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 Degree Discipline: Musicology
Eighteenth-Century French Oboes: A Comparative Study

Eighteenth-Century French Oboes: A Comparative Study

Date: May 2001
Creator: Cleveland, Susannah
Description: The oboe, which first came into being in the middle of the seventeenth century in France, underwent a number of changes throughout the following century. French instruments were influenced both by local practices and by the introduction of influences from other parts of Europe. The background of the makers of these instruments as well as the physical properties of the oboes help to illuminate the development of the instrument during this period. The examination of measurements, technical drawings, photographs, and biographical data clarify the development and dissemination of practices in oboe building throughout eighteenth-century France. This clarification provides new insight into a critical period of oboe development which has hitherto not been exclusively addressed.
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Elements of Shamanic Mythology in E. T. A. Hoffman's Romantic Conception of Music

Elements of Shamanic Mythology in E. T. A. Hoffman's Romantic Conception of Music

Date: December 1993
Creator: Miller, Harry A. W. (Harry Alfred Werner)
Description: The musicians in E. T. A. Hoffmann's tales and essays demonstrate traits remarkably similar to those of shamans. Hoffmann uses the same imagery to describe the journey of the composer into the "realm of dreams," where he receives inspiration, as the shaman uses to describe the spirit world to which he journeys via music. Hoffmann was a major force in changing the 18th-century view of music as an "innocent luxury" to the 19th-century idea of music as a higher art. As a German Romantic,author, he subscribed to the idea championed by the Schlegels that true poetry is based on myth. In this thesis, Hoffmann's writings are compared with shamanic mythology to demonstrate a similarity beyond mere coincidence, without drawing conclusions about influence.
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English Devotional Song of the Seventeenth Century in Printed Collections from 1638 to 1693: A Study of Music and Culture

English Devotional Song of the Seventeenth Century in Printed Collections from 1638 to 1693: A Study of Music and Culture

Date: May 1986
Creator: Treacy, Susan
Description: Seventeenth-century England witnessed profound historical, theological, and musical changes. A king was overthrown and executed; religion was practiced fervently and disputed hotly; and English musicians fell under the influence of the Italian stile nuovo. Many devotional songs were printed, among them those which reveal influences of this style. These English-texted sacred songs for one to three solo voices with continuo--not based upon a previously- composed hymn or psalm tune—are emphasized in this dissertation. Chapter One treats definitions, past neglect of the genre by scholars, and the problem of ambiguous terminology. Chapter Two is an examination of how religion and politics affected musical life, the hiatus from liturgical music from 1644 to 1660 causing composers to contribute to the flourishing of devotional music for home worship and recreation. Different modes of seventeenth-century devotional life are discussed in Chapter Three. Chapter Four provides documentation for use of devotional music, diaries and memoirs of the period revealing the use of several publications considered in this study. Baroque musical aesthetics applied to devotional song and its raising of the affections towards God are discussed in Chapter Five. Chapter Six traces the influence of Italian monody and sacred concerto on English devotional song. The earliest ...
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he Essercizii musici: A Study of the Late Baroque Sonata

he Essercizii musici: A Study of the Late Baroque Sonata

Date: May 2001
Creator: Volcansek, Frederick Wallace
Description: Telemann's Essercizii musici is a seminal publication of the 1730's representative of the state of the sonata in Germany at that time. Telemann's music has been largely viewed in negative terms, presumably because of its lack of originality, with the result that the collection's content has been treated in a perfunctory manner. This thesis presents a reappraisal of the Essercizii musici based on criteria presented in Quantz's Versuch. A major source of the period, the Versuch provides an analytical framework for a deeper understanding of the sonatas that comprise Telemann's last publication. A comparison of contemporary publications of similarly titled collections establishes an historical framework for assessing the importance of the Essercizii musici as part of a tradition of publications with didactic objectives that may be traced to the late 17th century.
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Expanded Perceptions of Identity in Benjamin Britten's Nocturne, Op. 60

Expanded Perceptions of Identity in Benjamin Britten's Nocturne, Op. 60

Date: May 2008
Creator: Perkins, Anna Grace
Description: A concentrated reading of Benjamin Britten's Nocturne through details of the composer's biography can lead to new perspectives on the composer's identity. The method employed broadens current understandings of Britten's personality and its relationship to the music. After creating a context for this kind of work within Britten scholarship, each chapter explores a specific aspect of Britten's identity through the individual songs of the Nocturne. Chapter 2 focuses on how Britten used genres in a pastoral style to create his own British identity. Chapter 3 concentrates on the complex relationship between Britten's homosexuality and his pacifism. Chapter 4 aims to achieve a deeper understanding of Britten's idealization of innocence. The various aspects of Britten's personality are related to one another in the Conclusion.
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The Famous Mr. Keach: Benjamin Keach and His Influence on Congregational Singing in Seventeenth Century England

