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Understory protection harvesting is a form of partial cutting that can be used in aspen (Populus tremuloides Michx.)-dominated stands that have understories of white spruce (Picea glauca (Moench) Voss). This practice involves removing 75% to 85% of the merchantable aspen while minimizing damage to the advance spruce regeneration, in addition to leaving 15% to 25% of the aspen standing to reduce potential windthrow of the spruce understory. In this paper, we summarize results from 18 stands measured 10 to 12 years after understory protection harvest. Diameter growth of spruce increased during the first five years after harvest while height growth increased during the second five-year period (5 to 10 or 7 to 12 years after release). Consistent with other studies, mortality rates of aspen trees ≥7.1 cm DBH (diameter breast height, 1.3 m) averaged 45.0% over the 10–12 year period following harvesting. Spruce mortality averaged 27.5% over the same 10–12 year period. Substantial aspen regeneration was evident across most harvested blocks, with aspen sapling densities 10–12 years from harvest being higher in removal (14,637 stems⋅ha−1) than in buffer areas (6686 stems⋅ha−1) and in extraction trails (7654 stems⋅ha−1). Spruce sapling (>1.3 m height and DBH) densities averaged 1140 stems⋅ha−1 in removal areas at ages 10–12, with these trees likely being present as seedlings at the time of harvest. Mixedwood Growth Model projections indicate merchantable volumes averaging 168 m3⋅ha−1 (conifer) and 106 m3⋅ha−1 (deciduous) 70 years from harvest, resulting in MAI (mean annual increment) for this period averaging 2.0 m3⋅ha−1⋅y−1 with MAI for a full 150-year rotation of approximately 2.5 m3⋅ha−1⋅y−1.

This thesis is the first major investigation of tuk and documents an important part of Barbados' heritage. It also opens up opportunities for further research to be undertaken in Barbadian music and in related fields elsewhere in the Caribbean region.\ud \ud This thesis explores the history, development and recontextualisation of Barbadian tuk music. The history of Barbados is examined before considering Barbadian culture and how a Barbadian national identity was increasingly sought during the twentieth century, particularly after Independence. Music during the period of slavery, African music and British military music, the major influences on tuk, are explored before a study of the instruments, rhythms and repertoire of tuk. Types of tuk, and tuk-type musics elsewhere are examined and tuk is compared with other musics. Modern tuk musicians, their treatment of tuk, and how tuk has been, and continues to be, recontextualised is explored.\ud \ud The history, organisation and roles of the Barbados Landship, an organisation modelled on the British Royal Navy, but which never goes to sea, are considered together with the Landship's relationship with the tuk band. Finally, an overview of music and festivals in Barbados today places tuk in the country's musical scene.\ud \ud This thesis argues that tuk is predominantly a music that originated from imitating European military fife and drum bands, and that the African elements of it are to be found in rhythmic improvisation and some African retentions that have direct parallels with military fife and drum bands. It also argues that tuk exhibits characteristics similar to musics found elsewhere that can be attributed to the effects of the slave trade, colonialism and migration. In addition, the thesis argues that the Landship's relationship with the tuk band is a continuation of a naval tradition.