ABSTRACT A leading young voice in music of the United States during the 1920s and 30s, composer Roy Harris (1898–1979) was a figurehead for an American identity that reified the sovereignty of the individualist frontiersman alongside the American West. An analysis of the reception of the premiere of Harris’s break-through first symphony, the Symphony 1933, reveals a constellation of ideological processes by which the biographical myth-making around musical figures negotiates the gap between individual and collective identities in the national imagination. Understanding this wider phenomenon is significant for advancing scholarship in musical biography by pointing to potential directions for pursuing its interdisciplinary intersections, in particular the significance of reception history for biographical myth-making. It also indicates potential crossover with diverse areas such as cultural geography, legal discourses about sovereignty and ownership, and socio-political analyses of liberalism. Ultimately, Harris’s biographical connection with Western landscapes illustrates how musical biography, in parallel with the music itself, can negotiate the relationship between a composer’s identity, the geographical space in which it is located, and racialized formulations of national identity.

中文翻译：

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罗伊哈里斯的 1933 年交响曲：美国西部的传记神话制作和自由主义神话建设

摘要 作为 1920 年代和 30 年代美国音乐界的领军人物，作曲家罗伊·哈里斯 (Roy Harris，1898-1979 年) 是美国身份的傀儡，他将个人主义拓荒者的主权与美国西部一起具体化。对哈里斯突破性的第一交响曲《1933 年交响曲》首演的接受情况的分析揭示了一系列意识形态过程，通过这些过程，围绕音乐人物的传记神话制作协商了民族想象中个人和集体身份之间的差距。通过指出追求跨学科交叉的潜在方向，尤其是接受历史对传记神话制作的重要性，了解这一更广泛的现象对于推进音乐传记的学术研究具有重要意义。它还表明与文化地理学、关于主权和所有权的法律话语以及自由主义的社会政治分析等不同领域的潜在交叉。最终，哈里斯与西方风景的传记联系说明了音乐传记如何与音乐本身并行，协商作曲家的身份、其所在的地理空间以及民族身份的种族化表述之间的关系。