This paper investigates the significance of trust and loyalty during and pre-Global Financial Crisis (GFC). Random sampling method was employed to collect data from 351 customers of Indian banks. The ...findings indicate that 'shared value' and 'opportunistic behavior' play dominant roles in determining customer trust than communication. Trust, in turn, acts as a strong moderator to lack of price sensitivity, Investment Intention (II) and Investment Behavior (IB). In this study, level of communication was found inadequate. Inadequate communication was found to impact complaining behavior and word-of-mouth promotion. However, inadequate communication has no impact on the important dimension of customer loyalty even during the crisis, like II and IB. The paper finds its importance with managers and academicians who would be benefited by developing in-depth knowledge about relevance of trust and loyalty during normal and crisis situation. According to the author, no such work has been carried out before. PUBLICATION ABSTRACT
This composition is an operatic setting of Hamlet, Act IV, Scene 5; a transitory excerpt of Act IV, Scene 6 (Getrude announces Ophelia's demise); and Act V, Scene 1, scored for flute, oboe, clarinet, ...bassoon, horn, piano, two violins, viola, cello and contrabass. So that Act V, Scene 1 may be performed with a broader vocal spectrum than possible with an all-male complement, the role of the gravedigger, traditionally male, is sung by a female soprano who also sings the role of Ophelia. This affords a re-interpretive opportunity to assert subtext and internal musical reference. Ophelia and the gravedigger are the two characters who sing diegetic music in the play itself; each character's signature arioso is related to the other by inversion. Other compositional devices include the harmonic association of the 0, 1, 4 set with Hamlet in particular and the broader theme of madness in general; an angular melodic fragment built on this set that serves as a primary unifying device throughout; the association of the more complex 0, 1, 3, 4, 7 set (of which 0, 1, 4 is a subset) with Ophelia; the association of isorhythm with Ophelia's subterfuge; the association of counterpoint with the complexity of Hamlet's character, including a passacaglia based on the angular theme, and a three-voice canon with one voice in augmentation; and the development of a readily identifiable rhythmic motif associated with the theme of death. Hamlet is sung by a baritone; Ophelia/Gravedigger a lyric coloratura soprano; Gertrude by a mezzo-soprano; Claudius by a bass-baritone; Laertes, Horatio and the Gentlemen by tenors.