Beaumaris Castle, Anglesey, Wales,

On cover: Ancient monuments & historic buildings. H.M. Office of Works. Beaumaris Castle, Anglesey. Official guide ...

Principles of Pitch Organization in Béla Bartók's 'Duke Bluebeard's Castle'

The topic of my doctoral thesis is to demonstrate the usefulness of incorporating tonal and modal elements into a pitch-web square analysis of Béla Bartók's (1881-1945) opera, 'A kékszakállú herceg vára' ('Duke Bluebeard's Castle'). My specific goal is to demonstrate that different musical materials, which exist as foreground melodies or long-term key progressions, are unified by the unordered pitch set {0,1,4}, which becomes prominent in different sections of Bartók's opera. In Bluebeard's Castle, the set {0,1,4} is also found as a subset of several tetrachords: {0,1,4,7}, {0,1,4,8}, and {0,3,4,7}. My claim is that {0,1,4} serves to link music materials between themes, between sections, and also between scenes. This study develops an analytical method, drawn from various theoretical perspectives, for conceiving superposed diatonic spaces within a hybrid pitch-space comprised of diatonic and chromatic features. The integrity of diatonic melodic lines is retained, which allows for a non-reductive understanding of diatonic superposition, without appealing to pitch centers or specifying complete diatonic collections. Through combining various theoretical insights of the Hungarian scholar Ernő Lendvai, and the American theorists Elliott Antokoletz, Paul Wilson and Allen Forte, as well as the composer himself, this study gives a detailed analysis of the opera's pitch material in a way that combines, complements, and expands upon the studies of those scholars. The analyzed pitch sets are represented on Aarre Joutsenvirta's note-web square, which adds a new aspect to the field of Bartók analysis. Keywords: Bartók, Duke Bluebeard's Castle (Op. 11), Ernő Lendvai, axis system, Elliott Antokoletz, intervallic cycles, intervallic cells, Allen Forte, set theory, interval classes, interval vectors, Aarre Joutsenvirta, pitch-web square, pitch-web analysis.

Portrait of the Beethoven Maennerchor (Men's Choir) outside castle; Heidelberg Portraits Groups

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hellbrunn, park at castle Landscapes

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hellbrunn, park near castle, small hunting castle (jagdschloessl0 hirschau Landscapes

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gmunden rathausplatz, , traunsee castle orth, hoellengebirge ( hell mountains) in background Cities, Towns, and Villages

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The Freshwater Biological Association at Wray Castle: Recollections of its first director

In 1937 the Development Commission provided an annual grant to the Freshwater Biological Association to pay for a director and secretary. The author moved to the Lake District in the same year, and at that time T.T. Macan was working on invertebrates; K.R. Allen on fish; C.H. Mortimer on chemistry and physics of the aquatic environment, and Marie Rosenberg on phytoplankton. They were backed by George Thompson as laboratory assistant and Rosa Bullen as secretary. The work of the Association continued and expanded throughout the Second World War with some far-reached discoveries made. For example, the recovery of lake sediment cores and the examination of diatom remains, so starting the discipline of archaeo-limnology. Also, a hydrological survey of the Windermere catchment area found significant traces of sulphuric acid in rain gauges. This was more than 30 years before "acid rain" became fashionable.

An analysis of salmon rod catch data from castle fisheries, River Derwent, 1923-1989.

The aim of this study was to investigate the historical catch record from the Castle Fishery on the River Derwent over the period 1923 - 1989, to determine if changes had taken place in the composition of the catch and to examine the influence of flow on the performance of the fishery. The River Derwent is situated in West Cumbria, North West England. It flows from its source on Scafell Pike (NGR NY 229 089) westwards discharging into the Irish sea at Workington, a distance of 52 km. Over its length it receives water from an additional 214 km of stream, 5 large lakes and approximately 30 small tarns. The catchment drains a total area of 663 km2. The study concludes that through the time period there was considerable variation in catch between years. The trend was for the catch to increase steadily over the period 1923 - 1958, declining rapidly in 1959, after which catches increased steadily reaching a peak in the mid-sixties, before declining towards the end of the decade. During the seventies and eighties catches remained relatively stable at between 300 - 600 salmon per year until 1988 when over 2000 salmon were reported caught, the greatest number in any year over the study period.

Heritage interpretation challenges and management issues at film-induced tourism heritage attractions: Case studies of Rosslyn Chapel and Alnwick Castle

Although previous research has widely acknowledged the phenomenon of film-induced tourism, there is a paucity of research in relation to management of film-induced tourism at built heritage sites. This research, underpinned by a constructivist paradigm, draws on three distinct fields of study – heritage tourism management, film-induced tourism and heritage interpretation – in order to provide a contribution to the heritage management field and address this particular gap in knowledge. Relying on the method of semi-structured interviews with managers, guides and visitors at Rosslyn Chapel (RC) and Alnwick Castle (AC), this thesis provides a rich understanding of how heritage interpretation can address a range of management challenges at heritage sites where film-induced tourism has occurred. These heritage visitor attractions (HVAs) were specifically selected as case studies as they have played different roles in media products. Rosslyn Chapel (RC) was an actual place named in The Da Vinci Code (TDVC) book and then film, whereas Alnwick Castle (AC) served as a backdrop for the first two Harry Potter (HP) films. Findings of this research include a range of management challenges at both RC and AC such as an increase in visitor numbers; seasonality issues; changes in visitor profile; revenue generation concerns; conservation, access, and visitor experience; and the complex relationship between heritage management and tourism activities. The findings also reveal film-induced tourism’s implications for heritage interpretation such as the various visitors’ expectations for heritage interpretation, changes to heritage interpretation as a result of film-induced tourism, and issues with commodification. These findings also demonstrate that film-induced tourism to some extent influenced visitors’ preferences for heritage interpretation, though visitors’ preferences differed from one to another. This thesis argues that, in the context of film-induced tourism at HVAs, as evident from the two case studies considered, heritage interpretation can be a valuable management tool and can also play a significant role in the quality of the visitors’ experience.