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Degree Discipline: Musicology
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- Accessibility and Authenticity in Julia Smith's Cynthia Parker
- In 1939, composer Julia Smith's first opera Cynthia Parker dramatized the story of a Texas legend. Smith manipulated music, text, and visual images to make the opera accessible for the audience in accordance with compositional and institutional practices in American opera of the 1930s. Transparent musical themes and common Native Americans stereotypes are used to define characters. Folk music is presented as diegetic, creating a sense of authenticity that places the audience into the opera's Western setting. The opera is codified for the audience using popular idioms, resulting in initial but not lasting success. digital.library.unt.edu/ark:/67531/metadc5197/
- Asserting Identity in Wagner's Shadow: The Case of Engelbert Humperdinck's Königskinder (1897)
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Engelbert Humperdinck (1854-1921), who was considered a Wagnerian due to to his past work in Bayreuth and the Wagnerian traits of his Hänsel und Gretel, seems to have believed that to define himself as a composer, he had to engage somehow with that designation, whether through orthodox Wagner imitation or an assertion of his independence from Wagner's musical legacy. The latter kind of engagement can be seen in Humperdinck's Königskinder (1897), in which he developed a new kind of declamatory notation within the context of melodrama, thus fulfilling Wagnerian ideals as well as progressing beyond them. The effectiveness of Humperdinck's effort is seen in the ensuing critical reception, in which the realities of being heard as a Wagnerian composer are clarified. digital.library.unt.edu/ark:/67531/metadc4548/
- The "Beethoven Folksong Project" in the Reception of Beethoven and His Music
- Beethoven's folksong arrangements and variations have been coldly received in recent scholarship. Their melodic and harmonic simplicity, fusion of highbrow and lowbrow styles, seemingly diminished emphasis on originality, and the assorted nationalities of the tunes have caused them to be viewed as musical rubble within the heritage of Western art music. The canonic composer's relationship with the Scottish amateur folksong collector and publisher George Thomson, as well as with his audience, amateur music lovers, has been largely downplayed in the reception of Beethoven. I define Beethoven's engagement with folksongs and their audience as the "Beethoven Folksong Project," evaluating it in the history of Beethoven reception as well as within the cultural and ideological contexts of the British Isles and German-speaking lands at the turn of the nineteenth century. I broaden the image of Beethoven during his lifetime by demonstrating that he served as an ideal not only for highly educated listeners and performers but also for amateur music lovers in search of cultivation through music. I explore the repertory under consideration in relation to the idea of Bildung ("formation" or "education" of the self or of selves as a nation) that pervaded contemporary culture, manifesting itself in music as the tradition of Bildungsmusik ("music for self-improvement"). Drawing on both contemporary reviews and recent studies, I show that the music's demanding yet comprehensible nature involved a wide range of elements from folk, popular, and chamber music to Hausmusik ("house music"), Unterhaltungsmusik ("music for entertainment"), Alpenmusik ("music of the Alps"), and even Gassenhauer ("street music"). Within the tradition of Bildungsmusik, adaptation of folksongs for domestic music-making, recomposition of pre-existing materials, collaboration between professionals and amateurs, and incorporation of musics familiar to and popular with contemporaries served as significant means for the composer to communicate with a middle-class audience. The hybrid and flexible nature of the folksong settings was not an awkward mix of various kinds of "trivial" music but rather a reflection of political, cultural, and social phenomena in Europe at the turn of the nineteenth century. digital.library.unt.edu/ark:/67531/metadc5497/
- "Being" a Stickist: A Phenomenological Consideration of "Dwelling" in a Virtual Music Scene
- Musical instruments are not static, unchanging objects. They are, instead, things that materially evolve in symmetry with human practices. Alterations to an instrument's design often attend to its ergonomic or expressive capacity, but sometimes an innovator causes an entirely new instrument to arise. One such instrument is the Chapman Stick. This instrument's history is closely intertwined with global currents that have evolved into virtual, online scenes. Virtuality obfuscates embodiment, but the Stick's world, like any instrument's, is optimally related in intercorporeal exchanges. Stickists circumvent real and virtual obstacles to engage the Stick world. Using an organology informed by the work of Heidegger and Merleau-Ponty, this study examines how the Chapman Stick, as a material "thing," speaks in and through a virtual, representational environment. digital.library.unt.edu/ark:/67531/metadc28430/
- Belle Musique and Fin' Amour: Thibaut de Champagne, Gace Brulé, and an Aristocratic Trouvére Tradition
- Many consider Gace Brulé (c1160-c1213) and Thibaut IV, Count of Champagne, (1201-1253) to have been the greatest trouvères. Writers on this subject have not adequately examined this assumption, having focused their energies on such issues as tracking melodic variants of individual works as preserved in different song-books (or chansonniers), the interpretation of rhythm in performance, and creation of modern editions of these songs. This thesis examines the esteem enjoyed by Gace and Thibaut in both medieval and modern times which derives from their exemplarity of, rather than difference from their noble contemporaries. digital.library.unt.edu/ark:/67531/metadc9794/
- Beyond the Human Voice: Francis Poulenc's Psychological Drama La Voix humaine (1958)
- Francis Poulenc's one-character opera La Voix humaine (1958), a setting of the homonymous play by Jean Cocteau, explores the psychological complexities of an unnamed woman as she experiences the end of a romantic relationship. During the forty-minute work, she sings in a declamatory manner into a telephone, which serves as a sign of the unrevealed man at the other end. Poulenc uses musical motives to underscore the woman's changing emotional states as she recalls her past relationship. The musical dramaturgy in this work resignifies Debussy's impressionist symbolism by collapsing devices used in Pelléas et Mélisande in a language that shifts between octatonicism, chromaticism, harmonic and melodic whole tone passages, and diatonicism. This late work recontextualizes elements in Poulenc's Dialogues des Carmélites (1953-56), and the end of the opera provides a theme for his Sonate pour Clarinet et Piano(1962), as Poulenc reflects on his youthful encounters with Cocteau, Erik Satie, and Les Six. digital.library.unt.edu/ark:/67531/metadc2543/
- Beyond the "Year of Song": Text and Music in the Song Cycles of Robert Schumann after 1848
- In recent years scholars have begun to re-evaluate the works, writings, and life of Robert Schumann (1810-1856). One of the primary issues in this ongoing re-evaluation is a reassessment of the composer's late works (roughly defined as those written after 1845). Until recently, the last eight years of Schumann's creative life and the works he composed at that time either have been ignored or critiqued under an image of an illness that had caused periodic breakdowns. Schumann's late works show how his culture and the artists communicating within that culture were transformed from the beginning to the middle of the nineteenth century. These late works, therefore, should be viewed in the context of Schumann's output as a whole and in regard to their contributions to nineteenth-century society. Schumann's contributions, specifically to the genre of the song cycle from 1849 to 1852, are among his late compositional works that still await full reconsideration. A topical study, focusing on three themes of selections from his twenty-three late cycles, will provide a critical evaluation of Schumann's compositional output in the genre of the song cycle. First, Schumann's political voice will be examined. The political events that led to the mid-nineteenth-century revolutions inspired crucial changes in European life and the art produced at that time. Schumann took an active role through his artistic contributions