The thesis examines the reactions of policy-making managements of large industrial firms to the challenges to their power and authority accompanying the organization of relatively strong unions in the later 1930s and 1940s. It describes and explains the transformation in its approach to labour relations forced upon, American management during this period, setting this against a background account of the indus- trial relations strategies large firms followed in the pre-union era. It relates in detail the problems of labour relations American business encountered in the war period and immediately after, and examines the ideology and world-view of management as revealed in its perceptions of its problems. The second half of the thesis describes a successful 'recovery of the initiative' in industrial relations policy and practice by American management. It examines the contributions of large corporations and their pressure-groups to the reorientation of public policy towards organized labour which culminated in the passage of the Taft-Hartley Act. It goes on to discuss the collective bargaining strategies of large manufacturers (particularly in the automotive industry) in the late 1940s, arguing that they acted with realism and conscious purpose to stabilize in-plant labour relations on terms acceptable to themselves. Management accepted unions - but acted to restrict their power, and compelled them to behave 'responsibly'. The final chapters examine other means by which management aimed to outflank and undermine unions, and to restore its own power and prestige - methods which .have usually been neglected by business and labour historians alike. The objectives and rationales of personnel administration, 'welfare capitalism' , in-plant propaganda, and public relations are analysed. Throughout, the emphasis is on managerial motivation, and on the ideological bases of business policy, as much as on actual practice. This is partly because the sources of the study include the rhetoric of the business community as well as the records of its behaviour. The work is, however, more than a partial intellectual history of American business: it concent- rates on practical men's perceptions and analyses of problems which confronted them, and on the rationales they produced for the actions they took.

The Accord was a political exchange whereby the labour leadership participated in the wage restraint programme in return for consultative rights and specific quid pro quo policies, including countercyclical measures to offset fiscal austerity. The President subsequently sustained a policy of fiscal and monetary restraint despite the approaching election and the increasing protests of organized labour. However, in the face of strong opposition from some of Carter's senior economists, the labour leaders secured significant modifications to the second year of the pay standard. The 1980 presidential election renewed incentives for continuing cooperation when economic policy otherwise jeopardized relations.

The main concerns of the study, covering the years 1945-84, are arrangements that have been made for the use of military bases in the United Kingdom by United States forces. The subject is examined within a chronological framework. The development of the United States military presence is traced, from the earliest Joint Chiefs of Staff plans in 1945 and the Spaatz- Tedder agreement in 1946, which gave the United States permission to deploy certain forces in the United Kingdom in time of emergency. The 1948 Berlin Crisis led to the arrival of bombers in East Anglia which was the first major post-war deployment of United States forces to Britain. It was stated that it would be for a period of temporary duty. In fact the bases have remained from that day to this, though their number and types have varied over time. The Korean War proved to be the next major turning point. It increased demands upon the Attlee government for an agreement defining the conditions of use of United States bases in the United Kingdom. The subsequent Truman- Attlee, and later Truman-Churchill, meetings resulted in the key phrase: the use of bases would be 'a matter for joint decision ... in the light of circumstances prevailing at the time.' Different interpretations have been placed on these words at different times. The years 1950-57 saw a consolidation of the United States military presence, with Britain's importance as an intelligence base also growing. The dawning of the missile age symbolised by the first Soviet earth satellite in 1957, the agreement in the same year to deploy Thor missiles, and the deployment of Polaris to Holy Loch in 1960, raised questions regarding the adequacy of the earlier agreements on the conditions of use. This factor, alongside the development of a distinct European identity of which Britain has become a part, has led to a questioning of American hegemony within NATO. The arrival of cruise missiles in 1983 gave added urgency to the debate. Whilst it may be generally recognized that the bases make a substantial contribution to the United Kingdom's defences, the need for clarification of the uses to which the bases can be put by United States forces remains.

