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No abstract available. / Thesis (M.Mus.)-University of Natal, Durban, 1982.

Thesis (Ph. D.)--University of California, Los Angeles, 1997. / Thesis prepared for Dept. of Musicology. "Bibliography"-leaves 397-422.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1984. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaf 353).

The purpose of this paper is to explore the numerous compositions by Darius Milhaud in which the violin plays an important role. Included here are discussions of the works for violin and piano, violin and orchestra, solo violin, and all chamber music which includes violin for three or fewer players. The eighteen string quartets, for instance, are not dealt with here, as these works alone could be the subject of an entire volume. Also included is a brief biography of the composer and a general discussion of Milhaud's music. The major compositions which include violin are then discussed individually. Resources for this thesis were obtained from materials at the libraries at the University of Arizona, Tucson, and through inter-library loan from the libraries of Mills College, the University of Illinois, the University of Oregon, and the University of Colorado. Other information was gained from Milhaud's autobiography, "Notes Without Music ", and from correspondence with Madeleine Milhaud, the composer's widow.

Kauno S. Dariaus ir S. Girėno aerodromas buvo pirmasis Lietuvos aviacijos židinys bei vienas seniausių aerodromų Europoje. Nuo Kauno aerodromo įkūrimo pradžios (1915 m.) prasidėjo Lietuvos aviacijos vystymasis. Pirmosios Lietuvos Respublikos metais Kauno S. Dariaus ir S. Girėno aerodromas suklestėjo. Aerodromas pradėjo plėstis, jame atsirado naujų pastatų, aviacijos įrenginių, įsikūrė karo aviacijos mokykla, karo aviacijos dirbtuvės. Be to, tuo metu Kauno aerodrome taip pat atsirado ir civilinės aviacijos užuomazgos, kurios paskatino Lietuvos aeroklubo (LAK) įkūrimą. LAK savo organizuojamomis šventėmis aviaciją padarė visuomenės traukos centru. Iki LAK atsiradimo Lietuvos visuomenė mažai domėjosi aviacija ir, apskritai, neturėjo galimybės su ja susipažinti. Įsikūręs 1927 metais, Lietuvos aeroklubas ėmėsi propaguoti civilinę bei sportinę aviaciją Lietuvos visuomenėje. Jis įvairiuose Lietuvos miestuose organizavo aviacijos šventes, propagavo aviaciją spaudoje, skatino žmones dalyvauti LAK rengiamose loterijose, tapti šio klubo nariais. LAK savo veiklą vykdė ne tik Lietuvoje, bet ir už jos ribų. Lietuvos visuomenei vis labiau įsitraukiant į aviaciją, Lietuvos aeroklubo rengiamos aviacijos šventės tapo Lietuvos visuomenės dėmesio, diskusijų ir kalbų objektu. Spaudoje nuolatos pasirodydavo straipsnių, kuriuose pagrindinis akcentas ir dėmesys buvo skiriamas aviacijos šventėms, švenčių dalyviams, lakūnams, akrobatiniams lėktuvų viražams. Labiausiai sportinės aviacijos mėgėjų dėmesį... [toliau žr. visą tekstą] / Kaunas S. Darius and S. Girėnas airfield was the first Lithuanian aviation place and one of the oldest airfields in Europe. Lithuanian aviation development started in 1915 when Kaunas airfield was established. Kaunas S. Darius and S. Girėnas airfield flourished during the period of First Republic of Lithuania. The airfield began to expand: new buildings, aviation facilities appeared. Military aviation school and military aviation workshop were also established. In addition, at the same time the rudiments of civil aviation appeared in Kaunas airfield. They led to the establishment of the Lithuanian Aero Club (LAC). LAC organized plenty of festivals which brought aviation to public’s attention. Until the establishment of LAC, Lithuanian society has had a little interest in aviation and had no access to it. Lithuanian Aero Club (founded in 1927) took the action in Lithuanian society; it promoted civil and sport aviation. LAC organized aviation festivals in various Lithuanian cities and towns, promoted aviation in press, encouraged people to participate in a lottery (organized by LAC) and become members of the club. LAC activities were carried out not only in Lithuania but also abroad. Aviation festivals organized by Lithuanian Aero Club became an object of Lithuanian public attention and discussion. In the press constantly appeared articles where the main attention was given to: aviation celebrations, participants of the festivals, pilots, fluttering of acrobatic planes... [to full text]

This dissertation illuminates the funding contexts that structured art music composition in interwar France. While music historiography tends to focus solely on patronage - an ill-defined and limited category - as the paradigmatic economy within which pre-paid composition takes place, I bring patronage into conversation with other, similarly enabling funding sources: publishing, radio, film, orchestras, and ballet companies. Through a series of case studies of the individuals, institutions, and practices that provided a market for interwar French art music, I pursue two central ideas: first, that musical works, genres, and styles present sonic traces of the economic forces that structured their composition, and second, that the funding context of music often determines its historiographical reception. The rich musical landscape of interwar France provides a unique setting through which to explore these ideas. Between a remarkable flowering of artistic movements, the rapid proliferation of new media for cultural expression, and steadily increasing institutional involvement in music composition and performance, we can observe a remarkable context of wealth and power exerting a significant impact on the practices of music composition and performance. In order to theorize patronage in the broader context of funding for music composition, I explore the conventions of individual, aristocratic patronage, focusing on commissions as contractual exchanges and as reflective of the "collections" to which they belong, both for patrons and composers. While the state lagged far behind individual patrons in terms of direct commissions to composers, it nevertheless found numerous ways to intervene in musical culture in the hope of stimulating the market for art music composition, particularly with respect to symphonic music. The clear-cut patronage of aristocratic individuals and public ministries contrasts sharply with the ambiguous roles played by the leaders of three influential ballet companies (Ballets Suedois, Soirees de Paris, Ballets Ida Rubinstein) whose competition with the Ballets Russes engendered precisely the market for new French music that the state sought vainly to encourage. Through my study of these ballet companies and of the business correspondence of Darius Milhaud, I show that rather than constraining or corrupting creativity, many sources of funding not ordinarily considered "patronage" nevertheless freed composers to pursue experimental avenues and enrich musical culture, in their time and in ours. / Music

The music and texts of the Jewish liturgy are commonly called the Sacred Service. Choral settings of this liturgy form a distinct genre of choral music. Despite the rich history and influence of the text itself, relatively few composers have set it chorally. Among the two most influential settings are Avodath Hakodesh (1933) by Ernest Bloch and Darius Milhaud’s Service sacré (Sacred Service) of 1947. Temple Emanu-El Reformed Congregation in San Francisco commissioned both under the leadership of Cantor Reuben Rinder, and the two pieces have many similarities. The focus of the present research is on expressive text-setting in the Service sacré of Darius Milhaud. My research suggests that study of Milhaud’s personal beliefs and religious background can help explain some of the composer’s compositional decisions in Service sacré. Milhaud’s background includes deep roots in the Jewish tradition, but he also shows a keen appreciation for aspects of Christian theology. Prior to this study, Milhaud’s intent to expressively set the text has not been thoroughly considered. Particularly interesting are his settings of texts that deal with themes such as salvation and redemption, including movements such as Tsur Yisrael (Mvt. V), Praised be Thou, O Lord (Mvt. VI), and Returning the Scroll to the Ark (Mvt. XII). These topics of salvation and redemption are usually deemphasized in the Reformed Jewish perspective. Yet, in Milhaud’s work, these portions are highlighted through his compositional settings.

No description available.