DOCSLIB.ORG

The Plow That Broke the Plains: an Application of Functional Americanism in Music

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

The Plow That Broke the Plains: An Application of Functional Americanism in Music A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Jason M. Hartz November 2010 © 2010 Jason M. Hartz. All Rights Reserved 2 This dissertation titled The Plow That Broke the Plains: An Application of Functional Americanism in Music by JASON M. HARTZ has been approved for the School of Interdisciplinary Arts and the College of Fine Arts by Dora J. Wilson Professor of Interdisciplinary Arts Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT HARTZ, JASON M., Ph.D., November 2010, Interdisciplinary Arts The Plow That Broke the Plains: An Application of Functional Americanism in Music Director of Dissertation: Dora J. Wilson This dissertation explores the nature of American musical identity in the score from the 1936 documentary film The Plow That Broke the Plains, directed by Pare Lorentz, scored by Virgil Thomson, and created under the auspices of the New Deal‘s Resettlement Administration. While the score offers a study in modernist music and compositional musical Americanism, other approaches may be more suited to positioning this New Deal cultural artifact within its historical context, thus revealing its cultural sources and social intentions. In the spirit of contemporary musicology, this project proposes a new category through which to undertake such studies: functional Americanism. Functional Americanism evaluates American identity in music through the function or utility of music operating in an American setting or for an American purpose. Using this approach to engage with The Plow, this study draws from social history, cultural studies, and musicology in order to understand The Plow within its historical moment as an articulator of American identity. Approved: ____________________________________________________________ Dora J. Wilson Professor of Interdisciplinary Arts 4 DEDICATION This work is dedicated to my family and friends. I cannot image completing this without your love, support, inspiration, and patience. I must single out my partner, Carissa Massey, for her unswerving faith in me. Lastly, I dedicate this work to those who labor in the arts to bring about positive social change, a beauty far more precious than others. 5 ACKNOWLEDGMENTS This work owes its completion to the support and guidance of many individuals and groups. I must first acknowledge my academic advisor and chair of my dissertation committee, Dr. Dora Wilson. Your guidance, insight, advice, and professionalism have been invaluable throughout this process. I would also like to recognize and thank the other members of my dissertation committee, Dr. Richard Wetzel, Dr. William Condee, and Dr. Michael Gillespie. More broadly, there are over thirty-two years‘ worth of family, friends, mentors, and teachers who early on instilled passions for both learning and the arts and more recently helped to shape these into an academic career. I can‘t name you all, but I must highlight some of the most important. Thank you Mom and Dad, Suzanne and Maurice Hartz, for giving me such a wonderful start, for attending everything I ever participated in, and for being patient with me over the past seven years. Thank you, Jeff, for always giving me superlative, principled examples for living. You three, along with those departed, are the best family a person ever hope to have. Thank you to my in-laws, Walt, Shelly, and Kirk for your amazing love and support (and your attic). Thank you to my first friends in Westmoreland and to those I picked up along the way. Thank you to Janet Prater (and your cabin). I must acknowledge my Wayne County teachers and coaches, like Tommy Thompson, Jack Sanders, Paul Martin, and James Ritter, for caring so much while working with so few resources. Thank you to my college professors for your support and for introducing me to this path and mentoring me through it, especially Dr. Art Dyck, Dr. Michael Mihalyo, and Dr. Gary Kappel at Bethany College, Dr. Vicki Strayer and Dr. 6 David Castleberry at Marshall University, and Dr. Virginia Gorlinski and Dr. Allyn Reilly at Ohio University. Thank you to the churches where I sang in Huntington and Athens for nurturing my creative and spiritual sides. Thank you to librarians everywhere. Thank you to my colleagues over the past four years at Trine University, Defiance College, Jackson Community College, and Adrian College. Your support has been crucial as I attempted to balance real world and career responsibilities with my dissertation. And thank you Trine University for financial support in presenting portions of this dissertation to the Great Lakes Chapter of the College Music Society, and thank you to Adrian College for granting me a faculty and college community forum for presenting portions of this dissertation. Finally, thank you, Carissa Massey. There is nothing I can type here that would do your support justice or express my love for you. 7 TABLE OF CONTENTS Page ABSTRACT .........................................................................................................................3 DEDICATION .....................................................................................................................4 ACKNOWLEDGMENTS ...................................................................................................5 LIST OF FIGURES .............................................................................................................9 INTRODUCTION: APPROACHING THE PLOW THAT BROKE THE PLAINS ........12 Our Especial Gift ...................................................................................................16 Positioning in a Shifting Discipline and Society ...................................................19 Re-visioning American Music History: A Plurality of Answers or Nothing More Than Feelings .........................................................................................................25 CHAPTER ONE: MUSICAL AMERICANISMS AND ATTITUDES ...........................29 A Tale of Pale Copies ............................................................................................29 Limitations of Conceptual Americanisms .............................................................41 Limitations of Compositional Americanism ..........................................................49 ―What, then constitutes distinctively American music?‖ ......................................58 CHAPTER TWO: WHICH PLOW BROKE THE PLAINS?: CONTEXT, CREATION, AND IMPLICATIONS OF CONTENT ............................................................................61 Politics and Content ...............................................................................................67 Approaches and Endings........................................................................................74 CHAPTER THREE: THE MACHINE IN THE GARDEN: FROM PRELUDE THROUGH ―HOMESTEADER‖ ......................................................................................90 Before the Prologue: Title Card Image ..................................................................96 8 Prologue ...............................................................................................................107 CHAPTER FOUR: PENNILESS AND BEWILDERED: FROM ―WARNING‖ TO THE EPILOGUE ......................................................................................................................140 ―Dust Storm‖ ........................................................................................................177 Epilogue ...............................................................................................................191 CONCLUSION: THOMSON, THE PLOW, AND FUNCTIONAL AMERICANISM .203 Pinning Down Thomson ......................................................................................206 Musical Meaning and Functional Americanism ..................................................211 BIBLIOGRAPHY ............................................................................................................213 9 LIST OF FIGURES Page Figure 2-1: Unpacking the trailer at the migrant camp ..................................................... 68 Figure 2-2: The tragic parade approaches a migrant camp ............................................... 69 Figure 2-3: Getting gas before entering the desert at night .............................................. 71 Figure 2-4: The ending of version two ............................................................................. 76 Figure 2-5: Version One‘s ending..................................................................................... 79 Figure 2-6: A variation on the non-Epilogue ending ........................................................ 80 Figure 3-1: The opening image: Wagon Train ................................................................. 97 Figure 3-2: The Prologue and beginning of Version Three .............................................. 99 Figure 3-3: The extremely overloaded Joad vehicle – the Ford-Steinbeck version of the Dust Bowl migrant‘s vehicle .......................................................................................... 103 Figure 3-4: Leaving the farm for the last time in Lorentz‘s version of a Dust Bowl migrant‘s vehicle ............................................................................................................. 104 Figure 3-5: A Farm Security Administration
Recommended publications
  • Acknowledgments

