Doctor of Philosophy, Case Western Reserve University, 0, Musicology

Jazz historians and scholars interested in the resistive practices of disadvantaged communities have mined the 1960s Free Jazz movement time and again for anti-institutional, counterhegemonic acts committed by canonic jazz figures. Generally speaking, these acts fall into two categories: (1) overt political “speech” – e.g. published social critique, programmatic music with distinct political messages, musicians' manifestos, etc.; and (2) covert “political” music – i.e., experimental music that seems or sounds as though it is inspired by political interests, attitudes, or agendas. Recently, jazz scholars – among them Ingrid Monson (2007, 160) and Clay Downham (2018, 6) – have cautioned against category two because it involves conjecture. At its best, they argue, it is inferential and speculative; and at its worst, it is essentialist and based on the harmful assumption that experimental music is necessarily political if it comes from a disenfranchised community of performers. Absent from this critique, I argue, is the acknowledgment that it is possible to identify resistance, defiant intentionality, and countercultural purpose in jazz's sounding content, provided there is evidence that it exploits weaknesses, loopholes, and ambiguities in the genre's organizing paradigms and traditions. In this dissertation, I identify strategies, stratagems, and procedures used by 1960s jazz musicians to overcome these burdensome, and in some cases oppressive, aesthetic traditions (e.g. “acceptable” sound palettes, “tolerable” instrumentations, and “respectable” styles). Moreover, I argue that key avant-gardists – among them Ornette Coleman, John Coltrane, and Eric Dolphy – engaged in resistive musical practices rooted in clever, cautious repurposings and defiant misreadings of core jazz concepts in order to secure new aesthetic freedoms and expand the genre's body of tolerated sounds.

Committee: Daniel Goldmark (Advisor); Susan McClary (Committee Member); Francesca Brittan (Committee Member); Mark Turner (Committee Member) Subjects: African American Studies; African Americans; American History; Black History; Black Studies; Fine Arts; Music; Performing Arts

Doctor of Philosophy, The Ohio State University, 2021, Music

Between the second and the tenth centuries CE Jewish Biblical cantillation systems developed from an oral tradition of storytelling into an intricate written system of graphic signs called the tʿame hamiqraʾ (טעמי המקרא‎) – teʿamim, or by some, “accents.” These ekphonetic signs born from prosodic gestures accompanying storytelling in an oral society are today tri-fold in aspect, encompassing punctuation, accentuation, and melody. The evolution of the written notation culminated ca. 1000 CE with the Tiberian Masorah and ceased to develop further. But the displacement of the Jews, whether the result of migration or exile, brought to the traditional oral realization of these teʿamim an apparent acculturation to various folk-music traditions. In order better to understand the implications of a displaced society on the art of cantillation we begin with a brief overview of the formation of the Jewish Diaspora. Against the background of the Diaspora, this study explores the interplay of orality and literacy with regard to the teʿamim, considering ways in which one informs the other throughout the long history and geographic dispersion of Jewish liturgical cantillation. Three major topics receive special focus: cheironomy, the transmission of the art of cantillation, and the interrelationship of orality and literacy in regional styles of its performance. With regard to the practice of cheironomy, the study explores the possible origins of the hand signals, their purpose, the ways in which they are rendered, and how they compare from one community to another. Transmission of the Torah first took place within a pre-literate society and was carried out by storytellers. In this connection we consider the appearance of an assistant or prompter and trace the development of the role of the tomek. The art of cantillation was at first the exclusive province of the kohanim (כהנים‎, priests). Our study examines the circumstances under which the practice of ritual chanting (open full item for complete abstract)

Committee: Udo Will (Advisor); Charles Atkinson (Advisor); Graeme Boone (Committee Member); Vitaly Bergelson (Committee Member) Subjects: Judaic Studies; Music

Master of Music (MM), Ohio University, 2023, Music History and Literature (Fine Arts)

Much of the writing on Mexican composer Ernesto Elorduy (1853-1913) has tended to focus on the European influence in his music and disregarded it due to its lack of Mexican folkloric tunes as well as the technical accessibility of the piano compositions. To gain a deeper understanding of Elorduy's career and works this thesis shifts the focus onto Elorduy's cosmopolitan attitude, piano music (character pieces and dance music), and its reception. I also explore the musical thought of the nineteenth century and propose that the period's values and ideas are crucial to situate Elorduy's work in the history of Mexican music.

