Chapter 2.0: Literature Review
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Chapter 2.0: Literature Review
2.1 Chapter Introduction
There is relatively limited scholarly literature on Lawrence Freeman with most of his earlier history coming from his accounts. However, there are notable studies that attempt to explain Freeman’s life and some of the iconic works of his time (see Gutkin & Newland, 2015; Gutkin, 2019; Worley, 2018; Davis, 2008; Perpener, 2001; Floyd Jr, 1988). For instance, in the study of Handy (2009), where the focus was on the Lawrence Freeman, noted that Freeman self-studied piano as a child-led a group of boy singers, and performed as an organist for his local church. The authors added that Freeman was very enthusiastic as well as determine to challenge most of the black situation through his music art (Handy, 2009). His career life also had a gradual movement just like other iconic opera music producers, composers, and pianists; this characterizes setbacks, but Freeman was very enthusiastic (Handy, 2009; Ziegel, 2011). Moreover, in the 1880s, he moved to Denver, where he attended a performance of Tannhauser by the Emma Juchs Grand Opera Company (Gutkin, 2019). Lawrence later identified the performance as a significant turning point in his career as he soon created an all-black Freeman Opera Company to make original performances of his early productions. The company premiered Epithalia in 1891 and The Martyr in 1893 (Gutkin, 2019). Despite being hailed as a thought-leader for the black community and culture during his time, most of Freeman’s productions never received widespread appeal or recognition. In this way, Lawrence Freeman personifies the body of African American creative thinkers who thrived during the Harlem Renaissance but fell into obscurity.
The literature review chapter conveys the content of other researchers using inductive reasoning. The inductive approach, in this case, assists the researcher in making a general observation from other sources purposefully on Lawrence Freeman and Harlem Renaissance. The researcher approaches the two significant parts of the research from a broader perspective before narrowing to the core of the study using the observed resemblance, regularities, and patters. The closed section of the chapter examines the influence of Lawrence Freeman on the Harlem Renaissance and vice visor before summarizing the full literature review. Before the narrowed sections, the chapter covers the historical background of Lawrence Freeman and its related subsection, followed by the history of the Harlem Renaissance and its associated subsections.
2.2 Historical Background of Lawrence Freeman
Studies try to trace the early life of Lawrence Freeman from Cleveland, where he was born to his death (examples, Handy, 2009; Gutkin & Newland, 2015; Gutkin, 2019; Worley, 2018). Worley (2018) studied Harry Lawrence Freeman with the view of establishing and explaining his pioneering African Grand Opera works. In their study, Worley (2018) revealed that Harry Lawrence Freeman is one of the influential figures in the 19th century because of the literature and works as at the time in history. The researcher added that he was born in 1869 (Worley, 2018). In addition, Worley (2018) added that Freeman grew up in a humble background all through to become one of the most influential composers at the time. Gutkin and Newland (2015) further pointed out that his work oOperara launched him into the grand stage of literary works, making him a household name during the Harlem Renaissance period. Besides Gutkin and Newland (2015), there are notable literature works that not only address the works of African American Opera but also acknowledge the famous works of H. Lawrence Freeman (Gutkin & Newland, 2015; Handy, 2009; Johnson, 2019; Meadows, 1992; Perpener, 2001; Floyd Jr, 1988; Patton & Honey, 2001; Scruggs, 1996). Additionally, he is known to be behind the Freeman School of Music and the Freeman School of Grand Opera, which composed and conducted performances (Ziegel, 2011). The string of his actions led him to get the name the black Wagner to compare him with the American legend Richard Wagner.
2.2.1 Early Works
The study of Harry’s history reveals a man dedicated to the development of art in his works. According to Worley (2018), Harry began his passion for music at the early stages of life. At the age of ten, Harry already learned how to play the piano in what would be one of the most defining instruments in his later stages in life. At eighteen years of age, Harry was already staging his own performances, imitating previous compositions, and doing his own compositions as well (Ziegel, 2011). The early works were because of the increasing influence the Harlem period had on the artists and other people in the society at the time (Gutkin & Newland, 2015).
The Harlem period presented an opportunity for the black community to get confidence in developing content and performing to promote the black culture (Gutkin & Newland, 2015). The blacks at the time advocated for equity and needed a way of fitting into the western culture. Freeman founded the Freeman Opera Company at the age of 22, which he could use as the shell in which to compose and perform his works (Ziegel, 2011). The first major hit was the Epithalia in 1891 done in Denver, Colorado (Davis, 2008). The Martyr followed the first track. The composition of the early works was an early indication of the massive influence the young Freeman was going to have on the Harlem period and beyond (Handy, 2009). The classical composition on the African American culture brought in the confidence on the need to work consistently sensitive the black people on their culture and abilities (Adams, 2015). Freeman improved his skills by undergoing formal training on music as a way of improving to become a producer in the African American context.
Harry Freeman grew up at the time when the Harlem period has a massive influence on the neighbourhood in New York (Handy, 2009). At the start of his work, there was an increasing influence of his early works not only among the black community at Harlem but also on the rest of the races. Handy (2009) narrates that Scott Joplin, who was at the time of the leading composers at the time calling on Harry to work on his three-acOperara. The jam “Treemonisha” became a hit after the changes as opposed to the previous year when it was composed. The call on Harry to revise the exiting work was an indication of the increasing influence Harry had at the time. Adams (2015) also adds that many more artists looked upon Harry Freeman on the best editing and jamming on the pieces of art in the early 1900s. The extent to which Freeman assisted artists is unknown, but scholars agree on the increasing help he granted many more artists.
