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Dissertations / Theses on the topic 'Musicals'
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1
Bradford, Joshua. "Clockwork plums." Thesis, connect to online resource, 2004. http://www.unt.edu/theses/open/20041/bradford%5Fjoshua/index.htm.
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Thesis (M.M.)--University of North Texas, 2004.<br>Musical, for 5 vocalists, flute/tenor sax, clarinet/baritone sax, violin, cello, piano, electric keyboard, electric guitar, electric bass, drum set, and percussion. Based on a story by Joshua Forehand (pseudonym of Bradford), with additional lyrics by Joshua Bradford. Includes analysis by composer (p. 1-37). Includes bibliographical references (p. 36-37).
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Chan, Tracy. "The development of musicals in Hong Kong /." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21021491.
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Klund, Heather A. "Music, lyrics, and plot synopsis for Redemption, a musical on the book of Ruth." Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.
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Axtell, Katherine Leigh. "Maiden voyage : the genesis and reception of Show boat, 1926-1932 /." Digitized version, 2009. http://hdl.handle.net/1802/10968.
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Thesis (Ph. D)--University of Rochester, 2009.<br>Includes abstract and vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/10968
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Replogle, Holley Dawn. "Crossover and spectacle in American operetta and the megamusical." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1914357521&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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McCracken, Chelsea. "Contradiction in the tragic musical /." Connect to online version, 2009. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2009/372.pdf.
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Fisher, Andrew M. S. "Composition folio : musicals vols. I-IV." Thesis, University of Southampton, 2003. https://eprints.soton.ac.uk/50601/.
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The musical language of popular music theatre continues to gain a growing academic scrutiny. Our understanding of the possibilities of the genre can be enriched by innovative work that experiments with a variety of musical techniques. Moreover developing fresh insights into this musical potential has an aesthetic importance: it could contribute to a revitalisation of the creative ambition of the musical language of the genre, which is generally one of highly derivative stock. This submission consists of a composition folio that includes one work of substantial proportions (the stage-work Stationcery) and five satellite pieces. Stutioncery uses a diverse range of jazz cultures (including numerous improvised sections) in a single large scale staged narrative, which it could be argued has not been attempted in this way or to this degree before. Stationery, and the other pieces, also develop other experimental musical techniques that are rarely used in popular music theatre: nonchronological story-telling, collage construction, and the extreme use of diverse parody and quotations. In addition there is a written element of fifteen thousand words which discusses semantic, aesthetic and technical issues prompted by the works and the genre in general. The submission has been organised into four volumes: VOLUME ONE: Stationery A three act jazz stage-work: Full Score in C. VOLUME TWO: Stationcery Piano/ Vocal Score. VOLUME THREE: Satellite pieces: That Baling Feeling - A three act musical: Piano/ Vocal Score. Mart - A theatre of the absurd mis-en-scene: Full Score in C. Descendit De Celis - A third-stream work for small orchestra: Full Score in C. Napoleon On St Helena - Four scena for actor and piano. Rain - A film score extract for small chamber group. VOLUME FOUR: Written Element, Libretti and Lyrics.
8
Malone, Travis B. "Crafting Utopia and Dystopia: Film Musicals 1970-2002." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1162486037.
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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the 21st Century American Musical." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404583/.
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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.
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Esteve, Marull Vanessa. "Representacions musicals en la pintura catalana dels segles XVII i XVIII." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/387422.
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Aquesta tesi doctoral té com a principal objectiu fer un estudi iconogràfic de diferents pintures, escultures i gravats catalans dels segles XVII i XVIII que tenen com a tema principal o secundari la música com a representació.
A través l’anàlisi de les fonts documentals que parlen de música, es fa una descripció del context socio-cultural que va influir en l’elaboració d’aquests programes iconogràfics. Es tracta d’un anàlisi historiogràfic nou que reflexiona sobre la iconografia musical com a disciplina, i serveix per fer una aproximació inèdita al context de l’època que representen aquestes obres d’art i a les intencions dels seus artistes i mescenes. Per a la descripció d’aquestes imatges s’han manejat una seixantena d’imatges i s’ha reconstruit el paper de la música en diferents situacions i contextos socials.
Divida en dues parts, la primera part fa referència a les imatges iconograficomusicals amb contingut religiós. S’han estudiat els àngels músics d’època barroca que es troben representats en alguns retaules catalans, representacions de sants amb atributs musicals i les representacions originals i úniques de l’Escolania de Montserrat. Per altra banda, la segona part de la tesi està dedicada a les imatges promogudes per la monarquia, la noblesa i la burgesia. S’han estudiat els principals temes on la música i l’art s’han desenvolupat com activitats d’oci i entreteniment. Es tracta tant d’esbossos i dibuixos de creació amb escenes de gènere com imatges al·legòriques que commemoren el poder polític.
Per primera vegada es fa una lectura d’aquests programes iconogràfics, posant especial atenció a la simbologia, la organologia i les corrents artístiques que han circulat per Catalunya al llarg d’aquests segles. Això ens ha portat a descriure, de forma paral·lela, alguns esdeveniments històrics de Catalunya, com ara l’arribada de l’arxiduc Carles d’Àustria a Barcelona, la visita de Carles III i les primeres representacions operístiques catalanes. D’aquesta manera, aquesta tesi doctoral és un complement als estudis històrics i musicològics que s’han realitzat fins ara i esdevé una nova font documental per il·lustrar i entendre el paper de la música dins la societat catalana.<br>The principal aim of this doctoral thesis is to carry out an iconographic study of different Catalan paintings, sculptures and prints from the seventeenth and eighteenth centuries that have music as performance as their primary or secondary theme.
A description of the socio-cultural context influencing these iconographic programmes is made following analysis of documentary sources which talk about music. This is a new historiographical analysis which reflects on musical iconography as a discipline and, for the first time, allows the context of the age which these works represent and the intentions of their artists and patrons to be addressed. Around sixty images have been used for the description which reconstructs the role of music in different situations and social contexts.
It is divided into two parts: the first refers to the iconographical-musical images with religious content. The musical angels of the Baroque period found on some Catalan altarpieces, representations of saints with musical attributes and original and unique representations from the Escolania de Montserrat are studied in this section. The second part of the thesis is dedicated to the images promoted by the monarchy, the nobility and the bourgeoisie. The main themes in which music and art have become activities of leisure and entertainment are studied. In other words, the creative sketches and drawings with genre scenes such as allegorical images commemorating political power.
For the first time a reading is made of these iconographic programmes, with a special focus on the symbology, organology and the artistic trends circulating around Catalonia during those centuries. This has led to a parallel description of some of the historic events in Catalonia, such as the arrival in Barcelona of Archduke Charles of Austria, the visit by Charles III and the first performances of Catalan operatic works. This doctoral thesis is therefore a complement to the historical and musicological studies that have been carried out to date and a new documentary source to illustrate and understand the role of music in Catalan society.
11
Phillips, Dara L. "Dancing Through Film Musicals : Narratives in Motion /." Lynchburg, Va. : Liberty University, 2006. http://digitalcommons.liberty.edu.
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Chan, Tracy, and 陳翠詩. "The development of musicals in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B31220447.
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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the Twenty-First Century American Musical." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc1404583/.
Full textAbstract:
This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.
14
Tarleton, Angela Brannon. "Raven's Song: an Original Musical." Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc500310/.
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Raven's Song is an original musical dramatizing the conflict between paganism and Christianity. The play revolves around a woman who has become disillusioned by her people and her gods. The only gods she has ever known were blood-thirsty, appeased only by the blood and entrails of human sacrifice. Therefore, Raven resists all religion. Through providential circumstances, she is married into a Christian family and is overwhelmed by their love, and the kindness of their God. In search for truth, Raven begins to question her disbelief. All men search for truth in their own way, and all, at one time, will question the existence and nature of God. The play does not presume to answer these questions, but allows each participant to decide for himself, as Raven must decide for herself.
