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Proefschrift : Lettres : Leiden : 1983.

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Jesse Crawford, the "Poet of the Organ," was probably the most famous theatre organist of all time. Yet no biography of this noted musician existed. The purpose of this biographical study is to fill that gap.The period of the mid-1920's'to the mid-1930's was the golden age of the theatre pipe organ. The National Geographic Society estimates that some 6,500 organs were enthroned in movie palaces across the United States.Pianos had first been used to accompany the action on silent screens before Hollywood learned how to put sound on film. Organs came into use because of the wide range of sound effects available and because the organ lent itself more effectively towards creating the mood of the picture, from sorrow to joy, from hate to love, from fear to happiness. Organ music helped create the "escapist" atmosphere of American films during the Twenties and Thirties. Furthermore, the movie palace itself, lavish and opulent, provided not only an escape, but also an opportunity to enjoy surroundings more luxurious than royalty could afford. Theatre organists finding their way to the consoles of ever more elaborate theatre organs-in ever more opulent movie palaces became "personalities" over night. One name towered above all the rest--Jesse Crawford.Crawford, born of a very poor family in Woodland, California in 1895, learned music in an orphanage where his mother placed him because of her extreme poverty. Crawford played cornet and piano eventually graduating to the pipe organ. He found that it was very easy to evoke an emotional response on the part of his listeners thus earning for himself the title, The Poet of the Organ."Crawford played at the major theatres of his day including Grauman's Million Dollar Theatre in Los Angeles, The Chicago Theatre in Chicago, and reached the apex of his career at the Paramount Theatre, Times Square New York, where he spent seven years at the console of the "Mighty Wurlitzer" theatre pipe organ playing solos and in tandem with his wife, Helen.When theatre organs went into decline after the advent of sound films and the Depression of the 1930's, Crawf ord made his way into radio and continued on the personal appearance circuit. He capped his career with several years of teaching the organ at New York University, and in Los Angeles.Crawford's lasting contributions include his many organ compositions and arrangements, his writing of a short course on how to play the organ, serving as consultant on theatre organ design, development of some new organ techniques such as the so-called "Tibia roll," and, to some extent, the popularization of organ music itself.The writing of Crawford's life story involved three years of research, reading all available related materials, books, articles, and newspapers, and traveling back and forth across the country interviewing family members including Crawford's widow and daughter, friends and professional acquaintances. Preparation included assembling a virtually complete collection of Crawford's many recordings and transcriptions.At the end of his life Crawford's fame was on an upward swing. High fidelity recordings brought about a rebirth of interest in the theatre pipe organ. The newly formed American Association of Theatre Organ Enthusiasts elected him as its first Honorary Member. He made several new long playing recordings of theatre pipe organ music in the last years of his life and was in the process of preparing to play a concert for the Annual Convention of ATOE at the time of his death in 1962. Unlike many persons in the world of show business, Crawford's life did not end in obscurity.

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Thesis (M.A.)--Humboldt State University, 2006. / Includes bibliographical references (leaves 147-154). Also available via Humboldt Digital Scholar.

Orientador : Tom Dwyer / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-07-14T00:31:44Z (GMT). No. of bitstreams: 1 Costa_MariaConceicaoda_M.pdf: 6401014 bytes, checksum: 128e059ab5a8b23bf2f739558181ea93 (MD5) Previous issue date: 1991 / Mestrado / Mestre em Ciência Política

The purpose of this thesis is to show the relationship of technique to theme in Faulkner's Snopes Trilogy. The central theme, the continuous conflict in man between the world of nature and that of money, is revealed most clearly through certain structural and symbolic techniques. The conflict between the two ways of life is expressed structurally by a series of encounters; in the three novels, and symbolically by the tension between opposing symbols. The encounters usually take the form of a struggle between a man and a woman, the man representing the world of money, the woman, the world of nature. The most powerful symbols of nature, earth and season, are opposed by the most powerful symbols of the world of ownership, money, automobiles and monuments. The continuity of life is dramatized in the circular structure, which is seen in the apparently endless repetition of both the central conflict and the major symbols. In spite of certain limitations of the Trilogy, such as the fact that it must rely upon other books in the Yoknapatawpha cycle, and an unevenness which results from the great length of time in which It was written, it merits a more detailed study than has been accorded it by the majority of the critics in the past. A survey of the existing criticism indicates that it is inadequate largely because it fails to probe the novels deeply enough. Instead it often relies heavily on the traditional approach to Faulkner first suggested by George Marion O'Donnell, which says that all Faulkner's work is a variation of the theme of the struggle between Sartoris, the moral aristocrat, and Snopes, the amoral poor white. As a result of the influence of the traditional view, relatively few attempts have been made to approach the Trilogy in any other manner. The best approach to the meaning of the Trilogy is not through fixed interpretations but through technique. A detailed analysis of symbolic and structural technique in The Hamlet, The Town and The Mansion reveals the conflict and the continuity of life, and also the central focus of the novel. The focus in the Trilogy is not upon Flem Snopes but upon man. Man's struggle to reconcile the world of nature with that of money and ownership leads him to an understanding of the nature of evil within himself. The Trilogy stresses the fact that not only must man become morally aware of the evil within himself, but he must also struggle constantly to overcome it. Because he is a part of both worlds he must reconcile them as Ratliff does, not reject them as Stevens does. The reality of Faulkner's presentation of the conflict and continuity of man's life, as revealed by technique, makes the Trilogy a significant part of his work, worthy of a detailed study. / Arts, Faculty of / English, Department of / Graduate

It is an interesting and seldom noted fact that the young protagonist—the boy or girl between the ages of ten and twenty-one—appears again and again in the novels and short stories of William Faulkner. Since Faulkner wrote for an adult audience which might well lose interest in a non-adult hero, and since his themes involve violent and even sensational aspects such as suicide, rape, lynching and castration, which are part of an adult world, he must have had some definite purpose in using a young protagonist. A closer look at the works in which young people play major roles will reveal that, with few exceptions, the young protagonist is involved in a conflict with one of society's many unwritten codes of behavior, which is exerting pressure on him to conform to its dictates. Furthermore, it becomes apparent that Faulkner is using the young protagonist for two main purposes: to show, in microcosm, the various relationships between individuals of any age and the social codes, and to remind the reader of the constant opportunity to use free will, to free oneself from destructive or immoral situations and demands, which all individuals possess but which the child particularly utilizes. In showing how the young protagonist resolves his conflict, then, Faulkner seems to be making a very significant statement on both individualism and conformity, man and the social codes. In this thesis I have discussed several of Faulkner's young people in terms of the particular codes which they encounter. These I have called The Familial Code, The Religious Code, The Racial Code and The Chivalric Code. The order in which these codes are presented is determined firstly by the order in which they might be encountered by a child as he grows up. They represent, in other words, a constant movement outward from almost instinctive emotional responses to highly sophisticated and idealistic concepts. At the same time, I move towards codes of major importance in Faulkner's writing—The Racial and Chivalric Codes—placing the most emphasis on them by examining in greater depth those works in which they occur. / Arts, Faculty of / English, Department of / Graduate