Harry Freeman understood the impact of his works and, as such developed ways to increase influence during the Harlem Renaissance (Handy, 2009). As such, he founded the Negro Grand Opera Company in 1920 as a way of doing more productions and increasing his influence on the works in the society (Floyd Jr, 1988; Handy, 2009; Johnson, 2019). Freeman used the Negro Grand Opera as a source of influence during the Harlem period (Wittmer, 2015). As a musical director, he is accredited to the development of many more artists that shaped conversations during the time in history.
Harry Freeman did not only deal with the music but used his company to increase the influence on different aspects of art. According to Gutkin (2015), Harry Freeman also extended his works to include comedy work. Harry Freeman was an instrument in developing content and played as a director in the Hogan Musical Comedy Company in the early 1900s. The work of comedy is also attributed to the influence of the Harlem Renaissance (Johnson, 2019). The themes in the works developed during the time pointed to the increasing education on the blacks regarding their culture and position in society. Meadows (1992) explains that the themes of spirituality, traditions, jazz, and melodies during Harlem time.
2.2.2 African American Spiritualism in Lawrence Freeman’s Productions
The spiritual influence of Voodoo and Hoodoo on Lawrence Freeman is evident in his 1928 production, Voodoo (Davis, 2008). Voodoo is an opera in three acts, with accompanying music and libretto (Dutton, 1993). It pioneered on September 10, 1928, at the Palm Garden in New York City. The piece is set in Reconstruction-era Louisiana, where Cleota, a house servant, falls in love with the plantation overseer, Mando. However, the resident voodoo queen, Lolo, perceives Cleota as a challenger and tries to kill her. Therefore, she leads a voodoo ceremony where she and her assistant Fojo distribute amulets and charms to attendees who then retreat to invoke the snake-god (Dutton, 1993). However, Mando and Chloe rescue Cleota just in time, although a subsequent attempt to kill Cleota results in Lolo’s death.
Voodoo is a battle between Christianity and traditional African gods with extensive use of spirituals to drive the plot (Dutton, 1993). The plot is a classic love triangle involving one man and two women, where one rejects her Christian faith to use the mystical powers Voodoo. Lolo evokes a giant snake and magic tree and manages to kill her target, who is later revived using miracle water, thereby positioning it as a struggle between the white man’s religion and the traditional African religion. “Embedded in that western classical high-art music tradition…he also uses these American forms, “embedding spirituals like “Go Down Moses,” and “Swing Low, Sweet Chariot” in the Opera, along with ragtime music and popular dance forms like the cakewalk.
2.2.3 Freeman’s Influence on African-American Music Entrepreneurship
Freeman envisioned the “Negro Grand Opera” as distinctly American and continuing the global project, and he had begun (Davis, 2008). He encouraged the intellectual development of other minority groups such as [American] Indians, Mexicans, and oriental peoples.
Freeman’s plan on how to produce and publicize his operas began as early as 1913 when he began conceptualizing a black opera company (Mitchell, 2010). He originally intended to name it the Colored Grand Opera Company of New York, although it was incorporated as the Negro Grand Opera Company in 1920 (Floyd Jr, 1988). Nevertheless, an analysis of modern American Opera shows that racial prejudices persist in an overwhelmingly white industry.
There is an oft-bemoaned stagnation in classical music programming where most compositions conform to traditional European standards. However, this critique focuses on productions by a very small minority of white male composers, which indicates the lack of diversity in the profession (Ziegel, 2011). While people of colour have always contributed to opera and classical music in New York and around the world, they have rarely received widespread acclaim. The institutional interest has multiple negative side effects: Each performance featuring and exclusively white cast and composer reinforces the exclusion of African Americans from musical history (Ziegel, 2011).
2.2.4 Death and Legacy
Harry Freeman passed in 1954 in New York but left a legacy on a significant level of influence in shaping the conversation around the black community. While he faced challenges at the later stages of his life in staging music and performing, he was a key figure in the development of music. Gutkin (2015) recognizes that Harry’s works are not easy to get because he did not record them commercially or published any of his works. However, the manuscripts he used in the performance of his music remain a key indicator in recognizing his work during the Harlem period. Freeman did several compositions on the popular and classical music that communicated largely on the African American period (Perpener, J2001).
2.3 Harlem Renaissance Period and Its Impacts
The Harlem Renaissance is the time of development in the Harlem neighbourhood of New York. The later 1800s and early 1900s were marked by increasing cases of exploitation for the black community. According to Johnson (2019), the Harlem Renaissance began in 1800 and lasted all through to the mid-1930s. During the time, there was an increasing case of exploitation and disproportionate social treatment of the black community. Consequently, there was a rebuttal and conversation on communication on such ills through art, literature, music, and performances (Scruggs, 1996; Chang, 2015; Gutkin & Newland, 2015; Handy, 2009; Johnson, 2019; Meadows, 1992; Perpener, 2001; Floyd Jr, 1988; Mitchell, 2010; Patton & Honey, 2001). The explosion and subsequent social enlighten on the issues affecting the blacks constitute the renaissance period.
The Harlem Renaissance was one of the most significant artistic and intellectual trends of 20th century American history. The Renaissance catalyzed a shift towards a more politically assertive and self-confident perception of identity and racial pride leading Locke (1992) to coin the term “New Negro.” When defining the traits of the “New Negro,” Locke (1992) recommended intellectual curiosity about black culture and history among African Americans. The identity reevaluation required and realistic representation of the African American experience (Austin, 1966; Magloire, 2017). The publication of intellectual capacity among African Americans in art was a core pre-requisite for the sustenance of the Harlem Renaissance (Floyd Jr, 1988; Meadows, 1992). Locke (1992) perceived the black artist’s role as to repair the damaged group psychology and reshape the dominant social narrative (Locke, 1992). The most efficient route for attaining these goals was to catalyze the reevaluation of the Negro’s artistic endowments and contributions. For African American intellectuals in the Harlem Renaissance, the optimal strategy to achieve this was through incorporating themes of black identity and history into their productions (Meadows, 1992).
