1,720,975 research outputs found
Scattered People, Shared Identity: an Examination of Music and Identity Among Jewish Populations in Germany, France, and Israel During the Holocaust
No full textThis thesis is an examination of music’s role in identity formation, specifically focusing on Jewish identity in Germany, France, and Israel before and during World War II. This thesis is an examination of how societal changes function as a catalyst for identity negotiations, how said negotiations function within cultural context, and, above all, how music functioned on all sides of these arguments. The following sections will discuss the current trends in Jewish identity research, the historical events of the late eighteenth and early nineteenth century with particular focus on Jewish life before and after the Napoleonic era, the role of Jews in the modernism movement, German nationalism in music during the interwar period, the role of music in German- Jewish identity formation during the Holocaust, and the development of a national style and German-Jewish culture in Israel
The Singing Troubadour of the Hiawatha Valley: the Life and Radio Career of Ronnie Owens, the Singing Cowboy of Red Wing, Minnesota
No full textThe number of local, rural radio stations grew dramatically at the aftermath of World War II. These stations modeled their programming on that of large, urban radio stations while providing local news and music and entertainment by local musicians and performers. One such performer found on radio stations throughout America was the character of the singing cowboy, originating from paperback novels and the silver screen. Little research has been conducted on the singing cowboy on local radio stations however. In this thesis, I will provide a model on how to examine the singing cowboy on a local radio station. More specifically, I will examine the life and career of Ronnie Owens and his radio career on the rural radio station, KAAA, in Red Wing, Minnesota
What Do You Mean I Have to Stay Home?: Considering the Chamber Music of Three Female Composers at the Turn of the 20th Century
No full textThis thesis examines how early twentieth century composers Amy Beach, Rebecca Clarke, and Ruth Crawford Seeger made careers for themselves as composers of chamber music during a time of great change. The thesis will examine the cultural expectations for women, the music scenes that each composer was surrounded with, the role of chamber music particularly as a medium, and how these women chose to pursue a career in composition despite the social prohibitions relating to women and work in this period. In the thesis, the string compositions of each composer depict how the women used the compositional techniques that they were educated in and their influences.2021-05-0
Turn of the Century British Musical Comedy in an American Performance Library
No full textThe genre label 'musical comedy' gained its stride in the 1920s, but the term emerged as early as the 1870s. These early musical comedies are often overlooked in the historical discussion of musical theater, due to a lack of integration between the storyline and musical numbers. With the help of the Tams-Witmark collection, housed at the University of Wisconsin-Madison’s Mills Music Library, this paper examines how two of these early musical comedies, composed by England’s Ivan Caryll and Sidney Jones, were exported and used by touring theater companies in The United States. These flexible musical comedies complicate the kinds of expectations established by the operettas of Gilbert and Sullivan, who combined elements drawn from literary burlesque with traditional opera structure. The types of musical comedies written by Caryll and Jones represent the flexible strand of musical comedy that combined elements drawn from satirical burlesque, variety sketch, and pantomime
The 1600 Collection of Madrigals By Thomas Weelkes
No full textThomas Weelkes in considered among the most important of the English madrigalists of the late sixteenth and early seventeenth centuries; however, little has been written about him. Modern scholarship begins with Edmund H. Fellowes's edition of Weelkes's madrigal publications. The only comprehensive study of Weelkes's life and works is David Brown's 1969 Thomas Weelkes: A Biographical and Critical Study. Most other Weelkes scholarship simply compares his music to that of his contemporaries. This thesis fills another gap in Weelkes studies by offering an analysis of his 1600 collection, Madrigals of 5 and 6 Parts, Apt for the Viols and Voices. The historical backdrop for the publication and success of the 1600 collection includes a brief overview of Weelkes's biography and network of patronage, as well as Alfonso Ferrabosco's introduction of the madrigal to England, and Nicholas Yonge's 1588 Musica transalpina. This is then followed by an analysis of the construction and unusual organization of the collection with discussions of the relevant theories of Weelkes scholars Fellowes, Brown, and Thurston Dart. Weelkes's establishment of a native madrigal style in England was accomplished by his employment of expressive compositional devices such as word painting and chromaticism. The thesis concludes with an examination of the legacy of Weelkes's 1600 collection of madrigals and the significant place it holds among the most important of the English madrigal collections
Sweet Nothings: Women in Rockabilly Music: LaVern Baker and Janis Martin
No full textRockabilly music is an exciting and vibrant style of early Rock and Roll that originated in the 1950s. With its aggressive beat and anti-establishment connotations, rockabilly is considered a widely male-dominated genre, a point supported by the majority of scholarship and literature on the subject. However, a review of available contemporary recordings, television shows, advertisements and interviews show that women were an integral part of the history of rockabilly music. In this thesis, I will discuss women in rockabilly music and address how issues relating to gender and race in 1950s culture affected women performers. More specifically, I will examine the experiences of two performers, LaVern Baker and Janis Martin, concentrating on formative and important events in their careers and how they affected rockabilly music overall. I will also include interview transcripts with Janis Martin and her mother, Jewel Martin, that are previously unpublished
The Recording Industry's Influence on Vernacular Traditions 1920-1960: Illustrated Case Studies of Mamie Smith, the Carter Family, and Leadbelly
No full textIn this study, the Kingston Trio's 1958 recording of "Tom Dooley" is used as a starting point to explore the recording industry's commercialization of folk music in the first half of the twentieth century. Three case studies - Mamie Smith, the Carter Family, and Leadbelly - address trends in academic folk music scholarship that juxtaposed an initial rise in a commercial music culture that began with early 1920s race recordings and culminates in the folk-revival in the post-WWII period. These trends trace back into the nineteenth century, and include African American performance traditions that were incorporated into pre-civil war minstrelsy and late century vaudeville, and include African American theater, ragtime, "coon singing," and popular blues. This discussion highlights times in the early 1920s, the late 1920s, and the early 1930s, that were crucial to changing the sound and performance practice of traditional folk and vernacular traditions into more commercial products. This thesis culminates in a discussion of the direction taken by folk music in the early 1960s with the appearance of commercial groups associated with the folk revival movement and the emergence of folk rock
William Grant Still and the Balance of Popular Vs. Classical: Pace & Handy, Black Swan, and Shuffle Along
No full textAlthough known for his classical compositions, the African American composer William Grant Still worked in the popular music market at Pace & Handy Music Publishing, Black Swan Records, and as an orchestrator and pit musician for the black musical, Shuffle Along. These are all early experiences that must be considered when discussing his later success in art and popular music and that can offer valuable insight for scholars. In order to understand these employment experiences, this thesis places Still in the cultural context of early-1920s New York. By examining the ideology of racial uplift and the African American entertainment scene in the 19th and early 20th centuries, a better understanding of Still's experience is gained. The experiences he had in early 1920s New York did not encompass his popular music output alone, but a much wider and important experience of learning, as a young black man, about how to function in a society where racial stereotypes directly played a role in how African Americans were viewed--not only within their own race but also within the social structure of the wider American culture
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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