This dissertation is a biography of American missionary Frank W. Price, friend and advisor to Madame and Generalissimo Chiang Kai-shek, and KMT official for two decades. Price was closer to Chiang than any other American, yet no one has attempted to unravel his role within Chiang’s government or his impact on Sino-U.S. relations. This dissertation makes that attempt, giving special attention to the years between 1937 and 1947, during which Price was most involved with Chiang and the KMT. Groundbreaking research was undertaken in Taiwan, the United States, and China. New archives and family collections were used, and recently declassified documents were accessed in the United States through the Freedom of Information Act. Chiang’s diaries were utilized and interviews conducted with at least twenty individuals in China, the United States, and Taiwan, most of whom either knew Frank Price or whose parents or spouse worked with him. These interviews include Price’s son and niece. In the final analysis evidence will reveal that though his ultimate policy impact was minimal, missionary Frank Price was a valued member of Chiang’s political inner circle, acting, for more than a decade, as a diplomatic backchannel between Chiang Kai-shek and President Roosevelt’s administration. The dissertation demonstrates that unconventional actors – missionaries specifically – may have been more involved in Sino-U.S. relations during China’s Nationalist period, particularly during the Second Sino-Japanese War, than has been previously supposed. It will also be asserted that Price’s role in the China Lobby indicts the KMT for secretly exerting influence on that lobby as early as 1938. / published_or_final_version / History / Doctoral / Doctor of Philosophy

The purpose of this thesis is to identify essential characteristics of the first generation of Romantic landscape painters and painting movements in a given English-speaking country which followed the generation of Turner, Constable and Martin in England, and then trace how the second generation of Romantic-realist painters represents a different paradigm. For a paradigmatic construct of the first generation, the focus is on the lives and major works of the American arch-Romantic landscape painter Thomas Cole (1801--1848) and the Australian Romantic landscape painter Conrad Martens (1801--1878). The second generation model features the American Frederic Edwin Church (1826--1900), the Australian William Charles Piguenit (1836--1914), and the British Canadian Lucius Richard O'Brien (1832--1899). Cole and Martens, closer to their predecessors in England, created dynamic paradigm shifts in their new countries. Following them, the second generation of Romantic-realists produced a synthesis of romanticism, scientific naturalism, and nationalistic symbolism.

Charles Frederick Ulrich (1858-1908) is best-known today for his paintings of figures at work, exhibited in New York between 1882 and 1884. By portraying both males and females at their work tables, Ulrich was showing middle-class individuals occupied with tasks informed by both knowledge and culture. This thesis describes these works as a way of exploring the artist's New York career, especially in regards to such current issues as immigration, labor, and social awareness. Charles F. Ulrich left no diaries, journals, or sketches to aid in the investigation of his artwork and life. While no verbal clues exist, this study reveals how Ulrich's work is filled with visual signs that invite interpretation. Not surprisingly, since he was raised in a household of German immigrant parents and spent several years of artistic training in Munich, Ulrich's pictures manifest, above all else, the strength of his German heritage.

published_or_final_version / Chinese / Master / Master of Philosophy

published_or_final_version / Chinese / Master / Master of Philosophy

published_or_final_version / Chinese / Master / Master of Philosophy

published_or_final_version / Chinese / Master / Master of Philosophy

The purpose of this document is to examine the Spanish folk elements used in original compositions for the harp written by the Spanish composers Jesus Guridi, Gerardo Gombau and Victorino Echevarria. The document demonstrates that the harp is particularly suitable to convey the essence of the rhythmic, harmonic and melodic elements of traditional Spanish folk music. Spanish composers, particularly Jesus Guridi (Viejo Zortzico) Gerardo Gombau (Apunte Betico) and Victorino Echevarria (Capricho Andaluz), adapted elements of Spanish folk music such as cante jondo to create original nationalistic music that is idiomatic for the harp, resulting in effective concert pieces for the instrument's repertoire. The first chapter is devoted to the arrival and development of the harp in Spain. The second chapter discusses a history of the harp department at the Real Conservatorio Superior de Musica of Madrid which was established in 1830. This chapter also includes biographical and historical information about harp professors that taught there and the role that this conservatory played in developing distinctive Spanish compositions for the modern harp. Chapter three will discuss the harpists who inspired twenty-century Spanish composers. The subsequent three chapters will cover Jesus Guridi's, Gerardo Gombaus and Victorino Echevarria's lives, influences, and an analysis of their harp compositions: Viejo Zortzico , Apunte Betico and Capricho Andaluz respectively, highlight the Spanish folk elements used, and how composers incorporated these elements into their compositions to create a distinctive sound and fascinating show pieces for the concert harpist.

John J. Heney (1902-78), percussionist(1926-31) and xylophone soloist (1931) with the John Philip Sousa Band, composed, arranged, and transcribed five solos for xylophone solo and accompaniment. Only three of these works were published. Of the published works, none is currently in print. Through extensive score study and critical analysis of existing recordings, this study examines and documents the performance practice of John Heney's xylophone solos. The works are also assessed for their overall value in relation to today's music performers and teachers. John J. Heney's life as a performer, music educator, and teacher is documented in an in-depth biography, with particular attention given to his years with the John Philip Sousa Band.

David Maslanka's music has been widely performed in the United States, Canada, Europe, Australia, and Japan; however, to date, there are only two published documents that provide information about his music. J. Patrick Brooks presented a theoretical analysis of Maslanka's Concerto for Piano, Winds and Percussion in his D.M.A. dissertation, and in The College Band Director's Journal1 Thomas Wubbenhorst published an article in which he discussed Maslanka's wind band piece, A Child's Garden of Dreams. This author's document will further contribute to what has already been written about David Maslanka and his music. According to recent research, there are no studies that focus on Maslanka's use of chorale tunes in his wind band compositions. In addition to the composition selected for this document, Maslanka uses chorale tunes in numerous other wind band works, such as A Tuning Piece: Songs of Fall and Winter (1995), Montana Music: Chorale Variations (1993), and Symphony No. 4 (1993). The purpose of this document is to help musicians understand David Maslanka's use of a chorale tune in In Memoriam. Chapter 1 contains biographical information about David Maslanka, including an explanation of the influences of J. S. Bach and C. G. Jung, and a general commentary on Maslanka's compositional style. Chapter 2 contains a description of his use of a chorale tune in In Memoriam and the compositional techniques he uses with respect to the elements of music. Chapter 3 will give a summary of Maslanka's use of a chorale tune in In Memoriam. 1Thomas Wubbenhorst. "A Child's Garden of Dreams: Conversations with David Maslanka" (College Band Directors National Association Journal, May 1992), 2-8.