Musicology Commons^™

Conga Santiaguera: A Century Of Innovation And Competition, Nick Herman

Dissertations, Theses, and Capstone Projects

Santiago de Cuba is home to the island’s biggest, oldest, and most famous carnival.  Any local resident will confirm that “sin conga no hay carnaval (without conga there is no carnival).” In Santiago, conga refers to a vibrant street procession, the music that drives it, and the ensemble that makes the music.  Conga Santiaguera: A Century of Innovation and Competition presents a musical history of the conga from roughly 1910 to 2010.  This project, https://cuny.manifoldapp.org/projects/conga employs an eBook, musical analysis, oral histories, and audiovisual media to show how the conga has been constantly reinvigorated by innovation, competition, and Afro-Diasporic …

Black On Black Sounds: Music, Migration, And The ‘Nu-K Blak’ Identity Formation In Early 21st Century Britain, Monique Charles

Sociology Faculty Articles and Research

Examining literature on the under researched areas of Afrobeats and African migration to Britain, this article identifies significant internal shifts in the ethnic diversity of Black Britain —i.e., from Caribbean (predominantly Jamaican) to West African (Nigerian, Ghanaian) (ONS 2011). Interpreting literature and applying to the British context, it highlights how Afrobeats reshapes Blackness in Britain, particularly the incorporation of desirable Africanness through Afrobeats music. It argues that demographic and musical shifts in Britain result in a renegotiation of the Caribbean and US dominant 20th century Black Britishness — ‘UK Blak’ identity (as identified by Bradley 2013, Gilroy 1993 & Palmer …

The Grateful Dead: An Imperfect Symbol Of The Hippie Movement, Vanessa Sharfe

Masters Theses & Specialist Projects

The emergence of the band, the Grateful Dead, took San Francisco by storm in the 1960s as the hippie counterculture movement increased in popularity in the United States. The Grateful Dead’s career spanned thirty years from 1965 to the passing of their lead singer, Jerry Garcia in 1995. My work will focus on the political and social context of the 1960s and 1970s because the time period was shaped by major political issues and events that influenced the ideologies of the various protest movements such the Free Speech Movement, the Civil Rights Movement, and controversial topics such as the Hell’s …

El Nacimiento Del Rock En Español: ¿Cómo Fue Que Este Género De Música Latina Tuvo Éxito?, Alejandro V. Martinez

World Languages and Cultures

This paper titled El nacimiento del rock en español: ¿Cómo fue que este género de música latina tuvo éxito? will cover information regarding the Spanish rock movement. This essay compares what is written in this paper to that of prior scholars to show that although they do bring valid points, there is a lot more than many of us realize. There are various articles and reports written about the movement, but many do not explain the creation of the movement, let alone its survival in the music industry as a new genre that some had never heard of or had …

Dimitris Kafyris: The Legacy And Pedagogy Of A Trailblazing Greek Trumpeter, Stephen M. Wadsack

Theses and Dissertations--Music

Dimitris Kafyris (Δημήτρης Κάφυρης, 1932–2020) is regarded as one of the most talented trumpeters of the twentieth century, within his native homeland of Greece. From the early 1950s into the mid-1980s, Kafyris performed with the Athens State Orchestra (Greece’s premier orchestral ensemble), the Greek Radio Symphony, and the National Opera. During this period, Kafyris also maintained a teaching position at the Hellenikon Conservatory (Ελληνικόν Ωδείον) in Athens. Following what many would already consider to be a robust career, Kafyris returned home to the Greek island of Corfu, where he assumed the roles of Bandmaster and Director of the Corfu Philharmonic …

Polluted Soundscapes And Contrepoison In Sixteenth-Century France: The Sonic Warfare Leading To The First War Of Religion, John Romey

Yale Journal of Music & Religion

In the decades leading up to and during the first years of the Wars of Religion, Huguenots and Catholics waged audible battles over sonic territories using songs as spiritual weapons. Huguenots memorized and communally sang metrical psalms in the vernacular as sonic markers of the Reformed faith. Catholics interpreted these same sounds as pollution in need of eradication. Artus Desiré, for example, responded by producing polemical contrepoison, musical antidotes created by composing new countertexts to Marot’s Psalm tunes to “cleanse” them of their perceived heresy. While scholars have long recognized both the destructive nature of iconoclastic attacks on religious …

Dong Qing Fang’S Musical Depiction Of Lin Chong: An Analysis Of Chinese Traditional Music Elements In His Cello Composition Of 2009, Congcong Bi

Doctoral Projects

Dong Qing Fang (b. 1981) is a prolific composer of cello music. His contribution includes twenty compositions, many of which have been performed around the world.[1] While Fang is the most famous composer in China as well as a leading figure of recent music, his compositions have not been recognized world-wide. This project focuses on his representative cello composition Lin Chong (2009). Lin Chong is a significant character in Chinese literature, known for his role in the classic novel, Water Margin (1524). Fang's musical portrayal of Lin Chong's life incorporates elements of Chinese traditional music.

