The purpose of this study is to demonstrate that Cantate pour l'inauguration du Musee de l'Homme, op. 164, Darius Milhaud's musical setting of a poem by Robert Desnos, can be made accessible to choral ensembles by employing a choir in addition to the vocal quartet traditionally used in performances, thereby reflecting more accurately the poet's concept of the work, even though these indications are not present in Milhaud's musical score.In order to provide conductors and scholars with the tools to understand and perform Cantate pour l'inauguration du Musee de l'Homme, in this document I describe the work, analyze its poetic and musical structure, trace its performance history and practice, and suggest ways to realize Desnos's original concept of the work. I also present some possible explanations as to why Milhaud did not include any indication for vocal performance forces in Cantate pour l'inauguration du Musee de l'Homme, and why he himself performed the work with vocal quartet and not with choir. Finally, I propose that employing a choir in addition to soloists for Cantate pour l'inauguration du Musee de l'Homme is consistent with the performance history of Milhaud's other vocal quartet works of similar style.

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本研究係利用涵蓋全世界5大洲之94個國家中央銀行為實證研究對象，探討各國中央銀行設立貨幣博物館之影響因素。 經由Probit模型進行實證研究，研究結果發現：人口數量、地理區域、經濟自由度、所得水準、人力資源及財力資源等，是顯著影響各國中央銀行設立貨幣博物館的重要影響因素。 其中人口數量、地理區域、經濟自由度、人力資源及財力資源是促使各國中央銀行設立貨幣博物館的重要影響因素，而所得水準則使各國中央銀行傾向不設立貨幣博物館的重要影響因素。 / This study explores the determinants of Establishment of Money Museum in Central Banks in the World. By applying Probit analysis, 94 central banks representing 5 continents are empirically analyzed. Findings of this research indicate that population, location, freedom degree of economic, human resources and material resources are significantly and positively correlated with the determinants of establishment of Money Museum in Central Banks. Level of income are significantly and negatively correlated with the determinants of establishment of Money Museum in Central Banks.

Numerous anthropogenic disturbances have occurred in large lakes over recent decades. These may alter concentrations of the biomagnifying contaminant mercury (Hg) in fish, but long-term impacts of disturbances on Hg trophodynamics are poorly understood. Elemental analyses of archived museum ichthyology specimens could be used to study historical, pre-disturbance fish food webs, but there is uncertainty about effects of chemical preservatives on the results of such analyses. In this thesis, long-term preservation effects were studied, and archived fish were used to reconstruct historical food webs and Hg trophodynamic patterns in three large North American lakes, Nipigon, Simcoe and Champlain. After 24 months of formalin/ethanol preservation, fish muscle delta-15N and delta-13C had average changes of +0.4 ‰ and -0.9 ‰, respectively. Shifts in mean Hg concentration was +5 % after 12 months. A suite of 26 other elements analyzed over 24 months showed consistent responses to preservation, usually involving an increase in concentration immediately following preservation. In the second phase of the thesis, stable isotope and Hg analyses were performed on archived and modern fish from the study lakes, dating to the 1920s-60s and 2006-7, respectively. Trophic relationships were often relatively stable over time, but stable isotope metrics revealed a decrease in Lake Nipigon delta-15N range and less pelagic feeding among Lake Simcoe pumpkinseed and yellow perch. In Lake Champlain, the re-introduction of lake trout in recent decades did not have a major effect on overall food web dimensions. Significant Hg biomagnification factors were found in 1920s and 2006-7 Lake Nipigon (which were not statistically distinguishable from each other) and 2006 Lake Champlain. These biomagnification factors ranged from 0.09 to 0.17, which is within the range found in other studies globally. Archived fish and government monitoring records indicated that fish Hg concentrations decreased in Lakes Simcoe and Champlain since historical periods, but remained similar or increased in Lake Nipigon. This thesis confirms the utility of archived fish for elemental analyses. It highlights the risks of Hg contamination and food web change that may be faced by remote lakes, and it provides evidence for relatively stable Hg biomagnification rates in large lakes. / Thesis (Ph.D, Biology) -- Queen's University, 2013-01-30 15:43:33.438

This thesis is a study of the changing model of the local history museum in Ontario, Canada and the consequential changing interpretations of the past in these institutions. <br /><br /> Beginning in 1879, local history museums in Ontario developed largely from the energies of local historical societies bent on collecting the past. While science museums used taxonomy and classification to mirror the natural state of the world, history museums had no equivalent framework for organizing collections as real-world referents. Often organized without apparent design, by the early 20th century a deductive method was used to categorize and display history collections into functional groups based on manufacture and use. <br /><br /> By the mid-twentieth century an inductive approach for interpreting collections in exhibits was promoted to make these objects more meaningful and interesting to museum visitors, and to justify their collection. This approach relied on the recontextualization of the object through two methods: text-based, narrative exhibits; and verisimilitude, the recreation of the historical environment in which the artifact would have been originally used. These exhibit practices became part of the syllabus of history museum work as it professionalized during the mid-twentieth century, almost a full century after the science museum. In Ontario, recontextualizing artifacts eventually dominated the process of recreating the past at museums. Objects were consigned to placement within textual storylines in order to impart accurate meaning. At its most elaborate, artifacts were recontextualized into houses, and buildings into villages, wherein the public could fully immerse themselves in a tableau of the past. Throughout this process, the dynamic of recontextualization to enhance visitor experience subtlety shifted the historical artifact from its previous position in the museum as an autonomous relic of the past, to one subordinate to context. <br /><br /> Although presented as absolute, the narratives and reconstructions formed by these collecting and exhibiting practices were contingent on a multitude of shifting factors, such as accepted museum practice, physical, economic and human resources available to the museum operation, and prevailing beliefs about the past and community identity. This thesis exposes the wider field of museum practice in Ontario community history museums over a century while the case study of Doon Pioneer Village shows in detail the conditional qualities of historical reconstruction in museum exhibits and historical restoration.

