Digital Commons Network^™

Music Lessons, Cecilia-Rose Louise Bender

Dissertations, Theses, and Capstone Projects

music lessons is a digital chapbook that explores the relationships between James Baldwin’s writing and Beauford Delaney’s paintings through music. From Delaney’s “Composition 16” (1954-56) to Baldwin’s “The Uses of the Blues” (1964), their collaboration with the core elements of jazz music gives their work rhythm and melodic contour that any/body can vibe with. Absorbing the influences of artists Ella Fitzgerald, Miles Davis, Ray Charles, and putting them to paint and text, music lessons demonstrates how music not only transforms the ways we experience and move our bodies but also the ways that we perceive space, relationships, and time. What’s …

“The People Are Tired, And Just Want To Have Fun”: Mahraganat Music And The Struggle For Sonic Presence In Post-2013 Egypt, Mohammed Elfeky

Dissertations, Theses, and Capstone Projects

Building upon Asef Bayat’s notion of the “unintelligibility” of Egypt’s subaltern politics, this thesis investigates how mahraganat music is rendered “unintelligible/nonsense” by influential Egyptian cultural figures and is targeted for censorship. Mahraganat is a musical artform that arose from the lower-working classes neighborhoods in Egypt to become a dominant genre in the country. In 2020, the Egyptian Musicians Syndicate, headed by Hany Shakir, banned mahraganat artists from performing officially in Egypt. Before and after the ban, state media debated the genre's status; its detractors framed the music as nonsensical, “absurd”, “meaningless”, “vulgar”, and a “low-brow” dilution of Egyptian cultural production …

A Schema-Theoretic Approach To Hierarchy In Eighteenth-Century Tonality, Simon K. S. Prosser

Dissertations, Theses, and Capstone Projects

Prevalent modern-day theories of tonal hierarchy for eighteenth-century music, especially those influenced by the ideas of Heinrich Schenker, have been called into question by schema theorists such as Robert Gjerdingen and Vasili Byros, who argue from both cognitive and historical evidence that eighteenth-century tonal cognition was sequential or “windowed” rather than hierarchical. This dissertation seeks to recuperate the concept of tonal hierarchy in eighteenth-century music, drawing on research that reconstructs the implicit tonal theories of the partimento and thoroughbass traditions, as well as concepts of hierarchy from schema theory itself, to formulate a historically and cognitively grounded theory of tonal …

“Leisure With Decorum”: Gentlemen Making Music In The Georgian Era, Lidia A. Chang

Dissertations, Theses, and Capstone Projects

This project examines the musical activities of Georgian gentlemen with the goal of illustrating the ways that recreational music-making tested the boundaries of gender, class, and nationality. While the English nobility could respectably engage in music-making, socialize with professional musicians (subverting, or temporarily suspending otherwise rigid class boundaries), and openly extol the virtues of Continental culture without compromising their gentlemanliness, English gentlemen walked a much thinner line. In pursuit of these claims I will expand the scope of primary sources beyond conduct books and novels to include selections of unpublished, peripheral accounts of recreational music-making as found in letters, diaries, …

The Emotional Illusion Of Music: Contemporary Western Musical Aesthetics In Dialogue With Ancient Eastern Philosophy, Yin Zhang

Dissertations, Theses, and Capstone Projects

This project aims to examine whether music has an emotional nature. I use the ancient Chinese text Music Has No Grief or Joy to construct three arguments for the illusion view, according to which music has no emotional nature and the emotional appearances of music are illusory. These arguments highlight representational inconstancy, expressive incapability, and evocative underdetermination as three ways to problematize the idea that music has an emotional nature. I draw on the Confucian tradition to formulate three responses to the illusion view from representational reliability, expressive sincerity, and evocative appropriateness. These responses are shown to be inadequate. To …

Encounters: System For Creative Improvisation, Drake R. Andersen

Dissertations, Theses, and Capstone Projects

Encounters is an indeterminate musical composition or, more precisely, a flexible system for creative improvisation. Performers improvise and interact with one another through four possible games whose instructions are laid out in the performance materials. This version of Encounters includes parts for flute, clarinet in B-flat, violin, viola, cello, double bass, percussion and piano, reflecting the performing forces of the premiere. However, the instrumentation is open, and any of the parts can be adapted to other instruments contingent upon the range and transposition of the particular instrument. The duration is indeterminate.

