Most histories of the New Left emphasize that some variant of Marxism ultimately influenced activists in their pursuit of social change. Through careful examination of Students for a Democratic Society (SDS), I argue that New Left thought was not always anti-liberal. Founding SDS members hardly rejected liberal political theory during the early years of the movement (1960-1963). New Left thought was profoundly indebted to John Dewey's political and philosophical method. Deweyan liberalism suggested theory should be directly applicable in the world of social action and truth should always be regarded as contingent. The connection between Dewey and SDS becomes apparent when one considers the role of Arnold S. Kaufman in the movement. Kaufman, a University of Michigan philosopher, applied Dewey's political and philosophical method in his work as an activist and academic. He coined the term "participatory democracy" for the New Left. Consequently, this key New Left concept was itself grounded in Dewey's philosophy.

This study describes the integration of harmonic idiom and tonal design in Schoenberg's First Quartet, op. 7. Two general questions are answered: whether the composition should be judged by common-practice-period norms, and whether a coherent tonal structure is truly discernible. Chapter 1 first surveys the existing literature. It then describes a prime motivator of foreground chromaticism in the quartet—the chromatic surrounding of tonic and dominant pitches—and discusses two features of large-scale pitch organization applicable to Schoenberg's first-period music that contravene common-practice-period norms: tonal structure consisting of a pattern of keys, and systematic use of dual or even multiple tonics in place of monotonality. Examples illustrate three types of graphic representation of tonal duality to be used in the study. The next four chapters describe tonal process within and across the four "movements" of the quartet (Schoenberg's Parts I through IV). Chapter 2, which studies Part I, reveals systematic avoidance of V-I function in the opening key, D, tonal rivalries between D and each of its two semitone-related keys, and the beginning of a large-scale chromatic surrounding of the key of D. Chapter 3, on Part II of the quartet, demonstrates continuation of the rivalry between tonics D and Dt> by their use as competing secondary tonics within the Scherzo, and the harmonic progression VII-I replacing V-I at a crucial structural point. Chapter 4, on Part III of the quartet, describes tonal duality as it occurs in the Adagio, the furthering of the tonal plot in a section that engages in a "plagal" system of tonality, and the beginning of a large chromatic surrounding of A. Chapter 5 shows that Part IV eschews a simple relationship between the A-major tonic of the Rondo and the D-major tonic of the Coda by allowing the infiltration of elements of the Db-major collection. Chapter 6 summarizes the evidence contradicting a monotonal understanding of the composition and reviews evidence that the demonstrated multi-tonal coherence is part of the musical reality of the work. / Arts, Faculty of / Music, School of / Graduate

This thesis explores Arnold Schoenberg's use of meter in Das Buck der hangenden Garten, Opus 15. The thesis works from the premise that Schoenberg treats meter in a manner analogous to that usually associated with pitch material: meter is motivic in nature, and can be subjected to developmental techniques. The concepts of fluctuating meter and suspended meter are developed, and used to describe the music; these concepts are derived from an analogy with Schoenberg's own terms schwebende Tonalitat and aufgehobene Tonalitat (fluctuating and suspended tonality). Selected excerpts from the song cycle are analyzed. The analyses focus on issues of meter, although some pitch analysis is used to complement the discussion. / Arts, Faculty of / Music, School of / Graduate

Arnold Cooke composed many works for oboe including two sonatas, a concerto and several pieces for chamber ensembles; however, his works are rarely performed. Through the analysis of form and tonality in his first oboe sonata, Cooke's musical style and influences become apparent. His musical style was primarily influenced by his teacher, Paul Hindemith, and can be characterized by traditional forms with the contemporary use of quartal harmonies and a variety of tertian sonorities. Cooke wrote music that is accessible for performers and audience members, and one way he achieved this accessibility is through the repetition of melodic ideas. In addition to exact melodic repetition, he also unified his works through fugue-like passages and sequences. Although he lived during a time of experimentation by many composers, Cooke maintained conservative elements in his music that he learned through his studies at Cambridge and through his studies with Hindemith. His first oboe sonata is tonal although he varied modes and used chromatic harmonies throughout. Cooke's clear writing and unique sound in his Sonata for Oboe and Piano (1957) provide oboists a solo piece for the repertoire that demonstrates a modern approach to the traditional style of composition.

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