Committee: Garrett Field (Advisor); Emely Phelps (Committee Member); Dominique Petite (Committee Member) Subjects: History; Latin American Studies; Music; Performing Arts

Doctor of Philosophy, Case Western Reserve University, 2023, Musicology

This dissertation uses the lens of deep ecology to analyze music of 1980s America that reflects eco-centric ideologies flourishing in the late 20th century. Deep ecology, a term introduced in 1973 by Norwegian philosopher Arne Naess, argues for the intrinsic value of nature independent of the ways it may be useful, or not useful, to humans. Popularized in North America by philosopher George Sessions and sociologist Bill Devall in the 1980s, deep ecology became an influential intellectual movement that resisted the human-centric agendas of mainstream environmentalism. While late 20th-century conventional environmental movements were ultimately anthropocentric, in that they argued to preserve nature for human use, deep ecologists, and the artists studied in this project, believed humans to be equal members of a larger ecosystem. In this project, I consider three influential examples of music in light of deep ecology theories: composer Pauline Oliveros's practice of Deep Listening, composer Philip Glass's and director Godfrey Reggio's 1983 film Koyaanisqatsi, and the music of New Age musician Paul Winter. Using the discourse of deep ecology to analyze these works reveals that the ways in which these musicians conceptualized ideas of sound, music, and nature are part of a larger nature-centered ecological movement that developed in 1980s America.

Committee: Daniel Goldmark (Advisor); Andrea Rager (Committee Member); Francesca Brittan (Committee Member); Susan McClary (Committee Member) Subjects: Music

Doctor of Philosophy, Case Western Reserve University, 2023, Music History

Music videos are rife with audiovisual representations of race, sexuality, gender, and other identities. From stereotypes to referential associations, images contribute an additional layer of signification to a song. The resulting combination of music and images creates a multimedia format whose popularity rose with the emergence of MTV in 1981 and regained momentum with the foundation of YouTube and other internet platforms in the early twenty-first century. As society changed over the course of forty years, so too did representations and the way they formed. Rather than tracing a historical trajectory or identifying a “right” or “wrong” interpretation, I instead break down how such an interpretation might arise. In this dissertation, I build on the foundational research of Carol Vernallis by rooting my work in analysis, using Stan Hawkins's approach to understanding identities in both popular music and multimedia as a guide. Diane Railton and Paul Watson's foray into representation in music videos serves as a starting point for discerning the ways—what I call techniques—that music videos create representations; where Railton and Watson focus on images and lyrics, I bring music into the fold, adding another layer of analysis to complicate the interpretations of identities on screen. The techniques I identify range from visual narratives that parallel musical struggles to ones based on the relationship between men and women. While representations span the visible identities of race, sexuality, and gender, all techniques maintain a connection to the music.

Committee: Daniel Goldmark (Committee Chair); Joy Bostic (Committee Member); Francesca Brittan (Committee Member); Susan McClary (Committee Member) Subjects: Gender; Music

