The thesis investigates the impact of western art music ('classical') upon the construction of Greek-European identity in the 19th century. Through the examination of institutions such as the Theatre of Athens that hosted the Italian opera for the better part of the 19th century, the Conservatory of Athens (1873), the Conservatory of Thessaloniki (1914), various 19th century literary societies, press content, scores, publications on music, and state regulations on education, the thesis utilizes both musical, as well as extra-musical material to construct a cultural and social history of Greece's understanding of the 'European' in relation to local Greek society through music between 1840 and 1914. At the same time, it highlights the importance of transnational institutional and interpersonal musical networks between Greece and Europe (mainly England, France, and Germany), to demonstrate how political and aesthetic preferences influenced long-term policy, cultural practice, and musical tradition. While examining the 19th century diplomatic, political, and cultural practices of the expanding 19th century Greek Kingdom, the thesis traces the development of western musical taste and practice in Balkan Greece in relation to the local modernizing society. It highlights the importance of local and European artistic agents and networks, identifies the tension between the projection of European identity and raw acoustic divergence, argues for about the contribution of music to the construction of Greek-European identity, and examines the cultural and political negotiations about the conflicting relationship between Byzantine-Hellenic-European-Modern Greek, as expressed through music and debates on music. The last part of the thesis assembles the 19th century material to explain the relationship between nationalism and musical practice at the turn of the 20th century, and as such the long-term influence of western art music upon the construction of Greek-European national identity.

Leung, Mei Ki. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (leaves 164-188). / Abstracts in English and Chinese. / Abstract --- p.i-ii / Acknowledgements --- p.iii-iv / Introduction --- p.1-15 / The English Musical Renaissance and the Problem of Englishness in Music / Chapter Chapter One --- England: “The Land without Music´ح --- p.16-46 / Chapter Chapter Two --- English Musical Nationalism and the Writings of Vaughan Williams --- p.47-76 / Chapter Chapter Three --- Reception of the Music and Ideas of Vaughan Williams --- p.77-116 / Conclusion: The Heirs and Rebels --- p.117-119 / Appendices / Chapter Appendix I --- Biographies of Twentieth-century English Critics Cited in This Study --- p.120-134 / Chapter Appendix II --- Scores of Works by Ralph Vaughan Williams --- p.135-163 / Bibliography --- p.164-188

Thesis (Ph. D.)--University of Oregon, 2001. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 357-366). Also available for download via the World Wide Web; free to University of Oregon users.

Thesis (Ph. D.)--University of Chicago, Department of Music, 2001. / Includes bibliographical references. Also available on the Internet.

Thesis (Ph. D.)--University of Oregon, 2001. / Typescript. Includes vita and abstract. "Publisher's no.: UMI 3018356." Includes bibliographical references (leaves 357-366). Also available for download via the World Wide Web; free to University of Oregon users.

Italian opera gained an odd resonance in eighteenth-century British sensibility. By turns loved and hated, it acted on the British imagination as a catalyst both for some of the age's most brilliant satire, and for some of the century's most unusual musical extravagances. This dissertation argues that, despite (or in some ways because of) the eventual failure of Italian serious opera and its English hybrid forms to attain status within the musical canon, the progress of opera played a vital role in shaping and reflecting the formation of British national identity, and that, reciprocally, attempts to find a national identity played a large part in opera's fate in Britain. For the competing forces and factions of Italian and English opera in 1730s London, the bid for supremacy was inevitably linked with an appeal to authority (whether that of royalty, the nobility, the populace, or ideologies of the nation) that involved stressing their link with the national interest. The first chapter examines the relationship between the consistently politicised language used to discuss opera and the mode of civic action and public spiritedness still requisite amongst the Nobility, charting ways in which aristocratic support of this foreign genre might be reconciled to British concerns. The second chapter looks to a particularly problematic instance of opera's apparent politicisation in the 1730s Lord Hervey's analysis of the division between Handel and the 'Opera of the Nobility' to propose a possible 'solution' through the two Ariannas of 1734. In so doing, it shows opera's role within a culture of emulation, emphasising the flexibility and social contingency of operatic interpretation. Coterminous with Italian opera, but of a lower status, were ballad and burlesque opera, their critique of national cultural identity all the sharper for their role as cultural and formal boundary markers. Chapter three demonstrates though exploration of the curious and much-criticised English 'opera', Hurlothrumbo (1729), that British dislike of opera was bound up with the deep-seated fear of luxury. While 'Hurlothrumbo' was used as a derogatory epithet until the end of the century, this operatic work also provides a fascinating example of how opera producers might try to negotiate British unease. Chapter four examines the concerted attempt in the 1730s to associate English opera and musical theatre with topics of national interest through composers' and playwrights' appropriation of the stories of historical British ballads as the local equivalents of the venerable texts of Italian opera. The fact that many of the works discussed are 'problem pieces', considered generically, authorially or hermeneutically unstable, points not only to the reason for indigenous opera's failure to achieve canonical status, but also to a more fundamental problem with the role of opera (and, indeed, music in general) in the still-forming British identity. In the final chapter I turn from the problems of opera to the undoubted success of Handel, who himself made the transition from opera to oratorio; I evaluate the composer's apotheosis as a national hero through examining manifestations of his image in the 1730s and at the time of his death.

Thesis (M.A.) - Carleton University, 2002. / Includes bibliographical references (p. 187-203). Also available in electronic format on the Internet.

Treatise (D.M.A.)--University of Texas at Austin, 2004. / Supervisors: Rebecca A. Baltzer and Eugene A. Gratovich. Vita. Includes bibliographical references. Also available from UMI.

Dissertation (D.M.A.)--The University of North Carolina at Greensboro, 2009. / Directed by Andrew Willis; submitted to the School of Music. Title from PDF t.p. (viewed May 5, 2010). Includes bibliographical references (p. 84-86).

Thesis (Ph. D.)--Ohio State University, 2003. / "Publisher's no.: UMI 3109131." Includes bibliographical references. Also issued online.