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Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2018 Americans at the Leipzig Conservatory (1843–1918) and Their Impact on AJoamnnae Perpipclean Musical Culture Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC AMERICANS AT THE LEIPZIG CONSERVATORY (1843–1918) AND THEIR IMPACT ON AMERICAN MUSICAL CULTURE By JOANNA PEPPLE A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2019 Copyright © 2019 Joanna Pepple Joanna Pepple defended this dissertation on December 14, 2018. The members of the supervisory committee were: S. Douglass Seaton Professor Directing Dissertation George Williamson University Representative Sarah Eyerly Committee Member Iain Quinn Committee Member Denise Von Glahn Committee Member The Graduate School has verified and approved the above-named committee members and certifies that the dissertation has been approved in accordance with university requirements. ii Soli Deo gloria iii ACKNOWLEDGMENTS I am so grateful for many professors, mentors, family, and friends who contributed to the success of this dissertation project. Their support had a direct role in motiving me to strive for my best and to finish well. I owe great thanks to the following teachers, scholars, librarians and archivists, family and friends. To my dissertation committee, who helped in shaping my thoughts and challenging me with thoughtful questions: Dr. Eyerly for her encouragement and attention to detail, Dr. Quinn for his insight and parallel research of English students at the Leipzig Conservatory, Dr. Von Glahn for her enthusiasm and expertise on American music, and Dr. Williamson for his thoughtfulness regarding German history and culture. To Douglass Seaton, my dissertation advisor, who spent years mentoring me and guiding me in research and writing. He exhibited a genuine interest in my research from the start of the project and continued to encourage me through each step of the way, from the initial reading and planning, through the archival study in Germany, Boston, and Oberlin, through the tedious data entry, and finally, through interpretation of the data and the writing. I greatly appreciate his keen attention to my writing, his expert advice, and his artistic input in guiding me to weave together a cohesive narrative of the research. The enthusiasm with which he approached my research and his belief in my work helped me continue even when I felt like giving up. His honesty, kindness, and dedication gave me the hope I needed to continue putting forth my best efforts. I am a better thinker, researcher, and writer because of his patient mentorship. To Laura Gayle Green, Head of the Warren D. Allen Music Library at The Florida State University, who bent over backwards to use her creative skills to help me with difficult research puzzles, always displaying an eagerness for the quest of learning. iv To the librarians and archivists who assisted me during my research in Germany. I want to thank especially Ingrid Jach, Archivist at the Hochschule für Musik und Theater “Felix Mendelssohn Bartholdy” Leipzig (HMT Leipzig), who answered numerous questions via e-mail and in person, who allowed me to work alongside of her in her office, who shared tremendous insight and knowledge regarding the HMT Leipzig Archiv, and who patiently interpreted my attempts at speaking in German. I also want to thank Dr. Barbara Wiermann, Head of the Music Division at SLUB Dresden, and Anke Hofmann, Head of the Library at HMT Leipzig, both of whom welcomed me warmly during my first trip to Leipzig and who guided me in my first steps of research in Germany. I thank Christoph Kaufmann at the Stadtgeschichtliches Museum Leipzig Fotothek, who kindly assisted me in finding photographs to help my readers envision the images associated with the Leipzig Conservatory. To Nara Newcomer, Head of the University of Missouri Kansas City Music/Media Library, who initially introduced me to Dr. Barbara Wiermann and Anke Hofmann, and for her continual encouragement as well as training me in data entry and music library cataloging at East Carolina University. To the archivists at the New England Conservatory and Oberlin Conservatory, who answered many questions and opened their archives to me. I thank Maryalice Perrin-Mohr, Archivist at New England Conservatory Library, who supplied the requested materials I needed while in Boston as well as suggesting other resources I was unaware of, and for pointing me to useful digital resources after my time in Boston. I also thank Ken Grossi, College Archivist at Oberlin College, who listened carefully to my research requests and helped me navigate the Oberlin Conservatory Archives. To the Musicology faculty at The Florida State University who equipped me in core classes and taught me effective research and writing tools that I needed to succeed in my v individual research. I am particularly grateful to the FSU Musicology faculty for believing in me by awarding me the Curtis Mayes scholarship to fund my trips to Boston and Oberlin, as well funding for my three years of course work at FSU. To the Deutscher Akademischer Austauschdienst (DAAD) for funding my language course and research grants in Germany, without which I would have never been able to procure the wealth of archival data and research from the Leipzig Conservatory for the project. To my family and friends who have been with me through thick and thin, encouraging me to finish and complete this project. I am grateful for my parents, who have always loved me, believed in me, and taught me to give my all in all that I do. I thank them for modeling a great work ethic and encouraging me to finish strong. I also thank Carita Sims for being a true friend and support in Tallahassee, cheering my successes, listening to my defeats, and making many meals and snacks to sustain me during my studies and research. Finally, I thank my Tallahassee violin students and their families, as well as the families of the Tallahassee Homeschool String Orchestra, who have provided an inspiration to me throughout this degree, reminding me of my joy in teaching, as well as showing genuine interest in my academic journey. There are countless others who have had a part in praying for me, encouraging me, and inspiring me. I am so grateful for those mentioned above as well as many others who believed in me throughout this process. vi TABLE OF CONTENTS List of Tables ...................................................................................................................................x List of Figures ................................................................................................................................ xi Abstract ........................................................................................................................................ xiii 1. INTRODUCTION ......................................................................................................................1 Background and Significance .....................................................................................................2 Purpose ........................................................................................................................................9 Survey of Literature ..................................................................................................................10 Research Methods .....................................................................................................................17 Brief Chapter Overview ............................................................................................................22 2. AMERICAN EDUCATION AND MUSIC CULTURE IN THE NINETEENTH CENTURY ................................................................................................................................24 Historical Background ..............................................................................................................24 American Musical Culture ........................................................................................................25 Journals about Music ..............................................................................................................26 Music Printing ........................................................................................................................29 Vocal Music ............................................................................................................................30 Instrumental Music .................................................................................................................34 Distinctly “American” Music .................................................................................................37 American Music Education .......................................................................................................40 Singing Schools and Sacred Harp ...........................................................................................40 Lowell Mason and European Influence ..................................................................................42 The Carlo Bassini Vocal Method ...........................................................................................47 Foundations for Music in Public Schools ...............................................................................48