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Citation: Sweet, Bertha Florence. History of music. Senior thesis, Kansas State Agricultural College, 1907. ; Morse Department of Special Collections ; Introduction: Rome has almost all the credit for the early development of music, but according to actual history it seems that the Romans were a people of observance of and appreciation for arts, but the artists were all from foreign countries, who came to Rome to receive the praise of the hosts, and then made their homes there, practicing and teaching. The most ancient treatise on music is written in the Grecian language, and there had been no original work on the subject by the Romans till the time of Boethius. Another cause for Rome becoming the center of music is that of the spread of the Christian religion. The persecution of the Christians in their own countries caused many to flee from their mother land, and seek the lad of Rome, where they could worship in secrecy. With them they brought the memory of the songs of their native land, and by an intermingling of the various melodies of the different countries, a new type of music was created, but even this deteriorated, as there was no written music, and the so-called melodies were either changed or forgotten.

The purpose of this paper is to analyze the impact that Baroque society had in the development of the early keyboard. While the main timeframe is Baroque, a few references are made to the late Medieval Period in determining the reason for the keyboard to more prominently emerge in the musical scene. As Baroque society develops and new genres are formed, different keyboard instruments serve vital roles unique to their construction. These new roles also affect the way music was written for the keyboard as well. Advantages and disadvantages of each instrument are discussed, providing an analysis of what would have been either accepted or rejected by Baroque culture. While music is the main focus, other fine arts are mentioned, including architecture, poetry, politics, and others. My research includes primary and secondary resources retrieved from databases provided by Cedarville University. By demonstrating the relationship between Baroque society and early keyboard development, roles and music, this will be a helpful source in furthering the pianist's understanding of the instrument he or she plays. It also serves pedagogical purposes in its analysis of context in helping a student interpret a piece written during this time period with these early keyboard instruments.

This dissertation examines modernist twentieth-century applications of the pipe organ and the carillon in the United States and in the Netherlands. These keyboard instruments, historically owned by religious or governmental entities, served an exceptionally diverse variety of political, technological, social, and urban planning functions. Their powerful simultaneous associations with historicism and innovation enabled those who built and played them to anchor the instruments' novel uses in the perceived authority of tradition, church, and state. This usage became particularly evident after World War II, when Philips Electronics and the engineers and musicians whose careers were shaped by the military-industrial complex and the Cold War used the organ and carillon to present alternative visions and performances of their research, knowledge, and services.The organ served as a vehicle for innovation for early electronic music and sound synthesis pioneers in three ways. First, it provided a model for an efficient user interface for new synthesizer technologies that found both musical and military communications applications. Second, the pipe organ became the first instrument to be electronically simulated on a commercially viable basis. As a result, the first federal legal proceedings to define the successful simulation of musical sound centered on the electronic organ. Electronic organs also helped shape a historicist "neo-baroque" movement that was, in part, both a reaction to and an outgrowth of their commercial success. Third, inventors in the field of electronics, particularly military electronics, turned to organ building to satisfy a desire to connect with historicist ideas about craft and tradition. They became leaders of the Organ Reform Movement after World War II, dedicated to reviving aspects of Baroque organ building. I build on Richard Taruskin's critique of "historically informed performance" as itself a form of modernism in order to elucidate previously overlooked relationships between Reform organ building, organ recording artists, the military-industrial complex, and cold war politics.The carillon served as a vehicle for international exchange after World War II, facilitating the sharing of soundscape and landscape design ideas between America and the Netherlands. In the 1950s, the people of the Netherlands donated a carillon to the United States as a sounding symbol of political harmony between the two allies. However, the resulting political squabbles and the disharmony and decay of its bells tolled the ineffectiveness of this instrument of diplomacy. In the following decade, Philips Electronics took inspiration from suburban American corporate research parks to construct a techno-cultural complex in Eindhoven, the Netherlands. This International Style park used the Dutch carillon's sonic and visual symbolism to re-center the perceived core of Eindhoven and of civic authority onto Philips' campus.An important part of the broader history of postwar expansion and the military-industrial complex are the science-fiction, mystery, and filmic spinoffs and sonic imaginaries associated with these reinvented carillons and organs, and the way such narratives cross the boundaries between high art and popular culture. The institutions and donors that built carillons often justified them with utopian rhetoric about creating community, public music, and elevating general musical taste. However, a vein of dystopian fiction about bells in literature, opera, film, and television counterbalanced that discourse. The realm of fiction ties together this dissertation's overarching themes of historical revival, technological innovation, modernism, and military electronics research.