The Famous Mr. Keach: Benjamin Keach and His Influence on Congregational Singing in Seventeenth Century England

Date: August 1984
Creator: Carnes, James Patrick
Description: Benjamin Keach (1640-1704) was a seventeenth-century preacher and hymn writer. He is considered responsible for the introduction and continued use of hymns, as distinct from psalms and paraphrases, in the English Nonconformist churches in the late seventeenth century, and is remembered as the provider of a well-rounded body of hymns for congregational worship. This thesis reviews the historical climate of seventeenth-century England, and discusses Keach's life in terms of that background. Keach's influence on congregational hymn singing, hymn writers, preaching, and education is also examined. Keach's writings and contributions to hymn singing are little known today. This thesis points out the significance of these writings and hymns to seventeenth-century religious life.
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Finding the "Indian" in Amy Beach's Theme and Variations for Flute and String Quartet, op. 80.

Finding the "Indian" in Amy Beach's Theme and Variations for Flute and String Quartet, op. 80.

Date: December 2007
Creator: Burgess, Stephanie J.
Description: Music that is categorized as part of the Indianist movement in American music (ca. 1890-1925) typically evokes Native American culture, ritual, story, or song through compositional gestures. It may also incorporate Native American tunes. Amy Beach (1867-1944) is considered to have composed five Indianist works, but her Theme and Variations for Flute and String Quartet, op. 80 has not been included as one of them. This thesis rethinks categorization of the piece, seeking the "Indian" in it through examination of its gestures, instrumentation, and relationship to contemporary Indianist compositions.
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Foreignizing Mahler: Uri Caine’s Mahler Project As Intertraditional Musical Translation

Foreignizing Mahler: Uri Caine’s Mahler Project As Intertraditional Musical Translation

Date: August 2015
Creator: Ritchie, J. Cole
Description: 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. ...
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Form, Style, Function and Rhetoric in Gottlob Harrer's Sinfonias: A Case Study in the Early History of the Symphony

Form, Style, Function and Rhetoric in Gottlob Harrer's Sinfonias: A Case Study in the Early History of the Symphony

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Date: August 2003
Creator: Rober, Russell Todd
Description: 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 ...
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The Fourteen Seréstas of Heitor Villa-Lobos (1887-1959)

The Fourteen Seréstas of Heitor Villa-Lobos (1887-1959)

Date: August 1999
Creator: Sánchez, Noé
Description: The Fourteen Seréstas of Heitor Villa-Lobos comprise a group of songs that expresses Villa-Lobos's compositional technique for the voice. These songs are challenging as a topic because not much historical or analytical research has been done on them. I approach the topic by providing historical background on the modinha and how it relates to the serésta. This is followed by a descriptive analysis in the order of the set, which includes musical examples, chart diagrams, and comparisons of the seréstas to other works. I hope to have contributed valuable information to the research of these songs since Villa-Lobos wrote over ninety solo vocal songs which still await analysis and discussion. This thesis is a contribution toward narrowing this gap.
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The Full Anthems and Services of John Blow and the Question of an English Stile Antico

The Full Anthems and Services of John Blow and the Question of an English Stile Antico

Date: August 1990
Creator: King, Deborah Simpkin
Description: 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 ...
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The Function of Oral Tradition in Mary Lou's Mass by Mary Lou Williams

The Function of Oral Tradition in Mary Lou's Mass by Mary Lou Williams

Date: August 1996
Creator: Fledderus, France
Description: The musical and spiritual life of Mary Lou Williams (1910 - 1981) came together in her later years in the writing of Mary Lou's Mass. Being both Roman Catholic and a jazz pianist and composer, it was inevitable that Williams would be the first jazz composer to write a setting of the mass. The degree of success resulting from the combination of jazz and the traditional forms of Western art music has always been controversial. Because of Williams's personal faith and aesthetics of music, however, she had little choice but to attempt the union of jazz and liturgical worship. After a biography of Williams, discussed in the context of her musical aesthetics, this thesis investigates the elements of conventional mass settings and oral tradition found in Mary Lou's Mass.
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The "Gypsy" style as extramusical reference: A historical and stylistic reassessment of Liszt's Book I "Swiss" of Années de pèlerinage.

