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Live music promoters have hitherto been academically neglected (and often publicly maligned) individuals and organisations. This thesis, then, shifts the academic focus from the recording industries towards live music and towards the figures behind-the-scenes who connect artist, audience and venue in the live music environment. To do so, this work explores the practices and experiences of promoters in the UK; it focuses on Glasgow, Sheffield, and Bristol, and is based on ethnographic research at case study venues. The thesis offers a phenomenological perspective on what promoters do and why, and their role as mediator with key figures such as artists and agents, as well as their relationships with the state. It argues that promoters are cultural investors (and exploiters), importers and innovators who both shape and are shaped by the live music ecology within which they operate. Finally, the thesis examines the three stages of the promotional process – planning, publicity, production – to argue that promoters are key figures not only in the construction of the musical lives of contemporary British citizens, but also in the rich cultural (and economic) ecology of cities, towns and villages in the UK.

The noticeable differences in the theoretical and operative definitions of envy across studies and approaches have produced a fragmentary representation and understanding of the envious emotion. The present dissertation aimed to clarify the inherent nature of the construct of envy through the integration of findings from three independent studies. We focused on malicious envy, and investigated it from both a dispositional and an episodic perspective. Studies 1 and 2 investigated the dimensionality of envy as a stable individual characteristic and an episodic emotional state, respectively. In order to elicit episodic envy, a scenario-based experiment was conducted. Results indicated that, in both its dispositional and episodic facets, envy is a bidimensional construct composed by an inner-directed dimension of inferiority and helplessness, and an outer-directed dimension of feelings of anger and ill will. Moreover, findings from Study 1 allowed to establish boundaries between envy and competing constructs that have often been included in conceptualizations of envy. The psychometrically validated definition of envy provided by Studies 1 and 2 represents a valuable contribution to empirical research. Implications for envy research concern the promotion of a shared operationalization of envy in future studies, which will arguably facilitate the comparison of findings between studies and between approaches. Study 3 examined the mechanisms through which dispositional envy affects individuals’ social adjustment and psychological wellbeing. Findings revealed that the detrimental effects of envy on perceived social support and subjective well-being are mostly mediated by other personal characteristics, such as neuroticism and self-esteem. By reducing global self-esteem, the envious disposition may damage supportive social networks via antisocial direct and indirect behaviors that may arise from envy and that are likely to drive others away. On the other hand, by damaging both emotional stability and self-worth, dispositional envy leads to reduced subjective well-being. Implications for clinical practice are discussed.

Dans cette thèse nous nous consacrons à l'étude des algèbres qui sont dérivées équivalentes aux algèbres inclinées m-amassées de type A et [A tilde]. Dans la première partie nous donnons une condition nécessaire et suffisante pour qu'une algèbre A soit dérivée équivalente à une algèbre inclinée m-amassée de type A. Dans la deuxième partie, nous trouvons une caractérisation du carquois lié des algèbres inclinées m-amassées de type [A tilde] et finalement nous donnons le critère analogue à l'antérieur pour qu'une algèbre B soit dérivée équivalente à une algèbre inclinée m-amassée de type [A tilde].

In order to understand glycoprotein biosynthesis and processing, we have studied the glycosylation and intracellular assembly kinetics of murine IgM which are expressed functionally only at specific stages of B-cell differentiation by the corresponding tumor cell lines. We have shown that the majority of carbohydrate chains on intracellular IgM contain predominantly Man₈GlcNac₂ rate limiting step in the carbohydrate processing is the transport from the RER to the Golgi apparatus. We made comparisons of carbohydrate structures on secretory and membrane-bound u chains produced by different cell lines. Our results show that the carbohydrates on WEHI231 membrane-bound IgM are less processed, and the processing at individual glycosylation sites is different for IgMs produced by plasmacytoma (MOPC104E) and hybridoma (MPC11xW279.2) cell lines. In addition, we also show that the glycosylation and processing are dramatically altered by lowering the glucose concentration in the cell culture medium. These results are a beginning for our understanding of the influence of the polypeptide on the final glycosylation patterns of a glycoprotein, and the genetic and environmental control over the carbohydrate processing during intracellular transport. The kinetic studies on IgM synthesis and maturation in WEHI231 as well as WEHI279.1/12 cells have led to the conclusion that membrane bound IgM and soluble IgM are segregated and processed individually even in the same cell. These differences appear to lead to the changes in carbohydrate/processing for membrane-bound and soluble IgM.