A notable aspect of the Harlem Renaissance was that the revaluation was not limited to African American artists, although black creatives had a central role in pioneering the intellectual advancement of the race, Meadows (1992) believed that black culture had attributes useful to all American artists. Locke (1992) conceptualized thRenaissancece as a channel for infusing black subject matter and style into American culture, similar to how thRenaissancece catalyzed the spread of Greek culture across Europe (Magloire, 2017).
Negro entertainers only gained mainstream acceptance after the Civil War (Woodson, 1990). Despite financial difficulties perpetuated by their race, many of the early African American entertainers made sporadic efforts, either individually or as groups, which pioneered the Negro show business (Scruggs, 1996). However, the growing creative contributions perpetuated the Negro stereotype, for, in the late 19th century, Negro entertainers began appearing in blackface minstrelsy. Edward Harrigan’s sketches about Negro life further cemented the comic stereotype among whites. The performers wore not only similar makeup as whites but also utilized similar artificial patterns leading to a perception of the Negro as a buffoon or minstrel character (Scruggs, 1996).
The Negro’s relegation to a subservient position in art was merely a reflection of his status in mainstream society. Prior to British colonization and in the early days of settlement, Americans had minimal social distinctions of race. Nevertheless, as the mercantilist system took hold among the colonies of New England, slavery emerged as the cheapest form of labour.
2.3.1 Harlem Area
The Harlem section of New York was initially meant to be a section for the rich in society. According to Meadows (1992), the northern region already began to accommodate the whites and upper-class citizens. However, the quick development of the region made it a challenge for the landlord and other property owners to fill it at the time. The desperation, in the end, attracted more of the black community into the region, creating a mixed community between the whites and the blacks. Equally, there was a mixed racial composition of the region. The black middle-class families took advantage of the lower cost of housing and stayed in Harlem.
The blacks’ immigration into Harlem in the early 1900s was faced by rejection by the white community that was already occupying the regions (Perpener, 2001; Floyd Jr, 1988; Mitchell, 2010; Patton & Honey, 2001). Researchers record the conflict between the whites and the blacks in the region, which created a level of hostility. Eventually, the whites fled, and most of the region’s occupants remained the black community. In addition to low-cost housing, other external factors led to an increased number of blacks in Harlem. Perpener (2001) points to the disasters in 1915 and 1916 as the main reason that most people got out of work and made it more of the people move to the south to get areas to occupy. As a result, more blacks were getting to the Harlem section in what referred to as the Great Depression. Floyd Jr (1988) also explains that the impact of World War I also Harlem to be a common destination for the black communities. Overall, the period characterized by an increasing number of issues that led to blacks occupying the Harlem region.
The black community at the time had the musicians who communicated on different aspects of the community. Austin (1966) explains that it was a challenge in getting the artist that expressed only one topic and theme in the community. However, in the diversity of the themes, there was a concerted effort to make it possible for the artists to communicate on the need for equity and the issues that affected the black community (Austin, 1966). In addition, the artists also captured the heritage and cultural issues regarding blacks. The artists during the Harlem period, like Marcus Garvey, also advanced political agenda and made it possible to get the Pan Africanism movement going (Locke, 1992). The themes on Africanism and the rest of the blacks affected the way artists would package their works into the future.
The artist in the Harlem Renaissance period expressed the need for works on heritage. Harry Freeman is part of the artists that borrowed their contribution from the community in the end. The ongoing discussions on African history and social heritage made it possible for the growing artists like Harry Freeman to develop their thinking and needs of communication to the African American audience.
2.3.2 The Renaissance
The Renaissance was the movement that was to see the development of the black community in the American setting to help in advance. The musicians and the artists at the time communicated information that would lead to more cases of enlightening and equity in society. Handy (2009) explains that the theatre work and music were critical in getting to communicate on the political, social, and economic aspects of the African American culture. Harlem Renaissance was part of the upcoming developments in educating the African Americans on their culture and the need to develop each aspect of the community work (Gutkin & Newland, 2015).
The Harlem Renaissance was an idea of the best ways in which to create a harmonious position at the end between the whites and the black in Harlem. One of the challenges at the time included the lack of ideology and an organized way of ensuring the information would sink and get to Negros (Wittmer, 2015). Even though there was no precise ending and organization, different artists came through at the time to communicate effectively on different aspects that affected the blacks at the time. However, there were clear themes that came out in the work of the artists that did their work at the time of the Harlem Renaissance.
2.3.3 Spiritualism in the Harlem Renaissance
The Harlem Renaissance began in the 1900s and catalyzed an appreciation for African American race and heritage in mainstream American culture. The Renaissances emphasized linking history to scholarly education in the black population to generate a sense of racial pride (Floyd Jr, 1988; Giggie, 2007). One of the more popular ways was through Voodoooo, which came from the ancestral African religion. Voodoo had roots in the African religion known as Vodun, which came to America with the settlement of Jamestown in 1619 and the subsequent slave trade. From the early days, white settlers were afraid of the religion, as they did not understand its tenets and beliefs, leading to suppressive efforts. However, the forced suppression led to the incorporation of Vodun practices into other religions such as Catholicism, thus creating a derivative religion known Voodoo in the Caribbean and the USA (Raboteu 115). In Voodoo, a believer could pray to a specific godly entity, present offerings, and dress in specific ways to please the deity or receive protection. Believers also worshipped through evoking ancestral spirits which connected the disenfranchised slaves to their past. The continuance of ancestral religions worked as a coping mechanism for the slaves who perceived their ancestors as external entities that could facilitate their well-being compared to their slave masters.
