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The harp lute is a generic term given to certain types of plucked stringed instruments originally invented by an English musician-retailer, Edward Light, in London at the beginning of the nineteenth century. Combining elements of the highly popular contemporary instruments the harp and the guittar (English guitar), the ideal hybrid instrument, the ‘harp lute’ was constructed. Although the name ‘lute’ was given, since the body consisted of three or seven staves and integrated open major tuning with a natural scale for floating strings it is more closely related to the harp and the guittar than the conventional lute. Incessant application of inventors’ changes to the instruments generated appearances in a variety of forms, sizes, designations and number of strings. Being moderately priced but excessively decorated and relatively easy to learn, harp lutes, as liberal arts instruments, quickly became fashionable in the London music scene, especially amongst middle class ladies. Despite being highly decorative instruments, harp lutes were normally very economic to make. Their construction was adapted for the growth of mass-produced musical instruments, and was therefore moderately and affordably priced. Aalthough there is a great number of surviving harp lutes in public museums, academic institutions, private collections, and a large quantity of published music, as well as archival sources related to the instruments kept in public libraries within researchable conditions, there has been hardly any serious academic study of these instruments since a 1908 survey by Robert Bruce Armstrong. Thereafter, problematically, many accounts relating to harp lutes have relied on erroneous aspects of his research (the date of invention 1798, for instance, may be wrong). This lack of substantial information induced further issues so that, due to the complexity of the instrument designs and the existence of the similar kinds, ambiguous designations have been applied to each model of harp lute, bringing with it added confusion in determining terminology. This thesis, therefore, aims to clarify the terminology and to provide a complete account of the harp lutes, particularly those by Edward Light, in the British Isles during the first half of the nineteenth century. To enable classification of these instruments, it became important to research all available information on Edward Light as musical instrument retailer, musician and inventor. Thus, all models of the harp lutes will be revealed chronologically, shedding light on their constructional transformation as opposed to musical aspects – if readers need more information on musical aspects, they should refer to Armstrong (1908); the purpose of this thesis is to clarify the evolutionary process of the harp lute with partial reference to the social and cultural changes in Britain. There will less focus on music. The inventor Edward Light’s outstanding commercial acumen in musical instrument retailing and inventing will be highlighted, while in order to understand his attempts at harp lute manufacturing (in cooperation with the makers, e.g. Barry), which substantially underpinned Light’s significant success, a copy of a harp-lute will be made to shed light on the hidden secrets in harp lute making.

In 1937, Gustav Bumcke (1876-1963) composed the Scherzo, op. 67 for alto saxophone and double-action pedal harp. Since then, over 50 duos were written for various members of the saxophone family and the pedal harp, yet most of this repertoire is rarely performed and many artists are not yet aware of it. This document investigates works that are (1) composed for two musicians: a harpist and a saxophonist; (2) intended for the double-action pedal harp; and (3) originally composed for this instrumentation (no transcriptions). In Part I, An Investigation of the Development of the Genre, pieces are introduced in chronological order, and placed in historical context. Composers such as Gustave Bumcke and Jean Absil wrote short tonal pieces for alto saxophone and harp. In 1969, Günther Tautenhahn composed the Elegy for tenor saxophone and harp, featuring disjunct melodies with wide intervals. In France, Yvonne Desportes and Ida Gotkovsky composed pieces for alto saxophone and harp. Their pieces are substantially longer in duration and have much higher technical demands for both instruments. During the 1980s composers such as Jacqueline Fontyn, Marc Tallet, and Griffith Rose used a variety of extended techniques and avant-garde notation. Mauricio Kagel's Zwei Akte from 1989 is the longest piece in the genre (c. 28 minutes), with pervasive use of extended techniques. During the 1990s composers wrote saxophone and harp duos involving the bass saxophone and the soprano saxophone. Composers such as Quinto Maganini, François Rossé, Armando Ghidoni, and Tomislav Hmeljak wrote pedagogical pieces, suitable for young and intermediate students. In Part II, Annotated Bibliography, 30 published, readily available works for saxophone and harp are presented. The annotation for each piece includes: title, composer (years), dedication, duration, publisher or contact information for obtaining the piece, type of saxophone used, saxophone criteria grade of difficulty chart, harp criteria grade of difficulty chart, and a short discussion of the piece's form, harmony (if applicable), and any outstanding characteristics.

