The present investigation deals with the cantatas of Dietrich Buxtehude written for three voice parts with instrumental accompaniment. An examination of the various musical forms which Buxtehude employed in these cantatas will comprise one of the two areas in this study. The other area shall be concerned with Buxtehude's usage of word painting (i.e., musical portrayal of word meanings). Before entering an investigation of Buxtehude's music, his life and background should be considered.

Louis Couperin (c. 1626-1661) was an outstanding member of the seventeenth-century clavecin school and an important link in the Couperin dynasty. His works for the harpsichord, or clavecin, have been neglected. This is due primarily to the fact that there are relatively few of his works, in comparison with those of his nephew, Franois Couperin Le Grand, who greatly overshadows him. Louis wrote no treatise on how his works are to be played, and there are few accounts of him, or his works, that are written in English. There is no biography of Louis Couperin. A more detailed study should be made of his music and its place in the French clavecin literature. Before examiinig the music itself, however, it is necessary to trace the origins and development of the clavecin school and its style.

The concert arias of Mozart are probably among the least known works of this genius among composers, yet they represent no small part of his musical output and are scattered throughout every period of his life. He composed a total of fifty-seven in all, the first when he was only nine years old and the last one in the final year of his life. Mozart's fifty-seven concert arias are divided among the four voice groupings as follows: one for alto, eight for bass, ten for tenor and thirty-eight for soprano. Of these soprano arias one (K. 569)l is lost and two (K. 307 and K. 308) are merely ariettas on French texts. It is with the eighteen arias for normal male voice that this discussion will be primarily concerned; arias for the castrati voice will not be considered.

The purpose of this study is to analyze four late solo piano works of Franz Liszt that all bear the name "Mephisto" in their titles, in order to examine, identify and trace the development in the use of harmonic and melodic idioms that produced non-tonal or "omnitonic" effects, on the one hand, and to emphasize the need to duly accord Liszt a recognition of historical position as the nineteenth century's most influential avant garde composer whose attitude and approach had helped to shape much of the ideal of the atonal composition of this century, on the other. Chapter One presents the issues and the purpose of this study; Chapter Two investigates the principal forces that shaped Liszt's mature compositional style; Chapter Three identifies and discusses the requisites for tonal and atonal compositions; Chapter Four analyzes the four "Mephisto" dances: Waltz no.1 (1860); Polka (1883); Waltz no.3 (1883); and Bagatelle (1885). Chapter Five summarizes the findings from this study and attempts to identify in these late works of Liszt a pattern of conscientious, continuous, purposeful and progressive use of devices toward creating musical effect that would defy the established tonal requisites and undermine the tonal orientation in the composition. This study submits that it was Liszt who had first shown a way to free music from the shackles of prescribed idiomatic constraints, and to force us the listeners to approach and appreciate music for its own sound's sake. Additionally, this study submits that this effort of Liszt should be understood and appreciated in terms of programmatic association; that is, Liszt found in the persona of Mephisto the Diablo the ideal imagery for depicting the nature of the "music of the future" where tonality would be freed from any prescribed procedural requisites.

The role of biraderi kinship networks has recently gained attention in U.K. elections. Biraderis are patriarchal and hierarchical kinship networks that are led by male elders and originate from Pakistan and Bangladesh. These networks have been accused of influencing selections and elections through bloc votes. Existing research into the actions and implications of biraderi in U.K. politics has examined these networks in isolation. To further understand and contextualise the actions and implications of biraderi networks in U.K. politics, I compare them to trade union networks. Trade unions are paid membership networks in which groups of employees take collective action to maintain and improve employment conditions. Using my two case studies, I focus on the Labour Party and ask two questions. Firstly, what are the implications of network influence for electoral choice? Secondly, are the actions of biraderi networks, and the implications of these actions, different to other networks? And if so, why? I use a combination of qualitative and quantitative data in the process of this inquiry. In chapter three, I use the analysis of 37 interviews with political and community activists to introduce biraderi networks and present their role in the selection and election of political representatives. In chapter four I use the same data to contextualise the role of biraderi and examine the relationship between biraderi networks and the Labour Party. In chapter five, I introduce trade union networks and use the analysis of 16 interviews with MPs, political activists and trade unionists to outline three aspects of the role that trade unions take in the selection and election processes: the legitimate aspect, the controversial aspect and the idealised aspect. In chapter six, the final empirical chapter, I ask which candidates receive support from trade unions. I build upon an existing dataset to analyse financial and in-kind trade union donations to the Labour Party. I find that biraderi and trade union networks both, to some extent, carry out five actions in the selection and election of political representatives: providing political education; providing financial and in-kind support; providing campaigners in selections and elections; selecting candidates; supporting the under-represented. I find that the implications of these five actions for voter choice are two-fold. On the one hand, networks can increase voter choice by providing political education and support to candidates who might not otherwise be able to stand for election. On the other hand, I find that networks can reduce electoral choice. Through a combination of legal and illegal actions, when elders control votes biraderi networks can at best restrict electoral choice and at worst remove it entirely. Although these networks carry out the same five actions, I do find that they differ in the way that they carry out some of these actions. I ague that there are three reasons for this: differing network structures; differing network motivations; and access to different resources to influence selections and elections. I argue that networks are motivated to influence selections and elections by instrumental desires to increase their political influence and power as well as ideological motivations to support the party. I find that political parties need networks to help to campaign and deliver political education. Networks can work alongside parties to do this but they can also takeover as political parties abdicate their responsibilities, effectively becoming the party on the ground in a constituency.

