The purpose of this dissertation was to research harp solos written by Canadian composers in the twentieth century and to determine factors that could have contributed to the rise in output of harp literature in Canada during that period. In addition to research of existing writings, interviews with two performers, Erica Goodman and Judy Loman, and two composers, Marjan Mozetich and R. Murray Schafer, were conducted. Analysis of six selected works from 1957 to 2002, Little Suite by Robert Turner, The Crown of Ariadne by R. Murray Schafer, Fifteen Pieces for Harp by John Weinzweig, From the Eastern Gate by Alexina Louie, Songs of Nymphs by Marjan Mozetich, and the King David Sonata by Srul Irving Glick, showed the diversity of output and provided opportunity to look for common elements. The factors that coincided with the increase in solo harp literature by Canadian composers included an increase in the number of professional harpists and composers, government support through commissioning grants, trends in solo literature at large, and avenues for performance. Specific motivations for the cases studied included commissions, respect for virtuosic harpists, interest in composers’ works, opportunities for performance and audience exposure to new works. / Review of literature -- Interviews -- Little suite by Robert Turner (1957) -- The crown of Ariadne by R. Murray Schafer (1979) -- Fifteen pieces for harp by John Weinzweig (1983) -- From the eastern gate by Alexina Louie (1985) -- Songs of nymphs by Marjan Mozetich (1988) -- King David sonata by Srul Irving Glick (1998) -- Conclusion. / School of Music

Ng Cheuk-yin Peter. / Thesis submitted in: Dec 2000. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2001. / Abstracts in English and Chinese. / Chapter Composition 1 --- The City that Never Sleeps 《不夜城》 for Chinese Orchestra / Chapter Composition 2 --- The Clouds 《行雲》 for Chinese Orchestra / Chapter Composition 3 --- Flowers 《花》 for and Harp / Chapter Composition 4 --- Static Days for orchestra

