The role of a minor party : a comparative study of the British Liberal Party and the Australian Country Party since 1918

and the Australian Country Party since 1918. 2. The thesis examines the proposition that the role of a minor party is determined, not by its total strength expressed as a percentage of the national vote, but by how its strength is concentrated. Australia and Britain were chosen for the comparison because of the many similarities in political culture and in the extent of class voting. Each country has a party - the Country Party in Australia and the Liberal Party in Britain - which has had a distinct impact on the political scene in their respective countries. In the period from 1918 to the present day neither party, at the national level, has ever held the largest number of seats in parliament let alone a majority of seats, and it is in this sense that they are herein defined as minor parties. In the thesis the constitutional background of and differences between Australia and Britain are reviewed, followed by a brief historical picture of each of the two parties being studied. The sources of supporc of the two parties are analysed and it is here that real differences emerge. The Country Party in Australia is a deliberately sectional party with a narrow rural base, whereas the British Liberal Party is more broadly based than either the Labour or Conservative Parties in Britain. 3. Party leadership and organisation are then discussed. Both parties have had outstanding leaders, Earle Page and McEwen for the Country Party; Asquith, Lloyd George and Grimond for the Liberal Party. Both parties have had relatively fewer leaders than their major party opponents. However, whereas the Country Party has been free of serious splits the Liberal Party was shattered on the leadership struggles of Asquith and Lloyd George. Both parties have been identified with decentralisation of state power, the Country Party through its support, albeit sometimes lukewarm of the New States Movement; the Liberal Party through its espousal of a federal system for Britain with separate Welsh, Scottish and regional assemblies. Unfortunately for the British Liberal Party the beneficiaries of their policies in this area have been relatively new nationalist parties in both Wales arid Scotland. The major part of the thesis is devoted to a study of how the electoral systems in the two countries have, in practice, worked to the advantage or disadvantage of the Country Party and the British Liberal Party. The Country Party has been as consistently over-represented in the House of Representatives as the Liberal Party has been under-represented in the British House of Commons. With the even distribution of its support the introduction of the single transferable vote, in itself, would bring little benefit to the British Liberal Party in terms of seats. Multimember urban constituencies combined with some type of list system are the only way the Liberals are likely to obtain House of Commons seats in proportion to their votes. 4. Finally, the relations of the two minor parties with their respective major parties are considered. In the conclusion the future of the two parties is reviewed. In general terms it appears that the Country Party is faced with a slow decline. Although the British Liberal Party made a major breakthrough, in terms of votes, in the February 1974 election, they were unable to maintain this momentum in the October election, even though they lost very little ground. In the long term they must make an inroad into Labour held seats if they are to progress further.

Metal music as critical dystopia : humans, technology and the future in 1990s science fiction metal

Metal Music as Critical Dystopia: Humans, Technology and the Future in 1990s Science Fiction Metal seeks to demonstrate that the dystopian elements in metal music are not merely or necessarily a sonic celebration of disaster. Rather, metal music's fascination with dystopian imagery is often critical in intent, borrowing themes and imagery from other literary and cinematic traditions in an effort to express a form of social commentary. The artists and musical works examined in this thesis maintain strong ties with the science fiction genre, in particular, and tum to science fiction conventions in order to examine the long-term implications of humanity's complex relationship with advanced technology. Situating metal's engagements with science fiction in relation to a broader practice of blending science fiction and popular music and to the technophobic tradition in writing and film, this thesis analyzes the works of two science fiction metal bands, VOlvod and Fear Factory, and provides close readings of four futuristic albums from the mid to late 1990s that address humanity's relationship with advanced technology in musical and visual imagery as well as lyrics. These recorded texts, described here as cyber metal for their preoccupation with technology in subject matter and in sound, represent prime examples of the critical dystopia in metal music. While these albums identify contemporary problems as the root bf devastation yet to come, their musical narratives leave room for the possibility of hope , allowing for the chance that dystopia is not our inevitable future.

You get what you pay for : independent music and Canadian public policy

The aim of this MA thesis is to demonstrate how corporate concentration within the global music industry specifically affects the Canadian music industry's ability to compete for its own national audience as well as audiences worldwide. Federal public policies, regulatory regimes and subsidies are considered within the context of the structure of the global marketplace which is, in effect, an oligopoly controlled by four major corporations. Through an extensive literature review of political economy theory, Canadian public policies and music studies, as well as personal interviews conducted with Canadian musicians, entrepreneurs and public servants, I will situate my research within the body of political economy theory; present a detailed report of the structure of the global music industry; address the key players within the industry; describe the relationship between the major corporations and the independent companies operating in the industry; discuss how new technologies affect said relationships; consider the effectiveness of Canadian public policies in safeguarding the national music industry; and recommend steps that can be taken to remedy the shortcomings of Federal policies and regulatory regimes.

