Henriette Renie was a creative and bold woman in the French musical world at the turn of the twentieth century. She began her career as a child prodigy on the harp, and the success she achieved from this enabled her to further her scope of interests into the fields of teaching and composing. As a concert harpist she elevated the status of the harp from an instrument for dilettantes to an important solo concert instrument. Quickly frustrated with the antiquated and limited repertoire that existed, she turned to composition. Her original works for harp are comprised of virtuosic compositions for her own performances and simpler pieces for beginning harpists. Renie also expanded the harp's repertoire by transcribing works for solo harp and harp ensemble. This thesis explores Renie as a performer, teacher, and composer, and analyzes two of her important compositions, Legende and Concerto in C Minor.

This document presents a case for viewing Asceses (1967) for solo flute/clarinet as a paradigmatic work in the compositional output of Andre Jolivet, reflective of his aesthetic and philosophical ideals as they had developed by the 1960s. As such, the work serves as a touchstone for a deeper understanding of the aesthetic and philosophical stance from which Jolivet was working during the last decade of his life. Many aspects of Asceses suggest this interpretation of the work. The piece bears many striking similarities to one of Jolivet's self-identified paradigmatic works of the 1930s, the Cinq Incantations for solo flute. In addition, the unaccompanied monophonic medium is one in which Jolivet did not work for thirty years, making his return to it in the 1960s particularly striking. The document positions Asceses within the biographical context of the final fifteen years of Jolivet's life and suggests that Jolivet's activities of this time in his life and career support a reading of Asceses as a defining composition. The document also thoroughly explores the state of Jolivet's aesthetics and philosophy by the 1960s, presenting a unified model of Jolivet's philosophy from which Asceses can be seen to have sprung, and suggesting ways in which Asceses reveals the strength of certain later influences on Jolivet's thought. The extra-musical materials of the work are considered for the ways in which they confirm and expand the understanding of Jolivet's worldview as presented. The document concludes with a detailed consideration of the ways in which Jolivet translates his late aesthetic ideals into compositional practice, and the ways in which Asceses reflects, at a deep structural level, the most important of them.

A biographical sketch describing Tania Leon's musical education and activities introduces the study, which focuses on elements of Leon's compositional style. Her style is marked by colorful orchestration and rhythmic complexity. Eight orchestral scores by Leon will be examined here to reveal these traits. The conclusion to the study explores Jacques Barzun's idea of program music relative to Leon's orchestral music.

Calvin Hampton is an important figure in American music of the mid-to-late twentieth century. He was a composer of many genres, but was noted by his contemporaries as an organist and composer of hymn tunes and anthems. However, since his death in 1984, his organ works---particularly the Five Dances for Organ---have become well-known through recordings and artist recitals. This detailed analysis of the dances begins with scenario interpretations for the titled dances. The following chapters analyze the elements that characterize these scenarios according to harmony, ostinato, development of ostinato material, and rhythmic devices. Concluding chapters explore Hampton's wide use of symmetry and the non-symmetrical programmatic significance of the final dance, Everyone Dance. This document highlights Calvin Hampton's genius in combining artistic and intellectual craftsmanship with musicianship and personality in the Five Dances for Organ. With these delightful and virtuosic dances, he has bequeathed a fine twentieth century organ work to future generations.

Like most of the music Enrique Granados (1867--1916), the Piano Quintet in g minor, Piano Trio in C Major, and the Sonata for Violin and Piano were unpublished at the time of his death, not published until the 1970's. A problem encountered in the current editions of his chamber works with piano is the lack of an accurate representation of the music, including wrong notes, phrasings, dynamic markings, and in certain cases, a complete misrepresentation of the original work, all of which fall short of the composers original intentions. A few reasons may have caused these editorial errors: the lack of attention that Granados and his legacy placed on his own chamber works; the unprofessional manner in which the publishing houses edited his music; the difficulty in finding the location of original manuscripts. These factors may have contributed to the inaccurate editions of his chamber music with piano currently in use today. This document presents an accurate edition of the first movements of the Piano Quintet in g minor, Piano Trio in C Major, and the Sonata for Violin and Piano, based on Granados' original autograph manuscripts. A brief discussion of the influence of nineteenth-century composers such as Schumann, Brahms, and Faure is presented on the chamber works, as well as a discussion on the pianistic legacy of Granados, and how it influences the performance practice of these works. A succinct biographical sketch on Granados and relevant background information on the chamber works with piano are also provided, including the location of the original manuscripts discussed in this treatise. Finally, included in the appendix is an in-depth list of Granados' performances and works performed in the years 1886--1916, including dates, works performed, players, and location of the performance.

