There is a puacity of original works from the Baroque Era for the guitar. Transcriptions, especially music originally for harpsichord, complement the guitarist's repertoire. Dominating the priviledged space in the guitar canon, represented by Baroque transcriptions, are the composers Johann Sebastian Bach, George Frideric Handel and Domenico Scarlatti. Underrepresented in the Baroque guitar canon is the music of Spanish composers, most noteworthy, the harpsichordist Padre Antonio Soler, who composed more than 120 sonatas for his instrument. Music is culturally defined and it is clear, through an analysis of the keyboard works of Soler, that his music was imbued with the salient features of his place and time. There is an implicit connection between the guitar and the non-guitar music produced in Spain as guitar gestures are part of the national emblem; this study makes an explicit connection between the harpsichord music of Soler and the modern guitar. The Spanish Baroque style, epitomized by the works of Soler, provide a clear objective for transcription. The current study produces a transcription of Padre Antonio Soler's Sonata No. R.27 and Sonata No. R.100, as well as an analysis of the sonatas to facilitate interpretation for performance and an explanation of the transcription process. The lacunae of Spanish Baroque guitar transcriptions that exists in the repertoire will be partially filled by adding Soler to the distinguished list of composers that currently inhabit the guitarists's library.

The purpose of this project is to conduct and analysis of the role and symbolism of the trumpet in two early eighteenth century Spanish music dramas: La Guerra de los Gigantes by Sebastian Duron and Los Desagravios de Troya by Joaquin Martinez de la Roca.

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This dissertation asserts the value of James Lyon's Urania to the field of American music history as a vital contribution to the development of music in the British colonies prior to the War for Independence. While previous scholarship acknowledges Urania's importance as the first publication in America to contain music by a native-born composer, this study argues that its subscription list and selection of anthems (both of which were new to the field of American music publishing) contribute to the status this compilation is due. The confluence of the English chapel tradition and American singing school tradition contributes to the theological universality and accessibility of its twelve anthems. An introductory chapter discusses the secondary literature upon which this study is based - notably that of Oscar Sonneck and Richard Crawford - and posits applications for the idea presented herein beyond the field of musicology. Chapter 2 provides biographical information on James Lyon and contextualizes Urania within the broader framework of the English chapel tradition and the American singing-school tradition. Chapter 3 discusses the marketability of music in colonial America and explores the biographies of the subscribers to Urania using modern databases. Chapter 4 concerns the confluence of music and sacred text by placing Urania as a spiritual and cultural descendant of the theological universality preached during the Great Awakening. It concludes with an analysis of the anthems, taking into account both text and music. Chapter 5 concludes the study by showing how Urania affected music in the generations after its publication. My dissertation concludes with four appendices. Appendix A is an annotated list of Lyon's subscribers. Appendix B parses out basic information on the anthems, notably the texts. Appendices C and D provide critical notes and editions of the anthems, respectively.

The traditional narrative of political party development in the United States of America during the latter half of the 1790s ascribes the decline in popularity of the Federalist Party in the Election of 1800 to that party's passage of controversial legislation, specifically the Sedition Act of 1798, prior to the election. Between the passage of the Sedition Act and the Election of 1800, however, the midterm elections of 1798-1799 transpired and resulted in a significant increase in Federalist popularity in four states – North Carolina, South Carolina, Georgia, and Virginia. This study seeks to ascertain why these four states increased their support for the Federalist Party in 1798-1799, despite the passage of the Sedition Act by the Federalist Party. By examining newspapers and election results, this study analyzes the reaction of these four states to the passage of the Sedition Act and finds that generally, these states did not react strongly against the Sedition Act in the immediate aftermath of its passage. Instead, all four states urged national unity and emphasized the need to support the national government because the United States faced the threat of war with France. This study employs a state-by-state formula to determine each state's individual reaction to the Sedition Act and the Quasi-War, finding that ultimately, the Sedition Act did not have as significant of an impact in these states as the popular narrative holds.

On 1 February 1793, the National Convention of Revolutionary France declared war on Great Britain and the Netherlands, expanding the list of France's enemies in the War of the First Coalition. Although British Prime Minister William Pitt the Younger had predicted fifteen years of peace one year earlier, the French declaration of war initiated nearly a quarter century of war between Britain and France with only a brief respite during the Peace of Amiens. Britain entered the war amid both a nadir in British diplomacy and internal political divisions over the direction of British foreign policy. After becoming prime minister in 1783 in the aftermath of the War of American Independence, Pitt pursued financial and naval reform to recover British strength and cautious interventionism to end Britain's diplomatic isolation in Europe. He hoped to create a collective security system based on the principles of the territorial status quo, trade agreements, neutral rights, and resolution of diplomatic disputes through mediation - armed mediation if necessary. While his domestic measures largely met with success, Pitt's foreign policy suffered from a paucity of like-minded allies, contradictions between traditional hostility to France and emergent opposition to Russian expansion, Britain's limited ability to project power on the continent, and the even more limited will of Parliament to support such interventionism. Nevertheless, Pitt's collective security goal continued to shape British strategy in the War of the First Coalition, and the same challenges continued to plague the British war effort. This led to failure in the war and left the British fighting on alone after the Treaty of Campo Formio secured peace between France and its last continental foe, Austria, on 18 October 1797.

