The Effects of World War II on Significant Composers of Music for the Flute

World War II was one of the most devastating events in history, and it profoundly affected European culture and art. I examined the period around World War II, and the effects it had on the lives of composers and their flute music. I investigated who wrote for flute during the war, what they were composing, and what effects, if any, the war had on them and their music. After examining the biographies of nine composers and studying eleven of their works, I found that in some cases the war affected their flute music, but in others the music shows no apparent influences of the war. Interestingly, most of the flute music written by composers affected by World War II was happy and joyful rather than dark and dismal. I performed three recitals during my research. I studied nine composers and performed some of their most important works for flute. Recital One is “Sonatas for Flute.” Recital Two is “Virtuosic Flute Music,” and my final recital is “Emotional Overview of Flute Music During World War II.” I discovered that many of these composers had to change their lives in drastic ways due to the war, but most them wrote music that had did not reflect the horror or destruction of war—perhaps music represented an escape from their horrible circumstances, or an effort to recall better times. I also found that a few of these composers used music to mock the Nazi regime. They used music as an emotional outlet, which could have been dangerous for them during that time. Other composers used music to share their own personal experiences while fighting in the war.

"Let Us Sing as We Go": The Role of Music in the United States Suffrage Movement

Music played a prominent role in the United States women’s suffrage movement (1848–1920). Suffragists left behind hundreds of compositions supporting their cause and historical accounts indicate that musical performances were common at suffrage events. With only a few exceptions, scholars have disregarded the music used in this movement, and have underemphasized its significance. This study examines the use of music in the suffrage movement from three perspectives: music with lyrics, titles, and images that espouse women’s enfranchisement; music performed at national suffrage conventions held by the National American Woman Suffrage Association; and music accompanying suffrage parades. Though the music used varies in each case, it is clear that music played an important role in unifying suffragists and underscoring the ideals and goals of the movement.

The Ethics of Eating Animals in Tudor and Stuart Theaters

A pressing challenge for the study of animal ethics in early modern literature is the very breadth of the category “animal,” which occludes the distinct ecological and economic roles of different species. Understanding the significance of deer to a hunter as distinct from the meaning of swine for a London pork vendor requires a historical investigation into humans’ ecological and cultural relationships with individual animals. For the constituents of England’s agricultural networks – shepherds, butchers, fishwives, eaters at tables high and low – animals matter differently. While recent scholarship on food and animal ethics often emphasizes ecological reciprocation, I insist that this mutualism is always out of balance, both across and within species lines. Focusing on drama by William Shakespeare, Ben Jonson, and the anonymous authors of late medieval biblical plays, my research investigates how sixteenth-century theaters use food animals to mediate and negotiate the complexities of a changing meat economy. On the English stage, playwrights use food animals to impress the ethico-political implications of land enclosure, forest emparkment, the search for new fisheries, and air and water pollution from urban slaughterhouses and markets. Concurrent developments in animal husbandry and theatrical production in the period thus led to new ideas about emplacement, embodiment, and the ethics of interspecies interdependence.

An Ethics of Refusal: Sympathy, Intimacy and Fidelity in British Romanticism

Despite a current emphasis in Romantic scholarship on intersubjectivity, this study suggests that we still have much to learn about how theories of intersubjectivity operate in Romantic-era writings that focus on the family—the most common vehicle for exploring relationships during the period. By investigating how sympathy, intimacy, and fidelity are treated in the works of Mary Hays, Felicia Hemans, and Mary Shelley, this dissertation discovers the presence of an “ethics of refusal” within women’s Romantic-era texts. Texts that promote an ethics of refusal, I argue, almost advocate for a particular mode of relating within a given model of the family as the key to more equitable social relations, but, then, they ultimately refuse to support any particular model. Although drawn towards models of relating that, at first, seem to offer explicit pathways towards a more ethical society, texts that promote an ethics of refusal ultimately reject any program of reform. Such rejection is not unaccountable, but stems from anxieties about appearing to dictate what is best for others when others are, in reality, other than the self. In this dissertation, I draw from feminist literary critiques that focus on ethics; genre-focused literary critiques; and studies of sympathy, intimacy, and fidelity that investigate modes of relating within the context of literary works and reader-textual relations. Psychoanalytic theory also plays an important role within my third chapter on Mary Shelley’s novel Falkner. Scholarship that investigates the dialectical nature of Romantic-era literature informs my entire project. Through theorizing and studying an ethics of refusal, we can more fully understand how intersubjective modes functioned in Romantic literature and discover a Romanticism uniquely committed to attempting to turn dialectical reasoning into a social practice.

