The attitudes and opinions towards key characteristics have varied in each period of its history. Among the ancient Greeks and Romans, the characteristics of modes were discussed among philosophers, namely, Plato, Aristotle, Lucianus and Cassiodorus. They were believed to affect moral development but were also associated with mysticism. In the Middle Ages and Renaissance, references to key characteristics can be found in the writings of numerous theorists, including Gioseffo Zarlino, Ramos de Pariea and Heinrich Glarean. The studies and discussions of key characteristics in those periods became so well explored as to result in the first appearance of a list of the characteristics of each mode.

In Germany and France especially, the discussion of key characteristics reached its peak in the first half of the eighteenth century, when it was studied as a part of Rhetoric. Theorists and composers equally showed their interest in the elements each key could offer to music and how to use keys advantageously in order to enrich the musical experience of the listener.

While key characteristics were studied commonly as a vital subject by composers in the eighteenth century and as a fundamental of musical education by many young musicians in the early nineteenth, this tradition had all but disappeared by the middle of the twentieth. The concept of key characteristics is no longer commonly taught in our musical institutions, and this desertion from such a traditionally significant discipline is ever puzzling and particularly interesting to me. In my thesis, I will focus on writings from the last half of the nineteenth century and the first half of the twentieth to determine the various paths taken in the study of key characteristics. I will investigate the writings and discussions of three scholarly groups—music theorists, composers and scientists—from late nineteenth and early twentieth centuries and discuss how the survival of the study of key characteristics was influenced by aspects of the time: popular aspects and aims in the fields of music theory; cultural and social expectations in the validity of phenomena; pronouncements of composers (Arthur Bliss, Alexander Scriabin, Olivier Messiaen, Arnold Schoenberg and Vincent D’Indy) in their musical styles; the rise of a naturalistic view of physical reality as a field and changes it brought to music and societies. I will also include a comparative summary of the status of key characteristics in various periods.

The effects that Puritanism had on music and the culture of Boston during its early years are also explored. Then Boston musical independence is catalogued about how it relates to the unique form of music that did form during this time, starting with the First New England School.

During the mid to late nineteenth century massive immigration took place that changed this country, especially Boston. The modern United States was formed during this time, including its music. Boston, starting in the 1830’s had numerous societies and schools disseminating music to the populace. This in turn led to the creation of the Boston Opera Company in 1908.

The Boston Opera Company was founded by Eben D. Jordan of Jordan Marsh Co. He decided that the city of Boston needed a proper opera company, so he paid for the construction of the house and operation. Unfortunately, the populace soon lost interest and the company made in ill-fated trip to Paris in 1914. This trip, coupled with the start of WWI, forced the company to declare bankruptcy in 1915.

There are definite cultural considerations as to why the opera company was unable to make itself part of the fabric of the city, like the Metropolitan Opera in New York. The Boston Symphony Orchestra is very much a part of the city and there is no reason why opera should not be with that part either.

Boston has a very large metropolitan area and with the proper guidance and determination, opera could be supported here year round. A new house would have to be built, since the original opera house was torn down in 1958. With the proper determination, however, it could be done for permanent opera in the city.

Marsilio Ficino’s (1433-1499) direction at the Platonic Academy (founded c. 1463) outside Florence in the hills of Carregi influenced some of the greatest artists and musicians of his time. This thesis focuses on lyric improvisation as a means of connecting mind and body with the universe. In doing so, Ficino’s music-spirit-theory and astrological program are looked at in light of the Platonic sources. The instrument of the improvvisatore, the lira, will be analyzed in relation to affect (ethos) and wellness for mind (soul) and body