Thesis (M.C.S.)--Carleton University, 1993. / Also available in electronic format on the Internet.

Thesis (M.A.)--University of Hong Kong, 1994. / Includes bibliographical references (leaves 64-66). Also available in print.

This thesis is an analysis and exploration of the feminist themes present in select chamber music theater works by William Osborne for trombonist Abbie Conant. Before analyzing Osborne's compositions, the author provides crucial background information about the lives and experiences of husband and wife and artistic collaborators William Osborne and Abbie Conant. Specifically, the author addresses the sexism that Conant experienced as a trombonist in the Munich Philharmonic. Osborne composed a new genre of works for Conant to perform as an artistic response to the pain both he and Conant experienced during the thirteen year legal battle with the state of Munich and their desire to create fully integrated musical theater works. The author traces the evolution of Osborne and Conant's collaboration by examining three works within the genre of chamber music theater: Winnie--Osborne's adaptation of Samuel Beckett's Happy Days; Miriam: The Chair--Osborne's first completely original work; and Street Scene for the Last Mad Soprano. Through personal interviews with Osborne and Conant, the author became aware of Osborne and Conant's influences from Samuel Beckett as well as the formal structure that Osborne uses in his works, and she traces this structure in each work as a method for understanding and organizing the musical and dramatic events. Since Osborne's chamber music theater works require the performer to play a musical instrument, act, and sing, the author employs balanced musicological, dramaturgical, and theoretical analytical approaches when studying each piece. After addressing the formal and compositional devices that Osborne utilizes in each piece, the author focuses her analysis on the feminist themes that are found in the latter two works: Miriam: The Chair and Street Scene for the Last Mad Soprano, for these two works were written as a direct response to the discrimination that Conant experienced in the Munich Philharmonic. The author provides the transcript from her interview with Osborne and Conant as an appendix to the document.

Book Summary: The Grove Dictionary of American Music, second edition is the largest, most comprehensive reference publication on American Music. Twenty-five years ago, the four volumes of the first edition of the dictionary initiated a great expansion in American music scholarship. This second edition reflects the growth in scholarship the first edition initiated. At eight volumes, it provides greatly expanded coverage, particularly in the areas of popular music, cities and regions, musical theater, opera, concert music, and music technology, as well as the musical traditions of many ethnic and cultural groups.

Despite the broadening of the subject matter of English drama in its ???new wave??? period from the late nineteen fifties, it is striking to see how much of enduring mainstream English drama has a domestic focus. The purpose of this thesis is to provide the first full-length study of marriage on the English stage from 1930-1990. The thesis examines the way in which a number of important playwrights have fashioned drama from the conflict between the public, or institutional, functions of marriage and the private, or relational, functions of marriage. The thesis places this conflict into historical context. This will show that the conflict between the private and public aspects of marriage is not one of clearly opposed opposites but one that is made dynamic by significant social and legal changes to the status, function and conventions of marriage. The thesis also demonstrates that this conflict is further complicated by class considerations and by the particular circumstances of each marital partnership. From the wealth of material available, I have chosen to examine in detail the work of seven playwrights who have made significant contributions to domestic drama or domestic comedy. Playwrights have been selected because their plays gained a strong audience on first performance and because, through numerous revivals and through publication of scripts, they have earned an enduring place in English drama. John Osborne???s Look Back in Anger, which in 1956, ushered in the ???new wave???, is pivotal play for discussion. The previous generation is represented by Noel Coward, J. B. Priestley and Terence Rattigan. The ???new wave??? and its aftermath are represented by Harold Pinter, Tom Stoppard and, finally Alan Ayckbourn. Despite a wide variety of approaches to the topic of marriage, these writers tend to assume a middle class audience and to follow or adapt the traditions of realism or comedy of manners. This thesis argues that despite real, even radical, changes to marriage, to accepted sexual practices and to the status of women in the sixty years under discussion, the mainstream theatre has tended to be conservative in its presentation of marital and sexual matters, especially in continuing to reinscribe a public/private opposition determined by gender.

Despite the broadening of the subject matter of English drama in its ???new wave??? period from the late nineteen fifties, it is striking to see how much of enduring mainstream English drama has a domestic focus. The purpose of this thesis is to provide the first full-length study of marriage on the English stage from 1930-1990. The thesis examines the way in which a number of important playwrights have fashioned drama from the conflict between the public, or institutional, functions of marriage and the private, or relational, functions of marriage. The thesis places this conflict into historical context. This will show that the conflict between the private and public aspects of marriage is not one of clearly opposed opposites but one that is made dynamic by significant social and legal changes to the status, function and conventions of marriage. The thesis also demonstrates that this conflict is further complicated by class considerations and by the particular circumstances of each marital partnership. From the wealth of material available, I have chosen to examine in detail the work of seven playwrights who have made significant contributions to domestic drama or domestic comedy. Playwrights have been selected because their plays gained a strong audience on first performance and because, through numerous revivals and through publication of scripts, they have earned an enduring place in English drama. John Osborne???s Look Back in Anger, which in 1956, ushered in the ???new wave???, is pivotal play for discussion. The previous generation is represented by Noel Coward, J. B. Priestley and Terence Rattigan. The ???new wave??? and its aftermath are represented by Harold Pinter, Tom Stoppard and, finally Alan Ayckbourn. Despite a wide variety of approaches to the topic of marriage, these writers tend to assume a middle class audience and to follow or adapt the traditions of realism or comedy of manners. This thesis argues that despite real, even radical, changes to marriage, to accepted sexual practices and to the status of women in the sixty years under discussion, the mainstream theatre has tended to be conservative in its presentation of marital and sexual matters, especially in continuing to reinscribe a public/private opposition determined by gender.