DMA, University of Cincinnati, 2022, College-Conservatory of Music: Voice

Operatic vocalists encounter a range of external expectations that threaten to inhibit their pleasure of singing. Performers are often trained to fulfill the composer's creative vision, which can compel performers to neglect and limit their own creative desires. Disconnected from their creative flow, vocalists may struggle to sustain their singing. The vocal hardships and lack of artistic fulfillment become mutually constitutive and cause strife in their relationship with singing. Concurrently, many historical opera plots include outmoded sexual politics which seem to affirm repressive gendered stereotypes about women. In most performative contexts, performers do not have the freedom to alter the libretti of standard repertoire. Given these constraints placed upon the performer, could there be methods to destabilize conventional constructions and semiotic codes in a way that would deconstruct sexist representations in opera and produce alternative meanings? Could the performer's reclamation of pleasure assist in creating new meanings and liberate their singing? The move towards valuing pleasure and embodiment in classical performance can have a positive impact on the field, extending from affective gains for performers to an increase in its social impact. In this thesis, I will be offering strategies for a feminist performance praxis of nineteenth-century operatic repertoire. In my methodology, I will construct a pleasure-oriented vocal practice and then move to devise modes of embodied resistance in performance through a feminist analysis of the sexual politics in operatic libretti. Bringing Carolyn Abbate's conception of the singer's "authorial voice" into dialogue with Audre Lorde's concept of "erotic power," I will argue that women's embodied performance practice can be a site wherein gendered power structures are renegotiated through channeling counterhegemonic forms of feminine desire.

Committee: Shelina Brown Ph.D. (Committee Member); Jeongwon Joe Ph.D. (Committee Member); Quinn Patrick Ankrum (Committee Member) Subjects: Music

DMA, University of Cincinnati, 2022, College-Conservatory of Music: Piano

Inspired by internationally acclaimed pianist Yuja Wang's controversial comedic performance in 2018 as well as activist efforts by other musicians, scholars, and arts administrators, this document will compile findings from interviews I conduct as well as existing literature on the participation of Asians and Asian Americans in the classical music industry. Points of interest include narratives that challenge or reinforce the existing balance of agency and structure described by scholars such as Mari Yoshihara, Grace Wang, and Mina Yang. According to them, Asian and Asian American classical musicians experience a distinct type of marginalization at the crossroads of high representation and a homogenized image. Despite this environment, these musicians continue to make music, at times downplaying their adversity. This document intends to explore the narratives of Asian and Asian American musicians' tenacity. It will also expand the scant but increasing number of studies on this topic. A potential future use of this document includes efforts toward building more equitable systems and practices in classical music culture.

Committee: Scott Linford Ph.D. (Committee Member); Jenny Doctor PhD (Committee Member); Rebecca Bromels (Committee Member) Subjects: Music

Bachelor of Arts (BA), Ohio University, 2022, Music

The purpose of this thesis is to defend and vindicate the use of “Sturm und Drang” as a musicological term. To defend the term's usage, I offer a new construction for understanding the movement. My construction comprises a three-part framework that consists of preparatory, intensive, and concluding phases. For this study, I have selected compositions by Carl Philipp Emmanuel Bach (1714-1788), Franz Joseph Haydn (1732-1809), and Ludwig van Beethoven (1770-1827), respectively, as representative of each group. This new construction of Sturm und Drang achieves greater linkage between the literary movement and musical style-period by addressing concerns over chronology and stylistic development. Addressing these two concerns demonstrates the adequacy and usefulness of the Sturm und Drang label.

Committee: Richard Wetzel (Advisor) Subjects: Literature; Music

MA, Kent State University, 2022, College of the Arts / School of Music, Hugh A. Glauser

Alexander Scriabin (1872–1915) is known for his synesthesia, piano music, and transition from late Romantic tonality to early post-tonality or atonality. While previous scholarship has explored different systems of analyzing Scriabin's developing pitch language, the metric aspects of his music are often overlooked. That said, Mauchley (1982) observed the predominance of triple and compound meter in Scriabin's ninety preludes. The abundance of ternary metric organizations in Scriabin's music is notable given a survey of Western music that found that simple, duple, and quadruple meters are most common. Literature in music perception and cognition also discusses a bias toward binary metric organization (Huron, 2006; London, 2012). This thesis supports and expands Mauchley's observation. A survey of time signatures across Scriabin's corpus of solo piano music is reported, which found that 3/4, 6/8, 9/8, and 3/8 are among Scriabin's most common time signatures. An analysis of meter in randomly selected phrases from eighty-two of Scriabin preludes using the mathematical model Inner Metric Analysis is also reported. The Inner Metric Analysis found that ternary metric organization is prevalent even in pieces Scriabin notated in a binary meter. A major contribution of this thesis is the Mysterium corpus of Scriabin's solo piano music.

