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<p>Although Paul Scott is a successor to other Anglo-Indian novelists, his literary reputation is unjustly -overshadowed, particularly by E.M. Forster's. Scott's epic novel, The Raj Ouartet and its sequel, Staying on, provide a pointed indictment of the human costs of British imperialism from a British point-of-view, both employing and undermining the standard themes and conventions of the Anglo-Indian novel. A complex and repeated series of images and symbols diagnoses the pathological state of the Raj at its moment of collapse. Scott's Anglo-India is trapped In a mythical Edwardian era of imperial certainty, rather than in the contemporary political reality of Indians· insistence on their right to self-rule.</p> <p>The current weakness of the Raj is that it is riven from within; the novel explores such issues as race and class, and points to the conflicts between, and paradoxes of, liberal and conservative imperial policies and ideologies. The Anglo-Indians· circumscribed sense of place, their attitudes to language, and their limited view of history expose the ultimate destructiveness of imperialism for those subjected to it.</p> <p>Scott's achievement notwithstanding, the uncritical and apolit1cal academ1c study of h1s novels and other novels about lnd1a overshadows the literary achievements of Indian, Pakistani and Bangladeshi writers writing in English, permits continued ignorance and devaluing of the vast diversity of literature's in Indian languages, and continues to perpetuate the damagingly false images and attitudes about India which sustained the imperial venture in the first place.</p> / Doctor of Philosophy (PhD)

Quintet for winds and piano -- Preludes and fugues for piano solo -- Variation for string quartet. / Wong Kong Yu. / Thesis submitted in: December 2002. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2003. / Includes bibliographical references (leaves ). / Abstracts in English and Chinese. / Abstract --- p.1 Page / Scores with Notes: / Chapter 1. --- Quintet for Winds and Piano / Note --- p.2 Pages / Score --- p.30 Pages / Chapter 2. --- Preludes and Fugues for Piano Solo / Note --- p.2 Pages / Score --- p.31 Pages / Chapter 3. --- Variations for String Quartet / Note --- p.2 Pages / Score --- p.9 Pages / Total Duration: 38 minutes

The diploma thesis "Potential of Indian Tourism Outbound to the Countries of Visegrad Group" deals with the recent trends in Indian outbound tourism, especially in relation to the countries of Visegrad Four. For a better understanding of the issue, the thesis seeks to analyze the consumer behaviour of the Indian tourists, especially on the trips to long-haul destinations, it also describes some of the conditions of travelling from India to the Visegrad Group countries such as transport and the offer of Indian travel agencies. The thesis also deals with the analysis of inbound tourism to the countries of the Visegrad Group from India and common promotional activity of these countries called The European Quartet - One Melody on Indian market. Important part of the thesis is the publication of results of my own survey conducted amongst Indian citizens in order to study the perception of the countries of Visegrad Group and the consumer behaviour of Indian people when travelling. In the very end, the potential of the development of Indian tourism outbound to the countries of Visegrad Group was evaluated.

Max Reger was a prolific composer on the threshold of modernism. The style of his extensive musical output was polarizing among his contemporaries. A criticism of Reger's music is its complex and dense musical structure. Despite writing tonal music, Reger often pushes the boundaries of tonality so far that all sense of formal organization is seemingly imperceptible. In this dissertation, I offer what I observed to be a new way of discerning Reger's motivic relationships and formal structures within and between movements. There are three primary tools and methods I incorporated to make these observations: Schoenberg's developing variation; melodic contour analysis as discussed by Elizabeth West-Marvin and Diana Deutsch; and Janet Schmalfeldt's motivic cyclicism stemming from internal themes. In this dissertation I examine five different musical works by Reger: D minor Piano Quartet, Clarinet Quintet, Piano Concerto, String Quartet, op. 121 and E minor Piano Trio, op. 102. My analysis shows how Reger relies on melodic contours of his motives to connect musical moments across entire movements and entire works with multiple movements. These motives are developed and often mark structurally significant moments providing the organization often perceived as missing in Reger's music.

