The Dooley Rhyolite Breccia in northeast Oregon was erupted between 12 and 16 million years ago, from central vents and linear feeder dikes within the Dooley Mountain quadrangle. The peraluminous, high-silica rhyolites of the formation were erupted over an irregular highland of eroded pre-Tertiary metamorphic rocks locally overlain by intracanyon, Eocene Clarno-type basalt flow(s) . The Dooley Rhyolite Braccia is exposed in a tectonically disrupted, north-south trending graben across the Elkhorn Range. The formation is variable in thickness with maximum thickness exceeding 660 meters in the south and 600 meters in the north half of the quadrangle. Volumetrically the formation is dominated by block lava flows with lessor associated volcaniclastic and pyroclastic rocks. Although initial and waning phases of eruption of the formation produced ash-flow tuffs which extend well beyond the quadrangle boundaries, volcanism within the quadrangle appears to have been primarily effusive. At least nine geochemically distinct rhyolite subunits belonging to four related chemical groups have been identified in the formation stratigraphy which appear to represent unique eruptive episodes. Chronologic geochemical patterns within the formation are consistent with a petrogenetic model of repeated partial melting and eruption from multiple silicic magma chambers in an attenuated continental crust. Basalts correlative with the Powder River Basalt and the Strawberry Volcanics overlie the Dooley Rhyolite Braccia on the north flank of Dooley Mountain. Cale-alkaline basalts correlative with the Strawberry Volcanics are overlain by thoeliitic basalts of uncertain affinity on the south flank of the mountain. These basalt flows on respective flanks of the mountain were not continuous across the quadrangle. Rhyolitic volcanism in the Dooley Mountain quadrangle is contemporary with the strawberry Volcanics and the Picture Gorge Basalt of the Columbia River Basalt Group.

Vietnam was partitioned at the 17th parallel on 21 July 1954 with the signing of the Geneva Accords. During the following three hundred days, between 600,000 and one million Vietnamese civilians traveled from North Vietnam to South Vietnam. Three hundred thousand of these individuals were transported in the United States Navy's evacuation efforts, dubbed Operation Passage to Freedom. The Navy recognized the propaganda value of the evacuation from areas under communist control, but American audiences did not respond to the coverage afforded to the American operation. In 1956, a year after the completion of the evacuation, Dr. Thomas Dooley released Deliver Us from Evil, a first-hand account of his own experiences in Vietnam during the evacuation. This book enjoyed literary success and became a bestseller. This study explores the reasons Dooley enjoyed propagandistic success while other pieces of propaganda failed to sustain American interest.

Paul Dooley’s composition, Masks and Machines (2015), is a significant new work for wind ensemble and was the winner of the National Band Association’s William D. Revelli Memorial Band Composition Contest award and the American Bandmasters Association’s Sousa/ABA/Ostwald Composition Contest. Masks and Machines has received positive critical acclaim and numerous performances, including a performance at the 2015 Midwest Band and Orchestra Clinic in Chicago, Illinois by the North Texas Wind Ensemble under the direction of Eugene Corporon and a performance at the 2016 American Bandmasters Association Conference in Lexington, Kentucky by the United States Marine Corps Band under the direction of Jason K. Fettig. The purposes of this dissertation are 1) to place Masks and Machines in its historical perspective within the history of wind band compositions; 2) to provide an overview of the artistic styles that influenced the composer, such as Stravinsky’s Neoclassical works, Bauhaus Art, and Fortspinnung; 3) to elaborate on the musical traits and characteristics of Masks and Machines via formal analysis; and 4) to offer a guide to rehearsal and performance of the work. The Introduction discusses Masks and Machines in its historical context as a highly acclaimed wind ensemble composition within the canon of twentieth century wind band works. Chapter 1 includes a detailed biography of Paul Dooley. Chapter 2 discusses the visual art and musical influences on Paul Dooley and how these influences come to life in his wind band compositions. Chapter 3 is an analysis of Masks and Machines with thematic excerpts and discussions on form, instrumentation, orchestration, and compositional techniques. Chapter 4 provides a rehearsal and performance guide aimed to facilitate a successful performance of Masks and Machines. Chapter 5 includes a transcription of two interviews with the composer and focuses primarily on compositional influences, processes, and techniques regarding Masks and Machines and other wind band compositions by Dooley, such as Point Blank (2012), Meditation at Lagunitas (2014), and Mavericks (2016).

This work scrutinises, evaluates and systematises the modern exchange rate theories. Its aim is to familiarise the reader with the concepts of expectation, Purchasing Power Parity and Interest Rate Parity, which together form the basis of the following analysis of monetary and portfolio theories of the exchange rate determination. Then, it provides a comparison of the various approaches to these theoretical frameworks with regard to their respective authors. The paper is concluded by an evaluative description of the conditions under which such theories could be applied.