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Dissertations / Theses on the topic 'Monologue the music'

Author: Grafiati

Published: 23 May 2025

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1

Bahr, Mickey. "...and then, Claire an indie-rock monologue; integrating the independent music scene into American musical theatre." Honors in the Major Thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/653.

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For more than fifty years, the Independent (indie) Music Scene has existed as an evolving business model, allowing indie artists to develop a wealth of progressive musical ideas while creating a sustainable audience base. American Musical Theatre has an already-established rich history of adapting styles to fit concurrent trends in popular music while maintaining the story as the core of a show. While some indie artists (The Lisps, The Mountain Goats, Stephin Merritt, and Stew) and some musical theatre composers (David Yazbek, Doug Crossley, and Michael Friedman) have created crossover works, there is currently an overall dearth of musical theatre pieces infused with the indie style and a lack of indie albums with an actable musical theatre storyline. The intent of this thesis is to prove that although American Musical Theatre and the Independent Music Scene are two vastly different art forms, they can be combined to create a viable and unique form that appeals to both audiences. The indie-rock monologue ...and then, Claire was composed, recorded, and performed to test the viability of this thesis. In addition to presenting research on the history of American Musical Theatre and the Independent Music Scene, an analysis of the already-successful artists mentioned above is presented to provide context for ...and then, Claire. This context along with the original indie-rock monologue proves successful combinations of American Musical Theatre and the Independent Music Scene as well as the potential for more attempts in the future.
B.F.A.
Bachelors
Arts and Humanities
Theatre

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2

Stinton, Nicole Desiree. "Acting as song: A holistic pedagogy for sung characterisation in music theatre." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2025. https://ro.ecu.edu.au/theses/2925.

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Acting as song is a new philosophical approach to music theatre training enabling student actors to integrate singing and acting offering holistic, embodied acting-singing methods. Acting as song demands we abandon thinking that singing and acting are mutually exclusive, and that a character cannot be true-to-life because they are singing. Rather, singing is considered acting. Through practice based research, I show that acting as song results in more holistic, authentic, believable characterisation. It requires that acting and singing be integrated in multiple ways, that dramaturgical music analysis is made accessible to all students and embodied learning is used across educational contexts.

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3

Torres, Michael Rene. "Joseph Kreines and his Music for Alto Saxophone: A Biography, Analysis, and Performance Guide." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338398066.

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4

Imbert, Jeanne. "Edouard Dujardin, un cas exemplaire au sein du symbolisme : genres et formes (1885 -1893)." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040145.

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Édouard Dujardin (1861-1949), fondateur de la Revue wagnérienne et de la Revue Indépendante de littérature et d’art, n’a pas été seulement un théoricien du symbolisme, il en a été le praticien. Son œuvre littéraire entre 1885 et 1893 explore aussi bien le vers que la prose, en retrace les questionnements. Résolument engagée dans l’avant-Garde, elle ne s’attaque pas seulement à l’édifice du réalisme, elle remet en cause le modèle de la mimèsis dans une recherche formelle intense. Ainsi l’œuvre de Dujardin se fait-Elle, de manière exemplaire, témoin de cette crise du vers que traversait l’univers des lettres. Genres, formes et confrontation entre les arts délimitent ce parcours en trois parties, qui ne suit pas un plan linéaire ou chronologique, mais un questionnement spécifique déterminé par chaque ouvrage. Pour cette raison, nous avons commencé par son théâtre, qui soulevait la question de l’identité du personnage. Le prénom Antonia nous a ainsi servi de fil conducteur pour aborder la relation vers et prose, telle qu’elle se manifeste soit dans le poème en prose soit dans le vers libre. Dans une seconde partie, nous avons interrogé les formes, la prose poétique de ses nouvelles et de son roman, qui répondent partiellement aux critères définissant le poème en prose. Enfin, dans le cadre de la confrontation entre les arts, nous nous sommes intéressés au phénomène textuel Les Lauriers sont coupés, considéré par la critique comme un procédé de « monologue intérieur », puis au rapport entre poésie et musique par l’étude de l’ouvrage Litanies mélopées pour chant et piano, qui met en vis-À-Vis poème et musique
Edouard Dujardin (1861-1949), the founder of Revue wagnérienne (the Wagnerian Journal) and Revue Indépendante de littérature et d’art (the independent journal of literature and art) has not only been a theoretician on symbolism but also a practitioner. His literary work between 1885 and 1893 explores verse as well as prose and traces back its questionings. Being resolutely engaged in the avant-Garde, it does not only tackle the structure of realism but also questions the model of mimesis in a sort of formal and intense research. It thus happens that Dujardin’s literary work testifies, in an exemplary way for that matter, to the crisis in verse that the literary universe was undergoing. Genres, forms and confrontations of different forms of arts define this course in three parts which does not follow a linear plan nor a chronological one but rather a specific questioning determined by each literary work. This is the reason why we started by studying his drama which raised the question of the character’s identity. The name of Antonia was thus used as a thread to tackle the relationship between prose and verse, as shown in the poem in prose or in free verse.In a second part, we questioned the forms-The poetic prose of his short stories and of his novel- which partly fulfil the criteria of the poem in verse. Lastly, in the context of the confrontation between the different types of arts, we focused on the text viewed as a phenomenon- Les Lauriers sont coupes- considered by critics as a form of “stream of consciousness” then on the connection between poetry and music through the study of the work Litanies, “mélopées” for piano and song, which confronts poem and music