Committee: Joshua Albrecht (Advisor); Adam Roberts (Committee Member); H. Gerrey Noh (Committee Member) Subjects: Music

Doctor of Philosophy (PhD), Ohio University, 2020, Interdisciplinary Arts (Fine Arts)

Resonance investigates recent developments in the field of contemporary percussion music. The five case studies examine how composers, performers, and listeners collaborate. An analysis of their collaborations reveals that recent advances include the reconceptualization of physical space and utilization of virtual space, the arrangement and orchestration of the composer's voice for percussion instruments, and how collaborators can use source material to explore new avenues of performance. The dissertation also features a creative component, a composition for amplified percussion instruments and four-track cassette recorder titled Resonance, in Three Movements. Scholars and artists interested in unique approaches to interdisciplinary collaboration involving physical and virtual space, source material, and commissioning will find that these case studies provide unique insights involving new directions in the burgeoning field of percussion studies.

Committee: Garrett Field Dr. (Advisor); Roger Braun (Committee Member); Vladimir Marchenkov Dr. (Committee Member); Richard Wetzel Dr. (Committee Member) Subjects: Music

M.M., University of Cincinnati, 2020, College-Conservatory of Music: Music History

The 1918 ballet, Parade, and its music by Erik Satie is a fascinating, and historically significant example of the avant-garde, yet it has not received full attention in the field of musicology. This thesis will provide a study of Parade and the avant-garde, and specifically discuss the ways in which the avant-garde creates a dialectic between the expressiveness of the artwork and the listener's emotional response. Because it explores the traditional boundaries of art, the avant-garde often resides outside the normal vein of aesthetic theoretical inquiry. However, expression theories can be effectively used to elucidate the aesthetics at play in Parade as well as the implications for expressability present in this avant-garde work. The expression theory of Jenefer Robinson allows for the distinction between expression and evocation (emotions evoked in the listener), and between the composer's aesthetical goal and the listener's reaction to an artwork. This has an ideal application in avant-garde works, because it is here that these two categories manifest themselves as so grossly disparate. Robinson's theory affirms that while the avant-garde elements of Parade may distort, it does not necessarily follow that this distortion lacks significance. Through these methods, expression theory will provide a fresh aesthetical significance to Parade, and a more consummate understanding of the work.

Committee: Jonathan Kregor Ph.D. (Committee Chair); Stephen Cahn Ph.D. (Committee Member) Subjects: Music; Philosophy

Doctor of Philosophy, The Ohio State University, 2020, Music

The history of musical development in cultural groups across Europe is vast and varied. We know, for instance, that groups of people use music as a way of both creating social cohesion and differentiation or exclusion (Hagen & Bryant, 2003). The relationship between cultural group identity and musical characteristics is one that has gathered some attention in European folk music scholarship over the years. However, the question of how musical features act as a reflection of unique cultural groups needs further exploration. Additionally, the Essen Folksong Collection, one of the only large databases of Western folk music, has seen extensive overuse over the past few decades, thus eliciting further inquiry into the representativeness of the Collection itself. In this dissertation, I attempt to provide an in-depth analysis of the Essen Folksong Collection as a representation of 19th-century German folksong by exploring its origins, how scholars have used the Collection, and what the Collection still has left to tell us about the nature of Western folksongs. In particular, I discuss the somewhat unclear background of the Essen Collection and how Helmuth Schaffrath and his colleagues in Essen, Germany first came upon the materials that make up the Essen Collection. Afterwards, I provide a small meta-analysis of the research that has cited the Essen Collection, pointing out three general topic trends. Finally, I provide an exploration of the relationship between basic statistical properties of the Essen Collection and their geographical spread across the German region. By taking this long look at the history and usage of the Essen Collection, we can begin to better understand how empirical research in folksong studies has been shaped by the past and how best to approach it in the future.

