Government investigations into the motion picture industry are well-documented, as is the widespread blacklisting that was concurrent. Not nearly so well documented are the many investigations of musicians and musical organizations which occurred during this same period. The degree to which various musicians and musical organizations were investigated varied considerably. Some warranted only passing mention, while others were rigorously questioned in formal Congressional hearings. Hanns Eisler was deported as a result of the House Committee on Un-American Activities' (HUAC) investigation into his background and activities in the United States. Leonard Bernstein, Marc Blitzstein, and Aaron Copland are but a few of the prominent composers investigated by the government for their involvement in leftist organizations. The Symphony of the Air was denied visas for a Near East tour after several orchestra members were implicated as Communists. Members of musicians' unions in New York and Los Angeles were called before HUAC hearings because of alleged infiltration by Communists into their ranks. The Metropolitan Music School of New York, led by its president-emeritus, the composer Wallingford Riegger, was the subject of a two day congressional hearing in New York City. There is no way to measure either quantitatively or qualitatively the effect of …

John Blow (1649-1708) was among the first group of boys pressed into the service of King Charles II, following the decade of Puritan rule. Blow would make compositional efforts as early as 1664 and, at the age of nineteen, began to assume professional positions within the London musical establishment, ultimately becoming, along with his pupil and colleague, Henry Purcell, London's foremost musician. Restoration sacred music is generally thought of in connection with the stile nuovo which, for the first time, came to be a fully accepted practice among English musicians for the church. But the English sacred polyphonic art, little threatened by England's largely political Reformation, embodied sufficient flexibility as to allow it to absorb new ideas, thereby remaining vital well into the seventeenth century. Preserved from decisive Italian influences by the Interregnum, the English sacred polyphonic tradition awoke at the Restoration full of potential for continuing creative activity. In addition to studying Blow's polyphonic compositions, including the transcription of several not available in modern edition, this paper seeks to address the unique nature of the English polyphonic tradition which allowed it to retain its vitality throughout the seventeenth century, while other polyphonic traditions were succumbing to the ossifying influences …

Ignacy Feliks , a Polish composer active in Warsaw, is best known for having been a colleague of Frederic Chopin while they were both composition students of Jozef Eisner. As an early nationalist composer, Dobrzynski is examined within the context of nineteenth-century Warsaw's musical culture and political situation. Dobrzynski early training was provided by his father, who was Kapelmeister at the Ilinski court in Romanow. The most important achievements of the career which followed Dobrzynskifs move to Warsaw in 1825 include second place in an 1835 Viennese contest with the Second Symphony, a German tour in I8I8, and the directorship of the Teatr Wielki in 1852. Cast in the late eighteenth-centurv style, Dobrzynski two symphonies were composed in 1829 and 1831. These works show knowledge of Beethoven's music and exhibit Dobrzynski's skill at orchestration. Symphony No. 2 in C minor, Op. 15, is the more important work because of national elements in each movement, as well as its success in a Viennese symphony contest in 1835. Although a precedent for national elements is seen in studying the development of the Polish symphony in the eighteenth and early nineteenth centuries, Dobrzynski's contribution shows an intensification of musical patriotism which was inspired …

This study makes available in English translations the three most important theoretical writings of the Austrian composer Josef Matthias Hauer (1883—1959), whose experiments with atonal and dodecaphonic music are discussed in the treatises. The treatises are Vom Wesen des Musikalischen: Grundlagen der Zwolftonmusik, Vom Melos zur Pauke: eine Einfuhrung in die Zw51ftonmusik, and Zwftlftontechnik: die Lehre von den Tropen. In addition to the translations and commentary the dissertation includes a sketch of Hauer's career and an examination of his claim that he—not Arnold Schoenberg—was the inventor of the dodecaphonic school of composition.

During the first half of this century, a wealth of anthem literature was published and performed in the United States that, as a result of the deluge of new publications since those years, has been either forgotten or is unknown to modern church musicians. The purpose of this study is to make the best of this music known, for much of it is still both suitable and desirable for contemporary worship. The research is grouped into six chapters that are entitled: The Quartet Anthem, "Anthems in the Anglican Tradition," "Prominent Choral Ensembles and the Dissemination of the Anthem," "Anthems by Prominent Music Educators," "Anthems in the Russian Style," and "The Negro Spiritual."

