Thesis (Ph. D.)--University of Wisconsin--Madison, 1967. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph. D.)--University of Texas at Austin, 1998. / Vita. Includes bibliographical references (leaves 228-247). Available also in a digital version from Dissertation Abstracts.

Thesis (D. Min.)--Northern Baptist Theological Seminary, Lombard, Ill., 1999. / Abstract. Includes bibliographical references (leaves 95-98).

This thesis provides a comprehensive source study of the eighteenth-century Chapel Royal partbooks (London, British Library R.M.27.a–d). The 56 manuscript volumes in this collection, which are now catalogued into four groups (or ‘sets’), were used in the daily choral services at St James’s Palace during the eighteenth and nineteenth centuries. The sources have a complex history since they have an ‘organic’ quality whereby the books continued to be copied into and altered whilst they were in regular use. The first part of the thesis (chapters two to six) examines the physical characteristics of the manuscripts by considering the books’ construction, the traits of the copyists, and the way material was gradually added. Paper and scribal analysis, as well as general cataloguing work, are used to identify the contents and explore the layers of copying. The second part of the thesis (chapters seven and eight) looks at the function of the books and considers the collection within its eighteenth-century context. Documentary sources are considered alongside various elements of the books to establish how the partbooks were used in performance. The Chapel’s method of partbook organisation is then compared with the organisation of similar collections at other choral foundations (including those with which the Chapel had strong connections).

This document provides a brief history of Vauxhall Gardens and an overview of its musical achievements under the proprietorship of Jonathan Tyers and his sons during the 1745-1784 period when Thomas Arne (1710-1778) and James Hook (1746-1827) served as music directors. Vauxhall Gardens provided an extraordinary environment for the development and nurturing of solo songs in the eighteenth century. Here the native British composers' talents were encouraged and displayed to capacity audiences of patrons who often came from privileged ranks of society. The largely anonymous poems of the songs were based on classical, pastoral, patriotic, Caledonian, drinking or hunting themes. The songs ranged from simple, folk-like ballads in binary structures to phenomenally virtuosic pieces which often included several sections. During the early years of vocal performances at Vauxhall (c. 1745-1760), the emphasis was on delivery of texts, sung to easily remembered melodies with little ornamentation and few florid passages. However, the coloratura style of Italian opera was assimilated and anglicized by Thomas Arne, his contemporaries, and later by James Hook. In the 1770's and 1780's, composers continued to refine all the forms and styles that had been popular since the 1740's; this developmental process was mainly technical. Vauxhall songs were composed with orchestral accompaniment and incorporated the techniques of the Mannheim school. All the melodic, rhythmic, harmonic and orchestral devices of the era were available to the British composers, and they borrowed freely from each other and from the continental masters. While certain forms evolved more clearly in the 1770's and 1780's, such as the rondo, major changes were not observed in the poetry. Vocal music at Vauxhall Gardens occupies a position in history as a steppingstone toward mass culture. Vauxhall ballads were printed in annual collections and single sheets by a vigorous publishing industry. When the Industrial Revolution caused the middle class to splinter into further groupings toward the end of the eighteenth century, the new lower middle class shunned the artistic pleasures of the upper classes and developed its own entertainments, which resulted in a permanent separation of popular and classical musical cultures, as well as the decline of Vauxhall Gardens / Arts, Faculty of / Music, School of / Accompanied by cassette in Special Collections / Graduate