Since ancestral worship contrasted sharply to Christianity regarding beliefs and worship practices, slave owners were afraid of the wild dances, herbal concoctions, and spirit invocation (Raboteau 1995). Despite Voodoo having a peaceful orientation, the religion had a dark aspect known as “hoodoo.” While both traditions seek meaning in everyday life, Hoodoooo has a harmful orientation with potions, curses, and charms meant to catalyze physical and mental damage. Traditional ancestors, who were generally perceived as benign and helpful, could be evoked under Hoodoooo to harm a person or family (Dutton, 1993). Worshippers also carried charms such as rabbit’s foot to ward off potential evil spirits. Essentially, African Americans in history use Hoodoooo to seek revenge for their historical injustices and to identify and punish their enemies.
Both Hoodoo and Voodoo were prominent in the Harlem Renaissance due to the continued immigration of African Americans from the Caribbean and the Jim Crow South (Giggie, 2007). The Great Migration began at the dawn of the 20th century and continued until the 1970s. During this migration, Gregory (2006) estimates that more than eight million African Americans moved from Southern regions into key northern cities. With the enactment of Jim Crow rules in the south, most African Americans were disenfranchised from most social, economic, and political opportunities (Giggie, 2007). Furthermore, the Agriculture-based economy of the south, coupled with conservative ideals, had stifled the development of the industry. Therefore, many African Americans had no livelihood and opted for migration to northern cities like Harlem (Scruggs, 1996). Locke (1992) notes that the new generation was instrumental in catalyzing a shift towards creating and contributing to the intellectual progress of the race. In “The New Negro,” he states, the Negro has already made very substantial contributions, not only in his folk-art, music especially (Woodson, 1990). In this passage, Locke (1992) highlights the African American cognizance of past and present forms of art with the unique racial expression contributing to society.
Voodoo and Hoodoo were core parts of the Harlem Renaissance as they facilitated traditional African “racial expression” in a white-dominated society (Dutton, 1993). As seen in Freeman’s Voodoo, the primary theme is revenge and wielding power to inflict harm, which is key to hoodoo practices (Davis, 2008). The power and Hoodoooo also facilitated control over another person in a form inaccessible to the white man. The creatives of the Harlem Renaissance had the power to determine its evolution without the white man’s interference. In times when they were mostly perceived as comic acts, the Renaissances gave African American intellectuals the power to own and create (Holloway, 2005). Voodoo also demonstrates the innate need to control their own race as whites dominated American society with social and political institutions designed to suppress the black race (Dutton, 1993). Consequently, Voodoo and Hoodoo allowed weaker parties in creative productions to triumph over more powerful opponents using charms, spells, and curses (Dutton, 1993). This makes its use a direct representation of the power that African Americans, including H. Lawrence, yearned for.
2.3.4 Harlem Renaissance and Entrepreneurship
The Harlem Renaissance coincided with the era of “public amusements” where mass entertainment, in the form of silent film palaces, phonograph parlours, and dancehalls, revolutionized American leisure (Mitchell, 2010). As demand for this novel leisure rose, mass-culture entrepreneurs created alluring and accessible forms of entertainment that catalyzed the growth of a consumer economy. However, the prominence of blacks in the new mass economy revealed dissonances in American attitudes towards race and culture (Mitchell, 2010). By the end of the century, white Americans were engaged in a heated debate about the growing “Negro Problem.” While ostensibly fought to end slavery, the Civil War did not address the citizenship status of African Americans. While whites accepted the end of slavery, they could not reconcile racial equality due to historical and fallacious notions of racial superiority.
Many of the emerging African American intellectuals, creatives, and professionals were aware of the power of popular culture in shaping a group’s public identity, and social identity as is opined by W. E. B. Du Bois, African Americans faced a dilemma in that their American identity was contingent in the eyes of the white majority (Blum, 2009; Du Bois, 2014). They had to prove their worthiness for inclusion into American society leading to the development of a double consciousness where coloured people would look at themselves through the eyes of others. The earlier forms of minstrel culture that shaped popular perceptions of African American entertainers are buffoons, thereby limiting blacks from pursuing other artistry forms compounded the challenges (Mitchell, 2010). The African American intellectuals also feared that emerging mass culture would intensify and perpetuate racial stereotypes, which would worsen the Negro’s position (Woodson, 1990; Wittmer, 2015). When African American entrepreneurs ventured into the marketplace of the early 20th century, they invariably became involved in ongoing debates about the appropriateness and utility of popular culture.
2.3.5 Impact of Harlem Renaissance on Key Personalities
The Harlem Renaissance led to an increase in the number of people that would emerge to solve the issues that affected the blacks as at the time. According to Patton and Honey (2001), the most influential people in sensitizing the community and leading to the Renaissance were the artists. On the other hand, scholars like Scruggs (1996) also recognize the Harlem Renaissance was a process that began and, in the process, made it possible for the artists to emerge over time. Similar to Harry Freeman, other people with different advanced agenda to show the mixed impact of the Harlem Renaissance to the people as well as the people whose works made the Renaissance people possible (Chang, 2015; Gutkin & Newland, 2015; Handy, 2009; Johnson, 2019).
The personalities that emerged as at the time involved artists in different sections of art. Harlem Renaissance (Scruggs, 1996; Chang, 2015; Gutkin & Newland, 2015; Handy, 2009; Johnson, 2019; Meadows, 1992). The following review is an explanation of the impact of the Harlem Renaissance on different artists. In Chang’s (2015), Harlem’s Shadows of 1922, the breakthrough in poetry already indicated the possible changes art would bring on the Harlem period. During that time, activists like Langton Hughes formed the Black Pride movement to work on the best ways for black Americans to get the best treatment in the cultural setting of the community (Scruggs, 1996; Johnson, 2019; Meadows, 1992). Authors like Magloire (2017) developed and sold magazines for black children in understanding their cultural identity for the future. The magazines provided the chance of the young blacks to educate and communicate effectively on the need for the blacks to develop and find their identity even when the whites mainly occupied Harlem (Scruggs, 1996; Chang, 2015; Gutkin & Newland, 2015; Handy, 2009; Johnson, 2019; Meadows, 1992). The Harlem Renaissance was about getting the right identity for blacks and their culture (Scruggs, 1996; Chang, 2015).