This study examines the thirteenth century Artesian trouvère Adam de la Halle in the manuscript Paris, Bibliothèque Nationale f.fr 25566 as it pertains to the oral/literate model for explaining characteristics of musical traditions. The fortuitous collaboration of a single scribe with a single composer on a musical collection encompassing a cross-section of thirteenth-century styles and idioms make this repertoire uniquely appropriate to a comparison of musical oracy and literacy.

The great number of musical sources preserved in manuscript and printed form clearly reflects the prominent position held by the lute as a musical instrument during the sixteenth and early seventeenth centuries. Only a relatively small portion of this vast literature is presently available to scholars and interested laymen in the form of modern transcriptions. Referred to as "l'instrument noble par excellence," the lute's popular and fashionable appeal is evidenced by the large number of composers who dedicated themselves to this instrument. Among the number of outstanding lute composers living in Italy during the sixteenth and early seventeenth centuries was Giulio Cesare Barbetta (c. 1540-after 1603). During his lifetime Barbetta published a total of four books of lute pieces containing arrangements of polyphonic compositions of various Renaissance composers as well as a large number of original compositions including .preludes, airs, fantasias, and dance pieces. Although Barbetta achieved importance as a leading figure in the Italian school of lute composition, there is little readily available material, either biographical or musical; this study provides the scholar, the performer, and the listener with biographical data and a modern edition of the composer's complete works.

The great number of musical sources preserved in manuscript and printed form clearly reflects the prominent position held by the lute as a musical instrument during the sixteenth and early seventeenth centuries. Only a relatively small portion of this vast literature is presently available to scholars and interested laymen in the form of modern transcriptions. Referred to as "l'instrument noble par excellence," the lute's popular and fashionable appeal is evidenced by the large number of composers who dedicated themselves to this instrument. Among the number of outstanding lute composers living in Italy during the sixteenth and early seventeenth centuries was Giulio Cesare Barbetta (c. 1540-after 1603). During his lifetime Barbetta published a total of four books of lute pieces containing arrangements of polyphonic compositions of various Renaissance composers as well as a large number of original compositions including .preludes, airs, fantasias, and dance pieces. Although Barbetta achieved importance as a leading figure in the Italian school of lute composition, there is little readily available material, either biographical or musical; this study provides the scholar, the performer, and the listener with biographical data and a modern edition of the composer's complete works.

The great number of musical sources preserved in manuscript and printed form clearly reflects the prominent position held by the lute as a musical instrument during the sixteenth and early seventeenth centuries. Only a relatively small portion of this vast literature is presently available to scholars and interested laymen in the form of modern transcriptions. Referred to as "l'instrument noble par excellence," the lute's popular and fashionable appeal is evidenced by the large number of composers who dedicated themselves to this instrument. Among the number of outstanding lute composers living in Italy during the sixteenth and early seventeenth centuries was Giulio Cesare Barbetta (c. 1540-after 1603). During his lifetime Barbetta published a total of four books of lute pieces containing arrangements of polyphonic compositions of various Renaissance composers as well as a large number of original compositions including .preludes, airs, fantasias, and dance pieces. Although Barbetta achieved importance as a leading figure in the Italian school of lute composition, there is little readily available material, either biographical or musical; this study provides the scholar, the performer, and the listener with biographical data and a modern edition of the composer's complete works.

The customary way to create jazz arrangements of the Western classical canon—informally called swingin’-the-classics—adapts the original composition to jazz conventions. Uri Caine (b.1956) has devised an alternative approach, most notably in his work with compositions by Gustav Mahler. He refracts Mahler’s compositions through an eclectic array of musical performance styles while also eschewing the use of traditional jazz structures in favor of stricter adherence to formal ideas in the original score than is usual in a jazz arrangement. These elements and the manner in which Caine incorporates them in his Mahler arrangements closely parallel the practices of a translator who chooses to create a “foreignizing” literary translation. The 19th-century philosopher and translation theorist Friedrich Schleiermacher explained that in a foreignizing translation “the translator leaves the writer alone as much as possible and moves the reader toward the writer.” Foreignizing translations accentuate the otherness of the original work, approximating the foreign text’s form and syntax in the receiving language and using an uncommon, heterogeneous vocabulary. The resulting translations, which challenge readers with their frequent defiance of the conventions of the receiving linguistic culture, create literal, exaggerated readings that better convey authors’ characteristic use of their own languages for a new audience. …

