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The "American Sublime" in Symphonic ...

Hicks, Glen Wayne.

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The "American Sublime" in Symphonic Music of the United States: Case Study Applications of a Literary and Visual Arts Aesthetic.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The "American Sublime" in Symphonic Music of the United States: Case Study Applications of a Literary and Visual Arts Aesthetic./
作者:	Hicks, Glen Wayne.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
面頁冊數:	247 p.
附註:	Source: Dissertations Abstracts International, Volume: 82-03, Section: A.
Contained By:	Dissertations Abstracts International82-03A.
標題:	Music history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28028458
ISBN:	9798664758283

The "American Sublime" in Symphonic Music of the United States: Case Study Applications of a Literary and Visual Arts Aesthetic.
Hicks, Glen Wayne.

The "American Sublime" in Symphonic Music of the United States: Case Study Applications of a Literary and Visual Arts Aesthetic. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 247 p.

Source: Dissertations Abstracts International, Volume: 82-03, Section: A.

Thesis (Ph.D.)--Arizona State University, 2020.

This item must not be sold to any third party vendors.

The American sublime aesthetic, discussed frequently in literature and art of the United States, is equally manifest in the nation's symphonic music as a concurrent and complementary aesthetic. The musical application of the American sublime supports and enriches current scholarship on American musical identity, nationality, and the American symphonic enterprise. I suggest that the American sublime forms an integral part of nineteenth-century American music and is key to understanding the symphony as a genre in the United States. I discuss American symphonic works by Anthony Philip Heinrich, George Frederick Bristow, William Henry Fry, Dennison Wheelock, and Florence Beatrice Price, aided by an analytical tool which I developed, to illuminate my appraisal of the nineteenth-century American symphonic enterprise. Their compositions contribute meaningfully to the complex history of identity formation for both American composers and the nation. In focusing on these incorporations of the sublime by white composers and composers of color from the nineteenth and early twentieth centuries, my research demonstrates how the American sublime expanded and transformed to better accommodate the country's diverse citizenry, despite the marginalization of some. The nineteenth-century trans-Atlantic dialogue between Americans and their European contemporaries sustained a "distinctly cosmopolitan cultural ethos," a phenomenon also described by Douglas Shadle as "one of the most vibrant intercultural exchanges in all of Western music history." This dialogue shaped the cultural formation of identity for many American composers throughout the century and provided the foundation for a symphonic repertoire, which became internationally recognized for the first time as "American." In this cosmopolitan environment, the Americanization of the sublime aided in the rebranding of long-established European artistic expressions like the symphony, while perpetuating the idealization of the nation's geography, its people, and its beliefs. Perhaps most importantly, the American sublime supported the widely held belief in American exceptionalism and manifest destiny. The applicability of the American sublime to various genres made it a useful tool to assert autonomy and individuality in forms such as the symphony. For this reason, a revaluation of American symphonic music and its relation to the American sublime amplifies the significance of this repertoire.

ISBN: 9798664758283Subjects--Topical Terms:

3342382
Music history.
Subjects--Index Terms:

Aesthetics

The "American Sublime" in Symphonic Music of the United States: Case Study Applications of a Literary and Visual Arts Aesthetic.
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520 $a The American sublime aesthetic, discussed frequently in literature and art of the United States, is equally manifest in the nation's symphonic music as a concurrent and complementary aesthetic. The musical application of the American sublime supports and enriches current scholarship on American musical identity, nationality, and the American symphonic enterprise. I suggest that the American sublime forms an integral part of nineteenth-century American music and is key to understanding the symphony as a genre in the United States. I discuss American symphonic works by Anthony Philip Heinrich, George Frederick Bristow, William Henry Fry, Dennison Wheelock, and Florence Beatrice Price, aided by an analytical tool which I developed, to illuminate my appraisal of the nineteenth-century American symphonic enterprise. Their compositions contribute meaningfully to the complex history of identity formation for both American composers and the nation. In focusing on these incorporations of the sublime by white composers and composers of color from the nineteenth and early twentieth centuries, my research demonstrates how the American sublime expanded and transformed to better accommodate the country's diverse citizenry, despite the marginalization of some. The nineteenth-century trans-Atlantic dialogue between Americans and their European contemporaries sustained a "distinctly cosmopolitan cultural ethos," a phenomenon also described by Douglas Shadle as "one of the most vibrant intercultural exchanges in all of Western music history." This dialogue shaped the cultural formation of identity for many American composers throughout the century and provided the foundation for a symphonic repertoire, which became internationally recognized for the first time as "American." In this cosmopolitan environment, the Americanization of the sublime aided in the rebranding of long-established European artistic expressions like the symphony, while perpetuating the idealization of the nation's geography, its people, and its beliefs. Perhaps most importantly, the American sublime supported the widely held belief in American exceptionalism and manifest destiny. The applicability of the American sublime to various genres made it a useful tool to assert autonomy and individuality in forms such as the symphony. For this reason, a revaluation of American symphonic music and its relation to the American sublime amplifies the significance of this repertoire.
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