Steeltown scene : genre, performance and identity in the alternative independent music scene in Hamilton, Ontario

This thesis examines the independent alternative music scene in the city of Hamilton, Ontario, also known, with reference to its industrial heritage, as "Steeltown." Drawing on the growing literature on the relationship between place and popular music, on my own experience as a local musician, direct observation of performances and of venues and other sites of interaction, as well as ethnographic interviews with scene participants, I focus on the role of space, genre and performance within the scene, and their contribution to a sense of local identity. In particular, I argue that the live performance event is essential to the success of the local music scene, as it represents an immediate process, a connection between performers and audience, one which is temporally rooted in the present. My research suggests that the Hamilton alternative music scene has become postmodern, embracing forms of "indie" music that lie outside of mainstream taste, and particularly those which engage in the exploration and deconstruction of pre-existing genres. Eventually, however, the creative successes of an "indiescene" permeate mass culture and often become co-opted into the popular music mainstream, a process which, in turn, promotes new experimentation and innovation at the local level.

Bradley Institute of Music fonds

1.23 m. textual records, 1 col. post card, 1 b&w post card, 116 col. photographs, 59 b&w photographs, 6 negatives, 1 metal logo, 2 photo cuts, 7 woodcuts, 1 VHS tape, 1 stamp/press, 1 guest book, 5 account books

Leaf from a Liturgical Music Manuscript for Holy Saturday

The text reads as follows: nomen Domini invocabo. V. Date magnitudinem Deo nostro: Deus, vera opera eius, et omnes viae eius indicia. V. Deus fidelis, in quo….. Translated: I will invoke the name of the Lord. V. Give ye magnificence to our God: The works of God are perfect, and all his ways are judgments. V. Let my doctrine gather as the rain…..

Leaf from a Liturgical Music Manuscript for Good Friday

The text reads as follows: Narrator: Passio domini nostri iesu christi secundum matheum. In illo tempore dixit iusus discipulis suis. Christ: Scritis quia post biduum pascha fiet, et filius hominis tradetur ut crucifigatur. Narrator: Tumc congregati sunt principes sacerdotum et seniores populi, in atrium principis… Translated: Narrator: The Passion of Our Lord Jesus Christ according to Matthew. “And it came to pass when Jesus had finished all of these words that he said to his disciples: Christ: You know that after two days the Passover will be here; and the Son of Man will be delivered up to be crucified. Narrator: Then the chief priests and the elders of the people gathered together in the court of the high priest…

"I'm Your Biggest Fan, I'll Follow You ... " Lady Gaga, Little Monsters and the Religious Dimension of Fandom in Pop Music

This thesis examines the religious dimension of fandom in popular music, taking as an object of reflection Lady Gaga and her fans. I combine fan studies with theories of immanence as well as Deleuze and Guattari's notion of the process of becoming, and provide a theoretical reading of the relationship between Lady Gaga and her most fervent fans, the 'little monsters.' Both fandom and religion promise a stable sense of identity and authentic community to devotees. Performing deconstructive discourse analysis on three of Lady Gaga's music videos, I demonstrate how fandom, like organized religion, can simultaneously be an emancipatory practice and a practice that seeks to deny individual subjects their agency. This thesis provides a new theoretical framework for understanding fandom, and illustrates how the purported benefits of both fandom and religion can only be gained when the figureheads of each group are symbolically destroyed by the members themselves.

Music Program for St. Mark's Church "Song of the Bell" - 1884

A musical program for a concert at Music Hall Niagara for the St. Marks' Church organ fund. The program consists of 27 numbers from Schiller's "Song of the Bell. The event is dated Thursday, April 17th, 1884 and admission is 25 cents, 15 cents for children.

Advertisement Star Music Store

An advertisement for Star Music Store, established 1869. The advertisement describes the services offered and the brands sold.

Letter - Cal Cavendish to Sean O'Sullivan, 25 May 1975

A letter from Cal Cavendish of Cavenidish Country in Calgary, Alberta. Cavendish has written a song about former prime minister R. Honourable John Diefenbaker. He has included the lyrics to his song. A few of the lyrics: "...Well it took a little while, but he reached his destiny, He was right, he was wrong, but he ran this big country. He didn't waste much time when he had a job to do, He worked the House of Commons like a prairie thrashing crew. Good old John, we heard you John, when a man got paid for the job when the job got done."

Music Score - The Drunkard's Home, As it was Temperance Song and As it is Chorus

A music score called "The Drunkard's Home" by Frank Howard. The front cover of the score has an illustration of two different experiences. One side of the illustration appears to be a family sitting by the fire as the patriarch reads the newspaper and the matriarch tends to one of the children. The other side of the illustration shows children on the floor in torn clothing as a female is slumped over a table and two men stumble in the door.

Receipt from W. H. Eckhardt, Pianos, Organs, Sheet Music and Musical Merchandise for piano

Receipt from W. H. Eckhardt, Pianos, Organs, Sheet Music and Musical Merchandise for piano, May 9, 1887.

Receipt from W.H. Eckhardt, Star Music Store, St. Catharines for rent of machine

Receipt from W.H. Eckhardt, Star Music Store, St. Catharines for rent of machine, Feb. 1, 1888.

Report of the Secretary of War, communicating; in compliance witha resolution of the Senate, a map showing the operations of the army of the United States in Texas and the adjacent Mexican Stateson the Rio Grande, accompanied by astronomical observations, and descriptive and military memoirs of the country.

UANL