In Her Own Hands: How Girls And Women Used The Piano To Chart Their Futures, Expand Women's Roles, And Shape Music In America, 1880–1920, Sarah F. Litvin

Dissertations, Theses, and Capstone Projects

American girls and women used the parlor piano to reshape their lives between 1880 and 1920, the years when the instrument reached the height of its commercial and cultural popularity. Newspapers, memoirs, biographies, women’s magazines, personal papers, and trade publications show that female pianists engaged in public-facing piano play and work in pursuit of artistic expression, economic gain, self-actualization, social mobility, and social change. These motivations drove many to use their piano skills to play beyond the parlor, by studying in conservatory, working as classical and popular music performers and composers, founding and teaching at schools, working as department store …

The Musical World Of Joseph Rumshinsky’S Mamele, D. A. Geller

Dissertations, Theses, and Capstone Projects

“The Musical World of Joseph Rumshinsky’s Mamele” consists of a set of three cases studies that demonstrate the enormous need and potential for further Yiddish theater music scholarship. There exists little Yiddish theater scholarship that addresses music in any meaningful way: scholars like David Lifson, Nahma Sandrow, and Joel Berkowitz tend to view Yiddish theater’s rich musical traditions as a footnote in the larger history of Yiddish theater’s dramatic development. Yet Yiddish theater music developed independently from Yiddish drama, and therefore needs to be studied from a primarily musical perspective. I connect scholarship across the fields of Jewish studies …

Resonant Texts: The Politics Of Nineteenth-Century African American Music And Print Culture, Paul Fess

Dissertations, Theses, and Capstone Projects

Resonant Texts: the Politics of Nineteenth-Century African American Music and Print Culture, investigates musical sound as a discursive tool African American writers and activists deployed to contest enslavement before the Civil War and claim citizenship after Emancipation. Traditionally, scholars have debated the degree to which nineteenth-century African American music constituted evidence of black culture and marked a persistent African orality that still abides within African American textual production. While these trends inform this project, my inquiry focuses on the ways that writers placed elements of musical sound—such as rhythm, melody, choral singing, and harmony—at the center of their …

Party On, Derrida!: A Queer, Deconstructionist Look At Wayne's World, Glam, And The Losers Of Rock And Roll, Michelle A. Arp

Dissertations, Theses, and Capstone Projects

What do you get when you mix a girl from Long Island, critical theory, a movie based on a Saturday Night Live sketch, David Bowie, and alternative rock of the early 2000s? A lot of losers, a lot of queerness, and plenty of room for deconstruction.

Part performance studies, part queer studies, and part memoir, this study is a cross-genre and experimental analysis of postmodern ideologies, rock and roll, and comedy. More specifically, I use Jacques Derrida’s notion of “the slash” (Of Grammatology, 1967) in relation to high and low culture via comedies, such that of Wayne’s World …

Spectacular Politics And Everyday Performance: Tracing Music From Ceauşescu’S Romania To Multicultural America, Benjamin Dumbauld

Dissertations, Theses, and Capstone Projects

Drawing from fieldwork conducted throughout the United States and Canada, this dissertation examines the continued performance of socialist-era music within the Romanian-American community. It addresses why a community largely made up of people who sought to leave the country during the authoritarian regime of Nicolae Ceauşescu continue to perform music tied to that period by tracing the historical performance and reception of multiple genres, ranging from traditional peasant music to folk rock. The dissertation begins by examining the nationalization of Romania’s music industry under the early socialist regime (1944-1965), and locates the difficulties Communist Party members confronted in delineating a …

Gustave Vogt's Musical Album Of Autographs: A Scholarly Edition, Kristin Leitterman