in which he exercised his political voice in responding to these changing events. Second, Schumann's storytelling voice will be explored. In the nineteenth century, storytellers remembered past events in order to comment on social and political issues of their own day. Schumann's storytelling voice allowed him to embrace a change in his own musical style and message in several late cycles.ird, Schumann's (relational) feminist voice will be considered. In two late cycles Schumann featured historical women: Elisabeth Kulmann (1808-1825), a Russian poet, and Mary, Queen of Scots (1542-1587). In both of these cycles, Schumann closely associated these women's lives with their work and appreciated their strength and their abilities to transcend their earthly burdens. These late song cycles not only allow us to fully appreciate a large part of Schumann's late-compositional oeuvre, but they also provide us a better understanding of the mid-century German culture from this artist's perspective. The method by which Schumann communicated with his audiencesone so different from that of the 1840-songsis as significant as the messages he hoped to communicate. Schumann's experiences leading up to 1848 had changed him as a man and as a musician. Through his late song cycles, Schumann communicated his ideas about the transformation that happened within himself, his audiences, and the German culture and proposed ways to resolve the many conflicts that existed. digital.library.unt.edu/ark:/67531/metadc3622/
- Busoni's Doktor Faust
- It is the intent of this thesis to shed a new investigative light upon a musician whose importance as a creative personality and aesthetician has been sorely underestimated or at least unappreciated by fellow musicians and audiences of his own and succeeding generations, a musician who formulated a new musical aesthetic which involved the utilization of compositional techniques diametrically opposed to those which had held dominant influence over the musical world for more than half a century, a musician who attempted to fuse the Italian sense of form and clarity with Teutonic profundity, complexity, and symbolism. This musician was Ferruccio Busoni. This thesis will concentrate on the history of the Faust legend and Busoni's final work, his opera Doktor Faust (c. 1924), the creative problems opera imposed upon Busoni, and his attempt to solve them vis-a-vis his own personal aesthetic. digital.library.unt.edu/ark:/67531/metadc504216/
- Cadential Syntax and Mode in the Sixteenth-Century Motet: a Theory of Compositional Process and Structure from Gallus Dressler's Praecepta Musicae Poeticae
- Though cadences have long been recognized as an aspect of modality, Gallus Dressler's treatise Praecepta musicae poeticae (1563) offers a new understanding of their relationship to mode and structure. Dressler's comments suggest that the cadences in the exordium and at articulations of the text are "principal" to the mode, shaping the tonal structure of the work. First, it is necessary to determine which cadences indicate which modes. A survey of sixteenth-century theorists uncovered a striking difference between Pietro Aron and his followers and many lesser-known theorists, including Dressier. The latter held that the repercussae of each mode were "principal cadences," contrary to Aron's expansive lists. Dressler's syntactical theory of cadence usage was tested by examining seventeen motets by Dressler and seventy-two motets by various early sixteenth-century composers. In approximately three-fourths of the motets in each group, cadences appeared on only two different pitches (with only infrequent exceptions) in their exordia and at text articulations. These pairs are the principal cadences of Dressler's list, and identify the mode of the motets. Observations and conclusions are offered regarding the ambiguities of individual modes, and the cadence-tone usage of individual composers. digital.library.unt.edu/ark:/67531/metadc279184/
- Carlo Milanuzzi's Quarto Scherzo and the Climate of Venetian Popular Music in the 1620s
- Although music publishing in Italy was on the decline around the turn of the seventeenth century, Venice emerged as one of the most prolific publishing centers of secular song in Italy throughout the first three decades of the 1600s. Many Venetian song collections were printed with alfabeto, a chordal tablature designed to facilitate even the most untrained of musicians with the necessary tools for accompanying singers on the fashionable five-course Spanish guitar. Carlo Milanuzzi's Quarto Scherzo (1624) stands out among its contemporary Venetian song collections with alfabeto as an anthology of Venetian secular songs, including compositions by Miniscalchi, Berti, and Claudio and Francesco Monteverdi. Issues surrounding its publication, instrumentation, and musical and poetic style not only contribute to the understanding of Venetian Baroque monody, but also help to construe a repertory of vocal music with defining characteristics usually associated with popular music of the 19th, 20th, and 21st centuries. digital.library.unt.edu/ark:/67531/metadc2899/
- Caught Between Jazz and Pop: The Contested Origins, Criticism, Performance Practice, and Reception of Smooth Jazz.
- In Caught Between Jazz and Pop, I challenge the prevalent marginalization and malignment of smooth jazz in the standard jazz narrative. Furthermore, I question the assumption that smooth jazz is an unfortunate and unwelcomed evolutionary outcome of the jazz-fusion era. Instead, I argue that smooth jazz is a long-lived musical style that merits multi-disciplinary analyses of its origins, critical dialogues, performance practice, and reception. Chapter 1 begins with an examination of current misconceptions about the origins of smooth jazz. In many jazz histories, the origins of smooth jazz are defined as a product of the jazz-fusion era. I suggest that smooth jazz is a distinct jazz style that is not a direct outgrowth of any mainstream jazz style, but a hybrid of various popular and jazz styles. Chapters 2 through 4 contain eight case studies examining the performers of crossover jazz and smooth jazz. These performers have conceived and maintained distinct communicative connections between themselves and their audiences. In the following chapter, the unfair treatment of popular jazz styles is examined. Many early and influential jazz critics sought to elevate jazz to the status of art music by discrediting popular jazz styles. These critics used specific criteria and emphasized notions of anti-commerciality to support their theoretical positions. In Chapter 6, the studio recordings and live performances of smooth jazz are discussed. Critics frequently complain that most smooth jazz recordings feature glossy packaging and pristine studio editing, resulting in a too-perfect product. Although this aesthetic is the result of a unique series of interactions, recordings do not represent the complete musical nature of smooth jazz. Live performances contain important, but typically neglected aspects of smooth jazz. Live performances enable performers to extend solos, interact, and communicate directly to the audience. While recordings are a useful source for musical analysis, smooth jazz, like other styles of jazz, is an improvisatory music that utilizes multiple sites of production and cannot be accurately judged on recordings alone. digital.library.unt.edu/ark:/67531/metadc9722/
- The Christmas Cantatas of Christoph Graupner (1683-1760)
- 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. digital.library.unt.edu/ark:/67531/metadc277743/
- Criticism of Beethoven's Pastoral Symphony in London and Boston, 1819-1874: A Forum for Public Discussion of Musical Topics
- Critics who discuss Beethoven's Pastoral Symphony often write about aspects that run counter to their conception of what a symphony should be, such as this symphony's static nature and its programmatic elements. In nineteenth-century Boston and London, criticism of the Pastoral Symphony reflects the opinions of a wide range of listeners, as critics variably adopted the views of the intellectual elite and general audience members. As a group, these critics acted as intermediaries between various realms of opinion regarding this piece. Their writing serves as a lens through which we can observe audiences' acceptance of ideas common in contemporaneous musical thought, including the integrity of the artwork, the glorification of genius, and ideas about meaning in music. digital.library.unt.edu/ark:/67531/metadc103304/
- Don Gillis's Symphony No 5½: Music for the People
