Dissertations / Theses: 'American music'

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Fernandez, Carlos. "American music / Cuban music: influences and connections." FIU Digital Commons, 2002. http://digitalcommons.fiu.edu/etd/3231.

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This thesis will demonstrate the effects of American music, specifically jazz, on the different styles of Cuban music. It will be presented chronologically, explaining decade by decade, how American music penetrated the Cuban culture in almost all musical genres.

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Olson, Ted S. "Anglo-American Gospel Music." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/5516.

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Wise, Timothy Elbert. "Yodelling in American popular music." Thesis, University of Liverpool, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428246.

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This is a study of yodelling as a musical and cultural signifier. A definition of yodelling and a typology useful for the description of the various yodel phenomena heard in English-language popular music are proposed. Yodelling is then considered in a chronological sequence, beginning with abstract yodel signs in European instrumental classical music where these tended to signify pastoralism, idealism, and other ideas relating to romantic conceptions of the self. A discussion of yodelling in light classical and popular music through the nineteenth century follows. The differing ideologies associated with "art" music and "popular" music are discernible in attitudes toward the yodel during this time. The Americanisation of yodelling in terms of both its musical-formal manifestations and the ideas it articulated through these are discussed before considering yodelling's role in both the hillbilly and the cowboy genres. The emphasis throughout is upon the semiotic aspects of yodelling which I characterise as the difference between the" rough" and the" smooth". The yodel seems always to be associated with what is rough: peasants, shepherds, hobos, and hillbillies. This distinction between rough and smooth has a correlative in the very creation of the sound in the sense that the production of yodelling is a rejection of the orthodox classical singing styles with their cultivation of the "smooth" transition between vocal registers. The result for the yodel has been its thorough ironisation over the middle years of the twentieth century, as an emerging cool aesthetic could no longer countenance it.

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Speedie, Penelope Ann. "American operas on American themes by American composers : a survey of characteristics and influences /." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487758178236837.

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Taylor, Corey Michael. "Ambiguous sounds African American music in modernist American literature /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 253 p, 2009. http://proquest.umi.com/pqdweb?did=1654487481&sid=4&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Nguyen, Jason R. "Staging Vietnamese America| Music and the performance of Vietnamese American identities." Thesis, Indiana University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1546986.

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This study examines how Vietnamese Americans perform identities that acknowledge their statuses as diasporic Vietnamese to construct and maintain specifically Vietnamese American communities. I argue that music, especially public forms of musical expression within mass media and locally staged cultural performances, is a crucial way for Vietnamese Americans across the diaspora to transmit markers of cultural knowledge and identity that give them information about themselves and the "imagined community" constructed through their linked discourses.

The argument is organized around two main ideas that focus on broad cultural patterns and locally situated expressions, respectively. First, music produced by the niche Vietnamese American media industry is distributed across the diaspora and models discourses of Vietnamese identity as different companies provide different visions of what it means to be Vietnamese and perform Vietnamese-ness on stage. I analyze the music variety shows by three different companies (Thuy Nga Productions, Asia Entertainment, and Van Son Productions) to argue that Vietnamese American popular media should not be seen as representing a single monolithic version of Vietnamese-ness; rather, each articulation of Vietnamese identity is slightly different and speaks to a different formulation of the Vietnamese public, producing a discursive field for diverse Vietnamese American identity politics.

Secondly, I show how identity is always performed in particular places, illustrating that Vietnamese Americans performing music in different places can have vastly different understandings of that music and its relationship to their identities. Using a Peircian semiotic framework, I articulate a theory of place-making in which places become vehicles for the clustering of signs and meaning as people experience and interpret those places and make meaning there. As people's experiences imbue places with meaning, people coming from similar cultural backgrounds may gain different attachments to those places and one another and thus different understandings of their identities as Vietnamese. I use two contrasting examples of Vietnamese American communities in Indianapolis and San Jose to show how people in each place construct entirely different discourses of identity surrounding musical performance based upon their positionality within the diaspora.

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Williams, Zaneh M. "American Influence on Korean Popular Music." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/500.

