The dissertation seeks to rediscover Julius Schloss, a German Jewish composer victimized by the Nazis. Except for the promising start of his career in his early years, Schloss suffered a hard life as an exiled refugee. However, his unusual experiences inspired him to compose two Chinese Rhapsodies during his last years of exile in Shanghai, in which he synthesized Western composition techniques and Chinese folk materials, amalgamating influences from both Western and Eastern music cultures. Focusing on Schloss's First Chinese Rhapsody, the dissertation explores how Schloss links the new to the old, the West to the East, through an analysis of the way he employs Chinese folk song material and serial polyphonic voice-leading in his post-tonal musical language. Since the Rhapsody has both serial and polyphonic voice-leading aspects, both are analyzed, showing how they are integrated in the form.

Time for Bee consists of a series of ten original musical/theatrical compositions created between September 1992 and January 1994, first performed on the evening of January 28, 1994 in the Recital Hall of the University of British Columbia. While each of the works can be performed individually, it was the composer’s intent to create a recital which is logical in its progression. This should suggest that in some way the pieces belong together as a larger whole. The concept of “waiting” circulates throughout all the works, in the sense that the actual material is either minimalist (and so one is forced to “wait” for changes), or the philosophy behind a given piece is similarly based, but may not be evident in the sounding music. The studies in the music machine, for example, try to incorporate necessary stage changes between pieces (and the waiting the audience goes through) into musical events about such waiting. A secondary interest concerns the concept of contradiction. The majority of the works are, for example, based upon high-sounding textures (flute, violin, clarinet, high piano and mallets, etc). The studies in the music machine attempt to introduce low-sounding textures as a contrast, however, and throughout the recital a timpani and a bass drum sit off to the side of the stage, unplayed. These ideas, and others, are meant to serve as a contradiction to the unified high-sounding textures of the majority of the recital. Individual pieces are similarly based upon concepts of contradiction and waiting. Memory, as a concept, plays a prominent role in several pieces as well.

The work ethic has been a popular topic for public comment and for research in the social sciences. The work ethic is usually understood to embody the values, beliefs and principles an individual has in relation to work. Work is an important dimension of human experience. Governments and employers are particularly interested in increasing productivity and competitiveness in connection with work and the work ethic is perceived as an important catalyst in achieving these goals. The main point of reference for discussion about the work ethic in the past century has been Max Weber's Protestant ethic thesis. Weber's thesis has attracted much criticism over the years and contemporary writers have suggested that alternative conceptions of the work ethic do exist. Despite widespread agreement that this is the case, consensus has not yet been reached on how such conceptions should be defined or how they may manifest in an individual. The majority of research on the work ethic has been limited to the collection of quantitative data using one of several survey instruments that are available. Fewer studies have collected data on the work ethic using a qualitative approach and yet, this is exactly what is required to achieve progress in identifying the range of conceptions that may exist. This study occurs in the context of teacher education and the work ethic has relevance to teachers and teacher educators for several reasons. Teachers, through the explicit and hidden curriculum they provide, have some responsibility for inculcating a work ethic in their students. It follows that it is important to understand the work ethic of teachers on this basis alone. A most logical starting place for accomplishing this task is during their career preparation. This study advocates explicit examination of preservice teachers' conceptions of the work ethic and exploration of how this might affect their career and curriculum decision making processes. This research is primarily intended to inform teacher educators who wish to pay attention to these things in their programs, along with researchers from other disciplines who are interested in the work ethic. Inspired by a pragmatic philosophy, this study utilised a mixed method research design to investigate the conceptions of the work ethic held by a group of preservice teachers studying in Brisbane, the capital city of the state of Queensland, Australia. Priority was given to the first phase of the research, which was to identify the qualitative conceptions of the work ethic held by the preservice teachers. The second quantitative phase was intended to complement and expand those findings by demonstrating that an established instrument in the measurement of work ethic could be used to profile conceptions of the work ethic held by an individual. The first phase of the research adopted a phenomenographic approach to identify nine conceptions of the work ethic held by a group of 22 preservice teachers. A courtship metaphor was used to characterise each of the nine conceptions which were labelled as Honeymoon, Monogamist, Serial Monogamist, Arranged Marriage, Celibate, Obsession, One-night Stand, Hedonist and Polyamorist. The second phase of the research used quantitative techniques involving factor analysis and linear modelling to link anonymous responses from 411 preservice teachers to the Occupational Work Ethic Inventory (OWEI) with the nine conceptions identified in the first phase of the research. It was found that the OWEI could be used to profile an individual's orientation to the work ethic conceptions that were defined. This research responded to calls in the literature for a better understanding of the characteristics of the people who choose to become teachers. It also suggested ways in which teacher education could be improved to prepare preservice teachers better through socialisation practices and the university curriculum. This study confirms that there are qualitatively different conceptions of the work ethic that may provide an alternative to the traditional Weberian conception. A technique is proposed to associate OWEI responses with the model of nine work ethic conceptions. Suggestions are also made with respect to potential improvement of the OWEI.