- Don Gillis wrote Symphony No. 5½ (1947) in order to reconcile the American public with modern art music. By synthesizing jazz (as well as other American folk idioms), singable melodies, and humor, and then couching them into symphonic language, Gillis produced a work that lay listeners could process and enjoy. The piece was an immediate success and was played by orchestras across the globe, but it did not retain this popularity and it eventually faded from relevancy. This study focuses on elements that contributed to the initial efficacy and ultimate decline of the work. Due to its pervasive popular influences, Symphony No. 5½ is a crystallized representation of time in which it was written, and it soon became dated. Don Gillis did not harbor the idea that Symphony No. 5½ would grant him great wealth or musical immortality; he had a more pragmatic goal in mind. He used every musical element at his disposal to write a symphonic work that would communicate directly with the American people via a musical language they would understand. He was successful in this regard, but the dialogue ended soon after mid-century. digital.library.unt.edu/ark:/67531/metadc271867/
- Dramatic Expression in Thirty Musical Settings of Goethe's "Der Erlkonig"
- This study is an investigation of the dramatic expression in thirty musical settings of Goethe's "Erlkonig," to attempt to determine why the works by Franz Schubert and Carl Loewe have achieved such popularity. digital.library.unt.edu/ark:/67531/metadc279059/
- An Edition of Verse and Solo Anthems by William Boyce
- The English musician William Boyce was known as an organist for the cathedral as well as the Chapel Royal, a composer of both secular and sacred music, a director of large choral festivals, and the editor of Cathedral Music, the finest eighteenth-century edition of English Church music. Among Boyce's compositions for the church are many examples of verse and solo anthems. Part II of this thesis consists of an edition of one verse and three solo anthems selected from British Museum manuscript Additional 40497, transcribed into modern notation, and provided with a realization for organ continuo. Material prefatory to the edition itself, including a biography, a history of the verse and solo anthem from the English Reformation to the middle of the eighteenth century, a discussion .of the characteristics of Boyce's verse and solo anthems, and editorial notes constitute Part I. digital.library.unt.edu/ark:/67531/metadc663003/
- Educating American Audiences: Claire Reis and the Development of Modern Music Institutions, 1912-1930
- The creation of institutions devoted to promoting and supporting modern music in the United States during the 1920s made it possible for American composers to develop an identity distinct from that of European modernists. These institutions were thus a critical part of the process of modernization that began in the United States during the early decades of the twentieth century. There is substantial scholarship on these musical institutions of modern music, such as the International Composers' Guild and the League of Composers; but little to no work has been done on the progressive musical institutions of the 1910s, such as the Music League of the People's Music Institute of New York, which was founded by Claire Reis. This thesis addresses the questions of how and why American musical modernism came to be as it was in the 1920s through an examination of the various stages of Reis's career. The first chapter is an extensive study of primary source material gathered from the League of Composers/ISCM Records collection at the New York Public Library, which relates to Reis's work with the PML in the 1910s. The second chapter uses the conclusions of the first chapter to shine new light on an old subject: the 1923 schism within the ICG that led Reis and others to form the League. The traditional view that the schism was the result of a conflict in idea of style is called into question, and the role that gender and power structure played in the break are explored. digital.library.unt.edu/ark:/67531/metadc500034/
- Eighteenth-Century French Oboes: A Comparative Study
- 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. digital.library.unt.edu/ark:/67531/metadc2812/
- Elements of Shamanic Mythology in E. T. A. Hoffman's Romantic Conception of Music
- 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. digital.library.unt.edu/ark:/67531/metadc277978/
- English Devotional Song of the Seventeenth Century in Printed Collections from 1638 to 1693: A Study of Music and Culture
- 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 compositions by an Englishman working in the stile nuovo are Henry Lawes' 1638 hymn tunes with continuo. Collections of two- and three-voice compositions by Child, the Lawes brothers, Wilson, and Porter, published from 1639 to 1657, comprise Chapter Seven, as well as early devotional works of Locke. Chapter Eight treats Restoration devotional song-- compositions for one to three voices and continuo, mostly of a more secular and dramatic style than works discussed in earlier. The outstanding English Baroque composers--Locke, Humfrey, Blow, and Purcell--are represented, and the apex of this style is found in the latest seventeenth-century publication of devotional song, Henry Playford's Harmonia sacra, (1688, 1693). digital.library.unt.edu/ark:/67531/metadc331253/
- he Essercizii musici: A Study of the Late Baroque Sonata
- 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. digital.library.unt.edu/ark:/67531/metadc2772/
- Expanded Perceptions of Identity in Benjamin Britten's Nocturne, Op. 60
- 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. digital.library.unt.edu/ark:/67531/metadc6064/
- Finding the "Indian" in Amy Beach's Theme and Variations for Flute and String Quartet, op. 80.
- 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. digital.library.unt.edu/ark:/67531/metadc5196/
- Foreignizing Mahler: Uri Caine's Mahler Project As Intertraditional Musical Translation
- 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. My study of Caine's music—which includes a survey of previously unavailable manuscripts and an exploration of selected arrangements using an analytical method designed to address the qualities in music that parallel foreignizing translation-contextualizes Caine's modifications to Mahler's compositions to generate intertextual readings that simultaneously highlight the ways that Mahler was innovative within his own tradition. digital.library.unt.edu/ark:/67531/metadc804974/
- Form, Style, Function and Rhetoric in Gottlob Harrer's Sinfonias: A Case Study in the Early History of the Symphony
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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 the stylistic and formal characteristics of Harrer's sinfonias were often influenced by the function and context of their premieres. Part Two of the dissertation provides transcriptions of Harrer's sinfonias, making them available for performance and further study in the hope that such a holistic approach will enrich our appreciation of musical life in Dresden in the 1730s. digital.library.unt.edu/ark:/67531/metadc5530/
- The Fourteen Seréstas of Heitor Villa-Lobos (1887-1959)
- 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. digital.library.unt.edu/ark:/67531/metadc278354/
- The Full Anthems and Services of John Blow and the Question of an English Stile Antico
- 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 of the stile antico concept. Identification of the Continental stile antico through pertinent treatises and scores revealed a marked distinction between its application and the English polyphonic art as seen in the work of John Blow. In the end, the peculiar nature of Restoration polyphony is seen to be derived from a number of factors, among them, the continuation of liturgical ceremonial within the independent English church, the flexibility of the English polyphonic medium with regard to new musical developments, and the interruption of England's cathedral music tradition just as Italian influence was beginning to be felt in liturgical music. The sacred polyphony of John Blow represents the last great flowering of the English polyphonic tradition, with all of its idiosyncracies, in a lively, as yet unfettered style. digital.library.unt.edu/ark:/67531/metadc332091/
- The Function of Oral Tradition in Mary Lou's Mass by Mary Lou Williams
- 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. digital.library.unt.edu/ark:/67531/metadc278129/
- The "Gypsy" style as extramusical reference: A historical and stylistic reassessment of Liszt's Book I "Swiss" of Années de pèlerinage.
