The final product of this thesis is a high-quality recording of selected piano works by Juan Francisco García. Juan Francisco García (1892-1974), a Dominican composer, was a prominent figure in the classical music scene of the Dominican Republic during the first half of the twentieth century. As a pioneer who fostered the nationalistic musical movement in the Dominican Republic, García sought to create compositions that sounded authentically Dominican. Garcia accomplished this goal through his piano works, which are distinctly expressive, and abridged compositions exhibiting beautiful lyrical melodies and attractive rhythmic qualities. García’s piano music displays a rich variety of compositional approaches. In his early works he employed a traditional classical language, followed by impressionist and modern techniques in his later compositions. Regardless of compositional style, his piano compositions integrate various elements of Dominican folk music and dances; their programmatic and dancing nature call for an imaginative and expressive playing. The chosen pieces for this project are fine examples of Garcia’s style and show the journey of his development as a composer. This recording includes the following three piano suites: Fantasía Indígena para Piano, Suite de Impresiones para Piano and Suite para Piano, as well as seven shorter pieces: Capricho Criollo no. 1, Capricho Criollo no. 2, Quisqueyana: Capricho, Recuerdo Grato: Danza Criolla, Yo me Enceleré: Danza- Merengue, Sambumbia and Ruego: Vals al Estilo Criollo. This recording is the first consisting entirely of piano compositions by García. As a Dominican pianist, I aspire to advance and revive the interest in García’s piano works as well as to present Dominican piano music to both musicians and audiences worldwide.

My dissertation contemplates the role that New Deal era photographs played in developing a sense of place particular to New York City’s environs. I argue that photographers used the camera as a tool to cultivate the relationship between people and the urban landscape by focusing their lens on liminal and collective spaces within the metropolitan environment. My first chapter examines Helen Levitt’s survey of African-American, Latinx, and Italian children in East Harlem, sponsored by the Federal Art Project. My second chapter reviews a series produced under the same Project—Arnold Eagle and David Robbins’s study of the Jewish and Italian sections of the Lower East Side. My third chapter turns to Sid Grossman and Sol Libsohn’s chronicling of Irish and Italian second-generation immigrants in Chelsea, supported by the Photo League. In each chapter, I contend that the prominence of communal spaces within these images results in documents that can be read as an effort by photographer and subject alike to define their place within the contested sites of the urban street. Through this focus on vernacular spaces, these surveys disrupt ideals of belonging and work to document processes of place-making distinct to each occupier. Employing analytical lenses of cultural geography and phenomenology, I theorize the role of collective spaces within each series. These vernacular sites, propelled by their indistinct physical and social dimensions, hold slippery identities, shifting boundaries, and a collection of potential “owners.” Due to this ambiguity, these spaces hold an opportunity for collective emergent action. Throughout these series the photographers show neighborhood dwellers engaging collective spaces of the city to satisfy their quotidian needs. My dissertation examines how inhabitants, through acts of play, ritual, and embodied remembrance, transform these interstitial spaces into place. I consider the photographer’s role as folklorist, sociologist, and archeologist—as they survey how their subjects engage, occupy, and transform the local and ordinary spaces of their metropolitan landscape into places created and claimed by city-dwellers. In attending to the spatial dimension, I consider how photographs register and explore the lives of marginalized communities within the contested landscapes of New York City’s streets.