This field study aims to identify and examine the consequences and influences of course selections and career choices made by students, their parents and college staff. Because of a lack of information regarding the implications of their selected programmes of study, many students choose unwisely and as a result, have become confused about the relevance of their choices in relation to the achievement of their ultimate career aspirations. To achieve the aims of this study, an analysis of the course selections and career choices of the Year 12 graduates of 1983 from Copland College was completed. This field study is divided into three main sections. The first section comprises Chapters I and II which outline the historical development of secondary colleges within the Australian Capital Territory. The author briefly discusses the influence of both the Hughes and the Campbell Reports and illustrates how these Reports were used as the basis for the establishment of the educational structure we now have for our senior secondary college students in Canberra. In addition, this section details the historical background of careers education within the Australian Capital Territory and the influences this has had on the status of career education at Copland College. The second section covers Chapters III, IV and V. In this section the function of the Student Services Faculty within Copland College is discussed and also a brief explanation given of the type of information gathered by college and administrative staff for career and course advice. The author provides a description of the procedures II used to obtain and collate the information collected for this field study. A questionnaire method of data collection was the basis used to examine the post-collegiate activities of over 240 graduate students of 1983, and part of the questionnaire relates specifically to the destinations of these ex-students. Finally, the third section incorporates Chapters VI and VII. It details the results of my research covered in earlier chapters and at the same time, synthesizes that of other educationalists as it relates to this field study. The concluding portion of this section sets out recommendations proposed to meet the problems identified in such areas as student course selections and careers advice.

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The experimental choral psalm settings of Charles Ives (1874-1954) show rhythmic, melodic, and harmonic innovations that pre-date many of his composing contemporaries such as Schonberg and Stravinsky. Of these works, only Psalm 67 is performed regularly. Regardless of their historical significance, the remaining experimental settings; Psalms 14, 24, 25, 54, 100, 135, and 150 are rarely performed due in part to their level of difficulty.This study presents a series of learning sequences for these psalm settings that can be implemented into typical rehearsal periods for advanced or auditioned choral ensembles. The sequences includes choral exercises and drills that introduce pertinent scalar and tonal structures, harmonic considerations, and varying rhythmic patterns. Various techniques are applied including musical chunking and octave displacement.A preliminary study was performed for the learning sequences designed for portions of Psalm 25. Participants and observers found the learning sequences to be effective in fostering an efficient use of rehearsal time. Revisions to the sequences were made according to suggestions from choral music faculty observers and completed participant questionnaires. Upon completion of the revisions for the method for Psalm 25, similar learning sequences were developed for the remaining psalm settings. Gregg Smith, conductor of the Gregg Smith Singers and editor of the psalm settings, was also interviewed regarding his editing, rehearsing, and performing experiences with these works. / School of Music

Doctor of Philosophy / Department of Hospitality Management / Junehee Kwon / With the advancement of the Internet and information technology, consumers have access to a massive amount of information before purchase. In the hospitality industry, consumers frequently search online information to make decisions. However, there has been limited hospitality research exploring the actual information search behaviors in the online setting. The purpose of this research was to assess the actual information search behaviors of consumers when choosing restaurants through consumer review websites. To accomplish the purpose, three mixed-methods were used including eye-tracking experiments (Phase I), qualitative, retrospective think-aloud (RTA) interviews (Phase II), and a scenario-based survey (Phase III). In the eye-tracking experiments, 30 participants were recruited and instructed to conduct restaurant search tasks. Variables included fixation duration, fixation count, and visit count, indicating how long and how often consumers’ attention had been attracted to certain information areas. The eye-tracking data was also visualized through heat maps and gaze plots. Following eye-tracking experiments, RTA interviews were conducted to investigate the underlying thinking process of consumers. A playback of the recorded eye-tracking video was presented to each participant while participants verbalized their thinking process and reasoning of information search behaviors. The interviews were recorded, transcribed, and analyzed through grounded-theory model to identify important information elements. To overcome the limited generalizability of the eye-tracking experiments and interviews, a scenario-based survey was created, and seven hypotheses were developed to evaluate impacts of online reviews, images, and advertisements on consumers’ interests and restaurant visit intentions based on the results of Phases I and II. Restaurant selection scenarios were provided to the participants to look through screenshots of webpages in order to mimic the online environment. The online survey company Amazon MTurk was used for data collection. A total of 406 usable survey responses were collected and analyzed using descriptive statistics, one-sample Chi-square tests, and visualized heat maps. Eye-tracking experiment results revealed that images, consumer reviews, and filter functions were the top information areas to which consumers paid considerable attention. Advertisements in Yelp also received much attention from participants, but during RTA interviews, advertisements were found to be less impactful for consumers’ decision-making than the number of reviews, images with food items, and consumer reviews. Five out of seven hypotheses in Phase III were supported, indicating that it was mostly consistent with findings of the eye-tracking experiments and interviews (Phase I and II). Specifically, consumers’ interests and intentions to visit restaurants were greater for restaurants with a higher number of reviews, food images, and without advertisements. Consumers also were more interested in extremely rated reviews and preferred evenly-distributed image groups. This study contributes to the existing hospitality literature related to consumer behavior with the utilization of the innovative, combined methods of eye-tracking technology, RTA interviews, and scenario-based survey. This approach allowed the researcher to obtain a holistic view of actual consumer behavior, thinking process accompanying the behavior as well as the verification with large sample. Consumer review websites and restaurateurs were provided with specific recommendations to enhance the online user experience and improve customer satisfaction, respectively.

James Hook was employed as organist, composer and music director at Vauxhall Gardens in London for forty-six years, from 1774-1820. He was preceded in that position by Thomas Arne, a composer better known to musicians of the twentieth century. Hook had an enormous output including over 2000 songs, most of which were intended for performance at the gardens. Many of these songs were popular enough to be published in New York, Baltimore, and Philadelphia, as well as London. These songs are generally in the lightly textured gallant style popularized in England most notably by J.C. Bach.