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South Korea is internationally well known for its ethnic and cultural homogeneity, economic and technical success, and strong sense of nationalism. The peoples of South Korea have flourished economically after a series of colonizations, industrialization and political chaos. Over the past few decades, Korea has gained interest internationally for its entertainment industry through the Korean Wave (or Hallyu in Korean). Korean Wave is a term that refers to the increase in the popularity of South Korean culture since the late 1990’s due to Korean music, television shows and fashion. The Korean Wave first swept and captivated the hearts of citizens in East and Southeast Asia and now has expanded its popularity beyond Asia and has captivated millions of people all over the world. After a steady increase in cultural exports as a result of the Korean Wave since 2005, the Korean Tourism Organization (KTO) has realized the value in the exportation of Korean culture and goods and has now created programs that capitalize on this popularity and increase tourists South Korea. Korean popular music or K-Pop is a large and profitable aspect of the Korean Wave. According to CNBC in Move Over Bieber — Korean Pop Music Goes Global “The [k-pop] industry’s revenues hit about $3.4 billion in 2011, according to the Korea Creative Content Agency (KOCCA), a government group that promotes the country’s cultural initiatives. K-pop’s exports also rose to $180 million last year — jumping 112 percent compared to 2010. Exports have been growing on an average annual rate of nearly 80 percent since 2007.” And that “for every $100 of K-Pop exports, there was an average increase of $395 worth of I.T. goods such as cell phones or electronics that were being exported” (Naidu-Ghelani). The exportation of K-pop music and cultural can be seen as an economic success story. But in fact, for the Black American community it is the exportation of cultural appropriation and the degradation of Black American culture. The Korean Wave is packaging, promoting and exporting a “window into Korean culture, society and language that can be as educational as a trip to Korea. South Korea is using the Korean wave to promote its traditional culture within Korea and abroad” (“Hallyu, the Korean Wave” 1). Despite South Korea’s strong sense of nationalism and cultural homogeneity, its pop music has a distinct Black American musical influence. Rap and hip-hop musical style/culture (which is distinctly affiliated with representative of Black Americans) is an integral, if not necessary, part of Korean popular music. The synchronized dance moves, attractive idols and “rap/hip hop” style draws in millions of fans from every walk of life all over the world. The “hip hop” dance moves, clothing and lyrics that dominate Korean popular music, however crosses the line of cultural appreciation and instead can be defined as cultural appropriation.

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Betz, Marianne. "Aspects of US-American Music: Introduction." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A71894.

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Olson, Ted S. "African American Music in Southwest Virginia." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/5514.

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Excerpt: African Americans have lived in Southwest Virginia since the early eighteenth century, and their traditions—their verbal folklore, customary folklife, and material culture—have long influenced cultural life in Southwest Virginia. African American music has been particularly impactful in the region, yet many people today are unaware of the extent of that influence.

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Payne, Alyson. "Creating music of the Americas in the Cold War Alberto Ginastera and the Inter-American Music Festivals /." Connect to this title online, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1165436117.

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Payne, Alyson Marie. "Creating Music of the Americas in the Cold War: Alberto Ginastera and the Inter-American Music Festivals." Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1165436117.

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Brown, Philip. "Brass music during the American revolutionary era /." Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/11253.

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McCluskey, John M. "Music as Narrative in American College Football." UKnowledge, 2016. http://uknowledge.uky.edu/music_etds/57.

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American college football features an enormous amount of music woven into the fabric of the event, with selections accompanying approximately two-thirds of a game’s plays. Musical selections are controlled by a number of forces, including audio and video technicians, university marketing departments, financial sponsors, and wind bands. These blend together in a complex design that offers audible and visual stimulation to the audience during the game’s pauses. The music chosen for performance in these moments frequently communicates meaning beyond entertainment value. Selections reinforce the game’s emotional drive, cue celebrations, direct specific audience actions, and prompt behaviors that can directly impact the game. Beyond this, music is performed to buttress the successes of the home team, and to downplay its failures. As this process develops over the course of the game, the musical selections construct a sonic narrative that comments on the game’s action, enhancing or suppressing audience members’ emotional reactions to the events on-field, and informing their understanding of the game’s developments. By preparing for and responding to in-game situations, music creates a coherent narrative out of football’s unpredictable events. This project demonstrates the use of musical narrative in American college football via close consideration of case studies of games representing five of the most prominent college athletic conferences, the Atlantic Coast Conference, the Big 10, the Big 12, the Pac 12, and the Southeastern Conference. These sources include interviews with college football’s musical agents, including sound operators, band directors, and producers, as well as documentation of the games’ on-field developments and the music that accompanies them. Finally, this project utilizes of musical narrative as a new means of critically considering the power lines of race and gender in college football culture.