15
Esporrín, Pons Maria Montserrat. "Societat i espectacles musicals a Barcelona (1881-1936)." Doctoral thesis, Universitat Rovira i Virgili, 2016. http://hdl.handle.net/10803/399567.
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En aquest estudi, emmarcat entre finals del s. XIX fins abans de la Guerra Civil, volem analitzar la relació que hi ha entre la societat barcelonina i els espectacles musicals als quals assistirà. Partim de la base que ens trobem dins d’un període convuls pel replantejament de les idees i els valors, fet que no solament trasbalsarà la vida quotidiana d’aquesta societat, sinó que també es farà patent un canvi que desembocarà en la creació de nous locals d’oci i diversió, els quals oferiran espectacles més d’acord amb la nova forma de pensar i viure i també més adients als gustos musicals i, en general, artístics que aquesta societat demana; tot això sota la influència de les noves tendències artístiques que marcarà París. També els estils musicals seran diferents, perquè harmonies trencadores provinents del Nou Continent confluiran a Europa i canviaran l’estètica musical fins llavors existent. Amb tot, volem arribar a demostrar que aquesta marea pertorbadora dins de l’àmbit social i musical acabarà interrelacionant-se i fusionant-se amb els models artístics ja existents, dels quals en sortirà una concepció musical nova, sense oblidar allò que anomenem “clàssic”.<br>El principal objetivo del presente estudio consiste en analizar la relación existente entre la sociedad barcelonesa y los espectáculos musicales a los que ésta asistirá, dentro del período de tiempo comprendido entre finales del s. XIX y el inicio de la Guerra Civil española. Se trata de un período convulso debido a un replanteamiento de las ideas y valores existentes y que, no solamente trastocará la vida cotidiana de esta sociedad sino que también se hará patente en la creación de nuevos locales de ocio y diversión que ofrecerán espectáculos que estarán más en consonancia con las nuevas formas de pensar y vivir y, también, con los gustos musicales y artísticos que la sociedad demanda. Todo ello bajo la influencia de las nuevas tendencias artísticas que marcará, principalmente, París. También los estilos musicales serán diferentes debido a armonías transgresoras que provendrán del Nuevo Continente; que confluirán en Europa y que cambiarán la estética musical predominante. En definitiva, se quiere llegar a demostrar que esta marea perturbadora, en el ámbito social y musical, acabará interrelacionándose y fusionándose con los modelos artísticos ya existentes, dando lugar a una nueva concepción musical sin, por ello, olvidar lo que se consideraba como “clásico”.<br>This study from the late nineteenth century to right before the outbreak of the Civil War aims to analyse the relationship between Barcelonese society and the musical performances they attended. It must be borne in mind that this is a particularly turbulent period marked by the reconsideration of existing ideas and values. Not only did these changes have a deep impact on the day-to-day life of Barcelonese society, but they also paved the way for the emergence of new leisure and entertainment venues which hosted shows more in line with a new way of thinking and living, and which met the musical, and more generally, the artistic demand of society. And all under the influence of new artistic trends determined by Paris. Musical styles changed because ground-breaking harmonies from the New World amalgamated in Europe, thus reshaping existing musical aesthetics.
This study attempts to prove that this disruptive wave in the social and musical scene eventually interacted and merged with existing artistic models, resulting in a new musical conception, without putting aside what is considered ‘classic’.
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Sorby, Stella Lanxing. "Translating Western musicals into Chinese: texts, networks, consumers." HKBU Institutional Repository, 2014. https://repository.hkbu.edu.hk/etd_oa/113.
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When translating musicals from one culture to another, a translator’s role is to convert the text for its stage representation in a different context. However, during the process from this translated text to it finally being performed on stage, changes are inevitable. Issues surrounding the nature of such changes, the reasons for which they are made, and their resulting effects, have hitherto been little researched. The present study seeks to explore such issues through an examination of the ways in which the development of the translated text is shaped by interactions between the various stakeholders including professional translators, fans and production team members, i.e. the director and actors, as well as the audience themselves. Employing some of the major concepts of Actor Network Theory as the principal theoretical framework, together with a case study approach combining textual analysis and empirical studies, this project focuses on Putonghua translations of Western musicals on the Chinese mainland. More specifically, through investigating three of the most recent and professionally translated and performed Western musicals: I love you, you’re perfect, now change (USA), Spin (Finland), and Mamma Mia! (UK), it intends to show how differing stakeholder perspectives on issues of performability and reception are negotiated to produce a commercially successful translation product.
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Kincaid, Ry Kincaid Ry Londré Felicia Hardison. "Billy and the two clefs." Diss., UMK access, 2008.
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Thesis (M.A.)--Dept. of Theatre. University of Missouri--Kansas City, 2008.<br>"A family musical"--p. 1. "A thesis in theatre." Advisor: Felicia Londré. Typescript. Includes music to the song Keep on playing your song, music and lyrics by Ry Kincaid. Vita. Title from "catalog record" of the print edition Description based on contents viewed Apr. 14, 2009. Includes bibliographical references (leaf 59). Online version of the print edition.
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Catlett, Mark. "THE MIND OF A SADOMASOCIST:A THEATRICAL ROLE ANALYSIS OF ORIN SCRIVELLO D.D.S." Master's thesis, University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3806.
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Mark Catlett will portray the role of Orin Scrivello D.D.S., as well as various other "cameo" roles, at Seaside Music Theater in Daytona Beach, Florida from January 13- February 13 2005. The role of Orin Scrivello will provide me with several acting challenges as well as multiple subjects and themes to research. The most challenging aspect of creating, developing and embodying the character of Orin will be his sadomasochistic nature and his blatant abuse towards Audrey. Sadomasochism is defined as "the deriving of sexual gratification, from being physically or emotionally abused". It is also defined as "a willingness or tendency to subject oneself to unpleasant or trying experiences". The psychology of sadomasochism is completely foreign to my life experience and will have to be deeply explored to fully realize the inner workings of Orin's behavior. To supplement the exploration of the psychology of sadomasochism, research will be completed on the following topics: • Sadomasochism in regards to the lead characters of Little Shop of Horrors. • The history of Little Shop of Horrors from its roots in the cult horror film of 1960, followed by the 1983 Off-Broadway production, segueing into the 1986 re-make film version, and culminating in the 2003 official Broadway production. Portrayal of Orin Scrivello D.D.S. also demands the creation of several other characters in the second act of the show. This will require me to develop several different characters ranging from the sadomasochistic dentist, to an ambitious entrepreneur, to even dressing in drag to portray a female florist customer. This will give me an opportunity to show versatility as well as research several different character personalities and dramatic structures. These characters come in and out of the florist shop very quickly, so the challenge will be to both perform a quick change of costume and also be able to completely switch characterizations within minutes. These characters should be different enough that the audience does not immediately realize it is the same actor playing all of these roles.<br>M.F.A.<br>Department of Theatre<br>Arts and Sciences<br>Theatre
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Solé, Salas Lluís. "El Disseny universal de pràctiques musicals instrumentals en grup." Doctoral thesis, Universitat de Vic - Universitat Central de Catalunya, 2017. http://hdl.handle.net/10803/461680.
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El Disseny Universal és un marc conceptual sorgit des de l’àmbit de l’arquitectura
que proposa elements de disseny de productes i entorns amb la finalitat
d’eliminar barreres i garantir l’accessibilitat al major rang de persones possible.
