Diss.--Philosophie--Yale--Faculty of the Graduate School, 1999. / Bibliogr. p. 292-319.

Thesis (D.M.A.)--University of Texas at Austin, 2002. / Vita. Includes bibliographical references and discography.

Treatise (D.M.A.)--University of Texas at Austin, 2002. / Vita. Includes bibliographical references. Available also from UMI Company.

Thesis (doctoral) - Hochschule für Musik und Theater, München. / Includes bibliographical references (p. 299-310) and index.

A lecture recital was given on July 14, 1975. The violin sonatas of Charles Ives are a unique and innovative addition to the violin repertoire and capture the New England Transcendental movement of the early twentieth century. In addition to the lecture recital, three other public recitals were performed, including solo compositions for violin and chamber works including violin.

Jazz is a distinctive stylistic influence in twentieth-century American organ music. Organ music in the United States during this period may be classified into four diverse categories: German-influenced; French-influenced; program music; and new styles that include twentieth-century techniques, such as serialism, chance (aleatoric), atonality, and jazz. The organ is an ideal instrument for jazz performance since the organ can provide diverse timbres, such as reeds (clarinets, trumpets, and trombones), strings (violin, viola, and cello), and overtone-rich sounds from mutations and mixtures.This document presents an analysis of jazz elements in twentieth-century American organ works, especially focused on the following selected organ works: Charles Ives' Variations on "America" (1891), William Albright's Sweet Sixteenths: Concert Rag for Organ (1975), and William Bolcom's Sometimes I Feel, and Free Fantasia on "O Zion Haste" and "How Firm a Foundation" from Gospel Preludes, Book IV (1984). The first chapter introduces jazz, including its definition, historical background, and styles. The next four chapters discuss brief biographical material, musical styles, compositions of each composer, and comprehensive musical analysis of their selected organ works, including form, melody, harmony, rhythm, timbre, and registration.

Between approximately 1850 and 1936, the barrel organ was one of the most commonly heard instruments in the streets of New York and the frequent subject of written, visual, and musical accounts created by middle class authors and artists. The instrument's loud, wheezy tunes inspired heated debates that began in the nineteenth century and were often aligned with the broader social upheavals caused by Italian immigration. Despite their frequent differences in perspective, most written accounts characterized organ grinders as poor, uneducated, Italian immigrants. Musical representations of street music developed a similar proclivity to emphasize Italian alterity. As early as the 1850s, it was common to quote popular dance idioms to evoke street music, a trend that continued well into the early twentieth century in Tin Pan Alley songs. These strophic songs offered more elaborate portrayals of organ grinders, mimicking the dialect of Italian immigrants through clipped, misspelled syllables. Street musicians declined in the twentieth century, but such stereotypes continued to resonate strongly within fictive musical portrayals. In Charles Ives' From Hanover Square North, the clashing quotations of a gospel hymn aurally signify the program's commuters and organ grinder, whose music animates the scene similar to a tableau found within Nathaniel Hawthorne's novel The House of Seven Gables. In contrast to Ives' idealistic conception of street music, Charles Cadman's opera The Willow Tree depicts a murderous street musician whose association with pleasant, Italian folk music does little to belie his unstable actions. Mayor Fiorello La Guardia's 1936 decision to stop licensing organ grinders created a controversy that may have influenced representations of organ grinders in Marc Blitzstein's I've Got the Tune and the animated short Organ Grinder's Swing. The 1936 controversy suggested that not only were middle class audiences concerned with unprecedented waves of Italian immigration, they were also worried about an urban soundscape increasingly saturated with noise. It was these twin problems that led a class of educated New Yorkers to create meaning by reverting to ethnic, class-based stereotype.

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