    Acknowledgments

    Albany Symphony | David Alan Miller, conductor Tessa Lark, violin | Peter Kolkay, bassoon Ryan Roberts, oboe | Weixiong Wang, clarinet ACKNOWLEDGMENTS Producer: Silas Brown, Michael Torke Session Producer for West, East, South: Doron Schachter Mastering: Silas Brown Recorded at the Troy Savings Bank Music Hall Michael Torke March 6, 2017 (West, South, and East) SKY January 7, 2019 (Sky) Publisher: Adjustable Music; Bill Holab Music, Modern Works Music Publishing, agents. West, South, and East commissioned by Paul Underwood. This recording was made possible by a generous gift from Marsha Nickerson, a former member of the Albany Symphony Photo of Michael Torke: Bryan Hainer WWW.ALBANYRECORDS.COM TROY1784 ALBANY RECORDS U.S. 915 BROADWAY, ALBANY, NY 12207 TEL: 518.436.8814 FAX: 518.436.0643 ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2019 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. for less obvious solo instruments. This collection of concertos is my attempt to explore those THE COMPOSER options. Michael Torke’s music has been commissioned by such orchestras as For Sky, a concerto for violin, I took Bluegrass, a style I was not familiar with, studied its The Philadelphia Orchestra, the New York Philharmonic, and the San vernacular, and then imposed classical forms onto it. In the solo part, you hear banjo picking, Francisco Symphony; by such ballet companies as New York City Ballet, a slow Irish reel (harkening back to the music of those who settled Kentucky), and triple time Alvin Ailey, and the National Ballet of Canada; by such opera companies fiddle licks.
  • Ecoregions of New England Forested Land Cover, Nutrient-Poor Frigid and Cryic Soils (Mostly Spodosols), and Numerous High-Gradient Streams and Glacial Lakes