Founded in 1879 by John L. Hinners, the Hinners Organ Company developed a number of stock models of small mechanical-action instruments that were advertised throughout the Midwest. Operating without outside salesmen, the company was one of the first to conduct all of its affairs by mail, including the financial arrangements, selection of the basic design, and custom alterations where required. Buyers first met a company representative when he arrived by train to set up the crated instrument that had been shipped ahead of him. Tracker organs with hand-operated bellows were easily repaired by local craftsmen, and were suited to an area that, for the most part, lacked electricity. In all, the company constructed nearly three thousand pipe organs during its sixty years of operation. Rapid decline of the firm began in the decade prior to 1936 during which the company sold fewer than one hundred instruments, and closed in that year when John's son Arthur found himself without sufficient financial resources to weather the lengthy depression. The studies of the original-condition Hinners organs in the Dakotas include extensive photographs and measurements, and provide an excellent cross section of the smaller instruments produced by the company. They are loud, excellently crafted, …

An assessment of the contributions of Christoph Graupner's 1,418 extant church cantatas is enhanced by a study of his fifty-five surviving Christmas cantatas, written for the feasts of Christmas, St. Stephen's, St. John's, and the Sunday after Christmas. Graupner's training in Kirchberg, Reichenbach and at the Thomas School in Leipzig is recounted as well as his subsequent tenures in Hamburg and Darmstadt. This volume contains the appendices and bibliography.

This dissertation describes the musical and religious support of the Medici family to the Medici Chapel in Florence and the historical role of the church of San Lorenzo in the liturgical development of the period. During the later Middle Ages polyphony was allowed in the Office services only at Matins and Lauds during the Tenebrae service, the last three days of Holy Week, and at Vespers anytime. This practice continued until the end of the sixteenth century when more polyphonic motets based on the Antiphon and Responsory began to be included in the various Office hours during feast days. This practice is documented by the increased number of pieces that appear in the manuscripts. Two of the transcriptions from the church of San Lorenzo included in the appendix are selected from this later repertoire.

William Grant Still's musical achievements are legion. Because he was the first African American to break the color line in America's concert halls, Still earned the sobriquet "Dean of Negro Composers." Paradoxically, Still's reception suffers from this list of "firsts." The unintended consequence of cataloging his achievements venerates his position as an iconoclast while detracting critical attention from his music. Conversely, if we ignore the social context in which Still produced his music, we risk misinterpreting his compositional choices or trivializing the significance of his accomplishments prior to the Civil Rights Movement in America. Still's so-called symphonic trilogy-Africa, Symphony No. 1 ("Afro-American"), and Symphony No. 2 ("Song of a New Race")-is the subject of an intertextual analysis that demonstrates how extra-musical concerns, such as race, and musical elements can be brought into alignment. Chapter one discusses black music scholarship in general and Still scholarship in particular by tracing the development of black music historiography. The second chapter explores one of the various modes of inquiry used to study black music-intertextuality. The context for Still's self-titled racial and universal periods is the subject of chapter three. For the first time, arguments from both sides of the racial divide are reconsidered in …

The purpose of this dissertation is two-fold: one is to analyze the narratives of Acis and Galatea written by Ovid, and the two libretti by Handel's librettists including Nicola Giuvo (1708) and John Gay (1718) with John Hughes and Alexander Pope; the other is to correlate this textual analysis within the musical languages. A 1732 pastiche version is excluded because its bilingual texts are not suitable for the study of relationships between meaning and words. For this purpose, the study uses the structural theory- -mainly that of Gérard Genette--as a theoretical framework for the analysis of the texts. Narrative analysis of Acis and Galatea proves that the creative process of writing the libretto is a product of a conscious acknowledgement of its structure by composer and librettists. They put the major events of the story into recitative and ensemble. By examining the texts of both Handel's work, I explore several structural layers from the libretti: the change of the characterization to accommodate a specific occasion and the composer's response to contemporary English demand for pastoral drama with parodistic elements, alluding to the low and high class of society. Further, Polyphemus is examined in terms of relationships with culture corresponding to …