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This thesis project consists of 19 sculptures. The medium is hot blown glass. The work interprets and extends the visual and metaphorical qualities of bagpipes. The utilization of the German dudelsack references the playful improvisational nature of these international and culturally diverse forms.

The method I use in creating abstract sculpture presented the question that became the subject of my Master's thesis. Only occasionally will I create from a pre-conceived concept. The sculptures evolve through a process of addition and subtraction of material to something that simply pleases me. This method, really no method at all, seemed contradictory to my original intentions. My artistic goals were purposeful; I wanted to create sculpture that would provoke a reaction first, not a judgment of features. I wanted the viewers emotional and psychological involvement to be the basis for content and meaning in the work. In spite of the indirect approach, I felt there was some success in achieving my goal. Discovering how this occurred was important because I was at a loss to understand the content of my own work. Did the sculpture I was making hold any deeper meaning for me? My thesis proposal advanced the question of how sculptural form expresses content. A more accurate question is, what does it mean? I had faith that I was indeed making art that was more than a pleasant arrangement of forms. Confident that there was also meaning, I proceeded to explore and analyze the relationship of creative process to sculptural form and content. While writing a draft of my thesis, I realized the question was beyond a definitive answer. This was a personal investigation of a fundamental question. My expectation was that insight and analysis would provide the answer I needed.

A thesis featuring the work of Kenneth Butler submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Painting.

It would seem that the thematic structure of the sonata is at least as important as the tonal scheme, if not more so. With this possibility in mind and with the recognition that composers continue to employ "sonata" as a title, a study of the contemporary sonata seems both useful and valid.

During the first half of this century, a wealth of anthem literature was published and performed in the United States that, as a result of the deluge of new publications since those years, has been either forgotten or is unknown to modern church musicians. The purpose of this study is to make the best of this music known, for much of it is still both suitable and desirable for contemporary worship. The research is grouped into six chapters that are entitled: The Quartet Anthem, "Anthems in the Anglican Tradition," "Prominent Choral Ensembles and the Dissemination of the Anthem," "Anthems by Prominent Music Educators," "Anthems in the Russian Style," and "The Negro Spiritual."

The late nineteenth century was a time of great change for women's roles in music. Whereas in 1870, women played primarily harp or piano, by 1900 there were all-woman orchestras. During the late nineteenth century, women began to perform on instruments that were not standard for them, such as cornet, trombone, and saxophone. The achievements of early female saxophonists scarcely have been mentioned in accounts of saxophone history. This study gathers scattered and previously unpublished information about the careers and repertoire of American female saxophonists from 1870-1930 into one reference source.The introduction presents a brief background on women's place in music around 1900 and explains the study's organization. Chapter two presents material on saxophone history and provides an introduction to the Chautauqua, lyceum, and vaudeville circuits. Chapter three contains biographical entries for forty-four women saxophonists from 1870-1930. Then follows in Chapter four a discussion of the saxophonists' repertoire. Parlor, religious, and minstrel songs are examined, as are waltz, fox-trot, and ragtime pieces. Discussion of music of a more "classical" nature concludes this section. Two appendixes are included--the first, a complete alphabetical list of the names of early female saxophonists and the ensembles with which they played; the second, an alphabetical list of representative pieces played by the women.The results of this study indicate that a significant number of women became successful professional saxophonists between 1870-1930. Many were famous on a local level, and some toured extensively while performing on Chautauqua, lyceum, and vaudeville circuits. Some ended their performing careers after becoming wives and mothers, but some continued to perform with all-woman swing bands during the 1930s and 40s.The musical repertoire played by women saxophonists from 1870-1930 reflects the dichotomy of cultivated and vernacular music. Some acts chose to use popular music as a drawing card by performing ragtime, fox-trot, waltz, and other dance styles. Other acts presented music from the more cultivated classical tradition, such as opera transcriptions or original French works for saxophone (by composers such as Claude Debussy). Most women, however, performed a mixture of light classics, along with crowd-pleasing popular songs. / School of Music