This dissertation comprises two volumes. Volume 1 presents a critique and exploration of the way extended techniques with particular sound properties are used and notated in the contemporary repertoire for the classical six-string guitar. In Volume 2, a set of practical exercises provide both instrumentalists and composers with a way to perceive, think through, and use a repertory of sounds based on developed and newly invented extended techniques. Volume 1 is divided into three sections. The first section constitutes an extensive survey of the literature, where extended guitar techniques are investigated in relation to performance and pedagogy by centring on significant research and key repertoire. The examined techniques are characterized by being alternative to the conventional pitch-based attack/decay paradigm. This is followed by an examination of composers’ notational practices, where certain anomalies in the repertoire are addressed. For example, how spectral relationships may be put into a morphological context by employing tablaturebased systems. A concluding section summarises the current use of extended techniques and how compositional methodologies from key composers can be further developed. Volume 2 presents two sets of studies. The first twenty-eight studies centre on individual techniques, after which techniques are combined in the remaining six studies. A new morphologically based notation model is employed, derived by developing the surveyed composers creativity further through enhancing the perception and execution of music comprising only extended techniques. The archetypal attack/resonance morphology of guitar sound is discussed, and this forms the basis for classifying certain extended techniques as archetypes or variants of the archetype. The pedagogical, compositional, and improvisational potential of the chosen extended techniques are exploited in the studies, both through the juxtaposing and the merging of morphologies. After an overview that reflects upon musical relationships between the theoretical and practical aspects of the dissertation, the final section is concerned with the use of amplification in performance, and further ideas are proposed for expanding morphological combinations.

Although Farinelli has received a great deal of attention in scholarship, the early music performance scene and in popular culture, little has been written about his singing. The current perception of Farinelli’s musical profile is based almost entirely on the research of Franz Haböck from the beginning of the 20th century and the writings of Charles Burney. As a result of the emphasis of both writers on Farinelli’s bravura singing, the singer’s name has become synonymous with castrato virtuosity. This study takes a more diffentiated approach. It reconstructs the artistic persona of Farinelli from libretti, scores and documentary evidence, evaluates the veracity of anecdotal information pertaining to his singing that has so far been accepted largely at face value and considers the aesthetic implications of Farinelli’s singing. Part I of this study seeks to reconstruct Farinelli’s vocal profile. In chapter 1, contemporary descriptions by earwitnesses are examined and evaluated with regard to important aspects of his singing, i.e., the sound quality, volume and range of his voice, technical elements such as his trill, agility and breath control, ornamentation and improvisation and, finally, his acting. Chapter 2 summarises the main stages of the singer’s operatic career. The purpose of this chapter is not to reiterate biographical information, but to provide an outline that can serve as a framework for the discussion of the development of Farinelli’s vocal technique, personal style and reception. The chapter also identifies important points of professional interaction between Farinelli and other famous singers. Chapter 3 falls into two parts. Firstly, the main elements of vocal technique, as described in the vastly influential vocal treatises of Tosi and Mancini, are outlined in relation to notational practice of 18th-century manuscript scores and their relevance to the music sung by Farinelli. Secondly, the development of Farinelli’s voice in terms of the singer’s vocal technique, range, volume and details of style is discussed on the basis of the analysis of Farinelli’s operatic roles. Chapter 4 focuses on the analysis and contextualisation of important stylistic changes that occured during Farinelli’s career. Throughout, Farinelli’s stylistic choices are discussed in relation to the aesthetic preferences of the different audiences he encountered. Part 2 explores aspects of Farinelli’s artistic profile from the vantage points of aesthetics and rhetoric. Based on analyses of Farinelli’s arias on nightingale metaphors, chapter 5 discusses the conceptual frameworks and aesthetic issues that have often resulted in a critical reception of his virtuosity, both during his lifetime and in the 20th century. Chapter 6 examines the manner in which the principles of rhetoric have been applied to 18th-century music in recent scholarship. It argues for a different, more integrated approach that reflects the performance-centred period understanding of rhetoric, which, unlike the modern understanding, was not yet inflected by the author and work concepts. Chapter 7 analyses rhetorical strategies in Farinelli’s Venetian bravura arias and their implications with regard to the issues of authorship and the relationship between performer and audience. In chapter 8, the text-music relationship and communicative strategies in Farinelli’s slow expressive arias are scrutinised. The conclusion briefly assesses the impact of Farinelli on Italian opera, theatrical performance practice and musical aesthetics.

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During her time as Prime Minister of the United Kingdom (1979-1990) Margaret Thatcher oversaw a great deal of political and social change, some of which proved controversial to her left-wing opponents. Her ascent to power coincided with the establishment of punk, whose music influenced a sizeable proportion of the country’s cultural and social underground, leading to great influence on popular musical producers and the growth of a recognised subculture. Thatcher’s electoral success and the widespread identification with punk were both predicated upon the rhetoric of ‘crisis’ which permeated popular discourse in the mid- to late-1970s. As such, punk came to be viewed as a cultural form with which to not only oppose this rhetoric and mainstream society in general, but also with which to restate ideas of rock ‘authenticity’ as a means to protest political situations. With reference to specific performers and protest movements, this thesis demonstrates how these performers and popular movements stated their opposition to cultural and societal norms, as well as assessing the ‘political’ success of their actions. Consequently it also questions the historical narratives which have been written on this period – particularly that of the Rock Against Racism movement and its involvement of British Asians. It also uses contemporary source material to offer fresh analyses of Live Aid and the Labour Party-supporting Red Wedge group, as well as challenging the performances and presentation of musicians who made direct challenges to Thatcherite policy in their songwriting.