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5

Bjuggfält, Jonathan. "Hej till publiken - är ni där? : Ett arbete om att hitta vägar att nå sin publik." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-65171.

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I det här arbetet har jag undersökt vikten av publikkontakt för mig som musiker. Syftet för mig var att finna tillvägagångssätt att som musiker känna mig säkrare på scen och kunna beröra min publik. Jag har skrivit en musikalisk clownmonolog Du duger inte som hade premiär den 1 april. Den spelades in och därefter har jag analyserat om den känsla jag hade på scen överensstämde med, eller skiljde sig från, vad jag kände som publik. Jag har med hjälp av det här arbetet funnit ett tillvägagångssätt att musicera som gjort mig tryggare och mer kontrollerad på scen.

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6

Lütteken, Laurenz. "Das Monologische als Denkform in der Musik zwischen 1760 und 1785 /." Tübingen : M. Niemeyer, 1998. http://catalogue.bnf.fr/ark:/12148/cb39956009r.

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7

Yonemaru, Tomoko. "Something about Marybell." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6035.

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8

Rinker, John Thomas Glass Philip. "And one of time a composition for full orchestra with narration /." view full-text document. Access restricted to the University of North Texas campus, 1999. http://www.library.unt.edu/theses/open/19993/rinker%5Fjohn%5Fl/index.htm.

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9

Feezel, Mark Brandon. "The light for two narrators and chamber orchestra /." connect to online resource, 2003. http://www.library.unt.edu/theses/open/20031/feezel%5Fmark%5Fbrandon/index.htm.

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10

Christian, Bryan W. Christian Bryan W. Christian Bryan W. Christian Bryan W. "Wanderings." Diss., [La Jolla, Calif.] : University of California, San Diego, 2010. http://wwwlib.umi.com/cr/fullcit?p1477876.

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Thesis (M. A.)--University of California, San Diego, 2010.
Title from first page of PDF file (viewed July 14, 2010). Available via ProQuest Digital Dissertations. Sound files consist of recordings of North and Yet somehow comes emptiness in single-channel and stereo. configurations.

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11

Burkhardt, Rick. "Pipeline : for voice, bass flute, cello, and percussion /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236631.

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12

Chang, Debra Wei Kwen. "Songs of the wind." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332464/.

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Songs of the Wind is a five-movement composition for reader, chamber choir, and chamber orchestra. The work is approximately twenty-five minutes in duration. The title describes the programmatic nature of the piece, which depicts an animistic ritual invoking the wind as a deity. The texts are drawn from translations of American Indian poetry as well as original poems by the American Indian scholar Hartley Alexander.

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13

Jolley, Jennifer. "Le monde du silence: A Reconsideration of the Symphonic Poem for the Twenty-First Century." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1342104000.

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14

Chapman, Davis Howard. "Three Ideas, a Collection of Three One-Act (Musical) Plays for Mixed Ensemble." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc501209/.

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Three Ideas is a collection of three one-act (musical) plays intended to be performed either as a series or as separate pieces. In order for them to be performable in either of those ways, they need some sort of unifying fabric running throughout the collection, yet they must remain individually strong enough to stand alone outside the context of the series and still seem complete. The concepts Tonal and Nagual, Bell's Theorem, and Breakdown of the Bicameral Mind were chosen because of their theatrical possibilities as well as their philosophical implications. All three of the concepts deal with an unknown, or at least unseen, force that has a strong influence (possibly control) over our actions and the actions of objects around us. This force could possibly radiate from within ourselves, or it could be completely outside us.

