The contributions made by American composers to the repertoire for women's chorus have increased significantly since 1940. This study was undertaken because previous investigations are international in scope and do not give an adequate view of the broad range of American works now available. Criteria established for works to be included in the study were as follows: (1) original compositions by American composers; (2) at least six minutes in duration; (3) available to the public from a publisher, composer, or repository of American works; (4) publication or composition date after 1940 and before 1980. The study includes both secular and sacred works. Qualitative comments were avoided because they were not consistent with the object of the study. Since numerous works are out of print and are almost impossible to obtain, the 91 works annotated in the study represent but a portion of the total output of American composers. Each annotation includes composer name; composer dates (when available); title of composition; date of publication or composition; text source; voicing; ranges of individual parts; level of difficulty; duration; accompaniment medium; and publisher and catalog information. A descriptive paragraph on the work in toto and on each movement or set piece briefly discusses text content, harmonic background, melody, rhythm, tessitura, meter, texture, form, role of accompaniment, and/or other salient features.

While hundreds of operas were composed by American women during the twentieth century, very few people, even seasoned operatic performers and audiences, know of their existence. Most of these operas have not been performed beyond their regional or private premieres, and little is written about them in sources addressing the topics of women composers, twentieth century opera, or American opera. Therefore, those responsible for programming them in educational and professional opera companies have had limited exposure to these works. My focus is on ten composers and a total of nineteen of their operas, providing short biographies about these women (Joyce Barthelson, Mary E. Caldwell, Vivian Fine, Eleanor Everest Freer, Miriam Gideon, Libby Larsen, Mary Carr Moore, Julia Smith, Faye-Ellen Silverman, and Nancy Van de Vate) and entries for each of their featured works. These listings detail the resources required for programming the operas, such as the types of voices and instruments needed, as well as musical styles and salient features within the work. In addition to addressing the components of the operas as a whole, six arias extracted from the nineteen works are examined closely, illuminating common themes that unite these operas. Prejudices and stereotypes concerning the perceived inferiority of the creations of women composers have helped to keep these works unknown, but by making these operas more accessible, by analyzing their possible performance difficulties and by simply bringing these works into the light, it is hoped that they may have a greater chance of being performed and studied in the future. / text

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The Jesus People movement arose in the United States in the late 1960s and early 1970s. Achieving its initial strength in California, this unique combination of the hippie counterculture and evangelical Christianity eventually spread to many parts of the country and briefly attracted a great deal of contemporary media and scholarly attention. Fading from the cultural spotlight rather quickly and eventually disappearing in the late 1970s, little attention was paid to the Jesus People in subsequent decades as both scholars of American religion and culture tended to either overlook the movement, or dismiss it entirely. This project argues that a closer re-examination of the entirety of the Jesus People phenomena--and not just its transitory period of 'California-heavy' media popularity--reveals that it was one of the most significant national religious movements of the postwar period. The Jesus People impacted both great numbers of young people in the counterculture as well as many young evangelical church youth who adopted the Jesus People persona and made it their own. Just as the lives of a significant number of 'Baby Boomers' were shaped by the counterculture, so the Jesus People movement was another of the major formative forces among American youth who came of age in the late 1960s and 1970s. Moreover, its influence remained significant within the American evangelical subculture in the decades that followed. Not only did burgeoning new groups such as the Calvary Chapel and Vineyard movements originate in the movement, but the Jesus People paved the way for the huge 'Contemporary Christian Music industry' and signalled a new relaxed relationship between evangelicalism and youth culture. Upon reexamination, it is clear that the Jesus People movement played an important role in the resurgence of American evangelicalism in the late twentieth and early twentyfirst centuries.

In 1946, House Beautiful's editor-in-chief Elizabeth Gordon launched the Pace Setter House Program, an annual series of exhibition houses that proposed a new modern architecture for postwar America. Set in direct opposition to Arts & Architecture's Case Study Houses, the Pace Setter houses criticized orthodox modernism, and offered a "livable" and distinctly American alternative. Organic design, particularly the work of Frank Lloyd Wright, further informed this new concept of American modernism, adding a rich layer of humanism, naturalism, and democratic idealism. Rejecting the Case Study prototype of universal solutions and prefabrication, the Pace Setter houses advocated a solution in which the craft of building guaranteed regional variation, artistic quality and individual expression. House Beautiful's Pace Setter Program, with its implicit organic roots, underscored one of the most charged architectural debates of the postwar period: the renewed tension between the specific and the general, the regional and the international, the individual and the collective. With the establishment of the Pace Setter House Program, Gordon developed a mature paradigm for the postwar house -- and simultaneously created a dynamic public forum for architectural debate. With the Pace Setters as counterpoint, she lashed out against the architectural current to attack what she viewed as the greatest threat to American design: the unlivable, autocratic, and foreign modernism of the International Style. Gordon's role in the larger architectural debate was critical, not only in her vociferous opposition to what she viewed as a blind continuation of an oppressive modernist lineage, but in her stalwart support of alternative design tropes. The Pace Setter Houses and their architects -- ranging from Cliff May to Alfred Browning Parker to Harwell Harris -- represented one battlefield in the aesthetic and philosophical struggle between the emerging modernisms of the postwar period. Accompanied by Gordon's insistent voice and publications, the Pace Setters became ammunition in an architectural revolution that, for House Beautiful, lasted nearly twenty years. The Pace Setters chronicled the emergence of a vital strand of American modernism, and provided a lens through which to view the ultimate integration and acceptance of modernism within the mainstream of middle-class America.