This study was a cross-sectional epidemiologic evaluation of the clinical, sociodemographic, lifestyle and hospital utilisation characteristics of patients with diabetes, chronic obstructive pulmonary disease and chronic heart failure. Patients were enrolled in chronic disease management services of the Northern Alliance Hospital Admission Risk Program-Chronic Disease Management (Northern Alliance HARP-CDM Program). The program was established in accordance with the Department of Human Services’ (Victoria, Australia) initiative to intervene against increasing acute hospital demand by patients with chronic disease and complex needs. Amongst others, the Northern Alliance HARP-CDM Program provides services for patients with diabetes, chronic heart failure and chronic obstructive pulmonary disease. Patient cohorts with these three chronic diseases were the focus of this study. The Northern Alliance HARP-CDM Program catchment comprises of a culturally and linguistically diverse (CALD) population in the northern part of metropolitan Melbourne. Patients in this region mainly access acute hospital services at the Northern Hospital. The study sought to explore whether the CDM services enrolled patients whom based on their characteristics, fit the risk profile of the intended HARP-CDM target patient population. / The study cohorts demonstrated a CALD make up of above Victorian state averages. The majority (60%) were born overseas, preferred a language other English and were over 60 years old. In contrast to previously published studies, CALD did not demonstrate a significant contribution to disease control, quality of life or level of hospital utilisation. Place of residence for these patients showed clusters within some Local Government Areas. This has implications for service location, access and disease surveillance. Also, it presents opportunities for area targeted health promotion and prevention and overall service location. The majority (77%) of those with chronic heart failure had an abnormal left ventricular ejection fraction. The diabetes cohort was characterised by higher HbA1c (9%) than the target of less than 8%. Similarly the patients had greater than recommended waist circumferences (Males 106cm vs. 94cm; Females 106 vs. 80cm) places them at an increased risk of cardiovascular disease. For those with COPD, 42% had severe pulmonary impairment (FEV%predicted ≤ 40%) while 36% were moderate in the moderate category. / There was increased hospital utilisation with increasing age for those with COPD. With the exception of the diabetes cohort, there was no significant evidence as to the role of ethno-cultural factors in the study cohorts’ health, quality of life or level of hospital utilisation. However, ethno-cultural factors may contribute to the complexity of patient management processes and warrants further investigation. / Prior to enrolment in the Northern Alliance HARP-CDM Program, patients who could be considered high users of emergency department services made up 20% of those in the diabetes service, 43% in the COPD service and 50% amongst those in the CHF service. Similar figures for hospital admissions ranged from 20% for the diabetes services to 56% for the CHF service cohorts respectively. Although the diabetes service was the biggest of the three the majority of patients in the service had no previous history of acute hospital utilisation. Members of the diabetes service cohort were characterised by hospital utilisation rates lower than the Northern Hospital’s (ED: 34 vs. 72 per 100 patients, Admissions: 33 vs. 68 per 100 patients in the Pre HARP-CDM Period). Patients in the COPD service (ED: 115 Pre and 158 during HARP-CDM) and CHF service (160 Pre and 159 during HARP-CDM) had ED presentation rates per 100patients that were higher than the hospital’s (72 and 69). / The rates suggest the first 14 months of the Northern Alliance HARP-CDM Program were associated with increased hospital utilisation by patients enrolled the Northern Alliance HARP-CDM Program. The increments were greater than increases for the Northern Hospital for the same periods. Contrary to the intended goal of reducing acute hospital utilisation, the majority of the clientele did not fit the primary HARP-CDM Program criteria of high acute hospital users. But patients who were enrolled following previous hospital utilisation were well-targeted. However there are several patients who are likely HARP-CDM Program candidates who fall though the gaps between the acute hospital services and the program. / It is recommended the program and services increase enrolments and access for the target patient populations. There is a need for early intervention chronic disease management and health promotion. This service would cater for clients who by virtue of having a chronic disease are at risk but are currently not high acute hospital users. Such a service would free up vacancies in the Northern Alliance HARP-CDM Program, thus enabling increased intake and equitable access for the target patient population, especially those who fall though the gaps as referred to earlier. Funding for such a service is available through DHS. In light of strong evidence for exercise rehabilitation and its ability to positively impact patient outcomes, quality of life, survival and hospital utilisation, consideration needs to be given to this as part of the Northern Alliance HARP-CDM Program chronic disease management care model.

This study serves as a comparison between the two works for flute, viola, and harp by Toru Takemitsu and Claude Debussy; influences of Debussy on Takemitsu and similarities between the two composers. It examines how cultural influences from both Japan and France affected each composer, and explores how other artists and composers impacted their writing. Particular focus will be put on Takemitsu's philosophical aesthetics, especially in his later years, and a comparative analysis between the two composers' trios, which include the harp. This study will present a comparative analysis of Takemitsu's trio, And then I knew 'twas Wind for Flute, Viola, and Harp, and Debussy's Sonata for Flute, Viola, and Harp, pointing out similarities and possible influences upon the composers, focusing on elements indicated in the score and writings by and about the composers.

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Thesis (Ph.D.)--Murdoch University, 2006. / Thesis submitted to the Division of Health Sciences. Bibliography: p. 198-222.

Thesis (M. Sc.), Memorial University of Newfoundland, 1998. / Restricted until November 1999. Bibliography: leaves 60-68.