The main focus of this thesis is the representation of jazz music and its musicians, and the ways in which American (black and white) critics, novelists, and musicians interpret this music from the development of bebop to free jazz. My aim is to reveal the complexities of the dialogue between white and black representations of jazz, as well as among the self-representations of African American musicians. To this end, I discuss the discourses of jazz that are embedded within the broader cultural, political and ideological debates in this specific period, illustrating how the meaning of jazz is mediated through these conversations. Although jazz talks through the music itself, I argue that the representation of jazz largely depends on who talks about it. The introduction briefly sketches the context of earlier African American writings on music, from Frederick Douglass through the Harlem Renaissance and beyond. Chapter 1 deals with bebop and the ways in which it was seen as more or less expressive of a specific African American consciousness, and how critics shaped the general view of it. Chapter 2 further explores the African American views of music through James Baldwin short story, "Sonny's Blues". Chapter 3 traces the ways in which white writers used jazz for their own ends, focusing on some key terms such as 'hip' and 'cool'. Chapter 4 explores the complex relation between jazz and the new politics of black liberation through a number of key albums and figures, while Chapter 5 gives a more extended examination of these ideas through the figure of Charles Mingus. My conclusion attempts to look again at one of the themes of the thesis - who has the power to represent jazz - through a discussion of Ken Burns' Jazz.

Introduction. The scope of the problem: Treatises (in MS and in print) containing the rudiments of music and/or the theory of composition, from the end of the 16th century to the beginning of the 18th century. For purposes of comparison, the 17th century French theorists' works are examined; though they are fewer, and on the whole, they lagged behind their English contemporaries. Review of background literature. Part I. Chap. I. Title-page details of each treatise, and a brief account of the work and its writer. Chap. II. A survey of Playford's "Introduction to the Skill of Musick", which ran to 22 separate issues from 1654 to 1730. How the book developed and what additions and alterations were made. The 1694 edition, revised by Henry Purcell, is particularly interesting. Chap. III. An examination of the proposed musical reforms contained in Thomas Salmon's "Essay" (1672); and the arguments between Salmon and Matthew Locke. Part II. Chap. IV. The rudiments of music. Chap. V. The theory of composition. Part II comprises a concordance of the major subjects included in the different treatises, (e.g. the Gamut, Ligatures, False Relation, Cadences, etc.). The development of each subject is traced; plagiarisms observed; and rules and examples compared, analysed and criticised. Part III. Chap. V. Gresham College, London: source of instruction in the theory of music. An account of the 17th century music professors; the type of audience; and the lectures given. Chap. VI. The social significance of the 17th century treatises. The theorists writing for a wide audience: budding composers, amateurs, young practitioners, music lovers, those unable to procure personal tuition, etc. The popularity of the small compendium: inexpensive, "plain and easy"; a means of self-tuition. The prestige of music in the 17th century; the interest taken in theory and composition. Political, social and religious influences on musical developments. Appendices. Annotated copies of Ravenscroft's MS Treatise, and Dr. Blow's "Rules for Composition".

The autobiography of Tudor musician Thomas Whythorne (1528-1596) is rich with self-exploration, social commentary and intimate storytelling. His story begins at childhood, then progresses chronologically as he gains an education, becomes a music master, and rubs shoulders with some of the most prominent people in England. This rich historical source has been strangely neglected, particularly by social historians, since its discovery in 1955. No one in any discipline has so far attempted an overall assessment of Whythorne the man, his work, and his significance. This is my aim. Working outwards from a close examination of his unique manuscript (Bodleian MS. Misc.c.330), this study hopes to shed new light on the music profession in early modern England. Whythorne adds considerable clarity of focus to the professionalization of music in the sixteenth century, as seen through the eyes of one of its advocates. Chapter 1 reviews Whythorne’s own life story and compares it with available external evidence. Chapter 2 proceeds to mine the manuscript itself for further evidence of Whythorne’s motives and methodology, offering a number of new hypotheses regarding the dating, content, and structure of the manuscript. Chapters 3 and 4 explore the nature of the Tudor musical profession, proposing and exploring a ‘spherical’ model of the music profession (in place of a hierarchical model). These chapters examine the various ‘spheres’ or types of musicians in turn, comparing Whythorne’s descriptions to external evidence. Chapter 5 then examines private music tutors in greater depth, as this group have previously remained very shadowy figures. Finally, Chapter 6 examines the world of early music printing in England, and Whythorne’s pioneering place in it. It also explores the nature and function of his self-fashioning, arguing that Whythorne constructed an identity well outside the realm of the generic. By viewing early modern society through Whythorne’s lens and comparing it to contemporary sources, we can shed new light on early modern musicians in England, and on the society in which they lived.