<p> Saxophonist Frank Morgan was on a path towards greatness, following in the footsteps of his esteemed mentor Charlie Parker. With a debut album released in 1955, he was hailed as the next Bird. Unfortunately for Morgan, he became involved with the drug culture that was destroying Parker. Struggling with a heroin addiction and crimes associated with it, Morgan ended up spending nearly thirty years of his life in prison. He did not release another album until 1985.</p><p> This project report is an examination of Morgan's dynamic life story: his early years, initial successes, drug addiction, incarceration, and later years. In it, recordings both before and after Morgan's long absence in prison are examined. Transcriptions link Morgan's interpretations and improvisations to Charlie Parker, Art Pepper, Dexter Gordon, Frank Sinatra, among others. Finally, the drug culture associated with jazz is discussed, focusing on Morgan's mission to promote the avoidance of it.</p>

The thesis examines aspects of the organisational adjustment of the Church of England in the nineteenth century which occurred following the recognition that the working classes were so little reached by the Church's ministrations. Church leaders, increasingly aware that the Church no longer enjoyed a monopoly position in religion, came increasingly to accept the need for home missionary work as a way of competing with other religious organisations, and the Church Army was one significant response to this situation. The thesis examines the origins of the Church Army in 1883 and its development up to 1914. The problems of accommodating Church Army techniques within the structure and activities of the Church of England is examined, together with the reactions to this type of new enter prise, by local clergy and by the Church authorities. An appraisal of the appeal and effectiveness of the Church Army, and of the influences affecting the style of organisation and its doctrinal orientation is made, and the organisation is examined for its quasi-sectarian potentialities. Attention is given to the processes of internal change within the Church Army, both in response to problems encountered in missioning and with respect to its acceptability to the Anglican clergy. The accretion of new goals, particularly in the development of social work, and the gradual domestication of the organisation are the subject of analysis in which the transformation of a quasi-sect into an agency of the Church is documented.

No description available.

This dissertation is an exhaustive account of the life and work of Arthur William Upfield (1890-1964). It is presented as a critical biography and narrates the life of the writer, in his socio-cultural milieu, from birth. It also positions Upfield as a writer who dealt with issues of Aboriginality at a time when this was a singularly polemical subject. My work is informed by the theory of Zygmunt Bauman and others and is posited in the context of late-modern biography theory. English-born, Upfield arrived in Australia in 1911 and took work in the bush, serving overseas with the Australian army at the outbreak of World War I and marrying an Australian army nurse in Egypt. Returning with his wife and son to Australia in 1921 he intermittently carried his swag until he was employed patrolling the Western Australian number 1 rabbit-proof fence for three years to 1931. By that time he had published four novels, including two crime novels featuring his fictional creation, the part-Aboriginal, part-European, Detective-Inspector Napoleon Bonaparte (“Bony”), arguably the first fully-developed character in Australian popular fiction. Leaving the fence, Upfield settled with his family in Perth and wrote full-time until joining the Melbourne Herald in 1933. Retrenched, he resumed career writing to be further interrupted by a war-time intelligence posting in 1939. In 1943 the first Bony mysteries were published in America, where Upfield’s critical success was maintained until his death. In 1945 he left his wife for Jessica Uren, to whom he remained devoted. Upfield’s in all twenty-nine Bony novels, many of which have been translated across eleven languages, afforded him notable success both at home and abroad, in good part due to his descriptive gifts and the uniqueness of his fictional character, the part-Aboriginal Bony.

Thesis (D.M.A.)--Boston University, 2006. / (UnM)AAI3202568. Adviser: Thomas Peattie. Source: Dissertation Abstracts International, Volume: 67-01, Section: A, page: 0030.