Citation: Biddison, Clare. The history of music. Senior thesis, Kansas State Agricultural College, 1907. ; Morse Department of Special Collections ; Introduction: Fortunately history has something to record beside bloodshed and wrong. It is well that the song of the morning stars and the heavenly chant of "Peace on earth and good will to men", have been preserved as well as the stories of assassination, adultery, and massacre, and if there is reason why we should burrow into the past to learn the lessons of government, which is the method by which "One man ruleth over another unto his own hurt," so is there reason why we should delve into the past and consider the origin and progress of that divine art which has soothed the savage breast and has inspired man to noble deeds, comforted humanity in the depths of sorrow, lightened the laborer's toil and drawn man most powerfully heavenward. The origin of music is older than the "Art preservative". Whether ape-like men imitated with the voice the song of the birds, the roar of the thunder, the dripping of the waters, the breaxing of the waves and the whistling of the winds through the forest,or whether a God-born Adam waking with the dawn broke forth in irresistable praise of the Creator is perhaps debatable, but as far back as go any of the ancient writings, whether on parchment or on the rocks, there are evidences that man found beauty in sound as well as in sight and that the most ancient peoples voiced the glories of their histories, that the most ancient lovers sang of their loved ones, and that even savage mothers crooned the folk-lore.to their babes.

The purpose of this paper is to analyze the impact that Baroque society had in the development of the early keyboard. While the main timeframe is Baroque, a few references are made to the late Medieval Period in determining the reason for the keyboard to more prominently emerge in the musical scene. As Baroque society develops and new genres are formed, different keyboard instruments serve vital roles unique to their construction. These new roles also affect the way music was written for the keyboard as well. Advantages and disadvantages of each instrument are discussed, providing an analysis of what would have been either accepted or rejected by Baroque culture. While music is the main focus, other fine arts are mentioned, including architecture, poetry, politics, and others. My research includes primary and secondary resources retrieved from databases provided by Cedarville University. By demonstrating the relationship between Baroque society and early keyboard development, roles and music, this will be a helpful source in furthering the pianist's understanding of the instrument he or she plays. It also serves pedagogical purposes in its analysis of context in helping a student interpret a piece written during this time period with these early keyboard instruments.

The 20th Century has been called the era of displacement, exile, and mass migration. Bringing their music with them, migrants arrived in Britain throughout the century from all over the world. To this day, however, there has been no holistic discussion of their impact on British musical life. While excellent scholarly investigations of migrations and mobility as crucial factors for music in Britain have been undertaken, the field is fragmented, with insufficient collaboration across discussions of specific musical genres and diasporic communities. More broadly, musicology has long neglected migrations and migrants in its historicisation of a national cultural history. This forum places the migrant within discourses on national identity. The authors embrace a multi-faceted approach to the history of Britain's diverse musical immigrants across a wide range of musical styles and genres that span the entirety of the 20th century, reaching into the late 19th and the early 21st centuries. We reveal the impact of immigrant composers and second-generation migrants and diasporic communities with global backgrounds on popular music, musical comedy, jazz, concert music, folk music, and film music. The forum highlights the connections across genres, the time period, and diverse migrant backgrounds, thus revealing a multi-faceted narrative in which debates concerning 'the national' form a current in British musical life and open up questions regarding constructions of a national music history and historiography. The forum thus highlights the contributions of immigrants to British musical life; the extent to which immigrants are, or are not, narrated as part of British music history and the extent to which their musics have been marginalised or otherwise; and what opportunities this poses for an understanding of British music. In combination, the contributions challenge the notion that the migrant and the nation are incompatible, highlighting instead a narrative of (musical) diversity. Discussing the impact of migration as a sonically enriching experience seems urgent given how current debates frame immigration as a crisis at the heart of national socio-cultural discourses more broadly. Putting music centre stage, this colloquy widens the debate on migration as it encourages a discourse that is not restricted solely to economic, legal, and narrow political contexts. The focus on music allows for an exploration of the impact of highly skilled creative migrants on British cultural history. In turn, it sets it against questions of national belonging and the sonic-cultural narratisation of the nation. The forum includes contributions by Florian Scheding, Justin Williams (University of Bristol), Catherine Tackley (University of Liverpool), Derek B. Scott (University of Leeds), Erik Levi (Royal Holloway University of London), and Tom Western (University of Edinburgh).