Η εγκαθίδρυση και ανάπτυξη καρκίνου του προστάτη διαμεσολαβείται από τη δράση μιας πλειάδας ογκογενετικών αυξητικών παραγόντων. Μέχρι σήμερα έχει αναδειχθεί η εμπλοκή του αυξητικού παράγοντα HARP στην ανάπτυξη καρκινικών όγκων διαφορετικής προελεύσεως. Στην παρούσα εργασία, διερευνήθηκε η πιθανή συμμετοχή της HARP στην ανάπτυξη καρκίνου του προστάτη. Με εφαρμογή μιας αντινοηματικής στρατηγικής πραγματοποιήθηκε καταστολή έκφρασης της HARP στην καρκινική κυτταρική σειρά προστάτη LNCaP και μελετήθηκε τόσο ο ρόλος της HARP στην αύξηση και μεταναστευτική ικανότητα των καρκινικών κυττάρων, όσο και η ενδεχόμενη αγγειογενετική δράση της in vitro και in vivo. Η εξωγενώς χορηγούμενη ανασυνδυασμένη HARP ανθρώπου, ήταν μιτογόνος για τα κύτταρα LNCaP. Επιπρόσθετα η καταστολή έκφρασης της ενδογενούς HARP, ανέδειξε την αναγκαιότητα του συγκεκριμένου αυξητικού παράγοντα για τη μετανάστευση των κυττάρων LNCaP καθώς και για την κυτταρική αύξηση τόσο σε συνθήκες εξαρτώμενες όσο και ανεξάρτητες από την προσκόλληση σε υπόστρωμα. Οι επαγόμενες, από τα κύτταρα LNCaP, λειτουργίες των ενδοθηλιακών κυττάρων in vitro και ο σχηματισμός νέων αγγείων in vivo, αναχαιτίστηκαν όταν ανεστάλη η έκφραση της HARP. Ο αυξητικός παράγοντας ινοβλαστών FGF-2 είναι ένας πλειοτροπικός αυξητικός παράγοντας, ο οποίος διαδραματίζει σημαντικό ρόλο στην εγκαθίδρυση και ανάπτυξη καρκίνου του προστάτη. Τα αποτελέσματα της παρούσας διατριβής, κατέδειξαν ότι ο FGF-2 δύναται να επάγει σε σημαντικό ποσοστό τον πολλαπλασιασμό και τη μετανάστευση των κυττάρων LNCaP. Το μόριο της HARP φαίνεται να μεσολαβεί προκειμένου να εκδηλωθούν οι διεγερτικές δράσεις του FGF-2, δεδομένου ότι τελευταίος δεν επηρέασε αντίστοιχες λειτουργίες των κυττάρων LNCaP στα οποία είχε κατασταλεί η έκφραση της HARP. Επιπλέον, ο FGF-2 διέγειρε την έκφραση και έκκριση της HARP από τα κύτταρα LNCaP και αύξησε τη δραστηριότητα λουσιφεράσης πλασμιδιακού οχήματος αναφοράς, στο οποίο είχε κλωνοποιηθεί η ρυθμιστική περιοχή του γονιδίου της HARP. Ο ειδικός αναστολέας του υποδοχέα FGFR-1, SU-5402, αναχαίτισε την επαγόμενη από τον FGF-2 ενεργοποίηση του γονιδίου της HARP και την επακόλουθη έκκριση της πρωτεΐνης, οδηγώντας με τον τρόπο αυτό σε εξασθένιση του κυτταρικού πολλαπλασιασμού. Επώαση των κυττάρων LNCaP με πυροσταφυλικό νάτριο, το οποίο απομακρύνει με έμμεσο τρόπο το υπεροξείδιο του υδρογόνου, ανέδειξε την εξάρτηση των διεγερτικών δράσεων του FGF-2 από την ενδοκυτταρική παραγωγή υπεροξειδίου του υδρογόνου, ενώ ανάσχεση της δραστικότητας του FGFR-1 ανέστειλε τον επαγόμενο από τον FGF-2 σχηματισμό δραστικών μορφών οξυγόνου. Με χρησιμοποίηση ολιγονουκλεοτιδικών δολωμάτων έναντι του ΑΡ-1 και εφαρμογή κατευθυνόμενης μεταλλαξιγένεσης στη ρυθμιστική περιοχή του γονιδίου της HARP, διαπιστώθηκε η εμπλοκή του ΑΡ-1 στην επαγόμενη από τον FGF-2 έκφραση και έκκριση της HARP. Η επίδραση του FGF-2 στα κύτταρα LNCaP, φαίνεται να οφείλεται στη δέσμευση των Fra-1, JunD και της ενεργού μορφής της c-Jun στη ρυθμιστική περιοχή του γονιδίου της HARP. Συμπερασματικά, καταδεικνύεται ο σημαντικός ρυθμιστικός ρόλος του αυξητικού παράγοντα HARP σε ποικίλες βιολογικές διεργασίες των καρκινικών κυττάρων ανθρώπινου προστάτη. Επιπλέον, στην παρούσα εργασία προτείνεται ο ρόλος και ο μηχανισμός δράσης του αυξητικού παράγοντα FGF-2 στα κύτταρα LNCaP, ενώ ταυτόχρονα αντικατοπτρίζεται η πολυπλοκότητα των μονοπατιών αυξητικών παραγόντων που εμπλέκονται στον καρκίνο του προστάτη. / The development and growth of human prostate cancer is mediated by many tumor cell-derived growth factors. Heparin affin regulatory peptide (HARP) seems to be involved in the progression of several tumors of diverse origin. In the present work, we sought to determine if HARP is implicated in human prostate cancer. An antisense strategy for inhibition of HARP expression in the human prostate cancer cell line LNCaP was used to study the role of HARP on cancer cell growth, migration and angiogenic potential in vitro and in vivo. Exogenous human recombinant HARP was mitogenic for LNCaP cells. By decreasing the expression of endogenous HARP, we found that HARP was essential for LNCaP cell migration, as well as anchorage-dependent and independent growth. Endothelial cell functions in vitro and blood vessel formation in vivo induced by LNCaP cells were also inhibited when HARP expression was diminished. Fibroblast growth factor 2 (FGF-2) is a pleiotropic growth factor that has been implicated in prostate carcinoma formation and progression. In the present study we found that exogenous FGF-2 significantly increased human prostate cancer LNCaP cell proliferation and migration. HARP seems to be an important mediator of FGF-2 stimulatory effects, since the latter had no effect on stably transfected LNCaP cells that did not express HARP. Moreover, FGF-2 significantly induced HARP expression and secretion by LNCaP cells and increased luciferase activity of a reporter gene vector carrying the full length promoter of HARP gene. The FGFR1-specific inhibitor SU-5402 blocked the FGF-2-increased HARP gene activation and the consequent protein release, leading to impairment of LNCaP cell proliferation. Treatment of LNCaP cells with the hydrogen peroxide scavenger pyruvate, pointed to the dependence of FGF-2-induced HARP expression and LNCaP cell proliferation on hydrogen peroxide generation, and blockade of FGFR1 activity abrogated the FGF-2-induced production of reactive oxygen species. Activator protein-1 (AP-1) seems to be involved in FGF-2-stimulated HARP expression and secretion by LNCaP cells, as revealed using AP-1 decoy oligonucleotides and point mutation analyses in the HARP gene promoter. Binding of AP-1 complexes consisting of Fra-1, JunD and phospho-c-Jun, to the HARP promoter seems to be amenable for FGF-2 effect. These results point to an important regulator role of HARP in diverse biological activities in human prostate cancer cells. Furthermore, the present work establishes the role and the mode of activity of FGF-2 in LNCaP cells and reflects the many-sidedness of growth factor pathways within prostate cancer.