The "Gypsy" style as extramusical reference: A historical and stylistic reassessment of Liszt's Book I "Swiss" of Années de pèlerinage.

Date: May 2008
Creator: Tan, Sok-Hoon
Description: This study examines Liszt's use of the style hongrois in his Swiss book of Années de pèlerinage to reference certain sentiments he had experienced. The event that brought Liszt to Switzerland is discussed in Chapter 1 in order to establish an understanding of the personal difficulties facing Liszt during the period when the Swiss book took shape. Based on Jonathan Bellman's research of the style hongrois, Chapter 2 examines the Swiss pieces that exhibit musical gestures characteristic of this style. Bellman also introduced a second, metaphoric meaning of the style hongrois, which is discussed in Chapter 3 along with Liszt's accounts from his book Des Bohémien as well as the literary quotations that are included in the Swiss book. Together, the biographical facts, the accounts from Des Bohémien, and the literary quotations show that Liszt was using the style hongrois to substantiate the autobiographical significance of the Swiss book.
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In-between Music: The Musical Creation of Cholo Identity in Cochabamba, Bolivia

In-between Music: The Musical Creation of Cholo Identity in Cochabamba, Bolivia

Date: August 2007
Creator: Jones, Eric
Description: Music and identity are inextricably linked. While a particular social or ethnic group's music may reflect characteristics of that group, it also functions in creating the identity of the group. In Andean Bolivia, the choloethnic group has very subjective and constantly changing boundaries. Cholo-ness is made possible through mediated cultural performances of all types, in which members actively choose elements from both criollo and Indian cultures. Music is one particularly effective way in which cholos create and maintain their identity. This thesis focuses on the ways in which cholos use music to create a hybrid identity in and around Cochabamba, Bolivia.
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The Intimacy of Death: Mahler’s Dramatic Narration in Kindertotenlieder

The Intimacy of Death: Mahler’s Dramatic Narration in Kindertotenlieder

Date: May 2014
Creator: Strange, AnnaGrace
Description: There has been relatively little scholarship to date on Mahler’s Kindertotenlieder. The writings about this song cycle that do exist primarily focus on the disparate nature of the poems and justify Kindertotenlieder as a cycle by highlighting various musical connections between the songs, such as keys and motivic continuity. Mahler, however, has unified the cycle in a much more complex and sophisticated way. His familiarity with Wagner’s music and methods, and his mastery of the human voice and orchestral voices allowed him to weave a dramatic grief-laden narrative.
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It's Not Fusion: Hybridity in the Music of Vijay Iyer and Rudresh Mahanthappa

It's Not Fusion: Hybridity in the Music of Vijay Iyer and Rudresh Mahanthappa

Date: December 2012
Creator: Govind, Arathi
Description: This thesis concerns the performance of identity in the music of Indian American jazz musicians Rudresh Mahanthappa and Vijay Iyer. In combining the use of Indian classical music elements with jazz, Iyer and Mahanthappa create music that is inextricably tied to their multifaceted identities. Traditional musicological analysis is juxtaposed with a theoretical framework that draws on postcolonial theory and the history of Asian immigrant populations to the U.S. I chronicle the interactions between Indian and Western music and link it to larger issues of Asian American identity formation and activism through music. Through interviews and transcriptions of studio recordings, I identify specific compositional and improvisational strategies of the musicians. I emphasize the role of individual agency in the formation of second-generation identities, drawing attention to the distinct ways that Iyer and Mahanthappa approach their music. Finally, I connect this research to a larger discourse on Indian American artistic identity.
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Jean-Georges Kastner's  Traité general d'instrumentation: A Translation and Commentary

Jean-Georges Kastner's Traité general d'instrumentation: A Translation and Commentary

Date: May 2003
Creator: Woodward, Patricia Jovanna
Description: Georges Kastner's (b Strasbourg 9 March 1810; d Paris 19 December 1867) Traite général d'instrumentation (1837), an important contribution to instrumentation study, is often overlooked because of its chronological proximity to Berlioz's Grand traité d'instrumentation (1843). Kastner's complete and concise treatise discusses the standard orchestral instruments and several obscure and ancient instruments. Intended principally for young composers, it provides the most detailed descriptions of the standard wind instruments of his day and discusses recent developments like the ophicleide and valved brass instruments. After the publication of the Traité, Kastner released a supplement including Aldophe Sax's newest innovations, entitled Cours d'instrumentation, which included musical examples of principals discussed in the Traité. Both the Traité and the Cours were accepted by the Academy and adopted by the Paris Conservatoire.
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Johann Friedrich Reichardt and His Liederspiel "Liebe und Treue"

