Music Theses and Dissertations
Permanent URI for this collectionhttp://hdl.handle.net/1903/2796
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Item "Songs to Soothe a Mother": Intertextuality and Intertribalism in Kiowa War Mother Songs(2018) Yamane, Maxwell Hiroshi; Rios, Fernando; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)War Mother songs were first composed for the women of the Kiowa War Mothers Chapter 18 organization during World War II by two main composers, Lewis Toyebo and James “Jimmy A” Anquoe. These songs initially functioned to provide encouragement for both the servicemen deploying overseas and their mothers, and later were performed to honor returning veterans. Through musical and linguistic elements, War Mother songs serve as an intertext of multiple pre-reservation songs and dances (War Journey, Scalp, and Victory), but also reflect changes in warfare and post-reservation lifestyle in the twentieth-century. After World War II into the Korean and Vietnam Wars, War Mother song performances continued to honor veterans, both returning and fallen in battle, in a mix of Kiowa contexts and intertribal spaces.Item "Let Us Sing as We Go": The Role of Music in the United States Suffrage Movement(2016) Brandes, Roslyn Leigh; Warfield, Patrick R; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Music played a prominent role in the United States women’s suffrage movement (1848–1920). Suffragists left behind hundreds of compositions supporting their cause and historical accounts indicate that musical performances were common at suffrage events. With only a few exceptions, scholars have disregarded the music used in this movement, and have underemphasized its significance. This study examines the use of music in the suffrage movement from three perspectives: music with lyrics, titles, and images that espouse women’s enfranchisement; music performed at national suffrage conventions held by the National American Woman Suffrage Association; and music accompanying suffrage parades. Though the music used varies in each case, it is clear that music played an important role in unifying suffragists and underscoring the ideals and goals of the movement.Item The Brandstetter Tunebook: Shape-Note Dissemination and the Germans of Western Maryland(2012) Barnett, Joshua Rush; Warfield, Patrick; Music; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)The newly discovered personal tunebook of Maria Brandstetter (1820) reveals that shape-note hymnody was alive in the mountains of Western Maryland in the early nineteenth century. The tunebook's presence in the region fills in a gap left by the usual dissemination story of shape-note hymnody, which emphasizes an exchange between Eastern Pennsylvania and the Shenandoah Valley of Virginia. The tunebook is also connected to the German community that migrated from Pennsylvania into Maryland and Virginia in the early 1800s, and thus sheds light on the musical culture of the German-American immigrants of Western Maryland. Finally, the contents of the Brandstetter tunebook suggest that pivotal Virginia shape-note composer and compiler of the Kentucky Harmony, Ananias Davisson, may have first been exposed to shape-note music by migrating Germans like the Brandstetter family.