This article is devoted to the study of the history of music education in Uzbekistan. Generalized questions about the changes in the field of music that occurred after the establishment of Soviet power in Uzbekistan, the subordination of music education to the ideas of communist ideology, the organization of local music, choral schools, schools of folk music, which focused on the promotion of European music. Analyzed information about the first institutions of music education organized in the region at the beginning of the 20th century, the representatives who carried out their activities there, as well as the transformation processes that took place in this area, the formation of the music education system, ranging from elementary schools to higher musical education. Considered such issues as the creation of textbooks, textbooks on music education, the publication of collections of children's songs, other books for schools and kindergartens, since the 30s of the twentieth century. The opening of musical institutions in a number of regions of the country in the 60s of the twentieth century was important in the positive solution of the personnel question in the musical sphere, the organization of special classes on Uzbek folk musical instruments in all these institutions were positive changes in the musical sphere, these data are highlighted based on archival sources. At the same time, the article describes the changes that occurred during the years of Soviet power in the field of music education in Uzbekistan, in particular, the organization of primary music schools, music schools, changes in this area, problems, information about the material and technical base of music education institutions. The essence of such issues as widespread promotion of music schools mainly in large cities of Uzbekistan, training in these educational institutions in most cases only urban children, problems existing in this field, the proportion of representatives of local nationalities, teaching music theory in secondary schools, ...