This dissertation complements those analytical studies which discuss choral works and techniques of contemporary choral composition, by examining what twentieth-century literature was actually performed within one of the choral traditions of the United States.The a cappella choral tradition has spread widely throughout the United States. Previous studies have examined the history of the pioneering a cappella choirs and the biographies of the movement's leaders. This study also complements them in examining another aspect of the a cappella tradition.Three representative choirs were chosen: the Concordia Choir from Moorhead, Minnesota, Paul J. Christiansen, conductor; the Nordic Choir of Luther College from Decorah, Iowa, Weston Noble, conductor; and the St. Olaf Choir from Northfield, Minnesota, Kenneth Jennings, conductor. These choirs were selected because each had a long tradition of touring -- consequently exposing a broader public to the literature they performed, because each choir has been widely acknowledged for performance excellence, and because each has had remarkable continuity in leadership -having only one or two conductors during the thirty-six year span included in this study.The program archives of each choir were examined to determine the twentieth-century literature which had been performed. Three conductors, Paul J. Christiansen, Kenneth Jennings, and Weston Noble, were interviewed with regard to their ideas concerning selection and preparation of twentieth-century choral music.Though each choir was found to have some distinct patterns, there were also several elements in common among the choirs:1. Each took. seriously the relationship between music and text, and the fact that the choirs were representatives of Lutheran colleges.2. Each emphasized the highest possible level of performance in order that the expressive and aesthetic qualities of the music sung would be comprehended by both singers and audience.3. Each has given a prominent place to twentieth-century music by American composers.4. Each has given a comparatively minor role to music by Scandinavian composers.5. Each has repeated certain works several times during the thirty-six years, helping to establish them in the choral repertory.6. Each has performed an approximately constant quantity of twentieth-century music during the thirty-six years, but each has tended to program progressively more challenging works as time goes on. Appendices present listings of the choral literature included in the study, of the repertory for each choir, and of currently available recordings by the three choirs of twentieth-century choral music. / School of Music

Indiana University-Purdue University Indianapolis (IUPUI) / This thesis investigates why twentieth-century philanthropists, such as Henry Ford, John and Abby Rockefeller, Henry du Pont, and Henry and Helen Flynt, developed American museums between 1925 and 1970. These individuals shared similar beliefs and ideological perspectives of American history, which shaped their museum-building efforts. Additionally, philanthropists had financial resources, social networks, and access to agents. The combination of these elements assisted in the establishment of their institutions. Over two generations, these museum builders established an American museum ideal through the implementation of their philanthropy. Philanthropists’ extensive financial resources, combined with philanthropic and museum-oriented ideas of the time, provided the impetus for the creation of new museums and collections. Furthermore, this work investigates Henry Ford as a case study of the philanthropic system used to establish these institutions. Ford’s agents mediated an exchange of artifacts and resources between Ford and average people, who were willing to give buildings, furnishings, and industrial machinery to the museum. This multi-directional system of philanthropy exemplifies the relationship between Ford as the philanthropist, his agents, and potential donors, to create his museums. Other philanthropists and institutions are referenced to further illustrate the museum building process and the role of philanthropy established at this time.

A terminal project report featuring the work of Margaret Shirley submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts.

This study is a serious effort to make a significant contribution to the underexamined field of Indian civil-military relations. The objective of the study is to set up a framework that helps explain changes in the division of labor between civilians and the military in India from 1947 to the present day. There are three basic themes in this dissertation that I seek to develop and explain in various chapters. The first theme examines key issues which directly address the divide between civilian and military functions. In discussing the division of labor between civilians and the military and changes affecting India’s structure of civil-military relations, I borrow Samuel Huntington’s general framework outlined in The Soldier and the State. Huntington’s framework provides the starting point for my argument by informing the reader about issues that emerge in the contestation of civilian space by the military. The second theme highlights the very different nature or experience of civil-military relations in India when compared to the United States. The third and final theme of this study seeks to illustrate differences in the nature of the Indian and American political systems. A major conclusion reached in this study is that the advent of nuclear technology in India has reduced the space between civilian and military functions, giving the military a greater role in shaping policy. / text

This dissertation examines Protestant narratives of post-1965 Korean American Christians, with regard to the formation of what it means to be Korean Americans. The focus of this dissertation is to find out how Korean Americans have reinterpreted their ethnic backgrounds and immigrant experiences in America based on the concept of God's chosen people in religious terms. They use this Christian identity for distinguishing themselves not only from Koreans but also from other minority groups in America. The chapter starts with an overview of the historical background of Korean Americans' pre-immigrant perspectives of America. Throughout Korea's history of despair under the colonization by Japan and the civil war followed by the national division, America has gained political, military and cultural hegemony over Korea, causing the emergence of so-called American fever, the idealization of American ways of life. This tendency motivated Korean Americans to leave their homeland for obtaining better social status and living conditions. These historical backgrounds have influenced the understanding of their post-immigrant lives in America. The following chapters discuss how Korean Americans make sense of their immigrant lives under the changing social contexts in both Korea and America. Pursuant to that goal, they investigate Protestant narratives in the sermons of influential Korean American pastors, testimonies and articles published in church magazines. In these narratives, the Christian symbols such as pilgrimage and Exodus sanctified their immigration by interpreting their transnational immigration as a sacred journey into God's Promised Land which they believed was America. Furthermore, their identification with the American Puritans and their manifest destiny to revive Christianity in America demonstrate their racial attitudes toward non-Korean ethnic groups in America. The commemorative Centennial Celebration of the Korean American church held in November, 2003 in the last chapter also serves as a stage where people weave diverse factors together to establish their group identities. For post-1965 Korean immigrants, Protestant narratives have contributed to the maintenance of Korean American identity as God's chosen people. They reflect the wish of Korean American to become a central group in mainstream American society as well as be part of American destiny as a global superpower, rather than to remain as a marginal group.