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Lopez, Edwin Gerardo Aybar. "American Folk Traditions in Piano Concert Music." Diss., North Dakota State University, 2013. https://hdl.handle.net/10365/27102.

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This paper describes concert music for the piano that is heavily influenced by or entirely based on folk music traditions from the Americas. First, the term folk music and problems arising from its use are explained. The three main groups of people from which most of the folk music of the Americas originated are also briefly described. The main music covered will be by the composers Samuel Barber (United States), Juan Morel Campos (Puerto Rico), Heitor Villa-Lobos (Brazil), and Louis Moreau Gottschalk (United States). Each composer is represented by one or two pieces. Each piece is analyzed in terms of form and the folk tradition that influenced it. The histories and characteristics of blues, boogie-woogie, cowboy ballads, plena, and banjo music are all considered and related to the pieces discussed.

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Schneider, William Steven. "Music and Race in the American West." PDXScholar, 2017. https://pdxscholar.library.pdx.edu/open_access_etds/3674.

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This thesis explores the complexities of race relations in the nineteenth century American West. The groups considered here are African Americans, Anglo Americans, Chinese, Mexican Americans, and Native Americans. In recent decades historians of the West have begun to tell the narratives of racial minorities. This study adopts the aims of these scholars through a new lens--music. Ultimately, this thesis argues that historians can use music, both individual songs and broader conceptions about music, to understand the complex and contradictory race relations of the nineteenth century west. Proceeding thematically, the first chapter explores the ways Anglo Americans used music to exert their dominance and defend their superiority over minorities. The second chapter examines the ways racial minorities used music to counter Anglo American dominance and exercise their own agency. The final chapter considers the ways in which music fostered peaceful and cooperative relationships between races. Following each chapter is a short interlude which discusses the musical innovations that occurred when the groups encountered the musical heritage of one another. This study demonstrates that music is an underutilized resource for historical analysis. It helps make comprehensible the complicated relations between races. By demonstrating the relevance of music to the history of race relations, this thesis also suggests that music as a historical subject is ripe for further analysis.

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Bonner, Dennis M., and Dennis M. Bonner. "Irving Gifford Fine: His Choral Music and His Contributions to American Music." Diss., The University of Arizona, 1988. http://hdl.handle.net/10150/626241.

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Straw, Will 1954. "Popular music as cultural commodity : the American recorded music industries 1976-1985." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39241.

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This dissertation is an analysis of historical change within those cultural industries involved in the production and dissemination of popular music. Through an analysis of the relationship between the recording and radio industries within the United States, during the period 1976-1985, the manner in which crises within these industries arise and are resolved is traced. The emergence of such musical forms as "disco" and "New Wave", and the manner in which these forms have been integrated within the functioning of the music-related industries, are central concerns of the dissertation. At the same time, more general theoretical hypotheses concerning the role played by taste in the creation of audiences for different categories of popular music are elaborated and employed within the study of specific musical genres.

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Love-Tulloch, Joanna K. "Marketing American identity : the role of American classical music in television advertising /." abstract and full text PDF (free order & download UNR users only), 2006. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1440922.

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Thesis (M.A.)--University of Nevada, Reno, 2006.
"December, 2006." Includes bibliographical references (leaves [92]-[94]). Online version available on the World Wide Web. Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2006]. 1 microfilm reel ; 35 mm.

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Crutchfield, Rory. "'I saw America changed through music' : an examination of the American collecting tradition." Thesis, University of Glasgow, 2012. http://theses.gla.ac.uk/3392/.