The aim of this diploma thesis is to analyse the conception of marriage in the works of two Indian female authors, namely Chitra Banerjee Divakaruni's novels Sister of My Heart and its sequel The Vine of Desire and Arundhati Roy's The God of Small Things. The thesis consists of two parts. The objective of the theoretical part is to portray the position of marriage within Indian society and to introduce two female authors and their novels where the theme of Indian marriage plays a significant role. The practical part of the work focuses on a thorough analysis of three chosen female characters. Their roles within the marriage and the influence of marriage on their lives will be further discussed. The result of this part will be an overall comparison of how the chosen authors approach the theme of traditional Indian marriage in their works. . KEY WORDS Indian society, arranged marriage, marriage of one's own will, Indian vs. American marriage, social roles related to marriage, transgressions of marital laws, divorces

Time for Bee consists of a series of ten original musical/theatrical compositions created between September 1992 and January 1994, first performed on the evening of January 28, 1994 in the Recital Hall of the University of British Columbia. While each of the works can be performed individually, it was the composer’s intent to create a recital which is logical in its progression. This should suggest that in some way the pieces belong together as a larger whole. The concept of “waiting” circulates throughout all the works, in the sense that the actual material is either minimalist (and so one is forced to “wait” for changes), or the philosophy behind a given piece is similarly based, but may not be evident in the sounding music. The studies in the music machine, for example, try to incorporate necessary stage changes between pieces (and the waiting the audience goes through) into musical events about such waiting. A secondary interest concerns the concept of contradiction. The majority of the works are, for example, based upon high-sounding textures (flute, violin, clarinet, high piano and mallets, etc). The studies in the music machine attempt to introduce low-sounding textures as a contrast, however, and throughout the recital a timpani and a bass drum sit off to the side of the stage, unplayed. These ideas, and others, are meant to serve as a contradiction to the unified high-sounding textures of the majority of the recital. Individual pieces are similarly based upon concepts of contradiction and waiting. Memory, as a concept, plays a prominent role in several pieces as well. / Arts, Faculty of / Music, School of / Includes 1 sound cassette / Graduate

As several Italian baroque violoncello transcriptions have entered the standard performance repertory for both high school and collegiate tubists, and as numerous texts, articles, and baroque performance instruction courses have illuminated a new realm of performance possibilities, no published document has provided specific, thorough, and sample approaches to performance on the tuba of a given piece (or pieces) through a detailed application of materials found in any singular source or combination of sources. Many of the existing articles and texts that approach the subject focus largely on ornamentation, while limiting the discussion and application of the following topics: tempo, spirit, affect, notation, rhythm, dynamics, and articulation. This document examines such topics and provides detailed explanations and suggestions of historically-informed characteristics applicable to two movements each from the R. Winston Morris transcription of Antonio Vivaldi's Sonata No. 3 in A Minor and the Donald C. Little/Richard B. Nelson transcription of Benedetto Marcello's Sonata No. V in C Major.

This graduation theses shows some of possible versions of outdoor switchgears with very high voltage, especially on the level 123 kV both concerning own complement of classic outdoor switchgears with devices as are overvoltages limiter, disconnecting switchgears, circuit breakers, etc., and compact connections. In the introduction of my theses there are explained basic ideas and theories of switchgears and described main devices and equipments which create classic (from equipment setting point of view) outdoor switchgears of very high voltage. Subsequently it describes possible ways of linking-up of these devices in the complex of switchgears themselves according to possible dispositions arranged and busbars systems. The same focus is dedicated to new, non-classic (non-standard solution in terms of devices solution), compact solving of outdoor very high voltage modules either by air isolated or by means of enclosed technology with gas SF6 which represent innovative solving first of all from reduction of built up area point of view which is very important from economic point of view especially during constructions of new switchgears. In the end of my theses there are mentioned also brief evaluations of producers and economics for development and operation of individual technologies. I used for my work materials of companies CEZ, a. s., Siemens, a. s. and Abb, a.s.