"Music from the backyard": Hagström's music education, is a PhD thesis that investigates the music education that the company Hagström ran from 1946 to 1983. The aim of the thesis is to investigate and recreate Hagström's music educational history from a Deweyan pragmatist point of departure. The study searched for answers to the following questions: What were the societal and educational settings in which Hagström's music education took place? How did Hagström's music education develop, and what led to its rise and fall? What educational content and pedagogical ideas constituted Hagström's music education? How can Hagström's educational enterprise be understood with the help of Bourdieu's theories of symbolic capital? Because of the historical nature of the study, the availability of empirical material was limited. Hagström had some archived material which I was given access to, and there were a great deal of periodicals from the time with articles about music education on people's spare time. Additionally, the Hagström course books were important documents, since they were the only centralized document to govern the directions for Hagström's music education. The pragmatist perspective of the study led to a desire to highlight parts of the human experience that constituted the history. Based on a snowball-sampling strategy, I traced down eleven persons from Sweden and Norway which were interviewed.The results of the analysis became a story about Hagström in the society - a story that revealed an entrepreneur whose company grew quickly and represented other values than the better parts of the cultural establishment in Sweden. The company rested on several pillars: The production of accordions, and later on even guitars, basses, organs and amplification systems, import of music merchandise, as well as the largest chain of music retail shops in the Nordic countries. The music education started in 1945 in Växjö, and in 1946, the rest of the country. In the beginning they taught accordion and guitar, but later developed to include electric bass, organ and keyboard as well. The courses were organised as group education with a duration of ten weeks in a semester. Geographically they were spread all over Sweden as well as around Oslo, Bergen and Copenhagen. All in all there were close to 100 000 pupils attending Hagström's music education. Hagström's music education was, despite new ideas such as group education and that the student should be able to play a melody as quickly as possible, a fairly traditional master-apprentice kind of education. The teacher demonstrated what he considered to be the correct technique and musical performance, and the student imitated. The pupil had little or no opportunities to influence the content of the education. On a macro level however, Hagström's music school was important in the process towards a more democratic music education in Sweden. Hagström helped to increase the availability of music education through their geographical dispersion as well as the affordability of attending the courses. An important difference from the other agents on the market that aimed to refine the students' musical preferences, was that Hagström had no musical agenda. Hagström might have contributed to Sweden's strong position on the global popular music scene. ; "Från musikundervisningens bakgårdar": Hagströms musikpedagogik är en monografi som behandlar den musikundervisning som bedrevs i företaget Hagströms regi från 1946 till 1982. Syftet med avhandlingen var att undersöka och återskapa Hagströms musikpedagogiska historia med utgångspunkt i ett pragmatisk utbildningspedagogiskt perspektiv. Studien sökte svar på följande frågor: I vilka sociala och utbildningsmässiga kontexter försiggick Hagströms musikutbildning? Hur utvecklades Hagströms musikundervisning och vad ledde till dess uppgång och fall? Vilket pedagogiskt innehåll och vilka pedagogiska var väsentliga i Hagströms musikpedagogiska verksamhet? Hur kan Hagströms musikpedagogiska verksamhet förstås med hjälp av Bourdieus teorier om symbolisk kapital? Som historisk studie var det tillgängliga empiriska materialet begränsat. Hagström hade en del arkivmaterial lagrat som jag kunde få tillgång till, och det fanns en mängd tidskrifter från den aktuella perioden som behandlade utbildningen. Kursböckerna var viktiga dokument genom att de var de enda centraliserade styrdokumentet för hur Hagströms musikskola skulle utformas. Det pragmatiska perspektivet förde med sig ett behov av att synliggöra delar av den mänskliga erfarenhet som konstituerar historien. Baserad på en snöbollssamplings-strategi spårade jag elva personer från Sverige och Norge som jag intervjuade. Resultatet av analyserna blev en historia om Hagström i samhället - en historia som visade en entreprenör vars företag växte snabbt och i opposition till stora delar av det kulturella etablissemanget i Sverige. Bolaget hade flera ben att stå på: Produktion av dragspel och senare även gitarrer, basar orglar och förstärkarsystem, import av musikutrustning, försäljning genom Nordens största kedja med butiker, tryck av noter samt musikundervisning.Musikundervisningen startade 1945 i Växjö och 1946 i resten av landet. Instrumenten som det inledningsvis undervisades på var dragspel och gitarr men det utvecklades till att även inkludera elbas, orgel och keyboard. Kurserna var organiserade som gruppundervisning och en kurs pågick under tio veckor. Geografiskt var de spridda över nästan hela Sverige samt runt Oslo, Bergen och Köpenhamn. Tillsammans estimerar jag att uppemot 100 000 elever har fått undervisning i Hagströms musikskola. Hagströms musikundervisning var, trots nya idéer som gruppundervisning och att eleven snabbt skulle uppnå klingande resultat, en variant av traditionell mästare-lärling-pedagogik. Läraren förevisade vad som ansågs rätt teknisk och musikalisk och eleven imiterade. Eleven hade liten eller ingen påverkan på innehållet i undervisningen. På ett makroplan var Hagströms musikskola viktig i arbetet med att demokratisera svensk musikpedagogik genom att tillgängligheten ökade. Vidare var kursavgifterna överkomliga och det var billigt att hyra instrument. Hagström hade ingen musikalisk agenda, vilket skilde honom från andra aktörer på marknaden som hade som mål att förädla elevernas musikaliska preferenser. Hagströms musikskola kan sägas ha bidragit till vad som nuförtiden kallas det svenska musikundret. ; Godkänd; 2009; 20090501 (kettho); DISPUTATION Ämnesområde: Musikpedagogik / Music Education Opponent: Professor Gunnar Ternhag, Högskolan Dalarna Ordförande: Professor Sture Brändström, Luleå tekniska universitet Tid: Fredag 5 juni 2009, klockan 13:00 Plats: Musikhögskolan Piteå, Sal L165

This volume offers the first systematic exploration of the past as manifested in music of the later Middle Ages and the early modern period. It takes the reader on a journey of discovery across the continent, from the genesis of a new sense of a musical past in early thirteenth-century Paris to the complex and diverse roles and pedigrees given music of the past in sources, media, genres, communities, and regions in the Age of Reformations. Particular attention is given to the use of older styles and musical traditions in changing constructions of religious and political identity, laying the groundwork for a revised narrative of European music history that accommodates within its framework the full plurality of styles and regions found in the sources. The volume concludes with reflections on the conflicting appropriations and effects of the musical past today in composition, performance, musicological discourse, and tourism.

