The purpose of the study is the investigation of the topics of transposition and the transposed major and minor modes as discussed principally by selected French authors of the final twenty years of the seventeenth century and the first three decades of the eighteenth. The sources are relatively varied and include manuals for singers and instrumentalists, dictionaries, independent essays, and tracts which were published in scholarly journals; special emphasis is placed on the observation and attempted explanation of both irregular signatures and the signatures of the minor modes. The paper concerns the following areas: definitions and related concepts, methods for singers and Instrumentalists, and signatures for the tones which were identified by the authors. The topics are interdependent, for the signatures both effected transposition and indicated written-out transpositions. The late Baroque was characterized by much diversity with regard to definitions of the natural and transposed modes. At the close of the seventeenth century, two concurrent and yet diverse notions were in evidence: the most widespread associated "natural" with inclusion within the gamme; that is, the criterion for naturalness was total diatonic pitch content, as specified by the signature. When the scale was reduced from two columns to a single one, …

The purpose of the study is to empirically determine the relevance of PPP theory under the traditional arbitrage and the efficient markets (EPPP) frameworks during the recent floating period of the 1980s. Monthly data was collected for fifteen industrial nations from January 1980 to December 1986. The models tested included the short-run PPP, the long-run PPP, the EPPP, the EPPP with deviations from expectations, the forward rates as unbiased estimators of future spot rates, the EPPP and the forward rates, and the EPPP with forward rates and lagged values. A generalized regression method called Seemingly Unrelated Regression (SUR) was employed to test the models. The results support the efficient markets approach to PPP but fail to support the traditional PPP in both the short term and the long term. Moreover, the forward rates are poor and biased predictors of the future spot rates. The random walk hypothesis is generally supported.

This dissertation attempts to provide an exploratory structure to respond to, and tries to resolve, an existing void in international accounting research. The void is a lack of coherently structured, nation-specific, descriptive research to investigate socio-economic phenomena which may influence financial accounting. This dissertation's salient features include a political economy theory, an exploratory, sociological method, and a case study format. The political economy of accounting, introduced by Tinker [1980] and refined by Cooper and Sherer [1984], emphasizes a persuasive social relations dimension. This theory motivates selection of three countries (the United States, France, and Japan) that appear to have divergent socio-cultural environments. An exploratory and analytical approach of modified (enlarged) exogenism, developed by Smith [1973, 1976] and adapted to accounting by McKinnon [1986], provides an analytic structure for this exploratory investigation. Modified exogenism focuses upon an open, dynamic social system (the process of financial accounting), and provides analysis reflecting four major areas (the environment, intrusive events, intra-system activity, and trans-system activity). After examining the nation-specific financial accounting (socio-economic) structures for each country, an analysis of selected financial disclosures attempts to gain a better understanding of how socio-economic factors have influenced the development of financial accounting. My primary objective is to …

French trumpet works comprise a large portion of the contemporary standard repertoire for the instrument, and they frequently present unique stylistic and interpretive challenges to performers. The study establishes the influence of jazz upon Henri Tomasi, André Jolivet, Eugène Bozza and Jacques Ibert in their works for solo trumpet. Idiomatic elements of jazz style are identified and discussed in terms of performance practice considerations for modern-day trumpeters.

After conquering Belgium and the Rhineland in 1794, the French Army of the Sambre and Meuse faced severe logistical, disciplinary, and morale problems that signaled the erosion of its capabilities. The army’s degeneration resulted from a revolution in French foreign policy designed to conquer the natural frontiers, a policy often falsely portrayed as a diplomatic tradition of the French monarchy. In fact, the natural frontiers policy – expansion to the Rhine, the Pyrenees, and the Alps – emerged only after the start of the War of the First Coalition in 1792. Moreover, the pursuit of natural frontiers caused more controversy than previously understood. No less a figure than Lazare Carnot – the Organizer of Victory – viewed French expansion to the Rhine as impractical and likely to perpetuate war. While the war of conquest provided the French state with the resources to survive, it entailed numerous unforeseen consequences. Most notably, the Revolutionary armies became isolated from the nation and displayed more loyalty to their commanders than to the civilian authorities. In 1797, the Sambre and Meuse Army became a political tool of General Lazare Hoche, who sought control over the Rhineland by supporting the creation of a Cisrhenan Republic. Ultimately, …

The purpose of this research is to analyze representations of Queen Elizabeth I of England in nineteenth-century Franco-Italian opera, and the relationship of these representations to contemporaneous singing style and the historical background. The basis for this analysis is three arias: "Quant'é grato all'alma mia" from Elisabetta, regina d'Inghilterra (1815) by Gioachino Rossini (1792-1868), "Sì, vuol di Francia il rege...Ah! quando all'ara scorgemi...Ah! dal ciel discenda un raggio" from Maria Stuarda (1835) by Gaetano Donizetti (1797-1848), and "Malgré l'éclat qui m'environne" from Le songe d'une nuit d'été (1850) by Ambroise Thomas (1811-1896). This research is divided into two main sections: the historical background of Italy and France in the nineteenth century, especially in the contemporaneous vocal style and fashions of literature; and a discussion of the composers' musical and dramatic choices for Queen Elizabeth I in the three selected arias. Chapter 2 is a brief introduction to the early nineteenth-century Franco-Italian historical background, vocal style, and popular literature. Chapter 3 presents an analysis of the three arias. The last chapter summarizes the representations of Elizabeth I in nineteenth-century politics, literature, and vocal style.