Durant les darreres dues dècades s’han anat adaptant les pautes d’aplicació de
les directrius del Disseny Universal a nous entorns. En aquesta investigació
proposem explorar les possibilitats d’implementació d’aquest paradigma al camp
de la música instrumental en grup per tal d’aproximar el fenomen musical de
forma activa i praxialista a un major nombre de persones possible. Els nostres
objectius son: la identificació de factors afavoridors de la implementació dels
principis del Disseny Universal a Orquestres i formular pautes d’aplicació
d’aquests principis per a l’organització, funcionament i continuïtat de formacions
instrumentals de tipus orquestral que desitgin abordar repertori occidental des
d’un enfocament d’accessibilitat universal. Per a tal propòsit, hem posat en marxa
una orquestra sense restriccions d’accés, en base a l’anàlisi documental i
l’experiència durant 4 anys ininterromputs de funcionament del projecte. Els
instruments de recollida de dades s’han aplicat sobre participants d’una orquestra
pilot i sobre un grup d’experts en l’àmbit de la música instrumental en grup.
Aquests han consistit en 3 qüestionaris i dos grups focals. Els resultats obtinguts
han permès identificar factors facilitadors i establir pautes d’aplicació dels
principis del DU per al disseny d’orquestres accessibles. S’obre així una línea a
explorar sobre l’aplicació del DU en l’ambit de la música.<br>El Diseño Universal representa un marco conceptual, surgido desde el ámbito de
la arquitectura, que propone elementos de diseño para productos y entornos con
el fin de eliminar barreras y garantizar la accesibilidad al mayor rango posible de
personas. Durante las últimas dos décadas se han adaptando las pautas de
aplicación de las directrices del Diseño Universal a nuevos entornos. En esta
investigación proponemos explorar las posibilidades de implementación de este
paradigma en el campo de la música instrumental grupal con el fin de aproximar
el fenómeno musical de forma activa y praxialista a la sociedad. Nuestros
objetivos son la identificación de factores favorecedores de la implementación de
los principios del Diseño Universal en orquestas y formular pautas de aplicación
de dichos principios para la organización, funcionamiento y continuidad de
formaciones instrumentales de tipo orquestal que deseen abordar repertorio
occidental desde un enfoque de accesibilidad universal. Para ello, hemos creado
una orquesta con propósitos de universalidad de acceso, en base al análisis
documental y la experiencia durante 4 años ininterrumpidos de funcionamiento
del proyecto. Los instrumentos de recogida de datos se han aplicado sobre
participantes de una orquesta piloto y sobre un grupo de expertos en el ámbito
de la música instrumental en grupo. Estos han consistido en 3 cuestionarios y
dos grupos focales. Los resultados obtenidos han permitido identificar factores
facilitadores y establecer pautas de aplicación de los principios del DU para el
diseño de orquestas accesibles. Se abre así una nueva línea a explorar sobre la
aplicación del DU en el ámbito de la música.<br>Universal Design(UD) is a framework that emerged from the field of architecture
to purpose the design of products and environments to be usable by all people,
to the greatest extent possible, without the need for adaptation or specialised
design. During the last two decades it has been applied and adapted to new
frameworks. This research aims to explore the possibilities of implementing this
paradigm in the field of groupal instrumental music in order to appreciate and
disseminate the musical phenomenon and its praxialist approach to the greatest
number of people. The aims are to identify factors favouring the implementation
of the principles of Universal Design for orchestras and formulate guidelines for
applying these principles to the organisation, operation and continuity of
orchestras wishing to address Western repertoire. For this purpose, and based on
experience and bibliographic review, we have created an orchestra focused on
universal access. Different tools have been applied to participants in a pilot
orchestra and experts in the field of instrumental music groups. These consisted
of three surveys and two focus groups. The results have enabled us to identify
facilitating factors and establish some guidelines for applying the principles of DU
for designing accessible orchestras. This opens a new line to explore on the
application of DU in the field of music.
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Johnson, Wesley Allan Mobberley James. "I have space issues (so back off my starship) : Act I (of II) /." Diss., UMK access, 2007.
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Thesis (M.M.)--Conservatory of Music. University of Missouri--Kansas City, 2007.<br>Act I of two-act musical comedy. "A thesis in music." "I plan to complete Act II during the summer of 2007"--ℓ. 228. Advisor: James Mobberley. Includes libretto, performance notes, and vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 13, 2007. Online version of the print edition.
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Allen, Craig Haddon. "Too short to waste reflections on Qohelet /." Theological Research Exchange Network (TREN), 1991. http://www.tren.com.
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Sagolla, Lisa Jo. "Choreography in the American musical, 1960-1969 : the dramatic functions of dance /." Access Digital Full Text version, 1992. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11063798.
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Thesis (Ed.D.)--Teachers College, Columbia University, 1992.<br>Includes tables. Typescript; issued also on microfilm. Sponsor: Judith Burton. Dissertation Committee: Nancy BrooksSchmitz. Includes bibliographical references (leaves 173-180).
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Florjancic, Linda M. "“We’ll Find a New Way of Living:” Racism in Showboat, South Pacific, The King and I and West Side Story." University of Akron / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=akron1124769084.
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Fornäs, Johan. "Tältprojektet musikteater som manifestation /." Stockholm : Symposion, 1985. http://books.google.com/books?id=PagvAAAAMAAJ.
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Canyelles, Canyelles Bartomeu. "Nous estils musicals i canvis socials a Mallorca (1960-1975)." Doctoral thesis, Universitat de les Illes Balears, 2013. http://hdl.handle.net/10803/112158.
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L’any 1960, quan es començaren a evidenciar els primers símptomes del boom turístic, s’inicià un procés de modernització social on el visitant estranger hi jugà un paper essencial. Amb la seva arribada, nous estils musicals com el pop, el rock o el soul serviren per connectar ambdues societats –la turística i la local– i produir un canvi de mentalitat entre la població mallorquina, amb els joves com a grans protagonistes. Aquest canvi no només afectà als seus gusts musicals, sinó també altres aspectes (estètica, llenguatge, gestió del temps lliure, etc) al mateix temps que, al seu voltant, s’estructurava una indústria local dedicada a l’oci nocturn que, entre els anys seixanta i setanta, convertiria a Mallorca en un dels nuclis musicals més importants de tot l’Estat espanyol.
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Ma, Siyuan. "To Utopianize the Mundane: Sound and Image in Country Musicals." Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6112.
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Many consider music, songs, and dance performance as utopian signifiers for cinema, but few has entered the utopian discourse of country musicals, a small genre of cinema usually known as country music films. By closely scrutinizing Pure Country (1992), this thesis aims to reveal how country music—as music numbers and as background cues— integrate and connect the fragmented on-screen world for the country musicals so as to offer audiences a fullness of utopian experience, and how this utopian effect are culturally significant for American audiences due to country music’s unique mechanism of constructing utopia and nostalgia in its past-orientations, sentimentalities, and alleged authenticities. I argue because of the American country music’s internal need for utopia as an individual and social agent, Pure Country, as well as the neo-traditionalism country music defined by Pure Country, reconciles the pop and the old time country music, and also conciliates the tension expressed in such music tastes between the rural and urban communities. This reconciliation makes Pure Country a not so perfect cinematic text for documenting country music’s authenticity and origin, but fully and clearly reflects the utopian meaning of country music on an individual and social level.
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GRAY, FRED ALLEN. "CHILDREN'S MUSICALS, 1973-1985: ANNOTATIONS WITH SOURCEBOOK FOR PRODUCTION (DRAMA, ELEMENTARY, HISTORY, VOICE, CHORAL)." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188089.