The main part of the thesis comprises a two-volume reconstruction of the full score of the 1904 premiere version of Janacek's opera Jenufa (volumes II/1, II/2 and II/3). Jenufa was the work that belatedly brought Janacek first to national and then to international attention as an opera composer of the first rank, yet the version heard at the Brno premiere in 1904 had until recently been unheard since 1906. This is also the first completely newly-set edition of the full score in any version for nearly four decades. The companion volume (volume I) consists of a commentary including an introduction to the background history of the opera's composition, a detailed survey of the manuscript and printed sources used in the preparation of the edition, and a description of the methods used in identifying and reconstructing the 1904 version. It also includes a detailed overview of the revision process of which the 1904 version is a part, and which ultimately led to the more widely known 1908 and 1916 versions of the opera, as well as a consideration of some of the wider contextual issues to which the opera can be related, such as Janacek's broader stylistic development and contemporary operatic trends. A series of appendices includes relevant contemporary documents, a series of tables detailing cuts and other aspects of the sources, a discussion of the nature and role of the xylophone that plays a prominent part in Act 1 of Jenufa, and transcriptions of passages from the earliest, pre-1903 version of the Act 1 finale. NB For copyright reasons, the form of this thesis uploaded to http://etheses.nottingham.ac.uk does NOT include volumes II/1, 2 and 3. See volume I, p. xvii.

The role of musical opportunity in the future commercial and cultural viability of North-West England is secured by social and economic policy that emphasises the contribution of musical entrepreneurs and consumers to creative industries of the region. Yet though opportunity and opportunity recognition have become prominent policy concerns through scholars' response being restricted to attempts to explain their quantity and performance before or after the event of practice clear distinction has been made between entrepreneurs and their historical and institutional habitats and status and wealth have been posed unquestioned as central motivations. In turn conceptual abstractions have reproduced visions of practical and instrumental economic men or powerless and inert human black boxes that are thrown around by socio-economic movements like other 'non-producers' and scholars' capacity to study the nature of musical opportunities within human experience has been limited. Musical opportunities are of especial value for understanding the nature of entrepreneurial opportunities and practice more widely because it is within the experience that commercial setting may provoke organizational creativity. This doctoral thesis aims to understand the nature of musical opportunity as experienced by musical entrepreneurs operating in and around the Mersey basin of North-West England and distinguish how musical opportunities can contribute to understanding entrepreneurial practice more widely. The normative conceptual abstraction away from experience is reversed, so that opportunity becomes articulated by the entrepreneurial imagination. Situating opportunities within everyday imaginative experiences, clear distinction between producers, consumers, habitats falls away, and a range of entrepreneurial experiences are revealed that relate critically to the assumption that opportunity recognition is driven by sober calculations and interests in wealth and status. A multi-sited longitudinal ethnographic approach employing narrative and observational research techniques participates with different moments and different territories of musical opportunity and entrepreneurial practice that find their presence in relation to each other. The findings show that musical opportunities are often at odds with the current manifestation of opportunity in the management studies literature because its 'rationality' is less affording of space to imagine and create and can often omit significant personal and social connections. Musical organization is shown to be co-created as entrepreneurs resist or are unable to reproduce opportunities that are distinctly commercial. Rather than restricted to purely artistic or commercial interests, musical opportunity is animated amidst the interplay of human resources like entrepreneurial imagination and versatility and the historical and institutional settings musical entrepreneurs and consumers encounter throughout their lives. This maintains the authority of opportunity recognition for understanding organizational creativity through posing the experience in raw and mobile state: imagination.