- 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. digital.library.unt.edu/ark:/67531/metadc6046/
- In-between Music: The Musical Creation of Cholo Identity in Cochabamba, Bolivia
- 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. digital.library.unt.edu/ark:/67531/metadc3957/
- The Intimacy of Death: Mahler's Dramatic Narration in Kindertotenlieder
- 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. digital.library.unt.edu/ark:/67531/metadc500052/
- It's Not Fusion: Hybridity in the Music of Vijay Iyer and Rudresh Mahanthappa
- 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. digital.library.unt.edu/ark:/67531/metadc177203/
- Jean-Georges Kastner's Traité general d'instrumentation: A Translation and Commentary
- 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. digital.library.unt.edu/ark:/67531/metadc4165/
- Johann Friedrich Reichardt and His Liederspiel "Liebe und Treue"
- 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. digital.library.unt.edu/ark:/67531/metadc504152/
- The Lady of the Lake: a Reconstructed Piano-Vocal Score, with Commentary on the Historical Background
- 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. digital.library.unt.edu/ark:/67531/metadc663542/
- Liturgy, Music, and Patronage at the Cappella di Medici in the Church of San Lorenzo in Florence, 1550-1609
- 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. digital.library.unt.edu/ark:/67531/metadc278255/
- Mail Order Music: the Hinners Organ Company in the Dakotas, 1879-1936
- 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, functionally attractive, tonally typical of the early twentieth-century American Romantic organ, and utilize designs and materials typical of this era. Only recently has it been acknowledged that these Hinners organs represent a "meat and potatoes" class of instrument, as it were, an honest meal without the pretense of delicate appetizers, vintage wine, and gourmet dessert. In this way the company offered churches a serviceable and respectable musical alternative to grandeur, and was able to fulfill the needs and meet the budget of a small congregation without the expense of a custom instrument. digital.library.unt.edu/ark:/67531/metadc278307/
- "Marvelous Accidents": The Concerto for Prepared Piano and Chamber Orchestra of John Cage
- John Cages Concerto for Prepared Piano and Chamber Orchestra (1950-51) holds a unique position within the composers 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 Cages "Lecture on Nothing" (1950) and "Lecture on Something" (c. 1951-52), this thesis explores the aesthetic foundations of the concerto and examines Cages compositional methodology throughout its three movements. Special attention is paid to the procedure underlying the first movement, whose analysis is based largely on the composers manuscript materials for the work. digital.library.unt.edu/ark:/67531/metadc2260/
- Michael Nyman: The Man Who Mistook His Wife for a Hat
- 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. digital.library.unt.edu/ark:/67531/metadc6135/
- Mus. Ms. 1511b: A Historical Review of a Lute Manuscript in the Herwarth Collection at the Bavarian Library, Munich
- The purpose of this paper is to create a modern transcription/edition and an historical study of Munich Mus. Ms. 1511b thereby helping to define the social and pedagogical ramifications of lute repertoire from the mid-sixteenth-century. Because of the amateurish nature of the compositions, the conclusion of this study is that a member of the Herwarth family probably used the manuscript for learning purposes. Dance, grounds and other related forms found in the manuscript are discussed. Also included is an incipit concordance that can be used as a cross-reference for further research. digital.library.unt.edu/ark:/67531/metadc4004/
- Musical Arrangements and Questions of Genre: A Study of Liszt's Interpretive Approaches
- Through his exceptional creative and performing abilities, Franz Liszt was able to transform compositions of many kinds into unified, intelligible, and pleasing arrangements for piano. Nineteenth-century definitions of "arrangement" and "Klavierauszug," which focus on the process of reworking a composition for a different medium, do not adequately describe Liszt's work in this area. His piano transcriptions of Schubert's songs, Berlioz's Symphonie fantastique and the symphonies of Beethoven are not note-for-note transcriptions; rather, they reinterpret the originals in recasting them as compositions for solo piano. Writing about Liszt's versions of Schubert's songs, a Viennese critic identified as "Carlo" heralded Liszt as the creator of a new genre and declared him to have made Schubert's songs the property of cultured pianists. Moreover, Liszt himself designated his work with Berlioz's Symphonie fantastique and the symphonies of Beethoven "Partitions de piano": literally, piano scores. As is well known, concepts of genre in general create problems for musicologists; musical arrangements add a new dimension of difficulty to the problem. Whereas Carl Dahlhaus identifies genre as a tool for interpreting composers' responses to the social dimension of music in the fabric of individual compositions, Jeffrey Kallberg perceives it as a "social phenomenon shared by composers and listeners alike." The latter concept provides a more suitable framework for discussing the genre of transcriptions, for their importance derives in large part from relationships between the original and the derivative works, both as constructed by Liszt and perceived by critics and audiences. During the nineteenth and early twentieth century's, Liszt's transcriptions of songs and symphonies were construed as both compositions for pianists and subsets of the originals. Consequently, these compositions should be studied for their own musical value as well as for the light that they shed on the original works. Liszt's transcriptions are derivative and at the same time created distinct genres. digital.library.unt.edu/ark:/67531/metadc28488/
- The Musical Fallout of Political Activism: Government Investigations of Musicians in the United States, 1930-1960
- 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 the period on the music but only the extent to which the activities affected the musicians themselves. The extraordinary paucity of published information about the treatment of the musicians during this period is put into even greater relief when compared to the thorough manner in which the other arts, notably literature and film, have been examined. This work attempts to fill this gap and shed light on a particularly dark chapter in the history of contemporary music. digital.library.unt.edu/ark:/67531/metadc277608/
- Myth in the Early Collaborations of Benjamin Britten and William Plomer
- 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 Gloriana, Britten employed at least three specifically musical methods of challenging the meaning of the libretto: instrumental commentary, textural density, and dramatically significant referential pitches. Plomer and Britten's conversation, carried out through these early collaborations, touches on the function of art, activism, and modern morality, but it is best circumscribed by the concept of myth. Two divergent and very influential interpretations of myth - Matthew Arnold's "sweetness and light" and primal liberation (deduced from Nietzsche) - can be usefully applied to Plomer and Britten's unfolding conversation. The implications of Plomer and Britten's adoption of myth as the topic and language of their collaborative conversation are vast and must be considered in order to understand more fully their work together. digital.library.unt.edu/ark:/67531/metadc4837/
- Nobody's Fool: A Study of the Yrodivy in Boris Godunov
- Modest Musorgsky completed two versions of his opera Boris Godunov between 1869 and 1874, with significant changes in the second version. The second version adds a concluding lament by the fool character that serves as a warning to the people of Russia beyond the scope of the opera. The use of a fool is significant in Russian history and this connection is made between the opera and other arts of nineteenth-century Russia. These changes are, musically, rather small, but historically and socially, significant. The importance of the people as a functioning character in the opera has precedence in art and literature in Russia in the second half of the nineteenth-century and is related to the Populist movement. Most importantly, the change in endings between the two versions alters the entire meaning of the composition. This study suggests that this is a political statement on the part of the composer. digital.library.unt.edu/ark:/67531/metadc2242/
- "Now His Time Really Seems to Have Come": Ideas about Mahler's Music in Late Imperial and First Republic Vienna
- In Vienna from about 1918 until the 1930s, contemporaries perceived a high point in the music-historical significance of Mahler's works, with regard to both the history of compositional style and the social history of music. The ideas and meanings that became attached to Mahler's works in this milieu are tied inextricably to the city's political and cultural life. Although the performances of Mahler's works under the auspices of Vienna's Social Democrats are sometimes construed today as mere acts of political appropriation, David Josef Bach's writings suggest that the innovative and controversial aspects of Mahler's works held social value in line with the ideal of Arbeiterbildung. Richard Specht, Arnold Schoenberg, and Theodor Adorno embraced oft-criticized features in Mahler's music, regarding the composer as a prophetic artist whose compositional style was the epitome of faithful adherence to one's inner artistic vision, regardless of its popularity. While all three critics addressed the relationship between detail and whole in Mahler's music, Adorno construed it as an act of subversion. Mahler's popularity also affected Viennese composers during this time in obvious and subtle ways. The formal structure and thematic construction of Berg's Chamber Concerto suggest a compositional approach close to what his student Adorno described a few years later regarding Mahler's music. digital.library.unt.edu/ark:/67531/metadc12141/
- Le Nuove Musiche: Giovanni Battista Bovicelli?
