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Background and Purpose: Toxicity and early efficacy data are presented for IDEAL-CRT, a trial of an escalated, concurrent chemoradiotherapy schedule for advanced stage non-small cell lung cancer (NSCLC). Tumor dose-per-fraction-escalation was used in IDEAL-CRT to achieve therapy intensification without prolongation, and tumor doses were prescribed isotoxically to maximum levels consistent with normal tissue dose constraints. Patients and Methods Patients received tumor doses of 63-73Gy in 30 once-daily fractions over 6 weeks with two concurrent cycles of cisplatin and vinorelbine. They were assigned to one of two groups according to esophageal dose. In Group 1, tumor doses were determined by an experimental constraint on maximum esophageal dose which was escalated following a 6+6 design from 65Gy through 68Gy to 71Gy, allowing an esophageal maximum tolerated dose (MTD) to be determined from early and late toxicities. Tumor doses for Group 2 patients were determined by other tissue constraints, often lung. Overall survival (OS), progression-free survival (PFS), tumor response and toxicity were evaluated for both groups combined. Results Eight centres recruited 84 patients: 13, 12 and 10 in the 65Gy, 68Gy and 71Gy cohorts of Group 1, and 49 in Group 2. The mean prescribed tumor dose was 67.6Gy. Five grade 3 esophagitis and three grade 3 pneumonitis events were observed across both groups. Following one fatal esophageal perforation in the 71Gy cohort, 68Gy was declared the esophageal MTD. With a median follow-up of 35 months, median OS was 36.9 months, and OS and PFS were 87.8% and 72.0% at 1 year and 68.0% and 48.5% at 2 years. Conclusions IDEAL-CRT achieved significant treatment intensification with acceptable toxicity and promising survival. The isotoxic design allowed the esophageal MTD to be identified from relatively few patients.

Erik Satie (1866-1925) lived, worked, walked, and died in Paris. The key locations of his career – all within a single urban region – are well known and well researched. Yet he has often been presented as an eccentric individualist far removed from any social or geographical context. This thesis seeks to address – and redress – the decontextualisation of Satie’s career by re-imagining his music and biography in terms of the places and mobilities of turn-of-the-century Paris. To that end, it draws on a range of documentary and fictional material, including journalistic and scholarly reception texts, illustrated musical scores, chanson collections, contemporary visual culture, and cinematic representations of the people, place(s), and period(s) in question. These diverse primary and secondary sources are discussed and interpreted via a set of on-going debates at the intersection of historical musicology, cultural history, and urban geography. Some of these debates can be traced through existing research on the geography of music. Others are more local to this project and derive their value from suggesting alternative approaches to familiar problems in the study of French musical modernism. The main aim throughout is to develop a better understanding of the relations existing between Satie’s musical life, his compositional strategies, and the changing urban environment in which he plied his trade. Chapters One and Two focus on the working-class suburb of Arcueil and the ‘bohemian’ enclave of Montmartre. Chapters Three and Four are organised thematically around issues of musical humour and everyday life. By using the particular example of Satie’s Paris, the thesis proposes that more general avenues of enquiry are opened up into music and the city, thus demonstrating the potential benefits of incorporating the urban-geographic imagination into historical musicology more broadly, and bringing musicological thinking to bear on inter-disciplinary discussions about space, place, and mobility.