The sixteenth century brought increased English military occupation and settlement to Ireland. Members of the invading nobility, who consequently came into contact with the native culture, were seduced by the sound of the Irish harp and took the instrument from its roots in Gaelic society and placed it in the setting of European courtly music. My aim is to examine this process, the resulting developments which took place in the evolution of the Irish harp, and compositions associated with its usage in the 'art' music of England and the Continent. Particular reference is made to the 'Harpe' Consorts of William Lawes together with their sources and resulting implications when considering the capabilities of the instrument employed. The harp's role within this music is also analysed and a complete set of transcriptions of Lawes' consorts is included. Works by other musicians associated with the Irish harp during the period 1550-1650 are also discussed with specific reference to the compasses and accidentals of the instruments required by the composers where appropriate. Transcriptions of works attributed to Cormack MacDermott and the anonymous harp parts located at the back of Ch Ch Mus MS 5 are included. Martin Peerson's 'Mottects or Grave Chamber Music' and a collection of works for 'Treble Bass Viol and Harp', included in the back of the 1687 edition of Christopher Simpson's A Compendium of Practical Music are also discussed. A major part of the research involved the reconstruction of an Irish chromatic harp (presented as part of this thesis) capable of playing the music examined. An account of this is given in a report which looks at the decisions and processes involved, difficulties encountered, as well as some recommendations for future experimental directions.

Class of 2012 Abstract / Specific Aims: To explore whether publishing requirements for human-centered randomized control trials, particularly the CONSORT criteria, have any relationship to impact as measured by the Journal Citation Reports TM Impact Factor. Methods: A worksheet was used to evaluate a methodically selected list of journals, including types of articles published, requirements of authors for human-focused randomized control trials, JCR Impact Factor and other JCR metrics for each specific journal title. A worksheet was filled out for each journal by each member of the research team and answers combined for consensus. Group means and SDs were calculated and the Student’s t-Test applied to values for selected journals. Main Results: 50 candidate pharmacy journals were identified and 41 met the criteria for publishing human-centered randomized control trials. Journals were grouped according to whether they required CONSORT or had other reporting requirements for human RCTs, or had no requirements for such studies. Few (6; 15%) pharmacy journals required authors to use CONSORT; and additional 15 (37%) journals provided as least some author guidelines similar to CONSORT. Pharmacy journals using CONSORT or other guidelines had a higher average impact factor (3.5; SD = 1.5) than did journals without guidelines (2.4; SD = 0.9; p = 0.007). Conclusions: There appears to be a statistical difference in average JCR metrics between journals which require specific RCT guidelines and those which do not. The use of reporting guidelines, such as CONSORT, by pharmacy journals is associated with increased impact as represented by JCR influence measures.

The Consort Pebble Chert Quarry site (EkOr-8) is a Pre-Contact quarry site located south of the Village of Consort, Alberta. Despite knowledge of the site's existence by local area farmers, it was only in 1999 that it was first recorded as an archaeological site. It is described as a large area dominated by the presence of marked depressions that vary in size from less than a metre in depth and diameter to well over three metres in depth and diameter as well as an abundance of chert pebbles on the ground surface. Originally believed to be an example of meteorite impacts, the site was explored by geologists from the University of Calgary. Further visits by provincial archaeologists resulted in numerous theories as to the cause of the depression features and the purpose of the site. No archaeological investigation was undertaken prior to the summer of 2006.<p>No diagnostic artifacts were recovered from within the site area; however, a possible temporal indicator to site usage may be indicated based on the discovery of a Duncan projectile point in a site immediately to the south of the Consort Pebble Chert Quarry. An abundance of lithic artifacts were uncovered as results of the shovel test program undertaken by the author during the summer of 2006. The majority of these lithic artifacts were derived from the abundant lithic material within the site area known as pebble chert. No other non-lithic artifacts were found during the course of this excavation. <p>Shovel tests were used to provide an indication of the subsurface stratigraphy at the site. No evidence of cultural strata was found and the subsurface deposits present reflect a history of glacial landscapes. A number of glacial phenomena are the likely causes of the depression features. The presence of pebble chert on the ground surface; however, did make this area an attractive location for collecting unmodified lithic material in order to fashion stone tools. The existence of numerous artifacts made from pebble chert at the site indicates that past cultural groups had visited and collected from the area. An overview of archaeological sites on the Canadian Plains demonstrates that pebble chert is a valuable lithic material that was used in a wide variety of archaeological sites throughout the Pre-Contact era.

