The purpose of this study is to provide a historiographical and musical analysis examining the jazz ride cymbal pattern, from its inception on woodblock, small accessory cymbals, hand cymbal mechanisms and brushes through what becomes known as the modern-day ride cymbal pattern. This research examines a wide array of drummers and bandleaders, with the objective of identifying the earliest recordings of this important addition to jazz drumming, and popular music history while analyzing the ride cymbal pattern's evolution through definitive recordings. The study begins with the earliest known recordings that clearly display the pattern as it is played on any of the instruments mentioned above. The research concludes with the jam sessions of the early 1940s at Minton's Playhouse, where the pioneer of bebop drumming, Kenny Clarke, experimented with altering the pattern. At this point, the pattern reach its final level of maturity and has since experienced no subsequent major modification. The historical and geographical analysis uses relevant literature from the field of jazz history in order to interpret and evaluate the impact of the the overall trajectory of the music and players. By surveying newspaper and magazine articles, archival interviews, and photographic sources, combined with audio and film analysis, it is clear that drummers navigated a path to the maturation of the pattern.

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Although not well known to students of American history today, General John Armstrong was, in his day, a prominent and colorful public figure. From 1804 to 1810, he held the difficult position of United States Minister to France at a time when the world was in upheaval resulting from the Napoleonic Ware. As Great Britain and France struggled for supremacy, the United States--the world's foremost neutral commercial power--was slowly, but inevitably, drawn into this struggle, becoming the victim of the hostile edicts of the two major belligerents, as they wantonly violated established practices of international law.

Ce mémoire aborde la récupération de la musique à des fins politiques en interrogeant le rapport ambigu entre propagande et diplomatie musicale pendant la Guerre froide. Centrée principalement sur la production musicale aux États-Unis dans les années 1950, l’étude s’attarde aux stratégies adoptées, autant par des musiciens jazz que classique, pour critiquer et dénoncer les politiques discriminatoires d’une chasse aux sorcières communistes lancée par le sénateur républicain Joseph R. McCarthy (1908-1957). Elle montre également comment les dirigeants des États-Unis ont cherché à encenser les valeurs américaines en promouvant internationalement le jazz comme symbole démocratique, en particulier contre l’Union soviétique. Les deux premiers chapitres servent à camper le décor : le premier chapitre brosse par une mise en contexte un portrait politique et historique de la Guerre froide – en partant du postulat que celle-ci trouve ses racines dans la Révolution d’octobre 1917 –, et introduit le contexte sociopolitique des années 1950 en mettant l’emphase sur l’importante influence qu’a eue le maccarthysme, conception politique anticommuniste du sénateur McCarthy, sur la vie américaine. Le deuxième chapitre, également de mise en contexte, établit les différences entre les politiques culturelles américaines et soviétiques. Ce chapitre présente le Cultural Presentations program, le programme d’échanges culturels subventionné par le département d’État, de même que les relations culturelles officielles entre les États-Unis et l’URSS de 1958 à 1985. Les deux derniers chapitres présentent des études de cas afin d’illustrer l’impact sociopolitique sur la vie et la production musicales des années 1950. Le troisième chapitre analyse la présence du jazz au sein du Cultural Presentations program et retrace le parcours de quatre grands musiciens jazz ayant pris part au programme pour faire rayonner le jazz à l’international, tout en soulignant l’ironie d’utiliser des Afro-Américains comme représentants de la démocratie d’une Amérique ségrégée. Le quatrième chapitre traite spécifiquement du genre lyrique américain et des critiques du maccarthysme inscrites dans certaines œuvres de ce répertoire. Une attention particulière est portée à l’opérette Candide de Leonard Bernstein (1918-1990), en raison de l’engagement politique notoire du compositeur et du propos explicitement politique de l’œuvre. Cette recherche vise, en somme, à faire un état des lieux de la récupération politique de la musique en mettant en relation deux visions différentes de son utilisation aux États-Unis / This thesis addresses the subject of the political employment of music by questioning the ambiguous relationship between propaganda and musical diplomacy during the Cold War. Focusing mainly on the musical production in the United States in the 1950s, this study examines the strategies adopted by both jazz and classical musicians to criticize and denounce the discriminatory policies of this communist witch-hunt embodied by Republican Senator Joseph R. McCarthy (1908-1957). It also shows how U.S. leaders have sought to promote American values by internationally promoting jazz as a democratic symbol, particularly against the Soviet Union. The first two chapters serve to set the stage: the first chapter provides a contextualized political and historical portrait of the Cold War – starting from the premise that it is rooted in the October 1917 Revolution –, and introduces the socio-political context of the 1950s by emphasizing the important influence that McCarthyism, the anti-communist political conception of Senator McCarthy had on American life. The second chapter, also contextualizing, establishes the differences between American and Soviet cultural policies. This chapter introduces the Cultural Presentations program, the cultural exchange program funded by the Department of State, as well as the official cultural relations between the United States and the USSR from 1958 to 1985. The last two chapters focus on case studies to illustrate the socio-political impact on music life and productions in the 1950s. The third chapter discusses the presence of jazz in the Cultural Presentations program and traces the journey of four great jazz musicians who took part in the program to promote jazz internationally, while highlighting the irony of using African Americans as representatives of democracy in a segregated America. The fourth chapter deals specifically with the American operatic genre and the criticisms of McCarthyism in some works of this repertoire. Particular attention is paid to Leonard Bernstein’s (1918-1990) operetta Candide, due to the composer’s notorious political commitment and the explicitly political purpose of the work. This research aims to take stock of the political usage of music by linking two different visions of its use in the United States.

