Paul L. Rosenfeld ( 1890-1946) almost single-handedly established the music of living American composers on a solid critical foundation in the period between the two world wars. Although he built a reputation chiefly as a critic of music, he was a man ofletters who ranged across all the arts with unrivaled competence and ease. Rosenfeld's contemporaries acknowledged him as a champion of that strain of modernism which celebrated the interrelatedness of the arts. His importance for the wider culture of early twentieth-century American modernism also lay in his seriousness about the arts. Rosenfeld earned forward the American democratic and romantic belief, epitomized by Walt Whitman and Alfred Stieglitz, in the capacity of art to articulate basic values that enrich and even ennoble the human person. Such an idealistic conception of the value of art was increasingly losing favor among the American literati during the 1920s, the period when Rosenfeld enjoyed his greatest influence and prestige. During this decade of"terrible honesty," American intellectuals tended to dismiss the "ideals of men" in favor of a single-minded interest in a more bitter realism. Inasmuch as they denigrated the notion that art held any kind of privileged status as a conveyor of values, they were in effect nascent postmodemists. This study ofPaul Rosenfeld's life and work examines the achievements ofPaul Rosenfeld as a critic of the arts in their relation to the wider American culture of the interwar years, and as a purveyor of modernism against the background of the first strains of postmodemism. It will also treat at length Rosenfeld's efforts as a writer, editor, and minor philanthropist on behalf of establishing a distinctively American music, literature, and painting. This cultural nationalism, I argue, is best understood as part ofRosenfeld's modernist project. To a lesser degree this thesis also deals with the changing position of the man of letters in American life. / History / D. Litt et Phil. (History)

This dissertation seeks to explore how the exercise of political power and the music industry impacted each other in South Africa under apartheid during the 1980s. It does so by looking firstly at the ways in which the South African government used music to promote apartheid. Secondly, it looks at the role of South African popular musicians in the struggle against apartheid in the country, specifically their role in civil society and the methods they employed to fight apartheid while avoiding censorship. It looks at key musical developments of the decade and explores their political implications, focusing on three popular genres: bubblegum (or disco), crossover and reggae. Thirdly, it explores the role of South African music and musicians in the struggle against apartheid outside South Africa. Finally, it looks at the role of music in the international anti-apartheid movement and the contribution of the international music community to the struggle. / Political Sciences / M.A. (African Politics)

The aim of this study was to critically explore the constructions of Muslim identities in selected Black African American popular music composed before and after the 11th of September 2001. This study is interdisciplinary because it used popular culture theories developed by Hall, Strinati, Storey and Gilroy’s concept of the Black Atlantic. Postcolonial literary theories of Bhabha, Spivak and Fanon were also used. The study demonstrated that the content and style of the lyrics by Public Enemy, Talib Kweli, Paris, Lupe Fiasco, Kanye West, Scarface, Miss Eliot, Missundastood, Erykah Badu and KRS-One have been influenced by Islam’s religious versions of the Nation of Islam, Five Percenters or Nation of Gods and Earths and Sunny Islam. Individual singers also manipulated the spiritual symbols and cultural resources made available to them in the Islam religion. Black African American singers more or less share common historical experiences, but they constructed and depicted Muslim identities differently because of their class, generational and gender backgrounds. Chapter one introduced the area of study, justified it and adopted an eclectic theoretical approach in order to account for the diverse constructions of Muslim identities in the songs composed by black African American hip hop singers. Chapter two provided an extended review of literature for the study. Chapter three explored the influence of the Nation of Islam on the singers and its creative manipulation by the black singers. Chapter four explored religious hybridity because the lyrics draw from Islam and Christian eschatological values. Chapter five used lyrics by three black female singers and revealed how they reconfigured differently, Black Muslim identities in a musical industry predominantly patronised by male singers. Chapter six explored the use of language in signifying different meanings of Muslim-ness in order to arrive at different definitions of pan Black Islamic musical consciousness. Chapter seven concluded the study by summarising the central argument of the study which was that black African American singers have referenced cultural symbols from Islam and in the process manipulated Islam’s religious metaphors to suggest different and alternative models for the black communities in the United States of America. / English Studies / D. Litt. et Phil.

The Composers' Collective, founded by leftist composers in 1932 New York City, sought to create proletarian music that avoided the "bourgeois" traditions of the past and functioned as a vehicle to engage Americans in political dialogue. The Collective aimed to understand how the modern composer became isolated from his public, and discussions on the relationship between music and society pervade the radical writings of Marc Blitzstein, Charles Seeger, and Elie Siegmeister, three of the organization's most vocal members. This new proletarian music juxtaposed revolutionary text with avant-garde musical idioms that were incorporated in increasingly greater quantities; thus, composers progressively acclimated the listener to the dissonance of modern music, a distinctive sound that the Collective hoped would become associated with revolutionary ideals. The mass songs of the two Workers' Song Books published by the Collective, illustrate the transitional phase of the musical implementation of their ideology. In contrast, a case study of the song "Chinaman! Laundryman!" by Ruth Crawford Seeger, a fringe member of the Collective, suggests that this song belongs within the final stage of proletarian music, where the text and highly modernist music seamlessly interact to create what Charles Seeger called an "art-product of the highest type."