- This thesis is a comparative study on the late 16th century manuals of ornamentation by Girolamo Dalla Casa, Giovanni Bassano, Riccardo Rognoni, and Giovanni Battista Bovicelli. The study demonstrates that the latest Renaissance manual should be given more credit for the innovative ornamentation style that was to come in the Early Baroque era. Bovicelli's use of sequence, dissonances, and less moving notes for more rhythmic varieties are features most often associated in the style of the Baroque. Unfortunately, the topic of ornamentation in the late Renaissance is most commonly discussed as a group of different entities writing in the same style. The research for this paper is intended to separate the manuals of the late Renaissance, focusing on the separate styles that led to the work of Giovanni Battista Bovicelli. digital.library.unt.edu/ark:/67531/metadc30458/
- Opera and the Galant Homme: Quinault and Lully's Tragedie en musique, Atys, in the Context of Seventeenth-Century Modernism
- The tragedie en musique of Quinault and Lully was a highly successful new genre, representative of contemporary Parisian life. However, it is still largely viewed in the negative terms of its detractors, the proponents of classical tragedy. The purpose of this study is to redefine the tragedie en musique in terms of seventeenth-century modernism. An examination of the society and poetry of the contemporary gallant world provides the historical framework for an analysis of both the libretto and music of Quinault and Lully's Atys (1676). This study attempts to bridge the historical and cultural distances that until now have hindered accessibility to this major new genre in seventeenth-century literature and music. digital.library.unt.edu/ark:/67531/metadc278309/
- Opera at the Threshold of a Revolution: Francis Poulenc's Dialogues des Carmélites (1953-1956)
- Francis Poulenc's three-act opera Dialogues des Carmélites (1953-1956) depicts the struggles of the novice nun Blanche de la Force during the Reign of Terror of the French Revolution. The use of Latin liturgical music at critical points in the opera conveys the ritualistic nature of Catholic worship. The spiritual message of mystical substitution, along with the closely related notion of vicarious suffering, imbue the opera with a spirituality that offers a sharp contrast to earlier operatic settings of Catholic texts, particularly during the age of grand opera. Marian devotion also plays an important role in the opera. The final tableau of the opera stages the execution of Blanche and her sisters, complete with the sound of a guillotine, with the nuns singing the Salve Regina as they proceed to the scaffold. The multivalence of the final tableau highlights the importance of voice and its absence. While the nuns, onstage spectators, and the guillotine are audibly present in the scene, the priest participates solely through gesture. The surfacing of the Lacanian Real in the silent moment of traumatic shock that follows the guillotine's first fall allows for intertextual references to the opera in Poulenc's Sonate pour Flûte et Piano (1957) to function as a work of remembrance. digital.library.unt.edu/ark:/67531/metadc103288/
- Orchestral Accompaniment in the Vocal Works of Hector Berlioz
- Recent Berlioz studies tend to stress the significance of the French tradition for a balanced understanding of Berlioz's music. Such is necessary because the customary emphasis on purely musical structure inclines to stress the influence of German masters to the neglect of vocal and therefore rhetorical character of this tradition. The present study, through a fresh examination of Berlioz's vocal-orchestral scores, sets forth the various orchestrational patterns and the rationales that lay behind them. digital.library.unt.edu/ark:/67531/metadc277761/
- Patronage, Connoisseurship and Antiquarianism in Georgian England: The Fitzwilliam Music Collection (1763-1815)
- In eighteenth-century Britain, many aristocrats studied music, participated as amateurs in musical clubs, and patronized London's burgeoning concert life. Richard Fitzwilliam, Seventh Viscount Fitzwilliam of Merrion and Thorncastle (1745-1816), was one such patron and amateur. Fitzwilliam shaped his activities – participation, patronage, and collecting – in a unique way that illustrates his specialized tastes and interests. While as an amateur musician he sang in the Noblemen's and Gentlemen's Catch Club (the premiere social club dedicated to musical performance), he rose to the highest level of patronage by spearheading the Handel Commemoration Festival of 1784 and serving for many years as a Director of the Concert of Antient Music, the most prestigious concert series in Georgian Britain. His lasting legacy, however, was his bequest to Cambridge University of his extensive collection of art, books and music, as well as sufficient funds to establish the Fitzwilliam Museum. At the time of his death, Fitzwilliam's collection of music was the best in the land, save that in the Royal Library. Thus, his collection is ideally suited for examination as proof of his activities, taste and connoisseurship. Moreover, the music in Fitzwilliam's collection shows his participation in the contemporary musicological debate, evidenced by his advocacy for ancient music, his agreement with the views of Charles Avison and his support for the music of Domenico Scarlatti. On one side of this debate were proponents of learned, ancient music, such as Fitzwilliam and Avison, whose Essay on Musical Expression of 1752 was a milestone in musical criticism. On the other side of the discussion were advocates for the more modern, "classical" style and genres, led by historian Charles Burney. digital.library.unt.edu/ark:/67531/metadc103327/


text:
Skip to comments.Knicks' Larry Johnson calls for all-black basketball league (In wake of Clipper race fiasco)
Posted on 04/28/2014 11:09:36 AM PDT by SeekAndFindEdited on 04/28/2014 11:10:37 AM PDT by Admin Moderator. [history]
New York Knicks executive Larry Johnson has a different take on the racial fire thats recently ignited over Clippers owner Donald Sterling, looking at the broader picture to make his main point: Its high time blacks started their own league, he said.
(Excerpt) Read more at washingtontimes.com ...
I thought they already had one called the NBA.
Would Johnson allow white folks to attend these 'negro league' games of his?
Isn't the NBA already all black?
it's all about money...................And they've never had it so good.
Isnt the NBA already a black league..its like what, 90 percent black..finding a white person on a basketball team is like finding Waldo
Twitter makes it way to easy for someone to shoot off their mouth in a moment of rage.
and then have to live with their dumb comments.
Negro league, how retro.
Right on... wait, aren't they all black now?
"Its high time blacks started their own league, he said."
They have one. It is called 4th street park. However if they want to form a league, have at it. They don't even have to change the letters. NBA will be the Negro Basketball Association. The WNBA will now be called the White Nationalists Basketball Association and the Women's league can change to the LNBA.
That's a joke. It wont be called Nationalists.
78% was the latest stat I could find.
Go ahead. Kill the golden goose. No sweat of my brow.
Sterling's only half racist as his ex-GF who's dishing all the dirt is half black. Johnson is all racist.
I consider the NCAA basketball tournament, March madness as one of the best sports events in the world, I don't even watch the NBA. Too commercial and the season is long, they should half it at least.
Steve Nash, Kirk Nowitzki, Manu Ginobilli, a lot of the best players in recent years, have been these guys, Nash won the MVP more than one time.
But...That's racist.
Basketball is a great sport, and the NBA is slaughtering it.
So who's the racist?
Fine lets go all the way, only black fans too.
I'm sorry, how is the very title of this article not considered racist? Let's create an all-black sports league because the integrated one is racist? Huh?
Do Liberals even try anymore, or does it not seem that they're just airing out their 'isms on a daily basis without any regard for consequences?