The methodology for this …

(Special Section) The Hymn As Protest Song In England And Its Empire, 1819–1919, Oskar Cox Jensen

Yale Journal of Music & Religion

Hymns played a role in envoicing the politics of protest in England long before their integration in the established Church – and do so to this day. Yet it was nineteenth-century radical movements that embraced the hymn as in many ways the ideal musical form. From the bloody field of Peterloo to the secularising South Place Society, from the mass meetings of Chartists to the top-down productions of the Fabian socialists, the century resounded with this increasingly familiar music.

Many writers laid claim to the rhetoric of the hymn to advance causes from abolitionism to solidarity with Poles exiled to …

A Line In The Sand: The Acceptance Of Changes To Folk Traditions Observed In The Activities Of Folksong Collector, Creative Participant, Performer, And Festival Organizer Bascom Lamar Lunsford (1882-1973), Zachary R. Ray

West Chester University Master’s Theses

Bascom Lamar Lunsford (1882-1973) was a folksong collector, performer, recording artist, festival organizer. Lunsford was at once a mountaineer (a member of the Appalachian culture he collected from) and a college educated outsider. This duality complicates analysis of his views and activities, which exist along a continuum from efforts at near-exactness (preserving folksong repertory and performance practices as exactly as possible) to creative participation (actively making changes to folksong style or repertoire). Lunsford’s views often contradicted other folksong collectors, American and European, during the early 20th century. This includes his apparent assertion that folksong is a living tradition – it …

“Learning Is Doing:” A Scholar’S Impact On The Arts, Anthony R. Deldonna

Jesuit Higher Education: A Journal

No abstract provided.

The Feminine Harp As Feminist Tool: Early Professional Footing For Women In Mid-Twentieth-Century America, Chelsea Lane

Dissertations, Theses, and Capstone Projects

In 1930s North America, women—for the first time—were accorded permanent principal positions in significant American orchestras. Edna Phillips, Alice Chalifoux, and Sylvia Meyer, all students of the legendary harp pedagogue Carlos Salzedo, have been celebrated as pioneers for the prestigious employment they obtained in the Philadelphia Orchestra, Cleveland Orchestra, and National Symphony Orchestra, respectively, between 1930 and 1933. Despite the impressiveness of these accomplishments, however, the narrative of their “firstness” is not wholly accurate. In actuality, female harpists have occupied orchestral posts as acting principals, substitutes, and second harpists since the very inception of orchestras. The cause for their early …

Homage To Eleanora: A Musical Journey Through The Billie Holiday Songbook, Keith A. Dames

Dissertations, Theses, and Capstone Projects

Billie Holiday was a singer, songwriter, vocalist, bandleader and composer in the fields of music, black culture and more specifically the genre of jazz. The primary focus of this study is Billie Holiday’s discography, music, and compositions as treated in relation to the black culture of production. This study will explore a secondary content analysis of Billie Holiday’s music, musicianship, musicality and compositional skills within the American jazz mainstream, broader jazz audience and world at large. This project will take an analytical look at the structure and form of the compositions of Billie Holiday. Billie Holiday is credited with composing …

Making Russian Music: Uncovering Pyotr Tchaikovsky’S Musical Ideas Through His Letters, Sydney Morrison

Departmental Honors & Graduate Capstone Projects

Pyotr Ilyich Tchaikovsky is arguably Russia's most famous composer. Although his music is widespread, his immediate impact on Russian music in the 19th century is often overlooked or unknown by audiences. This paper examines what compositional and musical ideas Tchaikovsky used in his pieces and how he expressed them through his letters. Because of the relationships he had with his correspondents, Tchaikovsky had the means to develop and learn his unique compositional style. The most significant correspondents were his patroness Nadezhda von Meck, his brother Modest, and fellow composer Mily Balakirev. They enabled him to express and develop his musical …

“It’S War That's Cruel”: The Evolution Of Wartime Representation And ‘The Other’ In The American Musical, Leana Sottile

War, Diplomacy, and Society (MA) Theses

Musical theater has historically been a venue for Americans to come to terms with our past and present on both a national and an individual level as it stages and restages war mythology on the Broadway Stage. As the nation has won, lost, and abandoned foreign conflicts, the connotation, remembrance, and commemoration of war in American memory has shifted from romanticizing former conflicts to renegotiating their memory. Thus, this project examines how twentieth-century war memory is represented in the American musical, starting in the 1940s and continuing up to the present day. To do so, the phenomenon will be examined …