The Jew’s harp is unique among instruments, and in its apparent simplicity it is deceptive. It has been adapted to a wide array of cultural contexts worldwide and a diverse range of playing techniques, which, upon closer examination, reveal much about the cultures that generate them. Drawing on perspectives from organology, ethnomusicology, comparative musicology, ethnography, material culture, and the anthropology of the body, I situate my approach to the study of musical instruments as one that examines the object on three levels: physically (the interaction between the human body and the body of the instrument), culturally (the contexts in which it is used), and musically (the way it is played and conceptualized as a musical instrument). Integrating written, ethnographic, and musical evidence, this study begins broadly and theoretically, then gradually sharpens focus to a general examination of the Jew’s harp, finally looking at a single Jew’s harp tradition in detail. Using a case study of the Balinese Jew’s harp genggong, I demonstrate how the study of musical instruments is a untapped reservoir of information that can enhance our understanding of the human relationship with sound.

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The Jew’s harp is unique among instruments, and in its apparent simplicity it is deceptive. It has been adapted to a wide array of cultural contexts worldwide and a diverse range of playing techniques, which, upon closer examination, reveal much about the cultures that generate them. Drawing on perspectives from organology, ethnomusicology, comparative musicology, ethnography, material culture, and the anthropology of the body, I situate my approach to the study of musical instruments as one that examines the object on three levels: physically (the interaction between the human body and the body of the instrument), culturally (the contexts in which it is used), and musically (the way it is played and conceptualized as a musical instrument). Integrating written, ethnographic, and musical evidence, this study begins broadly and theoretically, then gradually sharpens focus to a general examination of the Jew’s harp, finally looking at a single Jew’s harp tradition in detail. Using a case study of the Balinese Jew’s harp genggong, I demonstrate how the study of musical instruments is a untapped reservoir of information that can enhance our understanding of the human relationship with sound.

Thesis (Ph.D.) - University of St Andrews, April 2006.

Thesis (Ph. D.)--University of Texas at Austin, 1982. / Vita. Includes bibliographical references (leaves 920-946). Discography: leaf 947.

The metal strung harp indigenous to Ireland and Scotland from the Medieval period to the end of the 18th century was widely admired throughout its time period, and is now an important part of the cultural and musical heritage of both of these countries. This type of harp, known as the 'Irish harp', cláirseach, or clàrsach, currently has 18 known surviving instruments, including two sets of fragments. All of these harps are now too fragile to be played, therefore musicians and audiences wishing to explore the performance practice and repertory associated with them must rely on faithful replicas. The extensive knowledge and understanding of the construction of the surviving harps that is crucial to building these replica instruments is currently very limited, however. Although harps of this type enjoyed a long period of use dating back to the Medieval period, most surviving instruments post-date the beginning of the 17th century. Two harps belonging to the National Museum of Scotland, the 'Queen Mary' and 'Lamont', generally dated to circa the 15th century, are understood to be two of the oldest extant examples, making a study of their construction of particular interest. This dissertation presents the results of a comprehensive study of the construction of these two harps. A methodology was developed to address the issue of their uniqueness and fragility by combining the techniques used for non- and minimally destructive analysis of archeological artefacts with non-invasive medical diagnostic imaging. This study has utilized CT-scanning to provide three-dimensional radiography of each harp; XRF and SEM-EDX analysis to identify woods, metals, and pigments; photography and microscopy to record the decorative work, visible damage, repairs, and modifications; and a visual examination to assess the current state of each harp and to identify areas of interest for further analysis. The CT scanning was conducted at the Clinical Research Imaging Centre of Queen's Medical Research Institute, and the remainder of the analysis was conducted at the National Museums Scotland Collections Centre. Staff at both centres kindly facilitated the acquisition of the data for this study. Part I of this dissertation discusses the stringing of the instruments, presenting materials analysis of wire fragments, analysis of the effect of damage to the frames on the length and number of strings, and proposed reconstructions of the 'as-built' string lengths. Possible solutions for the pitch and gamut of each harp are also discussed. The construction of the harps is discussed where it is relevant to understanding the stringing. Part II presents a general discussion of the construction of each harp, including materials, decorative work, modifications, and signs of wear. This section also discusses evidence that may help establish dates of construction and timelines of modifications. Diagrams showing the dimensions of each harp are also presented. The implications of the results of this study for current understanding of these harps are discussed in detail and the methodology employed is discussed in terms of its applicability to future research of other surviving instruments.

The Jew’s harp is unique among instruments, and in its apparent simplicity it is deceptive. It has been adapted to a wide array of cultural contexts worldwide and a diverse range of playing techniques, which, upon closer examination, reveal much about the cultures that generate them. Drawing on perspectives from organology, ethnomusicology, comparative musicology, ethnography, material culture, and the anthropology of the body, I situate my approach to the study of musical instruments as one that examines the object on three levels: physically (the interaction between the human body and the body of the instrument), culturally (the contexts in which it is used), and musically (the way it is played and conceptualized as a musical instrument). Integrating written, ethnographic, and musical evidence, this study begins broadly and theoretically, then gradually sharpens focus to a general examination of the Jew’s harp, finally looking at a single Jew’s harp tradition in detail. Using a case study of the Balinese Jew’s harp genggong, I demonstrate how the study of musical instruments is a untapped reservoir of information that can enhance our understanding of the human relationship with sound. / Arts, Faculty of / Music, School of / Graduate