Thesis (doctoral)--Universität zu Tübingen, 1912. / Vita. "Berichtigungen" tipped in at leaf [1]. Includes bibliographical references (leaf [1]).

Thesis (doctoral)--Universität zu Tübingen, 1912. / Vita. "Berichtigungen" tipped in at leaf [1]. Includes bibliographical references (leaf [1]).

Music from the True Vine: Mike Seeger’s Life & Musical Journey. By Bill C. Malone. (Chapel Hill: University of North Carolina Press, 2011. pp. xii, 235.)

Thesis (Ed.D.)--Teachers College, Columbia University, 1989. / Typescript; issued also on microfilm. Sponsor: Lenore M. Pogonowski. Dissertation Committee: Harold F. Abeles. Bibliography: leaves 322-324.

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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."

This study investigates the role music played in the Civil Rights Movement as a form of political protest. The first part of the studies analyzed how political protest music was used in the early part of the twentieth-century leading up to the Civil Rights Movement of the 1960s. An analysis of the role of music in African-American culture also provides a historical background to the music-making of the Civil Rights Movement. Specific musical forms such as topical ballads, freedom songs, and spirituals are examined. In addition, musical influences of African culture as well as religious influences on music-making during the Civil Rights Movement are also examined. The second section of the paper investigates the life and murder of NAACP organizer Harry T. Moore of Mims, Florida. Moore’s life and death became the subject of a topical ballad, “The Ballad of Harry T. Moore”, composed in 2001 by musical group Sweet Honey In The Rock. An analysis of the song’s, literary, political, and musical connections to the ideology and music of the Civil Rights Movement, as well as subject matter, gives evidence that places the song within the tradition of the musical protest activities of the Civil Rights Movement