    Ecoregions of New England Forested Land Cover, Nutrient-Poor Frigid and Cryic Soils (Mostly Spodosols), and Numerous High-Gradient Streams and Glacial Lakes

    58. Northeastern Highlands The Northeastern Highlands ecoregion covers most of the northern and mountainous parts of New England as well as the Adirondacks in New York. It is a relatively sparsely populated region compared to adjacent regions, and is characterized by hills and mountains, a mostly Ecoregions of New England forested land cover, nutrient-poor frigid and cryic soils (mostly Spodosols), and numerous high-gradient streams and glacial lakes. Forest vegetation is somewhat transitional between the boreal regions to the north in Canada and the broadleaf deciduous forests to the south. Typical forest types include northern hardwoods (maple-beech-birch), northern hardwoods/spruce, and northeastern spruce-fir forests. Recreation, tourism, and forestry are primary land uses. Farm-to-forest conversion began in the 19th century and continues today. In spite of this trend, Ecoregions denote areas of general similarity in ecosystems and in the type, quality, and 5 level III ecoregions and 40 level IV ecoregions in the New England states and many Commission for Environmental Cooperation Working Group, 1997, Ecological regions of North America – toward a common perspective: Montreal, Commission for Environmental Cooperation, 71 p. alluvial valleys, glacial lake basins, and areas of limestone-derived soils are still farmed for dairy products, forage crops, apples, and potatoes. In addition to the timber industry, recreational homes and associated lodging and services sustain the forested regions economically, but quantity of environmental resources; they are designed to serve as a spatial framework for continue into ecologically similar parts of adjacent states or provinces. they also create development pressure that threatens to change the pastoral character of the region.
  • Tuesday - Saturday, 8:30 A.M

    Tuesday - Saturday, 8:30 A.M

    National Archives Southeast Open to the Public: Region Tuesday - Saturday, 8:30 a.m. to 5780 Jonesboro Road 5:00 p.m. Morrow, Georgia 30260 (excluding Federal holidays) 770-968-2100 National Archives and Records Administration SOUTHEAST REGION ARCHIVES 5780 JONESBORO ROAD MORROW, GEORGIA 30260 . www.archives.gov Dear Educator: On behalf of the National Archives and Records Administration - Southeast Region, please accept this copy of the Curriculum Guide for "This Great Nation Will Endure": Photographs ofthe Great Depression. This Curriculum Guide was created by the National Archives Southeast Region with the assistance of the Franklin D. Roosevelt Library and Museum. The purpose of this guide is to provide materials to help your students gain a better understanding of the difficult conditions Americans faced during the Great Depression along with the government's efforts to stabilize and document the problems. In addition, this guide will familiarize students with the use of primary sources and acquaint them with using document-based historical research techniques. For general information or questions regarding this guide please contact Karen Kopanezos at 770.968.2530. For questions regarding tours of our facilities, please contact Mary Evelyn Tomlin, Southeast Region Public Programs Specialist at 770.968.2555. We hope that this Curriculum Guide will be of assistance to your students. We are grateful for your dedication to education and we look forward to your next visit to the National Archives Southeast Region. Sincerely, James McSweeney
  • National Endowment for the Arts Annual Report 1990

    National Endowment for the Arts Annual Report 1990

    National Endowment For The Arts Annual Report National Endowment For The Arts 1990 Annual Report National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts for the Fiscal Year ended September 30, 1990. Respectfully, Jc Frohnmayer Chairman The President The White House Washington, D.C. April 1991 CONTENTS Chairman’s Statement ............................................................5 The Agency and its Functions .............................................29 . The National Council on the Arts ........................................30 Programs Dance ........................................................................................ 32 Design Arts .............................................................................. 53 Expansion Arts .....................................................................66 ... Folk Arts .................................................................................. 92 Inter-Arts ..................................................................................103. Literature ..............................................................................121 .... Media Arts: Film/Radio/Television ..................................137 .. Museum ................................................................................155 .... Music ....................................................................................186 .... 236 ~O~eera-Musicalater ................................................................................
  • Characterization of Ecoregions of Idaho