This thesis offers the first in-depth study of the Swedish composer Ture Rangström (1884-1947) in English-language scholarship. Although Rangström is well known in Sweden, particularly for his sizable contribution to the art-song genre, his music is still unfamiliar on the international stage. This thesis considers the composer and his songs in their immediate context of early twentieth-century Stockholm, but also in relation to broader trends in pan-European musical developments, with a particular focus on issues of nationalism and modernism and the distinctive ways in which these were articulated in Swedish culture. In a series of case studies, songs drawn from across Rangström’s career are examined as musical expressions of Sweden’s literature, language, and landscape, and as a means of forming and conveying the composer’s sense of self. This thesis also corrects misrepresentations that have dominated Rangström’s reception and explores strategies for approaching the writings both by and about him that have been shaped by his habit of deliberate self-presentation.

Schumann's choral music provides a focus for an account of his later compositional career. Various original contributions to research are made. The Handelian influence behind his early choral writing is identified in Das Paradies und die Peri. An account of Schumann's choral societies gives an insight into the smaller-scale works. The Manfred music and the Corsar fragment show his use of melodrama. The Faustscenen are illuminated by the occasions which inspired them, especially the 1849 Goethe Festival. The unachieved oratorio Luther is described; and in Der Rose Pilgerfahrt the Biedermeier influence on Schumann is demonstrated. The Mass and Requiem show his response to Dusseldorf liturgical practice, and the four choral ballads stand on the threshold of opera, if not music drama. Consideration of Schumann's libretti shows his obsession for a type of redemption drama, possibly influenced by his struggle in the late 1830s to marry Clara Wieck. Appendices contain a worklist and select list of MS. sources; relevant diary entries; synopses of the narrative works; transcriptions of unpublished or unavailable works from 1847 and 1848; a transcription of Schumann's Luther scenario; the repertoire of his choral societies; and information on the size of his orchestra.

The essay briefly contextualizes the field of my compositional interest and accordingly proceeds to examine sound, space, and time from different grounds. The intention of this preliminary exercise is to derive a revised notion of onkyō (sound) in relation to time, which will be useful to comment on my works. The compositional approaches presented here do not only involve the use of computers, but also the acoustic and physical shaping of sound and attempts at incorporating yet more complex historical and cultural aspects of sound in composition. Where necessary, hard- and software technologies specific to the works have been devised and research papers published. These are also discussed.

Roger Quilter is best known for his elegant and refined songs, which are rooted in late Victorian parlour-song, and are staples of the English artsong repertoire. This thesis has two aims: to explore his output beyond the canon of about twenty-five songs which overshadows the rest of his work; and to counter an often disparaging view of his music, arising from his refusal to work in large-scale forms, the polished assurance of his work, and his education other than in an English musical establishment. These aims are achieved by presenting biographical material, which places him in his social and musical context as a wealthy, upper-class, Edwardian gentleman composer, followed by an examination of his music. Various aspects of his solo and partsong œuvre are considered; his incidental music for the play Where the Rainbow Ends and its contribution to the play’s West End success are examined fully; a chapter on his light opera sheds light on his collaborative working practices, and traces the development of the several versions of the work; and his piano, instrumental and orchestral works are discussed within their function as light music. The thesis concludes that, far from being merely a composer of drawing-room songs, Quilter shows a considerable quality across the breadth of his music.

How audiences perceive Chineseness and the characteristics that perform this impression have become an increasingly important factor in contemporary Chinese musical discourse. Over the last century, the interaction between national and international perspectives has played a vital role in the production, spread and reception of Chinese style popular music in the Greater Chinese community. This thesis is a reception-based study. It draws on ethnography, reception theory, online/archival resources and musical and textual analysis in an attempt to reveal the identities and connotations of the concept of Chinese style in popular music, based on three case studies: Shanghainese Pops, Northwest Wind and China Wind. The six main chapters, in addition to the Introduction and Conclusion, are divided into two strands: Music and Identity (Part I), and Gender and Performance (Part II). This research takes audience as its key subject in examining Chinese popular music through ethnographic investigations. It aims to fill in the gap left by previous (ethno)musicological research on China, by showing various links between popular music, local culture and social life, thus deepening the perception and understanding of Chinese (style) popular music.