Committee: David Huron (Advisor); Daniel Shanahan (Advisor); Ryan Skinner (Committee Member) Subjects: Music

Bachelor of Arts, Capital University, 2020, Music

The research project that I pursued focuses on American composer Charles Ives. I will analyze how the relationship with his father set Charles Ives on his path towards his notably idiosyncratic style of music arranging and composition. The effects of this relationship will be further investigated through three sections of his life: his childhood, time at Yale and shortly after, and his retirement from the life insurance business until his death. Ives was an innovator in nontraditional music and to many ears can sound unpleasant, but nonetheless he created music of intense interest and experimented with many techniques composers had not used before. Through this analysis, I intend to show examples of how he was the prototype of the 20th century musician since Ives was one of the first musicians/composers to make a living from more than just music. Ives was a successful insurance salesman and was able to support his own creativity because of it. He was able to compose what he wanted because he didn't depend on commissions from others with different tastes for a living. This research will culminate in a lecture recital in the spring of 2020 and feature original analysis of select work by Ives. Many sources focus on how his father was important, but not how that relationship affected the other stages of his life and the musical pieces I am analyzing. I plan to draw connections between his family life, education, and career and his music to show how they influenced each other in an engaging, interactive lecture recital.

Committee: Joshua Borths (Advisor); Thomas Zugger (Committee Chair); Stephanie Wilson (Advisor) Subjects: American History; History; Music

Doctor of Musical Arts, The Ohio State University, 2020, Music

The music of Luigi Boccherini has experienced a slow and steady revival over the last half century, yet few of his twelve cello concertos are widely published. This document presents a newly engraved edition of Boccherini's ​Cello Concerto in D major G. 478,​ including solo parts and full score. I use carnal musicology to support a historically informed editorship of the cello part. In doing so I critique the anachronistic ways in which Boccherini's music has been edited and published, particularly by Friedrich Grutzmacher in his late 19th century Boccherini concerto mash-up. Grutzmacher's widely accepted version compromises the techniques that would have been implicit in Boccherini's music, such that these inventions are lost in modern cello pedagogy and performance. My approach offers a new way of teaching and historicizing music that is faithful to Boccherini and caring toward the cello playing body. This project provides resources for the well-being of musicians and their bodies through a musicology that re-centers practice as community rather than isolation. The primary historical contributions I make to what we know of Boccherini are embodied and transcribed into the performance edition itself. This carnal musicology serves as the connective framework between history and embodied feeling, such that musicians and students can feel both the music and the history. The practice guide develops an analytical teaching methodology toward mastery of Boccherini's unique musical style and technical inventions. The ​Concerto G. 478 s​ erves as a case study by which I teach historical performance using contemporary research methodologies of formal and harmonic analysis, topic theory, and carnal musicology. I offer insight for feeling, interpreting, and translating these components of text and history through the sound of the cello. I invent practice strategies that engage the student in technical and musical inquiries of the ​Concerto​ that allow them to take ownersh (open full item for complete abstract)

Committee: Mark Rudoff Prof. (Advisor); Kristina MacMullen Dr. (Committee Member); Juliet White-Smith Dr. (Committee Member); David Clampitt Dr. (Committee Member) Subjects: Music

Doctor of Philosophy, The Ohio State University, 2020, Music

In recent years, scholars have commenced to reevaluate the advent and origins of 20th-century artistic movements, with the repositioning of experimental artistic networks like Fluxus as a decentralized, transnational network of artists, a component as integral to Fluxus' identity as its interdisciplinarity. Despite such claims, many art historical and musicological inquiries remain focused upon the activities of Fluxus artists within historically conceived artistic “centers” in the United States and Western Europe, as opposed to a more holistic investigation of Fluxus' “transnational” aspect. Informed by archival and ethnographic research, and engaged with art historians, musicologists, and cultural anthropologists, this dissertation interrogates these dominant narratives through three interrelated, yet distinct case studies involving Icelandic and non-Icelandic artists: Nam June Paik and Charlotte Moorman's scandalous performance at Reykjavik's Theatre Lindarbær, the emergence of the Icelandic collective SUM, and Magnus Palsson's role in experimental arts pedagogy. Such an investigation is not only concerned with examining Iceland's (and the Nordic region more broadly) historical and socio-political position within this transnational milieu, but also the individuals who cultivated, embodied, and lived these cross-cultural exchanges, who have been relegated to the periphery of contemporary historiography.