    Characterization of Ecoregions of Idaho

    1 0 . C o l u m b i a P l a t e a u 1 3 . C e n t r a l B a s i n a n d R a n g e Ecoregion 10 is an arid grassland and sagebrush steppe that is surrounded by moister, predominantly forested, mountainous ecoregions. It is Ecoregion 13 is internally-drained and composed of north-trending, fault-block ranges and intervening, drier basins. It is vast and includes parts underlain by thick basalt. In the east, where precipitation is greater, deep loess soils have been extensively cultivated for wheat. of Nevada, Utah, California, and Idaho. In Idaho, sagebrush grassland, saltbush–greasewood, mountain brush, and woodland occur; forests are absent unlike in the cooler, wetter, more rugged Ecoregion 19. Grazing is widespread. Cropland is less common than in Ecoregions 12 and 80. Ecoregions of Idaho The unforested hills and plateaus of the Dissected Loess Uplands ecoregion are cut by the canyons of Ecoregion 10l and are disjunct. 10f Pure grasslands dominate lower elevations. Mountain brush grows on higher, moister sites. Grazing and farming have eliminated The arid Shadscale-Dominated Saline Basins ecoregion is nearly flat, internally-drained, and has light-colored alkaline soils that are Ecoregions denote areas of general similarity in ecosystems and in the type, quality, and America into 15 ecological regions. Level II divides the continent into 52 regions Literature Cited: much of the original plant cover. Nevertheless, Ecoregion 10f is not as suited to farming as Ecoregions 10h and 10j because it has thinner soils.
  • A Conductor's Study of George Rochberg's Three Psalm Settings David Lawrence Louisiana State University and Agricultural and Mechanical College

    A Conductor's Study of George Rochberg's Three Psalm Settings David Lawrence Louisiana State University and Agricultural and Mechanical College

    Louisiana State University LSU Digital Commons LSU Major Papers Graduate School 2002 A conductor's study of George Rochberg's three psalm settings David Lawrence Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_majorpapers Part of the Music Commons Recommended Citation Lawrence, David, "A conductor's study of George Rochberg's three psalm settings" (2002). LSU Major Papers. 51. https://digitalcommons.lsu.edu/gradschool_majorpapers/51 This Major Paper is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Major Papers by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. A CONDUCTOR’S STUDY OF GEORGE ROCHBERG’S THREE PSALM SETTINGS A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the Requirements for the degree of Doctor of Musical Arts in School of Music By David Alan Lawrence B.M.E., Abilene Christian University, 1987 M.M., University of Washington, 1994 August 2002 ©Copyright 2002 David Alan Lawrence All rights reserved. ii TABLE OF CONTENTS LIST OF TABLES ....................................................................................................................v LIST OF FIGURES..................................................................................................................vi LIST
  • Deepa Mehta (See More on Page 53)

    Deepa Mehta (See More on Page 53)

    table of contents TABLE OF CONTENTS Introduction Experimental Cinema: Welcome to the Festival 3 Celluloid 166 The Film Society 14 Pixels 167 Meet the Programmers 44 Beyond the Frame 167 Membership 19 Annual Fund 21 Letters 23 Short Films Ticket and Box Offce Info 26 Childish Shorts 165 Sponsors 29 Shorts Programs 168 Community Partners 32 Music Videos 175 Consulate and Community Support 32 Shorts Before Features 177 MSPFilm Education Credits About 34 Staff 179 Youth Events 35 Advisory Groups and Volunteers 180 Youth Juries 36 Acknowledgements 181 Panel Discussions 38 Film Society Members 182 Off-Screen Indexes Galas, Parties & Events 40 Schedule Grid 5 Ticket Stub Deals 43 Title Index 186 Origin Index 188 Special Programs Voices Index 190 Spotlight on the World: inFLUX 47 Shorts Index 193 Women and Film 49 Venue Maps 194 LGBTQ Currents 51 Tribute 53 Emerging Filmmaker Competition 55 Documentary Competition 57 Minnesota Made Competition 61 Shorts Competition 59 facebook.com/mspflmsociety Film Programs Special Presentations 63 @mspflmsociety Asian Frontiers 72 #MSPIFF Cine Latino 80 Images of Africa 88 Midnight Sun 92 youtube.com/mspflmfestival Documentaries 98 World Cinema 126 New American Visions 152 Dark Out 156 Childish Films 160 2 welcome FILM SOCIETY EXECUTIVE DIRECTOR’S WELCOME Dear Festival-goers… This year, the Minneapolis St. Paul International Film Festival celebrates its 35th anniversary, making it one of the longest-running festivals in the country. On this occasion, we are particularly proud to be able to say that because of your growing interest and support, our Festival, one of this community’s most anticipated annual events and outstanding treasures, continues to gain momentum, develop, expand and thrive… Over 35 years, while retaining a unique flavor and core mission to bring you the best in international independent cinema, our Festival has evolved from a Eurocentric to a global perspective, presenting an ever-broadening spectrum of new and notable film that would not otherwise be seen in the region.
  • Mountain-Prairie Region 6 Overview of the Service’S Mountain-Prairie Region