Thesis (MMus)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: This thesis explores the rise and development of electric bowed instrument groups in South Africa. The objective was to provide a history of the development of such groups in South Africa, as well as to compare the methods and musical products of these groups. Another aim was to explore the effects of the groups on the South African music industry and music education. An initial literature research on the history of electric bowed instruments and the phenomenon of classical crossover music as a genre provided the contextual information needed to understand the building blocks of this relatively young compartment of the music industry. Characteristics and marketing strategies of this genre are discussed as well as the impact of aesthetics and gender on classical crossover artists. A set of questionnaires was distributed amongst members of these groups, classical professional musicians in professional South African orchestras, members of electric bowed instrument groups in South Africa, tertiary music students and students at a music school, as well as audience members at an electric bowed instrument group concert. The questionnaires were taken to the Centre for Statistical Consultation at the Stellenbosch University Statistics Department and the processed results were applied to this study. The influence of such groups on South African music education as well as the South African music industry is then examined. The combination of electric bowed instrument and classical crossover music gave birth to the phenomenon of electric bowed instrument groups. In this thesis the “originality” of such artists was evaluated, as a distinct pattern or formula for forming and operating such groups has materialised. The South African electric bowed instrument groups attempt to incorporate a uniquely South African quality into their performances with varying levels of success. Members of such groups, as well as professional classical musicians in the country, believe that the existence and performances of these groups have had an impact on South African music education; however, this theory is proven incorrect in this thesis. Furthermore, it was found that electric bowed instrument groups could have a negative impact on classical music in South Africa, as their marketing directed at the public may unintentionally steer audiences away from classical music performances. The electric bowed instrument groups industry has shown enough growth to prove its sustainability in South Africa as well as internationally. It is a valuable additional occupation for bowed instrument players in South Africa, although it might have a detrimental impact on the South African classical music industry. / AFRIKAANSE OPSOMMING: In hierdie tesis word die ontstaan en ontwikkeling van elektriese strykinstrument groepe in Suid Afrika ondersoek. Die doel van die studie is om ʼn geskiedenis van sulke groepe te lewer, sowel as om die bestuur metodes en musiek van sulke groepe te vergelyk. Verder word die effekte van hierdie groepe in Suid Afrika op musiekopvoeding en die Suid Afrikaanse klassieke musiek bedryf ondersoek. ʼn Literatuur ondersoek van die geskiedenis van elektriese strykinstrumente en die fenomeen van klassieke “crossover” musiek as ʼn genre, het nodige agtergrond informasie ten opsigte van die boublokke van so ʼn relatiewe jong afdeling in die musiekbedryf verskaf. Kenmerke en bemarkingstrategieë van hierdie genre is bespreek, sowel as die klem van estetika en geslag op klassieke “crossover” musikante. ʼn Stel vraelyste is uitgedeel onder professionele klassieke musikante in Suid Afrika, lede van Suid-Afrikaanse elektriese strykinstrument groepe, tersiêre musiekstudente, studente by ʼn musiekskool sowel as ʼn gehoor by ʼn elektriese strykinstrument groep uitvoering. Die vraelyste was geneem na die Sentrum vir Statistieke Konsultasie aan die Universiteit van Stellenbosch, en die verwerkte resultate was toegepas op die studie. Die invloed van hierdie groepe op Suid Afrikaanse musiekopvoeding, sowel as die Suid Afrikaanse musiekbedryf word in hierdie studie bespreek. Die kombinasie van elektriese strykinstrumente en klassieke “crossover” musiek het gelei tot die ontstaan van elektriese strykinstrument groepe. In hierdie tesis word die uniekheid van sulke groepe bevraagteken, oordat ʼn patroon of formule vir die formasie en bestuur van sulke groepe te voorskyn gekom het. Die Suid Afrikaanse elektriese strykinstrument groepe wend ʼn poging aan om ʼn unieke Suid Afrikaanse persona aan hulle optredes te gee, met wisselende vlakke van sukses. Lede van hierdie groepe, sowel as professionele klassieke musikante in Suid Afrika glo dat die bestaan van elektriese strykinstrument groepe en hul uitvoerings ʼn invloed het op die Suid Afrikaanse musiekopvoedkunde. In die studie is hierdie hipotese egter onwaar bevind. Verder, is dit bevind dat elektriese strykinstrument groepe ʼn moontlike negatiewe effek op die Suid Afrikaanse klassieke musiek bedryf kan hê, aangesien hulle bemarking tot die publiek mag onopsetlik gehore weg stuur vanaf klassieke musiek uitvoerings. Die elektriese strykinstrument groep industrie toon genoeg ontwikkeling en groei in Suid Afrika en op internasionale vlak om hul toekoms in die musiekindustrie te bevestig. Sulke groepe is waardevolle addisionele werksgeleenthede vir strykers in Suid Afrika, alhoewel die fenomeen moontlike negatiewe impak op die Suid Afrikaanse klassieke musiekindustrie mag hê.

Latin-American guitarist-composers Ernesto Cordero, Leo Brouwer, and Sergio Assad are three of the most influential figures in the contemporary world of classical guitar. In addition to their important compositions for solo guitar, their compositions for guitar ensemble represent significant contributions to the concert repertory. These three guitarist-composers share a knowledge of popular, folkloric and classical music and demonstrate a commitment to bridging these realms in their compositions in the classical tradition. This study reviews the history of the guitar quartet. It then examines the different cultural influences in selected compositions for classical guitar quartet by each composer, exploring the significance of these choices for the performer and for the medium. The document also offers a performer’s guide for accurate and stylistic performance. When performed well, these quartets represent the vitality of contemporary Latin American composition and confirm the stature of the guitar quartet as a compelling medium for the concert artist.