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This thesis is concerned with the history of folk music collecting in America and seeks to demonstrate the overriding importance of the political, socio – cultural, intellectual, and technological contexts on this work of folk music collecting. It does so via an examination the work of five of the principal folk music collectors in America in the 19th and 20th centuries: Francis Child, Cecil Sharp, John Lomax, Alan Lomax, and Harry Smith, arguing that the work of each of them was impacted by various contexts which were central to their theories of folk music, their collecting methodologies, and what they did with the material they collected. Each of these collectors, whose work was governed by the context in which they were working, introduced transformations in the theory, practice, and output of folk music collecting. These transformations are held to represent the American collecting tradition, and are in fact what define the American collecting tradition and allow it to continue developing as a discipline from the eighteenth to the twentieth centuries.

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Jones, Mary Jane. "Revival and Community: The History and Practices of a Native American Flute Circle." Kent State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=kent1279293747.

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Stahl, Matthew Wheelock. "Reinventing certainties : American popular music and social reproduction /." Diss., Connect to a 24 p. preview or request complete full text in PDF formate. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3244179.

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Holman, Jones Stacy Linn. "Music for torching." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3037501.

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McReynolds, Robert Timothy. "The influences of American popular music upon twentieth-century song and chamber music." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3088.

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Craford, Mary Elizabeth. "Inventory of modern American cello-keyboard literature /." Access Digital Full Text version, 1994. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11847815.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1994.
Includes tables. Typescript; issued also on microfilm. Sponsor: Harold F. Abeles. Dissertation Committee: Lenore M. Pogonowski. Includes bibliographical references (leaves 89-104).

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Coleman, W. H. "Music in the American political experience, 1788-1865." Thesis, University College London (University of London), 2015. http://discovery.ucl.ac.uk/1469340/.

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Music is a familiar presence in the story of early American popular politics. But what motivated its political use? And how was its political function understood? To answer these questions I highlight a distinctively conservative strain of American musical thought and action and trace its development from the early national period through to the end of the Civil War. Doing so runs against the grain of an existing literature that typically explains political music in the United States as an inevitable by-product of democratisation. Here I show instead that conservative elites also used music specifically to militate against the dangers of a mass political party system. A string of conservative Americans – from Federalist elites to Whig party politicos, social reformers, and Confederate women – all shared both scepticism of unchecked popular democracy and belief in music's capacity to mitigate its excesses. To their minds, music could inject a sense of propriety and refinement into public life, cast an air of patriotism and respectability over partisan political participation, and harmonise a fractious society in support of elite values. The identification of this trend challenges modern notions of music’s inherently emancipatory or democratising qualities and complicates recent attempts to promote political and patriotic songs as unproblematic entry points into the early American popular mind. It suggests, I argue, that the impetus for music’s political presence in early American political culture was driven as much from above as it was from below, and that elitist ideals were central to the popular practices of American politics.

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Ottum, Joshua J. "Anthropogenic Moods: American Functional Music and Environmental Imaginaries." Ohio University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1458123106.

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DiGiallonardo, Richard L. (Richard Lee). "Musical Borrowing: Referential Treatment in American Popular Music." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277911/.

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This thesis examines the relationships between popular contemporary musical styles and classic-era art music. Analysis of pop-rock songs, and their referential treatment in art rock, classical music, and society will be examined. Pop-rock musicians borrow from the masters of the past and from each other. Rock guitarists such as Eddie Van Halen employ a virtuosic technique suggestive of Liszt and Paganini. The group Rush borrowed freely from opera seria. Frank Zappa referenced contemporary musicians as well as classical techniques. Referential treatment in popular music and the recent advancements in technology, have challenged copyright law. How these treatments and technologies affect copyright legislators and musicians will be discussed.

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Montagnet, Emilie G. "A Content Analysis of Product Placements in American and Hispanic American Music Videos." Thesis, University of Louisiana at Lafayette, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10163323.