There were cases of massive controversy during the Harlem Renaissance. According to Dutton (1993), the publications lie Zora Hurston’s fire sparked conversations among the blacks. The Harlem Renaissance created the scenario where the blacks were stirred up on the increasing need to get the best identity that would make them different from white practices (Scruggs, 1996; Chang, 2015; Gutkin & Newland, 2015; Handy, 2009; Johnson, 2019; Meadows, 1992). The Harlem Renaissance was about the need to take advantage of life and create a possibility of ensuring that the black arose above the suppression.
In addition to poetry and magazines, music became a central tool in the Harlem Renaissance. The main form of music at the time was jazz. Gutkin (2015) describes jazz music was a critical part of society at the time, especially in places where people converge to take liquor. According to Gutkin (2015), jazz was an instrumental tool for community communication. Harry Freeman and Louis Armstrong are some of the leading artists that communicated on the need for cultural identity to make it possible for the blacks to under that the issues that were ongoing at the time in Harlem (Gutkin & Newland, 2015; Handy, 2009; Johnson, 2019; Meadows, 1992)
The end of Harlem was because of the full understanding of the issues that affect the different factions of the community. According to Chang (2015), the Harlem Renaissance was overtaken by the events at the time. The authors mention the Great Depression and the crash in the stock market as part of the issues that led to the loss of conversation on cultural identity. Their artists and the rest of the communities created a situation in the end that would lead to more enlightenment on economic issues rather than the social and cultural issues in the society (Handy, 2009; Johnson, 2019; Meadows, 1992). Patton & Honey (2001) explains that the Harlem workers were at the time informed and need to seek jobs as a way of coping with the rise in the challenges affecting them at the time of the Great Depression.
The works of art are credited to the freedom for the Harlem residents to look for the work irrespective of their identity. According to Greenberg (1992), the 1935 riots and the violence following the death of some residents marked the end of the Harlem Renaissance. Even at the end of the period, there was a massive change in the way people handled conversation and their experiences (Scruggs, 1996; Chang, 2015; Gutkin & Newland, 2015; Handy, 2009; Johnson, 2019; Meadows, 1992). The Harlem period set the stage for the civil rights groups in getting to advance the conversation on racial equity (Scruggs, 1996; Chang, 2015; Gutkin & Newland, 2015).
2.4 The Influence of the Harlem Renaissance on Lawrence Freeman
2.4.1 Grand Opera
The Harlem Renaissance had a notable effect on Lawrence Freeman. At the start of his career, Freeman was determined to fuse European operatic tradition with traditional African identities (Perpener, 2001; Patton & Honey, 2001). However, by his own telling, he initially rejected the influence of folk music entirely. The Negro Music and Drama/ Freeman recall a heated discussion with Paul Laurence Dunbar about African American folk culture (Wittmer, 2015). Dunbar, who had attended an 1893 performance of Freeman’s The Martyr, was surprised at the lack of Negro themes, work, folk, and camp meeting songs prominent in the south. Therefore, Dunbar criticized Freeman on his omissions and the alienation from his people’s traditions. On his part, Freeman felt exasperated at the suggestion since he claimed no knowledge of the said culture. Freeman prided himself on his formal education, which discouraged the use of primitive-sounding graning, wailings, and moaning in music and composition.
Freeman wrote twenty-two operas over his life, although the exact number is uncertain due to varied reasons. Freeman lost some of his compositions during his move from Denver to Cleveland, from Cleveland to New York and subsequent apartment moves. Freeman often changed his compositions’ names post-production, which may have led to overestimates. Furthermore, he frequently mentioned the names of compositions in progress to friends and family, although some of them were never completed (Wittmer, 2015).
While Freeman contributed to other genres, notably arrangements of spirituals, and composition of minstrel songs, orchestral music, and ballet, his passion was for opera, which led him to brand a new type for the stage. To this end, he blended the style of French gran Opera with the power and precision of Wagnerian music drama, the extended tonality and chromatic harmony of the late Romantics, and the spiritually uplifting segments of African American culture, that is, spirituals and gospel.
2.4.2 General Impact of Harry Freeman on the Harlem Renaissance Period
Harry Lawrence Freeman was an instrumental figure in the Harlem Renaissance Period (Scruggs, 1996; Chang, 2015; Gutkin & Newland, 2015; Handy, 2009; Johnson, 2019; Meadows, 1992). The period characterized by the Blacks in Harlem, creating an artistic identity for themselves. They managed to achieve this by developing their style of music and other forms of art. Harry Lawrence Freeman developed a new version of the Grand Opera to help achieve this cause (Worley, 2018). Ultimately, this version of the Grand Opera proved instrumental in creating a link between the already established music culture of the Western Europeans and the Harlem culture that he represented. The successful integration of these two opera versions resulted in the birth of a new genre that slowly gained popularity among African Americans. These groups of people facilitate the spread of the style to other cultures, allowing them to appreciate the work done by Freeman in creating something great that would be specific to African American culture (Gutkin & Newland, 2015).
According to Worley (2018), Freeman’s works were unique as he combined African American spirituals and sound values with conventional European Romanticism. By doing so, he encouraged other African American composers to employ similar tactics in writing opera. Therefore, he was a pioneer for this style of writing opera for which he is famous. In the process, he created a new sub-genre of music, popularly known as African American grand opera.