Gottlob Harrer (1703-1755) composed at least twenty-seven sinfonias for his patron Count Heinrich von Bruhl in Dresden from 1731-1747, placing them among the earliest concert symphonies written. Harrer's mostly autograph sinfonia manuscripts are significant documents that provide us with a more thorough understanding of musical activities in and around Dresden. Several of the works indicate topical references, including dance, march, and hunt allusions, that comment on the Dresden social occasions for which Harrer composed these works. Harrer mixes topical references with other gestures in several of his sinfonias to create what I believe is an unrecognized affective language functioning in instrumental works of the time. An examination of the topical allusions in Harrer's works solidifies their connection to the social milieu for which he wrote them, and therefore better defines the genre of the concert sinfonia of the time. The first part of this study of Harrer's sinfonias addresses evidence about the composer, his patron, Dresden society, and the circumstances surrounding the first performances of several works, musical evidence of the composer's stylistic and formal approach to the genre, and the rhetorical meaning of topical gestures in the scores in ways not yet explored. In this dissertation, I demonstrate that …

Premiering at the twilight of the gauchesco era and the dawn of Argentine musical Modernism, El matrero (1929) by Felipe Boero (1884-1958) remains underexplored in terms of its social milieu and artistic heritage. Instantly hailed as a masterpiece, the work retains a place in the local repertory, though it has never been performed internationally. The opera draws on myths of the gaucho and takes further inspiration from the energized intellectual environment surrounding the one-hundred-year anniversary of Argentine Independence. The most influential writers of the Centenary were Leopoldo Lugones (1874-1938), Ricardo Rojas (1882-1957), and Manuel Gálvez (1882-1962). Their times were marked by contradictions: xenophobia and the desire for foreign approbation; pride in an imaginary, "barbaric" yet noble ideal wiped out by the "civilizing" ambitions of revered nineteenth-century leaders. Krausism, a system of ideas following the teachings of Karl Friedrich Krause (1781-1832), had an impact on the period as exhibited in the political philosophy of Hipólito Yrigoyen (1852-1933), who served as president from 1916 to 1922 and 1928 to 1930 when he was deposed by a right-wing coup d'état. Uncritical applications of traditional understandings of nationalism have had a negative impact on Latin American music scholarship. A distillation of scholarly conceptions of …

This dissertation investigates how German-language critics articulated and publicly negotiated ideas about music and expressionism in the first five years after World War I. A close reading of largely unexplored primary sources reveals that "musical expressionism" was originally conceived as an intrinsically musical matter rather than as a stylistic analog to expressionism in other art forms, and thus as especially relevant to purely instrumental rather than vocal and stage genres. By focusing on critical reception of an unlikely group of instrumental chamber works, I elucidate how the acts of performing, listening to, and evaluating "expressionist" music were enmeshed in the complexities of a politicized public concert life in the immediate postwar period. The opening chapters establish broad music-aesthetic and sociopolitical contexts for critics' postwar discussions of "musical expressionism." After the first, introductory chapter, Chapter 2 traces how art and literary critics came to position music as the most expressionist of the arts based on nineteenth-century ideas about the apparently unique ontology of music. Chapter 3 considers how this conception of expressionism led progressive-minded music critics to interpret expressionist music as the next step in the historical development of absolute music. These critics strategically—and controversially—portrayed Schoenberg's "atonal" polyphony as a legitimate …

The Italian seicento has been considered a dead century by many literary scholars. As this study demonstrates, such a conclusion ignores important literary developments in the field of librettology. Indeed, the seventeenth-century operatic libretto stands as a monument to literary invention. Critical to the development of this new literary genre was the prologue, which provided writers with a context in which to experiment and achieve literary transcendence. This study identifies approximately 260 dramatic works written in Venice between the years 1637 and 1682, drawn together for the first time from three sources: librettos in the Drammaturgia di Leone Allacci accresciuta e continuata fino all'anno MCDDLV; the musical manuscripts listed in the Codici Musicali Contariniani; and a chronological list of seventeenth-century Venetian operas found in Cristoforo Ivanovich's Minerva al Tavolino. Of the 260 Venetian works identified, over 98 begin with self-contained prologues. This discovery alone warrants a reconsideration of the seventeenth-century Italian libretto and the emergence of the dramatic prologue as a new and important literary genre.

