1-23 of 23 results
Beirne, Francis F. The Amiable Baltimoreans. New York, 1951; reprint, Baltimore: Johns Hopkins University Press, 1984.
Annotation / Notes: A social history of Baltimore City told through thematic chapters. Chapter topics are varied and include a wide range of subjects: i.e. monuments, food, sports, Hopkins Hospital, newspapers, and politics.
Breslaw, Elaine G. "An Early Maryland Musical Society." Maryland Historical Magazine 67 (1972): 436-37.
Breslaw, Elaine G. Records of the Tuesday Club of Annapolis, 1745-56. Urbana: University of Illinois Press, 1988.
Annotation / Notes: Companion volume to Talley, Secular Music in Colonial Annapolis.
Esch, Lise Papetti. An Audience in Our Own Image: Subjective Styles in American Theatre Criticism Between the Wars. Ph.D. diss., University of Wisconsin-Madison, 1993.
Ferreras, Daniel F. "The Guitar as a Social Icon: From Andalusia to Maryland." Popular Culture Review 7 (February 1996): 57-66.
Goosman, Stuart L. "The Black Authentic: Structure, Style, and Values in Group Harmony." Black Music Research Journal 17 (Spring 1997): 81-99.
Hildebrand, David K. Musical Instruments: Their Implications Concerning Musical Life in Colonial Annapolis. M.A. thesis, George Washington University, 1987.
Hildebrand, David K. Musical Life in and Around Annapolis, Maryland, (1649-1776). Ph.D. diss., Catholic University of America, 1992.
Annotation / Notes: A thorough description of musical practice organized by place - theatre, tavern church, at home, military settings, and slave quarters, and also by activity - such as teaching, dancing, and club life. Several important local manuscripts are described, as is the general repertory. This multi-disciplinary study includes biographical index, and recent advances in social history are incorporated.
Levy, Lester S. "Recollections of a Sheet Music Collector." Notes 32 (March 1976): 491-502.
Somerville, Atwell Wilson, Jr. The Tuesday Club of Annapolis (1745-1756) as Cultural Theater. Ph.D. diss., University of North Carolina, Chapel Hill, 1992.
Sprenkle, Elam Ray. The Life and Works of Louis Cheslock. D.M.A. diss., Peabody Institute of The Johns Hopkins University, Peabody Conservatory of Music, 1979.
Annotation / Notes: The life of Louis Cheslock proveds an expansive view of the musical life of Baltimore from the 'teens to the 1970s. Cheslock's story begins in 1893 when his older brother, Henry Czeslak, fled from Poland to England to avoid conscription into the Russian army and changed his name to Rosenberg to avoid detection. His parents followed and eventually moved to Baltimore with their children. Louis Cheslock was one of the original members of the Baltimore Symphony Orchestra (founded in 1916), a faculty member at Peabody from 1922 to 1976, a member of Henry Mencken's Saturday Night Club from 1927 to its final gathering in 1950, a composer who wrote over 150 works (including opera in collaboration with Mencken), writer and music critic. Cheslock witnessed and wrote on the emergence of jazz as an art form, the rise of radio and the scientific study of music.
Talley, John Barry. Secular Music in Colonial Annapolis: The Tuesday Club, 1745 - 1756. D.M.A. diss., Peabody Institute of Johns Hopkins University, Peabody Conservatory of Music, 1983.
Talley, John Barry. Secular Music in Colonial Annapolis: The Tuesday Club, 1745-1756. Urbana: University of Illinois Press, 1988.
Annotation / Notes: Companion volume to Breslaw, Records of the Tuesday Club . . . listed above . Some of the earliest music composed in the colonies came from the pens of Rev. Thomas Bacon, Dr. Alexander Hamilton, and other members of this important social/musical organization. Talley presents the background biographies and musical contributions of these men, with a good focus on the music itself (including background and transcriptions of songs and instrumental music). Many club members being recent immigrants from Scotland and England, these largely upper- and upper-middle class amateur musicians had a huge impact on the musical life of mid-18th-century Maryland, and beyond. The book closes with transcriptions of 55 minuets by non club-member John Ormsby, from a manuscript music book copied in Annapolis in 1758.
Thaiss, Christopher J. "Shakespeare in Maryland, 1752-1860." In Shakespeare in the South: Essays on Performance. Edited by Philip C. Kolin, Jackson, MS: University of Mississippi Press, 1983.
Beirne, Francis F. "The Four Merchants." In The Amiable Baltimoreans. New York, 1951; reprint, Baltimore: Johns Hopkins University Press, 1984.
Schaaf, Elizabeth. Guide to the Archives of the Peabody Institute of the City of Baltimore, 1857-1977. Baltimore: Archives of the Peabody Institute, 1987.
Spaulding, Stacy. "'As Though the Sixties Never Happened': Newspaper Coverage of a First Amendment Battle Over Baltimore's Last Blackface Act." American Journalism, 29 (Summer 2012): 59-83.
Tredy, Dennis. "From the House of Usher to The Louse of Usher: Expansion Techniques in Film Adaptations of the Works of Edgar Allan Poe in the 1960s and Today." Interfaces: Image Texte Language, 34 (2013): 85-102.
Grissom, Candace Ursula. Filming the Lost Generation: F. Scott Fitzgerland, Ernest Hemingway, and the Art of Cinematic Adaptation. Ph.D. diss., Middle Tennessee State University, 2012.
Mooney, William H. Dashiell Hammett and the Movies. New Brunswick, NJ: Rutgers University Press, 2014.
Grissom, Candace Ursula. Fitzgerald and Hemingway on Film: A Critical Study of the Adaptations, 1924-2013. Jefferson, NC: McFarland, 2014.
Simons, John L. "Razing Cain with Chandler and Wilder: The Prometheus-Pandora Myth in Double Indemnity." Texas Studies in Literature and Language, 56 (Winter 2014): 349-75.