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The purpose of this study was to collect and annotate the musical dramas for children of elementary school age published since 1972. Musical dramas selected were limited to those having a story line rather than just a narrator and chorus, having dialogue interaction between the characters, containing mostly original music, and written for grades kindergarten through six. This document is intended as a resource for elementary school teachers and church workers who are searching for appropriate material for performance or study. Annotations of 210 musicals for children, sacred and secular, are the main emphasis of the study. Pertinent information in each annotation includes: basic story line, voice span (extreme range of the music), tessitura (range where most of the tones lie), recommended grade level, duration, type of accompaniment available, 1985 prices and required purchase for performance rights, staging requirements, number and characteristics of the songs, and personnel needed. Musicals were obtained through publishers, music retailers, and leasing firms. A part of the study is a history of musical drama in America and in America's schools. Musical drama has been a part of elementary education in America almost from its inception. The first musical drama in America was presented in Charleston, S.C., in 1735, and the first school music drama was presented in New York in 1853. Because children's musicals involve the child voice, information is contained in the study concerning practices which might cause vocal damage. Current research and theory about children's voice range is reported. Opinion is divided about proper natural voice range for children. Each viewpoint has supporting research. The study shows that an abundance of musical drama material is available for children of elementary age, especially the upper grades. A sourcebook for directors and producers of children's musicals has been included to assist those who have a limited knowledge of stage lighting, choreography, make-up, sound systems, sets, and costumes. Suggestions are provided for choosing a musical, holding auditions, scheduling rehearsals, and involving parents and community. 1973 was selected as the beginning date for inclusion of musicals in the study because of the resurgence of writing and publishing elementary school musicals and because of the growing number of musicals written for church children's groups. Recommended areas for further research concerning children's musicals include the present usage figures for published musicals, an annotated list of musicals using only narrators and choir, and usage figures of musicals by geographic areas.
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Duarte, Carolina Borlido. "Design de figurinos." Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2019. http://hdl.handle.net/10400.5/18351.
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Dissertação de Mestrado em Design, com a especialização em Design de Moda apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Mestre.<br>A investigação desenvolvida em Design de Moda é centrada na área do Design de Figurinos, e mais especificamente nos figurinos para espetáculo musical do estilo Broadway.
O design de figurinos é parte integrante das artes performativas (e.g., teatro, televisão e cinema), sendo o seu contributo indispensável para a criação de personagens.
Para a concretização da investigação desenvolvida, foi realizado um estágio curricular na Produções La Féria, uma das mais relevantes produtoras do mundo do teatro musical em Portugal.
Com a realização deste estágio foi possível alcançar vários objetivos, como a aquisição de diversas competências no desenvolvimento de figurinos, na interação e trabalho em grupo, no domínio de técnicas utilizadas no design de figurinos para espetáculo musical.
De forma a recolher todas as informações imprescindíveis para o desenvolvimento da investigação, foi usada uma metodologia mista, primeiramente com base na revisão de literatura que se debruça sobre o assunto, nomeadamente livros, artigos, teses, filmes e produções de Filipe La Féria; durante o estágio a investigadora teve a oportunidade de não só fazer uma observação direta à criação de figurinos como também fazer parte da produção dos mesmos.
Com o estágio foram conquistados os objetivos traçados, levando esta investigação para lá do âmbito académico, munindo a investigadora com as ferramentas e experiência necessárias para o futuro profissional no mundo do trabalho.<br>ABSTRACT: The research developed in Fashion Design is focused on the area of Costume Design, and more specifically on the Broadway style costumes.
Costume Design is an integral part of performative arts (e.g., theater, television, and film), making it na indispensable contribution to creating characters.
To carry out the research, a curriculum internship was held at Produções La Féria, one of the most relevant producers of musical theater in Portugal.
With the accomplishment of this internship, it was possible to achieve some objectives, such as the acquisiton of several skills in the development of costumes, the interaction and group work, in the field of techniques used in the design of costumes for musical performance.
In order to gather all the necessary information for the research development, a mixed methodology was used, firstly based on the literature review that deals with the subject, namely books, articles, theses, films, and productions of Filipe La Féria; during the internship the researcher had the opportunity not only to make a direct observation to the creation of costumes but also to be part of their production.
With the internship the objectives were achieved, taking this research beyond the academic scope, providing the researcher with the necessary tools and experience for the future professional in the world of work.<br>N/A
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Gallagher, Kelsey B. "So Much Better: A Lighting Design Approach for a Production of Legally Blonde: The Musical." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555414324698267.
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Carter, Duane Martin. "Writing for musical theatre: Forever yours." CSUSB ScholarWorks, 2000. https://scholarworks.lib.csusb.edu/etd-project/1590.
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Lach, Pamella R. Filene Peter G. "Dancing dreams performing American identities in postwar Hollywood musicals, 1944-1958 /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,1133.
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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2007.<br>Title from electronic title page (viewed Mar. 27, 2008). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History." Discipline: History; Department/School: History.
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Riley, Samantha Michele Kuzniar Alice A. "Becoming the wig mis/identifications and citationality in queer rock musicals /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2008. http://dc.lib.unc.edu/u?/etd,1676.
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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2008.<br>Title from electronic title page (viewed Sep. 16, 2008). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of English and Comparative Literature Comparative Literature." Discipline: English; Department/School: English.
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Baumhof, Sarah [Verfasser]. "„Nowhere to Go But Up“? – Die Gattungsmerkmale des Musicals / Sarah Baumhof." Hamburg : Staats- und Universitätsbibliothek Hamburg Carl von Ossietzky, 2021. http://d-nb.info/1226936334/34.
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Serni, Nicole Mioni. "Canções cinematográficas : análise dialógica do filme musical Les Misérables /." Araraquara, 2018. http://hdl.handle.net/11449/154573.
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Orientador: Luciane de Paula<br>Banca: Maria da Penha Casado Alves<br>Banca: Marco Antonio Villarta-Neder<br>Banca: Odilon Helou Fleury Curado<br>Banca: Marina Célia Mendonça<br>Resumo: Esta pesquisa se propôs a analisar o filme musical Les Misérables (2012), de Tom Hooper, sob a ótica dos estudos do Círculo Bakhtin, Medviédev, Volochinov, tendo como objetivo refletir, por meio de uma análise dialógica, acerca da constituição da arquitetônica do filme musical como gênero discursivo, em sua forma, conteúdo, estilo, produção e circulação, conforme as ideias do Círculo. A partir de Les Misérables este trabalho buscou investigar a especificidade do gênero filme musical assim como analisar os diálogos entre o filme escolhido e outras obras musicais produzidas no cinema norte-americano. A canção, aqui também considerada como um gênero, é elemento constitutivo do filme escolhido e sua presença é de extrema importância na formação do musical, configurando-o como intergenérico. O filme musical norte-americano é marcado por elementos de canto e dança que se consolidam especialmente na era de ouro (anos 50 e 60). Les Miserables apresenta características diferentes de outros filmes musicais, como, por exemplo, a temática (a partir da obra de Victor Hugo), a fala cantada constante (e não apenas canto em momentos performáticos), e a ausência de dança (ainda que as movimentações sejam ritmadas). Estas especificidades do gênero discursivo filme musical foram discutidas ao longo desta pesquisa a partir da trajetória do filme musical, sendo possível, deste modo, analisar como a obra cinematográfica em questão dialoga com outras produções, de diferentes períodos; assim como as... (Resumo completo, clicar acesso eletrônico abaixo)<br>Abstract: This research aims to analyze the musical film Les Misérables (2012), by Tom Hooper, within the perspective of the Circle Bakhtin, Medviédev, Volochinov studies, having as objective to reflect, by a dialogic analysis, about the constitution of the architectonic of the musical film, as a discursive genre in its form, content, style, production and circulation, based on the ideas of the Circle. With the study of Les Misérables this work focuses on the investigation of the specificity of the musical film genre as much as analyze the dialogs between the musical film, and other musicals produced in the North American cinema. The song, here as well considered as a genre, is an element that constitutes de movie chosen and its presence is of extreme importance in the formulation of the musical, which is built with intergenres. The North American musical film is marked by elements of singing and dancing that are consolidated in the golden era (the 50's and 60's). Les Misérables presents characteristics which are different from other musical films, such as, for example, the thematic (based on the novel by Victor Hugo), the constant singing (and not just singing in performatic contexts), and the absence of dance (even though every move is punctuated). These specificities of the musical film as a discursive genre were discussed along this research from the trajectory of the musical film, making it possible to analyze how the cinematographic work in focus dialogs with other productions, f... (Complete abstract click electronic access below)<br>Doutor
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Ponsatí, Ferrer Imma. "Avaluació d’una proposta didàctica per a la identificació auditiva dels intervals harmònics musicals. Una experimentació al primer curs dels ensenyaments especialitzats de grau professional dels conservatoris de música de Catalunya." Doctoral thesis, Universitat Autònoma de Barcelona, 2011. http://hdl.handle.net/10803/51437.