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This study compared and contrasted product placements found in two different pop music markets in the United States: the American Hot 100 Billboard charts and the American Hispanic Hot Latin Billboard charts. It determined there are numerous product placements in the current music video market. Also, differences were found between the types of products in a video and the artists and record labels using those products in videos. A majority of the videos had male artists performing in them. Artists were analyzed based on their genders, ethnicity, and the number of performers in the ensemble. Product placements were also analyzed by the way the products were placed in the music video: background, in use by a character, or connected to the story shown on screen. The study related the theory of the social construction of reality to the product placements present in popular music videos.

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Wise, Raymond. "Defining African American gospel music by tracing its historical and musical development from 1900 to 2000." Connect to resource, 2002. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1243519734.

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Tuomi, Scott Lawrence. "Finnish art song for the American singer." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/289889.

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Art song teachers are constantly seeking new repertoire for their students. Many countries outside those commonly represented in American vocal studios (for instance Spain and Russia) have rich art song traditions which merit inclusion in the vocal studio. In this era of increased cultural awareness, many other areas of music education are seeking to explore these repertoires. However, many art songs are unable to be utilized because of the lack of resources in this country concerning their acquisition, identification, history, pronunciation and performance. Finland has a vast art song repertoire that is largely unexplored by American singers and teachers for the reasons mentioned above. A relatively new nation, Finland has a rich past which has remained a mystery to the west because of its close connection to the former Soviet Union. In addition, prior to the twentieth century, Finland had been under the control of foreign governments including those of Russia and Sweden since the Middle Ages. This document seeks to identify and examine Finnish art songs while providing background information regarding their history, development, and relevance to Finnish culture. In addition, tools for acquiring and performing Finnish art song are included to facilitate the inclusion of these songs in American vocal studios. Various sections include the development of the art song genre in Finland, the connection of songs to the Finnish national epic, the Kalevala, and a brief examination of the Finno-Ugrian language group. Biographical information is provided for seven selected composers arranged in chronological order. A total of ten songs are analyzed from the selected composers and an English translation is also provided for each. In addition, a collection of appendices providing complete lists of published songs for each composer, a Finnish IPA pronunciation chart, contact information for Finnish music publishers and musical resources and a selected discography are included.

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Damm, Robert J. 1964. "American Indian Music in Elementary School Music Programs of Oklahoma : Repertoire, Authenticity and Instruction." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278099/.

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The purpose of this study was to determine the instructional methods of Oklahoma's elementary school music educators with respect to the inclusion of an authentic repertoire of American Indian music in the curriculum. The research was conducted through two methods. First, an analysis and review of adopted textbook series and pertinent supplemental resources on American Indian music was made. Second, a survey of K-6 grade elementary music specialists in Oklahoma during the 1997-1998 school year was conducted.

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McGinley, Paige A. "Sound travels: Performing diaspora and the imagined American South." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3319110.

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Cronin, Molly K. "American Fuging Tunes in The Sacred Harp." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1267719283.

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Ohki, Hitomi. "American Poet Emily Dickinson Set to Music by 20th Century Composers." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3869.

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When singers perform art songs, how many of them, especially students, learn about the poem and poet behind the lyrics? It might be that a number of singers focus on composers, however not poets. Even in concert programs, it is common to only write the composer’s name. I am one of the singers that has learned lyrics in the last minute before a concert or an examination. I will experiment with changing my learning process and see if that makes any difference when performing the art song. The purpose of this study is also to focus on the poet Emily Dickinson. Furthermore, to find out about the music of composers from the 20th century onwards using Dickinson’s poems. I choose Aaron Copland’s song cycle “Twelve Poems of Emily Dickinson”. Finally, I will perform the work and demonstrate if there is a difference in the singing interpretation by studying not only the music but also the poems behind the lyrics. “Who is Emily Dickinson?” The study explores this question first. After researching 100 songs using her poems, I chose three composers, Aaron Copland, Libby Larsen and Niccolò Castiglioni. Thereafter, “Bind me - I can still sing” of Larsen and “Dickinson-Lieder” of Castiglioni is mentioned. Furthermore, the song cycle “Twelve Poems of Emily Dickinson” by Copland is analyzed deeply to find out more about the piece and why the composer was inspired by Dickinson. It was discovered that one is able to understand the piece deeply, knowing not only about the life of the composer, but also the poet leads to a better understanding of the work. From the singer’s point of view, the level of expression and singing performance has improved after researching the poet Emily Dickinson. The study concludes knowing deeply about the poet that there is no doubt how important the poem is when understanding and interpreting art song.

