Thesis (Ph. D.)--University of Chicago, 1913. / "Reprinted from University studies, vol. XIV., no. 4, 1914." Includes bibliographical references. Also available on the Internet.

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”The singer is always working through a text that in some way or another inspired the vocal line and its texture,” wrote American pianist, pedagogue, and author Thomas Grubb. But exactly how does a text inspire a composer to create this synergy between words and music? During the course of my studies at the Royal College of Music in Stockholm, I gradually began to deepen my knowledge and awareness of Henry Purcell and Franz Schubert. I was at once astounded by their ability to seemlessly amalgamate the chosen texts to their music, and decided that this connection required greater research. The purpose of this study was thus to gain a deeper understanding of how Purcell and Schubert approached the relationship between text and music by studying the two pieces Music for a while and Erlkönig. I also wished to discover any similarities and differences between the composers’ approaches to word painting, in addition to discerning the role of the accompaniment to further illustrate the narrative. I began by reading literature about the two composers as well as John Dryden and Johann Wolfgang von Goethe, the poets whose texts were set to music. Once a greater understanding of them had been attained, I proceeded to analyze the texts and music for a greater comprehension of Purcell’s and Schubert’s methods. For early inspiration, I listened to numerous versions of the pieces by different musicians on YouTube. Both Purcell and Schubert used various tools in their compositional arsenals to accomplish their effortless combination of text and music. Amongst others, Purcell employed tonal ambiguity, unexpected harmonies, and repetition, while Schubert made use of vivid imagery, inventive treatment of chromaticism, and unmistakable rhythmic motifs. The analysis demonstrated that, while both composers painted lively and dramatic pictures in their compositions, their methods were strikingly different. The role of the accompaniment in Music for a while leaves much to the individual taste and ability of the instrumentalist(s) performing to assist the singer in setting the scene. In contrast, Schubert instructs the pianist in Erlkönig explicitly how they are to play, while additionally the piano personifies the fifth character in the story, the horse. Indeed, the role of the singer in the two pieces is equally at variance with the other. With Purcell, the singer portrays a priest, while the singer in Erlkönig personifies four different voices, each with their own melody, character, and tessitura. I hope this study will inspire others to delve deeper into the material with which they work to offer a more profound understanding to themselves and, ultimately, the listener.

This thesis is a cultural history of the textual afterlives and poetic appropriations of John Donne's verse. I use print and manuscript miscellanies, hitherto unstudied commonplace books, letters, diaries and seventeenth and eighteenth century criticism to ask, who was reading Donne and in what physical forms? By looking at allusive strategies and reading practices of the time, I demonstrate how many different Donnes can be identified when we strip away modern notions of what 'Donne' is and seek multiple afterlives. I nuance the idea of Donne as a determinedly coterie poet, suggesting his print presence might have looked to his early audience like a strategic writer who had not, despite Izaak Walton's narrative, closed off the possibility of public authorship. I find there was a period of radical re-appropriation and re-reading of Donne in the seventeenth and eighteenth century: Donne was as a guiding influence to canonical poets. Rochester is perhaps the poet whose voice most vividly recalls Donne's swaggering persona and intricately-constructed rendering of apparent spontaneity. Katherine Philips's verse makes sophisticated use of Donne's voice in her intimate quasi-erotic verse; I contrast this with the voice of her poems written for state occasions to show how Donne becomes a resource for self-revelation. Dryden offers a sustained critical vision of Donne: although, as the primary mercenary proponent of mass popular literature, he may seem initially wholly unDonnean, I show how his verse both explicitly and obliquely negotiates with Donne's wit and form. I end by looking at the problematic offered by the negotiates with Donne's wit and form. I end by looking at the problematic offered by the dual critique and celebration in Pope's versification of Donne's Satyres, and at the Dunciad, to see where the limits of allusion come up against Pope's cacophonous multiplicity of voices. These four poets take different threads from Donne's canon to different ends and, in so doing, create different Donnes.

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Thesis (Ph. D.)--Johns Hopkins University, 1904. / Biographical sketch. Bibliography: p. iii-vi.

Thesis (Ph. D.)--University of California, Santa Cruz, 1997. / Typescript. Includes bibliographical references (leaves 192-203).

Thesis (Ph. D.)--Johns Hopkins University, 1904. / Biographical sketch. Bibliography: p. iii-vi.

Thesis (M.A.)--Georgia State University, 2006. / Title from title screen. Malinda Snow, committee chair; Tanya Caldwell, Paul Schmidt, committee members. Electronic text (81 p.) : digital, PDF file. Description based on contents viewed May 8, 2007. Includes bibliographical references (p. 79-81).

Thesis (M.A.)--Kutztown University of Pennsylvania, 1995. / Source: Masters Abstracts International, Volume: 45-06, page: 2823. Typescript. Abstract precedes thesis as preliminary leaves [1-2]. Includes bibliographical references (leaves 180-190).