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L’objectiu general d’aquesta tesi és elaborar, experimentar i avaluar una proposta
didàctica per a la identificació auditiva dels intervals harmònics adreçada al primer curs
dels ensenyaments musicals de grau professional dels conservatoris de música de
Catalunya i que, a partir de la detecció i anàlisi prèvia de les dificultats dels alumnes,
permeti que aquests assoleixin, al llarg del procés d’ensenyament-aprenentatge, els
objectius didàctics plantejats i, conseqüentment, al final d’aquest, millorin el seu
rendiment.
En el marc teòric es revisen, analitzen i sintetitzen els principals escrits sobre l’objecte
d’estudi de la recerca, els quals han servit de referència per a la seva elaboració. D’una
banda, s’han recollit les aportacions dels autors més significatius i, de l’altra, efectuat
reflexions personals sobre els temes exposats: es fa una aproximació a la importància
que té l’oïda musical al llarg del procés de formació dels estudiants de música; ens
apropem a l’oïda musical melòdica, polifònica i harmònica, totes elles considerades dins
del context de la tonalitat; s’entra de ple a revisar les principals recerques centrades en la
identificació auditiva dels intervals harmònics musicals; s’exposen les línies generals que
regeixen els estudis musicals de grau elemental, professional i superior, així com la
incidència de la formació de l’oïda en el currículum de llenguatge musical.
En el marc metodològic es descriu l’estudi empíric de la recerca, el qual adopta una
metodologia d’investigació d’enfocament mixt i s’estructura en diverses fases: les anàlisis
prèvies, l’elaboració de la proposta didàctica, el procés d’experimentació i, finalment,
l’anàlisi dels resultats. En cadascuna d’elles s’han pres les decisions oportunes i, per tant,
emprat els instruments adequats per a la consecució dels objectius proposats: diaris de
classe i entrevistes, dirigits al professorat del grup experimental, i proves de control
d’aprenentatge per a l’alumnat de tota la mostra, que han estat dissenyades seguint un
enfocament quasiexperimental i efectuades abans i després de l’aplicació de la proposta
didàctica tot comptant amb l’existència d’un grup control.
Les conclusions de l’estudi mostren que la proposta didàctica avaluada és adequada i
eficaç, ja que permet als alumnes assolir els objectius didàctics previstos per al procés
d’ensenyament-aprenentatge i, conseqüentment, millorar el seu rendiment musical en
relació amb la identificació auditiva dels intervals harmònics musicals al final d’aquest.
Ja per acabar, al final d’aquesta tesi s’expliquen les limitacions de l’estudi i es fan uns
suggeriments respecte a noves vies d’investigació que podrien obrir-se arran del mateix
estudi.<br>El objetivo general de esta tesis es elaborar, experimentar y evaluar una propuesta
didáctica para la identificación auditiva de los intervalos armónicos dirigida al primer curso
de las enseñanzas musicales de grado profesional de los conservatorios de música de
Cataluña y que, a partir de la detección y análisis previo de las dificultades de los
alumnos, permita que éstos alcancen, durante el proceso de enseñanza y aprendizaje,
los objetivos didácticos planteados y, en consecuencia, al final del mismo, mejoren su
rendimiento.
En el marco teórico se revisan, analizan y sintetizan los principales escritos relacionados
con el objeto de estudio de la investigación, los cuales han servido de referencia para su
elaboración. Por una parte, se han recogido las aportaciones de los autores más
significativos y, por otra, efectuado reflexiones personales sobre los temas expuestos: se
hace una aproximación a la importancia del oído musical en el proceso de formación de
los estudiantes de música; nos acercamos al oído musical melódico, polifónico y
armónico, todos ellos contextualizados en la tonalidad; se revisan las principales
investigaciones centradas en la identificación auditiva de los intervalos armónicos
musicales; se exponen las líneas generales que rigen los estudios musicales de grado
elemental, profesional y superior, así como la incidencia de la formación del oído en el
currículum de lenguaje musical.
En el marco metodológico se describe el estudio empírico, que adopta una metodología
de investigación de enfoque mixto y se estructura en diversas fases: los análisis previos,
la elaboración de la propuesta didáctica, el proceso de experimentación y, finalmente, el
análisis de los resultados. En cada una de ellas se han tomado las decisiones oportunas
y, por lo tanto, se han utilizado los instrumentos adecuados para la consecución de los
objetivos propuestos: diarios de clase y entrevistas, dirigidos al profesorado del grupo
experimental, y pruebas de control de aprendizaje para el alumnado de toda la muestra,
que han sido diseñadas siguiendo un enfoque cuasiexperimental y efectuadas antes y después de la aplicación de la propuesta didáctica contando con la existencia de un
grupo control.
Las conclusiones del estudio muestran que la propuesta didáctica evaluada es adecuada
y eficaz, ya que permite a los alumnos alcanzar los objetivos didácticos previstos para el
proceso de enseñanza y aprendizaje y, en consecuencia, mejorar su rendimiento musical
en relación con la identificación auditiva de los intervalos armónicos musicales al final del
mismo.
En último término, al final de esta tesis se explican las limitaciones del estudio y se
sugieren nuevas vías de investigación que podrían abrirse a raíz del propio estudio.<br>The general objective of this thesis is to elaborate, experiment and evaluate a teaching
method proposal focused on the auditory identification of harmonic intervals aimed at first
year students of professional music grade taken at the music conservatories in Catalonia,
which, based on previous detection and analysis of the students’ difficulties, enables them
to achieve the proposed didactic objectives through the teaching-learning process and,
consequently, improve their performance at the end of it.
The Theoretical Framework involves the revision, analysis and synthesis of the main
literature on the research object, which is used as a reference. On the one hand, we have
taken some contributions of the most relevant authors and, on the other hand, carried out
some personal reflections on the exposed topic; an approach to the importance of musical
ear throughout the musical training process, as well as to the melodic, polyphonic and
harmonic musical ear, all of them considered in the tonality context. Also, the main
research focused on the auditory identification of musical harmonic intervals is checked,
and we set out the general lines that govern the musical studies in elementary,
professional and higher levels, as well as the incidence of ear training in the Music Theory
curriculum.
In the Methodological Framework, the empiric study of the research is described. This
study adopts a mixed-method approach and is structured in various stages: the previous
analysis, the elaboration of the teaching method proposal, the experimentation process
and, finally, the results analysis. In each of them, the appropriate decisions were made
and, therefore, the suitable instruments were used in order to achieve the proposed
objectives: class logs and interviews, aimed at the teachers of the experimental group,
and learning-control tests for all the students of the sample, which were designed
following a quasi-experimental approach carried out before and after the application of the
teaching method proposal, with the inclusion of a control group.
The conclusions of this study show that the evaluated teaching method proposal is
appropriate and effective, since it enables students to achieve the forecasted didactic
objectives for the teaching-learning process and, consequently, improve their musical
performance in regard to the auditory identification of music harmonic intervals at the end.
Finally, at the last part of this thesis, the study limitations are explained and some
suggestions are pointed out to set new research lines from it onwards.