This study examines the relationship between sonnet form and musical form in Benjamin Britten's sonnet cycles with a view toward identifying the musico-poetic form how the musical form interprets the poetry. Several issues come to the fore: 1) articulation of the large-scale divisions of the poetic form in the music; 2) potential of the musical setting to make connections between lines of the text ; 3) potential of the musical setting to follow or imitate the thought processes of the poem; and 4) placement of the departure and return.

In “Sounds for Adventurous Listeners,” I argue that Conover’s role in the dissemination of jazz through the Music USA Jazz Hour was more influential on an educational level than what literature on Conover currently provides. Chapter 2 begins with an examination of current studies regarding the role of jazz in Cold War diplomacy, the sociopolitical implications of avant-garde jazz and race, the convergence of fandom and propaganda, the promoter as facilitator of musical trends, and the influence of international radio during the Cold War. In chapter 3 I introduce the Friends of Music USA Newsletter and explain its function as a record of overseas jazz reception and a document that cohered a global network of fans. I then focus on avant-garde debates of the 1960s and discuss Conover’s role overseas and in the United States. Chapter 4 engages social purpose and jazz criticism in the 1960s. I discuss Conover’s philosophy on social responsibility, and how his contributions intersected with other relevant discourses on race on the eve of the civil rights movement. I argue that Conover embodied two personas: one as jazz critic and promoter in the United States, and the other as an international intermediary. In chapter 5 I …

Although the most well-known collaborations of William Plomer and Benjamin Britten are the three church parables (or church operas) - Curlew River, The Burning Fiery Furnace, and The Prodigal Son - by the time of the completion of Curlew River in 1964, the librettist and composer had been working together for well over a decade. During that time, they had completed the opera Gloriana and had considered collaborating on three other projects: one a children's opera on Beatrix Potter's The Tale of Mr. Tod, one on an original story of Plomer's called "Tyco the Vegan," and one on a Greek myth (possibly Arion, Daedalus and Icarus, or Phaëthon). Far from being footnotes to the parables, these early collaborations established Plomer and Britten's working relationship and brought to light their common interests as well as their independent ones. Their successive early collaborations, therefore, can be thought of as a conversation through creative expression. This metaphor of conversation can be applied both to successive collaborations and to the completed Gloriana, in that the libretto and the music can be seen as representing different interpretations of both major and minor characters in the opera, including Elizabeth I and Robert Devereux, Earl of Essex. …

In this dissertation, I explore the musical prosody of the literary symbolists and the influence of this prosody on fin-de-siècle French music. Contrary to previous categorizations of music as symbolist based on a characteristic "sound," I argue that symbolist aesthetics demonstrably influenced musical construction and reception. My scholarship reveals that symbolist musical works across genres share an approach to composition rooted in the symbolist concept of musicality of language, a concept that shapes this music on sonic, structural, and conceptual levels. I investigate the musical responses of four different composers to a single symbolist text, Oscar Wilde's one-act play Salomé, written in French in 1891, as case studies in order to elucidate how a symbolist musicality of language informed their creation, performance, and critical reception. The musical works evaluated as case studies are Antoine Mariotte's Salomé, Richard Strauss's Salomé, Aleksandr Glazunov's Introduction et La Danse de Salomée, and Florent Schmitt's La Tragédie de Salomé. Recognition of symbolist influence on composition, and, in the case of works for the stage, on production and performance expands the repertory of music we can view critically through the lens of symbolism, developing not only our understanding of music's role in this difficult and often …

This study presents a theory of melodic creation, transmission, memory, and recall within the Anglo- and Celtic-American culture of lower Appalachia, from the time of the earliest European settlers until the present. This theory and its attendant hypotheses draw upon earlier published ideas, current theories of memory and recall, and the results of applying a computer-supported analytical system developed by the author. Sources include previous studies of folksong melody, song collections, and earlier investigations of the psychology of memory. Also important are portions of an anonymous treatise on traditional Celtic musical scales and an authoritative, modern interpretation of this document. A final body of sources is a small group of sound-recordings.