Committee: Arved Ashby (Advisor); Ryan Skinner (Advisor); Richard Fletcher (Committee Member) Subjects: Art History; Music; Scandinavian Studies

PhD, University of Cincinnati, 2019, College-Conservatory of Music: Music (Musicology)

The use of pre-existing music to communicate did not originate with video games, any more than it began with film—referencing the old to add layers of meaning to the new has been a part of music for centuries. Film music built on existing strategies of musical reference, and video games have explored new possibilities for story telling with pre-existing music. This dissertation examines the variety of ways video games employ pre-existing music to support their narratives, with each chapter considering a subtopic via case studies. In my first chapter, I consider the semiotic possibilities, as well as potential pitfalls, of pre-existing music via the topic of nostalgia in Bastion, Fallout 3, and The Legend of Zelda. In my second, I illustrate musical strategies for continuity within series in Konami's Metal Gear Solid and Atlus's Persona series. In my third, I problematize the knee-jerk criticism of historical inaccuracies in the Assassin's Creed series, reframing the games as historiographic metafiction and reconsidering their use of historical music. And finally, in my fourth chapter, I sift through the musics of BioShock Infinite, exploring the altered anachronistic music that foreshadows mindbending plot points, as well as the music that depicts with uncomfortable accuracy the racism of early twentieth-century popular culture. Along the way, I analyze music from six centuries and three continents in games that span decades and tell stories about nuclear warfare, Jungian psychology, time travel, and the eternal struggle between freedom and order.

Committee: Jeongwon Joe Ph.D. (Committee Chair); Jonathan Kregor Ph.D. (Committee Member); Christopher Segall Ph.D. (Committee Member) Subjects: Music

Master of Arts, The Ohio State University, 2019, Slavic and East European Studies

Music has always played an important role during war, both societally and practically – from drums to keep the soldiers marching together, to trumpets announcing the arrival of friends or foes, to the first war where nations had the ability to electronically transmit music. Though music had long been used as propaganda, due to developments in radio broadcasting World War II was the first war in which music was easily distributed on the air to millions. Music can bring us together, it can give rise to any emotion, or it can be the vehicle for ideologies that can encourage or subdue the masses. During WWII, American and Soviet composers, singers, soldiers, and common people all wrote songs about life, love, battle, leaving or being left, and about crushing a common foe. In both countries, these songs were written by people who wished to inspire the masses with their patriotism. The use of music to convey patriotic messages reveals interesting differences between the ideologies of the USA and the USSR, but it also reveals a multitude of similarities in content and context. In my paper, I explore the history behind the songs in question, their musical attributes and how these attributes are typically interpreted, and how the American and Soviet concepts of patriotism were remarkably similar in the war to end all wars, as reflected in some of the most popular American and Soviet war songs.

Committee: Alexander Burry PhD (Advisor); Daniel Collins PhD (Committee Member); Danielle Fosler-Lussier PhD (Committee Member) Subjects: Music; Slavic Studies