Worley (2018) notes that contemporary society does not widely recognize Freeman’s works. However, there is no denying the fact that his works have a high degree of greatness attached to them. This greatness becomes evident when comparisons were linking them to the works of Richard Wagner from the Romantic Era (Worley, 2018). Wagner was a great artist during his time, and he happens to be the inspiration behind the works of Freeman. Worley (2018) states that Freeman’s dedication and determination earned him a nickname (The Colored Wagner) from one of his critics.
Freeman dedicated his life to fighting against the oppressive measures that were in place. For the large part, these measures were racists, as they discriminated against African Americans, preventing them from effectively showcasing their artistic prowess. Through hard work, Freeman was able to rise against all these barriers to a point where he managed to enjoy the fruits of his labour. Worley (2018) states that Freeman’s efforts enabled him to see some of his greatest works appear in venues that were initially off-limits for African Americans. These performances included broadcasts on radios, live performances by renowned orchestras, and staging that involved cast members from varying racial backgrounds (Worley, 2018).
Freeman was extremely passionate about opera, encouraging him to come up with the new genre. However, he also had notable contributions in other genres, such as ballet, minstrel songs, orchestral music, and spirituals (Worley, 2018). While dealing with opera, he successfully blended various aspects of genres to come up with the final product that people came to love and adore in the years that followed. He was maned to win over the hearts of listeners by incorporating the following aspects: The French grand opera style, the precision and power of Wagnerian musical drama, the chromatic harmony and extended tonality of the Late Romantics, and spirituals and gospels, which many considered to be segments of African American culture that were spiritually uplifting (Worley 2018).
Gutkin & Newland (2015) note that Freeman always showed determination to combine the Europeans’ operatic traditions with African sources from the early stages of his career. However, he originally rejected the influence of African American folk music (Gutkin & Newland, 2015). His actions stunned a famous poet at the time, Paul Laurence Dunbar. He could not comprehend why such a talented artist would want nothing to do with musical styles that were part of his heritage (Gutkin & Newland, 2015).
In his words, Freeman stated that he found the African American sounds disturbing and unsuitable for use in music. He termed them as sounding funny and being moans and groans (Gutkin & Newland, 2015). In other words, such sounds would be noise if employed in any form of music. However, in the period that followed, he began developing a liking for these sounds. At some point, they became more appealing to him than any other type of music he had listened to before. He said that the sounds were offered much more fulfilment than any other musical sound accessible to human beings (Gutkin & Newland, 2015).
Following this realization, he began incorporating the sounds into most, if not all, of his works that followed. These sounds gave his productions a unique identity from any other pieces that were produced before. His operas that came after this period had a recurrent setting: “The South Before the War.” He began using African American folk songs and spirituals in his productions, especially the language he used in composition (Gutkin & Newland, 2015).
The addition of African American culture into his expansive operatic vision marked the foundational basis of the new genre, Negro Grand Opera (Gutkin & Newland, 2015). In an explanation behind the choice of names, he indicated that the works were the creations of Negro composers, talking about classical Negro life, and interpreted by Negro artists. Therefore, since everything concerning the genre production was related to Negros, the name given to the genre was overly appropriate for the particular occasion.
Gutkin and Newland (2015) note that, after the successful inception of the new genre, Freeman indicated that the contents of his work were not limited to Americans. He stated that he aimed to have an impact on a global scale, expanding from its typical American origin. He hoped that his work would be empowering for other dark-skinned races like Mexicans, American Indians, and Mongolians (Gutkin & Newland, 2015). In addition, he targeted other groups that have resided in Africa for prolonged periods, such as Arabs and Egyptians.
Freeman continued to show high levels of dedication towards his work as he continued to produce operas, although most of them went unperformed (Gutkin & Newland, 2015). As time went by, he enrolled in a black company and continued producing operas for them. Initially, the company’s name was to be the Colored Grand Opera Company of New York. However, the company’s name at the time of launching was the Negro Grand Opera Company (Gutkin & Newland, 2015).
Freeman’s first composition to hit the stage did so when he was just twenty-four years old. The opera premiered in 1893 in Denver’s Deutsches Theater (Davis, 2008). After enjoying this success, he did not sit back. Instead, he continued to produce more operas. Davis (2008) estimates that he composed fifteen full-scale operas during his lifetime. Out of these fifteen, several received a large-scale performance in different theatres all around the country. From the Harlem Renaissance’s point of view, all of Freeman’s operas address themes of Negro memory and experiences (Baker Jr, 2013). These features were in line with the objectives of the Harlem Renaissance, therefore earning him a significant place in influencing the developments during the period.
In the years that followed, he successfully founded the Negro Grand Opera Company in Harlem (Davis, 2008). This move enabled African Americans in the area to have a place designated for producing operas that focus on their lives and cultural values. Consequently, they felt appreciated and had something that they could identify with and easily relate to in terms of cultural heritage. However, Gutkin & Newland (2015) note that the high levels of racism that were existent during the time affected the company’s growth negatively. Freeman was unable to get the required following that would help the company grow into an operatic sensation. He even attempted to raise the stock price with the help of his son by encouraging African Americans to show a heightened sense of pride for their cultural heritage (Worley, 2018). These efforts were in vain as they never realized their objectives, and the company eventually collapse due to a lack of adequate support from other parties. Nonetheless, Freeman had already established himself as a true great in the opera world, particularly for African American cultural development (Gutkin & Newland, 2015).
In addition, Harry Freeman has a rich history in shaping the thoughts and ideas the black community had during the Harlem Renaissance (Gutkin & Newland, 2015). The advent of “Voodoo” was a turning point in the music scene with the changes in the style and information that Harry was using in presenting the information (Dutton, 1993; Gutkin & Newland, 2015). Freeman used the traditional Italian style, making use of spiritual themes. Additionally, the Jazz rhythms and southern melodies created tunes in the end. The style and methods of presenting the information in the songs made it possible for Harry Freemans to effectively communicate his information to the audience (Gutkin & Newland, 2015). The effective way he communicated the information made it possible for him to improve his level of influence in the community at the time.
