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Susan Jane Gaston Donaldson and the ...

Wetzel, Kristen Lynn.

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Susan Jane Gaston Donaldson and the pedal harp in the early Republic.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Susan Jane Gaston Donaldson and the pedal harp in the early Republic./
作者:	Wetzel, Kristen Lynn.
面頁冊數:	89 p.
附註:	Source: Masters Abstracts International, Volume: 41-05, page: 1315.
Contained By:	Masters Abstracts International41-05.
標題:	History, United States. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1413563

Susan Jane Gaston Donaldson and the pedal harp in the early Republic.
Wetzel, Kristen Lynn.

Susan Jane Gaston Donaldson and the pedal harp in the early Republic. - 89 p.

Source: Masters Abstracts International, Volume: 41-05, page: 1315.

Thesis (M.A.)--University of Delaware (Winterthur Program), 2003.

Examining the life of Susan Jane Gaston Donaldson and her pedal harp against the context of the harps and harp-playing of other women living before 1860, this paper shows how American women appropriated the pedal harp's aristocratic, classical, and biblical ties, along with its graceful form, as symbols of their own identities, and of their aspirations for the new nation. Women who played the harp were asserting themselves as members of the country's social elite who were fashionable, patriotic, pious, well educated, beautiful, and who were therefore highly marriageable and apt symbols of American prosperity and idealism. Their music united them with their family and friends, and connected the blossoming culture of the young Republic with the strongest centers of culture in the world. In playing their harps, Susan and her peers found a way to express themselves, and to strengthen and legitimize the culture of their recently established country.Subjects--Topical Terms:

1017393
History, United States.

Susan Jane Gaston Donaldson and the pedal harp in the early Republic.
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520 $a Examining the life of Susan Jane Gaston Donaldson and her pedal harp against the context of the harps and harp-playing of other women living before 1860, this paper shows how American women appropriated the pedal harp's aristocratic, classical, and biblical ties, along with its graceful form, as symbols of their own identities, and of their aspirations for the new nation. Women who played the harp were asserting themselves as members of the country's social elite who were fashionable, patriotic, pious, well educated, beautiful, and who were therefore highly marriageable and apt symbols of American prosperity and idealism. Their music united them with their family and friends, and connected the blossoming culture of the young Republic with the strongest centers of culture in the world. In playing their harps, Susan and her peers found a way to express themselves, and to strengthen and legitimize the culture of their recently established country.
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