This thesis serves to highlight the significance of food and diet in the servant problem narrative of eighteenth and nineteenth-century Britain and the role of food in master-servant relationships as a source of conflict. The study also shows how attitudes towards servant labor, wages, and perquisites resulted in food-related theft. Employers customarily provided regular meals, food, drink, or board wages and tea money to their domestic servants in addition to an annual salary, yet food and meals often resulted in contention as evidenced by contemporary criticism and increased calls for legislative wage regulation. Differing expectations of wage components, including food and other perquisites, resulted in ongoing conflict between masters and servants. Existing historical scholarship on the relationship between British domestic servants and their masters or mistresses in context of the servant problem often tends to place focus on themes of gender and sexuality. Considering the role of food as a fundamental necessity in the lives of servants provides a new approach to understanding the servant problem and reveals sources of mistrust and resentment in the master-servant relationship.

This thesis aims to explore an aspect of the history of vernacular speech through analysis of some eighteenth century verse texts. These satirical anti-Jesuit pamphlets by Nicolas Jouin, known as the 'Sarcelades', were collected posthumously in 'Le Vrai Recueil des Sarcelles' of 1764. The texts purport to be in the patois of the peasants of Sarcelles and show features which may be paralleled in the vernacular speech of Paris and elsewhere, and even correspond with features of contemporary colloquial French. The study may appeal to French historical sociolinguists interested in reconstructing spoken language of the past, and particularly in the history of vernacular speech of Paris since the Middle Ages through to the eighteenth century, in the context of the development of urban dialects. In order to set the scene for a linguistic description of Jouin’s work the limited biographical information available was collated. Then a period of bibliographical research led to acquisition of copies of the texts which were to be studied in order to identify and examine their non-standard linguistic features. Firstly the process of growth of urban dialects was discussed, and then the development of the Paris vernacular in particular. Then attention was turned to direct written evidence in the form of commentary and to a number of texts from the sixteenth to eighteenth centuries containing features of the Paris vernacular. These had already been analysed by certain historical linguists, although the texts in the 'Sarcelades' had hitherto only been briefly mentioned. However, here they are considered to be of sufficient interest to be examined more closely, although it had to be established whether Jouin’s texts containing a selection of non-standard features could be regarded as an accurate depiction of the Paris vernacular at the period. The non-standard phonetic, morphological, syntactic, and lexical features in the texts were therefore compared with findings in other texts by previous commentators. Following these analyses it was noted to what extent the relative frequency of the variables correlates with the salience of certain features in popular speech in Paris at the period, as already observed in other texts by previous commentators, and it was concluded that in general established characteristics of the 'patois de Paris' at the period are to be found in the 'Sarcelades', even though there do remain certain features which do not appear to be generally attested elsewhere. Nevertheless, despite reservations concerning the authenticity of some of the non-standard features employed by Jouin, by bringing attention to this little-known series of texts this study may help to claim a place for the Sarcelades amongst the corpus of texts which reflect aspects of the lower-class sociolect, the 'patois de Paris', at the period.

Né en 1727 à Briançon, Jean-Antoine Morand a 14 ans lorsqu’il se lance, suite à la mort de son père, dans une carrière artistique. C’est à Lyon qu’il s’installe et fonde, en 1748, un atelier de peinture. Il reçoit des commandes officielles et privées, travaille régulièrement pour la Comédie, se spécialise dans la peinture en trompe-l’œil et la scénographie, y compris les machines de théâtre. À la fin des années 1750, encouragé par Soufflot, il se tourne vers l’architecture et l’embellissement, ainsi que l’y disposent différents aspects de sa première carrière.Architecte autodidacte, Morand souffre d’un déficit de légitimité et tente d’y remédier en recherchant la reconnaissance publique. Mais ses succès, en particulier la construction à titre privé d’un pont sur le Rhône, n’y suffisent pas. La carrière de Morand est tiraillée entre fierté entrepreneuriale et appétence institutionnelle. Son image pâtit de l’opposition entre spéculation foncière et promotion du bien public. Cela concerne en particulier son grand œuvre, un projet d’agrandissement de Lyon sur la rive gauche du Rhône, compris dans un plan général donnant à la ville la forme circulaire.Morand a peu construit et il ne subsiste presque rien de son œuvre pictural. On dispose en revanche d’un fonds d’archives privé d’une grande richesse, sur lequel s’appuie cette thèse, afin de mettre au jour les intentions, les relations et la psychologie d’un architecte autrement méconnu. / Born in 1727, Jean-Antoine Morand is 14 years old when he embraces an artistic career, following his father’s death. Having settled down in Lyon, he establishes his own painter’s workshop in 1748. Receiving public and private commissions and working for the theatre on a regular basis, he specializes in trompe l’œil painting and stage-setting, including machinery. In the late 1750s, spurred on by Soufflot, he turns to architecture and city-planning, as various aspects of his previous career could have prompted him to.As an autodidactic architect, Morand suffers from a lack of legitimacy against which he pursues public recognition. But his successes, which include the building of a privately-owned bridge across the Rhône, aren’t enough. Morand’s career is torn between entrepreneurial pride and his longing for tenure. His public image is marred by the alleged opposition between land speculation and the defense of public good. This concerns mostly his great work, a project for the extension of Lyon on the left bank of the Rhône, included in a circular general city plan.Morand hasn’t built much and very little remains of his pictorial work. This thesis is based on an extensive private archive that allows us to explore this otherwise unsung architect’s intentions, relations and psychology.