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This study describes the integration of harmonic idiom and tonal design in Schoenberg's First Quartet, op. 7. Two general questions are answered: whether the composition should be judged by common-practice-period norms, and whether a coherent tonal structure is truly discernible. Chapter 1 first surveys the existing literature. It then describes a prime motivator of foreground chromaticism in the quartet—the chromatic surrounding of tonic and dominant pitches—and discusses two features of large-scale pitch organization applicable to Schoenberg's first-period music that contravene common-practice-period norms: tonal structure consisting of a pattern of keys, and systematic use of dual or even multiple tonics in place of monotonality. Examples illustrate three types of graphic representation of tonal duality to be used in the study. The next four chapters describe tonal process within and across the four "movements" of the quartet (Schoenberg's Parts I through IV). Chapter 2, which studies Part I, reveals systematic avoidance of V-I function in the opening key, D, tonal rivalries between D and each of its two semitone-related keys, and the beginning of a large-scale chromatic surrounding of the key of D. Chapter 3, on Part II of the quartet, demonstrates continuation of the rivalry between tonics D and Dt> by their use as competing secondary tonics within the Scherzo, and the harmonic progression VII-I replacing V-I at a crucial structural point. Chapter 4, on Part III of the quartet, describes tonal duality as it occurs in the Adagio, the furthering of the tonal plot in a section that engages in a "plagal" system of tonality, and the beginning of a large chromatic surrounding of A. Chapter 5 shows that Part IV eschews a simple relationship between the A-major tonic of the Rondo and the D-major tonic of the Coda by allowing the infiltration of elements of the Db-major collection. Chapter 6 summarizes the evidence contradicting a monotonal understanding of the composition and reviews evidence that the demonstrated multi-tonal coherence is part of the musical reality of the work.

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Despite its enduring popularity in performance circles, Carl Nielsen's Wind Quintet, op. 43 (1922), has received little attention from the scholarly community. This thesis provides the most comprehensive examination of the work to date and includes original analyses of each of the three movements. Moreover, it illuminates and defines stylistic trademarks that are found not only in this piece, but also within Nielsen's oeuvre more broadly. These traits include the weakening of tonal design, the liberal use of chromatic harmonies, contrapuntal writing, and the allusion to and distortion of traditional forms. This thesis highlights Nielsen's synthesis of traditional and idiosyncratic elements and thereby situates his music amid an emerging trend in European compositions of the time: the anachronistic use of historical models (Hyde).

While Canada has, in recent years, experienced a significant increase in global immigration in tandem with rising migration to urban centers, visitorship to Canadian parks has been declining. It is thought that this is, in part, due to shifting cultural demographics. In 2011, as part of a larger measured response to these changes, Parks Canada in partnership with the Mountain Equipment Co-op, launched ‘Learn to Camp’. The Learn to Camp program provides participants the opportunity to learn how to plan and enjoy safe and successful camping trips. The program is facilitated through one to two day events, and includes a repository of information online and a mobile app. Participants, primarily new and urban Canadians, are groomed to become independent campers: learning where to camp, what to bring, what to cook, and how to stay safe. This thesis seeks to understand the Learn to Camp program – how it is performed, how it is received, and what, if any, are its impacts on participants, parks, and other stakeholders? In this project, I draw on primary research and literatures from cultural studies of nature to examine Learn to Camp under two frames, highlighting both immediate and long-term program implications. The literatures provided by critical studies of nature demonstrate how Canadian parks carry a limiting nationalist identity embedded within a history of colonial erasures. In my analysis, Learn to Camp appears to reinforce this historical narrative as it prescribes specific ways of ‘knowing’ and ‘being’ in park spaces. Concurrently, interview and questionnaire data indicate that new Canadians have an overwhelmingly positive experience with Learn to Camp. Participants are provided the skills, knowledge, and confidence necessary to become independent campers. Furthermore, participants leave Learn to Camp with a renewed sense of belonging to the Canadian landscape and to Canadian culture. In this project, I am interested in accounting for both the problematic underpinnings and the enjoyment that can be found in acculturating practices, such as Learn to Camp. / Graduate