Doctor of Philosophy, The Ohio State University, 2018, Music

This dissertation explores sonic signifiers of injury, disease, and mental illness in 8- and 16-bit video game soundscapes. The immediacy and invasiveness of the medium makes game sound uniquely positioned to influence players' personal identification and immersion within the narrative, and incorporation within the body of the avatar. Games replicate social discourse about the meanings of bodies, and tell stories that matter in a medium that engenders an unusually deep personal engagement. In order to confront these sonic signifiers, I subject my own transcriptions of game audio to analysis drawing on disability studies, ludomusicology (the study of music and play, usually focusing on video games), and music cognition literatures to implicate games in broader discourses of human difference and media representation. In games, bodily impairments are treated not as part of a nuanced spectrum of lived experience, but as obstacles to overcome. Game sound often represents these mechanics in the abstract, to communicate changes in game states to the player, and so the soundscape becomes a vital arbiter of meaning and action. Players' responses to these aural cues is to seek a cure, reading disabilities as temporary setbacks in performance, cues to restore the avatar to “normal.” Game sounds reinforce ableist ideals, promoting an unrealistic view of the idealized normative body and mind as achievable constants and reflecting deep cultural anxieties about the implications of bodily difference.

Committee: Arved Ashby Ph.D (Advisor); Graeme Boone Ph.D (Committee Member); David Bruenger Ph.D (Committee Member); Neil Lerner Ph.D (Committee Member) Subjects: Music

BA, Oberlin College, 2018, Musicology

The purpose of this research project is to investigate the relationship between biographical films and the context in which they were produced through a focus on media representation of Frederic Chopin. Chopin's life lends itself well to the “tortured romantic artist” trope, due to his estrangement from his home country, his romantic troubles with George Sand, and the illness that led to his untimely death. His dramatic story has yielded several fictionalized interpretations of his life. This project explores several of these adaptations, discussing the portrayal of Chopin's character as well as his music, and how the cultural context of a film's place and time of production affects this. I will analyze several films, including: A Song to Remember (American, 1945), Mlodosc Chopina (Polish, 1952), La Note Bleue (French, 1991), Impromptu (British, 1991), and Pragnienie Milosci (Polish, 2002). I will also explore a video game, Eternal Sonata (Japanese, 2008). Each of these media come from a different sociopolitical context, and the representation of the Chopin's character changes accordingly. The directors exaggerate specific aspects of Chopin's story, and create a fictional persona tailored to their audiences, turning Chopin into a relatable figure across time and culture.

Committee: Charles Edward McGuire (Advisor); Arnie Cox (Committee Chair); William Patrick Day (Committee Member); Rebecca Fülöp (Committee Member) Subjects: Music

M.M., University of Cincinnati, 2017, College-Conservatory of Music: Music History

In the three years between 1869 and 1871, two seismic events created a seemingly irreconcilable cultural conflict in South Germany. 1869 saw Pope Pius's decree of papal infallibility, reasserting papal supremacy over the power of secular rulers. 1871 saw Bismarck's triumph over the French in the Franco-Prussian War, and the long-awaited political unification of much of German-speaking central Europe. Munich, the cosmopolitan heart of Catholic Bavaria, acutely experienced these changes, and the conflicts inherent in growing dogmatism on both secular and religious fronts. The pull between German nationalism and Catholic identity— always a complicated relationship—grew increasingly polarized, exacerbated by Bismarck's anti-Catholic Kulturkampf, the Do¨llinger affair, and the schism between “old” and “new” Catholics in South Germany. Musically, these conflicting identities are apparent in the works of Josef Gabriel Rheinberger. A Lichtenstein-born composer living and working in Munich, Rheinberger consciously sought to align himself with the great pantheon of German composers extolled in the German musical press, while at the same time responsive to the demands of his various sacred music positions, his own relationship to the Catholic faith, and the musical dogmatism of the Caeciliens at Regensburg. This thesis compares Rheinberger's two settings of the Catholic Stabat mater poem, Opp. 16 and 138, in evaluating the comparative pull of German and Catholic musical traditions in late nineteenth-century Munich. Written twenty years apart (1864 and 1884, respectively) the two works are musical snapshots of distinctive periods in Munich and Rheinberger's histories, existing at the crossroads of German and Catholic identity, and revealing the cultural conflicts and compromises inherent therein.

Committee: Jonathan Kregor Ph.D. (Committee Chair); Stephen Meyer Ph.D. (Committee Member); Matthew Peattie Ph.D. (Committee Member) Subjects: Music