The Consort Pebble Chert Quarry site (EkOr-8) is a Pre-Contact quarry site located south of the Village of Consort, Alberta. Despite knowledge of the site's existence by local area farmers, it was only in 1999 that it was first recorded as an archaeological site. It is described as a large area dominated by the presence of marked depressions that vary in size from less than a metre in depth and diameter to well over three metres in depth and diameter as well as an abundance of chert pebbles on the ground surface. Originally believed to be an example of meteorite impacts, the site was explored by geologists from the University of Calgary. Further visits by provincial archaeologists resulted in numerous theories as to the cause of the depression features and the purpose of the site. No archaeological investigation was undertaken prior to the summer of 2006.<p>No diagnostic artifacts were recovered from within the site area; however, a possible temporal indicator to site usage may be indicated based on the discovery of a Duncan projectile point in a site immediately to the south of the Consort Pebble Chert Quarry. An abundance of lithic artifacts were uncovered as results of the shovel test program undertaken by the author during the summer of 2006. The majority of these lithic artifacts were derived from the abundant lithic material within the site area known as pebble chert. No other non-lithic artifacts were found during the course of this excavation. <p>Shovel tests were used to provide an indication of the subsurface stratigraphy at the site. No evidence of cultural strata was found and the subsurface deposits present reflect a history of glacial landscapes. A number of glacial phenomena are the likely causes of the depression features. The presence of pebble chert on the ground surface; however, did make this area an attractive location for collecting unmodified lithic material in order to fashion stone tools. The existence of numerous artifacts made from pebble chert at the site indicates that past cultural groups had visited and collected from the area. An overview of archaeological sites on the Canadian Plains demonstrates that pebble chert is a valuable lithic material that was used in a wide variety of archaeological sites throughout the Pre-Contact era.

This Master's thesis belongs to the field of sixteenth century studies. The text I have chosen to study is the Memoires of Marguerite de Valois, begun in 1594 and published in 1628, thirteen years following the death of this queen. My analysis encompasses both the conventions of genre and rhetoric evidenced in the text. The first chapter explores the peculiarities inherent in the memoirs genre, especially where these explicitly distinguish it from the autobiography. The second chapter examines the rhetorical aspects of Marguerite de Valois' Memoires. In doing so, I have highlighted and analyzed the rhetorical strategies employed in the text, whose ultimate intent was to convince the initial reader, Brantome, and subsequently posterity, of the political astuteness of an author who was also worthy of her correspondent's trust as a loyal ally.

The purpose of this study is to demonstrate that the main theme of Heptameron, by Marguerite de Navarre, is not love, as numerous critics maintain, but the notion of honour. This notion is the real unifying principle that indisputably confers its penetrating unity to the book. / If the kind of dialogue favoured by the Queen creates a polyphony which, at first, may seem destabilizing and hinder the coherence of the book, after reading it carefully, however, one notices that a certain number of guidelines relating to the notion of honour permeate the book. By identifying systems and ensembles, one discovers different sets of correlations--in connection with the notion of honour, that are connected by intelligible links and form homogeneous units that are completely meaningful. This reveals that, behind the obvious conservatism of the characters and members of the storyteller circle of Heptameron, the bivalence of the honour code, in the relationships between men and women, is challenged, even criticized.

Class of 2012 Abstract / Specific Aims: To explore whether publishing requirements for human-centered randomized control trials, particularly the CONSORT criteria, have any relationship to impact as measured by the Journal Citation Reports ™ Impact Factor. Methods: A worksheet was used to evaluate a methodically selected list of journals, including types of articles published, requirements of authors for human-focused randomized control trials, JCR Impact Factor and other JCR metrics for each specific journal title. A worksheet was filled out for each journal by each member of the research team and answers combined for consensus. Group means and SDs were calculated and the Student’s t-Test applied to values for selected journals. Main Results: 50 candidate pharmacy journals were identified and 41 met the criteria for publishing human-centered randomized control trials. Journals were grouped according to whether they required CONSORT or had other reporting requirements for human RCTs, or had no requirements for such studies. Few (6; 15%) pharmacy journals required authors to use CONSORT; and additional 15 (37%) journals provided as least some author guidelines similar to CONSORT. Pharmacy journals using CONSORT or other guidelines had a higher average impact factor (3.5; SD = 1.5) than did journals without guidelines (2.4; SD = 0.9; p = 0.007). Conclusions: There appears to be a statistical difference in average JCR metrics between journals which require specific RCT guidelines and those which do not. The use of reporting guidelines, such as CONSORT, by pharmacy journals is associated with increased impact as represented by JCR influence measures.

In 1939, during his studies at the Eastman School of Music, John La Montaine (1920-2013) composed a Scherzo for four trombones. The Scherzo was revised more than 60 years later, becoming the third movement of a three-movement trombone quartet completed in 2001. Interestingly, the same Scherzo subsequently appeared in two of his later works: first the final movement of his Piano Concerto No. 4 Op. 59 (1989) and 12 years later as the final movement of a three-movement Trombone Quartet. The thesis presents a detailed account of the compositional history of the Scherzo, its connection to the first two movements, and a performance edition of the Scherzo based on my collaboration with the composer between for five years from 2003 to 2007.

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