This dissertation consists of three chapters that examine the spatial distribution of economic activities. The first chapter examines how disasters as well as individuals’ expectations of what others will do affect the development of cities. The development of cities often involves the rejuvenation or replacement of existing structures. However, history, in the form of the sunk cost of existing durable structures, often serves as an impediment to urban development. In theory, by reducing the opportunity cost of waiting to rebuild to zero, disasters can eliminate these frictions and bring about higher quality structures. In addition, the simultaneous rebuilding after a disaster would allow property owners to experience stronger cross-building spillovers which would encourage further upgrades of nearby buildings. Nevertheless, these are not sufficient to guarantee higher quality buildings. This is because individuals’ investment decisions also depend on their expectations of what others will do. Therefore, in this chapter, we examine both of these issues using the 1666 Great Fire of London as a natural experiment. First, using a difference-in-differences (DiD) strategy, we show evidence that the Fire was able to free parishes within London from the constraints of their existing durable structures and move them to a new equilibrium involving higher quality structures. Second, using DiD and an IV strategy, we find that legal rulings arising from the Fire Court – a court specially set up by the English Parliament to hear rebuilding disputes – were able to anchor expectations and in so doing, helped to facilitate the development of London. Providing causal evidence that legal rulings can be a main driver in the formation of expectations is the main contribution of our paper. The second chapter examines how the quirks of history shape present-day economic outcomes. Building on Bazzi et al. (2020), I study how a particular episode of history – time at the frontier – helps to explain the present-day manufacturing production patterns across American counties. First, I show empirical evidence that there are fewer establishments and lower employment in counties that spent a longer time on the frontier. The same results hold for industries that are more “contractible” (i.e., easier to specify in contracts and hence less susceptible to holdup). Second, using a DiD strategy, I show that firms in high “contractibility” industries sort into producing at counties that spent a longer time on the frontier. I hypothesize that due to “rugged individualism”, individuals in counties that spent a longer time on the frontier are less likely to trust other people. Therefore, anything that is not “contractible” becomes harder and more costly to enforce. Consequently, only the more “contractible” industries locate in counties that spent a longer time on the frontier. The third chapter examines how land use regulations and NIMBY (“not in my back yard”) behavior affect housing prices in the UK. In the UK, developers have to apply to the local planning authority to seek development permission. Applicants who have their plans rejected can appeal to the Secretary of State, via the Planning Inspectorate. The Planning Inspectorate then assigns an inspector to decide whether to overturn the local authority’s decision. We propose a theoretical model which shows that in locations with high levels of NIMBY-ism, developers are better off getting their plans rejected by the local authority and gambling on drawing an inspector who is less sympathetic towards locals’ NIMBY behavior. Our empirical strategy exploits the fact that inspectors are quasi-randomly assigned to the appeals. This allows us to use inspector leniency as an instrument for whether an appeal is successful. We find that overturning the local authority’s decision does not lead to a large fall in housing prices. For some projects, the impact may in fact be positive because they also add to local amenities such as retail shops. This suggests a prevalence of NIMBY-ism, as locals pressure authorities to reject even relatively benign projects.

This dissertation examines sensation in twentieth-century narratives of London and argues that vulnerability is a constitutive experience of the post-imperial city. Sensations of vulnerability in London arise because of the built environment of the city: its status as an imperial center and a global capital create important intersections of local, national, and global concerns which render the city itself vulnerable. I chart the trajectory of vulnerability as an affective history of London that is documented in cultural texts ranging from fiction and film to political debates and legal materials. Since the sensational experiences of the present partly arise from the materials of the past embedded in the landscape, affective histories create new ways of understanding history as a spatial experience. The narrated sensations of the city make vulnerability legible as a persistent feature of twentieth-century London life. I begin with a modernist, imperial London, in Virginia Woolf's Mrs. Dalloway and in Parliamentary debates from the same year (1925). Ambivalence about London's dual status as a local site and as a national and international capital is a response to London's vulnerable position at the end of the Great War. Next, I turn to World War Two London and Elizabeth Bowen's The Heat of the Day. I discuss intimacy as an important national feature in narratives of London during the crisis of this war. National narratives about intimacy constructed by Winston Churchill and heard on BBC radio respond directly to London's defensive vulnerability. My third chapter concerns Margaret Thatcher's 1980s London and the crucial role autonomy plays in constructing London as an invulnerable, international financial and civic capital. Alan Hollinghurst's The Swimming-Pool Library documents Londoners' attempts to make sense of their autonomy in a postimperial capital. My final chapter examines sensations of social and political belonging in contemporary London through reading Stephen Frears's Dirty Pretty Things alongside legal documents about immigration. I contend that reading cultural texts affectively creates counter-histories of the city that accommodate a deeper range of experiences than do traditional histories and offers to literary studies a new way of understanding the relationship between official and unofficial histories. / text

The attitudes of selected memoir authors are surveyed with regard to their commentary on London Society ranging from the late Nineteenth century to the Nineteen Thirties. The experience of these Society participants is divided between aspects of continuity and change before and after the First World War. During this time-frame, London Society, as the community of a ruling class culture, may be seen to have undergone the transition from having been an aristocratic entity dominated by the political and social prestige of the landed classes, to that of an expanded body, more reflective of democratic evolution and innovation. The memoir testimony treated in this inquiry affords a means of reflecting not only Society's passage of experience but also more pointedly, its evaluation, shedding light on the values and vulnerability of a hitherto assured, discreet and otherwise adaptive class character at a time of accelerated change and challenge.

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