Este artigo trata das relações entre os três conceitos do título,sendo quea música é trabalhada como fonte histórica para resgatar um pouco dedois movimentos até certo ponto opostos: a ditadura militar no Brasile ofim da ditadura em Portugal. Também se procura examinar como amemória se constituiu num espaço de lutas no qual a MPB desempenhouum importante papel ao gravar músicas cujos temas a censura e arepressão tentaram jogar no esquecimento. ; This article concerns therelationship between the three concepts of the title, withthe objective ofevaluating music as an historical source in the analysis of two nearlyopposite historicalevents: the military dictatorship in Brazil and the end of thedictatorship in Portugal.The article also examines how memories of lyrics fromBrazilian Popular Music(MPB) became an important space of struggle when themilitary regime attemptedto suppress and thus relegate to the forgotten therecorded songs through censorship.

Music's ability to stimulate the emotions has long been fundamental to the aesthetics and reception of India's elite rāga-based traditions. These emotions are generally studied aesthetically through the lens of 'rasa': the Sanskrit theory that proposes the musician's role is to stimulate one of nine distilled emotional essences (rasas) that is 'tasted' by the audience. But here I ask the inverse question: what emotions arose when historical listeners were threatened with the loss of that crucial source of emotional stimulus; and how were those negative emotions expressed through historical texts? In this paper, I consider the Hayy al-Arwāh, a music treatise and tazkira (biographical collection) written by an ex-Mughal official from Delhi living in exile in Patna c. 1785–88, Miyan Zia-ud-din 'Zia'. Zia-ud-din's work reveals much about the emotions felt by musicians and music lovers affected by the violent political upheaval centred on late Mughal Delhi c1740–80 – but not in obvious ways. For such an emotional subject, his writing is curiously dispassionate. Nevertheless, I argue that his writing was impelled by one very powerful emotion in particular: anxiety. In order to approach the question I examine some alternative ways we might get at the emotional resonances of texts like the Hayy al-Arwāh: through genre, in this case the tazkira; the etic observations of modern neuroscience; and a turn outwards to writings of more emotionally loquacious contemporaries, here the Urdu poet Mir Taqi 'Mir'. I argue it is precisely Zia-ud-din's detatched attention to detail, as he traced hundreds of lost and scattered musicians and listeners, that reveals the emotional driving force behind the writing of the Hayy al-Arwāh to be a deep and abiding anxiety engendered by the very real existential threat of war and exile to the music of late Mughal Delhi. In writing the Hayy al-Arwāh, Zia-ud-din acted as witness and record keeper for his community to insure against the potential loss of the music of his beloved homeland. At the ...

The Revista Brasileira de Música (Brazilian Journal of Music) begins its 85 years consolidating its editorial policy of internationalization and democratization of access to knowledge. The present volume expresses the institutional concern to promote the socialization of the results of research developed at the university in broader sectors of society, focusing on the integration of updated knowledge about Brazilian music in the curricular contents of elementary and high school. The texts published here result from the first edition of the extension course 'Pedagogy of the History of Brazilian Music for Basic Education', aimed at the continuing education of teachers, and which was held during the IX International Symposium of Musicology of UFRJ "Music, Society and Socialization of Knowledge, "which celebrated the 170th anniversary of the UFRJ School of Music in the week of August 13-17, 2018.

The Celtic Twilight is an aesthetic movement in British culture that developed out of the more commonly known Irish Literary Revival. This dissertation traces the historical and literary origins of the movement and its transference into British music, culture, and discourse. It begins by considering the movement's origins and postulates that the aesthetic developed as a response to the popularity of James Macpherson's Ossian epics during the nineteenth century. These epics had popularized a brand of Celticism that was politically compromised in regards to the agenda of the literary Irish nationalists who guided the Revival. After a brief flirtation with heroic Ossianism in his poem The Wanderings of Oisin, W.B. Yeats, after becoming deeply involved in folklore editing and collecting, created his singular volume, The Celtic Twilight. This volume was as far from an 'authentic' collection of folktales as one might imagine, and yet it gave rise to an aesthetic that blended influences from folklore, symbolism, Wagnerism, the occult, and spiritualism, and it begged readers to seek out the liminal boundary between reality and the supernatural. It also brought the phrase 'Celtic Twilight' into popular discourse. While the Twilight aesthetic became an important touchstone for poets of the 1890s and beyond, British composers engaged with it somewhat later, and with uneven success. There were outright failures, but some excellent works emerged by Arnold Bax, Rutland Boughton, and Edward Elgar. Rutland Boughton's The Immortal Hour, based on a play by Twilight poet Fiona Macleod, blends all the essential elements of Celtic Twilight, and still holds the record for the most consecutive performances of an English opera. This dissertation seeks to illuminate a connection between the opera's Twilight character and the profound impression it made upon British post-war audiences. Finally, though Celtic Twilight inspired many artists, it was quickly appropriated into popular, non-artistic culture for the purpose of articulating racial discourses that are, by today's standards, unpleasant and unfortunate. This study hopes to revive the phrase 'Celtic Twilight,' not by denying its chequered history, but by offering it to readers in a scholarly light that, until the present time, has been unavailable.