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Capdevila, Solà Maria Reina. "Conductes musicals dels infants 0-3. Anàlisi i validació d'una pauta d'observació." Doctoral thesis, Universitat de Barcelona, 2008. http://hdl.handle.net/10803/1278.
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En aquesta tesi s'ha construït i validat una eina d'observació per permetre als educadors dels infants de 0 a 3 anys fixar-se, conèixer i valorar les reaccions i les conductes dels nens davant el fet sonor i l'experiència musical, amb la intenció que pugui esdevenir un instrument per tots els qui la vulguin utilitzar per orientar i regular millor la seva mirada en els comportaments musicals dels infants<br/><br/>Els objectius que ens hem fixat són:<br/><br/>- Aprofundir en les conductes musicals dels infants.<br/><br/>- Confeccionar i validar una pauta d'observació.<br/><br/>- Estimar els canvis produïts en l'educador a partir de l'ús de la pauta d'observació, de la seva anàlisi i la seva valoració.<br/><br/>La nostra hipòtesi és que si el mestre té una mirada i una escolta ordenada davant les conductes musicals infantils podrà enriquir musicalment la vida dels nens. <br/><br/>Ens interessa saber com responen els infants als diferents estímuls sonors, com descobreixen i investiguen dins el so, com relacionen i s'expressen a partir de la pròpia veu, els materials que tenen a l'abast, com escolten i reaccionen als sons de l'entorn i a la música que se'ls ofereix.<br/><br/>Per l'altre costat volem estimular a l'adult a oferir entorns rics als infants, a interactuar amb ells, a obrir les seves oïdes, a expressar-se amb la música juntament amb els nens i nenes de les seves aules.<br/><br/>És per això que en el Marc teòric hem dedicat un capítol a l'infant d'aquesta edat i ens hem posicionat en la perspectiva d'un infant ric i potent. Hem analitzat els principis de la conducta musical, els factors que intervenen en la imaginació i la creativitat, hem situat la proposta dins un marc socioconstructivista i hem aprofundit en el paper de l'observació en la pràctica educativa.<br/><br/>També ens hem aproximat a la figura del mestre vist des de la vessant de la formació permanent, que és el marc on ha nascut la necessitat d'aquesta recerca, apostant per el mestre-investigador.<br/><br/>La investigació proposa una anàlisi de les observacions fetes en diferents escoles d'educació infantil (1r cicle, infants de 0 a 3 anys); les entrevistes mantingudes i els qüestionaris avaluatius que en van fer les educadores participants.<br/><br/>Les dades s'han tractat qualitativament i quantitativa; dels resultats obtinguts s'ha arribat a les conclusions finals que demostren la validesa de l'eina construïda i, com el canvi de mirada davant les conductes musicals dels infants enriqueix la vida tant d'ells com la dels adults. De tota la informació recollida s'han obert diferents línies d'investigació.<br>In this thesis, an observational tool was constructed and validated to help educators of O-3-year-old children to notice, get to know, and to assess their reactions and behaviours in front of sound and musical experience. <br/><br/>Our objectives were as follows:<br/><br/>- To go deeply into musical behaviours in children.<br/><br/>- To elaborate and validate an observational pattern.<br/><br/>- To estimate changes produced in educators after using this observational pattern, their analysis and assessment.<br/><br/>Our hypothesis was that, if educators are provided with an orderly look and listen when facing children's musical behaviours, they will be able to enrich the children's life musically. <br/>In the theoretical framework, a chapter was devoted to children at these ages, and our perspective was that of a rich and powerful child. We analyzed the principles of musical behaviour, and factors that intervene in imagination and creativity; our proposal is within a social-constructivist framework; and we also studied the role of observation in educational practice in detail.<br/><br/>We also approached the teacher figure from the perspective of continuous training, which is the framework where this research need was born, with a clear option for the teacher-researcher.<br/><br/>Our research proposes an analysis of observations carried out in different early childhood education schools (1st cycle, 0-to-3-year-old children); interviews and evolutionary questionnaires carried out by participating educators.<br/><br/>Data were quantitatively and qualitatively processed; from our results, we reached the conclusions that showed the validity of the constructed instrument and how a change of vision in front of children's musical behaviours can enrich both their lives and those of adults. Different research lines have started from all the collected information.
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Bonshek, Corrina. "Australian deterritorialised music theatre : a theoretical and creative exploration." Thesis, View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/40061.
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This project consists of a theoretical examination of Australian music theatre and a portfolio of musical compositions. The thesis proposes an innovative analytical model for music theatre/multi-media with a distinctive perspective. Adapting concepts from feminist Deleuzean theorists, it advances a notion of feminine difference that moves beyond earlier debates between essentialists and anti-essentialists. This theoretical framework guides the close examination of three works ― Andrée Greenwell’s Laquiem: Tales from the Mourning of the Lac Women (1999), Greenwell’s Laquiem (2002) and Gretchen Miller’s Inland (1999/2000) ― that complicate the category ‘music theatre’ in the way that they cross genre boundaries. Greenwell’s Laquiem: Tales from the Mourning of the Lac Women is a new music performance work based upon Kathleen Mary Fallon’s ‘The Mourning of the Lac Women’. This work has a close relationship to Laquiem (2002), a short film directed, composed and scripted adapted by Greenwell based upon the same text by Fallon. Inland is a radiophonic work that Miller also staged as a live performance. The thesis argues that changing format and interdisciplinary content of works such as these has contributed to the current proliferation of genre labels. Recent works can be defined under various descriptors such as ‘performance art’, ‘documentary opera’ or ‘installation performance’. The thesis offers the concept of ‘deterritorialised music theatre’ to address works that exist at and beyond the limits of music theatre as a category. The penultimate chapter applies a Deleuzean feminist framework to the composition portfolio submitted with the thesis. The creative work consists of two audio-visual installations (one with quadraphonic sound), a music-theatre work (exploring ‘action’- instrumental possibilities) and a music-art tour that includes music for string trio, singer and brass/sax septet.
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Hazen, Mark D. "Crossing the bridge man's response to the life and work of Christ /." Theological Research Exchange Network (TREN), 1994. http://www.tren.com.
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Ikach, Yugo Sava. "A study of selected songs by Leonard Bernstein which reflect his contribution to the evolution of art song in America." Morgantown, W. Va. : [West Virginia University Libraries], 2003. http://etd.wvu.edu/templates/showETD.cfm?recnum=3219.
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Thesis (D.M.A.)--West Virginia University, 2003.<br>Title from document title page. Document formatted into pages; contains vii, 94 p. : music. Includes abstract. Includes bibliographical references (p. 91-94).
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Bell, Jeffery E. "American musical theater songs in the undergraduate vocal studio : a survey of current practice, guidelines for repertoire selection, and pedagogical analyses of selected songs." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1026700.