    Mountain-Prairie Region 6 Overview of the Service’S Mountain-Prairie Region

    U.S. U.S.Fish Fish & Wildlife & Wildlife Service Service Mountain-Prairie Region 6 Overview of the Service’s Mountain-Prairie Region Widgeon Pond at Red Rocks Lake National Wildlife Refuge / USFWS The Mountain-Prairie Region consists of federal agencies such as the Department Regional Demographics 8 states in the heart of the American of Defense. Energy development, ■ Land area: 737,884 square miles west including Colorado, Kansas, agricultural trends and urbanization all (468,573,000 acres) Montana, Nebraska, North Dakota, exert influences on the Region’s ■ Population: 15,403,172 (Roughly 2.5 to South Dakota, Utah and Wyoming. The landscapes. 1 urban to rural ratio) region is defined by three distinct ■ Members of Congress: 37 landscapes. In the east lie the central Resource Facts and Figures ■ Federally Recognized Indian Tribes: 40 and northern Great Plains, primarily the ■ Approximately 5,751,358 acres ■ Public land: 137,024,000 acres (federal vast mixed- and short-grass prairies. To protected by the National Wildlife and state) the west rise the Rocky Mountains and Refuge System (NWRS), including ■ Wildlife-dependent recreation: the intermountain areas beyond the both fee title and easement lands. This 7,275,000 people* (hunting, fishing, and Continental Divide, including parts of includes 124 national wildlife refuges, wildlife watching) the sprawling Colorado Plateau and the 18 coordination areas, and numerous * USDA Economic Research Service Great Basin. The northeastern part of waterfowl production areas in 120 **FY 2011 National Survey of Fishing, the Region contains millions of shallow counties through Fiscal Year 2012. Hunting, and Wildlife-Associated wetlands known as the “prairie ■ 2,576,476 visitors to NWRS lands in Recreation potholes,” which produce a large portion Fiscal Year 2012.
  • Great Plains. in Respiration and Increase in Net Primary Productivity Due Source: Adapted from Anderson (1995) and Schaefer and Ball (1995)

    Great Plains. in Respiration and Increase in Net Primary Productivity Due Source: Adapted from Anderson (1995) and Schaefer and Ball (1995)

    Great Plains Gary Bentrup and Michele Schoeneberger Gary Bentrup is a research landscape planner, U.S. Department of Agriculture (USDA), Forest Service, USDA National Agroforestry Center; Michele Schoeneberger is research program lead and soil scientist (retired), USDA Forest Service, USDA National Agroforestry Center. Description of the Region generates a total market value of about $92 billion, approx- imately equally split between crop and livestock production Extending from Mexico to Canada, the Great Plains Region (USDA ERS 2012). Agricultural activities range in the northern covers the central midsection of the United States and is Plains from crop production, dominated by alfalfa, barley, corn, divided into the northern Plains (Montana, Nebraska, North hay, soybeans, and wheat to livestock production centered on Dakota, South Dakota and Wyoming) and the southern Plains beef cattle along with some dairy cows, hogs, and sheep. In (Kansas, Oklahoma, and Texas). This large latitudinal range the southern Plains, crop production is centered predominantly leads to some of the coldest and hottest average temperatures in on wheat along with corn and cotton, and extensive livestock the conterminous United States and also to a sharp precipitation production is centered on pastureland or rangelands and inten- gradient from east to west (fig. A.6). The region also experi- sive production in feedlots. Crop production is a mixture of 82 ences multiple climate and weather hazards, including floods, percent dryland and 18 percent irrigated cropland, with 34 and droughts, severe thunderstorms, rapid temperature fluctuations, 31 percent of total irrigated cropland in the region occurring in tornadoes, winter storms, and even hurricanes in the far Nebraska and Texas, respectively (USDA NRCS 2013).
  • Croatian Film Catalogue 2015 Katalog Hrvatskog Filma 2015 Sadržaj Contents