Assimilating To Art-Religion: Jewish Secularity And Edgar Zilsel’S Geniereligion (1918), Abigail Fine

Yale Journal of Music & Religion

In 1918, Edgar Zilsel—a Marxist-Jewish philosopher who was soon to be exiled from Vienna—published a sociological study that later readers have found prescient of fascism. In Die Geniereligion (“The Religion of Genius”), Zilsel cautioned against the hidden dangers of elevating secular figures to the status of deities. As early as 1912, Zilsel was disturbed by how art-religion shaped music culture: his earliest published essay ruminated on timelessness and canonicity, on striving for heavenly tones while cast down to the earthly squalor of the concert hall. Indeed, in Zilsel’s Vienna, art-religion had come to dominate the music world—biographers made Beethoven a …

Using Big Data To Facilitate A Lyrical Analysis Of Poetry And Rap, Remington Yve Giller

English Undergraduate Distinction Projects

Poetry and rap are dissected using text mining techniques in order to determine overall trends in the words used by both. With this data, the way in which ideas and concepts are expressed can be compared and contrasted as a way of showing the legitimacy of rap as a form of literary expression. Other topics within the paper are: a background of the history of rap and the digital humanities, and an example of a close reading featuring a medieval poem and a rap by Eminem. This demonstrates how even in a traditional way of handling texts, both poetry and …

Audio Quality As Content: Everyday Criticism Of The Lo-Fi Format, Elizabeth Newton

Dissertations, Theses, and Capstone Projects

This dissertation examines the matter of authenticity with respect to audio recordings. In the early 1990s, the term “lo-fi” (“low-fidelity”) emerged as a label used to categorize many different types of popular music, indicating widespread fascination with what I call audio quality, the perceived character of an audio recording. I define audio quality as the relationship between content and mediation, which varies greatly by circumstance. My archival research of zines, press releases, and correspondence examines this relationship in three case studies: Wu-Tang Clan, Bratmobile, and Elliott Smith. I posit the lo-fi format as a critical structure that emerged in …

Music And Communal Division During The French Wars Of Religion, Cameron G. Wade

Honors Theses

This Senior Honors Thesis explores the social and cultural impact of confessional musical composition and performance on the French Wars of Religion (1562-1598). Because Huguenots and Catholics identified with and were widely identifiable by their respective musical styles, cultural divisions between each confession were emphasized by differences in music. This capacity of sacred and confessionally-influenced secular music to highlight and reinforce societal divides is evidenced by the interconfessional violence that accompanied the public performance of sacred music in cities as well as the pressures imposed on composers to create music which clearly aligned with their respective confessions. As the wars …

Fusiones Y Confusiones Del Concierto De Aranjuez En El Jazz: Reflexiones De Un Oyente, Antoni Pizà

Publications and Research

Este artículo lo conforman una serie de reflexiones sobre Sketches of Spain (1960) de Miles Davis y Gil Evans, centrándose en su versión del Concierto de Aranjuez de Joaquín Rodrigo (1940). Inspirándose en los escritos de Edward Said y Homi K. Bhabha, el autor analiza la grabación como un artefacto cultural caracterizado por su “inestabilidad formal” y su “indefinición” o “condición intermedia” (in-betweenness) convirtiéndolo en un álbum que no es ni clásico ni jazz; ni español ni no-español; ni tradicionalista ni moderno, entre otras dualidades. Sketches es una obra de arte que desafía categorías y habita los intersticios de las …

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 …

Inculturation Of Liturgical Music In The Roman Catholic Church Of Igbo Land: A Compositional Study, Benedict Nwabugwu Agbo

Journal of Global Catholicism

A study of inculturation, composition and music among Catholics in Igboland, Nigeria. The article insects with contemporary discussions of inculturation/enculturation after Vatican II and the recommendation of St. John Paul II in his Ecclesia in Africa.