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15

Knudson, Gary. "Celestial Dreams." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc504191/.

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Celestial Dreams is a three-movement work for chamber ensemble. This piece employs algorithmic processes (coded in BASIC and Pascal) that generate poetic text and convert it to musical pitches. The three movements contain coherent structures that allow for the complete integration of all ensemble members into the texture and for the flexibility to have one ensemble member emerge as the musical foreground. The chamber ensemble includes strings, tape, slides, and a narrator, who recites the poetic text which forms the foundation of the piece.

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16

Schneider, Gregory Alan. "The Sneetches." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc504291/.

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The Sneetches is a theater piece for children based on the Dr. Suess story The Sneetches (Random House, New York, 1961). It is scored for narrator, flute, B6 clarinet, bassoon, violins I & II, viola, and cello with optional staging. The staged version of The Sneetches requires two to six actors/dancers, appropriate scenery and props, and the active participation of children from the audience, preferably ages eight or under. The Sneetches is essentially through-composed. The overall form of the music is shaped primarily by the events portrayed in the narrative. Although individual subsections may have traditional forms, they should not be viewed as independent movements of a larger work, but rather as fragments of a whole.

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17

Rinker, John Thomas. "'...and one of time.': A Composition for Full Orchestra with Narration." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2267/.

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‘...and one of time.' is a reinterpretation of a small musical moment from Philip Glass' opera, Einstein on the Beach, centered around the phrase "Berne, Switzerland 1905." This reinterpretation is realized through the use of several different compositional techniques including spectral composition, micropolyphony and dodecaphony, as well as the application of extra-musical models developed by Alan Lightman, John Gardner, Italo Calvino and Albert Einstein.

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18

Keefe, Robert Michael. "Mysterium Cosmographicum, for Orchestra, Narrator/Actor, and Computer Music on Tape." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc332398/.

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Mysterium Cosmographicum is a musical chronicle of an astronomy treatise by the German astronomer Johannes Kepler (1571-1630). Kepler's Mysterium cosmographicum (Tubingen, 1596), or "Secret of the Universe," was a means by which he justified the existence of the six planets discovered during his lifetime. Kepler, through flawless a priori reasoning, goes to great lengths to explain that the reason there are six and only six planets (Mercury, Venus, Earth, Mars, Jupiter, and Saturn) is because God had placed one of the five regular solids (tetrahedron, cube, octa-, dodeca-, and icosahedron) around each orbiting body. Needless to say, the publication was not very successful, nor did it gain much comment from Kepler's peers, Galileo Galilei (1564-1642) and Tycho Brahe (1546-1601). But hidden within the Mysterium cosmographicum. almost like a new planet waiting to be discovered, is one of Kepler's three laws of planetary motion, a law that held true for planets discovered long after Kepler's life-time. Mysterium Cosmographicum is a monologue with music in three parts for orchestra, narrator/actor, and computer music on tape. All musical data structures ape generated via an interactive Pascal computer program that computes latitudinal and longitudinal coordinates For each of the nine planets as seen From a Fixed point on Earth For any given time Frame. These coordinates are then mapped onto selected musical parameters as determined by the composer. Whenever Kepler reads From his treatise or From a lecture or correspondence, the monologue is supported by orchestral planetary data generated From the exact place, date, and time oF the treatise, lecture, or correspondence. To the best oF my knowledge, Mysterium Cosmographicum is the First composition ever written that employs planetary data as a supporting chronology to action and monologue.

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19

Kloth, Timothy Tom. "The Squirrel Cage." North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc1038790/.

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20

Samonà, Clara [Verfasser], and Silke [Akademischer Betreuer] Leopold. "Salvatore Sciarrinos "La porta della legge": fast ein kreisender Monolog nach Franz Kafka. Eine Untersuchung zum Musiktheaterwerk und zur Rezeption / Clara Samonà ; Betreuer: Silke Leopold." Heidelberg : Universitätsbibliothek Heidelberg, 2020. http://d-nb.info/121732822X/34.