On the Incorporation of Psychologically-Driven 'Music' Preference Models for Music Recommendation

There are hundreds of millions of songs available to the public, necessitating the use of music recommendation systems to discover new music. Currently, such systems account for only the quantitative musical elements of songs, failing to consider aspects of human perception of music and alienating the listener’s individual preferences from recommendations. Our research investigated the relationships between perceptual elements of music, represented by the MUSIC model, with computational musical features generated through The Echo Nest, to determine how a psychological representation of music preference can be incorporated into recommendation systems to embody an individual’s music preferences. Our resultant model facilitates computation of MUSIC factors using The Echo Nest features, and can potentially be integrated into recommendation systems for improved performance.

A VOICE OF THEIR OWN: MUSIC AND SOCIAL COHESION IN TURKISH ALEVI LIFE

This dissertation examines the role that music has played in the expression of identity and revitalization of culture of the Alevis in Turkey, since the start of their sociocultural revival movement in the late 1980s. Music is central to Alevi claims of ethnic and religious difference—singing and playing the bağlama (Turkish folk lute) constitutes an expressive practice in worship and everyday life. Based on research conducted from 2012 to 2014, I investigate and present Alevi music through the lens of discourses on the construction of identity as a social and musical process. Alevi musicians perform a revived repertoire of the ritual music and folk songs of Anatolian bards and dervish-lodge poets that developed over several centuries. Contemporary media and performance contexts have blurred former distinctions between sacred and secular, yet have provided new avenues to build community in an urban setting. I compare music performances in the worship services of urban and small-town areas, and other community events such as devotional meetings, concerts, clubs, and broadcast and social media to illustrate the ways that participation—both performing and listening—reinforces identity and solidarity. I also examine the influence of these different contexts on performers’ musical choices, and the power of music to evoke a range of responses and emotional feelings in the participants. Through my investigation I argue that the Alevi music repertoire is not only a cultural practice but also a symbol of power and collective action in their struggle for human rights and self-determination. As Alevis have faced a redefined Turkish nationalism that incorporates Sunni Muslim piety, this music has gained even greater potency in their resistance to misrecognition as a folkloric, rather than a living, tradition.

GOSPEL SINGING IN THE VALLEY: AN INVESTIGATION INTO THE HYMNODY AND CHORAL SINGING OF THE LISU ON THE CHINA-BURMA/MYANMAR BORDER

This dissertation is an ethnomusicological study of contemporary musical practices of the Christian Lisu in Nujiang Prefecture in northwest Yunnan on the China-Myanmar border. Among all the changes that the Nujiang Lisu have experienced since the twentieth century, the spread of Protestant Christianity throughout Nujiang’s mountainous villages has existed for the longest time and had one of the greatest effects. Combining historical investigation and ethnographic description, this study uses the lens of music to examine the impact of this social change on the Lisu living in this impoverished frontier region. The Lisu characteristics have never been vital in the music written by the Christian Lisu in Nujiang. Compared with the practices described in other ethnomusicological writings on Christian music around the world that I have read, this absence of incorporation of indigenous musical elements is unusual. There are probably many other cases similar to that of the Lisu, but few ethnomusicologists have paid attention to them. I aim to elucidate this particular scenario of Lisu Christian music in relation to three social and cultural forces: the missionary legacy of conventions; the government’s identification of the Lisu as a minority nationality and its national policies toward them since the 1950s; and the transnational religious exchange between the Christian Lisu in China and Myanmar since the late 1980s. My examination focuses on two genres which the Lisu use to express their Christian beliefs today: ddoqmuq mutgguat, derived from American northern urban gospel songs, the basis of the Lisu choral singing; and mutgguat ssat, influenced by the Christian pop of the Burmese Lisu, with instrumental accompaniment and daibbit dance and preferred by the young people. Besides studying these two genres in the religious context, I also juxtapose them with other musical traditions in the overall Nujiang music soundscape and look at their role in local social interactions such as those between sacred and secular, and majority and minority. This dissertation demonstrates that the collective performances of shared repertoires have not only created a sense of affinity for the Nujiang Christian Lisu but also have reinforced the formation of Lisu transnational religious networks.