Reimagining The Collective: Black Popular Music And Recording Studio Innovation, 1970-1990, Will Fulton

Dissertations, Theses, and Capstone Projects

This dissertation examines developments in the production practices of black popular music in the recording studio from 1970 to 1990. The year 1970 marked a transition in the recording practice of popular music that had a distinct impact on styles marketed as R&B, soul, and funk. Multitracking in the 1950s and 1960s had paved the way for a transformed production process, one initiated by Les Paul’s and Sidney Bechet’s overdubbing experiments in the 1940s. The collective sound of instrumentalists and vocalists heard on records no longer resulted from live-to-tape recordings of group performances, but was increasingly the product of constructed …

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 …

Eighteenth Century Women And The Business Of Making Glass Music, Kate M. Hepworth

History

During the relatively short period from the mid-to-late eighteenth century when glass musical instruments were manufactured and gained popularity, several women made names for themselves in the realm of avant-garde musical performance. The lives of three female glass instrument players: Anne Ford, Marianne Davies, and Marianne Kirchgassner, show how these successful performer-entrepreneurs operated in an age of emerging feminine public identity. Their journeys reveal much about the gender dimensions of the age, the role of music in the modern era, the consumption of it, and their approach to business. The financial opportunities presented to women looking to challenge the limitations …

On The Appearance Of The Comedy Lp, 1957–1973, David Michael Mccarthy

Dissertations, Theses, and Capstone Projects

Many observers of contemporary comedy in the United States during the 1960s referred to musical aspects of extra-musical performances. Comedy LP records furnish important artifacts for the study of the musical appearances these observers produced for themselves. Where contemporaries described appearances characterized by printable words and polemics as “satirical,” the musical appearances discussed in this dissertation can instead be described as “comic”: instead of mocking persons or ideas, they show people and things becoming involved with one another in absurdly triumphant ways. These two different sorts of appearances correspond to two different uses for comedy in a class society, one …

Whitefield's Music: Moorfields Tabernacle, The Divine Musical Miscellany (1754), And The Fashioning Of Early Evangelical Sacred Song, Stephen A. Marini

Yale Journal of Music & Religion

Evangelical hymnody was the most significant form of popular sacred song in eighteenth-century Anglo-America. John and Charles Wesley built their Methodist movement on it, but little is known about the music of their great collaborator and eventual rival, George Whitefield (1714-1770). The essential sources of Whitefield's music are the development of ritual song at his Moorfields Tabernacle in London, his Collection of Hymns for Social Worship (1753) prepared for that congregation, and a little-known tunebook called The Divine Musical Miscellany (1754) that contains the first and definitive repertory of music known to be sung at Moorfields. This essay recovers Whitefield's …

Le Pianiste: Parisian Music Journalism And The Politics Of The Piano, 1833–35, Shaena B. Weitz

Dissertations, Theses, and Capstone Projects

This dissertation examines the French music journal entitled Le Pianiste, published in Paris from 1833 to 1835. Through an analysis of the journal’s contents, it reconsiders the nature of music journalism and musical life in Paris at the time it was in print, focusing in particular on canon formation and the power of the press. Le Pianiste’s remarkably detailed descriptions and analysis of the French music world challenge long-held perceptions of the era about taste and reception history, yet it remains an unstudied document. While past work on the music press has focused on criticism and reception, this …

Searching For Modeling Of Stravinsky's Petroushka In Poulenc's Rapsodie Nègre: Poulenc's Use Of Popular Forms And Techniques In His Earliest Work, Jeremy Rover

Senior Theses

Why does the view that French composer Francis Poulenc was a musical hack and a fraud continue to be discussed today? To get to the bottom of this, we need to look at the evidence available and find proof to back up these claims. In the predominant research on Poulenc, many scholars mention musical themes and quotations linked to other composers, but most of these claims aren’t backed up with specific examples or score studies. Therefore, in this paper I attempt to trace the “crime” to its source by showing Poulenc’s possible borrowing of harmonies, thematic material, styles, and rhythms …

The Self-Fashioning Of A Consummate Musical Orator, Alexis A. Vanzalen

Lawrence University Honors Projects

In 1697 the organist and composer Dieterich Buxtehude (1637-1707) was deemed “world famous” by a guidebook to the German city in which he lived, Lübeck. Such public acclaim for a musician was unusual in this society where musicians were generally looked down upon and stereotyped as dishonorable and picaresque outsiders. In this context, Buxtehude’s situation begs the question, how did he come to have such an esteemed reputation?

As I will argue, Buxtehude actively fashioned his reputation as an adept member of his capitalistic society, a useful civil servant, and an accomplished and complete musician, throughout his life. In large …

The Effects Of Totalitarian Regimes And The Individual On Russian And Soviet Music, Tyler Christian Mills

Renée Crown University Honors Thesis Projects - All

This paper addresses the development of Russian and Soviet music from the 1860’s through Stalin’s terror in the late 1930’s. It focuses on the constraints placed on the composers by the totalitarian regime and how these individual composers were able to not only survive, but leave a greater impact on the development and style of music than the state that was constraining them. The paper focuses on how individual composers were able to use their innovation and talent to create unique material that captivated audiences both at home and abroad.