    Croatian Film Catalogue 2015 Katalog Hrvatskog Filma 2015 Sadržaj Contents

    Croatian Film Catalogue 2015 Katalog hrvatskog filma 2015 Sadržaj Contents Dugometražni igrani film – Feature Film Bit ćemo prvaci svijeta · Bićemo prvaci sveta · We Will Be the World Champions · Darko Bajić · 10 Imena višnje · Ungiven · Branko Schmidt ·11 Lazar · Svetozar Ristovski ·12 Memoari slomljenog uma · Memoirs of a Broken Mind · Danilo Lola Ilić ·13 Narodni heroj Ljiljan Vidić · Shooting Stars · Ivan-Goran Vitez ·14 Naša svakodnevna priča · Our Everyday Life · Ines Tanović · 15 Puni udar · Full Contact · David Verbeek · 16 Sirene i krikovi · Sirens and Screams · Ivan Perić · 17 Svinjari · The Enchanting Porkers · Ivan Livaković · 18 Ti mene nosiš · You Carry Me · Ivona Juka · 19 Trema · Interruption · Yorgos Zios · 20 Vrapci · Þrestir · Sparows · Rúnar Rúnnarson · 21 Zagrebačke priče vol. 3 · Zagreb Stories Vol. 3 · Ivan Salaj, Pero Orešković, Matija Vukšić, Vlatka Vorkapić, Danilo Šerbedžija, Radislav Jovanov Gonzo · 22 Zvizdan · The High Sun · Dalibor Matanić · 25 Život je truba · Life Is a Trumpet · Antonio Nuić · 26 Kratkometražni igrani film – Short Fiction Film Bakina unuka · Granddaughter ·Tomislav Šestan · 28 Belladonna · Dubravka Turić · 29 Crne mačke · Black Cats · Marko Turčinov · 30 Cvijeće · Flowers · Judita Gamulin · 31 Da je kuća dobra i vuk bi je imao · No Wolf Has a House · Hana Jušić · 32 Daddy Issues · Judita Gamulin · 33 Dan Marjana · Marjan Hill Day · Igor Jelinović · 34 Dobro sam, vidimo se · An Awful Pair of Shoes and a Funeral · Luka Čurčić · 35 Doručak · Le petit déjeuner · Breakfast · Salvatore Li Causi
  • The Role of Italy in Milton's Early Poetic Development

    The Role of Italy in Milton's Early Poetic Development

    Italia Conquistata: The Role of Italy in Milton’s Early Poetic Development Submitted by Paul Slade to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English in December 2017 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. Abstract My thesis explores the way in which the Italian language and literary culture contributed to John Milton’s early development as a poet (over the period up to 1639 and the composition of Epitaphium Damonis). I begin by investigating the nature of the cultural relationship between England and Italy in the late medieval and early modern periods. I then examine how Milton’s own engagement with the Italian language and its literature evolved in the context of his family background, his personal contacts with the London Italian community and modern language teaching in the early seventeenth century as he grew to become a ‘multilingual’ poet. My study then turns to his first published collection of verse, Poems 1645. Here, I reconsider the Italian elements in Milton’s early poetry, beginning with the six poems he wrote in Italian, identifying their place and significance in the overall structure of the volume, and their status and place within the Italian Petrarchan verse tradition.
  • The Music and Musicians of St. James Cathedral, Seattle, 1903-1953: the First 50 Years

    The Music and Musicians of St. James Cathedral, Seattle, 1903-1953: the First 50 Years

    THE MUSIC AND MUSICIANS OF ST. JAMES CATHEDRAL, SEATTLE, 1903-1953: THE FIRST 50 YEARS CLINT MICHAEL KRAUS JUNE 2009 TABLE OF CONTENTS List of figures................................................................................................................... iii List of tables..................................................................................................................... iv Introduction.......................................................................................................................1 Chapter 1 – Music at Our Lady of Good Help and St. Edward’s Chapel (1890- 1907)..................................................................................................................5 Seattle’s temporary cathedrals......................................................................5 Seattle’s first cathedral musicians ................................................................8 Alfred Lueben..................................................................................................9 William Martius ............................................................................................14 Organs in Our Lady of Good Help ............................................................18 The transition from Martius to Ederer.......................................................19 Edward P. Ederer..........................................................................................20 Reaction to the Motu Proprio........................................................................24