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Thesis (M.A.)--Catholic Theological Union at Chicago, 1996. / Includes bibliographical references (leaves [89]-90).

Thesis (Ph. D.)--George Peabody College for Teachers, 1962. / "Supplementary list of published addresses on sacred music in chronological order." Includes bibliographical references (leaves 574-599).

This is a textually complete and comprehensively annotated edition of the poet Arthur Hugh Clough’s letters to five of the leading American poets and scholars of his day: Ralph Waldo Emerson, Charles Eliot Norton, James Russell Lowell, Francis James Child and Henry Wadsworth Longfellow, over the period 1847–1861. Fifteen of these letters have not previously been published, and those that appear in published editions are largely incomplete and unannotated. The letters in this edition have been transcribed from the original manuscripts held at the Bodleian and Houghton Libraries. They provide a great deal of valuable information about the less well-known later period of Clough’s life and have been extensively annotated to modern scholarly standards using information from primary literary and historical sources. The introduction to the thesis contextualises Clough’s visit to America and the initiation of the correspondence with his American friends, highlighting the central importance of the ‘American dimension’ to Clough’s life and work. I also discuss aspects of nineteenth-century letter-writing that have only relatively recently become the subject of critical attention, such as the impact of material factors – postage rates, steamship schedules, etc – on Clough’s transatlantic correspondence. Clough’s creation of an ‘epistolary self’ in his private letters, together with his distinctive habit of writing ‘journal-letters’ and the idea of letters as historical ‘testimony’ are the subject of detailed analysis, and I draw a number of parallels with his use of the epistolary form in his major poetry. Chapter 2 of the thesis evaluates existing ‘theories’ of annotation, reviews current practice in relation to the annotation of nineteenth-century correspondence and concludes with a reflection on my own experience of editing Clough’s letters. The absence of a definitive version of Clough’s American letters and the comprehensive introduction will make this edition an original contribution to scholarly work on nineteenth-century correspondence and poetry.

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Walt Whitman's poetry continues to inspire composers of choral music, and the growing collection of musical settings necessitates development of a standard evaluative tool. Critical evaluation of the musical settings of Whitman's work is difficult because the extensive body of verse is complex and of uneven quality, and lack of common text among compositions makes comparison problematical. The diversity of musical styles involved further complicates the issue. Previous studies have focused on either ideology or style, but none have united the two critical approaches, thus restricting potential for deeper understanding of the music. This study proposes an approach to critical evaluation of Whitman settings that applies hermeneutics, or a blend of analysis and criticism, to the process. The hermeneutic approach includes an examination of the interrelationship between musical form and style and the composer's ideology, which is revealed through his/her treatment of Whitman's poetry and analyzed in light of cultural influences. Lowell Liebermann (b. 1961) has composed a large scale choral/orchestral setting of Whitman texts in his Symphony No. 2, opus 67 (1999). The selection, placement, and treatment of poetry in Symphony No. 2 provide a window into the composer's mind and his place in the current musical climate. Liebermann's setting reveals his interest in Whitman's search for spirituality and the human spirit's transcendence over time and space. His understanding of Whitman is filtered through a postmodern cynicism, which he seeks to remedy with his nostalgic neo-Romantic style. Chapter One provides an introduction to Whitman's life and examination of his poetry's themes, style, and reception. Chapter Two outlines issues relevant to criticism of Whitman settings and proposes an approach to critical analysis. Chapter Three applies the critical method to Liebermann's Second Symphony, drawing conclusions about its place in contemporary culture.

This submission investigates the interpretation and performance of selected solo and chamber works for flute by American composers Lowell Liebermann (b.1961) and Robert Beaser (b.1954). The exegesis presents a discussion of the interpretation and preparation of the included works from two differing perspectives. First, it examines the repertoire from the perspective of the composer, drawing on audio recordings of interviews and lessons conducted by the author in the United States of America. Second, it reviews the recitals from the perspective of the performer with emphasis on the preparation and performance of the selected repertoire. The discussion draws on two recitals by the author and associate artists that were recorded and presented in Elder Hall, The University of Adelaide on 11 December 2008 and 16 June 2009. Excerpts from the recitals are used to demonstrate the discussion and the CDs of the complete recitals are therefore integral to the submission. / Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2009

This submission investigates the interpretation and performance of selected solo and chamber works for flute by American composers Lowell Liebermann (b.1961) and Robert Beaser (b.1954). The exegesis presents a discussion of the interpretation and preparation of the included works from two differing perspectives. First, it examines the repertoire from the perspective of the composer, drawing on audio recordings of interviews and lessons conducted by the author in the United States of America. Second, it reviews the recitals from the perspective of the performer with emphasis on the preparation and performance of the selected repertoire. The discussion draws on two recitals by the author and associate artists that were recorded and presented in Elder Hall, The University of Adelaide on 11 December 2008 and 16 June 2009. Excerpts from the recitals are used to demonstrate the discussion and the CDs of the complete recitals are therefore integral to the submission. / Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2009

On September 1, 1823, the Merrimack Manufacturing Company commenced operations, the first of many textile mills constructed and operated by the Boston Company (colloquially referred to as the Boston Associates). The burgeoning mill complex, the first large-scale industrial development in the United States was incorporated as the town of Lowell in 1826. While the Boston Associates realized monetary profit from the mills, the Associate’s primary motivation for building and operating the textile mills was a desire to perpetuate their vision of the Puritan’s Social Covenant. The Associates achieved their goal in the short term. However, over the long-term, the sheer scale and new management style of the Lowell mills catalyzed the modernization of New England and sublimated the very social and economic conventions the Social Covenant sought to reinforce. In the 19th century the Puritan Social Covenant, part of the American narrative from its earliest years, validated the virtues of community and industry. Already wealthy and spurning other potentially more lucrative investment opportunities Francis C. Lowell and other members of the Boston Associates used the textile mills to inculcate and strengthen the Social Covenant’s precepts among their mill operatives. In the 1840s, the Lowell mills, needing to fill empty mill positions, began to hire Irish immigrants. The introduction of the Irish to the mills immediately created an atmosphere of friction among the predominantly Yankee work force. The later introduction of French-Canadians to the Lowell mills only served to create additional tension. Mill owners found themselves refereeing interminable arguments regarding different and divergent interpretations of social values and personal responsibilities. In the late 1850s, mill owners and mill workers came to the same conclusion: social obligations mattered less than solid financial resources and a wide range of freedom. Mill owners jettisoned their self-imposed responsibilities; employees “turned out” for higher wages and, when unsuccessful, migrated westward. The Lowell mill complex, originally conceived as a means to preserve a traditional, tight-knit social order and an ethic of personal responsibility among a demographically homogeneous population, found itself a large, demographically heterogeneous city embracing and encouraging change. / text