The fact that Knicks owner Jim Dolan ( one of the stupidest guys in the league)..actually employs someone as dumb as this..explains why the Knicks are such pathetic losers.
And yes, I know these are college guys... but the NBA will be... this.
Notice that none of the three you mentioned are originally from the US (Canada, Germany, Argentina).
DILLIGAS? You couldn't pay me to watch an NBA game.
Not even Phil Jackson will be able to overcome the Dynamic Duo of Jimmy Dolan and Larry Johnson. He'll put up with it, though, considering Jimmy's paying him $12M per year.
That would be the NBBA, I guess that's what this guy wants.
I wouldn't watch any of them anyway.
Is THAT ever true! The playoffs themselves last beyond a month.
To create an all Black league, you would have to deny White players entry.
I wonder how this guy would see that ploy in reverse.
It doesn't bother me that Whites make up a small percentage in the NBA, because I think the best players should get the positions.
If someone could show me where Whites who were truly better players and were being passed over in some instances, I would find it problematic.
Really!...just about is.
Actually it will become the LNBLA
Lesbian National Basketball and LaCrosse Association.
They really need to boost their fan numbers.
I hope she was one hell of a good kisser
I cannot believe any black person who knows the history of professional sports and the struggle to get blacks in the majors, instead of having a Negro League, would want to go there.
Would it be racist for non-blacks to set up a non-black league and boycott the all-black league?
To even suggest something like an all-black league is either totally insane or totally arrogant. I wonder what that league would be like ten years down the road, assuming a majority of non-blacks would avoid everything about it.
That's right, I guess for the US, a premier basketball player may be Kevin Love. As I've said, I don't really keep up with the NBA, I find it such a step down from March madness but to each their own really. I don't watch many regular season college games either.
Gasol, some Greeks, are others in the NBA to do well but the 3 I mentioned have had a huge effect.
Yeah. And then we can have a black caucus and a Hispanic caucus in Congress.
Has he looked in the crowd lately???
It's all those white faces in that half-empty arena that are paying his salary.
There's a blast from the past. No baggy shorts, no sleeve tattoos, no psychedelic shoes, and what appear to be real whi.... nah, can't be. They can't jump.
"Fine lets go all the way, only black fans too."
How long would the league last?
Don't forget Pau Gasol, he helped my Lakers win 2 NBA titles and we basically got him for nothing(Traded away Kwame Brown)
Nothing says 'End of racism" like some Jim Crow....
I was watching some of the Clippers/Warriors game at San Fran. The camera panned the crowd. It must have been 98% white. What does this say about the socio-economic state of the black population, led by our black president? An honest media would be calling him out on it.
Ditto. Basketball has become almost unwatchable. A great pity
Nah, just segregate the NBA and let the whites form their own league. It might also be time for all potential voters to have to pass an Ebonics literacy test before they vote.
Most blacks want retribution, not equality.
Next he'll call for "black only" drinking fountains.
Who cares? let them pull a Watts Riots on pro sports.
Just do not let ANYONE associated with it back in to the real ones. EVER.
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subset: commoncrawl


text:
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This is a nice conditioner to compliment the rose shampoo but I have to use far more shampoo than I do conditioner so this one is not very economical for me.
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text:
Installation went smoothly, but I'm disapointed by WP - is this a beta?
None of the options can be saved, despite clicking "Update options" and seeing "Options saved." If I click any other tab and back to Options->General all options are defaulted.
Can't logout - clicking "Logout (site admin)" takes me to "write" tab.
And guys - did anyone tried to change admin pass using Profile tab? When I did it I got logged out with the red warning "you session hes expired". Then I couldn't log back in using either old or new login/pass; I had to delete all databases and install wp again. Oh boy, really frustrating.


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Columbus, Ohio (AP) -- Some school districts across Ohio are increasingly worried about a lack of a state budget agreement, which would result in hundreds of millions of dollars slashed from schools.
If state lawmakers don't fill an $850 million budget gap by the end of the year, school districts will begin to feel the impact in January.
Republicans who control the senate canceled two committee meetings planned for this week, signaling that a deal won't come until next week at the earliest.
Democrats support delaying the final round of planned income tax cuts.
But senate republicans won't support that on its own.
Districts would have to cut supplies or textbooks, have larger class sizes or run deficits.
Ohio Association of School Business Officials executive director David Varda says some are approaching panic mode.
(Copyright 2009 by the Associated Press. All rights reserved.)


text: News PEI Potato Board names new manager By Andy Nelson May 17, 2011 | 11:19 pm EDT Comments Print Kevin MacIsaac, chairman of the Prince Edward Island Potato Board, welcomes the boardâs new general manager, Bob Harding. (Jan 15) Ivan Noonan, for 13 years the general manager of the Prince Edward Island Potato Board, Charlottetown, is stepping down from the position in February.Bob Harding, a veteran of the Canadian pork industry, will become the boardâs new general manager effective Feb. 4. Noonan said he plans to remain on staff through April or May to help the board, which represents more than 360 growers, with its transition to a new general manager. He also said he would wait until then to comment on his decision to leave and his plans for the future.Kevin MacIsaac, the boardâs chairman, praised Noonanâs work on behalf of the islandâs potato industry.âWhen he came 13½ years ago, he already had a lot of experience in the industry, and his leadership has been second to none,â he said. âI canât say enough good about him. We made tremendous gains under him.âNoonanâs honesty and accuracy are among his many virtues, MacIsaac said.âYou may not always like the information heâs giving you, but you know itâs 100% accurate,â he said. âHe worked tirelessly for the industry.âHarding has for the past 15 years been executive director of the Prince Edward Island Hog Commodity Marketing Board. He also has served on the boards of directors of several national agriculture marketing committees.His agriculture and commodity board experience and knowledge of French â the board has close ties with Quebec â will serve him well in the position, MacIsaac said. One of Hardingâs challenges will be to reverse the fortunes of the islandâs spud growers, MacIsaac said. Hardingâs experience in the hog industry, he said, should be a good primer.âComing from hogs, he has no shortage of knowledge about hard times,â MacIsaac said. âAnd right now, our growers are not having good times. The No. 1 objective of the board is to increase the incomes of growers on PEI.â


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Skip to comments.WHAT? Andrea Saul Uses Romneycare to Slam Obama 'Cancer' Ad???
Posted on 08/09/2012 4:44:28 AM PDT by KentTrappedInLiberalSeattle
RedStates Erick Erickson tweeted this could be the moment when Mitt Romney lost the election.
In an interview of Fox News, Romney Press Secretary Andrea Saul decided to invoke Romneycare as a counterpoint to the despicable narrative being pushed by Priorities USA. Im sure youve seen the infamous cancer ad. Business Insider reported on August 8th that:
In defending Romney, she [Saul] veered way off message, explaining that if the steelworker, Joe Soptic, had lived in Massachusetts, he and his wife would have been able to get health insurance under Romneys health-care reform legislation.
Heres what she told Fox anchor Bill Hemmer, via Think Progress [gag]:
ANDREA SAUL: To that point, you know, if people had been in Massachusetts under Governor Romneys health care plan, they would have had health care. There are a lot of people losing their jobs and their health care in President Obamas economy.