Gospel Music Training, Performance Practice and Its Impact on Leadership Development and Performed Nationalism in a Collegiate Military Choir

Since America’s beginnings as a British colony, its musical standards have adhered to those of Western Europe. For this reason, musical forms native to America like Black folk spirituals and Gospel music have historically been marginalized in favor of music in the Western classical tradition. Today, a bias towards music of the Western classical tradition exists in those American universities that grant music degrees. While this bias is understandable, inclusion of Gospel music history and performance practice would result in a more complete understanding of American music and its impact on American nationalism. The United States Naval Academy is one of the few American universities that have consistently elevated the performance of Gospel music to the level of Western Classical music within its institutional culture. The motivations for writing this document are to provide a brief history of Gospel music in the United States and of choral music at the Naval Academy. These historical accounts serve as lenses though which the intersection of Gospel music performance practice and leadership development at the United States Naval Academy may be observed. During the last two decades of the twentieth century, Gospel music intersected American military culture at the U.S. Naval Academy. After a few student-led attempts in the 1970s, a Gospel Choir was formed in 1986 but by 1990, it had become an official part of the Music Department. Ultimately, it received institutional support and today, the Gospel Choir is one of three touring choirs authorized to represent the Academy in an official capacity. This document discusses the promotion of Gospel music by the Naval Academy in its efforts to diversify Academy culture and ultimately, Naval and Marine Corps leadership. Finally, this dissertation examines the addition of performed cultural expression (Gospel music) in light of a shift in American nationalism and discusses its impact on Naval Academy culture.

EXTENDED-RANGE OBOE: THE IMPACT OF TECHNICAL AND MUSICAL ADVANCEMENTS IN 19th-CENTURY AND CONTEMPORARY OBOE REPERTOIRE

I believe that the purpose of expanding the oboe’s repertoire is to not only create original compositions, but to also utilize technical advancements in order to achieve access to a wider range of repertoire through the art of transcription. This paper examines the various paths to achieving such expansion, including utilizing unique performer skills, use of auxiliary instruments, advancements in the instrument itself and musical developments that challenge the perception of the oboe’s solo role in a particular era of music history. The oboe need not be relegated to the confines of a compositionally limited stereotype. The goal of my “extended-range” dissertation project is to expand the “range” of programmable repertoire, with a focus on music in both the 19th and 21st-centuries, while simultaneously expanding the technical capabilities and expectations of the modern oboe—in part by exploiting the new possibilities of the recently invented low-A extension key.

“FOR THE UNION MAKES US STRONG”: PROTEST MUSIC IN THE 1989−90 PITTSTON STRIKE

Music making was a common practice during the 1989−90 strike against the Pittston Coal Company, an action led by the United Mine Workers of America. The types of music made varied greatly based on the contexts in which musicians and protesters were participating. In this thesis, I discuss how performers and audiences engaged with the music of the Pittston strike, with a focus on how different participatory and presentational contexts included music with similar or the same lyrics to achieve different goals. I argue that the musicians’ understanding of the people around them as potential participants, audiences, or inherent audiences shifted their use of music as they worked to use music strategically and effectively for the strike. The musical methods and considerations of the Pittston strike protesters have had a lasting impact on more recent protest movements.