The topics that Harry Freeman communicate involved the issues that directly impacted the communicated. In his grand opera, he uses an example of Voodoo to describe the lover and the show how she was comparable to another woman. The work was a description of the need to understand the similarities between the blacks and the whites. According to Gutkin and Newland, 2015), the influence of Harry Freeman is tangible because of the few cases of influential black American composers that worked to educate the blacks at the time. The people not only relate to the information he presented but also connected to him because he was one of them (Dutton, 1993). The subjects of the songs facilitate the process of reconstruction during the Harlem Renaissance.
Harry Freeman’s work of art was unique and made it possible to relate and communicate the information on the Harlem Renaissance (Handy, 2009; Worley, 2018). The works of Freeman was a wide selection with a range in the topics and themes for the society. The other works of literature looked at the works of Harry Freeman as the inspiration and the basis on which to do their works. Rider Haggard made the Voodoo as part of the subject matter in his works. Similarly, there was a case of identity, was also included in the Zululand African Music Drama, as well as becoming part of the most influential jobs (Worley, 2018).
Researchers estimate that the works of Freeman would have potentially had a bigger influence on the community if they had been published. However, the records in the manuscripts and revelled the rich nature with which he presented his work to influence the community during the Harlem Renaissance (Gutkin and Newland, 2015). The manuscripts show his use of the saxophone and the banjoes, which were complicated and sophisticated instruments to use. The nature of the composition, as well as the instruments used, applied in setting the pace for the rest of the communities in developing the content for the black Americans. Gutkin and Newland (2015) explain his impact when he describes how other musicians used Harry Freeman’s work to imitate his work.
2.5 Effect of the Harlem Renaissance on the Actions of Harry Lawrence Freeman
In the early stages of his career, Freeman was somewhat afraid of incorporating his background culture into the formation of his musical works. However, the Harlem Renaissance period symbolized that different black people are coming together to gain international recognition by leaving a mark in the music industry and art in general (Worley, 2018). Therefore, he knew that he had people from the same racial background backing him up motivated him to express himself more freely to the outside world. He gained enough courage to enable him to experiment with sounds that he once considered unworthy of inclusion in the world of music.
According to Gates and Higginbotham (2009), the Harlem Renaissance was a period that bore extremely great significance to the lives of African Americans. This period saw the rise of many artists in different aspects of the expansive field. Some of the affected fields include theatre, music, musical theatre, visual arts, and critical writing (Gates & Higginbotham, 2009). These developments affected different areas in the lives of African Americans, most notably, the political and social dimensions.
Gates and Higginbotham (2009) notes that one of the most significant developments resulting from the Harlem Renaissance was the new Negro. This development created a sense of pride in African Americans as they became more proud of their racial background. Also, the period marked increased political awareness among African Americans, including Freeman. By getting a greater understanding of the political aspects of the country, Blacks became aware of their freedom of expression, allowing them to take to various platforms to express themselves in the field of art.
Based on this realization, Freeman became more aware of the techniques that he could incorporate into his works without receiving negativity from individuals. This period allowed him to reflect on his racial background and employ features typical of his race to come up with a genre that would be appealing to various populations around the world. The period allowed him to become more open-minded and engage in activities never done before. In addition, he was showing solidarity to his Black heritage as he joined his fellow Blacks in developing art that would promote the awareness of their culture and earn them recognition. (Gates & Higginbotham, 2009).
The nature of the Harlem Resistance in promoting African Americans’ ability to work together towards a typical course is not to be overlooked. This period saw many Blacks working together in different fields of art to promote their cultural heritage. Therefore, for Freeman, this period provided him with a variety of free people that were willing to help him showcase his artistic works in opera (Gates & Higginbotham, 2009). This feature means that if he needed performers for operas that he had written, they were readily available. Negros were readily available to participate in such plays as they showcased the beauty of their cultural backgrounds. This fact prompted Freeman to gain confidence when developing his opera as he was guaranteed performers who would not demand much pay for their services (Gates & Higginbotham, 2009).
African American artists experienced varying levels of success during this period. However, the Great Depression had a significant effect on the Harlem Renaissance (Baker Jr, 2013). The movement declined after the Great Depression because of the economic decline that hit many countries. These financial difficulties meant that there was limited availability of funds for production companies.
Notably, Freeman tried to get Alfredo Salmaggi to participate in the production and conduction of the Voodoo at the Hippodrome Theater (Gutkin & Newland, 2015). He targeted this particular theatre because of the popularity of the house’s orchestra, hoping that it would attract a large number of viewers to witness his work. However, it was a requirement for Freeman to raise two thousand dollars to cater for the scenery and costumes that the performers would use. Unfortunately, Freeman was unable to increase the required amount, and the production never took place. This setback may have been one of the reasons that slowed down Freeman’s rise to stardom and worldwide recognition.
It is important to note that the racial developments during this period were not limited to Harlem but also took place simultaneously in other parts of the world (Floyd, 1998). These developments helped propel the plan to other parts of the world, allowing Freeman to recognize these parts as well for his efforts. This period’s impacts persisted for several decades as African Americans successfully managed to create a culture for themselves (Floyd, 1998). This period promoted Freeman’s actions, as other Blacks would recognize him as their own for his efforts in creating a culture unique to African Americans. He gave them something that they can identify with, and this activity helped him achieve a degree of recognition.
