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Full-Text Articles in European History

Johann Sebastian Bach's Wind/Brass Instruments And Scoring Techniques, Daniel Rager Nov 2014

Johann Sebastian Bach's Wind/Brass Instruments And Scoring Techniques, Daniel Rager

Dan Rager

Each time period has its own social, cultural and religious rules from which composers obey. Bach’s sacred and secular works walk a fine line and are hard to distinguish between, but each has been performed throughout the ages in a variety of settings. This paper investigates Bach’s: Ideologies and Scoring which include his petition of August 23, 1730, his Horn (Corno) and its many names and uses. The author details Bach’s trombone (s), how he use them and in what compositions they can be found as well as Bach’s trumpet (s), their various keys and uses ...


Aspects Of Newtonianism In Rameau’S Génération Harmonique, Abigail Shupe Oct 2014

Aspects Of Newtonianism In Rameau’S Génération Harmonique, Abigail Shupe

Electronic Thesis and Dissertation Repository

This dissertation studies the influence of Newtonianism as a cultural phenomenon on the theoretical writings of Jean-Philippe Rameau (1683-1764). Rameau’s Génération harmonique (1737) shows a change in his thinking from his earlier work that bears witness to the debates around Newtonian science in the scientific community. Scholars have discussed possible connections between Génération harmonique and Newton’s Opticks (1704) but none has studied this issue in detail. I argue that Rameau was influenced by Newtonianism rather than by Newton’s works, and that Rameau was not always aware of this influence. In order to situate Rameau’s work within ...


A Musical Mirror: Spain's Ever-Changing Political Landscape And Its Reflection In Popular Music, Vera Grek '14 May 2014

A Musical Mirror: Spain's Ever-Changing Political Landscape And Its Reflection In Popular Music, Vera Grek '14

College Honors Program

This thesis examines the governmental changes in Spain from the beginning of Francisco Franco’s dictatorship in 1936 until the end of José Luis Rodríguez Zapatero’s first term as Prime Minister in 2008 in order to determine the degree to which politics affects cultural change in Spain, focusing on popular music. The first chapter deals with Franco’s regime and the laws that controlled the country and the adoption of the southern Spanish traditions as the official Spanish culture, repressing the individual characteristics of the other regions. Next, the second chapter compares the transition from dictatorship to democracy aided ...


“Wir Streiken!”: Music And Political Activism In Cold War Germany, John Tyler Patty May 2014

“Wir Streiken!”: Music And Political Activism In Cold War Germany, John Tyler Patty

Masters Theses

Using print media such as band biographies, books, and journals that address youth, popular culture, and music in the German context, this thesis analyzes how music and musicians influenced political protest movements in West Germany during the Cold War and how, in turn, protest movements fostered the career of musicians. The relationship between music and social change in Germany throughout the Cold War is complicated and contains many aspects. This thesis focuses mainly on the effect American and British music had on divided Germany and examines how these influences helped shape the cultural climate in which political protests emerged. It ...


Bard In The Gondola, Barred In The Ghetto: Operatic Adaptations Of Shakespearean Text And Italian Identity In The Late Nineteenth Century, Anne M. Kehrli May 2014

Bard In The Gondola, Barred In The Ghetto: Operatic Adaptations Of Shakespearean Text And Italian Identity In The Late Nineteenth Century, Anne M. Kehrli

Undergraduate Honors Theses

This thesis, Bard in the Gondola, Barred in the Ghetto: Operatic Adaptations of Shakespearean Text and Italian Identity in the Late Nineteenth Century, is based on the comparison between two texts. The first is William Shakespeare’s first quarto edition of The Merchant of Venice. The second is the 1873 vocal score and libretto of Ciro Pinsuti and G.T. Cimino’s opera, Il Mercante di Venezia: un melodramma in quattro atti. The contrast between the two works is made within the context of Italian unification, nationalism and identity juxtaposed with the literary and philosophical trends of the nineteenth century ...


Chopin Mazurkas And Its Influence On Polish Nationalsim, Pablo Cintron May 2014

Chopin Mazurkas And Its Influence On Polish Nationalsim, Pablo Cintron

Masters Theses

The innovative character of Chopin Mazurkas is forever linked with Polish culture. This thesis examines how the unmistakable sound of the Mazurka captures the Polish sound more than any other work written by the composer and how it contributes to Polish cultural nationalism during the Polish diaspora of the nineteenth-century.

In this study, the author presents a brief examination on Chopin's traditional interpretation of his mazurkas as well as isolating the characteristics of Polish interpretation that sets the Mazurka performance apart from the non-traditional style. A research case is made when contrasting the current concept of the classical execution ...


Chopin Mazurkas And Its Influence On Polish Nationalism, Pablo Cintron May 2014

Chopin Mazurkas And Its Influence On Polish Nationalism, Pablo Cintron

Masters Theses

The innovative character of Chopin Mazurkas is forever linked with Polish culture. This thesis examines how the unmistakable sound of the Mazurka captures the Polish sound more than any other work written by the composer and how it contributes to Polish cultural nationalism during the Polish diaspora of the nineteenth-century. In this study, the author presents a brief examination on Chopin's traditional interpretation of his mazurkas as well as isolating the characteristics of Polish interpretation that sets the Mazurka performance apart from the non-traditional style. A research case is made when contrasting the current concept of the classical execution ...


