The Emergence of Spanish Impressionism and its Interaction with French Impressionism in Music at the Turn of the Twentieth Century: selections from the solo and collaborative piano repertoire

French Impressionism is a term which is often used in discussing music originating in France towards the end of the nineteenth century. The term Spanish Impressionism could also be used when discussing Spanish music written by the Spanish composers who studied and worked in Paris at the same time as their French counterparts. After all, Spanish music written during this time exhibits many of the same characteristics and aesthetics as French music of the same era. This dissertation will focus on the French and Spanish composers writing during that exciting time. Musical impressionism emphasizes harmonic effects and rhythmic fluidity in the pursuit of evocative moods, sound pictures of nature or places over the formalism of structure and thematic concerns. The music of this time is highly virtuosic as well as musically demanding, since many of the composers were brilliant pianists. My three dissertation recitals concentrated on works which exhibited the many facets of impressionism as well as the technical and musical challenges. The repertoire included selections by Spanish composers Manuel de Falla, Isaac Albéniz, Enrique Granados, Joaquín Turina, and Joaquín Rodrigo and French composers Claude Debussy and Maurice Ravel. The recitals were on April 30, 2013, February 23, 2014 and October 11, 2015. They included solo piano works by Granados and Albéniz, vocal works by Debussy, Ravel, de Falla, Turina and Rodrigo, piano trios by Granados and Turina, instrumental duos by Debussy, Ravel and de Falla, and a two-piano work of Debussy transcribed by Ravel. All three recitals were held in Gildenhorn Recital Hall at the University of Maryland and copies of this dissertation and recordings of each recital may be found through the Digital Repository at the University of Maryland (DRUM).

Can Families Resist Managerial and Financial Revolutions? Swiss Family Firms in the Twentieth Century

The aim of this contribution is to highlight the long-term evolution of family capitalism in Switzerland during the twentieth century. We focus on 22 large companies of the machine, electrotechnical and metallurgy (MEM) sector whose boards of directors and general managers have been identified in five benchmark years across the twentieth century, which allows us to distinguish between family-owned and family-controlled firms. Our results show that family firms prevailed until the 1980s and thus contradict the dominance of 'managerial capitalism'. Although we observe a decline of family capitalism during the last decade of the century, the significant remaining presence of family firms in 2000 allows us to relativise the advent of investor capitalism.

Interlocking directorates in Spanish banking in the twentieth century

Spanish banking historiography asserts that the largest banks performed in the twentieth century as though they constituted a monopoly. One of their main coordination schemes would have been a network of interlocking bank directors that would include most of the financial firms. Evidence available for the 1920s and 1960s seems to confirm the veracity of this hypothesis. In this paper, more systematic evidence is presented to cover the whole twentieth century with the aim of checking whether these networks persisted over the entire period or they were by-products of temporary situations. Our results show that no general network remained for more than a decade. Therefore, it should be ruled out that interlocking directorates worked as a coordination device of an alleged banking cartel.

Top income shares in Portugal over the twentieth century

[cat] L’objectiu d’aquest article és presentar nova evidència estadística sobre l’evolució de les desigualtats econòmiques a Portugal a llarg termini. L’explotació de les fonts fiscals portugueses ha permès l’estimació annual de les top income shares des de 1936. La construcció d’aquesta nova sèrie s’ha fet seguint la metodologia emprada per Piketty (2001). Aquesta nova sèrie revela una caiguda de les top income shares durant la Segona Guerra Mundial, seguida d’una recuperació fins a principis dels anys cinquanta. Des de mitjans dels cinquanta fins a principis dels anys vuitanta hi ha una caiguda dràstica de les top income shares. Per acabar, durant els anys noranta les top income shares tornen a augmentar. Aquesta pauta és molt similar a la viscuda en altres països: la reducció de les top income shares durant l’època daurada és compartida per tots els països estudiats i el seu increment als anys noranta sembla que alinea Portugal amb la pauta seguida pels països Anglosaxons.

Top income shares in Portugal over the twentieth century

[cat] L’objectiu d’aquest article és presentar nova evidència estadística sobre l’evolució de les desigualtats econòmiques a Portugal a llarg termini. L’explotació de les fonts fiscals portugueses ha permès l’estimació annual de les top income shares des de 1936. La construcció d’aquesta nova sèrie s’ha fet seguint la metodologia emprada per Piketty (2001). Aquesta nova sèrie revela una caiguda de les top income shares durant la Segona Guerra Mundial, seguida d’una recuperació fins a principis dels anys cinquanta. Des de mitjans dels cinquanta fins a principis dels anys vuitanta hi ha una caiguda dràstica de les top income shares. Per acabar, durant els anys noranta les top income shares tornen a augmentar. Aquesta pauta és molt similar a la viscuda en altres països: la reducció de les top income shares durant l’època daurada és compartida per tots els països estudiats i el seu increment als anys noranta sembla que alinea Portugal amb la pauta seguida pels països Anglosaxons.