This thesis investigates and analyzes certain significant aspects of the Centennial celebrations of 1967 as they took place in Toronto-area schools. By considering the Centennial activities involving art, travel, music and historical pageantry—those deemed most significant by educational planners—I propose to evaluate how students, and Canadians in general, were thinking and learning about Canada and its people at the time. Throughout this essay, I argue that the Centennial celebrations are crucial evidence of a developing shift in the way that Canadians conceived of national identities and a change in how students were educated about Canadian history. In particular, I will argue that the Centennial celebrations in Toronto-area schools often demonstrated the continued development of a post-imperial vision of Canada’s national character, and an approach to history education which moved beyond the traditional timeline-oriented and British nation-building narratives that dominated early-twentieth-century Canadian education.

This thesis investigates and analyzes certain significant aspects of the Centennial celebrations of 1967 as they took place in Toronto-area schools. By considering the Centennial activities involving art, travel, music and historical pageantry—those deemed most significant by educational planners—I propose to evaluate how students, and Canadians in general, were thinking and learning about Canada and its people at the time. Throughout this essay, I argue that the Centennial celebrations are crucial evidence of a developing shift in the way that Canadians conceived of national identities and a change in how students were educated about Canadian history. In particular, I will argue that the Centennial celebrations in Toronto-area schools often demonstrated the continued development of a post-imperial vision of Canada’s national character, and an approach to history education which moved beyond the traditional timeline-oriented and British nation-building narratives that dominated early-twentieth-century Canadian education.

This thesis is an attempt to portray the birth of British modern drama and the most important figures breaking its new ground; more to the point, to shed light on the second generation of British dramatists breaking what G.B. Shaw used to call ‘middle-class morality’. The focal point here is fixed on Stephen Poliakoff, one of the distinctive dramatists in contemporary British theatre, his work and the dramatic tinge he adds to the new drama.

The Big Horn Mountains are a geologically complex range that extends over 500 square km in west-central Arizona. Three major lithologic terranes outcrop: (1) Proterozoic amphibolite, phyllite, schists, gneiss, and granite; (2) Mesozoic monzonite to diorite intrusives; and (3) Cenozoic mafic to silicic volcanic rocks and clastic rocks. The entire area is in the upper plate of a detachment fault and, consequently, contains many low- to high-angle normal faults. Each lithologic terrane has its associated mineral occurrences. The Big Horn district is exclusively hosted in the pre- Tertiary terrane. Most of its mineral occurrences are spatially related to the Late Cretaceous intrusive rocks. One occurrence, the Pump Mine, may be a metamorphic secretion deposit, and therefore, would be middle Proterozoic. The vast majority of the mineral occurrences in the Big Horn Mountains are middle Tertiary in age and occur in three districts: the Tiger Wash barite - fluorite district; the Aguila manganese district; and the Osborne base and precious metal district. Fluid inclusions from Tiger Wash fluorite (T(h) 120 to 210° C, NaCl wt. equivalent 17 to 18 percent not corrected for CO₂) and nearby detachment - fault- hosted Harquahala district fluorite (T(h) 150 to 230° C., NaC1 wt. equivalent 15.5 to 20 percent not corrected for CO₂) suggest cooling and dilution of fluids as they are presumed to evolve from the detachment fault into the upper plate. Mass-balance calculations suggest that the proposed evolution of fluids is sufficient to account for the observed tonnage of barite and fluorite. The Tiger Wash occurrences grade directly into calcite- gangue-dominated manganese oxides of the Aguila district. A wide range of homogenization temperatures (T(h) 200 to 370° C.), an absence of CO₂ and low salinities (NaC1 wt. equivalent 1 to 2 percent) in the Aguila district calcite-hosted fluid inclusions argue for distillation of fluids during boiling or boiling of non saline-meteoric waters. Mass - balance calculations modeling the evolution of Ca and Mn during potassium metasomatism of plagioclase in basalt suggest that little if any influx of these cations is necessary to form the calcite –dominated manganese oxide tonnage observed. The Aguila district grades directly to the east into the base-metal and precious-metal occurrences of the Osborne district. Preliminary data describing geological settings, fluid inclusions, and geochemistry suggest that the Osborne district has a continuum between gold-rich to silver-rich epithermal occurrences. The gold-rich systems have dominantly quartz gangue, with or without fluorite, and are hosted in a variety of rocks, but are proximal to Precambrian phyllite or mid-Tertiary rhyolite. Fluid inclusions from two occurrences representative of the gold -rich systems spread across a minor range (T(h) 190 to 230° C., NaC1 wt. equivalent 17 to 23 percent not corrected for CO₂). Dilution of highly saline fluids is the inferred mechanism for precipitation of gold in the gold-quartz systems. The silver-rich systems have dominantly calcite gangue with or without quartz, and are hosted in mid-Tertiary basalt. Calcite fluid inclusions from a representative high-silver occurrence display a wide range of homogenization temperatures and salinities (T(h) 120 to 370° C., NaC1 wt. equivalent 7 to 23 percent). Boiling and consequent neutralization of acidic solutions is the inferred mechanism for the silver-rich, calcite gangue systems. A model inferring a regional fluid-flow regime and local sources of metals is proposed. Four possible regional and local causes of fluid flow in upper-plate detachment regimes are proposed: (1) regional elevation of geothermal gradients as a result of middle-crustal, lower-plate rocks rising to upper crustal levels; (2) meteoric water recharge along the southeast flank of the Harquahala antiform and consequent displacement of connate waters in the upper-plate of the Big Horn Mountains; (3) local emplacement of feeder stocks to rhyolitic flows; (4) and tilting of major upper-plate structural blocks.