A Somewhat Silent Protest: How Dmitri Shostakovich Used His Music, Not His Words, To Rebel Against The Soviet Government, Michael J. Wood Apr 2014

A Somewhat Silent Protest: How Dmitri Shostakovich Used His Music, Not His Words, To Rebel Against The Soviet Government, Michael J. Wood

The Research and Scholarship Symposium (2013-2019)

Dmitri Shostakovich composed in an environment which was extremely hostile toward artists—especially those that were innovative. Shostakovich was denounced by the Soviet government and had to be cautious with his compositions. If the government disapproved of his work, they could have killed him, as they did other artists. Shostakovich obviously had to keep his opinions to himself for fear of being killed. Although he had to keep his unfavorable views of the Soviet government private, he found ways to make bold, rebellious statements through his music. This paper will seek to show several pieces in which Shostakovich demonstrated his ...


Tunes, Textures, And Trends: The Transformation Of Johann Walther’S Geistliches Gesangbüchlein (1524, 1525, 1537, 1544, 1551), Emily Marie Solomon Apr 2014

Tunes, Textures, And Trends: The Transformation Of Johann Walther’S Geistliches Gesangbüchlein (1524, 1525, 1537, 1544, 1551), Emily Marie Solomon

Master's Theses

This thesis examines the contents of Geistliches Gesangbüchlein, a sixteenth-­‐‑ century German Lutheran hymnal by Johann Walther, published in five editions between 1524 and 1551, the contents of which were substantially augmented, particularly between the 1525 and 1537 editions. Specifically, this project focuses on the twelve hymns with multiple settings, one or more of which were published in the first two editions and replaced by one or more settings in the last three editions, while assessing the characteristics across the original and removed settings and noting discernable trends of revision employed by Walther. Observable revision trends include length increase and ...


Banished From The Present: Musicians In Nazi Germany, Thomas G. Bennett Apr 2014

Banished From The Present: Musicians In Nazi Germany, Thomas G. Bennett

Student Publications

This essay analyzes musical life in the Third Reich. More specifically, the focus will be on the Nazis’ regulation of music and the role that musicians themselves played in determining and enforcing cultural coordination. While some evidence extends into the war years (1939-1945), the bulk of the information presented here took place in the pre-war Nazi era (1933-1939). The purpose here is to show that those musicians who worked with and under the Nazis were affected in different ways and had varying levels of agency within the National Socialist system. Some have been branded collaborators, others victims, and this paper ...


French Opera And The French Revolution, Etienne Nicolas Mehul, Savannah J. Dotson Jan 2014

French Opera And The French Revolution, Etienne Nicolas Mehul, Savannah J. Dotson

Departmental Honors Projects

Although Etienne Nicolas Méhul is relatively unknown today, he was greatly respected by his contemporaries, including Beethoven, Cherubini and Berlioz. He rose to popularity and notoriety during the most turbulent years of the French Revolution, when most intellectuals fled for their lives, and yet he managed to maintain his status as a favorite of the people. From an examination of some of his operas - Euphrosine (1790), Ariodant (1799), Adrien (1792, 1799), and Horatius Coclès (1794) - it is apparent that Mehul used thinly veiled allegories to express his views. His heroes in these operas were Romans, Scottish nobles, and Crusaders; his ...


Re-Thinking Paris At The Fin-De-Siècle: A New Vision Of Parisian Musical Culture From The Perspective Of Gabriel Astruc (1854-1938), Cesar A. Leal Jan 2014

Re-Thinking Paris At The Fin-De-Siècle: A New Vision Of Parisian Musical Culture From The Perspective Of Gabriel Astruc (1854-1938), Cesar A. Leal

Theses and Dissertations--Music

Gabriel Astruc (1864-1938), a French impresario of Jewish background, is mostly known for his collaborative work as an impresario with Sergei Diaghilev and his Ballets Russes. His role within Parisian musical culture at the fin de siècle, however, was much broader. He was a critic, creator of a leading periodical, producer of musical and circus events, music publisher, and associate of many important cultural figures of his day. Although Astruc has been mentioned in scholarly literature, his multifaceted activities have never been carefully studied.

Following the revisionist initiatives of previous scholars (e.g., Pasler, Huebner, Garafola, Fauser), this project offers ...


Musical Memories Of Terezín In Transnational Perspective, Amy Lynn Wlodarski Jan 2014

Musical Memories Of Terezín In Transnational Perspective, Amy Lynn Wlodarski

Faculty and Staff Publications By Year

During the Holocaust, Terezín (Theresienstadt) was designed to function as a so-called "model camp." At Terezín, the Nazis allowed inmates to hold musical rehearsals and perform publicly; exhibiting such activities was cultural propaganda designed to dupe visiting organizations, including the International Red Cross. Whereas music was performed in nearly all the camps, Joža Karas asserts that Terezín provided Jewish prisoners with a unique chance to "devote all [their] energy to [a] chosen field" and thus experience "exciting feelings [that] could not be dampened by the unpleasantness and difficulties of ...life in the ghetto." He concludes his evaluation by citing Greta ...