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Thesis (Mus.Bach. 1968) -- University of Adelaide, Dept. of Music, 1968.

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The eighteenth century witnessed the proliferation of voluntary associations throughout the British-Atlantic world. These voluntary associations consisted of groups of men with common interests, backgrounds, or beliefs that were willing to pool their resources in order to achieve a common goal. Enlightenment Scotland was home to large numbers of clubs ranging from small social clubs to large national institutions. The records of these societies suggest that most, if not all, of the men who formed them believed that defining and performing Scottish identity was important to preserving the social and cultural traditions of Scottishness in the absence of state institutions. These patriotic associations followed Scots across the Atlantic and provided the model for similar clubs in the American colonies. This thesis examines the construction and performance of Scottish identity by Scottish clubs in Scotland and America from c.1750-1832. It, in contrast to the existing historiography of Scottish identity, asserts that associations were vehicles through which Scottish identity was constructed, expressed, and performed on both sides of the Atlantic. It demonstrates that clubs provided Scots with the tools to manufacture identities that were malleable enough to adapt within a wide variety of political and cultural environments. This was particularly important in a period that witnessed major political disruption in the shape of the American and French Revolutions. By directly comparing Scottish societies in both Scotland and America, the thesis also reassesses and revises common attitudes about the relationship between Scottish identities at home and in the wider diaspora. Often seen as distinct entities, this thesis emphasises the similarities in the construction of Scottish identity, even in divergent national contexts. Drawing on a variety of sources ranging from rulebooks, minute books, and published transactions to memoirs, newspaper articles, letters, and even material goods, this thesis reveals that the Scottish identity constructed and performed by associations in America was no less ‘Scottish’ than that formulated in Scotland, indeed it paralleled and built upon the practices and attitudes developed in the home country. It rested on the same foundation, yet followed a different political trajectory as a result of the differing environment in which it was expressed and the different communities of Scots that expressed it. Indeed, the comparison between Scottish clubs in Scotland and America demonstrates that modern Scottish identity is the creation of a diasporic, transnational Scottish experience.

Haydn's thirteen extant Esterhazy operas, composed from 1762-85, represent a microcosm of the various trends in Italian opera during the eighteenth century. His early operas illustrate his understanding and mastery of the opera seria, the intermezzo and the opera buffa traditions which he would utilize in his later drammi giocosi. In addition to his role as Kapellmeister Haydn adapted and conducted over eighty-one operas by the leading Italian composers of his day, resulting in over 1,026 operatic performances for the period between 1780-90 alone and furthering his knowledge of the latest styles in Italian opera. This dissertation examines the five drammi giocosi which Haydn wrote, beginning with Le pescatrici (1769) through to La fedelta premiata (1780), within the context of the dramma giocoso tradition. To fully understand this tradition, as well as Haydn's compositional style, the comic and serious genres are analysed first since they are the basis for the dramma giocoso. All these operas not only represent Haydn's development as an opera composer, but serve to exemplify the general changes in eighteenth-century Italian opera. Haydn is seen as an important part of this tradition, both as a borrower and as an innovator. In the first two drammi giocosi, Le pescatrici and L'incontro improvviso (1775), the characters are portrayed as stock character types and the structure of the libretto generally adheres to the separation of serious and comic characters. In these works Haydn follows the musical conventions for each character type with only slight deviations. It is in the last three drammi giocosi, Il mondo della luna (1777), La vera costanza (1778/79 and 1785) and La fedelta premiata that the characters are musically portrayed as multi-dimensional personalities with many belonging to the category of the mezzo carattere. The structure of the libretto is more realistic, no longer strictly following earlier formulas and contains social commentary with explicit criticism of the upper class. Through musical analysis Haydn is shown to be the consummate musical dramatist, as he both follows and subverts the tradition, while observing the exigencies of the libretto. / Graduate

Manuscript recipe books come in all shapes and sizes and run from tens to hundreds of pages. Those from the eighteenth century are not exclusively culinary, also incorporating medical, veterinary and household recipes. Surviving examples are almost all from genteel or elite households, the people who had time and resources to create them, and are preserved in local archives or dedicated collections. This thesis examines the medical recipes in particular and considers their role at a time when alternatives to domestic healthcare were proliferating: increasing numbers of physicians and surgeons, a growth in apothecaries’ shops, commercial offerings such as proprietary medicines and a variety of irregular practitioners. Advice and remedies in print were also widely available in books, periodicals and newspapers. This is the largest study of eighteenth-century manuscript medical recipes yet undertaken, encompassing 241 collections and a total of 19,134 recipes. It begins by considering the collections themselves as material objects, rather than merely text, which no other major study in this area has done. The range of recipes and ailments are assessed against prevalent illnesses and causes of death, and variations in recipe types identified regionally and temporally. Detailed case studies of coughs and colds, gout, hydrophobia, diet drinks and Daffy’s Elixir illustrate the variety of ingredients and methods, as well as regimens for health and differences by gender and age. Examination of compilers and contributors of recipes demonstrates that both women and men were involved in this practice. Recipe exchange is delineated as a form of social currency requiring trust and reciprocity, and case studies show how knowledge circulated through three forms of network: familial, sociable and political. Finally, a major contribution of this thesis is that it identifies manuscript medical recipe collections as fulfilling four important functions for their compilers: oeconomic, symbolic, personalised and instrumental.