Johann Friedrich Reichardt and His Liederspiel "Liebe und Treue"

Date: May 1979
Creator: Peacock, Daniel F.
Description: The purpose of this investigation is to examine Reichardt's reasons for his development of the genre Liederspiel. A brief biographical sketch of Reichardt reveals an innovative character who was responsible for several developments within the history of music. The Liederspiel was particularly affected by the French vaudeville. However, an investigation into the character of each shows that they are really quite different. A translation of an article by Reichardt from the Allgemeine Musikalische Zeitun discloses the purpose of the composer in his presentation of the Liederspiel to the public. The first Liederspiel was Liebe und Treue and was a complete success. The libretto and piano vocal score shows the construction of liebe und Treueand an English translation aids in its understanding.
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The Lady of the Lake: a Reconstructed Piano-Vocal Score, with Commentary on the Historical Background

The Lady of the Lake: a Reconstructed Piano-Vocal Score, with Commentary on the Historical Background

Date: May 1979
Creator: Knox, Robert E., Jr.
Description: The document consists of a commentary on the historical background of the work and an edition of the restored score. The commentary treats its relationship to the ballad opera, sources and alternate settings of the music and libretto, a history of the development of "Hail to the Chief," biographical sketches of the primary composers, and a section on early productions in England and America. The commentary includes a history of the English and American premieres, lengths of the first-runs, and the names of the theatres in which the performances were mounted. The reconstructed score is a piano-vocal performance edition with dialogue, cues, scenery, costume and property plots indicated in detail.
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Liturgy, Music, and Patronage at the Cappella di Medici in the Church of San Lorenzo in Florence, 1550-1609

Liturgy, Music, and Patronage at the Cappella di Medici in the Church of San Lorenzo in Florence, 1550-1609

Date: August 1995
Creator: Kim, Hae-Jeong
Description: 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.
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Mail Order Music: the Hinners Organ Company in the Dakotas, 1879-1936

Mail Order Music: the Hinners Organ Company in the Dakotas, 1879-1936

Date: August 1997
Creator: Alcorn-Oppedahl, Allison A. (Allison Ann)
Description: 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, ...
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"Marvelous Accidents": The Concerto for Prepared Piano and Chamber Orchestra of John Cage

"Marvelous Accidents": The Concerto for Prepared Piano and Chamber Orchestra of John Cage

Date: December 1999
Creator: Boutwell, Brett N.
Description: John Cage’s Concerto for Prepared Piano and Chamber Orchestra (1950-51) holds a unique position within the composer’s oeuvre as the first work based in part on chance-derived compositional procedures. Cage entered into such practice gradually, incrementally abandoning subjective taste and personal expression through the course of the work. Drawing from the philosophical framework provided by Cage’s "Lecture on Nothing" (1950) and "Lecture on Something" (c. 1951-52), this thesis explores the aesthetic foundations of the concerto and examines Cage’s compositional methodology throughout its three movements. Special attention is paid to the procedure underlying the first movement, whose analysis is based largely on the composer’s manuscript materials for the work.
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Michael Nyman: The Man Who Mistook His Wife for a Hat

Michael Nyman: The Man Who Mistook His Wife for a Hat

Date: May 2008
Creator: Avant-Rossi, Joan
Description: Composer Michael Nyman wrote the one-act, minimalist opera The Man Who Mistook His Wife for a Hat, based off the neurological case study written by Oliver Sacks under the same title. The opera is about a professional singer and professor whom suffers from visual agnosia. In chapter 1, the plot and history of the opera are discussed. Chapter 2 places The Man Who Mistook His Wife for a Hat alongside a selection of minimalist operas from Philip Glass and John Adams. Chapter 3 contains a history of the Fluxus art movement and shows where Fluxus-like examples appear in the opera. Chapter 4 includes Nyman's usage of minimalism, vocal congruencies, and Robert Schumann as musical elements that convey the drama.
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The Most Expressionist of All the Arts: Programs, Politics, and Performance in Critical Discourse about Music and Expressionism, c. 1918-1923

The Most Expressionist of All the Arts: Programs, Politics, and Performance in Critical Discourse about Music and Expressionism, c. 1918-1923

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Date: August 2016
Creator: Carrasco, Clare
Description: 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 ...
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