This study searches for the origin and history of the concept of individual accountability and the reason for its absence in the African Traditional Religion framework. This search begins in the Axial Age (800-200 BCE), and discusses ancient Israel's Axial Age and its Axial Hebrew prophets' response models. The study tracks the introduction of Axial ideals to South Africa, via Christianity since 1826, and examines the Xhosa prophets' response models to their Axial context. The Social Christians attempts to impart Axial ideals during the period of segregation and the Tuskegeean response model are also examined. The similarities between ancient Israel and South Africa as revealed by Biblical archaeology, underlie this study's call for the utilisation of the power of religions such as Christianity, and of South Africa's religious elite, to rapidly alter current maladaptive beliefs within the African Traditional religious framework that impedes Africans' ability to adopt individual accountability. / Biblical and Ancient Studies / M. A. (Biblical Archaeolgy)

This study searches for the origin and history of the concept of individual accountability and the reason for its absence in the African Traditional Religion framework. This search begins in the Axial Age (800-200 BCE), and discusses ancient Israel's Axial Age and its Axial Hebrew prophets' response models. The study tracks the introduction of Axial ideals to South Africa, via Christianity since 1826, and examines the Xhosa prophets' response models to their Axial context. The Social Christians attempts to impart Axial ideals during the period of segregation and the Tuskegeean response model are also examined. The similarities between ancient Israel and South Africa as revealed by Biblical archaeology, underlie this study's call for the utilisation of the power of religions such as Christianity, and of South Africa's religious elite, to rapidly alter current maladaptive beliefs within the African Traditional religious framework that impedes Africans' ability to adopt individual accountability. / Biblical and Ancient Studies / M. A. (Biblical Archaeolgy)

The use of temporary, prefabricated buildings in Britain during the twentieth century arose from wartime need to provide better, and perhaps more importantly, portable shelter for troops and equipment. This thesis provides the first comprehensive list of hut designs for the First and Second World Wars. The full lists and descriptions of each hut are given in the appendices. These lists, 20 types for the First World War and 52 from the Second World War, show the huge range and scope of the huts used and is the major contribution of this thesis. The concentration here is on generic types. Some huts were designed as one-offs and there is no possible way to catalogue these. This thesis has focused instead on those designs or industrially-produced types, which were meant to be produced en-masse as generic solutions to the problem: the sort of hut that might justifiably be given a name (such as a ‘Tarran’, a ‘Seco’, etc.). This thesis provides essential information enabling historians to be able to identify these types. It uses primary and secondary sources to trace the development of these huts and the effect that wartime shortages had on their design. Beginning with the earliest examples of temporary military building, it then focuses on the huts of the First and Second World Wars followed by a study of huts grouped in chapters by material. This research shows that the wartime period pushed industry to make giant leaps forward with construction methods and materials in just a few short years, where otherwise it may have taken decades. This thesis aims to provide the first overview of this process and to enable future researchers to identify and understand the development of these important wartime structures, many of which survive to this day.

In Rhythm Changes: Jazz Rhythm in the African American Novel, I demonstrate how novelists from the Harlem Renaissance to the Black Arts Movement adapted jazz rhythm into literary form. In the prologue to Invisible Man, Ralph Ellison famously defines invisibility as a state of being “never quite on the beat.” Ellison frames the novel as a kind of translation of the “invisible” rhythm the narrator hears in Louis Armstrong, a syncopated rhythm rooted in Black aesthetic and cultural forms. “Could this compulsion to put invisibility down in black and white be thus an urge to make music of invisibility?” Ellison was not alone in this project. The writers I study all exemplify what Duke Ellington calls a “tone parallel”—the concept that literary form could reproduce or “parallel” the particularities of musical form. However, these writers find literary strategies to transcend parallelism, such that the lines between medium begin to touch. Considering devices that cut across music and literature—anaphora, antiphonal dialogue, polysyndeton, parataxis—I argue that novelists, not just poets, respond formally to the rhythmic concepts they hear on the bandstand, synthesizing these innovations with a broader literary tradition. Rudolph Fisher’s novel The Conjure-Man Dies brings the complex rhythmic sensibility of Louis Armstrong to detective fiction; Ann Petry’s The Street channels the rhythmic phrasing of Ethel Waters in a “novel of social criticism”; Ellison’s epic unfinished second novel follows the paratactic rhythm of the preacher and jazz trombonist; and Amiri Baraka’s The System of Dante’s Hell projects the rhythm of Sonny Rollins and Cecil Taylor onto Charles Olson’s “Projective Verse.” By finding the literary in the musical and vice versa, these novelist-experimenters move beyond Pater’s credo that all art aspires to the condition of music.

The evidence of these diaries, all written in the nineteenth century, reveals the heterogeneous nature of early settler society in the Eastern Cape. Generalizations can only be of the most tenuous kind in such a small sample; but women tend to dwell on the domestic, the men on their public lives, the most reticent about their private lives are the soldiers. There is one diary which can be described as personal; the diarists did not regard their diaries as appropriate repositories of their personal triumphs and failures. The perceptions formed in Britain about the land and people of Africa are not drastically modified upon arrival unless the diarist experiences a prolongued contact with either.