FACEPALM! Even Politico cited the ad as grossly inaccurate saying it may also be relevant that Soptics wife died in 2006, years after the GST factory closed down. A 2006 story in the Kansas City Star reported the death of Ranae Soptic, a former champion roller skater: Soptic went to the hospital for pneumonia, but doctors found signs of very advanced cancer, and she died two weeks later on June 22.
However, despite the ongoing crusade to discredit this piece of trash by the Obama team, Saul has undercut the effort. Smelling blood in the water, Bill Burton, a strategist for Priorities USA, said hes as stunned as anyone that [Saul] would invoke Romneys support for individual mandates, particularly in a state that wasnt Massachusetts. Theyre clearly sputtering in response to very painful stories from workers who lost their jobs, their health care and their pension benefits, Burton said.
(Excerpt) Read more at rightwingnews.com ...
Last night on Hannity, Anne Coulter blasted Saul as an idiot for her handling of the response to this Obama slander and for once I agree with Coulter ..Andrea Saul should be fired. If the Romney campaign continues to use these dunderhead retreads from the McCain fiasco we will be given another four years of Obama.
How do you miss a layup?
Well, it certainly can't help when your team's coach tends to prefer playing from the other side of the court... ;)
By trying to shoot it with your foot while it is still in your mouth. Good grief! Deja vu all over again.
Problem is that this is exactly how Romney and his minions think. She slipped up by saying it publicly.
The types of mistakes shouldn't be happening at this stage. The election should be Romney's to win yet this inept team seems to be doing everything to drop the ball.
Yup. That's precisely why their increasingly shrill and desperate wailings to the effect of "... BUT... BUT... TEH OBAMA -- !!!" leave me, ultimately, unmoved. My precious stores of genuine pity for those stubbornly insistent upon shooting their own toes off, one at a time, have dwindled precipitously over the years. ;)
These people are just horrid.
Romney's crowd simply cannot keep their eyes on any balls ~ none of them have any!
Well 'Romney'='Romney-care'. Coulter's shrieking last night on Koolaid Hannity's program was annoying, recall that Romney was her primary pick because she said he had the best chance of winning. Now she is threatoning to abandon him. Too late for that Ann.
Yes Romney Press Secretary Andrea Saul's response was pathetically weak, in fact she comes off as very weak spokeswoman (to be likable??) on camera anyway but as I have been pointing out, the whole campaign has weak so what's new?
Maybe Rush will stop claiming that Romney is winning now (cheer leading) and certain ABBO folks will stop claiming the same here?
Wife Number Two will be unceremoniously lobbed underneath the bus by the Mittens faithful, if she doesn't dummy up ASAP. Bet the rent on it. ;)
Romney or Obama, folks... Romney or Obama... we are a certain deep six if Obama stays, we may possibly extricate ourselves if Romney wins. I'm betting on the odds, still voting for Romney... and for Todd Aiken here in MO to beat Craggy McCaskill. There is a fork in the road, neither is a good choice, but one is certain doom...
Michelle Malkin was also commenting on Andrea Saul's "performance." Apparently Andrea comes to Romney campaign from McCain's presidential effort. Maybe she is a mole for Obama? Someone says she doesn't come across as likeable. She doesn't come across as COMPETENT. Aside from this gaffe she is weak and unpersuasive.
Vote for who-ever you want to just like you did during the primary. Did that affect anything?
We are screwed either way. But there have always been questions and claims about Romney's ability to be elected, but watching him(them) in action is a real indication.
Obama has run left on many issues trying to motivate his based and multiple minority special interest groups, while claiming its Romney who is extreme,
Romney has no place to run to. He cant talk about his official positions because he doesn't believe in them. He cant run the other way because his party base will just give up, a sample is the Coulter whining last night, Rush's too.
But why would the Democrats suddenly abandon him now...? ;)
Coulter made the same observation. This seems to be standard Republican stuff, to keep the same losers.
She appears pretty weak on TV as does the head of the RNC. Look at Obama's attack dog David Axel-hatchet. He just rips and rips Romney on those shows, as with Harry Reid. That side is fighting.
And Saul is getting orders from someone to stay positive anyway. That is why she did that. Coulter misses that. Its her man Romney not some clueless spokeswoman Mccain re-tread..
There wasn't one McCain staffer worth spit, IMHO after that disgusting 08 campaign. I never, ever will forget McCain touting "you have nothing to fear from an Obama presidency".
The McCain group is the one who pounced and degraded Palin. Now we need to do something at this GOP convention. We the People need to revolt and nominate someone else with some FIRE in his/her stomach. I am scared to death of the end of this great country and with the faux O in the White House - this country would be gone in 4 more years. We need a man's man type of candidate with big brass ones!
I'm voting for him while holding my nose, because RomneyCare is still better than ObamaCare, but conservatives are screwed either way.
Hopefully, someone with real conservative values will run against Romney in four years. He's so weak though, Obama may win.
Sununu has been the most prolific Romney surrogate yet. How is it that this dolt is his spokesman instead of Sununu? Fire her today. Give Sununu the job. Done.
OMG that girl looks like a young Botox Pelosi BARFFFF!!!!
Well you are dreaming.
Romney won and now owns the party. (RNC) Chairman Reince Priebus is very weak, not as bad as Steele is but who is? The RNC will trot out the RINOs like McCain at the convention. This is where we are.
Where is that Rodent Rove? He assured us over and over that Romney had an easy win.
There is one Republican that I am impressed with (no not Ryan) and it is Scott Walker, but it is not his time.
Yes of course I know I'm dreaming about the convention, but darn it, this is getting frightening and this election is Romney's to lose and he's starting to do a darn good job at it. That Andrea Saul MUST be fired along with 99% of his staff. Get more of the John Sununu types in there to stand up and FIGHT. Where is the passion, where is the fire in his stomach to win this? I just don't see it.
Do you think there might be some behind-closed-doors discussion among the GOPe even as we speak about how impossible a candidate Mitt is? Maybe not -- I suspect Obama's people are more aware of conservative discontent with Romney than the GOPe! They just don't know how to capitalize on it (or they're holding their fire until after the convention).
A local talk show host said the other day that Romney is running as "a non-ideological manager." Where I have heard that before? I know -- that was Dukakis' campaign for President! And we all know how that turned out . . .
I broke out of the mindset that all my hopes pin on the Republican party losers of today (Romney, McCain, McConnell, Boehner,Jeb bush, ....). I use the term 'Republicans' with contempt here now.
I am impressed with Walker, why would I want him tied to this set of loses? Let them have their RINO party.
If Romney loses then there is an open race in 2016 just time for someone like Walker. Who else do we have that takes on Democrats so boldly and doesnt flinch and wins? The others are the party of excuses.
Chairman Reince Priebus who I don't know well may be a good guy but he comes off as very weak on TV spokesman.
Send Saul back to the McCain campaign where she came from.
2016 is pretty far away and we have a president who will have a lot more flexibility in his second term. Ask Medvedev.
That doesnt change reality. That doesn't make Romney a winner. Lots of things are too bad.
I have a older relative with a real bad stroke, now bed and wheelchair ridden asuming he is lifted physically. That causes him and wife serious problems including financial, That doesn't allow him to walk again. Sometimes she would imagine it would, but that just cause more problems.
If it was me I would have said :" Obama spokesman Harry Reid is Bald face lying about Romney and Obama needs to call him off. This is a reflection on how deceitful the Obama campaign is"
You see?? Go for the nerve.