National museums are spaces where stories of the past are told through the display and interpretation of material culture. The narratives that are created in this way reflect the ways in which the nation wants to be seen at that particular moment, and are often embedded in the larger political and social contexts of that time. This thesis looks at the National Museum of Scotland as having three levels of narrative: that of the museum as a physical space and national institution, that of the temporary exhibitions it hosts and develops, and, most crucially, as a collection of important and iconic objects. By tracing the artefacts that were given a central role in various exhibitions over the life of the museum, the narratives of nation and history which were most valuable at that time can be uncovered. The two permanent and five temporary exhibitions profiled in this work act as windows into the life of the museum, and the goals and challenges it had at that moment. The thesis begins with the story of museum history in Scotland, from the 1780 formation of the Society of Antiquaries of Scotland to the debates in the 1990s about the potential form and contents of a new Museum of Scotland. From there we look at two temporary exhibitions in the 1980s which inspired the Museum of Scotland, before examining some more recent temporary and touring exhibitions – a pair that came to Scotland from Russia, and one that left Edinburgh to travel among other Scottish museums. The final chapter returns to the realm of what it means to have a national museum, as it investigates the 2006 rebranding that changed the Museum of Scotland into the National Museum of Scotland, and what the new nomenclature signals about the objects and narratives within. All together, this work is both the story of a particular national museum and an investigation into the ways in which national history is continuously made and remade for the public through the display of artefacts from the past.

<p> This thesis is a critical study of two exhibits, <i> First Encounters Spanish Exploration in the Caribbean</i> and <i> A Tribute to Survival</i>. The objective of the thesis was to understand if and how indigenous activists, using the media as tool, were able to change curatorial approaches to exhibition development. Chapter 1 is broken into three sections. The first section introduces the exhibits and succinctly discusses the theory that is applied to this thesis. The second section discusses the objectives of the project and the third provides a brief outline of the document. Chapter 2 discusses the historical background of American museums in an attempt to highlight changes in curatorial attitudes towards the public, display, interpretation, and authority. Chapter 3 gives a more in-depth overview of the methodology and materials utilized in the thesis. Chapter 4 is a critical analysis of the literature for both <i>First Encounters</i> and <i> A Tribute to Survival</i>. Chapter five is a summary of the thesis and offers a conclusion of the effectiveness of using the media as a tool.</p>

<p>The growing diversity of museum visitors has shifted art museums? educational goals towards developing new ways for visitors to create meaningful experiences. Currently, the predominant method of instruction for adults relies on the lecture based format. The argument made in this study suggests that the interactive strategies used for children could be equally beneficial if applied to adults, provided these activities are designed specifically for adults. Based on the research, when interactive activities are made available to adults it is usually done through a ?multi-generational? approach, inherently geared for adults accompanying children. To address this concern, the study surveyed the educational departments and programs of eight museums in Southern California. The results explore current educational trends and conclude with suggestions how museums can begin modifying and implementing interactive strategies for the adult visitor.

The aim of this study is to illustrate and analyze the future visions of museums and what the future visitor of museums will be. This will be done through a discourse analysis supplemented with interviews with persons involved in the museum field. The questions at issue are how the future of museums is discussed, expressed, and described in the future visions of the for this study chosen museum actors. Furthermore this study will look into what role the visitor of museums is going to take in the future of museums. It will also study how museums should conduct themselves to the visitor of future museums. And finally, what do future museums seek to achieve in the future? Museums of today are reaching out towards their visitors and hence the museums have gone from being storage for cultural heritage to become active learning environments for the people. Museums seek to achieve a sustainable future in the social-, environmental-, and economical area. Diversity should also be developed within the activities of the museums, both when it comes to qualifications and to work for development in society as a whole. Knowledge of the Swedish society and its history are likely to play a great role in the future of museums seeing that museums can be looked upon as an institution of knowledge. In this respect the cooperation with universities and colleges are of great importance since it gives an increased credibility for the visitor both when it comes to knowledge and research, as well as democracy and diversity. In this time of change lies also the change in the role of the visitor. The future visitor of museums will no longer play the passive part of the listener and recipient of information. The future visitor will play a more active role in the process and product of the museums. This change is in part a result of the digital technology that today is a great part of people’s lives. Museums develop the individual visitor’s motivation and involvement in the community as a bridge between the past, the present and a future.

By engaging in collaborative arts-based and arts-informed narrative inquiry with my six-year-old daughter, we explored self-guided materials in art museums in the North Texas area. Though the field of art museum education is becoming increasingly participatory, most academic research related to self-guided materials has fallen short of exploring visitors' experiences with these materials. Furthermore, the perspectives of children have been long overlooked in academic and, at times, institutional research about family experiences in museums. Over the course of nine months, my daughter and I visited art museums and engaged with their self-guided materials, ranging from audio tours to interactive galleries. During this time we created collaborative works of art based on our experiences, which acted as both data collection and analysis in preparation for writing narratives. Our narrative explorations allowed us each to better understand our collective experiences. Though this research specifically targets self-guided materials in art museums, any educator interested in intergenerational or collaborative family learning may find both our methodologies and our conclusions to be helpful in better understanding how narratives are essential to this type of learning.