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21

Feezell, Mark Brandon. "The Light, for Two Narrators and Chamber Ensemble." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4220/.

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The Light is a twenty-four minute composition for two narrators and chamber orchestra. The two narrators perform the roles of the Apostle John and Moses. After an overview of the piece and a brief history of pieces incorporating narrators, the essay focuses on my compositional process, describing how orchestration, drama, motive, and structure work together in the piece. The Light is organized as a series of five related scenes. In the first scene, God creates light. In the second scene, God places Adam and Eve into the Garden of Eden to tend it, allowing them to eat from any tree except the tree of the knowledge of good and evil. The serpent appears, Adam and Eve succumb to his evil influence, and God banishes them from the Garden of Eden. Many generations have passed when Scene Three begins. Moses relates a story from Israel's journey in the wilderness after leaving Egypt. The people had become frustrated with Moses and with God. When God sent serpents among them as punishment, they appealed to Moses to pray for them. God's answer was for Moses to make a bronze serpent and place it on a pole. Whoever looked at the serpent would live. In Scene Four, John relates his vision of final redemption. New Jerusalem descends from heaven, with the River of Life and the Tree of Life ready to bring healing to the nations. Sadly, some people are not welcomed into the city, and the drama pauses to give respectful consideration to their fate. Finally, the fifth scene celebrates the eternal victory over sin, death, and the serpent of Eden. As I composed The Light, I had in mind the dramatic profile, the general motivic progression and the fundamental structural progression. However, most of the intricate interrelationships among orchestration, drama, motive, and structure were the result of informed intuition. Throughout the piece, each of these four elements interacts with the others, sometimes influencing and sometimes responding to them. My hope is that these subtle tensions propel the composition forward toward its ultimate resolution.

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22

Heilpern, Jaime Ginsberg Allen. "The lion for real!" Diss., 1997. http://catalog.hathitrust.org/api/volumes/oclc/38077229.html.

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Thesis (M.A.)--University of California, Santa Cruz, 1997.
"Text by Allen Ginsberg"--p. 1. For Bb clarinet, tenor saxophone, piano, amplified double bass or electric bass, percussion, spoken voice. Typescript.

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23

Goodner, Robert Lynn. "Chamber music featuring trumpet in three different settings with voice, with woodwinds, with strings." 2007. http://hdl.handle.net/1903/9729.

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24

Masasabi, Abigael Nancy. "Verbal-text as a process of compositional and improvisational elaboration in Bukusu Litungu music." Thesis, 2011. http://hdl.handle.net/10500/4939.

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Accompanying music files attached (mp3)
The Bukusu community is predominantly found in Bungoma district of Western Kenya. The Litungu is a word referring to a lyre among the Bukusu community. Music accompanied by this instrument is what is referred to as Litungu music. This music makes use of sung text and “verbal-text”/ silao-sikeleko (speech and speech-melody) and silao-sikeleko is the focal point of this study. Silao-sikeleko is performed in alternation with sung text in Litungu music. This study seeks to identify the cultural and compositional role of silao-sikeleko in the music. To achieve the objectives of this study I used a qualitative approach to collect and analyze data. Data collection included the use of interviews and observation. The interviewees included performers of Litungu music, whose music was audio recorded and video recorded for analysis. In addition, I made observations of the performance sites and performance behaviour, taking notes and making audio and video recording. Music for analysis was then selected on the basis that it had the silao-sikeleko component. The Bukusu cultural view of silao-sikeleko is discussed in relation to their customs and way of life. The execution of silao-sikeleko is based on a culturally conceived framework that allows the involvement of various performers in the performance composition process. Here the contexts within which silao-sikeleko is performed are identified. Analysis of the relationship between sung text and silao-sikeleko established that whereas the two are thematically unified, silaosikeleko substantiates the sung texts by facilitating an understanding of messages contained in the songs. The analysis of language use ascertained that silao-sikeleko makes use of language devices such as proverbs, idioms, symbolism, riddles and similes. I established that silao-sikeleko as a performance compositional element has its own presentational structure that influences the overall structure of the Litungu music. Litungu music has a quasi-rondoic structure whose output is not static but varies according to context and the wishes of the soloist. The soloist interprets how effectively a given message has been communicated during performance determining how much silao-sikeleko should be performed. Silao-sikeleko is in most cases composed and performed by various members of a performing group.
Arts History, Visual Arts & Musicology
D. Mus.

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