The Regional History Project conducted this oral history with Leta Miller, Professor of Music, as part of its University History Series. After earning a B.A. from Stanford University in music, an M.M in music history from the Hartt College of Music, and a PhD from Stanford University in musicology, Miller arrived at UC Santa Cruz in 1978. She began as a part-time lecturer, teaching a course in chamber music literature at College Eight and offering flute lessons in a tiny room with no window in the old music building. After several years teaching various classes for UCSC, including a music history survey course, in 1987 Miller applied for and was hired for a tenure-track position in the UCSC Music Department [then called the Music Board]. Miller is passionate about teaching, research, and performance. For many years she was a dedicated professional player of Baroque, Renaissance, and modern flute. Her classes at UCSC range from general education courses in music appreciation (which she confided are still her favorite courses to teach), to advanced seminars in the compositions of Lou Harrison and Renaissance performance practice. In her narration Miller also reflects on the unique aspects of UC Santa Cruz she has experienced over the past four decades: the Narrative Evaluation System, the boards of studies, the college system, the focus on undergraduate education, and the emphasis on interdisciplinary studies. She discusses the design of UCSC's state-of-the-art Music Building, which opened in 1997. She also explores the evolution of UCSC's Music Department, including the unique backgrounds and strengths of many of her colleagues, the birth of the MA, PhD, and DMA in music at UCSC, and the development of the UCSC Orchestra, the UCSC Opera Program, and various student ensembles. Miller found a true home in the UC Santa Cruz Music Department, which is dedicated to what Miller called "this balance between the practical and theoretical." Miller's scholarly interests are also diverse, ranging from Renaissance French chansons and madrigals; to music and politics in San Francisco from 1906 until World War II; to the Jewish American composer Aaron Jay Kernis. But she is perhaps best known for her scholarship on world-renowned composer Lou Harrison, who resided in the mountains near Santa Cruz from 1953 until his death in 2003. An extensive portion of this oral history is devoted to a discussion of Miller's deep connection with Lou Harrison. This part of the oral history illuminates Miller's writings on this extraordinary composer, whose archive is also housed at the UCSC Library's Special Collections Department.

Iran's particular system of traditional Persian art music has been long treated as the product of an ever-evolving, ancient Persian culture. In Music of a Thousand Years, Ann E. Lucas argues that this music is a modern phenomenon indelibly tied to changing notions of Iran's national history. Rather than considering a single Persian music history, Lucas demonstrates cultural dissimilarity and discontinuity over time, bringing to light two different notions of music-making in relation to premodern and modern musical norms. An important corrective to the history of Persian music, Music of a Thousand Years is the first work to align understandings of Middle Eastern music history with current understandings of the region's political history. "Ann E. Lucas very effectively combines historical analysis, ethnomusicology, and musicology to provide a broad, holistic explanation for complex, nuanced processes of change. Well written and highly original in its approach, this is a major contribution to the field." KAMRAN SCOT AGHAIE, Associate Professor of Iranian History, University of Texas "Music of a Thousand Years presents an innovative narrative of Persian music history and also provides important new perspectives on how to analyze the meaning of music and culture in historical perspective." MOHSEN MOHAMMADI, Lecturer in Ethnomusicology, University of California, Los Angeles "Lucas turns the standard history of Persian music on its head, proving it is not a story of the survival of an ancient tradition, but rather the story of the invention of tradition. Revisionist in the best sense of the word." JAMES L. GELVIN, author of The Modern Middle East: A History ANN E. LUCAS is Assistant Professor of ethnomusicology in the Department of Music at Boston College, where she also teaches in the Islamic Civilizations and Societies Program. She is recognized for her work on music historiography of the Middle East.