Dissertations, Theses, and Capstone Projects

Gustave Vogt (1781–1870) was the most famous oboist in Europe during the mid-nineteenth century. Throughout his career he played with the best orchestras in Paris, toured Europe widely, and also taught the next generation of oboists at the Paris Conservatoire from 1802–1853. Although many of the details of his life have been lost to history, he did leave behind a record of the esteem in which he was held. This is preserved physically in the form of an album of short musical compositions honoring Vogt, collected between 1831 and 1859. The album has never been published, and is in the …

Snapshots, Cynthia L. Wong

Dissertations, Theses, and Capstone Projects

For all instruments:

Linger slightly on the first note of a glissando in order to make the pitch distinguishable.

For the piano / celesta:

The piano / celesta is set up in an L-shape so that the celesta is in the front and the piano is to the left of the player. The right side of the piano keyboard can touch the left side of the celesta at or around the celesta's Ab below middle C (the lowest celesta note written in this piece). The L.H. invariably plays the piano, though the R.H. switches between the piano and celesta.

Duration: …

The Fourth Movement Of György Ligeti's Piano Concerto: Investigating The Musical-Mathematical Connection, Cynthia L. Wong

Dissertations, Theses, and Capstone Projects

This interdisciplinary study explores musical-mathematical analogies in the fourth movement of Ligeti’s Piano Concerto. Its aim is to connect musical analysis with the piece’s mathematical inspiration. For this purpose, the dissertation is divided into two sections. Part I (Chapters 1-2) provides musical and mathematical context, including an explanation of ideas related to Ligeti’s mathematical inspiration. Part II (Chapters 3-5) delves into an analysis of the rhythm, form, melody / motive, and harmony. Appendix A is a reduced score of the entire movement, labeled according to my analysis.

Performing Blackness In A Mulatto Society: Negotiating Racial Identity Through Music In The Dominican Republic, Angelina Maria Tallaj-García

Dissertations, Theses, and Capstone Projects

My dissertation analyzes Dominican racial and ethnic identity through an examination of music and music cultures. Previous studies of Dominican identity have focused primarily on the racialized invention of the Dominican nation as white, or non-black, often centering on the building of Dominican identity in (sometimes violent) opposition to the Haitian nation and to Haitian racial identity. I argue that although Dominicans have not developed an explicit verbal discourse of black affirmation, blackness (albeit a contextually contingent articulation) is embedded in popular conceptions of dominicanidad ("Dominicanness") and is enacted through music. My dissertation explores ways in which popular notions of …

The Music And Multiple Identities Of Kurdish Alevis From Turkey In Germany, Ozan Aksoy

Dissertations, Theses, and Capstone Projects

This dissertation investigates the experiences of Kurdish Alevis, currently living in Germany, who trace their background to locations within the boundaries of the Republic of Turkey. I argue that music has been a particularly important mode through which Kurdish Alevis in Germany have articulated collective histories and have fashioned narratives of belonging and multiple and sometimes contradictory identities. The subjects of my research are immigrants and refugees who are ethnically Kurdish and whose religion is Alevi, an Anatolian religion whose relations to both Sunni and Shi'a Islam are historically controversial. They speak Turkish along with Kurdish, in most cases are …

Toward A General Theory Of Polymeter: Polymetric Potential And Realization In Elliott Carter's Solo And Chamber Instrumental Works After 1980, Ève Poudrier

Dissertations, Theses, and Capstone Projects

This dissertation proposes a conceptual framework and tools for the analysis of polymeter in contemporary musical practices applied to the short instrumental works of Elliott Carter, where multiple temporalities have been identified as an essential aesthetic component. Three works are discussed in more detail: Changes for guitar (1983), Esprit rude/Esprit doux I for flute and clarinet (1985), and 90+ for piano (1994). The composer's use of metrical modulations and structural polyrhythms is re-evaluated in the context of a theory of polymeter. Structural polyrhythms are represented by means of proximity charts, and Carter's compositional strategies are explored, including rhetorical use of …