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American musical theater songs are popular with the general public, and many college and university voice students are familiar with them. Some voice teachers also use musical theater repertoire to varying degrees in voice instruction. Such familiarity and interest lend significance to this study of the songs in a teaching context. There is therefore a need for the establishment of repertoire-selection guidelines and pedagogical analysis of selected musical theater songs so that additional teachers will become well informed.Following the introduction in Chapter One, the results of a survey sent to one hundred members of the National Association of Teachers of Singing are presented. The survey posed questions concerning the current use of musical theater songs. Among other things, the results revealed strong interest in the analysis and application of this literature in the voice studio. Guidelines for repertoire selection (also used by the author in selecting songs that address specific aspects of singing) are introduced in Chapter Three, along with a description of analytical procedures. Chapters Four through Eight include summaries of the analyses and suggested applications in the voice studio:Developing the ability to sing longer phrases"You'll Never Walk Alone" (Rodgers)"Where Is Love?" (Bart)"After the Ball" (Harris)• Developing the ability to sing wide intervals in a legato fashion "Lost in the Stars" (Weill)"Warm All Over" (Loesser)"Green Finch and Linnet Bird" (Sondheim)•Developing the ability to articulate words rapidly "My Darling, My Darling" (Loesser) "Seventy-Six Trombones" (Willson) "Soliloquy" (Rodgers)•Developing the ability to move smoothly between registers "Someone to Watch Over Me" (Gershwin) "Where or When" (Rodgers) "O1' Man River" (Kern)•Managing a large range and mature quality "Maria" (Bernstein)"Memory" (Lloyd Webber) "One More Kiss" (Sondheim)Conclusions in Chapter Nine include: (1) teachers should judge musical theater songs by the same criteria as other songs; (2) musical theater literature offers useful material for students who are striving to develop certain aspects of singing; (3) analyses of selected songs demonstrate their suitability for pedagogical use; and (4) there is a need for additional critical analysis of musical theater literature.<br>School of Music
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Crouse, Jeffrey Dennis. "Representations of screen heterosexuality in the musicals of Fred Astaire and Vincente Minnelli." Thesis, University of Warwick, 1997. http://wrap.warwick.ac.uk/35511/.
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This thesis examines the ways in which heterosexuality is rendered in the Hollywood genre where its existence is most privileged: musicals of the studio era (c. 1930 - c. 1960). In this popular film category, heterosexuality is expressed in a framework of "boy-meets-girl" amatory coupling that is remarkably amplified and insistent. In analysis that is at once sympathetic and critical of the subject matter, I show that heterosexuality in the Hollywood musical is constructed in a way that is far from monolithic. On the contrary, I find that there are in fact varieties of heterosexual identity that exist in the genre, and that they are most succinctly revealed through romantic engagement. Yet heterosexuality is depicted along divergent formulations owing to contrasting relational aims and assumptions. Building on Richard Dyer's 1993 essay, "'I Seem to Find the Happiness I Seek': Heterosexuality and Dance in the Musical," I will discuss how the basis of these separate models is traceable to different approaches related to power distributions between men and women. These processes, in turn, arise from different notions concerning masculinity and femininity. In this way, a mix of gender expressions inhabit the Hollywood musical leading to an assortment of heterosexual models. Textually these models become visible not only through an analysis of characterization and the position of the man and woman within the narrative, but in the camera work, all aspects of the mise-en-scene, and most cogently, in the arrangement of the central heterosexual couple in the song-and-dance sequences. For my examination of heterosexuality in the Hollywood musical, I will concentrate on the work of two of its greatest auteurs: Fred Astaire (star) and Vincente Minnelli (director). The impact each man made on this genre is hard to overestimate. In terms of methodology I divide my analysis between these two artists, and ascertain what model(s) of heterosexual identity are communicated by them. Then after establishing what design(s) of heterosexual life each one suggests (for Astaire I analyse Top Hat [1935] as well as Carefree [1938] and The Sky's the Limit [1943], while for Minnelli I look at Meet Me in St. Louis (1944) and The Pirate [1948]), I conclude this thesis by examining their most acclaimed joint effort (The Band Wagon [1953]) to discern what, if any, change one might have had on the other. A phenomenon tied to the US musical (whether stage or screen) is that although it is the most heterosexual of genres, it is also one traditionally both crafted and appreciated by gay men. Though it does not fall within the scope of this thesis, it is worth speculating for future work if Astaire's heterosexuality and Minnelli's homosexuality had any significant bearing on the way they represented the standard boy meets-girl plot device upon which the Hollywood musical relies.
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Shook, Steffi A. "Campy Conclusions: Examining the Subversion of Heteronormative Relationship Sanctions in American Film Musicals." Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1385387953.
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Batchelder, Daniel Lev. "American Magic: Song, Animation, and Drama in Disney's Golden Age Musicals (1928-1942)." Case Western Reserve University School of Graduate Studies / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=case1523442817785887.
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Lascabettes, Paul. "Mathematical Models for the Discovery of Musical Patterns, Structures and for Performances Analysis." Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUS578.
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L'objectif de cette thèse est de fournir des modèles mathématiques pour la compréhension et l'analyse de représentations symboliques de la musique. En particulier, cette thèse se décompose en trois parties : comment découvrir les motifs musicaux~? Comment ces motifs sont-ils organisés avec la structure musicale ? Et finalement, comment ces motifs sont-ils joués durant la performance musicale ? Tout d'abord, cette thèse se focalise sur la tâche de découverte de motifs musicaux. Les travaux antérieurs permettent de distinguer deux approches : l'approche séquentielle et l'approche multidimensionnelle. Nous proposons une méthode pour développer l'approche multidimensionnelle. En particulier, nous montrons que la théorie de la morphologie mathématique s'adapte très bien à l'approche géométrique, ce qui permet d'obtenir des résultats mathématiques pour la découverte de motifs musicaux. En seconde partie, nous nous intéressons à la tâche de segmentation musicale. Nous proposons deux méthodes, l'une reposant sur l'homogénéité et l'autre sur la répétition, qui sont les deux caractéristiques principales à étudier pour découvrir la segmentation d'une pièce. La méthode reposant sur l'homogénéité utilise les filtres morphologiques pour détecter les blocs sur la diagonale de la matrice d'auto-similarité. Nous développons aussi une méthode reposant sur la quasi-répétition sans intersection pour obtenir la segmentation hiérarchique d'une pièce. La troisième partie est dédiée à l'analyse de la performance musicale avec des outils informatiques. Nous nous focalisons sur la base de données MazurkaBL qui contient des annotations de plus de 2000 performances de 46 Mazurkas de Chopin. Pour analyser cette base de données, nous proposons de représenter une performance musicale dans un 2-simplexe, ce qui permet de caractériser et d'interpréter l'expressivité musicale d'une performance. Ensuite, nous montrons comment la théorie du transport optimal peut être utilisée pour comparer des performances musicales<br>The purpose of this thesis is to provide mathematical models for the understanding and analysis of symbolic representations of music. In particular, this thesis is divided into three parts. How to discover musical patterns? How are these patterns organized within the musical structure? And finally, how are these patterns performed during musical performance? First, this thesis focuses on the musical pattern discovery task. Previous work identifies two different approaches: the sequential and geometric approaches. We propose a method for each of these two approaches. We propose a method for developing the multidimensional approach. In particular, we show that the theory of mathematical morphology is well suited to the geometrical approach, making it possible to obtain mathematical results for the discovery of musical patterns. In the second part, we focus on the musical segmentation task. We propose a method based on homogeneity and one based on repetition, which are the two main features to be studied in order to discover the segmentation of a piece. The homogeneity-based method uses morphological filters to detect blocks on the diagonal of the self-similarity matrix. We also develop a method based on almost repetition without overlaps to obtain the hierarchical segmentation of a musical piece. The third part is dedicated to the computational models for music performances. We focus on the MazurkaBL dataset, which contains annotations of over 2000 recorded performances of 46 Chopin Mazurkas. To analyze this dataset, we propose to represent a musical performance in a 2-simplex, allowing us to characterize and interpret the expressivity of a performance. Then, we show how the theory of optimal transport can be used to compare musical performances
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Torrents, Llum. "Internet i patrimoni cultural: el cas de les col•leccions d'instruments musicals en línia." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/350803.