Soprano: Hitomi Ohki

Piano: Anders Kilström

Aaron Copland (1900-1990)

Twelve Poems of Emily Dickonson

1, Nature, the gentlest mother

2, There came a wind like a bugle

3, Why do they shut me out of Heaven?

4, The world feels dusty

5, Heart, we will forget him!

6, Dear March, come in!

7, Sleep is supposed to be

8, When they come back

9, I felt a funeral in my brain

10, I've heard an organ talk sometimes

11, Going to Heaven!

12, The Chariot

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Hartz, Jason Michael. "The American community band history and development /." Huntington, WV : [Marshall University Libraries], 2003. http://www.marshall.edu/etd/descript.asp?ref=232.

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Brown, Maya Olivia. "EMPOWERMENT THROUGH ACKNOWLEDGEMENT:CONTEMPORARY STRING BANDS AND THE BLACK ROOTS MUSIC REVIVAL." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1532894230322707.

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Erickson, Clipper. "The six piano suites of Nathaniel Dett." Thesis, Temple University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3623149.

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The six piano suites of R. Nathaniel Dett (1882-1943) constitute a substantial body of piano music that illustrates the musical development of an important, but historically neglected American musician. Dett was a seminal figure in the preservation and study of spirituals, both as a writer and choral leader, and as a great teacher and inspirer of African-American musicians in the generations that followed him. Educated at Oberlin and Eastman, he was lauded as the first American composer to fuse Negro folk music with European art music tradition.

The writing of a series of like-genre works over a composer's lifetime, reflecting stylistic changes and a deepening world view, is a special event in the history of keyboard music. Unfortunately, Dett's piano music is rarely performed except for the second of the suites, In the Bottoms. Although his importance to African-American musical history is generally acknowledged by musicologists, his works for piano have remained largely unexplored by performers.

Dett's eclectic pursuits included poetry, the Rosicrucian Society, and religion. This study explores the connections between the suites and other musical styles and traditions, Dett's many extra-musical interests, and his performing life. It also offers some possible explanations for the relative lack of attention received by his piano music.

This study incorporates research from readily-available sources, as well as the Nathaniel Dett archives at the Niagara Falls New York Public Library and Hampton University. The first three chapters give an overview of Dett's style and influences, as well as a description of how his musical language developed from his first suite, Magnolia (1912), to his last, Eight Bible Vignettes (1941-43), written at the end of his life. Each suite is examined individually in detail in the following six chapters. It is hoped that this work will stimulate appreciation of Dett's piano music and lead to more frequent performances. Its goal is to give to the reader the same sense of admiration and joy that the author's exploration of these works has given him.

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Newton, Gregory Middleton Owen. "An American original the guitar music of Owen Middleton /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1383468361&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Thesis (D.M.A.)--UCLA, 2007.
Vita. Includes original and revised versions of Honoring song : variations on an American Indian theme. Includes bibliographical references (leaves 249-250) and discography (leaf 251).

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McWhirter, Christian. ""Liberty's great auxiliary" music and the American Civil War /." Thesis, [Tuscaloosa, Ala. : University of Alabama Libraries], 2009. http://purl.lib.ua.edu/2141.

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Darby, Spencer Harrison. "American Opera and Film Music: Illustrating a Cultural Identity." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17347.

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The purpose and aim of this project is to present an understanding of the American cultural idiom, as seen through the lens of film and opera. To provide a framework, I have selected three texts that I believe to be seminal works dealing with distinctly American topics: Moby Dick, Of Mice and Men and A Streetcar Named Desire. The three texts were all written within a hundred year period, 1851 -- 1947, which encapsulates an era of maturation for the United States. In this time the nation changed from a post-colonial outpost of moderate power, to a dominant industrial power, and an economic superpower. It stands to reason then, that in these texts lies the presentation of how each writer truly saw his own nation, during a time period that saw America develop into its mature, modern identity. By using these seminal texts as a starting point, it is possible to trace how values have changed in the intervening years, as each was appropriated first into a film, and then later into an opera. By attempting to capture the musical values inherent in the two different media, my desire is to see how America’s perception of itself has changed over a relatively short space of time.