Emma Hamilton, a Model of Agency in Late Eighteenth-Century Europe

Emma Hamilton (1765-1815) eut un impact considérable à un moment charnière de l’histoire et de l’art européens. Faisant preuve d’une énorme résilience, elle trouva un moyen efficace d’affirmer son agentivité et fut une source d’inspiration puissante pour des générations de femmes et d’artistes dans leur propre quête d’expression et de réalisation de soi. Cette thèse démontre qu’Emma tira sa puissance particulière de sa capacité à négocier des identités différentes et parfois même contradictoires – objet et sujet ; modèle et portraiturée ; artiste, muse et œuvre d’art ; épouse, maîtresse et prostituée ; roturière et aristocrate ; mondaine et ambassadrice : et interprète d’une myriade de caractères historiques, bibliques, littéraires et mythologiques, tant masculins que féminins. Épouse de l’ambassadeur anglais à Naples, favorite de la reine de Naples et amante de l’amiral Horatio Nelson, elle fut un agent sur la scène politique pendant l’époque révolutionnaire et napoléonienne. Dans son ascension sociale vertigineuse qui la mena de la plus abjecte misère aux plus hauts échelons de l’aristocratie anglaise, elle sut s’adapter, s’ajuster et se réinventer. Elle reçut et divertit d’innombrables écrivains, artistes, scientifiques, nobles, diplomates et membres de la royauté. Elle participa au développement et à la dissémination du néoclassicisme au moment même de son efflorescence. Elle créa ses Attitudes, une performance répondant au goût de son époque pour le classicisme, qui fut admirée et imitée à travers l’Europe et qui inspira des générations d’interprètes féminines. Elle apprit à danser la tarentelle et l’introduisit dans les salons aristocratiques. Elle influença un réseau de femmes s’étendant de Paris à Saint-Pétersbourg et incluant Élisabeth Vigée-Le Brun, Germaine de Staël et Juliette Récamier. Modèle hors pair, elle inspira plusieurs artistes pour la production d’œuvres qu’ils reconnurent comme parmi leurs meilleures. Elle fut représentée par les plus grands artistes de son temps, dont Angelica Kauffman, Benjamin West, Élisabeth Vigée-Le Brun, George Romney, James Gillray, Joseph Nollekens, Joshua Reynolds, Thomas Lawrence et Thomas Rowlandson. Elle bouscula, de façon répétée, les limites et mœurs sociales. Néanmoins, Emma ne tentait pas de présenter une identité cohérente, unifiée, polie. Au contraire, elle était un kaléidoscope de multiples « sois » qu’elle gardait actifs et en dialogue les uns avec les autres, réarrangeant continuellement ses facettes afin de pouvoir simultanément s’exprimer pleinement et présenter aux autres ce qu’ils voulaient voir.

IMMIGRATION, THE AMERICAN WEST, AND THE TWENTIETH CENTURY: GERMAN FROM RUSSIA, OMAHA INDIAN, AND VIETNAMESE-URBAN VILLAGERS IN LINCOLN, NEBRASKA

The North American West is a culturally and geographically diverse region that has long been a beacon for successive waves of human immigration and migration. A case in point, the population of Lincoln, Nebraska -- a capital city on the eastern cusp of the Great Plains -- was augmented during the twentieth century by significant influxes of Germans from Russia, Omaha Indians, and Vietnamese. Arriving in clusters beginning in 1876, 1941, and 1975 respectively, these newcomers were generally set in motion by dismal economic, social, or political situations in their sending nations. Seeking better lives, they entered a mainstream milieu dominated by native-born Americans -- most part of a lateral migration from Iowa, Illinois, and Pennsylvania -- who only established their local community in 1867. While this mainstream welcomed their labor, it often eschewed the behaviors and cultural practices ethnic peoples brought with them. Aware but not overly concerned about these prejudices, all three groups constructed or organized distinct urban villages. The physical forms of these enclaves ranged from homogeneous neighborhoods to tight assemblies of relatives, but each suited a shared preference for living among kinspeople. These urban villages also served as stable anchors for unique peoples who were intent on maintaining aspects of their imported cultural identities. Never willing to assimilate to mainstream norms, urban villagers began adapting to their new milieus. While ethnic identity constructions in Lincoln proved remarkably enduring, they were also amazingly flexible. In fact, each subject group constantly negotiated their identities in response to interactions among particular, cosmopolitan, and transnational forces. Particularism refers largely to the beliefs, behaviors, and organizational patterns urban villagers imported from their old milieus. Cosmopolitan influences emanated from outside the ethnic groups and were dictated largely but not exclusively by the mainstream. Transnationalism is best defined as persistent, intense contact across international boundaries. These influences were important as the particularism of dispersed peoples was often reinforced by contact with sending cultures. Adviser: John. R. Wunder