Priebus could try his lines out camming himself with his phone before trying Network TV.
Romney has no philosophical argument with anything because he has no philosophy. He does not contemplate "how things should be" nut only how to make the things that exist run more efficiently.
Romney cannot win but Obama can lose.
Some of us said from the beginning that Romney is the Democrats' candidate for the Republican nomination.
No. They do not see any way to improve things. Winning is not seen as a goal. They are Republicans. Most here call them RINOs but that is not accurate. They are, in fact, the true Republicans. Conservatives will not take over the party just as Republicans did not take over the Whig Party.
Yep... I know, I know...
" If it was me I would have said : Obama spokesman Harry Reid is Bald face lying about Romney and Obama needs to call him off. This is a reflection on how deceitful the Obama campaign is
You see?? Go for the nerve."
Only effective way to win at anything.
"If Romney loses then there is an open race in 2016 just time for someone like Walker. Who else do we have that takes on Democrats so boldly and doesnt flinch and wins? The others are the party of excuses.
Chairman Reince Priebus who I don't know well may be a good guy but he comes off as very weak on TV spokesman."
I agree. But will we even have a country left in 2016? Walker is the truest of gutsy, quiet, calm, in your face man I've ever seen. I've met him several times - TRUEST of what I call a man's man and a gentleman. He knows what he wants and does NOT waver. He's exactly what we want from every candidate. I hear he will speak at the convention. We're so darn proud of him here our buttons pop. haa. The GOPe are totally losers. You know you're doing right when the likes of Bachman, Palin, Paul Ryan, Walker, etc. are pounced on by the lib liars. Then we put up with McCain denouncing Bachman. @#%&^& him and the horse he rode in on.
T.E.A. Party types come in many shapes and forms. We have been successful slowly getting in at the grass roots for conservatives. Yes. Republican is nearing a dirty word here at my house, too.
Obama has already proven that he doesn't need any 'stinkin Congress' to get things done his way. Sure as the sun rises in the east, he won't need any 'stinkin' election come 2016. And he won't even violate the 22nd Amendment, not that it will matter by then.
Ann Coulter pimped Romney on us and she's having an epiphany?
Too little, too late!
I'll never listen to her again as long I'm alive.
Jim Rob was right and Ann Coulter needs to banned from Free Republic. She's demonstrated she's no conservative.
That she could support a fraud and a flipper-flopper like Mitt Happens says a great deal more about her than it does about him.
The time to have stopped him cold was before the primaries. And now Obama will beat him in November!
I wonder if Coulter secretly works for the Obama White House!
What will be left in 2016 or 2018 or 2020 if Romney wins?
We were told the terrorists would kills us all if GWB didnt win in 2004, So he won and setup Democrats for big wins in 2006 and 2008.
In 2008 we were told there would be no country left if McCain didn't win, but that didn't get him elected.
We were told there would be no country left if Boehner didnt take the house from Pelosi 2010. He did and it made it harder to beat Obama this year.
Then last year a number of freepers told me that we would have no country left if the House paased a bill extending any more national debt. Then they did.
Now I am told.....
You get the idea
Actually I put Walker well ahead of all of them. He actually accomplished something. I am tired of excuses and I am sick of the Republican conservative establishment (and I mean Rush types too) making cult heroes out of those who just get criticized by Democrats.
I am talking specifically about cult hero Paul Ryan, Watch what he says and watch what he does and they are two different things.
Conservative cult heroes get that status for being criticized by Democrats for their talk, not any actions. Heroes like Walker act and get results and get REAL attacks for it.
I have had it with the BS and I am not buying it anymore.
Disclaimer: Opinions posted on Free Republic are those of the individual posters and do not necessarily represent the opinion of Free Republic or its management. All materials posted herein are protected by copyright law and the exemption for fair use of copyrighted works.


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welcome to Christmas in the Smokies! Bluegrass Festival 2016
Lorraine Jordan has promoted festivals all over North Carolina – cities such as Raleigh, Burlington, Louisburg, and Cherokee – just to name a few. She finally found a place she can call home for her festival, Pigeon Forge, Tennessee. Lorraine, bands, and fans absolutely love the atmosphere in Pigeon Forge. Every year hundreds of fans pour into the Smoky Mountain Convention Center to come to the Christmas In The Smokies Bluegrass Festival. While the bluegrass festival is enough fun for anyone, there is so much more to offer in Pigeon Forge! The festival is held in the heart of Pigeon Forge on Parkway. The whole city is decorated for Christmas and sparkles everywhere you go at night. There is lots of shopping, food, and fun in Pigeon Forge. Come join us this year at the festival!
You may purchase your tickets at the door at the Ramada Inn Convention Center, Pigeon Forge TN starting Tuesday December 8th from 2-5 PM and Wednesday December 9th starting 2 PM -throughout the festival.


text:
Published: Saturday, March 23, 2013 at 11:59 a.m.
Last Modified: Saturday, March 23, 2013 at 11:59 a.m.
■ A note about the Detroit Tigers' next game on page C1 on Friday incorrectly said their game against the Washington Nationals would be in Lakeland. The game was played in Viera. We apologize for any inconvenience this caused.
■ A high school track and field story on page C1 on Friday incorrectly referred to Kathleen sprinter Di'Kerria Wilson as Di'Kerria Johnson.
■ A story about the ownership of a seawall on page B1 on Friday incorrectly referred to the Canal Commission chairman as Mark Kaylor. His name is Matt Kaylor. The article also incorrectly reported that Frank and Manny's Harborside restaurant was built on the shoreline of Lake Lulu. It was built on the shoreline of Lake Shipp.
Reader comments posted to this article may be published in our print edition. All rights reserved. This copyrighted material may not be re-published without permission. Links are encouraged.


text:
Laura Kishketon "Olemama" Walker, 98, of Shawnee, passed away Friday, Nov. 9, 2012, surrounded by her loved ones.
Services will be at 10 a.m., Monday, Nov. 12, at Resthaven Funeral Home Chapel with Jim Klump officiating. Burial will follow at Resthaven Memorial Park.
For more information please visit www.resthavenfh.com.
Location, ST | website.com


text:
Heya, I'm getting the "Wrong nonce. Action prohibitied." everytime I try to update role editor with the latest version of URE. This is effectively preventing me to do anything with the editor unless I remove the check from the code.
Also, the editor isn't refreshing at all, for example, when I try to select roles from the role dropdown, checkboxes aren't getting updated. I'm getting few JavaScript-errors from the editor page:
User agent: Mozilla/4.0 (compatible; MSIE 8.0; Windows NT 6.1; WOW64; Trident/4.0; SLCC2; .NET CLR 2.0.50727; .NET CLR 3.5.30729; .NET CLR 3.0.30729;
Media Center PC 6.0; InfoPath.3; .NET4.0C; .NET4.0E)
Timestamp: Fri, 17 May 2013 10:44:49 UTC
Message: Identifier needed
Line: 137
Character: 48
Code: 0
URL: ../wp-content/plugins/user-role-editor/js/ure-js.js?ver=3.5.1
Message: An object must given as value
Line: 247
Character: 1
Code: 0
URL: ../wp-admin/users.php?page=user-role-editor.php
I'm not using IE8 willingly (work etc. :) But anyhow, I'm guessing all these are related to the browser from the stone age since the actual editor isn't working right. I've tried to re-install URE with no result.