{"@context":"http://iiif.io/api/presentation/2/context.json","@id":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/manifest.json","@type":"sc:Manifest","label":"Middle Power Music:  Modernism, Ideology, and Compromise in English Canadian Cold War Composition","metadata":[{"label":"dc.description.sponsorship","value":"This work is sponsored by the Stony Brook University Graduate School in compliance with the requirements for completion of degree."},{"label":"dc.format","value":"Monograph"},{"label":"dc.format.medium","value":"Electronic Resource"},{"label":"dc.identifier.uri","value":"http://hdl.handle.net/11401/76555"},{"label":"dc.language.iso","value":"en_US"},{"label":"dc.publisher","value":"The Graduate School, Stony Brook University: Stony Brook, NY."},{"label":"dcterms.abstract","value":"This dissertation argues that English Canadian composers of the Cold War period produced works that function as \u00e2\u20ac\u0153middle power music.\u00e2\u20ac  The concept of middlepowerhood, central to Canadian policy and foreign relations in this period, has been characterized by John W. Holmes as \u00e2\u20ac\u0153a way of explaining to the world that Canadians were of greater consequence than the Panamanians but could not take on the obligations of the Americans, or even the French.\u00e2\u20ac   Political scientist Adam Chapnick has noted that it is paradoxically through acceptance of a second-tier position that Canadian political leaders sought increased international status and means of resistance to the interests of more powerful nations.  In cultural domains, likewise, English Canadian cultural nationalist artists frequently accepted (or even embraced) second-tier status, voicing ambivalence towards modernist notions of canonicity, progress, and prestige. Yet at the same time, these artists largely embraced a narrative of national modernization and decolonization, and sought to participate in international modernist or postmodernist movements.  English Canadian composers in this context would produce music that is stylistically, technically, and ideologically flexible\u00e2\u20ac\u201da kind of double-voiced discourse that imports or utters the sounds of the modernist metropolis, but inflects, unsettles, and strikes compromises with the ideologies and power structures that accompany those sounds. Thus serialism becomes neither a language of radical refusal (as Mark Carroll argues about Pierre Boulez), nor a technique of anti-Stalinist high culture (as Martin Brody argues of Milton Babbitt), nor a \u00e2\u20ac\u0153polar opposite\u00e2\u20ac  of neoclassicism, but instead a compositional technique that can be deployed in the context of compositions that indeed sound neoclassical, or can be dissolved into minimalist processes. Neither is neoclassicism tarnished or marginalized by association with leftist politics, as Elizabeth Crist and Jennifer DeLapp-Birkett suggest of the United States in the 1950s. Situating this project in the Cold War context clarifies George Grant\u00e2\u20ac\u2122s iconic assertion that Canada becomes, by the mid-1960s, \u00e2\u20ac\u0153a branch-plant society of American capitalism,\u00e2\u20ac  and opens up the narratives of Canadian modernization and decolonization in this period for refinement or recontextualization.  English Canadian composers in this period respond to British influence in a manner that can be characterized as colonial or post-colonial resistance. Their reactions to American culture, on the contrary, are shaped not by a colonial relationship to the United States, but rather by second-tier status in relation to the dominant western power. This dissertation thus recognizes Canadian composition and Canadian culture as meaningfully different from (and in some senses opposed to) U.S. culture, but qualifies claims to Canadian \u00e2\u20ac\u0153colonial resistance\u00e2\u20ac  of the United States.  In addition to representative works by Barbara Pentland and R. Murray Schafer, this dissertation focuses on the serial techniques of John Weinzweig, Harry Somers, and Barbara Pentland, composers often identified in histories of Canadian music as \u00e2\u20ac\u0153radical\u00e2\u20ac  or avant-garde. The final chapter explores the intersection of serialism, minimalism, and feminism in Ann Southam\u00e2\u20ac\u2122s Rivers."},{"label":"dcterms.available","value":"2017-09-20T16:50:38Z"},{"label":"dcterms.contributor","value":"Minor, Ryan"},{"label":"dcterms.creator","value":"Feltham, Sarah"},{"label":"dcterms.dateAccepted","value":"2017-09-20T16:50:38Z"},{"label":"dcterms.dateSubmitted","value":"2017-09-20T16:50:38Z"},{"label":"dcterms.description","value":"Department of Music."},{"label":"dcterms.extent","value":"218 pg."},{"label":"dcterms.format","value":"Monograph"},{"label":"dcterms.identifier","value":"http://hdl.handle.net/11401/76555"},{"label":"dcterms.issued","value":"2015-05-01"},{"label":"dcterms.language","value":"en_US"},{"label":"dcterms.provenance","value":"Made available in DSpace on 2017-09-20T16:50:38Z (GMT). No. of bitstreams: 1\nFeltham_grad.sunysb_0771E_12695.pdf: 9806293 bytes, checksum: 52b2e38f008d39049a94c5f4c910927a (MD5)\n  Previous issue date: 2015"},{"label":"dcterms.publisher","value":"The Graduate School, Stony Brook University: Stony Brook, NY."},{"label":"dcterms.subject","value":"Music"},{"label":"dcterms.title","value":"Middle Power Music:  Modernism, Ideology, and Compromise in English Canadian Cold War Composition"},{"label":"dcterms.type","value":"Dissertation"},{"label":"dc.type","value":"Dissertation"}],"description":"This manifest was generated dynamically","viewingDirection":"left-to-right","sequences":[{"@type":"sc:Sequence","canvases":[{"@id":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/canvas/page-1.json","@type":"sc:Canvas","label":"Page 1","height":1650,"width":1275,"images":[{"@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/26%2F67%2F37%2F26673751349835598360814621019783386921/full/full/0/default.jpg","@type":"dctypes:Image","format":"image/jpeg","height":1650,"width":1275,"service":{"@context":"http://iiif.io/api/image/2/context.json","@id":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/26%2F67%2F37%2F26673751349835598360814621019783386921","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://repo.library.stonybrook.edu/cantaloupe/iiif/2/canvas/page-1.json"}]}]}]}