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Cheung Kin Hang. ; Thesis (M.Phil.)--Chinese University of Hong Kong, 2006. ; Includes bibliographical references (leaves 76-97). ; Abstracts in English and Chinese. ; Chapter Chapter 1: --- Introduction ; Divergent meanings of trust and institution --- p.1 ; Research questions --- p.1 ; Structure of thesis --- p.3 ; Chapter Chapter 2: --- Trust and Bounded Rationality ; Meaning and the four key elements of trust --- p.5 ; Plausible loss due to lack of certainty --- p.7 ; Positive expectation by a trusting party --- p.8 ; Relevance to human interaction --- p.9 ; Intentionality --- p.10 ; Trust and Rationality --- p.13 ; Herbert Simon's bounded rationality --- p.13 ; "Bounded rationality, use of authority, and trust" --- p.18 ; Chapter Chapter 3: --- Theory of Institution ; Institutionalisms in Politics and Exchange of Insights --- p.23 ; Understanding of North's Works --- p.25 ; North's understanding of human rationality and economic performance --- p.25 ; "Core idea, major traits of institution and its relationship with actors" --- p.30 ; Learning and Accumulation of Experiences --- p.38 ; Plasticity of human brain --- p.44 ; Path dependence and change of institution --- p.47 ; Chapter Chapter 4: --- Trust and Institution ; Divergent understandings of relationship of trust and institution --- p.54 ; At the neural level: institutionalized experience and neural systems for trust --- p.57 ; At interpersonal and organizational level: reciprocal trust and impacts of empowerment --- p.62 ; At organizational and macro-social level: deprivation experience and social violence --- p.68 ; Chapter Chapter 5: --- Conclusion --- p.73 ; References --- p.76

The practice and composition of music require patronage and institutional support, and they require it in a different fashion from that found in other forms of art. This collection of essays brings together the most recent and important contributions by leading scholars in the field to this crucial aspect of Renaissance musical culture. The articles approach the topic from a number of perspectives and consider the institutions and individuals engaged in supporting music; the systems of employment, benefices and sponsorship put in place to facilitate the support; and where, how and why music was sung and played. Taken together, these articles enable conclusions to be drawn about the interests of patrons and about the social and artistic status of musicians and composers within the courtly and urban context. - Publisher