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Holmes, Thomas Alan, and Roxanne Harde. "Walking the Line: Country Music Lyricists and American Culture." Digital Commons @ East Tennessee State University, 2013. http://amzn.com/073916967X.

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Contents: Introduction: "Walking the line" : the Dixie Chicks and the making of country lyricists / Thomas Alan Holmes and Roxanne Harde -- "Nobody Knows but Me" : Jimmie Rodgers and the body politic / Taylor Hagood -- Cindy Walker, Lyle Lovett, and the West / Thomas Alan Holmes -- "Help your brother along the road" : Hank Williams and the humane tradition / Steve Goodson -- JC : Johnny Cash and faith / Thomas Alan Holmes -- Religious doctrine in the mid-1970s to 1980s country music concept albums of Willie Nelson / Blase S. Scarnati -- Grace to catch a falling soul : country, gospel, and evangelical populism in the music of Dottie Rambo / Douglas Harrison -- Loretta Lynn, Appalachian storyteller and autobiographer / Laura Grace Pattillo -- "Branded" man : Merle Haggard's romance of the outlier / Thomas Alan Holmes -- Townes Van Zandt : " Now here's what this story's told" / Pete Falconer and James Zborowski -- Wildness, eschatology, and enclosure in the songs of Townes Van Zandt / Michael B. MacDonald -- "Where it counts I'm real" : the complexities of Dolly Parton's feminist voice / Samantha Christensen -- "Sin City" : Gram Parsons and the "Christ-haunted South" / Clay Motley -- Weeping willows and long black veils : the country roots of Roseanne Cash, from Scotland to Tennessee / June Skinner Sawyers -- "They draft the white trash first 'round here anyway" : Steve Earle's American boys / Roxanne Harde.
https://dc.etsu.edu/etsu_books/1048/thumbnail.jpg

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Kajikawa, Loren Yukio. "Centering the margins black music and American culture, 1980-2000 /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1930277371&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Wang, Qiaorong. "APPLYING AMERICAN PEDAGOGICAL APPROACHESTO FIRST-YEAR MUSIC THEORY CLASSES IN CHINESE COLLEGES." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1588705054276667.

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44

Griffing, Joan. "Audition procedures and advice from concertmasters of American orchestras." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1282927053.

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45

Pohly, Linda Louise. "Welsh choral music in America in the nineteenth century /." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu148767034687525.

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46

Más-Arocas, Octavio. "Fearless Programming: Invigorating the American Orchestral Tradition through New Music." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1467125862.

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47

Buys, Brenda Willer, and Brenda Willer Buys. "The Bassoon Music of Libby Larsen." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/625881.

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Libby Larsen has written three pieces for the bassoon as a featured solo instrument. These pieces are Jazz Variations for Solo Bassoon (1977), Concert Piece for Bassoon and Piano (2008) and full moon in the city (2013). This document examines the origin, style, and form of these works to provide performers further information. Highlighted is Larsen's use of American vernacular elements in the pieces. American vernacular in this document refers to the use of influences derived from American culture, music, and language.

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Bortz, Yuri. "Selective American perspectives on issues of Twenty-First-Century musical progress." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1110210137.

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Thesis (D.M.A.)--Ohio State University, 2005.
Title from first page of PDF file. Document formatted into pages; contains xiv, 128 p. Includes bibliographical references (p. 128). Available online via OhioLINK's ETD Center

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Johnson, Maya Ayana. "Harem Fantasies and Music Videos: Contemporary Orientalist Representation." W&M ScholarWorks, 2007. https://scholarworks.wm.edu/etd/1539626527.

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OrtiÌz, Gabriela. "Compositional techniques in acoustic and electroacoustic music." Thesis, City University London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310446.

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Dissertations / Theses on the topic 'American music'

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