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Aquesta tesi s'ha desenvolupat entorn les repercussions i oportunitats creades per la digitalització, accessibilitat en línia al patrimoni cultural i la preservació digital, doncs el llenguatge hipermèdia i els nous fluxos de comunicació han atorgat una nova dimensió als sistemes de comunicació i documentació i a les estratègies i programes de gestió, preservació, estudi, difusió i accés als béns culturals. L'estudi de cas són les col•leccions europees d'instruments musicals en línia. Hem pogut determinar les tendències de futur en relació a finalitats i objectius de la documentació i digitalització del patrimoni cultural, en l'àmbit de la Unió Europea, amb l'anàlisi de llocs web de les col•leccions europees d'instruments musicals en línia i amb l'anàlisi de les polítiques de digitalització. L'estudi de cas ens ha permès aportar una visió innovadora i multidisciplinària, de confluència entre els drets culturals, les Ciències de la Documentació i les metodologies i conceptes de la Museologia. Amb aquesta tesi defensem que l'accessibilitat d'estructures del coneixement, com les col•leccions en línia, és una de les garanties per a l'autonomia de les persones i el progrés de les societats.<br>This thesis has been developed around the impacts and opportunities created from the digitisation and online accessibility of cultural heritage and digital preservation, seeing how the language hypermedia and new communication flows have given a new dimension to communication systems and documentation strategies as well as programs management, preservation, study, dissemination and access to cultural heritage. The case study is the european online musical instruments collections. We have been able to determine future trends regarding aims and objectives of the documentation and digitisation of cultural heritage in the European Union, with the analysis of the wesites of the european online musical instruments collections and the analysis of the digitisation policies. The case study has allowed us to provided an innovative and multidisciplinary vision of convergence between the cultural rights, Information and Communication Sciences and Museology methodologies and concepts. This thesis is to defend the accessibility of knowledge structures, such as collective Collections Online, which is one of the guarantees for the independence of the people and the progress of societies.
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Mortimer, Harold R. "The silver operetta and the golden musical : the influence of the Viennese operetta of the Silver Age (1905-1935) on the Broadway musical of the Golden Age (1943-1964) /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/11318.
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Panosa, Domingo M. Isabel. "La música en la tragèdia grega Definició i context d’ús dels papirs musicals tràgics." Doctoral thesis, Universitat de Lleida, 2021. http://hdl.handle.net/10803/673709.
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La tesi presenta l’anàlisi d’un total de vint fragments identificats com a passatges de tragèdia que
van acompanyats de notació musical grega antiga. Es tracta d’un estudi detallat i alhora de conjunt
dels exemples coneguts de peces musicals relacionades intrínsecament amb la tragèdia grega. Tots
els passatges, excepte un, es troben escrits en suport papiraci. L’única excepció és una citació i
comentari d’un fragment de l’"Orestes" d’Eurípides que Dionís d’Halicarnàs va incloure en la seva
obra "De compositione verborum". Els aspectes examinats dels documents del catàleg són,
fonamentalment: les característiques del suport, els trets paleogràfics i els colomètrics, la part
argumental del text, la seva mètrica i les característiques musicals.
Tant la lletra com el sistema de notació musical dels exemplars estudiats són grecs, però la seva
creació i ús abasten una franja temporal àmplia que s’inicia poc abans de mitjan segle III aC i arriba
fins al canvi dels segles II-III dC. Per tant, ens demostren una pràctica musical vinculada a les arts
escèniques que es va desenvolupar com a mínim des del període hel·lenístic i es va prolongar ‒no
sense canvis i adaptacions‒ fins ben entrada l’època romana imperial.
El rerefons ‒el qual es reflecteix en les preguntes de recerca i en la hipòtesi de treball‒ és la
discussió sobre les claus que giren entorn de la qüestió de la presència de la música en la tragèdia, el
seu abast i la mesura en què estava escrita. Es proposen possibles respostes a aquestes qüestions
sobre la base de les fonts analitzades i de l’argumentació construïda a partir d’altres evidències i
raonaments existents sobre el tema.<br>La tesis presenta el análisis de veinte fragmentos identificados como pasajes de tragedia
acompañados de notación musical griega antigua. Se trata de un estudio detallado, y a la vez de
conjunto, de los ejemplos conocidos de piezas musicales relacionadas intrínsecamente con la
tragedia griega. Todos los pasajes, salvo uno, se hallan escritos en soporte papiráceo. La única
excepción la constituye una cita y comentario de un fragmento del "Orestes" de Eurípides que
Dionisio de Halicarnaso incluyó en su obra "De compositione verborum". Los aspectos que se han
examinado en los documentos del catálogo son, fundamentalmente: las características del soporte,
los rasgos paleográficos y los colométricos, la parte argumental del texto, su métrica y las
características musicales.
Tanto la letra como el sistema de notación musical de los ejemplares estudiados son griegos, pero su
creación y uso abarcan una amplia franja temporal que tiene inicio poco antes de mediados del siglo
III a. C. y alcanza los siglos II-III d. C. Así pues, ponen de manifiesto una práctica musical
vinculada a las artes escénicas que se desarrolló como mínimo desde el periodo helenístico y se
prolongó ‒no sin cambios y adaptaciones‒ hasta bien entrada la época romana imperial.
El trasfondo ‒que se refleja en las preguntas de la indagación, así como en la hipótesis de trabajo‒
es la discusión sobre las claves que giran en torno a la cuestión de la presencia de la música en la
tragedia, su alcance y la medida en que estaba escrita. Se proponen posibles respuestas a estas
cuestiones en base a las fuentes analizadas y a la argumentación construida a partir de otras
evidencias y de razonamientos existentes sobre el tema.<br>The thesis presents the analysis of a set of twenty fragments identified as passages from tragedies
that are accompanied by ancient Greek musical notation. It is a detailed and comprehensive study of
the extant musical fragments intrinsically related to Greek tragedy. All but one of these passages are
written on papyrus. The only exception is a quotation and commentary on a fragment from
Euripides' "Orestes" that Dionysus of Halicarnassus included in his work "De compositione verborum".
The aspects examined in the catalogue are, basically: the descriptive details of the papyri, the
palaeographic and colometric features, the plot of the text, its metrical aspects and the musical
characteristics.
Both the lyrics and the musical notation system contained in all items are Greek, but their creation
and use cover a wide time span that begins shortly before the middle of the third century BC and
reaches the turn of the second-third centuries AD. Therefore, they show us a musical practice linked
to the performing arts that developed at least from the Hellenistic period and lasted –including
changes and adaptations– until the end of the early Roman imperial period and beyond.
The background ‒which is reflected in the inquiry questions and the working hypothesis‒ is the
discussion on the keys around the question of the presence of music in tragedy, its scope and the
extent to which it was written. Possible answers to these questions are proposed on the basis of the
sources analysed and the argumentation constructed from other existing evidence and reasoning on
this subject.
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Kuzmová, Tereza. "Celebrity marketing pražských muzikálů." Master's thesis, Vysoká škola ekonomická v Praze, 2017. http://www.nusl.cz/ntk/nusl-359152.
Full textAbstract:
This Diploma Thesis deals with the issue of Prague musicals celebrity marketing, which is a significant characteristics of the contemporary Prague musical scene. The theoretical part of this thesis introduces the basic theories of celebrity studies and the specifics of marketing mix of musicals, in which celebrities play a significant role. On the margine, the thesis is also focused on current overproduction of musicals and related problems in marketing activities of musical productions. The main part of this thesis is the own research, which was realized by analyzing the promotional materials of the greatest musical productions in Prague, as well as questionnaire survey among the visitors of musical shows. The aim of this research was to assess the contemporary celebrities of the Prague musicals and to assess the influence of celebrities on the decision to go to see some musical.
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Bonshek, Corrina. "Australian deterritorialised music theatre a theoretical and creative exploration /." View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/19308.
Full textAbstract:
Thesis (Ph.D.) -- University of Western Sydney, 2007.<br>A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the University of Western Sydney, College of Arts, School of Communication Arts. Includes bibliography.
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Do, Rozario Rebecca-Anne Charlotte. "Disney animated and theatrical musicals : interpreting the magic from The little mermaid to The little mermaid." Monash University, Centre for Drama and Theatre Studies, 2003. http://arrow.monash.edu.au/hdl/1959.1/5660.
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