Objectives The study aims to describe the socio-demographic characteristics, clinical outcomes of the patients in the Gauteng public sector roll-out programme and establish the association between these. There are contradictory results from international studies on these associations, in the absence of SA results. Methods This is a retrospective cohort, exploratory, secondary data, record review study and a comparison between two sites. Routinely collected socio-demographic data and clinical data were used to establish the impact of socio-demographic factors on response to HAART. This was collected for patients who enrolled from April 2004 to August 2004. Chris Hani Baragwanaath (CHB) had 494 records, Helen Joseph (HJ) had159 records collected. Exposure variables (age, sex, marital status, education level, residential area, employment, baseline viral load and baseline cd4 count). Outcome variables were (CD4 and Viral load at 3 months, 6 months and 12 months). Data Analysis T tests were used for comparing means; logistic regression was used to find the effect of ordered exposure variables and binary outcome. Chi square and fishers exact were used to find frequencies and association between the categorical variables. Regression was used to find the association between the continuous exposure variables and the continuous outcome variables. In a multivariate model, to assess the effect of the exposure variables to the outcome variables Multivariate regression was used. Statistical significance was assessed at the 5% significance level, giving 95% confidence interval. Results The majority of the patients (653) were female, African, unemployed and were literate. At CHB, at the end of the first year, three quarters were still on treatment however; just under a fifth (19%) had died. The majority responded well to treatment and had a mean baseline CD4 count of 58.9cells/mm3 (CHB) and 78.4cells/mm3 (HJ) and mean CD4 count of 245 (CHB) and 268 (HJ) after 12 months. increasing age, and being widowed, lowers the immunological response. Employment, education, sex and had no impact on response. Conclusion • There is positive virological and immunological response to HAART in Gauteng ARV roll-out programme despite the low socio economic status of the majority of the patients. • Provision of free antiretroviral drugs and access to the disability grant has assisted in mitigating the effects of HIV/ AIDS on the socio-economically disadvantaged. • The elderly and the widowed might need close monitoring as their response appears to be lower than the others. • The group with no schooling is not well represented in this sample; the question is whether the HIV/AIDS prevention messages and treatment is accessible for this group. This needs further research.

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Although Charlotte Elizabeth Tonna's 1839 social reform novel Helen Fleetwood has long been understood as a commentary on the dehumanizing effects of factory work, her use of animals to represent factory workers has not been considered in analyses of her depictions of dehumanization. Considering both the growing interest in the animal/human divide during the early nineteenth century and Tonna's own direct contributions to discussions about animals, in this essay I examine the role that animals play in negotiating definitions of humanity and nature in the novel. I argue that idealized, "Edenic" animals and corrupted, "industrial" animals are integral to Tonna's juxtaposition of the pre-industrialized countryside and the industrial city; I also explore how "animality" transcends the content of the novel and becomes an element of the novel's methodology and conventions. Using the animality of Helen Fleetwood as a case study, I conclude that Victorian social reform writers not only idealized nature to serve their arguments but were also constrained and somewhat undermined by a kind of "nature" that lay beyond their narrative control.

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The purpose of this study was to solicit information from Fellows of the Association for Music and Imagery concerning their use of the method known as Guided Imagery and Music (GIM). Modifications to the individual and group forms of GIM that were created by Helen Bonny in the 1970s have been reported in the literature over the past 30 years, but the prevalence of these practices is unknown. Based on distinctions provided by Bruscia (2002a), an anonymous electronic survey was designed to gather data on the extent to which original and modified forms of GIM found in the literature are currently practiced. In addition, data were gathered on the basic demographics of GIM fellows, as well as characteristics of their clients and their delivery of GIM treatment. Results indicated that the original Bonny Method practices were frequently used by a majority of GIM fellows. All of the modifications included in the survey were also practiced, although less frequently than original Bonny Method practices. T-tests and ANOVAs were computed to identify significant differences between GIM fellows' use of practices, and, their demographics and delivery of GIM treatment. Pearson correlations were computed to identify significant relationships between GIM fellows' use of practices and their clients' characteristics. A number of significant results were found and discussed. Results of factor analyses indicated that the boundary distinctions between the original Bonny Method and modified practices as articulated by Bruscia (2002a) are reflected in GIM fellows' frequency ratings for these practices. It is recommended that the GIM community adopt a system for distinguishing boundaries between practices, conduct research to determine where Bonny Method and modified practices are learned and for what purposes they are used, and to use this information to inform GIM training and practice. / Music Therapy