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Charles Ives is commonly referred to as the "Father of American Music." The implication is one that Ives himself would agree with, that he wrote purely American ideas from his own environment without reference to other styles or methods, in particular the widespread European tradition. Some composers, like Aaron Copland and Roger Sessions, created an American sonority by incorporating the concepts of musical construction they studied at the Paris Conservatoire. Ives, conversely, received no instruction in Europe, but the techniques so prevalent in the music of the French art song are found in certain songs written by Ives. Though he claimed no European influence, however, he used the late nineteenth century French song style in some of his songs, and he also borrowed tunes from the French composers. This study identifies significant trademarks of eighteenth century French song and the stylistic traits associated with a variety of prominent composers of the time. Ives's childhood musical influences, his church position, and his studies at Yale University will establish a relationship between Ives and the French musical ideas. The primary source for his songs is his collection entitled 114 Songs. Ives gathered his songs and put them into one collection which included Four French Songs. Through the analysis of several songs, including the four French songs written by Ives and three comparisons of songs by Ives with songs by French composers, it becomes evident that Ives was influenced, to a certain extent, by French music and used many techniques of the style.

The music and texts of the Jewish liturgy are commonly called the Sacred Service. Choral settings of this liturgy form a distinct genre of choral music. Despite the rich history and influence of the text itself, relatively few composers have set it chorally. Among the two most influential settings are Avodath Hakodesh (1933) by Ernest Bloch and Darius Milhaud’s Service sacré (Sacred Service) of 1947. Temple Emanu-El Reformed Congregation in San Francisco commissioned both under the leadership of Cantor Reuben Rinder, and the two pieces have many similarities. The focus of the present research is on expressive text-setting in the Service sacré of Darius Milhaud. My research suggests that study of Milhaud’s personal beliefs and religious background can help explain some of the composer’s compositional decisions in Service sacré. Milhaud’s background includes deep roots in the Jewish tradition, but he also shows a keen appreciation for aspects of Christian theology. Prior to this study, Milhaud’s intent to expressively set the text has not been thoroughly considered. Particularly interesting are his settings of texts that deal with themes such as salvation and redemption, including movements such as Tsur Yisrael (Mvt. V), Praised be Thou, O Lord (Mvt. VI), and Returning the Scroll to the Ark (Mvt. XII). These topics of salvation and redemption are usually deemphasized in the Reformed Jewish perspective. Yet, in Milhaud’s work, these portions are highlighted through his compositional settings.