Continuing the discussion of interpreting J. S. Bach's lute music on the guitar, this dissertation seeks to demonstrate that Schenkerian analysis can assist the modern classical guitarist to better understand Bach's music. In particular, the Schenkerian approach provides an important methodology for studying Bach's music in depth, and then guiding performance practice on the guitar. Although there are many books and articles about transcribing, interpreting and performing Bach's music on the guitar, they do not apply Schenkerian analysis to guitar performance. This research will fill in the lacuna in this field, while promoting music scholarship and enhancing the performance practice of classical guitarists.

Bulgaria, though a fairly small Eastern European country, boasts an ancient history of folk traditions and music; however, very few notated works exist due to the people's primitive lifestyle throughout Bulgaria's history. Singing and dancing as well as creating instruments from wood and animal skin were considered an integral part of everyday life, equal to cooking, sewing, herding, or farming; in fact, one almost always accompanied the other. Thus, more than 1500 years of folklore was orally passed on and preserved generation after generation; however, nothing was notated until only very recently when Bulgarians realized the cultural and national value of their history. After the liberation from Ottoman Rule (1453-1877) a nationalist movement spread throughout the Balkan countries, which resulted in the emergence of Bulgarian composers. Music and songs from the local folk traditions evolved, developed, and - with notation - became the foundation for the vocal and instrumental music of the so-called first generation of Bulgarian composers. Around the turn of the century, many Bulgarian artists and musicians traveled to Western Europe (mostly Austria, Germany, and Russia) and upon their return, their artistic output created an original mixture of Bulgarian national folk with influences from Western classical music. After World War II, Bulgaria became one of the countries governed by the Communist regime, which restricted all travel to and contact with the West, including cultural influences from the West. Gradually, as the Communist regime became less controlling until it dissolved completely in 1989, restrictions on music and culture started to lift. Petar Christoskov (1917-2006), considered part of the second generation of Bulgarian composers, began his compositional career immediately after returning from Germany to a communist-ruled Bulgaria. His first opus was the set of 12 Caprices for Solo Violin (1953, formerly known as Concert Etudes in Folk Style); they have a fairly simple compositional style but are full of elements from the Bulgarian folk tradition. Some of these caprices, along with other works from the beginning of Christoskov's compositional career, were commissioned by the nationalist government and/or were required repertoire at national music competitions. Nearly thirty years after the first set of caprices, Christoskov composed another set: 24 Caprices for Solo Violin, Op. 24 (1978-9). These later works also contain many Bulgarian folk characteristics, but their compositional style is much more abstract, atonal, and complex - more “mainstream Western.” The goal of this document is to compare and contrast the two sets of Caprices for Solo Violin, Op. 1 and Op. 24, by investigating the development of Petar Christoskov's compositional style. I will argue that the constantly-changing political systems in twentieth-century Bulgaria had a direct impact on the composer's artistic output. After a historical overview of Bulgaria's music and political background, the two sets of caprices will be compared and contrasted by focusing on technical, musical, and sociological similarities and differences. In order to illustrate these similarities and differences, three caprices from each set will be selected and analyzed, as well as compared and contrasted with each other. The second part of the document will discuss the negative influence of the political climate on music and printing, with a focus on the difficulties of preserving Bulgarian culture itself. This research has the additional purpose of serving as scholarly support for a future project: as a personal contribution to the circulation and preservation of Bulgarian music, I intend to produce a new violin edition of Petar Christoskov's caprices as well as complete the arrangements for viola.

This dissertation is divided into six chapters. The first chapter explains the purpose and significance of the study. The second chapter presents an analysis about Wanderer Fantasy, D.760 composed by Schubert, employing Schenker analysis to elucidate important motives. Chapter 3 provides an analysis of Schubert-Liszt, Wanderer Fantasy for Piano and Orchestra, S. 366 and shows how Liszt transcribed the original to emphasize certain motives, and further, describes the development of the piano history. Chapter 4 delves into an analysis of Schubert-Liszt, Wanderer Fantasy for Two Pianos, S. 653a transcribed by Franz Liszt and further explains the historic development of piano, in particular Érard's grand piano. Chapter 5 explains the analysis of Schubert-Liszt, Wanderer Fantasy for Piano Solo, S.565a and expands upon Érard's grand piano. Finally, Chapter 6 leads to this paper's summary and conclusion.