secondary sources which help further shed light on the subject at hand and give credence to the thesis. Chapters 2-4 show the direct contributions of Western missionaries to Korean nationalism and Chapters 5-7 show the indirect contributions of Western missionaries by the direct involvement of Korean Christians in their fight for independence against the old Korean order and Japan.

“The Roots of Puritanism in the Korean Presbyterian Church” offers an analysis on Puritanism and an alternative to the contemporary Korean Presbyterian Church, which has lost its course; specifically in the current century of mission in Korea. The reasons for the abovementioned idea are as follows. Firstly, Puritanism was not foreign concept to Korean Christians, who have had contact with the concept before. Early missionaries in America fought against Conservatism (or Fundamentalism) and Liberalism. The conservative camp especially tried to hold on to the Westminster Confession of Faith and the authority of the Bible. These were the representatives of Puritan legacies. Puritanism was naturally implanted into Korean soil through early foreign missionaries who preached the Gospel. Therefore, the suggested idea must take on the character not of a creation but of a restoration in terms of the Korean Presbyterian Church. Secondly, it is due to its confidence that the Puritans pursuing points, which tried to establish the whole society on the basis of the Bible, are the answer to the contemporary Korean Presbyterian Church, which has stagnated in both number and quality of faith. The Puritans did not separate faith from the secular world. Instead, they tried to establish their society on the Bible. The Covenant with the church and the state as well as the individual was a strong vehicle for their thoughts. Their ultimate aim was piety in the presence of God. Meanwhile, the early Korean Presbyterian Church adopted the Twelve Articles of Faith and the Westminster Confession of Faith as official creeds. It meant that the Korean Presbyterian Church kept the Puritan point of the Bible and faith from 1884 to the middle of the 1930’s. The faculty of Pyungyang Theological Seminary, which was a unique training school for would-be ministers, taught the Puritan faith and theology thoroughly. However, Korean political changes tremendously influenced her Christianity. During the period of Japanese Imperialism (1919-1945), the early conservative faith and theology had to face the challenge of Liberalism. The whole of the Korean Presbyterian Church submitted to the Japanese iron-fisted rule and Shrine Worship in 1937. However, the Puritan faith and theology were rediscovered through the faith of the few resistors of Japanese rule. After Liberation from Japan in 1945, the antagonism of ideology caused Korea divided into two. On the one hand, North Korea fell under the banner of communism, which thoroughly eradicated the church in terms of its ideology more than the Japanese did. On the other hand, South Korea joined under the banner of democracy and churches were found to be in an unparalleled prosperous condition. The few resistors of Japanese imperialism cried out for the Puritan faith and demanded that the Korean Church should officially repent the sin of Japanese Shrine worship. However, an overwhelming majority consisting of the ecclesiastical authorities rejected their proposal as well as their faith and treated them as religious outcasts. The few resistors detached themselves from the established denomination and formed the Goshin Party. After the separation, schisms of denomination accelerated, because of differences in faith and theology or religious concession. In addition, Pentecostal theology and its spirituality as a substitute to Puritanism were more dominant in Korean Christianity than any other denominations. The Private experience and the charismata of the Holy Spirit were the keys points of the Pentecostal movement. They contributed to the concern and development of Pneumatology in Korean Christianity. However, Pentecostalism made the Presbyterian Church interpret the Bible without theological balance. The church began to seek material blessings instead of spiritual ones and to the pursuit of this world instead of the next. In addition, the Presbyterian Church was only concerned with itself without being indifferent to the ungodly society beyond itself. In conclusion, the restoration of Puritanism, which tried to base both the society and the church on the foundation of the Bible, is the best solution to the future contemporary Presbyterian Church. / Thesis (PhD (Church History and Church Polity))--University of Pretoria, 2008. / Church History and Church Policy / PhD / unrestricted