The years 1815 to 1867 marked the first protracted period of peace in Nova Scotia’s colonial history. While the immediate effects of peace were nearly disastrous, these years ultimately marked a formative period for the province. By the eve of Confederation, various social, cultural, political, economic, and technological developments had enabled Nova Scotia to become a mature province with a distinct identity. One of the manifestations of this era of community formation was the emergence of a cosmopolitan-oriented music culture. Although Atlantic trade routes ensured that Nova Scotia was never isolated, the colonial progress of the pre-Confederation era reinforced and entrenched Nova Scotia’s membership within the Atlantic World. The same trade routes that brought imported goods to the province also introduced Nova Scotians to British and American culture. Immigration, importation, and developments to transportation and communication systems strengthened Nova Scotia’s connections to its cultural arbiters – and made possible the importation and naturalization of metropolitan music practices. This dissertation examines the processes of cultural exchange operating between Nova Scotia and the rest of the Atlantic World, and the resultant musical life to which they gave rise. The topic of music-making in nineteenth-century Nova Scotia has seldom been addressed, so one of the immediate aims of my research is to document an important but little-known aspect of the province’s cultural history. In doing so, I situate Nova Scotia’s musical life within a transatlantic context and provide a lens through which to view Nova Scotia’s connectivity to a vast network of culture and ideas. After establishing and contextualizing the musical practices introduced to Nova Scotia by a diverse group of musicians and entrepreneurs, I explore how this imported music culture was both a response to and an agent of the formative developments of the pre-Confederation era. I argue that, as Nova Scotia joined the Victorian march of progress, its musicians, music institutions, and music-making were among the many socio-cultural forces that helped to transform a colonial backwater into the civilized province that on 1 July 1867 joined the new nation of Canada.

The years 1815 to 1867 marked the first protracted period of peace in Nova Scotia’s colonial history. While the immediate effects of peace were nearly disastrous, these years ultimately marked a formative period for the province. By the eve of Confederation, various social, cultural, political, economic, and technological developments had enabled Nova Scotia to become a mature province with a distinct identity. One of the manifestations of this era of community formation was the emergence of a cosmopolitan-oriented music culture. Although Atlantic trade routes ensured that Nova Scotia was never isolated, the colonial progress of the pre-Confederation era reinforced and entrenched Nova Scotia’s membership within the Atlantic World. The same trade routes that brought imported goods to the province also introduced Nova Scotians to British and American culture. Immigration, importation, and developments to transportation and communication systems strengthened Nova Scotia’s connections to its cultural arbiters – and made possible the importation and naturalization of metropolitan music practices. This dissertation examines the processes of cultural exchange operating between Nova Scotia and the rest of the Atlantic World, and the resultant musical life to which they gave rise. The topic of music-making in nineteenth-century Nova Scotia has seldom been addressed, so one of the immediate aims of my research is to document an important but little-known aspect of the province’s cultural history. In doing so, I situate Nova Scotia’s musical life within a transatlantic context and provide a lens through which to view Nova Scotia’s connectivity to a vast network of culture and ideas. After establishing and contextualizing the musical practices introduced to Nova Scotia by a diverse group of musicians and entrepreneurs, I explore how this imported music culture was both a response to and an agent of the formative developments of the pre-Confederation era. I argue that, as Nova Scotia joined the Victorian march of progress, its musicians, music institutions, and music-making were among the many socio-cultural forces that helped to transform a colonial backwater into the civilized province that on 1 July 1867 joined the new nation of Canada.

Indiana University-Purdue University Indianapolis (IUPUI) / Opposing the culture of différance created through American cultural media, this thesis argues, Arab hip-hop artists revive the politically conscious sub-genre of hip-hop with the purpose of normalising their Arab existence. Appropriating hip-hop for a cultural protest, Arab artists create for themselves a sub-genre of conscious hip-hop – Arab-conscious hip-hop and function as Gramsci’s organic intellectuals, involved in better representation of Arabs in the mainstream. Critiquing power dynamics, Arab hip-hop artists are counter-hegemonic in challenging popular identity constructions of Arabs and revealing to audiences biases in media production and opportunities for progress towards social justice. Their identity (re)constructions maintain difference while avoiding Otherness. The intersection of Arab-consciousness through hip-hop and politics of identity necessitates a needed cultural protest, which in the case of Arabs has been severely limited. This thesis progresses by reviewing literature on politics of identity, Arabs in American cultural media, Gramsci’s organic intellectuals and conscious hip-hop. Employing criticism, this thesis presents an argument for Arab hip-hop group, The Arab Summit, as organic intellectuals involved in mainstream representation of the Arab community.

Indiana University-Purdue University Indianapolis (IUPUI) / This thesis is a study of how people in the nine counties of central Indiana learned, appreciated, and performed music from 1800 to 1840. A concluding proposal for a public history application of this research is included.