Jacques-Antoine-Hippolyte, comte de Guibert (1743-1790) dedicated his life and career to creating a new doctrine for the French army. Little about this doctrine was revolutionary. Indeed, Guibert openly decried the anarchy of popular participation in government and looked askance at the early days of the Revolution. Rather, Guibert’s doctrine marked the culmination of an evolutionary process that commenced decades before his time and reached fruition in the Réglement of 1791, which remained in force until the 1830s. Not content with military reform, Guibert demanded a political and social constitution to match. His reforms required these changes, demanding a disciplined, service-oriented society and a functional, rational government to assist his reformed military. He delved deeply, like no other contemporary writer, into the linkages between society, politics, and the military throughout his career and his writings. Guibert exerted an overwhelming influence on military thought across Europe for the next fifty years. His military theories provided the foundation for military reform during the twilight of the Old Regime. The Revolution, which adopted most of Guibert’s doctrine in 1791, continued his work. A new army and way of war based on Guibert’s reforms emerged to defeat France’s major enemies. In Napoleon’s hands, Guibert’s army …

The period between 1880 and 1885 was a significant time in Claude Debussy's life and compositional career. 1880 marks the date of his first published composition, "Nuit d'étoiles," and 1885 is the year in which he began his two-year tenure in Rome after winning the coveted Prix de Rome in 1884. During the intervening time Debussy composed about forty songs. Scholarly literature, especially analytical literature, tends to focus heavily on music in Debussy's mature style, often casting his early compositions in an unfavorable light. Writing on Debussy is scattered with references to the early songs but authors almost always situate them on one end of a continuum that shows an evolution of compositional style culminating in maturity. Such a view tends, if only tacitly, to regard early works as inferior instances of juvenilia rather than works worthy of study in their own right. In this dissertation I establish a foundation for regarding Debussy's early songs as significant compositions in their own right, independent from anachronistic comparisons with his more mature compositional style, and provide justification for considering the songs as a unified, identifiable repertoire within Debussy's larger œuvre. Using a modified Schenkerian analytical approach, I identify consistencies among the songs …

The Reichsleiter Rosenberg Task Force of 1940, initiated a systematic confiscation of items belonging to Jews throughout Europe. Because of this task force and Hitler's decrees, Jews across Europe were labeled as stateless, and were stripped of ownership and rights to property. Not only did these actions devastate Jews economically, but intellectually and artistically as well. In parts of occupied France, this task force was legitimized by Vichy laws under the label of the Commissariat Générale aux Questions Juives (General Commission for Jewish Issues) and enabled Nazi officials to closely watch Jewish musicians and stop them from performing their music, profiting from anyone else performing it, and to halt any public performance of Jewish compositions. This dissertation exhibits the lost legacy of one such Jewish musician, Józef Szulc. It discusses him as a musician of great importance in the ongoing recovery of Jewish culture, music, and life during World War II. His musical output has historical notoriety, as seen through reviews and performance history. The study of Vichy laws and their effect on Jewish musicians in Paris during the Nazi occupation provides the socio-political context for Szulc's life. It also provides the most plausible reason why his contribution to French …

In this dissertation, I explore the musical prosody of the literary symbolists and the influence of this prosody on fin-de-siècle French music. Contrary to previous categorizations of music as symbolist based on a characteristic "sound," I argue that symbolist aesthetics demonstrably influenced musical construction and reception. My scholarship reveals that symbolist musical works across genres share an approach to composition rooted in the symbolist concept of musicality of language, a concept that shapes this music on sonic, structural, and conceptual levels. I investigate the musical responses of four different composers to a single symbolist text, Oscar Wilde's one-act play Salomé, written in French in 1891, as case studies in order to elucidate how a symbolist musicality of language informed their creation, performance, and critical reception. The musical works evaluated as case studies are Antoine Mariotte's Salomé, Richard Strauss's Salomé, Aleksandr Glazunov's Introduction et La Danse de Salomée, and Florent Schmitt's La Tragédie de Salomé. Recognition of symbolist influence on composition, and, in the case of works for the stage, on production and performance expands the repertory of music we can view critically through the lens of symbolism, developing not only our understanding of music's role in this difficult and often …