Many writings on the Harlem Renaissance focus on the literary side of the movement by dwelling on writers and poets that sprung during the period. However, many musicians also gained prominence in this period, including Harry Lawrence Freeman, the founder of Negro Grand Opera. All these exploits and the desire and drive to experiment with the African American sounds in music became possible due to the Harlem Renaissance (Baker Jr, 2013).
The impact of the Harlem Renaissance on the acts of Freeman helped him get a high degree of recognition in various parts of the world (Baker Jr, 2013). The period gave him a confidence boost that saw him delve into projects that nobody had tried before him. Many people still show recognition and appreciation for his great works in the music industry. They regard him as an ambitious musician who was not fazed by anything (Davis, 2008). He rose to the challenges that came his way and managed to overcome most of these setbacks. His place in history books was certified when he became the first African American composer to stage an original opera that he had composed himself triumphantly. Davis (2008) notes that this feat was a very significant achievement considering that he was only twenty-four years old.
2.5.1 Challenges Harry Freeman faced During Harlem Renaissance.
Gutkin (2015) noted that the period posed many challenges on Harry Freeman following the criticism he received for backing up the black movements. He received constant opposition for trying to challenge some of the problems faced by blacks as a result of racism. At this time, it was challenging to do a concert that would be perceived as activism (Gutkin, 2015). There were major and significant works of Harry Freeman that made it possible to create a considerable influence in the Harlem Renaissance. The American Romance work described the historical and musical development that would awake the blacks to participate in their development (Gutkin, 2015). The works criticized the issues that happened at the government and the ills of society. He expected to elevate the black community in the end. However, at the height of racism and discrimination, the woks of Harry Freeman did not see the light of the day. There was no support and willingness to assist Harry in publishing and recording in the end (Gutkin, 2015). The government and the cases of racism made it difficult to make his works to influence blacks during the Harlem Renaissance period (Baker Jr, 2013).
Harry Freeman’s part of his career was stagnated because of the poor relationship he created with the community. Harry did not connect well to the black community to create the effect he needs for the Harlem Renaissance (Patton & Honey, 2001). As a result, he did not attract the mass audience that was needed to connecting his message in the end. When he developed the plan to stage performances using the African American Opera Foundation, he intended to have continuous performances that would allow African Americans to get the best ways of ensuring that they get the information on the need to improve on the performance (Scruggs, 1996). However, the perpetual and inconsistent performances made it difficult to create a wave and influence during the time. The plans were never executed. There was no building of the halls, and the stadia expected to take effect in the end. These challenges made it difficult to create the impact that he needed in the end.
2.6 Chapter Summary
In summary, this chapter covered the broader perspective of Lawrence Freeman and the Harlem Renaissance. The literature review then narrowed down to the impact of both of the two variables at the end; Lawrence Freeman and Harlem Renaissance. The cultural development in America is muted as part of the issues that influenced the movements in the country. The Renaissance was a source of empowerment and education on the African American culture (Woodson, 1990). There was a need to instil the determination and spirit of self-influence and respect in the community. The civil rights movement made use of the artistic work to advance the knowledge and advocate for equity within the community. Worley (2018) held that understanding the works of artists like Harry Freeman as well as getting to understand their role in the renaissance period made it possible to have an impact on the renaissance period.
The literature findings acknowledge the existence of limited scholarly literature on Lawrence Freeman. Besides, notable studies attempt to expound on the life of Freeman and some of the iconic works of his time. In addition, the review noted that he self-studied piano as a child-led group of other pianists. The boys performed as an organist in the church. Freeman’s career life gradually sailed to success. In addition, it begins excelling well. He moved to Denver, where he learned the arts of Tannhauser by the Emma Juchs Grand Opera Company (Gutkin, 2019). Freeman acknowledged that the performance a significant turning point in his career as he soon created an all-black Freeman Opera Company to make original performances of his early productions. The company premiered Epithalia in 1891 and The Martyr in 1893 (Gutkin, 2019).
During the period of the Harlem Renaissance, he received criticism of inciting the black community and culture. Most of Freeman’s productions never received widespread appeal or recognition. However, he did not stop, as there were a series of concerts that he added despite the challenges. He managed to influence several people, and as well, he was influenced in this period. Lawrence Freeman personifies the body of African American creative thinkers who thrived during the Harlem Renaissance but fell into obscurity.
In addition, during the Harlem Renaissance, he became instrumental personnel of this period. Blacks in Harlem, creating an artistic identity for themselves, characterized the period. The black managed to achieve this by staging the work of Freeman as the style of music and other forms of art. Harry Lawrence Freeman came up with a new version of the Grand Opera to help towards achieving this cause (Worley, 2018). Eventually, the new version of Grand Opera became instrumental in associating the already established music culture of the Western Europeans as well as the Harlem culture existing to date.
Above all, the period had a negative influence on his work because of threats and related problems of supporting the black movements. For instance, the early stages of Freeman were somewhat afraid of incorporating his background culture into the formation of his musical works. The Harlem Renaissance period symbolized different black people are coming together to work towards gaining international recognition by leaving a mark in the music industry and art in general (Worley, 2018). Therefore, the fact that he knew that he had people from the same racial background backing him up motivated him to express himself more freely to the outside world. He gained enough courage to enable him to experiment with sounds that he once considered unworthy of inclusion in the world of music.
Unfortunately, for Freeman, existing records of him in music literature are scarce and corrupted by acts of racism and a noticeable lack of depth (Worley, 2018). This statement implies that Freeman does not receive the full credit he deserves for his enormous contribution to American opera. Most of the available writings are reflective of one writer’s expression of another’s views. Therefore, these writings contain more or less the same information with very little to no elaboration. Consequently, no deep, informative sources that can give detailed illustrations of Freeman’s great achievements and unmatched dedication to music education. Nonetheless, his actions helped him gain recognition among the Americans that witnessed him in action.
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